Audio Geek Zine

This is a guest post from Geoffrey Granka of Fresh Produce Productions. Find him online at  www.freshaudio.ca and @gmgranka on twitter.

I’m a pretty big Sloan fan. In Canada at least, they’ve garnered their fair amount of respect. By pure chance, I happened to run into Nick DeToro, who co-produced their last two (and most impressive in a long while) albums, a month or so ago. We talked geek for a bit, before I realized it might be interesting to the readers of AGZ.

After finishing Never Hear the End of It and Parallel Play for Sloan, Nick is now working on Luke Doucet’s (an ex-guitar player for Sarah McLachlan) new album. Nick’s stuff sounds like that magical mix between off-the-cuff playing and all the mics just being in the right place at the right time. Feed back and room tone abound. Tonally, I see a similarity between rock production style and the live-off-the-floor style in Let It Be. Regardless what you compare it to, it isn’t commonplace in today’s world of cookie-cutter albums. I asked Nick a handful of questions about what he’s been up to lately.

How did the Sloan gig come about?
I’m am a live sound engineer as well. I had been mixing Sloan for a couple of years at the time. For fun on the road Chris (Murphy) would let me play producer and make suggestions about how we should record a song that he was working on.. I guess he trusted me enough to help him work on some demos. He used me to help him flesh out some ideas at their rehearsal space…we set up a Logic/MOTU rig…and recorded some demos. He liked what was going on and decided to suggest to the rest of the band that I record Sloan’s next record at their space. I guess the rest of the guys liked the idea, because that’s how we recorded “Never Hear The End Of It“.

What had you worked on prior to it?
All indie records before that…although one reggae record I worked on got a Juno nom[ination] and my own stuff… of course.

How did you learn the ropes? Did you go to a recording college?
I did go to a particular recording school in 1992 (ish). There was a severe recession at the time and not a lot of recording work for someone with no experience (other than your own demos). There was however, live work which consisted mostly of pushing gear. So that’s how I started. Waited for a chance to mix some live shows and continued to record with friends bands. Eventually someone let me mix a show and worked my way up from there. Many many challenging club shows later Gordie Johnson gave me a shot at mixing a few Big Sugar shows (I was doing monitors for them at the time) and that’s when I made a step up to mixing recording act level artists. Sloan came after that and I’ve stuck with them since (other notables that I’ve toured with are The Trews, Tom Cochrane, Bedouin Soundclash, The Watchmen)….and now here I am playing many many challenging club shows!!…but I also get to play around in arenas and stadiums from time to time… and make records with some great bands.

What’s your go-to recording set-up like?
I’m working on that… just bought a Symphony Rig. I’m using it for the new Luke Doucet record. I’ll have to report back on how it worked out.
Mostly I like to record through Great River, API and Neve pres..with some decent eq’s available… and I like to mix through a console with lots of channels and good character comps and good eq’s.

How important is equipment in getting a good sounding record?
It’s important… I would characterize it more like the three main elements are all important: the song, the delivery (and arrangement) and the production (which is partially gear….more how you use the gear).
All three have to be working.

Do you have any one particular piece of gear that you use all the time?
No, but you use what’s around. And there’s always a [Shure SM]57 around.

Is there one particular piece of gear you’re really lusting for?
Yeah…A vintage Neve console that is in perfect working condition, that doesn’t cost me anything, is shipped to and set up in my non existent fabulous studio that never has to be maintained and uses the sun as a power source.
Seriously…I’m fickle and it changes all the time.

What do you consider before deciding if you’re going to work on an album?
Since you are going to (or should be) completely immersed in fifteen or so songs for months…I think it should be music you are able to live with for a while..otherwise I think you are doing the music a disservice…I’m not talking good or bad (I like plenty of “bad” music)…I just mean something appropriate to your strengths..you gotta be able to bring something to the table.

Any dream gigs?
Sure…recording Frank Sinatra..recording Queen with George Michael singing… playing drums in Led Zeppelin.

What are you working on right now? Where are you doing it?
The new Luke Doucet record. We just finished last minute Bed Tracks the other day and we’re mixing it next week.
It’s being done in three places…most of the recording was done at “The Lincoln” in Liberty Village, last minute overdubs (and bed tracks!) at “The Woodshed” in Greektown and mixing at “The Rogue” in Trinity Bellwoods….all very fun places to work.

What’s your favourite part about your job?
When the band is rockin’.

Geoffrey Granka
Fresh Produce Productions
www.freshaudio.ca
@gmgranka