CARRTOONS: “My most successful records were made using a Scarlett interface before I could afford anything else”With seven albums in his pocket, and another on the way, producer and multi-instrumentalist Ben Carr knows how to groove. The New York-based producer has proven his talents by playing many of the instruments you hear throughout his CARRTOONS discography, merging his passion for Motown, jazz, soul, and hip-hop, while also displaying his admiration and virtuosity for bass guitar.

READ MORE: Vlossom: “I visualize the mix in 3D — textures, placements, and space inform how everything fits together spectrally”

Carr has received admiration for his ‘dreamy’ production style, with incredibly slick mixes that complement the array of musicians he collaborates with, from Mac Ayres to Reuben James and rap trio, The Lox.
In this edition of Studio Files, Carr takes us through his studio setup and all the gear that brought him the title as one of the most frequent faces on NPR’s Tiny Desk, as well as commercial work with Nike, PlayStation, Hulu, MAX, and Peacock.
Your discography is incredibly vast — what’s the biggest lesson you’ve learnt from these releases that you want to bring forward to a new album?
The biggest lesson I have learned is to get out of my own way. Once I managed to quiet my inner critic, all of these projects really just poured out of me.
Who are some of the jazz, funk and soul artists that have shaped you into the artist you are today? How do you channel those influences
Some of my favourite artists are D’angelo, Madlib, The Sylvers, Thundercat, and Kaytranada. I’ve gone through many phases of influence, and for many years my music sounded too similar to these folks to be truly special. Over time, their artistry seeped into my bones and helped guide me toward discovering my own sound.
Image: Press
You work with a lot of featured artists on your own work, as well as collaborating with artists on their own work such as Reuben James and Mac Ayres. How do you ensure that your signature sound shines through when giving the light to other people?
I’m not particularly focused on adding my signature sound. I trust that it will come out naturally and, instead, I focus on what’s right for the song. Each song often reveals what it needs, and I aim to be selfless enough to listen.
Tell us a bit about your studio
My studio is in my apartment in Beacon, NY. People often take the train from NYC to spend a day or even a week working here. It’s designed to make music very casually, and it’s not uncommon to go from watching a TV show to tracking vocals within minutes.
What’s your latest gear or plugin purchase?
The latest addition to my studio is the Warm Audio Tube EQ. It does the Pultec thing really well and is very worth it. It’s great for dialing in tones for vocals and bass, and has quickly become a studio staple.
Image: Press
What’s the best free plugin you own?
Softube’s Saturation Knob is arguably the best free plugin out there. I use it to quickly add colour to tracks during recording, and it often makes its way into the final mix.
Many bassists like to hone in on the natural tone and timbre of the bass rather than rely on pedals or post-production to shape the sound they want. Where do you sit on this spectrum?
I spent many years relying solely on my handstop to do all the work. I’m very glad I spent that time, but it’s very important to understand pre-amps and frequencies if you are going to get the proper bass sound for songs across genres. For example, Origin Effects pedals have been a game changer for creating mix-ready bass sounds in the studio.
Considering the style of much of your music, offering a unique take on R&B and jazz influences, how much do you rely on more traditional production techniques for those genres?
I’m always experimenting with production techniques and rarely rely on traditional studios or methods. Many of my records have been recorded in bedrooms or remotely. Whatever sounds best ultimately makes it onto the album.
How do you see your sound and studio evolving in the next two years?
On the newest album, Hologram Electronics Chroma Console has played a big part in shaping sounds and adding multi-effects during tracking. I’ve used it in nearly every session, and it consistently delivers magical analogue moments. The next phase for me is moving into a house that will double as my new studio. I’m excited to finally have all my gear accessible at all times and enough space to spread out and fully enjoy the setup.

View this post on Instagram

A post shared by CARRTOONS (@_carrtoons_)

Do you have a dream piece of gear?
One day, I’d love to have a proper Neve console in my studio. I’ve recently recorded a few projects on Neve consoles, and they’re truly the best — unreal clarity!
What’s a music production myth you think needs debunking?
I think people wait until they get the “right” gear to start, but the key is to just start. I made many of my most successful recordings on a Scarlett interface before I was able to afford anything else. I personally couldn’t wait to get an Apollo interface, but I didn’t let that stop me from creating.
Who gave you the biggest lesson in your career?
I credit Alan Hampton for encouraging me to get back to the feeling of making music in high school. Like many, I got caught up in the technicalities of music school, but he slowly guided me back to what inspired me in the first place. Most importantly, this made music fun again. I encourage everyone to always find the childish joy in what they do.
The post CARRTOONS: “My most successful records were made using a Scarlett interface before I could afford anything else” appeared first on MusicTech.