1. Without you Blair, and people like you, there would be no music. Bands consider recording last it seems, meaning that they want to sound good on their CD's but they don't consider the recording process part of their artistic creative process. What are your thoughts on that? How can bands better prepare for their studio session in order to make the best record possible?

BLAIR: I find a lot of bands are better prepared for recording these days. I think it's because everyone seems to have some kind of recording equipment now, be it a little mini-disc recorder or a digital multi-track recording platform like ProTools or Digital Performer. Because of this, most artists have some recording experience and so they know what to expect. I think it's great when an artist or band hands me demos of their new songs, regardless of the recording quality or performances contained therein. At least I can hear the song in it's barest form, helping me make arrangement comments and recording suggestions.

2. What are some things for bands to consider when deciding on a studio or a recording engineer like yourself?

Usually budget is the first consideration. Then, is the studio you've chosen flexible for what needs to be recorded? That is, a suitable drum room, isolation for amps or vocals if needed, good sight lines for visual cueing, a stable and effective headphone system, appropriate microphones and pre-amps, etc. Also the right recording format for the particular project is important. For instance, if you are recording a solo singer/songwriter who is only playing guitar and singing, there probably won't be a need for a 24-track analog machine. Maybe most importantly though, proximity to good restaurants. As for selecting an engineer, an artist should make sure to choose someone who has either recorded albums that they like the sound of, or is at least familiar with their style or genre of music.

3. What records have you worked on that stand out to you in terms of the recording process, or the songs themselves, even and especially non hardcore records? What was it that makes them stand out in your mind?

Well of course I loved working with TRIAL, Greg. That was the best! Seriously, a few summers ago I recorded and co-produced a CD with a great singer/songwriter from Victoria, B.C. named Allen Dobb. We just set up a full band in this basement space in my friend's home studio. He hired awesome players to work with, the performances were excellent, and it turned out sonically and musically better than I ever hoped. Also, more recently, I did a record with Billy & The Lost Boys, a band from around here. I really like the music, and was extremely happy with how the album ended up sounding. The same is true of the new Propagandhi album, a band whom I was a big fan of to begin with, and was lucky enough to work with this past year.

4. Can you talk a bit about mixing? What are some good strategies to use in terms of studio selection, scheduling, engineer choice, etc?

An artist should base their choice of engineer mostly on their previous work. Someone who is creative and not afraid to try unproven tactics is invaluable. Different artists involve themselves to varying degrees at the mixing stage. It's important that the engineer be flexible if the artist is more of a hands-on client. That can be tough, but sometimes effective. Some engineers definitely do not thrive in such an environment. I always suggest meeting beforehand to discuss strategies. Usually, especially with independent artists, studio selection depends first on budget. It's important to leave enough in your budget to be able to use a studio the engineer is familiar with. The artist should consult with their engineer on whether they need an automated console, or any special recording formats or outboard equipment. And the presence of a qualified, personable assistant engineer is an often underestimated asset at any facility. Ideally, I like to schedule mixing after a bit of a cooling off period. That is, I prefer to wait a week or more if possible between tracking and mixing. I find it just gives everyone a chance to come at the mixing with the objectivity necessary to get great mixes.

5. What role does mastering play in the final recording? Is it as important as people say it is, and how should bands go about getting the mastering job done?

Mastering can be as important as mixing. It is basically a process where the songs are assembled into a production master. This usually involves equalizing and compressing the songs to match up and sound complementary to each other, as well as level matching and making it all loud, as everyone always wants. If during mixing the mark gets missed a bit eq-wise, a good mastering engineer can help improve the overall sound of the record. A dialogue between the mixer and mastering engineer, including any mastering notes (eq, compression, preferred takes, edits) from the mixer, is helpful. Again, the recording or mixing engineer will likely have a preferred mastering engineer. And this is also a stage where budget will help dictate where to go.