Beyond the Studio: Aaron Holthus on What Artists Actually Need When Recording in Brooklyn
When artists search for a producer or engineer in Brooklyn, the results can feel like a wall of sponsored studio listings. But according to Aaron Holthus, a musician and engineer whose work spans production, recording, and lessons, the most important decisions often happen before anyone steps into a studio. In this interview, he shares why the usual advice about finding help can fall short, what artists tend to overlook, and how a focus on the music itself can save a project.
When the Usual Advice Doesn't Fit
Holthus points out that artists in Brooklyn and NYC often chase the most prestigious producer they can afford—or whoever has the best studio space available. But that approach can lead to compromises. "Many of the artists I know can only afford to offer points or credits to their producer, which means they're taking whatever they can get (if they can get any producer to agree to that!)." Instead, he advises seeking someone who understands the artist's vision and aligns with their taste, and who will give them the time and attention they deserve. "Producer skill or clout a third consideration at best," he says.
He recalls a recent project with singer-songwriter Chloe Brisson, a Berklee friend who came to re-record vocals on two songs. She had originally recorded live with her band and was happy with the instrumental, but felt her vocals didn't meet her current standards. "Chloe is a well trained, experienced singer and had not seen a need for a producer specifically for vocals, but because she trusted me as both a musician and engineer, she agreed to give me a lot of input on her performance and even songwriting." The sessions proved valuable, and Brisson realized a vocal producer was the missing piece. "When she asked how I should be credited and I told her 'vocal producer', she wasn't even aware that could be its own specialty!" The first of the two songs, "No Savior," is available on her website.
The Questions Search Results Leave Out
When artists search for recording help, Holthus notes they are likely to be inundated by sponsored results from recording studios. "I don't know many individual producers or engineers who advertise, but recording studios do," he says. For an artist unsure of what they need, a Google search might lead them to ask "which recording studio should I choose?" rather than more fundamental questions like "do I need a full service recording studio?" or "which type of expert do I need right now for the next step of my project?"
More often than not, Holthus believes artists just need someone who can look at their project holistically and tell them what's missing, what to do next, and who to seek out for help. "Because I work across different aspects of the industry, I don't feel pressure to funnel artists into being my personal client or booking studio time," he explains. "I know that if I give excellent guidance to an artist and gain their trust, they'll call me when I'm needed, whether as a session player, live performer, producer, editor, engineer, MD, or anything between!"
The Step Artists Skip Too Often
According to Holthus, the biggest mistake artists make is neglecting pre-production—songwriting, arranging, rehearsal, practice, re-writing, demos. He shares a saying: "The best master is a good mix. The best mix is a good recording. The best recording is a good performance. The best performance is a good song." As a musician and engineer, he is not shy about saying that music is by far the more important aspect of recording. "There is nothing I can do as an engineer to make a poor song, performance, or player sound good. I can generate the most pristine, well edited, well mixed recording of a bad song, and it will still be bad. Conversely, it's nearly impossible for me to ruin an excellent song performed well." He points to Hudson Freeman's demo recording of "If You Know Me" as an example.
Holthus understands that artists often think they handle the music and then go to an engineer for the technical side. "The problem is that once you have something recorded, no one wants to tell you that you should re-record, so issues with your song or performance go unaddressed." He encourages every artist to seek feedback from someone they trust—a friend, fellow artist, band member, producer, or family—well before recording anything except a demo. "Be open to musical suggestions like changing a chord, a rhythm, the form of your song, lyrics. Consider hiring or consulting other songwriters, arrangers, and musicians. Spend more time on your demo with a trusted producer before bringing a band into the studio." He adds that bringing someone who knows what you want and isn't afraid to be honest into the studio helps ensure you get it right. "All the investment you make up front will pay off in the final product."
He is quick to note that this doesn't mean shelling out for professional help at every stage. "I genuinely think it's okay to record at a budget studio and have a friend produce or even mix to save money, IF you truly have a great song/voice/musicians to work with."
For artists navigating the Brooklyn recording scene, Holthus's advice is clear: prioritize the music, seek honest feedback early, and choose collaborators who understand your vision over prestige. More about his work can be found at aaronholthusmusic.com.