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Exclusive Interview

Jul 8, 2020

Produced by: Rudy Manager & Eethan Bello

Dave Cerminara: “I'm excited to hear what artists and songwriters produce once people get in rooms together again.”

Studio Talks is excited to present an interview with a producer, recording engineer and mixer Dave Cerminara who has worked on projects with artists such as Cold War Kids, Dua Lipa, HEALTH, Florence + The Machine and more. 

In the interview, Dave Cerminara discusses his career beginnings, growing up in Pittsburgh, working with successful artists, and provides advice to upcoming music creatives. 

Has music always been a part of your life and do you have any significant memories with music growing up? 

Yes, I've been pretty obsessed as far back as I can remember. My dad played a little guitar and had an old Harmony Rocket in the house, that's what got me into playing around 10 or 11 [years old]. My grandfather was a very big influence. He was an enormous jazz head, he knew all the musicians in town and was always going out. He started taking me with him when I was young and I loved it. I don't think I even appreciated jazz at that age – I doubt most 10 years olds do – but his enthusiasm for it was something else that really rubbed off on me. He needed music playing no matter what he was doing and I'm the same.

What was your process of starting in the music industry?

I grew up playing in bands but started recording in college using the university's radio station. I didn't go to school for engineering or anything. After college, I landed an internship at a studio called Treelady, owned by a Mastering Engineer named Garrett Haines. He really took me in and taught me a ton. Simultaneously, I met a producer/studio owner, Preslav Lefterov, who had a great studio called Machine Age. I was in a band and touring at that time, which is the best way to get work early on. Preslav and Garrett helped me a ton, they both basically gave me keys to their studios and let me bring in all these projects. That's really what got me started. I did that from about 20-24 [years old] before moving to LA.

Is there a big difference between the music scene in Pittsburgh and the music scene in LA? 

Definitely. Pittsburgh's small and there isn't much music “industry” there necessarily, but it has a strong DIY, working-class mentality that I love. There are amazing artists making great music, you just have to look a little harder.

Has growing up in Pittsburgh influenced the way you approach music in any way?

Without a doubt. Pittsburgh's very blue-collar, lots of middle-class families. That seeps into the music community and shapes your work ethic. I made a lot of records for very little money and was able to make mistakes and learn because the rents were so low. I'm glad I started in Pittsburgh, it was a really healthy place to grow up.

How has moving to LA helped your career?

Oh, it's just such a bigger pond in every way, there's not much comparison there. So many records are made here, artists are here, songwriters are here, managers, etc. I basically started over after moving, I didn't know anyone or have any leads when I left. Luckily, I met Lars Stalfors and Jonathan Wilson early on. Those guys really helped me restart in LA, I owe them tremendously.

What was the first project that you consider as your first break?

Hmmm. That's tough because from my vantage it feels like such a gradual, often amorphous progression. Working with Lars and Jonathan certainly propelled me into the next level of record making. I don't think I've had that sort of Ok Computer moment where all of a sudden you're this highly sought after producer or mixer or anything.

Is it easy to balance being a mixing/recording engineer and producer at the same time or do you find that you have to choose one over the other?

It's hard to differentiate. I started as an engineer so that side of it comes somewhat naturally to me. Lately, things have been leaning more towards production and mixing than strictly engineering. But when I'm hired to produce, it's usually assumed I'll engineer and likely mix. Not always obviously, but with recent projects that has been the case.

Studio Talks is excited to present an interview with a producer, recording engineer and mixer Dave Cerminara who has worked on projects with artists such as Cold War Kids, Dua Lipa, HEALTH, Florence + The Machine and more. 

In the interview, Dave Cerminara discusses his career beginnings, growing up in Pittsburgh, working with successful artists, and provides advice to upcoming music creatives. 

Has music always been a part of your life and do you have any significant memories with music growing up? 

Yes, I've been pretty obsessed as far back as I can remember. My dad played a little guitar and had an old Harmony Rocket in the house, that's what got me into playing around 10 or 11 [years old]. My grandfather was a very big influence. He was an enormous jazz head, he knew all the musicians in town and was always going out. He started taking me with him when I was young and I loved it. I don't think I even appreciated jazz at that age – I doubt most 10 years olds do – but his enthusiasm for it was something else that really rubbed off on me. He needed music playing no matter what he was doing and I'm the same.

What was your process of starting in the music industry?

I grew up playing in bands but started recording in college using the university's radio station. I didn't go to school for engineering or anything. After college, I landed an internship at a studio called Treelady, owned by a Mastering Engineer named Garrett Haines. He really took me in and taught me a ton. Simultaneously, I met a producer/studio owner, Preslav Lefterov, who had a great studio called Machine Age. I was in a band and touring at that time, which is the best way to get work early on. Preslav and Garrett helped me a ton, they both basically gave me keys to their studios and let me bring in all these projects. That's really what got me started. I did that from about 20-24 [years old] before moving to LA.

Is there a big difference between the music scene in Pittsburgh and the music scene in LA? 

Definitely. Pittsburgh's small and there isn't much music “industry” there necessarily, but it has a strong DIY, working-class mentality that I love. There are amazing artists making great music, you just have to look a little harder.

Has growing up in Pittsburgh influenced the way you approach music in any way?

Without a doubt. Pittsburgh's very blue-collar, lots of middle-class families. That seeps into the music community and shapes your work ethic. I made a lot of records for very little money and was able to make mistakes and learn because the rents were so low. I'm glad I started in Pittsburgh, it was a really healthy place to grow up.

How has moving to LA helped your career?

Oh, it's just such a bigger pond in every way, there's not much comparison there. So many records are made here, artists are here, songwriters are here, managers, etc. I basically started over after moving, I didn't know anyone or have any leads when I left. Luckily, I met Lars Stalfors and Jonathan Wilson early on. Those guys really helped me restart in LA, I owe them tremendously.

What was the first project that you consider as your first break?

Hmmm. That's tough because from my vantage it feels like such a gradual, often amorphous progression. Working with Lars and Jonathan certainly propelled me into the next level of record making. I don't think I've had that sort of Ok Computer moment where all of a sudden you're this highly sought after producer or mixer or anything.

Is it easy to balance being a mixing/recording engineer and producer at the same time or do you find that you have to choose one over the other?

It's hard to differentiate. I started as an engineer so that side of it comes somewhat naturally to me. Lately, things have been leaning more towards production and mixing than strictly engineering. But when I'm hired to produce, it's usually assumed I'll engineer and likely mix. Not always obviously, but with recent projects that has been the case.

Studio Talks is excited to present an interview with a producer, recording engineer and mixer Dave Cerminara who has worked on projects with artists such as Cold War Kids, Dua Lipa, HEALTH, Florence + The Machine and more. 

In the interview, Dave Cerminara discusses his career beginnings, growing up in Pittsburgh, working with successful artists, and provides advice to upcoming music creatives. 

Has music always been a part of your life and do you have any significant memories with music growing up? 

Yes, I've been pretty obsessed as far back as I can remember. My dad played a little guitar and had an old Harmony Rocket in the house, that's what got me into playing around 10 or 11 [years old]. My grandfather was a very big influence. He was an enormous jazz head, he knew all the musicians in town and was always going out. He started taking me with him when I was young and I loved it. I don't think I even appreciated jazz at that age – I doubt most 10 years olds do – but his enthusiasm for it was something else that really rubbed off on me. He needed music playing no matter what he was doing and I'm the same.

What was your process of starting in the music industry?

I grew up playing in bands but started recording in college using the university's radio station. I didn't go to school for engineering or anything. After college, I landed an internship at a studio called Treelady, owned by a Mastering Engineer named Garrett Haines. He really took me in and taught me a ton. Simultaneously, I met a producer/studio owner, Preslav Lefterov, who had a great studio called Machine Age. I was in a band and touring at that time, which is the best way to get work early on. Preslav and Garrett helped me a ton, they both basically gave me keys to their studios and let me bring in all these projects. That's really what got me started. I did that from about 20-24 [years old] before moving to LA.

Is there a big difference between the music scene in Pittsburgh and the music scene in LA? 

Definitely. Pittsburgh's small and there isn't much music “industry” there necessarily, but it has a strong DIY, working-class mentality that I love. There are amazing artists making great music, you just have to look a little harder.

Has growing up in Pittsburgh influenced the way you approach music in any way?

Without a doubt. Pittsburgh's very blue-collar, lots of middle-class families. That seeps into the music community and shapes your work ethic. I made a lot of records for very little money and was able to make mistakes and learn because the rents were so low. I'm glad I started in Pittsburgh, it was a really healthy place to grow up.

How has moving to LA helped your career?

Oh, it's just such a bigger pond in every way, there's not much comparison there. So many records are made here, artists are here, songwriters are here, managers, etc. I basically started over after moving, I didn't know anyone or have any leads when I left. Luckily, I met Lars Stalfors and Jonathan Wilson early on. Those guys really helped me restart in LA, I owe them tremendously.

What was the first project that you consider as your first break?

Hmmm. That's tough because from my vantage it feels like such a gradual, often amorphous progression. Working with Lars and Jonathan certainly propelled me into the next level of record making. I don't think I've had that sort of Ok Computer moment where all of a sudden you're this highly sought after producer or mixer or anything.

Is it easy to balance being a mixing/recording engineer and producer at the same time or do you find that you have to choose one over the other?

It's hard to differentiate. I started as an engineer so that side of it comes somewhat naturally to me. Lately, things have been leaning more towards production and mixing than strictly engineering. But when I'm hired to produce, it's usually assumed I'll engineer and likely mix. Not always obviously, but with recent projects that has been the case.

How did you meet and start working with Lars Stalfors and what have you learned from him?

I emailed a ton of producers when I first moved to LA. Lars had done a Chelsea Wolfe album that I'd loved, so I wrote to him and we met. A few months later he started a Cold War Kids album and asked me to work on it with him. 

I've learned so much from Lars, mainly to be less precious about things. He keeps a really great perspective and doesn't hyper-focus on minutiae. Overall he's a great resource for me in a lot of ways, outside of just production or mix tips. Balancing work and personal life, knowing when to get a manager, important things you learn from someone who's been through it already.

How did you meet and start working with Lars Stalfors and what have you learned from him?

I emailed a ton of producers when I first moved to LA. Lars had done a Chelsea Wolfe album that I'd loved, so I wrote to him and we met. A few months later he started a Cold War Kids album and asked me to work on it with him. 

I've learned so much from Lars, mainly to be less precious about things. He keeps a really great perspective and doesn't hyper-focus on minutiae. Overall he's a great resource for me in a lot of ways, outside of just production or mix tips. Balancing work and personal life, knowing when to get a manager, important things you learn from someone who's been through it already.

How did you meet and start working with Lars Stalfors and what have you learned from him?

I emailed a ton of producers when I first moved to LA. Lars had done a Chelsea Wolfe album that I'd loved, so I wrote to him and we met. A few months later he started a Cold War Kids album and asked me to work on it with him. 

I've learned so much from Lars, mainly to be less precious about things. He keeps a really great perspective and doesn't hyper-focus on minutiae. Overall he's a great resource for me in a lot of ways, outside of just production or mix tips. Balancing work and personal life, knowing when to get a manager, important things you learn from someone who's been through it already.

When you’re recording artists, what do you do to get the best performance out of them? Do you have any tricks for that?

There's not one end-all trick because artists are so different. It's more about flexibility, adapting what you do or how you do it to accommodate them and make them comfortable. That'll go a long way.

What is your favourite project that you worked on and why?

That's tough, maybe unfair to pick one. I love working with Josh Tillman (Father John Misty), we have a great rapport at this point and I admire his songwriting so much, it's always a lot of fun. Working with HEALTH is the same, they're great friends. It's pretty intense music, so you really have to push from a production/mixing perspective to make it as heavy as it needs to be. I like that challenge.

What do you enjoy most from being a music producer and mixing/recording engineer?

There's a certain camaraderie that comes with working on records when you're part of a team working toward an end that I've always loved. I think since I started, going back to being in bands, that feeling of making something with friends is extremely rewarding to me. Also, starting work at 10:30 or 11:00 am is pretty undeniable, I don't think I'm wired for a regular job with normal hours.

What advice would you give to upcoming engineers and music producers and what do you think are the most important skills to have when working in a recording studio?

When you're starting out say 'yes' to as many gigs as possible. The music world, at least in my experience, is just randomness and chaos, things lead to other things in completely unpredictable ways. So you just never know, a seemingly whatever session might lead to a mix project, so on and so forth. You just have to say 'yes' and stay persistent. 

There are some real unsatisfactory bits early on – nowadays being an assistant also includes running errands, placing food orders, and tasks that used to belong to interns. It is not rad and gets mentally tiresome. BUT, it is a necessary weeding-out process. If you're talented and, maybe more importantly, if you're a good hang, you'll make it through.

Has the current coronavirus crisis affected your work and what consequences do you think it would have on music creatives?

Absolutely, things slowed down for a couple of months but they're starting to bounce back again. I did some remote production and mixing during the break, but not at all what I'm used to in terms of schedule. That said, I can't complain at all with everything going on at the moment. Comparatively, I'm fine. 

It's so tough to predict. On one hand, I'm excited to hear what artists and songwriters produce once people get together in rooms again. I think we'll see a high musical output. On the darker side, when is touring going to come back? Are album budgets going shrink yet again? I don't know, the best you can do is stay optimistic.

Are you currently working on some projects?

I am, some projects that started before the pandemic and others I'm just starting now. Out of respect for the artists I never want to preemptively announce a record, that's not my place. But definitely a few I'm excited about. Some remote production work that's a bit out of my comfort zone, that's a good spot to find yourself in.

Follow Dave Cerminara on Instagram: @davecerminara

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©2024. All rights reserved.

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YouTube

Home

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©2024. All rights reserved.

rudy@studiotalksevents.com

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