It is well known that Steve Albini was a unique character, musician and producer, but a few hours after his death, Nirvana wanted to remember him through their social networks by sharing a letter that Albini wrote before starting his famous collaboration with the band For In the Uterus. The letter, addressed to Kurt, Dave and Chris, was written by Albini during a break during the sessions In on the Kill Taker by Fugazi, an album which however was produced by Ted Niceley and by the band itself who was unable to find a solution with Albini.
We have extracted some parts that tell Albini’s philosophy and ideas on how to make a record and how to work with a band.
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«If the record companies get caught, I don’t want to be part of it»
I think the best thing you could do right now is exactly what you’re talking about: make a record in a couple of days, with high quality but minimal “production” and no interference from the office bosses. If that’s really what you want to do, I’d love to be involved. If, however, you find yourself in the position of being temporarily satisfied by the record company, only to be pulled by the jacket at a later time (taking the trouble to rework songs/sequences/production, calling in professionals to “smooth out” your record, hand the whole thing over to some remixer, and so on…) then you’ll be in a bad situation and I want no part of it. I’m only interested in working on records that legitimately reflect the band’s perception of their music and existence. If you commit to this as a methodological principle for recording, then I will work for you. I will work harder than you.
«The band is the most important thing»
Most contemporary engineers and producers see a record as a “project” and the band as just one element of the project. They also view recordings as a controlled sequence of specific sounds, each of which is under complete control from the moment the note is conceived until the final session. If the band gets pushed into the process of making a record, never mind; until the “project” obtains the approval of those in control.
My approach is exactly the opposite.
I consider the band the most important thing, as the creative entity that has generated both the personality and style of the band and as the social entity that exists 24 hours a day. I don’t think it’s my job to tell you what to do or how to play. I’m happy to make my opinions heard (if I think the band is making good progress or a serious mistake, I consider it part of my job to tell them), but if the band decides to pursue something, I’ll make sure it gets done.
I like to leave room for accidents or chaos. Making a seamless record, where every note and syllable is in its place and every kick is identical, is not difficult. Any idiot with the patience and budget to allow such follies can do it. I prefer to work on records that aspire to greater things, such as originality, personality and enthusiasm. If every element of a band’s music and dynamics is controlled by click tracks, computers, automatic mixes, gates, samplers and sequencers, then the record may not be bad, but it certainly won’t be great. It will also have little to do with the live band, which is what all the fuss is about.
«Basing recordings on my tastes is stupid»
I don’t have a fixed gospel of standard sounds and recording techniques that I blindly apply to every band in every situation. You are a band unlike any other and you deserve at least the respect of having your tastes and concerns taken into account. Basing recordings on my tastes is as stupid as designing a car around the interior. You guys have to decide and then explain to me what you want to play so we don’t start recording the album from different directions.
«Remixing is for talentless pussies»
I don’t consider recording and mixing as separate tasks that can be performed by specialists without ongoing involvement. 99 percent of a record’s sound should be established during the recording of the basic track. Your experiences are specific to your records; but in my experience, doing a remix has never solved real problems, only imaginary ones. I don’t like remixing other engineers’ recordings, and I don’t like recording things to be remixed by someone else. I have never been satisfied with any of these methodologies. Making remixes is for talentless pussies who don’t know how to tune a drum or aim a microphone.
«I would like to be paid like a plumber»
I explained this to Kurt, but I thought it best to reiterate it here. I do not and will not take any royalties on any record you record. No points. End. I believe it is ethically indefensible to pay a fee to a producer or sound engineer. It’s the band that writes the songs. It’s the band playing the music. It’s the band’s fans who buy the records. The band is responsible if it’s a great record or a horrible record. The fees belong to the band.
I would like to be paid like a plumber: I do the work and you pay me what it’s worth. The record company will expect me to ask for a point or a point and a half. If we consider three million sales, this translates to approximately $400,000. There is no way I would ever accept that much money. I couldn’t sleep. I have to be comfortable with the amount you pay me, but it is your money, and I insist that you be comfortable too. Kurt suggested paying me an amount that I would consider a full payment, and then, if you really thought I deserved more, paying me another amount after that.
I trust you will be fair to me. I will let you make the final decision on how much I will be paid. How much you choose to pay me will not affect my enthusiasm for the record.
