Unsigned Bands + Veteran Producers. An Interview with Susu
Susu, the indie/alt/punk band (to steal from their myspace profile), recently completed work on their new 6-song EP with producer Martin Bisi (Sonic Youth). We at Indie Night School were wondering: how in the world did an unsigned band get to work with such an industry veteran? So we asked.
[INS=Indie Night School, A=Andrea (guitar/vox), M=Mike(bass/vox)]
INS: As an unsigned, local band, how did you meet Martin Bisi?
A: I was out celebrating a mutual friend's birthday, and during a conversation we (the birthday boy and I) were talking about recording. I had mentioned trying to get a hold of this local NY analog engineer who did the early Sonic Youth recordings, as recommended to me by another friend, but couldn't remember the name. Turns out he was there that night and friends with my friend. Small world. He introduced us, and I got his number and website info. We had been looking at a few different places for a while, (even considering a great studio in Chicago), but it turned out we just ended up liking so many of the albums on his discography we were excited to work with Martin. So a few months later we set up time.
M: The timing couldn't have been better. We were looking around for someone to work with and Martin's name came up from a few different angles. It was an easy choice to go with him, even if we didn't have a label backing us. We just wanted to have an accurate representation of our music put to tape, for whatever reason, and home recording just wasn't doing it for us. Home recording can be fun for a while, but the results never did us any favors. Some bands can take the limitations of home recording and use it to their advantage. We always just ended up sounding like we were stuck in an elevator. That's what Martin had to offer us. Space.
INS: From the time you first met Martin, to the moment you burned the final master of your EP, what was the process like to work with him?
A: It was pretty easy, well, I don't want to say easy because there was work involved, we slept very little that week, but easy in the sense that Martin's a vet - There wasn't really any time wasted. We had very strong ideas of what we wanted and didn't want, and Martin was more than capable of handling it. I mean, as far as our sound, we were never looking to spend a lot of time layering tons of tracks, which would entail lots of mixing. The process was quick and dirty, and Martin's good company. Basically we spent a day of tracking, half a day on vocals and overdubs, and 3 days mixing, in which we were present at all times.
INS: I know that, every now and then, we receive emails from producers interested in having us record at their studios. In these emails, they tend to give us a list of "production credits," often which list huge names. However, the term "producer" is a pretty flexible one, and often gets used instead of the more mechanical-sounding title "engineer." How can an indie band know when they're being approached by a tried-and-true "Producer" as opposed to an engineer who is simply trying to get business for his or her studio? What is a "producer" and what does it mean to work with one?
A: Well, I think this question may not really pretain to us - I know that when I think of a "producer" I think of someone who has influenced the outcome of your sound remarkably by his or her hand. Some people might be looking to just get an experienced engineer, like we did, though not to say he wasn't involved in production at all, that's impossible. I mean, if you're looking to go out and record, it's probably important that if you're going to spend money you have a good idea of what you want out of recording - it's pretty obvious when someone is trying to get business for there studio, but that's pretty irrelevant, since it's all business at some point. That person who might have a lot of experience might be very talented, but not what you are looking for.
For example, s/he might have produced a lot of classic heavy metal albums, but you are in all female surf band. It just might not translate well. I suppose my advice is chances are you should be looking more for what you want rather than taking the first thing that comes your way. As far as unexperienced people, we've let plenty of friends record our demos. :)
INS: The 24K-question: did M.B. "produce" your EP or "engineer" it? More specifically, did M.B. actively shape the sound of your album (and, thus, your band)? If so, how? Can you give some examples from the recording process ("more cowbell" and things of that nature)? How do you think the EP would have sounded differently without his production assistance?
A: Overall, he engineered it. I don't think our sound is very heavily influenced by him. He was able to take what we had and capture that, for better or for worse. Though there are bits where he was creative and had ideas, and I mean, to say he didn't leave a mark would be silly. I mean, part of the reason we went to him in the first place is because he's all analog, and we like that sound. Not to mention the sound of all the other albums he's worked on. The contrast of production and engineer can be a big grey area, especially if you are working with experienced people. I guess a clarifying example of high production would be Britney Spears. Or even Radiohead. They really push the envelope in terms of being able to perform their "sound" so well live.
M: A few weeks before we entered the studio Martin came out to see us play live. Immediately after our set he was up on stage making suggestions as to how we could best translate our live sound to tape. I knew right then than that he had taken an active interest in having us sound our best. Most of Martin's input was technical. Like having Andrea run her guitar through two amps, etc. We knew Martin's recording techniques would compliment our sound. That's why we chose to work with him. Though I wouldn't say he actively shaped our sound. He knew how best to achieve the sound we were looking for. He was very in tune with what we wanted to get out of the recording. I should also mention the architecture of his studio. His space is very raw and cavernous - not to mention kind of spooky. Martin explained to us that the Battle of Brooklyn (the first engagement of the Continental and British armies in the Revolutionary War) took place in the general vicinity of his studio. So there's also some seriously troubling history there as well. I think the nature of the space with its wide open rooms and dank atmosphere definitely leaves a mark on his recordings.
INS: Beyond the actual recording process, has working with M.B. opened up any other doors for your band? Was your relationship limited mainly to recording, or does he have "points on the album" and plan, for example, to pitch your EP to labels?
A: It was limited to recording only.
INS: Your best friend in the whole world calls you tomorrow and says "I just received an email from a producer who's interested in recording our EP." Your friend wants to buy you a beer and ask your advice. What do you tell him/her? What should s/he be thinking about/looking for in the process of finding a producer?
A: Look at albums you like, look at the credits. Get rates. Has this producer worked on anything you like? Or, does s/he have anything you see that might have potential for your band? I would be actively looking rather than waiting to be approached. Looking for what what fits your sound and what you want to achieve best. Do you want a real slick album or something more dirty? Do you have tons of tracks that you want to lay down? You might require both a producer and an engineer if you feel you need the coaching and direction a producer can provide.
[Susu is playing Trash on July 23, and Delancey on August 31. Take a listen and a look-see at www.susuband.com or www.myspace.com/susuband For more information on Martin Bisi, please visit www.martinbisi.com]
[INS=Indie Night School, A=Andrea (guitar/vox), M=Mike(bass/vox)]
INS: As an unsigned, local band, how did you meet Martin Bisi?
A: I was out celebrating a mutual friend's birthday, and during a conversation we (the birthday boy and I) were talking about recording. I had mentioned trying to get a hold of this local NY analog engineer who did the early Sonic Youth recordings, as recommended to me by another friend, but couldn't remember the name. Turns out he was there that night and friends with my friend. Small world. He introduced us, and I got his number and website info. We had been looking at a few different places for a while, (even considering a great studio in Chicago), but it turned out we just ended up liking so many of the albums on his discography we were excited to work with Martin. So a few months later we set up time.
M: The timing couldn't have been better. We were looking around for someone to work with and Martin's name came up from a few different angles. It was an easy choice to go with him, even if we didn't have a label backing us. We just wanted to have an accurate representation of our music put to tape, for whatever reason, and home recording just wasn't doing it for us. Home recording can be fun for a while, but the results never did us any favors. Some bands can take the limitations of home recording and use it to their advantage. We always just ended up sounding like we were stuck in an elevator. That's what Martin had to offer us. Space.
INS: From the time you first met Martin, to the moment you burned the final master of your EP, what was the process like to work with him?
A: It was pretty easy, well, I don't want to say easy because there was work involved, we slept very little that week, but easy in the sense that Martin's a vet - There wasn't really any time wasted. We had very strong ideas of what we wanted and didn't want, and Martin was more than capable of handling it. I mean, as far as our sound, we were never looking to spend a lot of time layering tons of tracks, which would entail lots of mixing. The process was quick and dirty, and Martin's good company. Basically we spent a day of tracking, half a day on vocals and overdubs, and 3 days mixing, in which we were present at all times.
INS: I know that, every now and then, we receive emails from producers interested in having us record at their studios. In these emails, they tend to give us a list of "production credits," often which list huge names. However, the term "producer" is a pretty flexible one, and often gets used instead of the more mechanical-sounding title "engineer." How can an indie band know when they're being approached by a tried-and-true "Producer" as opposed to an engineer who is simply trying to get business for his or her studio? What is a "producer" and what does it mean to work with one?
A: Well, I think this question may not really pretain to us - I know that when I think of a "producer" I think of someone who has influenced the outcome of your sound remarkably by his or her hand. Some people might be looking to just get an experienced engineer, like we did, though not to say he wasn't involved in production at all, that's impossible. I mean, if you're looking to go out and record, it's probably important that if you're going to spend money you have a good idea of what you want out of recording - it's pretty obvious when someone is trying to get business for there studio, but that's pretty irrelevant, since it's all business at some point. That person who might have a lot of experience might be very talented, but not what you are looking for.
For example, s/he might have produced a lot of classic heavy metal albums, but you are in all female surf band. It just might not translate well. I suppose my advice is chances are you should be looking more for what you want rather than taking the first thing that comes your way. As far as unexperienced people, we've let plenty of friends record our demos. :)
INS: The 24K-question: did M.B. "produce" your EP or "engineer" it? More specifically, did M.B. actively shape the sound of your album (and, thus, your band)? If so, how? Can you give some examples from the recording process ("more cowbell" and things of that nature)? How do you think the EP would have sounded differently without his production assistance?
A: Overall, he engineered it. I don't think our sound is very heavily influenced by him. He was able to take what we had and capture that, for better or for worse. Though there are bits where he was creative and had ideas, and I mean, to say he didn't leave a mark would be silly. I mean, part of the reason we went to him in the first place is because he's all analog, and we like that sound. Not to mention the sound of all the other albums he's worked on. The contrast of production and engineer can be a big grey area, especially if you are working with experienced people. I guess a clarifying example of high production would be Britney Spears. Or even Radiohead. They really push the envelope in terms of being able to perform their "sound" so well live.
M: A few weeks before we entered the studio Martin came out to see us play live. Immediately after our set he was up on stage making suggestions as to how we could best translate our live sound to tape. I knew right then than that he had taken an active interest in having us sound our best. Most of Martin's input was technical. Like having Andrea run her guitar through two amps, etc. We knew Martin's recording techniques would compliment our sound. That's why we chose to work with him. Though I wouldn't say he actively shaped our sound. He knew how best to achieve the sound we were looking for. He was very in tune with what we wanted to get out of the recording. I should also mention the architecture of his studio. His space is very raw and cavernous - not to mention kind of spooky. Martin explained to us that the Battle of Brooklyn (the first engagement of the Continental and British armies in the Revolutionary War) took place in the general vicinity of his studio. So there's also some seriously troubling history there as well. I think the nature of the space with its wide open rooms and dank atmosphere definitely leaves a mark on his recordings.
INS: Beyond the actual recording process, has working with M.B. opened up any other doors for your band? Was your relationship limited mainly to recording, or does he have "points on the album" and plan, for example, to pitch your EP to labels?
A: It was limited to recording only.
INS: Your best friend in the whole world calls you tomorrow and says "I just received an email from a producer who's interested in recording our EP." Your friend wants to buy you a beer and ask your advice. What do you tell him/her? What should s/he be thinking about/looking for in the process of finding a producer?
A: Look at albums you like, look at the credits. Get rates. Has this producer worked on anything you like? Or, does s/he have anything you see that might have potential for your band? I would be actively looking rather than waiting to be approached. Looking for what what fits your sound and what you want to achieve best. Do you want a real slick album or something more dirty? Do you have tons of tracks that you want to lay down? You might require both a producer and an engineer if you feel you need the coaching and direction a producer can provide.
[Susu is playing Trash on July 23, and Delancey on August 31. Take a listen and a look-see at www.susuband.com or www.myspace.com/susuband For more information on Martin Bisi, please visit www.martinbisi.com]
posted by T(S)M at 9:26 PM
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