We got the chance to do a cool interview to get to know one of Noise Creators talented producers.
Andrew Baylis is a record producer based out of Ocean City, MD. He’s 25 years old and has been recording for 5 years now. His studio is located in a house that sits on a 100 acre farm, providing artists with plenty of space and peace of mind being located just outside of the tourist city.
He is mostly known for producing up and coming bands like XXI (Tooth & Nail) and My Enemies & I (Fearless Records). He’s prominently known for co-writing ability with artists, always willing to go the extra mile to make a record sound like a record and not just 10 songs crammed together. This year has taken a crazy turn and continues to hold promise and excitement! He also plays drums, guitar, and bass, and used to play guitar in Life On Repeat (Equal Vision Records.)
What’s the craziest thing you’ve seen in the studio?
I’ve seen everything from fistfights to full on arson. It’s hard to pick one because so many things happen, that from an outside perspective seem ridiculous, but to me it’s just the norm. Although one moment sticks out, I was recording a band called When Cities Sleep (Waldorf, MD) at my old studio in Ocean City, MD and I woke up at 9am to find out my car had been lit on fire in the parking lot. Basically engulfed in flames. No one could determine that cause either. Not really audio related but I think we can all agree that’s pretty “metal”.
Tell me a story of a great song you worked on and a theory behind it’s production that made it great?
One song that sticks out is XXI “Wasn’t Enough”. We were all just really hyper that day and I pretty much laid out the programming (mainly Omnisphere ) for the song before we even played a note on guitar. The vocals were already written so it was easy. I guess we all just heard the guitars in our head so we just started going at it just knowing it would all come together, and it did. It’s my favorite song on their record!
What record has perfect production and what makes it that way?
I know I should probably pick a “classic” but right now I would have to say that BMTH’s record “That’s the spirit” has my favorite drum tones, guitar tones, vocal tones, and programming as a whole. I guess in my mind it already is a classic!
What’s your favorite guitar production and what makes it great?
I think my favorite guitar production of all time would have to be almost any RAGE AGAINST THE MACHINE record. Its specific to THEM, even when I hear songs by them I haven’t heard before I hear the guitar and I’m like, “yup RAGE”. Obviously his playing has the most to do with it but his tone is so hyper active and rough around the edges its hard not to get excited when you hear songs like “Bulls on parade” and “Killing In The Name” and THATS what makes the guitar production great in my opinion.
What’s your favorite drum production and what makes it great?
My favorite drum production right now would have to be Paramore, RIOT and Periphery, II. Both are awesome in their own way. I can listen to those albums twice in a row…Once for the song and then once to hear the drums slam in the mix. I love it!
What’s your favorite bass production and what makes it great?
I love the bass tones on almost any Brian McTernan record (Thrice, Circa Survive, The Bled) I got to record at Salad Says Studios when I was 19 and it was a dream come true. Unfortunately, I retained very little information about recording back then because I had just started learning, but the bass tone on “Silent Treatment” (The Bled) really sticks out to me.
What’s your favorite vocal production and what makes it great?
I’m not going to stay on this subject that long but, Taylor Swift 1989. Everything Serban Ghenea mixes ends up have the best vocal tone I’ve ever heard. I’m sure credit is due many other places but yea, that’s my favorite vocal tone I’ve heard so far.
What was the best lesson you’ve learned about making great music this year?
I’ve learned that every part of a song deserves the same amount of attention. Just because you have the “best chorus” or the best “intro riff” doesn’t mean you have a great song. A chorus could become even better if the verse /pre-chorus leading into it sets it up for a splash rather than just part after part. I guess the best lesson I’ve learned this year about making great music is dynamics and chord placement. It’s a simple concept but when you really have a grasp on it, it makes a difference. It’s something I’m still learning and one thing I wish more bands were paying attention to rather than how sweet each part is. My own band “Nine Shrines” is releasing an EP later this year that I recorded, produced, mixed, and I think it’s a great display of how far I’ve come as a producer and a writer. I hope everyone checks it out!