Dave Fridmann - Music Producer

Due to my interest in the sound of 1998 album “Eleventh Avenue” by Australian ‘90’s band Ammonia. I decided to investigate the career, life and techniques of Music Producer and Engineer Dave Fridmann. This album contained many techniques essential for the budding producer/engineer. I was immediately drawn to Dave’s use of panning, the range of contrast in the recording and was in wonder of how he achieved such a massive ambient sound. Upon investigation it was apparent that many of the techniques used in this recording had been honed for more than a decade with bands like Mercury Rev and The Flaming Lips.

Dave was born in 1968 and grew up in Williamsville. (A suburb of Buffalo, New York) He recalls the period when sound began to fascinate him.

“I'm not sure if it is the sound so much as it is the emotional impact that is attached to it. I remember being around 10 and having my own radio. Sometimes I would just burst into tears while listening. I would also listen until late at night. There was a station that played "Headphones Only" entire albums from midnight to 6AM and I would lay there with my headphones "seeing" the music.”[1].

While at junior high Dave heard of a new engineering program at the nearby University of New Yorks (SUNY) Fredonia campus, through his music teacher who had attended the University. Fredonia is a town between Buffalo and Erie near Lake Erie, New York State. At SUNY at Fredonia, Dave studied the engineering course where he now teaches as part of the four year Bachelor of Science in Music with an emphasis on sound recording technology program. This program also teaches piano and voice classes so it is no surprise Dave writes, plays bass/guitar/keyboards, programs and arranges. Dave started producing Mercury Rev as a student in this same recording program after meeting Revs’ Jon Donahue and quickly became their bass guitarist. It has been his philosophy to “fill the gaps” [2] when helping a band realize their vision. If this means collaboration, it’s something he’s ready for.

Engineering/Mix/Mastering (EMM) his first release in 1989 and the following year he Co-produced EMM, The Flaming Lips album “In a Priest Ambulance” that was widely acclaimed. He was a touring member of Mercury Rev until 1993 when he re evaluated what was important for him.

“I wanted a family, I wanted to work with other groups, I wanted to a lot of other things that weren’t being in a band. Now it’s really good, because when we do get together I can just concentrate on them when they (Mercury Rev) come in."[3]

In late 1997 Dave set up his studio Tarbox Studios on Tarbox Rd. Cassadaga with partners Greg Snow, Andrea Wasiura and his wife Mary [4]. Cassadaga is 10 miles from Daves’ home in Fredonia. Daves’ main partner in the studio is Greg Snow is also the electronics expert at SUNY at Fredonia [5]:

"I’m incredibly lucky with the gear that’s up there. My partner Greg Snow takes great care of everything, so that everything always works all the time.” [3]


It’s this sort of stability that his studio creates for artists. Bands live at the studio whilst recording and often come down to record in their pyjamas as they would at home. No city distractions at Cassadaga, although Dave tries to squeeze in a quick trip to nearby Niagara Falls for visiting bands if time allows.

Producers Fridmann admires are John McLaughlin for Miles Davis’ In a Silent Way, Tchad Blake, Jon Brion, Nigel Godrich, Bryce Goggin, Jim O’Rourke, Brian Paulson [4], Rivers Cuomo, Mark Linkous (Sparklehorse), Teo Maceo and good buddies Jon Donahue (Mercury Rev) and Wayne Coyne (The Flaming Lips).[6]

Dave continues to be very busy with a steadily growing discography. A small list bands he’s worked with are The Delgados, Regular Fries, Elf Power, Number Girl, Grand Mal, Mogwai, Ammonia, Jane's Addiction, Bass Piggy, Weezer, Wallmen, Luna, Ed Harcourt, Gemma Hayes, Sparklehorse, Bodega, Cotton Mather, Cafe Tacuba, The Dissociatives, Modest Mouse, Sleater-Kinney, Brazil, Clap Your Hands Say Yeah, Mercury Rev and The Flaming Lips.
Most of these bands are repeat customers with Mercury Rev and The Flaming Lips using his services consistently for nearly two decades.

Fridmanns’ top three microphones are the tube based Neumann U47 (pictured), the RCA 44 ribbon microphone and the Shure SM57 “workhorse”. [4] When at his studio he uses an Otari Concept Elite mixer with automation and 40 channels of dynamics, his favourite reverb is AKG BX20 spring reverb.[3] He combines his Otari 24-track analogue reel-to-reel, an Otari RADAR hard disk multitrack, a Pro Tools system, and an Alesis ADAT digital 8-track tape recorder, constantly working with all formats. I describe “Daves sound” as powerful and spacious, regularly containing mini symphonies. He has a philosophy “to fill up tracks”, that “everything is ON all of the time” [4] and “why talk about it when we can just do it and see” [3].

Dave blows my mind with how busy he is creating the product. Some producers may record and mix a band largely how they sound, stereo the guitars and add some reverb but Daves sound is always on the move:
- Panning from left to right with an electro noise before a contrasting build up.
- Dry sounding snare for two bars then slight decay industrial sound for two bars.
- Guitars bouncing left, right, centre, stereo, dry, wet with the song.
- Ping Pong effect, use of Contrast, orchestral programming, loops, electronic sounds

I believe he is making a valuable contribution to the field of sound technology.

His experimental attitude and “can do” approach evident with his selection of projects (see Zaireeka by The Flaming Lips). There is large number of alternative bands seeking his involvement not only as a Producer/Engineer but as a collaborator.


Passionate and experimental with a very high technical ability Dave is well deserving of the accolades he has received including three Grammy Awards, many Grammy nominations, Mercury awards and MOJO magazine: one of the top 100 sonic visionaries of all time. He is an inspiration for someone such as me who likes living in Adelaide, South Australia, but wishes to work globally.

References:
Dave Fridmann : Discography
[1] Dolomite.Net interview, David Fridmann: Like Standing under a Waterfall by Charles Austin, December 1, 1998.
[2] Pop Culture Press interview, DAVE FRIDMANN: COUNTRY LIFE-from Mercury Rev to Mogwai, magical things happen in the little house on Tarbox Road! By Caliban Jones, winter 2001.
[3] Sound on Sound article, DAVE FRIDMANN. PRODUCING FLAMING LIPS & MERCURY REV by Sam Inglis
[4] Tape OP – The Creative Music Recording Magazine.No.17 May/June 2000. Article: Dave Fridmann by Roman Sokal with Photos by Mary Fridmann.
[5] SUNY Sound Technology Webpage – Faculty and Administration
[6] Interview for Barcelona “Go” Magazine, Feb 2001.

MTF 5 - 29/03/07

Get to know your space and system with Referencing!

All producers reference, that is have a collection of songs or song excerpts that they have listened to on many systems and know how that sound translates to any recording they carry out using different spaces and equipment.
For example if a sound booth absorbs an above average amount of bass. When a mix is performed it may sound great in the room but when played on another sound system will have too much bass. The engineer/producer has overcompensated due to the lack of bass in the sound booth. In this case if the engineer/producer referenced using their collection. They know how the sound should be, they would have noticed the lack of bass and been aware to not to overcompensate. Check the mix on any other even crappy stereo and check.
Producers may also reference Genre. If they want a glam rock feel they will break out the Poison, Motley Crue or Bon Jovi band files. Musicians may be said to reference. They listen to the songs/artists that they like and while most will call these their influences, it is referencing as they will include traits of their influences in their playing. You can even consciously reference yourself into playing a style by constant listening to that style (note: this is not true for some artists such as Robbie Williams, self harm may occur).

Kens Assignment Presentation
Congratulations to Ken for his presentation on the rather unpalatable subject of Stock, Aitkin and Waterman. Everyone probably knows them as the machine that produced a string heart throb releases in the 80’s (Kylie Minogue, Banarama, Rick Astley). As Ken says “Over produced club orientated grooves with apple pie values” or “over produced and under performed”. This takes me back to discussions about overproduction resulting in the deletion of all the human elements; in this case creativity comes to mind. It is no secret Stock, Aitkin and Waterman also made heavy use of auto tune on the artists’ voices. Steve informs us an Eventide Harmoniser is the culprit with an effect dubbed the “Kylie” effect.
Despite this Stock, Aitkin and Waterman had massive success as Ken describes they were saleable, marketable and good songwriters but flooded the market and took advantage of their artists.

References:
Music Technology Forum-EMU Adelaide Uni, Lect:Steve Fieldhouse

MTF 4 - 22/03/07

This week the topics of great recordings and great releases were discussed.

You technically can’t fault a great recording, it serves the artists required sonic quality even if you hate the content. People buy a recording for the content not the quality of the recording. With a great release it is the combination of performance and recording that makes you want to listen over and over.

I’d like to think that a producer can apply their unique production style in a unique way with every artist or project they work on. Music producers, like us all are constantly exposed to events evolving their collective experience. Every producer has their own tricks but I fail to see the point of a “one size fits all” policy towards artists. When this policy is implemented by a producer on the same artist over and over it eventually leads to the public being bored and a drop in sales follows.

“Timeless” production techniques will always sound right for the artist no matter what technological breakthroughs are to follow and will not follow “dated” fads or fashions.
If all the successful recordings of today have a delayed cowbell as the most prominent instrument in the mix – how will this sound in 10 years? This is where engineers look to production to match genre. Investigate common tricks and ways to capture “that” sound. Decide if you are going to do something else or continue and press your own bit of “timeless” production with your flavour attached by knowing the rules for that genre.
Choosing the right producer for a band will put the project into the ballpark to have the desired sound. For example band may want to emulate the success of Wolfmother with that 70’s sound. A producer may have a style that can achieve this. It is probably even possible to get a genuine 70’s producer with 70’s equipment.

Steve discussed classic traits exhibited by various genres. They relate to fidelity of the sound, mono/stereo, effects and live drummers forming loops or playing with loops.

So grab a heap of CDs of the style you are looking for, listen, learn but please try to take it to the next level or you will be dated.

References:
Music Technology Forum-EMU Adelaide Uni, Lect:Steve Fieldhouse

MTF 3 - 15/03/07

What does a Music Producer actually do?

At Music Technology Forum this week Steve discussed the role of the producer and one thing that really stood out for me is how much a producer needs to clarify for themselves exactly what they are required to contribute to make the particular project a success. This needs to be clearly defined with all parties involved.

A producer is often responsible for planning and co-ordinating many areas of the production as mentioned by Steve. They responsible for:

The Products sound. Some producers have a trademark sound that they bring to the recording others will personalise to the band or labels requirements depending on who’s employing them on information gained during pre-production.
The performance that is captured. Some bands just want a snap shot of where they are at that particular time and other want the producer to guide the performance every step of the way.
Some go to the extent of working on arrangements, song choices or what songs appear on the CD and in what order, they may edit tracks or decide to do radio edits, re-arranging songs, give input on performance or even co-song write.
Budget Distribution. To guide the budget to ensure a product is delivered to the required standard within the required timeframe.
“Kicking Goals” Producers as with other managers need to be good communicators to “grease the wheels and get things done”.
They motivate and get the best out of the band members.
Avoid disruptions and keep band members happy by encouraging a stress free environment.
Keep everyone on target to make each session a productive one.

A well-rounded producer will have skills in the above areas or at least some of them. They may have two of these but a great track record and/or team working for them. I believe that a producer collects all of pieces of the project together and has a solid image of where the project is going. This will only happen by gaining insights from all parties involved. Pre-Production, Pre-Production, Pre-Production Oh Pre-Production, Plan, Execute but be flexible, it is art after all. Isn’t it?

References:
Music Technology Forum-EMU Adelaide Uni, Lect:Steve Fieldhouse