The Vaccines’ Pete Robertson Talks Bedroom Producing, Genres & More
“It's absolutely possible to make incredible music from your bedroom, it's been done many, many times.”
Photo: DIY Magazine
Formed in 2010, The Vaccines rapidly became one of the nation’s favourite indie rock bands. With hits such as ‘If You Wanna’ and ‘Post Break-Up Sex’ filling our radios and TV screens, the band sold out shows nationally whilst becoming heartthrobs amongst the teenage generation. Fast forward to six years later and drummer Pete has left the band and stepped down as a Vaccine. Curating a soon successful producing job that has seen him work on Beabadoobee and Nasty Cherry helping them achieve their success,
On the 10 year Anniversary of The Vaccines Debut LP, ‘What Did you Expect from The Vaccines?’ Pete gives us his industry tip and tricks as well as his advice on becoming a producer.
Is there a set approach you have to producing a record or is each experience different?
Pete: There are a couple of processes that I go through with every record I work on but in pretty much every way I approach each project as totally its own thing. With every record I make, the first step is always the same and that's to try and work out the best way I can contribute to it. To do that I have to try and get a good understanding of what the artist or band is trying to achieve, what motivates them, what their tastes are, what parts of their taste and experience got them to this point and made them want to do what they're trying to do, and what sort of relationship they want to have with their audience.
Once I feel like I've got a good grip on that then I have to decide what it is that needs to happen in order to make what they want to happen happen. And in every case, the answer to that question is completely different.
Do you feel ‘bedroom producing’ has the potential to create the same results as professional?
Pete: I think the environment you are in affects the music you make hugely so no I don't think you'd get the same results from your bedroom as you would from being in a studio, but I absolutely reject the idea that one will uniformly produce "better" results than the other.
Some records really benefit from being made in a private and safe space like a bedroom, others have probably been let down by it. Every project is different and has different needs. Another important thing to realise is that every record ever made has been made in spite of certain limitations. There is no such thing as a limitless recording environment, sacrifices and compromises [must] always be made and if you get it right you can make those limitations work in service of the record.
It's absolutely possible to make incredible music from your bedroom, it's been done many, many times
Do you have any albums you like that you know had cheap production behind it?
Pete: Absolutely - in fact, I think there are a ton of records that I think are iconic and brilliant because of the limitations of the recording processes involved... The Streets is great, Donuts is another famous example, Mellow Gold, Divide and Exit, Ramones... not all definitively "bedroom" recordings but certainly each made in less-than-optimal recording scenarios and, for me, all the better for it.
What advice would you give anyone who wanted to get into producing music?
Pete: Firstly, you need to see yourself as a producer. Then you need to work out what the idea of a 'great producer' means to you. Then you just need to act like one. Also, just work. A lot. I was once told that you're only a producer if you're producing records. Like it's all well and good saying you're a painter but if you're not painting any pictures, you're just not a painter, are you? And on the flip side, if you paint pictures, you are a painter.
I think a lot of people think there's some imaginary threshold of quality or, I don’t know, income or something that you need to cross in order to be able to say "I am a producer" but there isn't. If you produce records, then you're a record producer. Done. Even if they're sh*t.
What top three skills does one need to become a music producer?
Pete: Today I'd say empathy, imagination and tenacity. It'd probably be different if you asked me tomorrow.
What training did you have to become a producer? Were you self-taught, university educated, work your way up?
Pete: I studied music through to degree level which helped to a point, but I think the best training I had came from being in bands. Writing songs, arranging songs, playing them in front of an audience and recording them. I've been lucky enough to work as a musician with some of the best producers in the world - people like Dan Grech, Dave Fridmann, Rich Costey, John Hill, Ethan Johns... so I know what it's like to 'be produced' and I think being able to see the process from the artist's perspective really helps to get the best from the people I work with.
I think ultimately that's what every artist wants from a producer - to facilitate their very highest level of creativity and capture it on record. I also watched all those producers at work and basically stole all their tricks.
What is the best way for an artist to contact you about your production availability?
Pete: I have a contact email on my Instagram page. You can use that or DM me.
Are there any producers you look up to/take inspiration from?
Pete: More than I can count. I learn from everyone I work with or listen to, but I do look to the greats often. Rick Rubin (Slayer, Aerosmith) and Quincy Jones (Michael Jackson) particularly stick out at the moment.
What genre of music is your favourite to produce?
I just don't know if genre is even a thing anymore and if it isn't then frankly good f*cking riddance.
I look at intent much more than style. I particularly like artists who get a genre in their crosshairs and say "I'm going to do that. And whilst I'm at it, I'm going to destroy it."
How would you approach the sensitive task of discussing changes to an artist/band’s music?
Pete: It can be prickly at times, but I've come to realise if there are issues with a project that I haven't tried to resolve then I wouldn't be doing my job properly. In most cases there's a good understanding between everyone involved that the reason I'm there is to voice opinions and make suggestions about how I think the artist can get closer to where they want to be, so most times there's no problem at all.
Of course, there's times when I'll make a suggestion, we try it out and it turns out to be total garbage! But I guess the point is that pretty much everyone I work with is open and thoughtful about stuff like that. There has to be a good amount of trust though.
Words by Jasmine Hodge
@ObviouslyItsJaz