Chris Fudurich has done work in producing, engineering, and mixing for independent bands such as Allister, Rx Bandits, Rory, Jinxed, Armor For Sleep, Finch, and former groups such as The Hippos and Ozma. He doesn't only work with independent bands, also working with mega pop-star Britney Spears and also popular rock groups such as Nada Surf and Fuel. Chris had taken some time out of work to do an exclusive interview with Rockstarpix.TV

Keith Joseph: How old were you when you decided that you would like to pursue a career in music producing? What was the first album you did and how do you feel you did?

Chris Fudurich: I really started out to be in a band and not produce or engineer. I have always loved electronics and music and this is a great combo of the two. I was in a band a long time ago and the owner of a studio we recorded at had to leave on tour and basically left me with the keys to an Orange County punk rock studio for a few months and said have fun. In that time I basically figured out on my own how an entire recording studio works and recorded my band and a few others. Technically, the first real album I did, came out of that studio and it was with a band out of San Diego called Helicopter. I think they just re-released that album. Like I said I had no idea really what was going on and just used my ears and felt out the whole thing. What was hilarious about that was Mark Trombino ended up mixing that album 10 years before I met him.

KJ: What instruments do you know how to play and which are you the most talented with?

CF: I can play pretty much any instrument except for woodwinds or reed instruments. I started out playing piano with the royal conservatory of Toronto when I was a young-un. But these days, I know enough I can show someone who can really play and let them have at it, or wait until they go home from the studio and I play it myself. I like being behind the glass in front of the console. But to answer the question, I think the synthesizer is the instrument I’m most talented with.

KJ: Have you ever been part of a band, and if so what was the project called?

CF: Oh, I’ve been in a few bands. The only one I’ll admit to or I am allowed to talk about was the Don Knotts Overdrive later known as Headset, but now I think there is a band out of England called Headset. If you have ever seen that Trey Parker and Matt Stone movie, Orgazmo, you will hear a song from that band. It is different, quite different. I’ve done a few other little things here and there, but nothing of note, thank God.

KJ: What was the first instrument that you learned how to play?

CF: Pots and pans. Then piano.

KJ: What music acts did you listen to when you were younger, which of these acts helped you realize that you wanted to work within the music industry?

CF: My parents always had records, yes those vinyl disks with grooves. So I grew up listening to The Beatles, Pink Floyd, ABBA, Average White Band... name it, I listened to it. I don't think I really realized I wanted to work in the industry until I found myself actually doing it. One of those things that I kinda of found myself doing and ended up progressing in it.

KJ: How did you learn to do the engineering work and other aspects of recording?

CF: Like I mentioned, I got thrown into the middle of it figured it out on my own at first. I did get to second engineer with some amazingly good engineers in the mid 90's and picked up what their technique was and their little tricks.

KJ: How much education did you receive for this profession and where did you receive the education?

CF: Well I took an electronic music class in college while I was working at the Orange County studio and then when we ended up in L.A. I did go to UCLA and took a few classes there, but I found that doing it and being around it gave me more education then the teachers ever did. Or maybe I just knew more before I ended up in school.

KJ: What has been your favorite album in which you worked on?

CF: I cant say there is one favorite album I have done. They all have aspects which I loved and which I hated. The politics, the personalities, the studio, etc... in general I’ve been lucky that everyone I have worked with has been cool except that one guy in that one band that one time.

KJ: Which was your favorite band to work with throughout your career?

CF: Again, I can't answer that there has been one specific time. They all have positives and negatives. One album that somewhat intimidated me was working with that band Simple Minds. I grew up listening to them and all of a sudden I’m in scotland recording and mixing an album. My perspective was all blown. I’m telling Jim Kerr what to do?! Freaky.

KJ: Along with working on albums of artists such as Nada Surf and Britney Spears, you also do a lot of work with independent artists. What is your motivation to help out groups that have a lower budget to work with?

CF: Good music that means something to me.

KJ: Also, in most of the independent work, you are the producer and also do a lot of other things, what is your favorite aspect of recording between producing, mixing, and engineering?

CF: Well when it comes down to it, wearing all those hats at once is draining and burns me out, but the end result is something that makes it all worth while. When I am only involved in a project as just the producer, I get to see the whole a lot clearer instead of worrying if I have a safety of the session made. If I’m mixing I get to sit alone and put the sonic palette together. Just engineering, I get frustrated if I am working under another producer. I don't take direction well when I know there is a better and more efficient way of doing something or if I don't respect the producer's work, but I have engineered for some producers that just amaze me so of course I learn from that which is a good thing.

KJ: How many years have you been working within the music industry for?

CF: Depends. I’ve been doing music as a living since I was 18, but I’d only really consider myself professional from 1997 on.

KJ: Did you do any other work before getting into the recording process and studio work?

CF: I worked at a sandwich shop the summer after high school.

KJ: What has been the most popular or fan-favorite album that you had worked on?

CF: Well if it was just something I worked on, Britney Spears, but I just did some engineering on one track so I don’t know how legit that is. The all around favorite album no one has anything bad to say about was Nada Surf's “Let Go.”

KJ: Has there been anything that you had wished you may not have done after the final work was finished?

CF: Always.

KJ: How do you find the groups that you would like to work with or how would they find you?

CF: It’s this strange thing that happens. Either they email me, know a band I’ve known, give a cd to a friend of a friend, or else I just drunkenly stumble into a venue they are playing at (almost true).

KJ: Also, you have worked with a band called Facing New York, which has no label support as of yet, how did you get involved with this group and help them focus on really perfecting their indie-style?

CF: Well. I knew a few of the members from a previous band they were in who I had done demos with and knew their manager and lawyer. That project ended and Facing New York started. They had asked me to come up and do some work with them and having known the guys and hearing what they were doing, I was excited to do it. Ehhh, I can't say specifically what I did other than just bring up what I though was the weaknesses in what they were doing and to have them improve or change it.

KJ: The movies people watch usually show something of how their personality is. What are your favorite movies and what is your favorite movie genre?

CF: Oh boy. Like my musical taste, there isn't one genre that I love. I love each movie for what it is. I like everything from Blade Runner and Alien to Repo Man and Dog Day Afternoon to Scarface and Moulin rouge to Love Actually and The Magic Christian.

KJ: What is you favorite movie that is music related?

CF: Oh good question, but are we talking about music being the basis of the film? Musicians acting in the film? A film about a musician. A film about a song? or just a film that has music in it. I’ll just say Tapeheads or Buckaroo Banzai.

KJ: If you were not working in a music studio, what do you think you would be doing as a career as of today?

CF: Carpentry.

KJ: Would you ever think of starting your own record label and doing most of the producing work yourself and if so, what type of music would you put out?

CF: Oh yes I have. Anyone want to fund and distribute me? It would be pop/rock/punk all the way to ambient/avant garde/experimental.

KJ: Who have you met that you never thought you would ever meet before because of your profession?

CF: Pretty much everyone that is known as a 'celebrity.' The other night I found myself sharing a beer and having a great music conversation with the lead singer of a band that was huge in the 90s. It seems normal but if I take myself out of what I do and where I am and think about it like I was 15 again, it is very bizarre.

KJ: Do you still try to attend concerts when you have some free time?

CF: I try but I think most stuff out there is crap. I don't think I’d pay to go see some of the large touring bands out there. I’d much rather see a band at silverlake lounge.

KJ: If you could work with any artist that you previously haven’t, who would it be? Why would you like to work with this artist?

CF: Well living or dead, John Lennon would be #1 and I’d like to because isn't it obvious? One that is still alive I think would be Trent Reznor. He gets some cool sounds.

KJ: What albums did you really love that were released this year?

CF: I got excited about The Killers, listened to it for a few weeks.

KJ: What are your all time favorite albums?

CF: The Beatles' “Sgt. Pepper” and Thomas Dolby's “Golden Age Of Wireless.”

KJ: There have been albums that went from decent to great because of a producer’s help and it seems that people do not see this and feel as if all the work is done by the artist. There is actually a lot more that goes in to the album besides just the music. Do you feel as if producers and engineers deserve more credit when it comes to the album’s final product?

CF: Well... this depends on the type of album you are doing. For me it is all about the song. I’m there to make it the best presentation it can be and get the best performances out of the musicians. Usually I’m compensated fairly but sometimes I have felt like someone is doing me a favor to produce a project that I don't like. I do think that producers and engineers have a lot to do about it, but they can harm or help a record. I’ve known producers that go in and say we are making this record this way because that is what I do. I don't know if that really works. Maybe you get a record that sonically sounds great and has some cool bells and whistles on it, but in the end, does it make me care? I’ve gone into records needing to do almost everything to make it come out great and I’ve done records where I just make sure the band stays on track and been hands off and it comes out great. I mean hey, I’d love to be a world renown producer but looking back at what I have done and the projects and people I’ve been involved with, I feel happy and complete.

KJ: What does the near future look like for yourself?

CF: Interesting would be a good word.

KJ: Any final comments or shout outs to leave for the people reading?

CF: Timing, tuning, and tone.

Writers Note: I would like to thank Chris for taking time outside of work and doing this interview. Go to Chris’s web site to find out more about him and the work that he has done.

www.fudurich.net

Keith Joseph