How do I put this? Older guys who have been resting on their laurels should probably up their game because times, they are a changin’.
For a long while now we’ve been hearing lots of grumbling, generally from the “older and more established’ strata of the audio professional community, about the massive job market influx of young audio engineers and producers due to a lower barrier to entry and the relatively widespread availability of affordable digital recording equipment.
It somewhat goes alongside the software piracy issue because while many working professionals have to fork out a small fortune for legit commercial plugins, young corner cutters (there are millions of them) simply buck the system and download cracks. These guys then go out and tout themselves as audio engineers and start charging to make records. The going complaint here is that these practices undercut the industry and devalue the work of real, trench-working professionals. To a large extent, the home studio is killing their commercial counterparts and hurting established pros the world over.
However, I am here to say that those aren’t the guys we need to worry about. Let them have their cracked Waves plugins they have no idea what to do with. Let them make terrible recordings. The guys that should be making us nervous are switched-on, young professionals like David Grevler of Anti Motion Studios in Highlands North, Johannesburg. From the first time I saw him and his band, Wrestlerish, perform at the old Bohemian in Richmond through to today he has grown from strength to strength and is now one of the most sought after producer/engineers that Johannesburg has to offer. This young chap (he’s just 24) has produced records that have won SAMAs and MK Awards and is so busy just getting him to find the time to do this interview was quite a task. So, without further delay, let’s see what he has to tell us.
Tell me a bit of history about yourself and how you got into audio.
As a kid growing up I was always fascinated with music; how artists I loved got audio onto cassettes, vinyl or CDs was a mind-blowing process for me to grasp. At the age of about 13 my first band recorded a demo. I instantly fell in love with audio as I walked in to the small home studio setup we were using. The way audio could be manipulated to work together through outboard gear as well and on a computer was a lot for me to understand at the time but I knew I had to learn how it all worked. I pursued studies in sound engineering and graduated in 2009. It’s been a crazy ride ever since.
Tell me about your studio, Anti-Motion Studios. How has it grown into what it is today?
I started while I was still studying. It was more of an idea than a working studio at the time. I had a decent space with two rooms attached and basic recording gear. I ran it as a rehearsal space for two or so years and saved up money to expand, renovate and purchase more gear. I never imagined it would turn into what it is today. I’m really lucky to finally be at a stage where I have built what I think is an amazing working environment that sounds and looks better than I could have ever imagined.
You are relatively young compared to other engineers in the industry who are garnering similar levels of success. What has been your secret?
I’ve just turned 24, so I am definitely a lot younger than most of my peers out there. I think artists these days are looking for a fresh approach when choosing the right engineer to work with. Someone that’s in the industry, who is a musician themselves and who can relate to them technically regarding the project on hand is a big factor. Keeping the artist’s vision in tact is something I really strive for.
Being a musician in the band Wresterish, do you feel this brings an edge to your work?
I definitely think it helps to understand the level of quality that is needed to write, record and sell records. If I understand how important it is to my own projects, that same level will be given to the clients and artists I work with.
What are some of your favourite studio tools, be they plugins, mics, hardware, etc? Why?
Plugin-wise, I love the Steven Slate products. Virtual Tape Machine (VTM) and Virtual Buss Compressor (VBC) are most definitely game changers. Hardware-wise, I recently bought a pair of Adam S3X V monitors and they are amazing! I never knew midrange until I tried these babies. Another favourite is my addiction to the Neve Portico series units. Loving my 5012 preamps so much!
What do you believe is the secret to a great sounding recording?
What I’ve been learning (and still am learning) is that mixing and recording is psychosomatic. Half of the job is portraying emotion and getting it across through a song so the listener feels something. The other half is the technical aspect. It’s our job as engineers to take this strange mixture of things and make them all work together somehow. If anyone figures out the perfect recipe, please let me know.
Outline your production workflow. How do you get the performances on to ’tape’?
Firstly, we make coffee. Then I’ll start with drums. Getting the tuning and mic placement right is very important. I have a variety of different mics I use on the kit. My favourites being my Neumann u87s as overheads or room mics. For guitars, I still love a good old sm57 on the cab. Bass I usually record DI and re-amp later if I need to. I have been getting some great results with some amp simulators lately. Vocal microphones are very vocalist specific. I’m lucky enough to know the great people from Music Connection and they’re always happy to lend me microphones if I’m struggling to get results with my current gear. Everything is run into my Rupert Neve Designs (RND) preamps. I’m Pro Tools trained but my main DAW is Steinberg Cubase 7.5. In my opinion it’s the cleanest looking, stable and easy to use DAW out there. Even with the stock tools it comes with you will be able to get some unbelievable results in the box.
Have you ever done any live engineering? If so, how has this played into your studio approach?
I’ve dabbled in live engineering on the rare occasion. Although it’s fun, it’s not as rewarding as hearing something you have worked on, on the radio.
Who is your biggest influence from a producing/engineering point of view and why? Whose records do you listen to and say: “I want to be able to achieve that level of production’?
There are a few of the “greats’ I look up to. Manny Marroquin and Dave Pensado I admire a lot. Michael Brauer is a genius. His approach to audio and compression is something I wish to understand as well as he does one day.
What has been your favourite and most rewarding project so far and why?
I have been extremely lucky to have worked with some amazing artists. Some of the stand out projects include 2011 Idols winner David van Vuuren, Justin Serrao, Evolver One, The December Streets, Mandoza (collaboration album) and Dance, You’re on Fire. To be able to work with musicians of this calibre is truly an amazing experience and makes my job really easy.
What is your opinion of the recording industry in South Africa at the moment? What advice do you have for a young aspiring producer/engineer to reach success?
Although the quality of the industry is on the rise, it’s very saturated with cheaper lower quality alternatives that don’t always deliver. My advice to aspiring engineers would be always trust your ears, keep the artists’ vision in mind, take the time to learn the tools and technical aspects and apply them to the project at hand. And the number one rule is, never stop learning!
What do you do on your off time?
I try balance having a girlfriend, eating food and playing online PC games.
Where is your favourite holiday destination?
Did I miss the memo? Do sound engineers get time off?
What is your favourite food?
Nandos chicken strips and spicy rice, regular peri-peri wedges with a Perinaise please!
