Behind the Board: Cameron Webb (84 Days) Walks Us Through Being a Record Producer

While it may seem like every band or musical project starts off with a grand plan, most, like 84 Days, do not. The brainchild of Randy Bradbury, bassist for the legendary punk band Pennywise, 84 Days was originally meant to be just a personal songwriting project. Bradbury just felt compelled to write some songs for himself one day, and the ball got rolling. For about a year, he sat in a studio, harnessing and corralling ideas that would just come to him. It happened to be a highly productive creative period in which Bradbury opened his mind to new ideas.

After writing a bunch of songs, Bradbury requested an external opinion from longtime Pennywise collaborator and producer Cameron Webb to see what he thought. Bradbury felt that he could get an honest opinion from Webb. Webb was overwhelmed by what he heard and almost immediately urged Bradbury to turn these songs into a record. Webb became more than just a producer, but a full collaborator in the creative process. Needing to fill out what was now becoming a band, they reached out to No Doubt drummer Adrian Young to gauge his interest. Young jumped right in, and soon the three of them were in Webb’s Maple Sound Studios in Santa Ana, California, recording an album.

The finished product, the self-titled 84 Days, was released on November 7th via Double Helix Records. Cameron Webb joins us today for a Behind the Board interview to discuss working in the studio. He shares with us his thoughts and insights into producing music and working in a recording studio.

Which recording myth annoys you the most?

Cameron Webb: “That you can fix poorly recorded drums by just putting a sample on them. Work harder and smarter when you’re doing the initial recording, and spend the time. Make sure you’re prepared ahead of time and set up so the artist is always ten steps behind you.”

What do you do when you’re stuck creatively in the studio?

“Go home and sleep on it, and come back fresh the next day.”

84 Days, photo by Johnny B

How much of producing music is technical skill vs. intuition?

“It’s all about experience; no one is born with it. Get into the studio with as many people as you can. Visit as many sessions that other people are running. You will learn what to do and not to do. Intuition comes from thousands of hours of being in the studio. Watching a couple of YouTube videos and listening to someone else’s views starts the learning process, but putting into practice over and over again will make you a better producer. And remember, just because you put a mic in front of someone doesn’t make you a producer or an engineer.”

What’s the biggest argument you’ve had in the studio, and what was it about?

“Always remember you work for the artist, and in the end, the artist should always have the final say in their songs. Now, with that said, I personally get into a lot of discussions about what I think is right and wrong for an artist. A lot of people hire me for my opinion and experience. If you were a fly on the wall in one of my Motörhead sessions, you might think we are fighting twelve hours a day. Yes, Lemmy and I would raise our voices and present our best scenarios for a song or a sound on a record. But at the end of the day, we would compromise and come the best solution as a team.”

Cameron Webb with award, photo by courtesy Cameron Webb

Cameron Webb x cobra, photo by courtesy Cameron Webb

Name a trend in music production that you wish would disappear.

“Well, that’s interesting. I would say I wish everyone would stop putting a shotgun snare sample with tons of reverb on every kind of genre. It worked great for Mötley Crüe, but not every band should sound like the late ’80s. Does a country song really need a shotgun snare sound? It’s cheap, lazy production, music needs to sound different, to fit our different moods. Mötley Crüe, you rock that snare, and Dr. Feelgood is one of the best-sounding recordings, but other bands find your own way.”

Which genre do you think is the hardest to produce and why?

“Punk records that are fast are the hardest records to make. The goal of a big production is to have all the sounds be big. The faster the song, the smaller the needs to be to not cloud the production. Let’s say you have a 12-oz pint glass and you can put three big marbles into the glass, each marble represents an instrument… Well, each marble is big, hence the instruments are big. Now put 40 marbles in that same glass; each marble is tiny, hence you have 40 small instruments. Less is better!”

Cameron Webb x Randy Bradbury, photo by courtesy Cameron Webb

What’s your favourite room to record drums in, and why?

“Well, I have a few favourites, but it depends on the sound and the band I’m working with. One of my favourite rooms that was in Orange County for ten years, but is sadly gone, was a studio I built at the Hurley (clothing Brand) headquarters. These rooms just sounded alive when you set up the mics, even before any compression. I used it for Weezer, POD, The Almost, and Ron Artis records. I miss it so much.

“Another great studio, 606, was a very big room with an amazing console and tons of history, but my favourite part of that studio is all the personnel who work there. They are the greatest group of people in any studio I have ever been in. They never say no, and they help you create a great experience. We recorded Motörhead drums on one record, The Bugaloos theme song, and Bayside.

“NRG studio B also has an incredible console, live room and mics. The rooms are just greasy in the best ways and have very comfortable decorations for creating.

“Last one is Capitol Records studio B. Crazy history and great console and live room; we did Social Distortion and Silverstein there.”

Cameron Webb x Lemmy, photo by courtesy Cameron Webb

How do you feel about artificial intelligence in music production?

“Music is becoming less and less respected. Just because you can do something fast and cheap doesn’t necessarily make it good. If you have the bean counters standing over your shoulder while you make music, you will struggle to break down barriers. Sometimes we have to make mistakes to create something special. Remember, not every song should be in a pharmaceutical commercial. AI will keep getting better, but I would rather support a human who has flaws than a computer.”

What’s your biggest pet peeve when working with new artists?

“None! I look forward to trying to learn something from someone who has very little experience. They might stumble on something that I never thought of. Their ideas come from dreams of what could be and not the stubbornness of past experiences.”

Which album do you consider perfectly produced?

“The perfect song is ‘Sweet Home Alabama’ by Lynyrd Skynyrd. When I listen to that sound, I only hear the song; I can’t pick apart the production. Most other songs I can pick apart. Tones are great.”

Name a studio ritual you swear by.

“I have one orange light bulb that has to be turned on at the studio to create music. I call it the ‘Music Light,’ and if it’s not on, then I can’t record or mix.”

How important is studio ambiance, and how do you create yours?

“It’s the most important part of the whole experience. I want to feel comfortable so those around me feel like they can spill their souls to a record. We need to enjoy our surroundings, and for me, I also need to control my surroundings. Controlled chaos is necessary for chaos to be captured.”

Cameron Webb, photo by courtesy Cameron Webb

What’s the most unusual place you’ve recorded audio?

“Always record in a controlled location with a control room so you can hear what is coming out of the speakers. I can’t comprehend how someone records sitting in the same room with the artist. You never hear what is being captured until it is too late.”

Do expensive cables and accessories really make a difference?

“Some people put too much into having the best accessories and thinking they matter. The reality of recording is the personal relationships and communication between the producer and the artist. Yeah, you need good equipment like good mics and compressors, but sometimes the most messed-up and cheap guitar makes the most inspiring sounds. And remember, just because something is expensive doesn’t mean it’s good. It’s really on your ears to choose what is good and bad.”

What’s your strategy for dealing with artist anxiety during recording sessions?

“This happens every day. First, find a way to comfort the artist. Watch them, talk to them, and see where their insecurities are coming from. Then be careful not to bring up those problem topics. Also show them that you’re on their side, be honest with them, never lie – it ruins relationships. Then show them you’re a good person and have their best interests in mind. Show them fairness within each member of the band, let them all have a voice.”

Finally, what’s the absolute golden rule of music production in your book?

“If you don’t love it, do something else.”