Our MPG Studio Spotlight takes a look behind the scenes of those making moves in studio spaces across the motu. This week we're hearing from Dave Rhodes.
Firstly - Where is your Studio located?
In Whitianga on the beautiful Coromandel Peninsula.
How did you first get started as a producer or engineer, and what inspired you to pursue this career?
The first time I was in a recording studio I was about 10 watching my Dad do some recording. I didn't understand it exactly but I loved the flashing lights and whirring tape machines. Later when I was playing in the school band we did some recording and I got hooked. I studied at SAE in the mid nineties and have worked in studios ever since.
What’s been your favourite project to work on, and what made it stand out for you?
There have been a lot over the years. Back in the day, working on the first Blindspott album was eye opening. Starting from the first simple recording of Nil By Mouth in a small radio production suite to mixing the full album in York Street Studios after they got signed was a big learning experience for me. Since then I’ve recorded all sorts of artists from John Rowles to Head Like A Hole. I get the most enjoyment from sessions where the musicians are super passionate about what they are doing and I get to help them exceed their expectations. More recently I co-produced, recorded and mixed the latest Devilskin EP - Surfacing. I’ve known most of the band for years so it was cool to work with them on a project where we had the time to experiment and do the best job possible. I'm really proud of how that EP turned out. I also really enjoy mentoring young musicians and engineers, and for the last 3 years I’ve been part of the Creatives in Schools programme recording music with Mercury Bay Area School students. This year's album had 18 original songs from pop to heavy metal!
Can you tell us about your studio setup? What gear or plugins do you consider essential for achieving the best sound?
I dreamed of designing and building my own recording studio for many years, so it’s been very rewarding to create a high-end boutique studio in my hometown. I officially opened it in December 2020. It’s a comfortable creative space with a control room and live room that reflects the relaxed Coromandel vibe. I had a local cabinet maker custom design a desk to fit two carefully curated racks of outboard gear, which is based around 2 UAD Apollo x8p interfaces. I have some key mic pres (Avedis, CAPI) and compressors (1176, LA-2a, LA-3a), and a good selection of mics so I can capture high quality sounds, then I mix 100% in the box. I’ve also accumulated some great instruments, amps and drums to make sure we get great sounds even if the band might not have the best gear for the job. The beach is a 2 min drive/5 min walk away, and we’re located in the middle of a selection of incredible holiday spots. Often bands will book a weekend, or long weekend with me, and have a productive recording session plus a bit of a holiday!
Are there any specific pieces of equipment—hardware or software—that you find yourself using on nearly every project? Why do you rely on them?
Both hardware and software 1176 comps feature a lot. My Stam SA-47. The SSL 4K E channel strip. IK Sunset Sound. Slate Digital CS EQ. I’m really enjoying my Audioscape LA-3As at the moment.
Can you walk us through your typical workflow when working with an artist or band, from pre-production to the final mix?
Usually I’ll get sent demos of the songs, then I’ll get in a room with the band, either a rehearsal room or home studio to work through the arrangements, suggest changes if needed, discuss the sounds they are going for and equipment we will need to achieve those sounds. Once that’s done, the recording process is usually pretty smooth. There are some occasions when time or budget doesn’t allow for pre-production so we have to wing it in the studio but after 30 years I can usually find a way to record anything the band throws at me with minimal fuss. If I’m mixing a track that I’ve recorded, then I already know what needs to be done in the mix but if someone sends me a song to mix and I don’t know the producer or band’s intentions, then I’ll make sure to get reference tracks and as much information from them as possible to make sure I’m in line with their vision for the song.
What advice would you give to someone just starting out in music production or engineering?
Find some good mentors or teachers to learn from. There is a lot of conflicting information on the internet. I think it’s easy to go down a rabbit hole and waste a lot of time on things that don’t really matter when you watch too many Youtube videos. Focus on songwriting, because people like good songs and no listener in the world cares what plugin you put on the guitar to cut .5db at 3.6kHz!
If someone wanted to set up their own studio, what would be the most important investments to make, and what are some common mistakes to avoid?
Invest the time in building a client base before buying expensive equipment. Dry hire studios to work in on a project by project basis, so you can pass the cost on to your clients, rather than spending huge amounts of money on gear you might only use for a few hours per month. When you do start buying gear and setting up your own space, start by making sure your room is treated well and sounds good, otherwise no matter how fancy your gear is you won't be able to make good mix decisions.
Are there any upcoming projects you’re particularly excited about that you’d like to share with our readers?
Right now I’m working on a couple of projects for a popular Kiwi band that I can’t talk about yet, but I’m super excited for people to hear it! Locally, I’m working with a high-energy punk rock band called Corrosive Moses, on their debut album. They’re opening for Sublime with Rome at Coroglen in December, and will be releasing their album early next year. I’m a long-term sponsor and judge for the Ding Dong Lounge Band Competition, and I’ve just finished producing the debut single for this year's winners Grapehouse. I’m also working with the local area school to hopefully create a new, standalone project that replicates the Creatives in Schools projects I’ve been engaged with for the last 3 years. Unfortunately the government has decided to discontinue Creatives in Schools, so now we’re looking for alternatives. Music mentoring for youth is really important, and the young emerging songwriting and performance talent on the Coromandel is next level!
Where can people follow your work or get updates on your latest projects?
You can follow me on Facebook and Instagram, and learn more about me on my website. If you’re keen to chat about a project, or book me for one or more of my services, you can get in touch via email iamdaverhodes@gmail.com or DM me on social media. If you’re in Whitianga and keen to visit my studio, give me a shout!