8 Questions – Adam Selzer

contributor: Hoyt Emerson

Adam Selzer is a prolific engineer and co-owner of Type Foundry Studios as well as fronting the folk rock band Norfolk and Western. With a creme de la creme list of artists that have recorded at his studio, Adam talks to us about balancing business with art.

1. Can we start by explaining how Type Foundry Studios got started?

I started the studio back in 1998. I moved to Portland with the specific intent of starting a recording studio. I had discovered Tape Op not too long beforehand and when I moved to town I befriended Larry Crane (Jackpot Studios and Tape Op founder). I began helping him out with the magazine, mostly doing book keeping and whatnot, and all the while his studio started getting busier and busier so he sent some people my way and I was off the ground. It was a great way to start and it began to grow from there. Its in a larger location since the beginning and I now have 3 studio partners (Jason Powers, Jeremy Romagna & Dylan Magierek). I’d like to think its come a long ways.

2. Finding a studio that works for your artistic goals can be tricky. How does Type Foundry differentiate itself from other local studios?

Well, I haven’t worked in too many other studios around town but I think the biggest thing we have going for us is the room. We have good gear too but the space is very large warehouse which we divided into a few different rooms so there are options for room sizes which drastically affect the sound. We got lucky in finding this affordable space and we’re fortunate enough to be able to not charge too much because we try to keep our overhead down as much as possible. Its expensive recording a record so we do our best to make it affordable to as many people as we can.

3. Type Foundry has put out a number of wonderful records. With the advancement of home recording do you still feel that the band on a budget could benefit from working in a studio such as yours?

If not we’d be out of business! There are so many ways to make a record. Many of my favorite records were done in make-shift studios, bedrooms, basements, etc. But we have a space that can achieve other sounds that are much harder if not possible doing it the aforementioned way. Its just an option but enough people opt for it that we’re still in business. More and more people are doing part home part studio recording. For instance, its not uncommon for a band to come in and record basic tracks (drums, bass, maybe guitars) and take home the files, add lots of overdubs, than bring it back to the studio for mixing. Thats a good way to make the most of your money and have the luxury of time to try many ideas at home while you’re not paying by the hour. You might sacrifice a bit of fidelity by recording some things at home (or maybe not) but the trade-off of all that time can be invaluable. Again, just another option. I’ve done records many different ways. I definitely would not say I think one way is better than another.

4. What kind of media, in your opinion, should a band focus on using to get their music to it’s audience once it has it recorded?

This is something that is way out of my expertise!

5. Let’s talk about your band Norfolk and Western. Could we have a quick bio of your project?

Its a band that started about 10 years ago. Actually, it started with just me recording some songs. Then it turned into a band with various members rotating in and out. For the past few years the line-up has been pretty steady (Rachel Blumberg on drums, Dave Depper on bass) but we’re all very busy with other projects that we don’t play “full time”. By that I mean we may do a few tours here and there but we don’t play regularly. We take long breaks to pursue other musical endeavors.

6. Norfolk and Western tours nationally. Giving the economic climate do you feel that touring is still a viable tool for bands just starting out to use to increase their audience?

Thats a tough question. I’d say at first its best to get on a support tour for a well known band. Thats easier said than done. But again, this is not my area of expertise. The way bands attain a following is a complete mystery to me. It happens many different ways, but the reasons are always mystifying.

7. You are someone that juggles an artistic career as well as a business career. What challenges have you found when trying to balance the two?

Its just always seems to work out. Sometimes I feel like working a lot in the studio hinders my ability to create music but for the most part it just feels pretty natural. Working in the studio excessively definitely makes me less motivated to play and write but its hard to complain about recording bands for a living.

8. Finally, as someone who has made a career out of music, do you feel that the idea of a “Musical Career” is still a viable term or has the concept of a professional musician changed?

I don’t ever think of myself as having a career in music. I just do what I’m doing and at the end of the month I have enough money to pay my bills. I’m not getting rich or saving much money but its enough to feel comfortable. Someday that all might change and I’ll have to get another job and then maybe I’ll look back and say “I guess I did have a musical career” but for now it just seems like something I’m doing and at some point it will all change.