Nick Broste - Get Work and Stay Relevant as a Recording Engineer in 2024 - Progressions: Success in the Music Industry

Episode Transcript
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(00:00):
This is maybe the worst time to, like, try to become a
professional audio engineer in the 130 years of recorded
music. Right? That's Chicago based recording engineer and mixer Nick Brosty.
Today, he and I are going to get into some of the challenges of the
job of engineering in 2024 and how to overcome
them. Everything from defining your role and negotiating deals to the fun

(00:20):
stuff, like picking studios and selecting microphones. When we talk about the
one big thing every engineer wants to know, which is how to
stay busy. Just get to know as many people
without expecting them to hire you. The mindset that feels
supportive to the music community, but is actually hurting us. They see it as. And
this isn't a bad thing. They see recording people at a very low

(00:42):
price is a service of theirs that they're giving to the music. They're like, I
love this. You guys, like, don't make a lot of money doing what you're doing.
I love to record, you guys. I'll do it for, like, this insanely low price.
And to always remember that capturing the emotion is the true purpose
of the recording process. And the take is just this beautiful thing, and you get
the thing here in the back of the neck and,

(01:04):
like, around the edge of tears. Like, if I can get that out of
somebody and then feel it again while I'm mixing,
and then have someone else feel that when it comes out of the
speakers, like, that's success to me. So if you're running a
studio or freelancing, working with indie artists, whatever, you're not gonna wanna miss
this one. This is real world studio advice. So stick around for my interview with

(01:25):
Nick Brosty.
A lot of times, engineers are hired by bands and artists who are self
producing, and I think that really kind of changes the role and responsibilities of an
engineer. And I'm guessing you've probably been in that situation. I've
done it a bunch. So what's your process like when you're getting ready for a
session that doesn't involve, like, a third party official producer?

(01:48):
Yeah, that's a. That's a good question. I think
the first thing that really needs to happen in that case
is maybe the defining of certain
roles, or just, like, learning where the boundaries are for
creative input and stuff like that. Cause sometimes.
Sometimes I work with an artist and they just want me to engineer

(02:13):
and almost never comment on the music, even though I tell them I will,
but only in the service of helping them never to
wrest power from the artist or anything like that. Right, but you're talking
about things like that it's like, okay, you have a solid idea. You tell me
what your ideas are, and I'll technically try to make them work for you.
Do my best in that way.

(02:37):
And that's usually a conversation with the artist that
maybe they actually do need you to kind of help produce the
record with them. But it's really about defining
expectations for the two of you. You know, talking about how you're.
How you should get paid, how you like to work, how they like to
work, as opposed to just showing up to a room and

(02:59):
there's a band there, you know, then
obviously. So it's like, expectations. Like, what kind of input do you
want? What kind of input do you not want?
You know, like, who kind of has, like, the final word
on things, which is pretty much the. The artist all the time
for me, right? And then talking about budgets,

(03:21):
how to do it, how we want to do it, how it should sound.
And then. And that's when I'll start thinking about spaces. Like,
should we do it in a cabin? Should we rent a church for a day
or two? Should we use any one of
the dozens of great studios here in town that all sound different and
have different stuff in them and different gear and at different price

(03:43):
points? Sometimes people have a budget
actually thought out ahead of time. They're like, I have this much money set
aside. So rare. To make a record is so rare. And I just wish
people would, hey, this is my budget. Can we make a record
for this much money? Instead of, like, can you tell me how much it is?
And then people get a little freaked out, usually.

(04:05):
And sometimes the production part of it comes out
along the process. Like, I recently was working with a
band, and I ended up doing a lot of work on the side
when they weren't around and really choosing
where we went and even adding some parts
and stuff like that. And about, like, three quarters of the way through the process,

(04:27):
they're like, oh, we're producing this record together, you know, and I don't
take points or anything like that. There's no kind of no point with most indie
artists. It is true. It's true. But, yeah, it's like, the budget,
where to do it. And then, like, I just look
at it as, even if there's. Even if it's not stated, I will still probably
act in the same way where I will do everything possible to

(04:50):
try to get that dream, that aural dream out of somebody's
head into a format that other people can hear it and experience,
if not exactly the same thing as close as we can get to the same
feeling. Yeah. And then kind of work with them
to find any means necessary to get there. Can we go
back to the budget thing? Because I feel like there's a. It's a conversation

(05:12):
that comes up all the time. Right. You get, like, blind Instagram messages or
website emails or whatever where people.
They don't have a budget expectation. And so even if they don't have
enough money to work with said engineer or book some studio,
if they don't know what their budget is, that
person can't even help them. You know what I mean? Cause I would gladly help

(05:34):
an artist if they can't afford me. I'd be like, this isn't gonna work. I'm
not a good fit for you. But here's four people that are a good fit.
And. And I feel like a lot of artists should just really have that conversation
before they contact anybody. Producer, mixer, you know,
mastering. Cause I'm sure you would do the same. You would probably help people out,
like, well, yeah, call this guy. He's. He would crush it for you, and he's

(05:54):
in your budget. Yeah, yeah, that happens. And I think
the main time that happens to me, there's a great. I'm living in Chicago right
now, and the city has this beautiful program called the D case grants,
which are given out to artists every year. And I can't remember how many there
are, but every time, a couple weeks before they're all due, I
get a lot of people asking me to give them an estimate to put

(06:16):
on their grant application. But other than that, it's like, some people
may know how much the studios cost per day. Usually nothing.
Yeah. But usually the first contact is to figure out how
much it is for me to do something. Yeah. And they haven't
really thought about. So they're just pricing it. And so it's really easy to, like,
have them be. I mean, I'm not. I'm not exorbitantly

(06:38):
expensive, by any measure, but, like, it's really easy to
scare them off into. And. But. And this is. This is an
interesting thing because it's like,
strangely, many artists aren't really willing
or don't know that they can negotiate. Yeah. Or
ask questions, you know? Like, if I quote somebody a certain dollar

(07:00):
amount a day, and I'll usually say it like, my
normal book rate is this. But I'm happy to discuss it
further. And sometimes they'll be like, oh, God, no, and
just disappear. And sometimes they'll be like, well, yeah. I mean, what would you think
if we did this, and then we can have that conversation and really make it
work for them. This is something I wish I could teach more and

(07:22):
more musicians to negotiate a. Not just for making
records, but for their musical lives. It's like a
huge thing. You ask for what you want,
and the worst that can happen to somebody says no. But if you don't ask,
you don't get totally. And it's the same on both sides. I ask for the
rate I want. Some people I know can't afford it, so I'll just

(07:43):
immediately be like, this is what I would normally charge. Can you do
anywhere around this other range? Yeah, but it's something that
bands really need to. Bands and artists really need to at least have an
idea of a ballpark of how much it takes to get
some work done. Cause you can do it pretty cheap. You can get it
done depending on. What the project is. Yeah, you're right. There is a push and

(08:05):
pull, and the more you're willing to communicate, both sides are willing to
communicate. There can be a sacrifice made on either side. Be like, okay,
I wanna work for 12 hours. Well, you don't have enough money to work for
12 hours. We're gonna work for eight. Or, I don't need an
instrumental mix or a vocal up mix. I don't need these extra things.
Can it be cheaper? Or I only want two revisions. There's

(08:25):
things that can go both ways. And if you have
an open conversation and you understand what the needs of a project are,
what the needs of a service provider, for lack of a better
term, are, then you can probably find something that works if both people
want to work together. Absolutely. And I think, I mean, that's the biggest thing.
Most of the artists that contact me, I totally want to work with,

(08:48):
you know? And I'm like, yes, I would love to make a record with them.
And sometimes I do reach out even. And I'm like. I'm like, hey, you know,
I've been seeing you play out for several years now, and I
would love to work with you someday. Like, what are you doing this summer? Like,
maybe we can book a date and lay down some of your new songs. And
oftentimes I'll be like, I have no money. And I'd be

(09:09):
like, that's cool. Can we talk about that? Yeah, let's find a way to get
you some money. That's a whole other, like, to be able to bring value
on top of just engineering something or mixing something to
give advice and help an artist get to a point where they can work with
you or work with the person that they want to work with is
something that doesn't happen because things are so

(09:31):
transactional sometimes. Yeah, that's, of course, the grossest
part of what we do, and I wish I had somebody handling
that for me. So I never had to talk about anything with dollar signs besides,
like, who's picking up the coffee or the food today. Right,
right. It is the hardest part of talking to people because, I mean, most
artists don't have very much money because it's hard to get paid for

(09:53):
them these days, you know? And even if you are getting paid, it
takes, what, six, nine months for those royalties
to actually roll into your account. So even if your release is huge, you're not
making any money for six months. If you haven't advanced, then
you're behind on those two. Cause you don't even get those royalties till.
Yeah. Don't even want to get into labels.

(10:15):
Yeah. No, no. Okay, so you kind of mentioned this earlier
that you were, like, adding parts to something and working on something on the side.
When you do kind of slip into a kind of a producer ish
role, how do you navigate that? Is it really like
you're looking at your rapport with that artist and being like, I think I could
add something here, and you bring it up, or how do

(10:38):
you approach that when you start to step into that role? I will
usually bring it up. I'll be inspired if we're listening to something
together or if I'm doing
a bunch of editing before we finish the final arrangement,
and I'm just going copying things or whatever, and if I have an
idea, I'll just lay it down and send it in an alternate version sometimes. But

(11:00):
if they're with me, I'll be like. And I'm not, like, adding
every once in a while, it'll be something like a lead or something like that,
but pretty rarely. Usually, I'll just be like, what about if we thicken this up
with some pads or something? And we'll have that
conversation, usually in the room together. And
unless it's something that's totally the hook of the

(11:23):
song, I'm just happy to be credited, you know,
I'm not trying to get, like, a writing credit or anything like that, although
that is an alternate option if people want to. If people
don't have as much of a budget, they can put me as a split on
a song, but that's a fuzzy zone to live in.
And I made a really bad mistake, actually, early in my career,

(11:45):
when I was mostly a player playing a lot of sessions, and I
was doing arranging, and I was in my
twenties, and there was a producer doing this session, and he's
just started hiring me. I've done about three projects for him at this point,
and he called me and asked me to do an arrangement. Went down in the
studio, like, listened to it. They told me what

(12:08):
they wanted, and I was like, okay, well, this is, you
know, a huge part of the song, what I'm
writing. And so when I came back to the session, when we were
tracking, and I said, guys, what would you think about giving me a
songwriter credit on this? And
the artist and the producer just, like, looked at me

(12:30):
with such an incredulous look that I just, like, felt. I just
felt like my whole body felt like ice inside. And I was like, oh,
that was the wrong. Cause. I kind of was cocky and almost.
I didn't really demand it, but I was definitely, like, stepping way out of the
boundaries. So I found the boundary that day. And
since. And since that point, I mean, I learned that lesson,

(12:52):
thankfully. Otherwise, I probably wouldn't be doing what I do today.
But, yeah, I learned that lesson very early, and it's a slippery slope sometimes.
People I know on bigger sessions, writing
sessions. I know you did a lot of writing sessions and stuff like that for
a long time. Yeah, I know that stuff comes up all the time, but I
don't really consider myself a writer. If I change

(13:15):
one lyric, I'm not. It's all just for the song.
You know, if I'm, like, writing a chorus, sure. It's a
different thing. And the player thing is actually really
interesting, especially if you think about, like, popular music. Like, if you're a bass player
that gets hired to come in to play on, like, an r and b or
pop track or make a loop for the hook of a hip hop

(13:36):
track, bass is playing a huge role in that track. So at what
point when it's the only thing playing under the
rapper or under the vocal for half the song, at what
point do you deserve, you
know, songwriting? Yeah, but at the same time, you think about, like,
classic, you know, session guitarists who

(14:00):
played iconic guitar solos that we all know and can
singhe. They don't have songwriting. No, they got paid for that
session in the. Does James Jamerson have any credits for his amazing bass playing?
No. And he's like, define that style. Yeah,
absolutely. Or, like, Pino Palladino
on D'Angelo's voodoo. Yeah, those bass

(14:22):
lines are huge part of that record, but I don't know.
I'd have to go look. But it's probably. He probably didn't get a writing credit.
I strongly doubt it. But
it's interesting if you think about the way music, especially the way music's made
now, and you can grab something from a writing session, and
I feel. Like it's probably less poise, a little less poisonous now, after

(14:43):
listening to lots of. You ever listen to a history of rock
music and 500 songs? No. That podcast? No. It is
incredible. It's very in depth,
and I think he's 100 and 7180 episodes in,
and I've completely caught up to all of them. But a lot of what he
talks about is the legal

(15:06):
and the mob and stealing people's credits and then
putting out a song, but changing one word and just all of the
intellectual property, basically theft.
And that happened right
up pretty much until today. Yeah. But, like, before
the eighties, just insane. What would go

(15:28):
on all the time. Yeah. So I feel like it's a little. Maybe a little
healthier environment where people might talk about it more today.
Yeah, it's definitely. I think a lot of people are just afraid of it,
too. I did a session with an artist who wrote a
song. You know, we were all in the room. We didn't listen to any music.
And she ultimately never wanted to release it because it. It was really reminiscent

(15:50):
of something else. Once she listened to it a few weeks later and
felt uncomfortable putting it out because people would accuse her of stealing it. And
it's like, we all listen, we're all music fans. We all love
stuff. It's gonna come out in us. So it's not like you're not
always stealing something on purpose, but
it happens on accident. Yeah. So you

(16:11):
talked about when you were a player, and I know you were. Is it a
trombone player? Yes. Yeah. So I'm guessing that you probably
will go back to engineering here. Particular on how you mic brass. Are
you a big. Do you get to record a lot of brass and
horns? Kind of particular? It
depends on what. There's so many ways to do it right. And,

(16:33):
like. And this is a question that gets asked me, like, a lot. Like, well,
how do you mic up horns? Well, how many are there? What's the
song? What room are we in? Are you guys gonna
kill it all together? So I can just use a stereo pair or, like,
you know, really depends for myself. I'm very particular because I know
the way the sound projects out of my horn. There's, like, two mics.

(16:56):
I really like to use one. I don't own but the other one I do.
So I'm particular about that because if I get it wrong and, like,
live sound, people think I'm crazy. Like, no, this is how it
should be. And they're like, but I'm like, no,
trust me for my own
sound. Cause if I put it in a spot where people would normally put it,

(17:17):
it gets kind of airy sounding. So I found this thing, but it also.
It really depends on the player and how they're playing. You know, some people
move a lot when they're playing. I've been doing a lot of live
recording this year or two, and some people's sound is just completely
different. But in general, for, like, brass, like, generally ribbons.
Yeah, yeah. Or condenser mics. You know, it doesn't really

(17:39):
matter as long as it sounds like the horn and not too
close. Yeah. There's a whole history of, especially
trombonis playing with, like, the bell, like
this. Like, inside, like, in very close. And
it's like. It starts to sound like a french horn, and they play very quietly.
Yeah. And that doesn't really appeal to me. But, yeah, there's lots of ways

(18:02):
to do it, but a lot of it has to do with the song and
how the parts are fitting in there. You know, if it's a jazz
quintet with horns, that's gonna be way
different than, like, a rock song with a
horn section. Right, right. The features are gonna be
different. The saxophone, though, that's a very particular one,

(18:23):
because the sound doesn't come straight out of it. It
irradiates in all kinds of directions, and a lot of it off to the
right. So that really depends on the instrument
and the person's tone. The harsher it is, the darker the rhythm I'm going to
use on a saxophonist, the warmer it is, the more two b condenser I'm going
to get, you know? Yeah. You mentioned french horn. Are

(18:45):
you. Are you, like, an over the top french horn
micr? So you're micing the back, or are you micing the horn? Sometimes
I'll put them against. Close to the wall, you
know, and then, like, I point it at them. Yes. Because I think
the point of the french horn is to not have it be totally in your
face. Yeah, yeah. That was a thing we did at Capitol all the

(19:07):
time. Whenever there was french horns for usually, like, a scoring
date, like in an orchestra. Yeah, yeah. We would put something hard behind them, and
then you mic them above. That was one of the first times I was in
a studio and I looked at it. And I was like, the fuck is going
on here? Doesn't seem to make sense, but in the end it
does. If you go to orchestra concerts, you'll see it. Yeah, yeah,

(19:27):
totally, totally. And then what about so. So saks, you were saying it comes out
the player, right? Yes. Some of it comes out of the
bell, but most of the sound only comes out of the bell when all the
keys are pushed down. Right? Right. And the sound is escaping out of
the keys. Same with flute, like any woodwinds, like bassoon,
all that stuff. So it projects different frequencies, come out the

(19:48):
sides. So it's really hard to mic a bass saxophone with one
microphone. And I have a few friends that have bass saxophones in town.
Um, you can do it, but, like, if there's other people, who's in the
room, is the drummer in the room, too, which is very common
thing with me, you know? Very common. Like, I can't put
the mic 5ft away from the sax to get the full,

(20:10):
huge sound of it. You know, it's got to be close, maybe two mics. It
really depends on the player, how they move, how tall they are,
and what else is in the room. The big thing is what else is in
the room. Yeah. What can you get away with? Basically getting the
bleed control or moving them closer to the drums so that the
delay is less or stuff like that. Well,

(20:31):
let's keep going down that road, because I was going to ask you about just
mic selection in general. Right. Because I started out as a kid at
capital, we had 16 U 67s. Yeah.
I mean, it's just ridiculous. Like, what do you want to mic your orchestra with?
U 67s? So then when I get out in the world, you start recording indie
bands. Like, you're going to all the smaller studios in town. I had a really

(20:52):
hard time because I was coming from this, like, mic locker
that's unrealistic into the real world. And so I
always felt like I was making compromises, you know, picking. Picking what mic should
go on, what. And then when you think about what's in the room and you're
like, well, I would love for this to be figure eight, but I also really
need to use this microphone over here. So, band in the

(21:13):
room, tracking date with, like, three, four people.
What are you thinking when you're doing mic selection?
Well, the first thing is where they're all going to be in the room.
Like, if there's booths, who's going to be in the booth?
I have a perfect example coming up that we're doing
at electrical audio. Rip Steve as well. And

(21:36):
big love to all the electrical audio guys. It was a huge
loss, but I'm going to be there soon. And it's a
band with kind of a normal rhythm section instruments, and
then two people playing flute, saxophone.
And this particular room at
electrical is very tall and very reverberant. And

(21:58):
so how do we want the drums to sound? You set the drums up in
there. They're going to sound big no matter what, but the horns will be isolated.
Or are we going to put the drums and the amps in the other room?
Like there's all these different sound possibilities. Yeah. And
basically, I'll. Once I figure out where everybody can be to where they can see
each other and communicate, which is also very important, they need to feel like they

(22:19):
are playing together and somebody's not over here like this,
like just staring off at a wall or hidden behind a
baffle. I'll figure that out. And that arrangement will also,
I'll be trying to take the acoustics into my, you know,
like often I have to record piano in the same room as the drums.
And in that case, I slide the piano up as close as I can

(22:42):
possibly get to the drums and put as many baffles between them as I can
so that the bleed is shorter so it doesn't make the drums sound forever away.
Right. But microphone wise, I mean,
that's a great use for figure eight mics.
Figure eight mics you can set up. If I had

(23:03):
to set up these two flute players next to the drums, I would probably put
them one on each side with a figure eight coming down
like. Like this with the null point pointed at the drums. Maybe they're
angled a little bit and pick up some bleed in the room. Sure.
But for the most part, I'm going to get, like a clean signal that I
can turn up and down without making the drums sound forever away. Yeah, and

(23:25):
some mics, this is another big thing, like knowing the patterns
and how they sound and how they actually pick up sound. This
is a big thing that I think a lot of younger people are like, oh,
omni picks up everything, you know, or, like
cardioid. Well, that's, you know, you get a lot of separation from
the back or whatever, but it also, like, it warps the sound

(23:47):
of the microphone, too. Like, you know, like Al Schmidt
using a lot of omni mics. It's just very natural
tone. You don't get all this weird frequency twisting from
the back and stuff like that. And that's also the advantage of
really nice small diaphragm condensers as well.
Like sheps, some of the

(24:08):
Sennheisers, neumanns and stuff like that that
people use in orchestral recording. That bleed coming in from the sides, which
is. Is kind of the most important thing.
So. Yeah, so when I'm thinking about that for a band, I mean,
I'll have a couple mic options in mind if they're available

(24:29):
at the studio. Because most of the studios I work with have a pretty good
selection. But getting started, you know,
it's. Like. Back when I just
had like a AKG Perception 110. A
57 in an inbox. Yeah, yeah. You do what you
can. Yeah. By any means necessary. You mess with

(24:50):
stuff. He's 57 above the kit.
And the perception in front of the bass
drum. But really, the patterns and how they interact
is a real big thing. If you can get away with
using omni mics in different places, you're going to get this beautiful, natural tone. If
you got isolation, you know, putting a mic

(25:12):
in omni up against a upright bass or close to it
is going to give you certain advantages. You get really nice low end. But
even different microphones, like a Shep's
omni mic functions differently than
like say, a U 67 in omni because

(25:33):
it's just one capsule. And the same in
figure eight, too. Like a ribbon's figure eight will be much
tighter. Just because there's physically no way for the
ribbon to move this way than a
67 in figure eight as well, too. So you get more isolation. Yeah.
And this comes up a lot if you're having a guitarist who's singing at the

(25:55):
same time, you know, and you get a
couple 44s or just whatever, like cascade fatheads, whatever. You can
find any mic and make these little
flippy patterns to give yourself some isolation.
And we actually did this with 267s. Tried
that for 67 or c

(26:17):
twelve. And then we did it with two forty four s and the
forty four. Even though it took a lot more gain.
Like, the isolation was easily twice as much. Yeah.
And that just comes from like years of playing around with microphones
and thinking about how they interact in space. But once you learn how to
do that and what does what. And what sounds good on things.

(26:40):
I mean, if you don't have any money, this is a good reason
to try to go to a studio and try stuff out, you
know? Yeah, totally. And I mean, opposite of your
story. One of the first studios I started working out of, I wasn't an
employee, but they were the first place I went to that had
87s they had, like, RCA ribbons. They had some really cool

(27:02):
mics. I didn't use the U 87s for the first year
and a half that I worked there because I was actually
afraid of liking them. You know, I was like, yeah, I'm not going to mess
with those. I don't want to, like, find out that they're amazing because I can't
afford them. But then you didn't like them anyway. Do you like. Eighty seven s.
I mean, they work for what, you know, they're a good mic. They

(27:22):
have their purpose. Yeah, yeah, yeah, they have their purpose. Yeah. Like, I wouldn't
mind owning a pair here. That would be great. But I was like, I'm
not going to fall in love with a $3,000 microphone. I just can't. Yeah, it's
not an option. Not an option. Yeah, exactly. I want to go back
to the figure eight on guitar and
vocal because I feel like the first time I saw and

(27:45):
heard that, I was like, oh, my God,
that's how it's done. And I feel like so many people always really fight with
that. But it is crazy to hear that. If you
get that null point right at the vocal and then you can get that.
Whatever you want to use for the vocal to be very close to it, and
you kind of have this big thing right in front of you. It is

(28:07):
night and day, the separation that you have between those instruments in
comparison to when you just. So many people. What? Put an sm seven on the
vocal and a 451 or. Sure. 81 on
the acoustic guitar. It is like a whole different phase experience. You're just
like, oh, wow, this actually, this. I can use both of these as much
as I want. So everybody should experiment with that.

(28:29):
Yeah, you can pan them in stereo you want. Like, yeah, it's a great
thing. Especially if you find like a, you know, like a stereo ribbon,
which can get a little weird this way. Yeah, but, yeah, it's
incredible. And that's that pattern thing. Like, even if you use
2414s in figure eight, you can get pretty
close to that. But it's not like the ribbon because the ribbon will literally

(28:51):
not move to the side or up and down. I never
thought about the physical limitations of the ribbon. That's actually. Yeah,
that's true. That's really true. And this is broken. Yeah. So. And you'll get more
bleed in the back. But that can be nice. Sometimes if you're in
a nice space, you get a little air. I did.
There's an interview for listeners. I'd have to. I'll put it in the

(29:14):
show notes. But I had a conversation with Derek Bargare from Vanguard. Have you used
any of his mics? Oh, yeah, I'm about to do a session where they've got
a bunch of his mics. Yeah, yeah. Making
great stuff. But he spent a lot of time talking about like, you know, well,
if you can only afford one microphone, it's gonna sound different. Like, if it's too
bright here, then sing a little bit off to the side and it's gonna be
a different tone. And he's like, don't, you know, don't buy ten microphones

(29:37):
if you can't afford it. Just figure out all the things that your one microphone
can do. And understanding polar patterns and understanding how microphones pick
up as you go off to the side and stuff like that. It's
understanding all your tools, you know? So here's an example.
One of the younger musicians I know here in town, we
were talking one night and he said, he said, man, you know, I bought this

(29:59):
Neumann cam, like 184, the cardioid one, I think.
And he's like, it's just, I've been using
on my acoustic guitar, but it's just so brighten. Like, it's
unbelievably bright. And I was like, yeah, man, it's a mic designed to be like,
put 9ft above an instrumentalist. It's not
meant to be like an amazing close mic. It's meant for

(30:21):
being further away. I was like, just back it up a couple feet
or don't point it right at the instrument. Or like, just find the
spot. And he messaged me back a couple days later.
He's like, thank you so much. I was about to sell this thing and I
was like, yeah. He's just like, if you want less high end, just put it
further away. I don't know. I always think of that as a dark microphone as

(30:41):
well, or at least the 84 is the original. So I always think
of it as a warmer, darker along the lines of what we're talking
about. Your work as an engineer producer
mixer feels very natural and organic, but also
vibey and analog. And I think a little bit of this answer
we've kind of touched on. But do you have any tips for

(31:03):
actively going after that sound if you're a young engineer? Because I feel like
when you're working with Bandst, what you're doing
is what so many bands want. Not like a solo pop
artist, but you have a sound that I think fits a lot of really cool
music. Cool. I mean, thank
you? Yeah. Sonic tips for an engineer that's trying to

(31:25):
get that organic sound.
Yeah, I think what I just said is actually maybe the way
to think about it. And, I mean, there's nothing wrong with. With
beating stuff up and, like, and doing cool things to
stuff, but a lot of it is
just capturing the sound, the musicians making.

(31:47):
And a lot of the worlds I work in, especially with
people that work more in the jazz, improvised,
creative improvisation world, those people are
working on the sounds that they want to play with all the time.
They know what they want to sound like. So just, like, I've got a great
source. I'm just trying not to mess it up and make sure.

(32:09):
Capture it in a nice way. And a lot of that is just,
like. I think a lot of it comes from a being.
There's a lot of. Seems like a lot of engineers who used to be
trombonists. I keep running into more and more
people that played the trombone through high school, maybe even
college and stuff like that, and then gave it up and started engineering. I mean,

(32:30):
I still play, but you have to put
yourself in an environment where you're hearing that kind of music
live, you know, like, I've been lucky enough to sit in
the middle of a bunch of bands where I'm listening
deeply to everything. So I know that feeling of
playing in a big band or playing on stage with a rock band or

(32:52):
whatever, and I've mixed a lot of live shows, so a lot of that is
just having the image in your mind being
in the room while they're playing together. If they are
all in the same room and
if they're interacting well,
like, really listening to what's going on in the room and listening to their

(33:14):
sounds and just trying to bring that all
together without, like, really messing with stuff, you know,
besides, like, maybe getting rid of problems. Yeah, right. But keeping it
pretty simple. Yeah. Would you say that maybe
a mistake that a lot of people make is trying
to validate their presence by doing something instead of just

(33:36):
capturing that happens, you know, like, oh, this. Look at this compressor. I've never
used this. I'm going to use it. Yeah, totally. And, I mean, sometimes
that can be cool. Yeah. You know, it's like. I mean, there really
is no rule, like, some
records that I've worked on, like, they shouldn't sound like a
photorealistic version of the band. Like, the band wants it to have,

(33:59):
like, more crunch or power or whatever, and sound
more like a punk rock record with horns or something, you know?
But usually they'll say, that, but,
yeah, on sessions like that, where I'm trying to keep it, like,
with how the band sounds and how I've heard them sound. Yeah, I'm,
like, less likely to plug in an h 3000

(34:21):
and get the
chorus echo going. I mean, sometimes I will, because sometimes drummers like, playing with
it, but, yeah, I'm not trying to change their
sound unless they ask for something like that, in which case
I usually will give them something to play with as they're playing.
But, I mean, I usually save

(34:43):
sessions for trying stuff out. Sometimes I'll just
molt a channel and record it
flat and then record it with, like, ooh, what's this? Do? You know?
And get really saucy, which I think. Is the
advantage of trying to work in a studio where you have a console or
you have the ability to do that because you could also get creative. Like you

(35:04):
said, you could do a kick snare overhead
thing through the tape echo and print that to a track. And
it exists. You know, they don't need to use it, they don't need to hear
it. But, uh, it's. It's an option for creativity
later. I wanted to ask you, because you mentioned
you do a lot of experimental jazz instrumental stuff,

(35:25):
and I would imagine that those sessions not breaking the
flow is super important because once those people get into their
headspace that, that they want to be in, they don't want to
stop, they don't want to have a technical problem. What are some of
your preparation tips
to not break the creative flow once, once things are

(35:47):
happening? Yeah, that's very important. I have some. Some
artists I work with. If it's in the studio, they just want me to hit
record and not stop.
Like, keep it going no matter what. Especially if it's like an all improvised
session. Sometimes they'll talk for 1020 minutes between a
take, and I'm just ready to go, like. And

(36:08):
sometimes I, you know, if I'm like, okay, these guys are gonna talk forever, I
will pause for a second. But I also, like, I always, I
mostly record in pro tools, and
I almost always will set up the playback so it'll take off
from wherever the playhead stopped. That was a huge thing. Cause,
like, even if pro tools crashes, at least it'll start right at the end point

(36:30):
that it crashed and I can just hit record again. Yeah. Cause that will
happen seemingly once every session where pro
tools would be, like, in the middle of a take,
mostly not on my laptop. Strangely, like, it hasn't happened to
me on a live recording for four years knocking on
wood there, but that's a big

(36:53):
thing. And then you have to get the sound that you're gonna go
with before they start tracking. Yeah, that's a huge
thing. So, prep wise, you want to know for me, if I'm working in
a room that I've worked in before, I was like, I pretty much know where
everybody's going to go. I want to get there 2 hours before they walk in
the door. And even if I don't know exactly what mics I'm going to use,

(37:14):
I'm going to have stuff up on stands, lines are going to be run,
and this is all me. I usually don't have help, but that way they can
get in there and get their instruments tuned and I'm changing
things while they're setting up instead of all of us setting
up at the same time and being like, oh, sorry, guys. You know,
like, like, I just noticed the snare mic is going,

(37:37):
but you just let it roll, you know, and like, I
try not to on many of those sessions. Sometimes I'll be like,
no, this is like that. Or give them. I will
only really speak up if there's something that is like, holding them
back or they have a question. It's like, well, what about if we do this?
Or like, was that cool? And maybe I'll pipe. Pipe in, but I usually just

(37:59):
let them go. Yeah. Like, those are some of my favorite sessions because it's really
all about the first two, 3 hours of me being there. And after that,
it's all about them. Like, getting the lighting right, you know, if you can.
Yeah, yeah. Like having snacks around
all of those things. Like a huge, huge proponent of keeping your blood sugar
at a decent level. Huge proponent of that. Not too high. Not too

(38:21):
low. Yes. Too many people get, like the
get hangry or start to lose their mind when they haven't
had enough food. But, you know, it's pretty simple. I usually
know all the musicians for the most part, too. So it's like, we hang a
little bit, there's lots of breaks, but a lot of those records get made,
the vast majority in like six, 7 hours. Yeah,

(38:43):
that's cool. They just come in and lay it down. I make roughs of
everything, and I'm not trying to change things from song to song,
you know, I'm not like, okay, here comes a slap on the delay. You know,
like, it's just keeping it really
simple and then also making sure you're set up in a
way to where pro tools is less prone to crash

(39:06):
and like, you know, having, like, a hard drive that, you know, is
fast and has plenty of room on it and not
using any plugins while you're tracking too, for that kind of stuff.
If I'm just like, if I'm literally rolling for six straight hours,
nothing can mess with it. With it if at all possible. Cause it happens.
I did a record recently where they did, like, two days,

(39:29):
and they were basically doing one
take of each composition that they had.
There's a lot of material. And in one of the takes, pro tools was like,
boop. And I started going again. And in
this case, I was like, I can't interrupt them. Cause, like, they're on fire right
now. Yeah, like they're killing. And I

(39:51):
can't believe I just said that. All the jazz people say that way too much
killing. It's so violent. But at the end
of that take, I said, guys, I had a little dropout, but
I noted it, and then as soon as it happened, I
was listening for, like, how can I work? How can I edit this back
together in a way that makes sense? We lost about, like,

(40:13):
8 seconds of music,
and then the artist was like, hey, thanks for telling me. I'm glad you let
us keep going. You know, you gotta be ready for somebody
to be mad at you, too, even if it's not your fault. Yeah, you know,
but you gotta admit it, totally. It's like, hey, guys, this happened. I'm
really sorry. Do you want to redo the tune? Do you want me to try

(40:34):
to figure out an edit? And the artist was like, very clear. He's like, oh,
he's like, that's disappointing, but let's work on it right now. Just try to keep
them in the flow, even though everybody else had to take a break for, like,
ten minutes while I did a crazy edit. But, yeah,
just keep things really simple for them and stay out of the way.
Yeah. Do you find that you record. Do you ever

(40:56):
record, like, just empty tracks in case you need to add something
midway? You know, they just have. Cause, you know, once pro tools is rolling, you
can't add a track. So do you ever find yourself going that far in
prep? That is one of the most frustrating things about
daws is like, I wish I could record arm a track while we're
rolling. Yeah. Like on a tape machine. Yeah, that would be amazing. Cause

(41:17):
I usually do have open tracks. I usually will have,
like, one or maybe two
in case I need to quick patch something in the middle of a take. Yeah,
yeah. And then I just. If I. If I didn't use it. I just delete
that audio file after the take. Yeah. You know, if it's just
blank. So. Yeah, stuff like that. Backups. When I do live

(41:39):
stuff, I have to have a redundant recorder
multitrack or stereo multitrack. I used to do just
stereo, but there was a problem with, like, I used to use a zoom h
six just for the stereo. But for some reason it would
always stretch the time somehow. I think the clocks in those things are all
messed up, but, like, it would never line up. Like it would stretch

(42:01):
as like the recording went on. Oh, weird. Even if same
bit in sample rate. But then I got this. I
started using this little guy, this sound devices mixpre
as like my backup because I can get ten channels going on
that. And for like a lot of the, like live orchestral stuff
I'm doing, I'm not going over eight channels.

(42:23):
So one of my interfaces has analog outs.
And so I've at least got like those two recorders going. Okay. And it's
going digitally into that thing. But that's another big thing is having a
backup. And sometimes in sessions I will run.
I saw this on. Maybe it was that Lady Gaga documentary from a few years
ago. Okay. That Mark Ronson always had a little

(42:45):
zoom recorder, like a dictation one
first of all in the room for, like, ideas. I think it was
constantly rolling. And then they also had something just recording
a two track of all the sound coming through everything
all at once. Yeah. It was like a separate stereo mix that was just a
backup of just like, oh, pro tool stop. But we still have the audio from

(43:08):
this, so we can get something from it. So I used to do that a
lot. Yeah. And I probably should get back into it a little bit.
But I. Especially in those. Those highly creative sessions that it was a
couple, couple months ago, I had Dana Nielsen on, and you and I were
talking about him. Cause you're drinking out of your ember. Because we were talking about
the ember a lot. But everything he's ever done with Rick Rubin, there's always a

(43:28):
second stereo rig with all the talkbacks piping in there. So it's like if
somebody says something plus the mix off the board, like it's all getting
captured somewhere. Like, worst case you can find it. You
know, it's a lot to archive, but for stuff like that
and how much money is being spent at those sessions
and time. And it's hard to get a lot of those people

(43:51):
together all at the same time. Yeah. And just to remember the creative process,
the example that he used is he was in a session, and the singer had
an idea between takes, and the guitar player was
playing. And then when they went to do it, the idea wasn't the same. It
just didn't feel the same. So they went back and they listened to it,
and the guitar player was reharming under it. He wasn't playing the

(44:13):
same thing. And all of a sudden, it was like, oh, shit. That's what it
was. The guitar player was playing something different. So it's crazy, man. The things
you encounter in the studio. It'S hard to pay attention to everything
all at once. It is kind of our job, but it's
hard to do it with our brains. So I wanted to ask you
the question that every up and coming engineer

(44:35):
wants to ask anybody that works. Is there anything
you do that you think keeps you busy? Is
there anything you can tell somebody that just, like, doesn't understand why they're not working
as much as they want to work? I mean, I've been doing this now. I
got a late start. To be honest, I didn't really start doing this till I
was almost 30. You know, like, I messed around a little bit, but

(44:56):
I never tried to, like, really get in it. In it until around
then. Yeah. And for me, I
already knew hundreds and hundreds and hundreds of musicians and had, like, done a lot
of touring, so I might have, like, a kind of a different viewpoint. And I
also live in a. One of the, like, Chicago's an incredible
city for music and a wide variety. There's so much happening here that

(45:18):
nobody ever talks about. It feels like the people that know
me and tend to call me know that
I'm very, very, very into quality
and, like, into doing a good job and, like, as few compromises
as possible. And hopefully that's my reputation
amongst other people. And then I think I've

(45:41):
been doing it long enough to where,
you know, it's pretty much word of mouth for me, so it just takes
time. Like, I'm a nice guy. I'm not, like, a mean.
A mean person. That's a huge thing. That is true. It is true. A lot
of people are just like. Like, I got this idea for your band, and, like,
it's gonna rule. And it's like, okay, that could be great. But

(46:02):
I. It's a lot of it is just, like, how you deal with people
and your skills. Obviously, if you're. If you're messing stuff
up all the time and making things hard for people, like, showing up
late, having bad communication
about money and about time and about
expectations and not having conversations that need to

(46:24):
be had initially, talking about all the details
and all the heavy stuff. I think that's the way
a lot of people get burned that way, but they don't have the conversations of,
like, this is how much this is going to cost. I need you to pay
me at this time of the process, stuff like
that. But even if you're not there yet,

(46:46):
I think at this point I know so many people that somebody's
probably going to give me a call. Yeah. And if you just move somewhere,
that's going to take some time. So, I mean, that's what I would really recommend
is just get to know as many people without expecting
them to hire you. Yeah, that's true. That's true.
Having no or very low expectations for

(47:08):
others like, to want to work with
you, not just assuming that. Why aren't they working with
me? That's unhealthy and it will, like, lead you to
disappointment. And then when people do ask you to help them,
that's, you know, that's like a major plus and super awesome.
Yeah. And just do as many things as you can. I still do live sound.

(47:30):
Yeah. You know, I do some podcast editing for, like, for one
organization that, like, really, it keeps me from having
to do stuff I don't want to do and.
And allows me to charge what I charge. There's
no shame in that. And if you really. I mean, this is
maybe the worst time to, like, try to become a professional

(47:53):
audio engineer in, in the 130 years of
recorded music. Right. Might be true. We don't have to go into that,
but it's a deep theory I have. But just work hard, be a
nice person, and just try to do your
best work. Yeah, I don't know. I
resonate with all that. And I'm not going to let you not talk about your

(48:15):
deep theory, by the way. We're going to come back to that. I do think
that word of mouth is the best, but also
the hardest way, because when you get jobs through word of mouth,
they're basically done deals. You know, somebody's like, nick
is amazing. You need to call Nick for your next record.
90%, that gig's yours. Right. But you need to do enough

(48:36):
gigs and meet enough people for that to happen. And you
have to do great work for hundreds of people because let's be honest,
like, as much as we think every gig we do, that person's going to recommend
us. I mean, I would say 5% of the people I work
with will recommend you to somebody else like it. The
world does function as a very, like, top of mind, you know, it's like, if

(48:58):
you're not top of mind at somebody, with somebody, when they're having
coffee with their friend, they are not gonna spit your name out. You know?
I also go out to a lot of shows. Yeah, you gotta be around.
I needed to be better at that. Being around. Like, I like to sit in
my backyard. It's hard. I mean, I'm 46.
I don't wanna be out five nights a week. I mean, there's so much cool

(49:20):
stuff I do wanna see, and much of my social life is
around music, and it's a major part of it, but it can be
exhausting. But if you're in your twenties, yeah, go out. Be out there.
Like, don't go broke going out,
but get out there and meet people and have fun while you
can. It's like, I mean, I'm single. I have very few

(49:42):
responsibilities to other people, so I'm in a pretty particular position.
But, yeah, you gotta get out there and meet those people. Make music friends.
You know, it's not like you said, it's not about getting work from every person
you meet. It might just be that you're friends with this bass player,
they're friends with that drummer, and then that drummer tells a singer songwriter that you
should work with them. It's like, it's not gonna happen the way you think it's

(50:04):
gonna happen. So, yeah, you can't force it. And you can't, like I said again,
like, expectations are like the quickest road to disappointment.
And, you know, if you. And there's no shame in
doing other work if, you know, on your way,
like, you don't have to be 100%. I only
do music engineering and stuff like that. This is pretty rare. Yeah,

(50:26):
these days it's hard. It's hard if you don't have, like, external money
coming at you. So. Okay, so now you've got to give us your dark
theories about whatever it is, the end of the audio industry, or why it's a
bad time to become a recording engineer. I gotta hear it. I'm curious. Okay, well,
the main thing, I think, and this all comes from
a few, actually, a couple of business books I read a few years

(50:48):
ago, if we think back to the
seventies or even the eighties.
So there was a barrier to entry,
right. You had to have a recorder, which back in the
seventies would have been a tape machine. How are you going to get sounded? Recorder?
You had to have a mixer. You had to have all this infrastructure to make
a record, right. And then getting,

(51:12):
like, self pressing your records was like something that was very rare.
And the record labels were pretty picky,
you know, about what they were putting out. Right. And, like, in general,
what they put out would at least sell a little bit of actual
material. All right, so, like, now the main problem
is the artists aren't making any money. Yeah, the vast majority,

(51:35):
but there's, you know,
500 times the amount of recordings coming out now, which
we won't even say anything about that. That's not neither good or bad in my
estimation, really, but. So the artists aren't getting paid.
And to my mind, there's
no barrier to entry to be able to do this anymore. I mean, I just

(51:57):
made a cool recording on my phone three days ago
using logic for the iPhone, you know, like, or garage man,
whatever. Yeah, you can do all kinds of cool stuff, and so there's no barriers
to entry anymore. So everybody can do it. The problem
is, because everybody can do it, a lot of
people will do it for nothing or for very, very,

(52:19):
very cheap, you know, and this happens to everybody
that does this. But there are people who, like, they see it as, and
this isn't a bad thing. They see recording people
at a very low price as something is like
a service of theirs that they're giving to the music. They're like, I love this.
You guys, like, don't make a lot of money doing what you're doing. I love

(52:41):
to record, you guys. I'll do it for this insanely low price, which
is great as an idea, but then everything else goes down.
So everybody's expectations go down. The musicians aren't getting paid
and everybody's flooded. And there's terrible
advice. There's lots of audio work,
I guess I would say there's tons of audio work, but in

(53:03):
terms of strictly being a music engineer, be it
recording or mixing a, the tools are great
and wonderful, but in terms of making a long living
just doing that, it's really, really hard,
and it has been in the past, but it's hard
to make it through a sea of all of the thousands and

(53:26):
thousands and thousands of engineers that are being, coming out of
schools, you know, with now
pretty decent. Training and using the same tools that other people are
using. Oh, exactly. Like you said, the barrier to entry for tools is
non existent at this point. Yeah, I mean, people complain about pro tools being
what, six, $700 for a perpetual license, but that's not

(53:49):
that much. Yeah, yeah. If you're using it every day and you're working every
day. Yeah, I agree with
you. It is. I think about, like.
I don't know. I have a couple thoughts. One, I think
about this episode I did that
mastering is dead. I don't know if you saw that. Oh, yeah, yeah. Okay,

(54:11):
so the point of that video, and if you're watching this interview and you
didn't make it to the end of mastering is dead, by the way, I can
tell by your comments, it's about the value that a human brings
to the process. And, you know, it's Mike brawl and for dropping that in the
last 20 seconds of an eight minute video. But I think
that the more technology makes this

(54:32):
job attainable to anybody, I think that's
a awesome. Right, because you're inspiring more people to be creative.
But, yeah, it's watering down and making it more difficult
for people to make the living that they were making ten years ago
and going to make it even harder ten years moving forward.
But I think that's why people really need to hone in on the value that

(54:55):
they bring. You're busy because of the things that you bring
outside of pressing record, the preparation that you do, the
way you interact with bands, the way you respect
that when they're in the creative zone, they need to stay there. And you'll do
everything you can to make sure that that's the way it is. That's why you're
gonna get hired. Not because you know how to mic a

(55:16):
saxophone. Although ten years from now, you might be one of the last people that
knows how to mic a saxophone. Oh, this old thing?
Who knows how to play this? But. So there's that thought. But then I
also. I think that the audio
industry is preying on this. I mean, look at, like,
the Behringer, $300.33, 60 nine. I mean, whatever. I

(55:38):
haven't heard it. I'm not going to judge it. I guarantee you it's built like
a piece of shit. Maybe it sounds great. It's only going to work for a
year. Like, at this point, whenever I buy something on Amazon, I just assume it's
going to break in six months. But people know that. Let's take the
things. The computer is, like,
democratized everything, right? So what's left is the gear. Okay, so how

(56:00):
do we. And no shade to these companies, but, like, how do we make the
Neve 1073 cheaper? Well, Behringer just did one. Warm audio has
been doing one for a long time. Well, let's take the things that. The last
things that these people can't afford and let's put it in their price
range. And like I said, I haven't used a lot of this stuff, so I'm
not directly knocking it, but I see the industry prey on the

(56:22):
fact that everything is getting cheaper,
and it's. And it bugs me a little bit. When you look around at it,
you're like, I don't know. We're fueling the fire, I guess. You know what I
mean? Yeah. And again, I'm like. I'm not, like, totally dark on it.
I'm just saying it's hard. It's hard. It's hard. Like, I love
what I do, and I love what other people do. I love. You know, I
have a lot of friends that are engineers, and we hang out and, like,

(56:45):
it's great, you know? And I love nerding out with other people. And
it's not really about that. It's just really hard for people to make a living.
And that's why I think, like, keeping your expectations. I mean, you can go for
it if you want to go for it. Go for it. Yeah, but you gotta
keep that in mind. It's like. So I was doing some tape dumps
for numero group one time, and I got this one inch 16

(57:07):
track from Minneapolis, and it
actually had a brochure for the studio. It was recorded in, in,
like, 78, like, the year after I was
born. And I was like, oh, my God. Like, look at this. Oh, they have
a neo. At the time, I had a neotec. They're like, oh, they have a
neotec. They got this tape machine. They had pretty much the same setup I
did at my studio at the time, back when I had, like, a full on

(57:30):
studio, and I was like, this is incredible. I was like, looked at the
rates. 1978, $350 a day.
Okay. That's what I was charging in
2015 or no, 2018.
Except that $350 in 1978 is
$1,200 today. Wow. And, like,

(57:51):
and I showed this to one of the artists I was working with. He's like,
oh, man. I was like, yeah, that's, like,
true for all of us. It's like, you know, live sound still pays $150
or whatever. Like, yeah, it's a.
You know, it's. It's super. It's super challenging.
Yeah, we could go on. We could go on forever, and. But the main thing

(58:12):
is that artists need to get paid. Exactly. You know, like,
what they do do, you know, like, if at all possible.
The artists need to get paid. That that's what it comes down. Like, Spotify is
really on everybody's shit list right now, but that's who pays. Us, is the artist.
Yeah, exactly. Eventually, they won't. People won't want
to pay for engineering, and they won't want to pay for mastering because they're not

(58:34):
making enough money. And they're pretty good at it. They're pretty good at recording and
mixing their own record because they have great tools and great access to knowledge.
So why. Right. And that's where it comes back to that x factor of,
like, personality and value outside of technical skills.
Anyway, I could rant on that for a while. Let's let the
sun back up into this.

(58:57):
Luckily, we're deep in the show, so anybody that's, like, this far, they're down, they're
with us. This isn't at the beginning. They're like, man, these guys are crazy.
They're in their little basement bunkers like me. Like, yeah, that's right, guys. That's right.
Okay, so you've listened to the show. You know, I've got two questions that I
close everything out with, so I'll hit you with the first one. Was there ever
a time in your career that you chose to redefine what success meant to you?

(59:19):
Yeah, I think that I hadn't thought about that
for a while, but when I looked back, especially, like, you
know, the last 15 years, when I was doing this,
when I started doing this, success was just in the
beginning getting somebody to pay me to do it. Yeah, you
know, that was one thing, but now,

(59:42):
you know, and, you know, there was a period in my life where I was
just like, oh, I want to do these big records and do all this.
And I was like, I don't really work in that world. I don't know those
people. But now I feel like
I think about that kind of every week
about what success is for me. And I think for. I like

(01:00:02):
to. There are large successes that you can have
where it's like a record comes out that you worked on and it gets
amazing reviews, and the artist starts
touring more than they ever have, which I
kind of see is success, that we made
that happen, and it's not just all about me. Right. But really,

(01:00:26):
like, I'm deep in a bunch of mixing right now. And,
like, day to day success is even in the studio, I
guess, is getting that feeling, you know, when somebody's, like, singing
and the take is just this beautiful thing and you get the thing
here in the back of the neck and, like, around the edge of
tears. Yeah. Like, if I can get that out of

(01:00:47):
somebody and then get that recorded
and then feel it again while I'm mixing
and then have someone else feel that when it comes out of the
speakers. Like, that's success to me. You know,
like, if somebody's feeling something from listening to the music and not to
be like, oh, this is really nice. Oh, what did he play over this chord?

(01:01:09):
You know, like, that doesn't matter to me at all
or not at all, but you know what I'm saying?
I look at it as smaller little things, as a
chain of, how can we just keep building up these little
successes? That seems like a good life to me.
Yeah, I agree. I agree. And really, it's like the idea of

(01:01:33):
having impact in the streaming world. So
many people listen passively, you know, like, having 10 million streams doesn't
mean that like, 10 million people cried to that. Yeah. You know what I
mean? Not that everything has to. You know, not that everybody has to cry to
everything, but you know what I mean? Yeah. You get that feeling. It's like,
oh, man. Like, that really hit me. Like, yeah, like this. There's a

(01:01:54):
Lucy, Lucy Dacus song that she put out a
couple years ago, and I can't listen to it around people because I will
just break down. I'm like, man, how did you. It's like, you wrote such
an amazing song. Gets you every time. Yeah, every time.
Like, thinking about it right now, I'm gonna have to get a. Grab a tissue.
In a second. We'll edit around the tears. No, no,

(01:02:15):
it'll be like the view or something. I don't know, Barbara Walters
style. I love that
definition, that goal. I mean. Cause it's really, I think the
core of why so many people get into this is to, you know,
pass that feeling along that you had when you were, like, listening to music on
your Walkman or whatever when you were a kid. Like, you just want, like, one

(01:02:37):
other kid to have that thing to something that you helped put in the world.
Like, somebody to be like. Yeah. You know, like,
exactly. I don't know.
Is somebody to be excited about it, because I think, yeah, that's the whole thing.
Exciting. A bunch of air, man, if it comes through the air and makes somebody
excited inside, that's amazing, you know? So that's kind of like my, those are my

(01:02:58):
success goals. My small day to days. I love it. I love it.
And so, basically, you know, carry on to that question is, what is your current
biggest goal, other than to make people cry? And what is the next smallest step
you're going to take to go towards. It on today's cry list. Who are we
going to make cry today? So this just got a little
flipped on its head because I mentioned before we started

(01:03:20):
recording that I'm going to have to move soon. I've been here for 14 years,
living here for 14 years. And during the pandemic, I really got
this decked out and set up. Even though it looks a little
crazy, it's super functional for me.
So right now, my next biggest goal is to
find a way to work a place in a way to work

(01:03:42):
where I'm not paying separate rent and that'll come
down the road. I'm not super, super worried about it. But prior to
that, to basically, like, this emergency thinking, my
biggest goal, I think,
was to kind of, like, travel around and work with, do record

(01:04:03):
people in different locations from different cities and stuff like that. I work
with a lot of mostly Chicago artists, but I also have friends all over the
country, and every once in a while, I get to go do stuff in
their towns. And I kind of want to do that a lot more because I
love seeing my friends and I
like going to different places and different studios and meeting new

(01:04:24):
people. So once I figure out this whole nebulous
where my stuff is going to go, that's something I've
really been trying to work on the last couple of years, is just like, oh,
I'm on a road trip. Oh, there's a studio here. I want to go check
it out. Just meet people from all over the country
and if possible, try to record in those places. That's where you were, just

(01:04:46):
out here in LA doing that, and we got together. Yeah. So that's great. I
love it. Yeah. Nick, please tell people where
they can find you on the Internet or whatever you want to share. Oh, yeah.
So I have a website. It's
www.nickbrosty.com. and the
last name is? It is Brosty. It's like frosty

(01:05:07):
is what? But with a b. But b r o s t e is the
last name. Most people say broast. So that's my website.
And then you can find me on Instagram. I do have a Facebook
account. Please don't try to friend me on that. I'm trying to keep it
mostly to just friends now, but Instagram is the preferred
zone, and I'm just there.

(01:05:29):
Amazing. Awesome. Dude, this is fun. We'll have to do this again. I could
keep going, but, you know. Yeah, yeah. We've all got. We've all got things we
got to do. Exactly. Hit me up next time you're out here. Yes, I
will. Hopefully this summer. One of these days I want to make it back to
Chicago, so I enjoyed that city when I was there last. So it's a
good town. And people from LA seem to be moving here, which is starting to

(01:05:50):
scare me a little. Keep us out. Well, they usually go
the other way. Amazing. Awesome, dude. Well, thank you
so much. Yeah, man, thank you. It's great to talk to you. That's it for
this week's episode of Progressions. Thank you so much for watching listening.
Be sure to check out all the links and resources mentioned in the episode down
below, in the video description or in your podcast show

(01:06:12):
notes. If you're listening to this as an audio podcast, please leave a review
on Apple or Spotify. It helps the show so much. And if you're watching on
YouTube, feel free to drop any thoughts or questions about the episode down below.
Let's keep the conversation going for those of you watching, you'll be getting a
link to another episode you might enjoy popping up somewhere right about now. And
for those of you listening, check out the YouTube. Hit that subscribe

(01:06:34):
button if you haven't already, and I will see you all next time.

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Nick Broste - Get Work and Stay Relevant as a Recording Engineer in 2024

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Nick Broste - Get Work and Stay Relevant as a Recording Engineer in 2024