A student at my former school Tribeca Flashpoint Academy recently reached out to me for an interview. I've decided to post it for everyone to see it!
Daniel Clayton Farnsworth
Is an audio engineer In Chicago, IL. His Recording and Mixing work includes such artists as Van Go, Hollus, Par Avion, and even some of his own work.
Before enrolling at Tribeca Flashpoint Academy (TFA), what were you doing?
-Before I was a student at Tribeca Flashpoint I was working my way through community college. I knew what I wanted to do, but I really had no way of furthering my education. I was enrolled at Harper Community college and I was working as a barista at starbucks part time. I had took a small course on recording through college, but I didn’t really learn much except for how to use a patch bay and how to hit record in Pro-Tools. I took other classes at school like classical guitar, music theory, music appreciation, french, speech, math, and general studies.
What major change or event influenced your decision to go to this school?
-The major change was when I begged my parents to help me change my life, I didn’t really have a goal at the time that was possible without an education or an internship. My mom looked up recording arts schools in chicago and Flashpoint popped up right away. I immediately sent for more information and took a tour. My parents were also convinced that this was where I needed to be.
After graduating from TFA how did your career change and do you feel the knowledge you gained plays any role in your success?
-After I graduated TFA I felt like I had a great deal of knowledge behind me. However the career portion didn’t happen as quickly as I’d expected. I did work as an intern at a local chicago studio, but I realized I had a lot of work ahead of me. I’d always be putting in the hours to learn the things that I needed to for the jobs I had. I was and always will be tied up in this wonderful world of Recording. It’s more of a love, then a career and thats why I keep pursuing it. I did get some work as a general stagehand for the last couple months of 2010 and I had a whole bunch of freelance remix/audio work in 2011. The things I learned in school definitely put me on the right track. If I hadn’t taken a lot of the business classes, I really wouldn’t have the etiquette that it takes to get clients and start up great business relationships.
Are you a member of any organizations? Do you think its important for engineer’s to be apart of any organizations?
-Unfortunately I’m not a member of any organizations. I think the organizations are important, but I really haven’t had a lot of time to settle down and join them. I think there is always a 50/50 balance between trading contacts between engineers or being in an organization. I want to join AES and I would like to be a part of some of the electronic music org’s out there, but Like I said it’s either time or money that I don’t have.
What advise do you have for me as a student and aspiring professional?
-My best advice for anyone entering this field is to always have an open mind and not be afraid to try anything new. Keep learning and honing your craft and you’ll find success in all the right places. If you have a dream then follow it, it may come slow or it may come quick, but if you want it bad enough, that dream will come true when you least expect it.
How do you keep up-to-date on equipment? Any favorite websites or magazines?
-I keep up to date on equipment by browsing forums, industry pages, and various websites. I also read the reviews in magazines and listen to samples. My favorite magazines are; Future Music, Music Tech, Tape-Op, Sound on Sound, Mixmag, Computer Music, and Electronic Musician. A little side information, I have kept every magazine I’ve ever bought/received in a collection in my room at home. I call them my “bibles” and I do go over them again and again. I have issues dating all the way back through 2005 when I was still a junior in high school.
In your words, where do you think the recording industry is going?
-I think that the industry is definitely taking some hard hits right now, but besides the issues of piracy and money, I think that people are finding new ways to market. With music the live show is where the income is and the record is a well put together representation of a performance/artist. I can’t put my finger on it, but I know that certain sites for buying music have sparked me to spend a little extra for hard to find(‘s) or better quality. Sure we’ve all gotten music for free, but it’s the usual top 40 that is selling anyways. The artists are doing different things to make an income and I’m ok with it, but I’d still rather own a vinyl record of anything then a digital file, it’s just that not everything is available on vinyl.
What is your process when mixing a song how do you attack it?
-when I am asked to mix a song, I’ll usually listen to a rough or unmixed track. I’ll listen for the parts that stick out to me and write down what I see myself doing with them. I’ll figure out the genre and I’ll ask how far my creativity is allowed to go. Sometimes you’ll be asked to be out of the box, while other times you’re asked for very specific things. If it’s rock I’ll usually start by nailing down the drums and getting them to sound great right away. I try not to mute things in and out of the mix or solo them. I’ll start by making sure rhythm and low end are in the pocket and go from there. I don’t have a specific set of steps, but I go with what sounds best and work my way up.
How do you deal with fragile musician egos when you are recording?
-Dealing with fragile Egos can be difficult cause sometimes it’s hard to tell someone that there performance was a note off or a bit sloppy. I think the best way to attack any sort of ego issue is to get to know the person. If you find out who they are and where they have worked before you’ll gain a lot more information on how to go about recording them. I’ve worked with some artists who thought I was over my head in the enthusiasm department, but I didn’t do my research and had the right attitude at the wrong session. Simply put, I didn’t do my research and I learned from my mistakes.
What was the last CD you purchased and why did you choose to not download the album?
-The last CD I purchased was a band I saw at Subterranean. They were called downers of the world unite. I couldn’t find them on the internet and the CD was at the merch table so I decided that I should get it.
What is listening to a live concert like for you? And a CD?
-Live concerts and CD’s are very different for me. I love both, but I try and keep them separate. Live concerts for me are all about energy and feeling in the moment. The passion and attitude in the room has to get through to me. If the band isn’t feeling it on stage, I’m not feeling it. Cd’s to me are like books, you can go over and over them again and again, but you’ll always find something new again and again. I love both, but I’d say I prefer to be a studio engineer making cd’s rather then a live engineer.
What was the first piece of recording gear you purchased and do you still have it?
-The first piece of recording gear I purchased was a yamaha USB mixer in 2005. I still have it, but I’m pretty sure the power portion/adapter no longer works. It opened new worlds when I got it cause I was able to finally recording my full set of drums and edit them using cubase. I was able to make my own recordings on my own and that was very empowering.
What is your favorite piece of gear?
-My favorite piece of gear I’ve ever worked with has to be any of the UREI compresser/limiters. They just sound amazing on everything. As far as software, I wouldn’t live another day without Ableton Live and my MacBook pro. I can make music anywhere with those two.
What is your go-to Mic when recording vocals? Why?
- I don’t have one. I choose based on the studio I’m working at and what I have to work with or the vocalists voice characteristics.
What inspires you creatively?
-I’m inspired by everything that surrounds me, from books, to life experiences, movies, and simple thoughts. Anything can be turned into a story, but how you execute that is all up to you.
Do you have a signature style?
- I’d like to think I have a few tricks up my sleeve.....
