Wearing one too many hats does not limit Asi Friedman’s creativity. The multi-talented music producer gives us a glimpse behind the mixing board and shed’s light about his personal life in and out of the studio. With a new family, a steady 9-5 and on going studio projects, Asi has found the balance between necessity and passion. Check out what Asi had to say when asked about inspirations, creativity, working with artists and his roles as executive producer behind the Rhythm Native’s first studio album.
What is your name and what do you do?
My name is Asaf Friedman, but everyone calls me Asi. Along with the other things I do to survive, I play, write, and produce music.
What other producers, songwriters and/or artists do you see as your primary inspirations?
My musical inspiration began with the pop music of the 80′s; Michael Jackson, Prince, and just about anything else my older brother and sister were into at the time. I consider Quincy Jones my main influence as a producer. At age 7 or so, my Uncle Yossi, the one person who is primarily responsible for my fascination with sound, began to introduce me to a wider variety of music, and I was hooked. Some artists I draw inspiration from are Pink Floyd, Portishead, Bjork, Massive Attack, Nine Inch Nails, Rick Rubin, Lee Perry, and even an underground trance duo called Schpongle.. The list could go on forever.
You have a catalog of credits with Bambu, Kronic Plague, Rhythm Natives can you describe how those collaborations manifested and what it was like to work with them?
I met Bambu through my friend Kris who saw him perform at a local poetry night called Nommo. We recorded Boomshot for a
compilation which featured artists that performed there. Bambu and I worked well together and he didn’t have a steady place to record so we started work on “self untitled…”, and made Boomshot it’s first single. We went on to record both the Native Guns “Barrel Men” and Bambu’s “…I scream bars for the children…” together.
When I met Kronic Plague, he was in a group I was recording called the Boom Squad. Another member, Fhaize Roc, introduced us. KP’s flow is unique and works well with my production style. KP and I have released both “Legal Dope” and “The Legal Dope Mixtape” together and still record on a weekly basis.
While working on Bambu’s “…I scream bars for the children..” I met Kreative Thought of the Rhythm Natives, who had produced 2 songs for that album. He told me about his band and, after a while of saying I should, I finally made it to one of their rehearsals to check them out. I immediately felt that they had the potential to go far, and they committed themselves to working hard toward the goal of releasing an album. I really enjoy working with these guys, and appreciate that they put this album in my hands.
Is there an artist you want to work with that you have not yet had the opportunity to work with?
So many.. That list would rival the one from my first answer.. The ones that stand above the rest would be Tom Morello, Bjork, Esthero and Sade.
How important is it for a producer to listen to what’s being played on the radio?
I feel that it’s important for a producer to be well rounded, listening to and absorbing music of all styles. I’m often disappointed with the lack of variety I usually find when I turn on the radio, but I do believe it’s important to be aware of what is happening in popular music if you’re trying to make a living as a producer.
How did you learn how to work studio equipment and ultimately do what you do?
My first full-time job was at Guitar Center. In my interview, I was asked about my long-term goals. At the time I was intent on becoming a film composer. I started in the accessories department selling strings, guitar picks and microphones and became one of the top salesmen. When a spot opened up in the Keyboard/Recording department, my Manager wanted me to transfer. I was a bit intimidated since I knew NOTHING about the equipment I was going to be selling, but my manager convinced me when he said “You’re gonna need to know this stuff if you want to become a film composer”. I jumped in head first and six months later I was the assistant manager of the department and was designing studios for some of our most famous clientele… and the employee discount was great!
What is your typical studio work schedule?
I almost always find a way to get in twice a week. Having a family and a day job (or two) usually only allows me to get to the lab after 7 on weekdays and maybe a couple of weekend days per moth. I adjust my schedule according to the project I happen to be working on at the time, and what stage of completion it’s in.
What are you excited about now in music?
I like that technology has allowed more people to create and record music of good quality with less equipment. This does muddy the waters with more people trying to be a producer these days, but there are also more jewels to find if you do a little digging.
So how do you help guide a band/artist to a great record?
In my experience, every album comes together in it’s own way and each has it’s own speed bumps. It helps to communicate openly and often with the artist to keep things on track. My time management has also gotten better over the years, and now it often keeps me from having to stay up all night to make a deadline. I have sayings that help me stay focused on what’s important in making good music. I have a bunch of them, “Now is no time to settle” is my newest one.
What do you like to do for fun outside of working on music?
Playing with my 11 month old son is the best! I also enjoy working on and riding my motorcycle, playing pool, chess and backgammon.
When you get in your car, do you listen to the radio or listen to CD’s?
Most of the time I have whatever songs I’m working on in my CD player, on repeat. I easily listen to songs that I’m mixing more than 500 times before they’re released.
You play multiple instruments, what are they and what are you most comfortable with?
I’ve been playing guitar the longest, followed by bass, with which I obtained most of my formal training. Those are the two I’m most comfortable with. Later I picked up drums and keyboard, each one being my favorite instrument to play at different times in my life. Over time, I’ve also become familiar with other string, wind, brass, and percussion instruments.
Studio essentials, what do you have to have while working on music?
Because I prefer using live instruments, I find a good variety of microphones important. At least one large diaphragm condenser, and a stereo pair of small diaphragm condensers are a must. A prepackaged set of drum microphones is a nice addition.
Do you have advice for young people who want to become music producers?
Experiment and you will learn to get the most out of your equipment and your creativity.
photos by: Archi Prudencio
by exaktoh
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