Posted on April 21, 2009 - by SenorMustard

11 Questions with Charlie Vela

Photo by: Andrew Hernandez

How long have you been recording other people?
I started recording other bands when I was about 15. The first band I recorded was called The Retarded Flies. I had no idea what I was doing, but nobody seemed to notice so it worked out.

Have you had any formal training or did you learn as you went?
No formal schooling for me. Most of my knowledge comes from reading voraciously about recording and practicing constantly. There’s such an incredible wealth of information that’s available for free I’m sometimes a little puzzled by the whole formal recording school thing. Don’t get me wrong, I know a lot of great engineers who went to school, but I have a pretty strong feeling that they would’ve been great engineers anyway. It’s all about the passion you have for what you do.

Could you give us a run through of the gear you like to use?
I try to keep it relatively simple when it comes to gear. It’s very easy to go after every new thing that comes out thinking that it’ll give you “THAT SOUND”. But the truth is learning how to make the most with what you have is the key to great recordings. Take it from me, it is entirely possible to make a $10,000 microphone sound like crap if you don’t know what you’re doing. And sometimes a $12 Radio Shack mic is exactly what a song needs. That said, I use a mixture of high end and low end stuff. When possible I try to build things myself to save money. My mic preamps are all built from kits by Seventh Circle Audio, and are based on classic console designs. They sound GREAT and cost me about a fifth of the real deal. I record to ProTools on a computer that I put together. Buying parts and assembling myself gave me a machine that literally smokes some of the high-end computers you see in music catalogs. Plus I’m one of those people who HAS to know how things work, so it’s a lot of fun for me.

Who would you like to work with alive or dead?
Oh jeez, this is more like a “who are your favorite bands” question isn’t it? Let’s see, Fleetwood Mac, At the Drive-In, Credence Clearwater Revival, Jimmy Eat World, Cursive, Iron and Wine, The Little Willies. I’m just going to leave it there before my wrist gets tired. Rest assured, it’s a LONG list.

“We come in early, work our asses off, and are in bed before midnight.”

If you could only choose one, would you choose recording bands or playing in a band and why?
That’s tough. Most of the time recording is all I think about, and I can usually get my music fix just fine that way. A lot of the time when you’re working with a band, you kind of get invited in as a temporary member. Probably because most of the groups I work with know that I’ve been there, and can relate to a lot of the questions and conflicts that can arise from being in a band. So that relationship can be incredibly rewarding. But on the other hand, nothing really compares to getting on stage in front of a crowd that is actually there to enjoy the music you’re making.

While you’re recording do you ever get the urge to jump in a jam too?
Not too often. In the studio, it’s the bands’ show and you have to always respect that. I’m there to get their ideas recorded, not to satisfy my own ego. Whenever I do get asked to play a part it’s a lot of fun though.

You’ve been recording for a while, any crazy stories you’d like to share?
You know, I really can’t think of any. Things can be pretty relaxed in the studio, and with the bands I’ve worked with anyway, it doesn’t really lend itself to wild debauchery. Maybe if I was recording in the 70’s or 80’s it would be a different story. But we come in early, work our asses off, and are in bed before midnight. If you ask me, that’s the best way to work. All that other craziness just gets in the way of what we’re there for: which is making music.

What projects are you working on next, any project you’re especially excited about?
I’m about to head in with Ideophonic for a new EP, and then after that Dignan and I are headed up to Austin to mix their new record. Madore should be in this May for a new EP as well. I’m really excited about all these projects, they’re all such good bands yet entirely different from one another.

Do work with all types of genres (record any tejano bands)?
I’m certainly interested in all types of music, and I take steps to make sure I’m up on the current trends in a lot of genres. But most of the people who contact me are in the rock arena, so that’s what I do mostly. If anyone reading this wants to make a completely out of this world country record, I am soooo down.

How should a band go about contacting you about recording/are their any requirements?
Getting in touch with me via myspace (myspace.com/charlievelarecording) or email (charlievelarecording@gmail.com) is the best way. I have some frequently asked questions on my blog to help bands get ready for their time in the studio. My main tip is to practice. I know that sounds so obvious a lot of people don’t even listen, but practice. It’s the difference between an ok record and a great record; a painfully slow and excruciating experience and a walk in the park. Plus wouldn’t you feel like a badass knowing that you can totally pull off your parts live?

In the end, what are your goals for the future in general?
I plan to keep making records for artists in the valley and Texas. I really think we have something special here, and things are getting to the point where the rest of the country will start to notice. I just want to do my part in raising the level of artistry and promoting good music by doing the best job recording it I can. Some friends and I are also working on a new business model for a record label something that can be competitive in the current market, and something that will also help showcase the talent we have down here.