Hot Seat: Making It In The Music Industry… with Dave Aron, audio engineer

TMNhas revived Hot Seat to offer our young industry subscribers an insight into what it takes to make it in the music business. With more than three decades of experience, Dave Aron,multi-Platinum recording engineer, live and studio mixer, record producer, and musician, is the person behind many of Death Row Records seminal releases.

Having worked withDr. Dre, Prince, Jane's Addiction, U2, Sublime and Snoop Dogg – who he continues to work with – Aron chats to TMN about his views on internships, his time at arguably America's most infamous hip hoplabel and the best practices for those wanting to enter the engineering field.

What drew you to a career in production following your formative years playing in jazz bands?

My mum was a music teacher/band director and my dad and stepdad were jazz trumpet players, so we would jam, even at my early age. So I listened to a lot of jazz growing up. Then, of course, I played in the high school band and the jazz band. With my mom in a band director she taught me a lot of different instruments and how they all translate from one to another, so I have a broad musical background growing up. After I found success with more mainstream music I reverted back to a blend of rock and your jazz improvisation – that's when I produced engineered mixed and played clarinet and keyboards on the Banyan album with Steve Perkins from Jane's Addiction, Mike Watt, Nils Cline, Rob Wasserman, and a host of other notable musicians on a mostly improvisational album we titled any time at all. Doing improv albums gives me an avenue of musical expression. I feel it opens up my perspective on making mainstream music.

You got your start as an intern at WHBQ radio in Tennessee, what are your views on internships for job seekers?

I loved that internship. I learned a lot about editing tape, voiceovers, and putting whole sonic audioscapes together. I also learned how to deliver when the pressure was on and to get the job finished. In addition, I did an extra internship at Ardent Studios in Memphis, where I got the feel of a BIG studio before moving to LA. I think a good internship is invaluable for anyone trying to make it in the business. It's great to learn from other people's successes and/or failures. Learn from them or at their expense, either way works. Luckily I had great mentors who taught me lessons that will last my whole career. I use lots of interns and enjoy passing my knowledge on to them – especially when I see them succeed. I get a rush from seeing one of my interns doing well in the business.

During your time at Death Row Records you worked with Dr. Dre, Tupac Shakur andSnoop Dogg, who you continue to work with. Tell us about what your studio sessions were like at the label.

I kept my head down and focused on my job. I liked that everyone liked me, but I didn't go out of my way to be friends with everyone either. It was about the job first; however there was a lot of joking around and having fun – and a lot of friendships blossomed from that period – most of which I still maintain today. A lot of the stories people read or hear are true. They could be really tough on engineers, runners, or anyone for that matter. You definitely had to have a certain personality to flourish in that environment, but with the tough New Jersey high school that I attended, it just seem like more years of high school to me. I actually enjoyed and welcomed the challenge. I'm just glad none of those crazy stories are about me.

Dave Aron with Dr. Dre

Are there any labels operating in a similar renegade fashion to the first incarnation of Death Row?

Ever since I started working for them, I said they would hold a legacy for labels, as many before them, such as Motown, Stax, Sun Records. I could see it as it was happening and I was excited to be there. Crazy enough, it did turn out to be what I thought it would be – maybe a little more infamous. I think since then certain independent labels have taken pages out of Death Row's book. Conquering regions and then going nationwide seems to be a viable move on their part. I'm talking about labels like Tech N9ne's Strange Music, Master P's No Limit Records, and Cash Money to name a few.

What are some best practices for those wanting a successful career in engineering?

Being great is the ultimate goal, but "just don't screw up" can get u a long way. I went far just not screwing up. Then I seem to get good along the way. Mistakes are the worst thing you can do for your career though. Clients don't usually mind when you're doing "pretty good" but people hate when you mess their music up. Also putting myself out there, getting the most gigs with the most amount of different people I can find, working with the biggest "name brand" people I can, and proper networking really seem to spark and maintain my career. It's hard work and hustle. I was once told "an engineer is only as good as the clients he works with". I have to say I believe that's true.

Dave Aron with his plaque for Diamond sales of 2Pac's fourth LP All Eyez On Me

What are your perceptions on the new crop of talent entering the engineering/mixing and production realm?

I think technology has made it a lot easier for people to mix, but it takes a little talent to make it sound as good as old analog equipment. So it's give-and-take.

Do you have any advice for them?

Learn to mix and be respected for your mixing. It pays better and seems to be a more valuable commodity among engineers. I also supplement my studio work by mixing Fronterhouse in life situations.

There's no replacing your ear with apps, plug-ins, or any other digital crutch. Rely on your musicality. Know that mixing is more than just setting levels and getting sounds. A lot of it is in the arrangement and accentuating certain sounds, steering focus to what should be featured. Bringing things in and out as the mix evolves seems to be more effective than just turning something up. It's almost visual, like a lighting director for a stage and who and what should be spotlighted.

What would you say to 1992 Dave Aron, who that year mixed Prince tracks My Name is Prince and Seven?

Just keep it up and it'll all be worth it. You will be bigger than you ever imagined. You just came out here to get one or two Gold or Platinum albums and maybe a number one something-or-other and look at what it's turned into. And who knew it would take me all the way around the world and back. One day you'll probably be teaching other people how to do what you did and that'll be a big payoff. You got a lot more than you dreamed, didn't ya.

When I was assisting for Keith Cohen (who was mixing or remixing huge hits, every single day), I happen to mention my small to midtime dreams to him and I remember he said to me "you'll never get anywhere like that. You got to try to be the absolute best and then you just might come close."

Dave Aron is heading to Australia this month for three workshops at JMC Academy campuses in Brisbane, Melbourne and Sydney.General Admission tickets are available for $25.00.

Workshop Dates and Ticketing:

BRISBANE: 29th April from 6.30pm

MELBOURNE: 30th April from 6.30pm

SYDNEY: 1st May from 6.30pm