A Conversation with Jon Graber on Boundaries, Expertise, and Success in the Studio
In an industry obsessed with technical specifications and gear lists, it's easy to lose sight of the human elements that often determine success in audio production. I sat down with producer and engineer Jon Graber to explore his philosophy on navigating the complex landscape of modern audio production - from the myth of early specialization to the art of maintaining boundaries while staying open to collaboration.
On the Pressure to Specialize Early
Michael: There's often pressure for engineers to find their niche early. You have a different take on this?
Jon: I think it's important for engineers early in their career to define and refine their technique. Now within that there are certain techniques and types of processing or workflow that just don't make sense for some engineers. But a part of developing technique in the beginning is really so you can begin to garner a broader understanding of why you do something, not just how you do it. What is the intent? How does this serve the song?
Michael: This connects to what I've observed coaching engineers - the most adaptable professionals often have diverse backgrounds. How did you come to this perspective?
Jon: I grew up recording in a studio in Manhattan that didn't just service one genre of music. It was impressed upon me that while I didn't need to be an undying well of knowledge for a particular genre, it would behoove my career and usefulness if I developed a fair operational knowledge of each of those idioms. I do find that people who I am most creative around and that garner the best work for me are well-rounded, diverse minded individuals who turn me on to new things.
The Human Element: Being Good vs. Being Good to Work With
Michael: You make an interesting distinction between being good at what you do and being good to be around. Can you elaborate on that?
Jon: I think it is far more important to most artists, A&Rs, labels, and people you're going to be interfacing with that you are good to talk to, good to hang around, a good listener, and generally a good vibe. I can think of projects where I wasn't the best engineer in the running, but I fostered an environment where exploration and growth are encouraged. Artists want to jump in and grow too when they see that.
Michael: This reminds me of conversations I've had with clients about the balance between technical excellence and interpersonal skills. How do you navigate this balance?
Jon: Technical excellence and interpersonal skills bow to understanding the client's need and comfortability with something. If a vocalist performs best singing while holding an SM58, it might be strange to put them on a big, bulky microphone just because it's technically "better." The easiest way to balance these is to communicate and trust. Communicate what you're doing, hopefully they communicate what they're doing, and trust that you're both trying to get the same thing.
The Art of Sharing Knowledge
Michael: You're known for being generous with your knowledge. How do you approach sharing while maintaining professional boundaries?
Jon: If you hit me up on Instagram and ask for a template, I'll definitely send it to you. Or if you want screenshots of outboard gear or things I'm doing, time permitting, I'll generally try to oblige. But maintaining personal boundaries is also a lot of saying no when you need to - to unrealistic timelines, demands to work after hours, etc. Sticking up for yourself is huge.
Michael: This connects to something I often discuss with engineers - the balance between being helpful and protecting your expertise. Any thoughts on finding that sweet spot?
Jon: My expertise is me. I could share all the tools, and I do readily and freely. But no one comes to me because I have a particular piece of gear or fancy speakers. They come to me because of my taste, my tenacity for sound, and being uncompromising in what I'm getting out of the speakers. The expertise is what happens between my ears. And some people who I share stuff with will then share stuff with me that I don't know about, and I love not knowing!
Setting Boundaries While Staying Open
Michael: Let's talk about boundaries. How do you maintain them while staying collaborative?
Jon: I don't normally take writing sessions with a stranger off the bat. I'll suggest we get coffee first, see if we vibe. Then if it feels good, we'll talk about doing a session, and that's where I set my real professional boundaries - my hours, what I'm willing and not willing to do, what I bring to the table and what I lack. I try to be as full disclosure as possible.
Michael: This is such a crucial point for engineers at all levels. How has your approach to boundaries evolved over time?
Jon: I used to have none. I once drove overnight from Chicago to New York, dropped my wife off, then went straight to the studio to do an overnight shift. That's how bad I was at boundaries. But working in a boundary-less situation just leads to being abused, overworked, and bad at your job. When you get married or have a kid, you begin to learn that absolutely nothing matters except your partner and your kid. Everything else can wait.
The Client Relationship: Giving Them What They Want (Sometimes)
Michael: You mentioned the delicate balance of giving artists what they want versus what they need. How do you navigate this?
Jon: I like when an artist tells me why something needs to be a certain way, and then through working, we find that while that idea was the impetus, what we end up with is something very different that we all like more. The goal isn't to be right in terms of your personal opinion, it's to find what's right for the song, the artist, or the moment.
Michael: This is something I see engineers struggle with frequently. What signs do you look for when deciding whether to push back or accommodate?
Jon: If an artist is convinced of something that is substantial to the work, like how they sing best, I'll accommodate that. But when decision-making isn't determined by the work itself, but by perceived accolades or success the work can derive by being attached to something else, that's when I push back.
Looking Forward
Michael: What advice would you give to engineers trying to implement these principles in their own work?
Jon: I think it's not hard to be honest, open-minded, and willing in any and all aspects of your life. If you're honest and admit when you're wrong or right, open-minded and willing to see that there's another way or that someone knows better, and willing to see your part in things, especially in conflicts, you can practice these principles in all your affairs and be a consistent person in and out of the studio.
Conclusion
Our conversation with Jon reveals a crucial truth: success in audio production extends far beyond technical expertise. It's about building relationships, maintaining boundaries, and developing the wisdom to know when to hold firm and when to adapt. These skills aren't secondary to technical excellence - they're essential companions to it.
