I feel it important to want to keep always learning - to have a passion for the mad science that is sound. Recording and mixing sound is a science and an art. So we need to take the time to grasp the science - perhaps more specifically physics in this case. And have the humility to respect the complexity of the science. Frequencies work in weird and wonderful ways and I don't think we really understand what is going on all the time. Once the tools on offer have been mastered you can then enjoy the art of sound recording and mixing music. Many top engineers and producers have a style and perhaps sound that is their own.
Really as a studio producer I describe myself as a midwife. My job really entails channeling someone else's voice and vision. This involves listening, finding out and respecting where they are at and where they are wanting to head with their music. So this is also empathy. They might not be making the creative music I make or like to listen to. Non-judgment is part of the role of enabling the artist or band to do what they want to. It's about the challenge of making the capturing the best sound and sculpting the best mix appropriate for each person/band/situation. This may involve encouraging the artist(s), helping them to get and stay relaxed. Using positive helpful language, such as how about trying this/that? As opposed to don't do this or that. Diplomacy is sometimes the key to keeping a band together for a more cohesive performance and more pleasant working day for all.
I think it does help to listen to and respect lots of different styles of music and musical instruments. The variety of timbre, recording and mixing techniques involved in genres from classical recordings to dubstep, from Indian classical music to the 1960's Motown sound. They tend to be all treated differently, each genre may even have a characteristic sound as well as musical formulas and instrumentation. For example electronic music tends to employ more heavy compression and clinical EQ while a classical symphonic orchestra will be largely left untreated as reverberation from the recording space - and therefore mic placement - is the magic that can bring it together and alive. I've heard and read many famous music producers mentioning this as an integral part of their development making for an interesting and successful career.
Through interviews in magazines such as Sound on Sound and Tape Op magazines, we can learn a lot from more famous music producers. I liked reading what Thom Russo had to say in an interview with website Music Coaching dot com. He talks of the importance of being patient. It may take that guitarist 10 (or more) takes to be happy with his performance and get all the nuances right. Or that vocalist may be super talented but still plagued with self-doubt. He also warns against taking decisions or opportunities too personally. He wisely says, "The most important thing you have to realize is that it's not about you - it's about the music."
Ultimately I think good recording engineers are engineers who care. They take pride in what they do but remember the magic is in the music, the science (acoustics and psycho-acoustics) and the machines (such as microphones & recording equipment). We just have to learn how to use it to its optimum application. And this can be 50% technical skills and 50% personal/communication skills. Our aim is to make music that decisively expresses its need and intention and resonates with the listener as the artist(s) hoped and intended.
Caro Churchill is a freelance recording engineer and studio producer. She is also a solo female artist composing and performing her own unique style of creative music.
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