Londoner turned Bostonian, Matthew Ellard believes music is an art form which explains his interest in working with artists who push the envelope. Perhaps you’ve heard of some of his past clients? Radiohead, Weezer, Motörhead, Elliot Smith, Converge or Morphine ring a bell? Ellard’s discography is certainly impressive, but it’s equally inspiring to meet a twenty-year industry veteran who values the music above commercialism. Ellard also values family over career, opting to call Boston home with wife Kristen Barry (former Virgin Records artists best known for her song “Ordinary Life”, recorded for the Cruel Intensions soundtrack) and their three kids, versus raising their family in a music business mecca like LA or NYC. Some of these choices certainly come with a price yet no one can fault Ellard for following his heart. In fact, heart is one of the reasons why he’s been able evoke a plethora of sonic emotions from the musicians he’s worked with.

KB: Why and how did you become a producer, engineer and mixer?

ME: I never wanted to be in a band but I loved music and technology. So after a little research, I realized I could have both by working in a recording studio. At that point I just wanted to be an engineer, I really wasn’t aware of all the different roles. As I was exposed to more by being in the studio environment, I became aware of the different hats you could wear within the studio. Producing is the natural progression on from engineering so that was just part of my evolution. Once I had learned how to record I got into the art of making a recording. Engineering is focusing on the minutiae; producing is the big picture. Mixing is my favourite, making everything sound great. Whether its working on a well produced album where you are just making it sound awesome or if it’s a scenario where its not the best recording/production and you have to “fix and mix.” It’s a lot less stressful than producing! You need to wear both hats to be a mixer, it takes a lot of experience to know what sounds good or works.

KB: Which album was the turning point for you? How did this LP impact your career?

ME: In England I worked on a lot of no-expense-spared, high profile, pop music but that wasn’t really my scene. That’s why I moved to LA to do some rock music. My first real introduction to a big American rock recording was an album with a band called Deconstruction. This was the band Eric Avery and Dave Navarro from Jane’s Addiction formed after they split up. It was and still is an amazing album. Unfortunately Dave got lured away to the Chili Peppers before we had finished mixing so the band never really took off which was a great shame. There have been a lot of great albums since then but there really was no specific turning point. As long as I was recording cool bands I was happy. The more I did, the more people wanted to work with me.

KB: How has the digital age and subsequent ease of recording affected your job?

ME: Well the music industry has changed beyond all recognition in the last ten years. You cannot fight technological advances so I embraced them, somewhat reluctantly at first I have to say. I love analogue but digital is getting better all the time, and its amazing what you can do with regard to editing. My main gripe with digital is that for a couple of thousand dollars anyone can get a DAW and have the same quality recordings as an expensive studio. However just having the gear doesn’t make you a producer or engineer; that takes training, practice and experience. That’s why so many modern recordings sound so bad. Everybody has a buddy with a Pro Tools rig and a basement who will do it for free.

KB: Why is it important for musicians to work with a producer when recording an album?

ME: A producer brings many things to the arena, every situation is different. Basically a producer is not so emotionally attached to the material as the artist so he should bring an impartial viewpoint to the situation. He has to create an environment where the artist feels comfortable enough to play/perform the best they ever have in their life. There are many ways to do this and experience teaches that to you. There are times when you have to be nice and times when you have to crack the whip! A producer allows the musicians to focus on the music and on being creative rather than be distracted by everything else that’s going on around them.

KB: You’ve worked on projects involving superstars such as Radiohead, Ozzy Osbourne, Weezer as well as indie-turned-major-label-darlings Elliot Smith, the Mighty Mighty Bosstones and Morphine. Do you ever work with unsigned bands? What set of criteria do you look for when determining whether or not you want to work with an artist?

ME: I’ll work with any band if I like the songs and the people. I like to have a good time when making music so I need to feel that is possible. The songs are the most important thing, if you have good tunes you are more than half way there.

Unfortunately the fact that money is required makes some situations tough. You need some money to make a good record. Not a huge amount but enough to be able to do it properly.

KB: What should an artist look for when selecting a studio as well as the team to produce their music?

ME: Look at the credits of albums you like and make a list. Then make some calls and send some emails. Find out availability and cost, see if you can afford what you want and if they are even interested in working with you. Most producers have favourite studios so they can usually make good suggestions. You will need some demos to play them so they will know what they are getting in to! Don’t be afraid to reach out, you may well be surprised, especially with the current state of the economy.

KB: With label budgets drying up and economic woes impacting many Americans what words of inspiration do you have for bands sitting on an album’s worth of new material?

ME: Get out and play as much as possible. Build up a fanbase, especially in cities that aren’t your home town. Select the best three or four songs and send them to as many people as possible.  Get on the Internet and get your music out there. There really isn’t a defined route to success any more; you have to try every avenue available. Just be persistent and believe in yourself. If you can come up with an interesting twist or story even better. It’s tough but exciting, making the record may well turn out to be the easy part.

Good Luck!

Matthew Ellard teachers Audio Production at the New England Institute of Art in Brookline, MA and works primarily out of his Somerville-based recording studio.