Q: You grew up playing instruments and being in bands. How did you fall into making records and making a career out of it?
A: I had always been involved in the NJ metal and hardcore music scene in one form or another, whether it was playing in bands, trying to start a record label, booking shows, etc., but had never really thought of a music career, it was just a hobby I was obviously passionate about. While in college, I was taking music electives and interning at a radio promotion company for fun, which happened to share the same building with a record producer named Machine. My internship had run its course and Machine was looking for a new assistant, so the stars aligned and I wound up getting that gig and went in to work at a recording studio completely unexperienced. From there I really never looked back, and just dove head on into the world of audio production.

Q: As you mentioned, you began your career under the tutelage of producer/engineer/mixer Machine. Since then you have started your own shop and gone solo for quite some time. What would you say were the biggest takeaways from this early era?
A: The first-hand experience of watching records being made is unparalleled to any other form of education in this field. There’s just endless tips, tricks, and methodologies you sponge up and then translate into your own process. The real takeaway is learning not just “how things work” but “why it’s cool.”

Q: Since, you have made records back to back with literally the who’s who of the scene. Looking at your discography, some years you’ve been involved in making upwards of ten records. Seeing as you always strive to reinvent yourself and evolve your sound, how do you cope with this massive workload while still always making sure each record has its own identity?
A: I typically produce about 10-12 records a year with another 10-20 outside mixes on top of that, so learning how to multitask became very critical. Having a great staff of engineers and assistants also really help us push things forward at the studio. Trying to exercise, eating healthy, prioritizing sleep and maintaining some kind of daily schedule to complete tasks all factor in to the ability to fire on all cylinders when the workload is intense.

Q: Out of the all the roles a music project covers on your end of things – producing, engineering, mixing, mastering – is there one you prefer over the other?
A: I really enjoy the early stages of pre-production, when the songs initially start to take shape. It’s very rewarding to work with a great band and find ways to enhance what’s special about them. Over the years, engineering undoubtedly has a tendency to get monotonous, but that initial stage always remains exciting. I also really enjoy sound design, whether in the tracking or mixing stages. It’s the never ending quest to achieve something new and exciting that keeps me interested in this profession.

Q: You’re often involved in every step of making a record. Songs, sound and overall approach is usually something very dear to a lot of bands. How do you deal with situations when wills and visions collide?
A: Fortunately for me, I haven’t really been in many difficult situations like that where I’m in conflict with the band. I think I’ve done a good job of aligning myself with like-minded people who can easily check their egos at the door and just let the best idea win. When situations like this occasionally arise, I try to just remember that everyone has the same goal in mind, to create the best record possible, and we always find a solution or compromise that solves the problem.

Q: How would you describe your personal sound? What is the most obvious “Will Putney″ identifying factor of a production (if any)?
A:Honestly I have no idea, I try to design records with a unique approach that is always tailored for the aesthetic of the band I’m working with. What I would hope is that listeners hear something a little different than what they’re used to with each record. But I do commonly live in the zone of raw approaches to modern production, where I try to keep the organics of the band intact while living in competitively hi-fi sonics.

Q: Assuming the music is great, what would you say is the most pivotal part of a production?
A:I think good performances make or break a record. When you get great takes it solves a lot of other problems, and even an objectively “bad” production can still have the magic it needs for songs to translate.

Q: In a mix, where do you usually start: the drums, guitars, vocals or something else?
A:It’s a little of everything at once. I typically like to find a great balance between all the instruments before the fine tuning starts – you can do a lot with volume before you start to prevent a mix from being overworked.

Q: Is there any instrument you generally struggle with more than any other in a mix?
A:This will always change from record to record, but there’s always those tricky spots with the low-end, balancing your bass guitar, dialing in the right amount of guitars for the wall of sound without the harshness, etc.

Q: Do you have any mix “trick″ you generally fall back on?
A:If anything I’d say my routing and analog setup for mixes is one of my only real “template” style starting points. I’ve acquired specific gear I like for certain instruments over the years I’ll generally start a mix with, and I’m pretty comfortable working efficiently with that starting point setup now.

Q: If you produced a record but couldn’t mix it yourself – who would be your first pick for the gig?
A:There are a ton of great mixers out there nowadays. I’ve always been a huge Eric Valentine fan, would love to see what that pairing turns up. Always loved Kurt Ballou’s approach to aggressive music, he’s definitely a peer I respect and would love to work together with one day. Josh Wilbur is great for the modern hard rock/metal mix. We could do this all day, haha!

Q: As for the sounds you recorded for this library, what do you hope users take away from them and how do you see yourself using them in your work?
A:It’s taken me years and years to work up to the methods and process we used to capture the drums in this library. The ability to have all of my drum sounds a fewmouse clicks away is something I never thought I’d have access to. It’s going to be a ton of fun using these samples on productions, particularly the ability to control the room mics is going to really be enjoyable. It’s definitely a tool I would have killed for as a producer earlier in life, so I hope it inspires people to take these sounds and enhance their own visions. There’s a little something for everyone in this, so I’m looking forward to hearing some awesome records!