Vocal Producer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: Of course, one of my proudest moments was joining the rest of the production team on stage at the Grammy Awards when Adele won the Album of the Year Category but as a Vocal Producer specifically it's been getting to help shape the sound of Kali Uchis' vocals. When we first met, there was a general uncertainty to the music - it was erratically jumping from tracks that were kind of trap, to soul, to west coast hiphop, to singer-songwriter and was somewhat being dictated by whatever beat was being played. Over time we worked together to formulate a more cohesive signature to her vocal delivery and sonics which then was able to inform the producers decisions in the tracks they delivered to us.

Q: What's your 'promise' to your clients?

A: To deliver the best product I possibly can. Producers aren't infallible, we have our limitations too, but I will always endeavour to do as much as I can to help you achieve your ambitions.

Q: What do you like most about your job?

A: Getting to creating and collaborate with new people with their own set of unique experiences and perspectives. It means we'll never create the same thing twice!

Q: What questions do you ask prospective clients?

A: Generally I'm open to any and all suggestions of which direction an artist wants to push towards but the main limiting factors are the classic triangle of budget, time and skill. ie: out of this pyramid of 'Fast', 'Cheap' and 'Good' you can only ever get 2 out of the 3 - so let's figure out which are most important/realistic to you and go from there.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Come prepared. Professional engineers and producers are not there to create the music for you, only to help you refine, capture and present it in as best a manner as is possible. We understand that every musician/artist has their own limitations; we are here to help pickup the shortfalls, but if you don't at least try to do your part (learn your song, practice your instrument, arrive focused and ready to work) then neither of us stand much of a chance.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: I'm a bit of a heretic when it comes to the usual engineer's approach to gear - I really don't care what gear is available, if you know how to use it you can make anything sound right. But, if I had to list a few items it would mostly be my favoured vocal chain - a valve u47, into a Neve 1073, followed by a PurpleAudio MC76, into a CraneSong Hedd 192 ADC.

Q: What was your career path? How long have you been doing this?

A: Playing in bands as a teenager, I first discovered my interest in how records were made and so decided to pursue a Popular Music Production degree. Part of that programme included spending a year working in industry and I was able to find a placement as an intern at Dean St. Studios, London. I loved it so much that I promptly returned to the studio just a week after my graduation! After not too long as an Assistant Engineer I was promoted to one of the in-house Engineers and then, given the role as Head Engineer! I spent the next 7 years working with and learning from some of the industry's greatest musicians, producers and engineers and then decided to go freelance in 2016. Around that time I got to work on the seminal '25' album from Adele which earned me a Grammy Award, and in-turn a green light for my US work-visa, and so I made the move to Los Angeles in 2018 without much of a solid plan at all! Since then I've found myself suitably embedded in the industry here and had the pleasure of working on some incredible projects - so please, reach out and let's write the next portion of this "career path" together!

Q: What type of music do you usually work on?

A: Being in-house in a premier commercial recording studio means you have to stay flexible so I have always had a wide repertoire of musical styles, but I do enjoy the freedom to express and explore that more pop-centric genres affords.

Q: What's your typical work process?

A: I typically like to spend a good amount of time with the artist(s) ahead of any recording taking place, ideally including a 'live-show' too for a glimpse of the song's true energy. Then, during recording I like to build a solid foundation, starting with the rhythm tracks and then building melodic information from there.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I'm new to the SoundBetter community but am always happy to make new connections! Fellow music people give me a shout and introduce yourselves, even a simple hello on instagram (@austenjc) has lead to some great connections with people across the world.

Q: Analog or digital and why?

A: This is a 'Mac' vs 'PC' or 'Logic' vs 'ProTools' type question......and it really doesn't matter to me. Use whatever means necessary to achieve the best possible product ... if you've been working on an old version of cubase since day one, and that's the tool you know better than anything else to get the sound you need, then use that!

Q: What's the biggest misconception about what you do?

A: 1. It's easy. 2. Anyone with a laptop can do it. 3. It should be free. 4. It's glamorous.

Q: Can you share one music production tip?

A: The 'song' is the key. It doesn't matter how much 'production' you add, if the song is no good then it's a waste of time.

Q: What's your strongest skill?

A: Bringing the best out of people.

Q: Tell us about your studio setup.

A: Being an in-house studio engineer meant I have always had access to the industry's best equipment. I crafted my skills using all the name brands an engineer dreams of. As a result my personal gear list is rather humble - preferring to keep things simple and portable to allow me to set myself up in any studio I need to.

Q: What other musicians or music production professionals inspire you?

A: Working closely with UK artist 'Plan B' showed me what dedication to your art means - turning up at lunchtime and waiting for someone else to do it all for you is not the route to success. His relentless efforts to pursue the utmost perfection in each element of his songwriting, arrangements and performance was mind blowing, and despite not necessarily being 'technically minded' he still took the time to understand each step of the recording, mixing and mastering process to ensure it was done in the best possible way. I try to approach each of my own works with the same dogged enthusiasm.

Q: Describe the most common type of work you do for your clients.

A: My bread and butter is a studio recording engineer. I cut my teeth in one of the best studios in London and am now using that knowledge and experience to help musicians create productions they can be proud of.