For whatever reason, I tend to be somewhat curious about musicians whose names show up all over a studio project: from playing multiple instruments, to writing and composing a large percentage of the band’s songs, to getting involved with production. Do such musicians really have that much creativity pent up inside them? My interview with Gary showed me that the answer, in his case, is a big, fat "Yes!" And, as an added bonus, I learned that he cares a great deal about the progressive rock genre...which explains why his name is associated with quality work.

Steve: You mentioned once that you see yourself more as a producer. Define the job of producer, as you perform it.
Gary: The definition of music producer is quite broad and possibly different to many people. The bottom line, for me is 'to get' a project, or group of songs recorded properly regardless of what it takes; it's never the same thing twice, and even for me the job varies incredibly. I tend to work more with single songwriters, and my job has slowly evolved over many years from a studio session player and engineer...it has become a natural evolution in many respects. The job always starts with the song. Is the song worth recording? Does it have all the necessary parts? Is the style consistent and interesting? Does it make any sense? Do the lyrics make sense? Is there a 'point'? One of the first things I ask someone I am working with is: "What is this song about?" I look to see if they can tell me in ten words or less. Then we start looking at the lyrics to see if it matches what they thought it did. Sometimes just having an outside opinion looking in is a big help. If you are writing a song yourself, you know what you mean to say, and thus it appears you have said it. I never try to write any parts myself 'till it's necessary. I will push the artist or group to do so---sometimes on the spot---sometimes I will give them a week or two. This is why pre-production is so important. It makes so much more sense to do this from the very beginning. It can be quite costly, in time and money, to realize the chorus doesn't sum up the way it should, after you recorded the drums and guitars.

After I feel confident the song is at its fullest potential it becomes a question of proper tempos, keys for the vocalist---many times finding a more suitable key helps the song a lot...adding bridges, expending chords, considering modulations---these are also considered at this time. Many times I will demo the entire song myself on a workstation and we will do a rough vocal just to see how it all feels. This whole process, before anything is really recorded, is one of the most important times in the production.

On to the recording: Everything is sounds. Drum sounds: this can be easy or quite involved, depending on the song and its feel. Should it have a 'live and bright' sound? Are we layering tons of things such as a Def Leppard song? This insight must be considered early on as well. A live sound is easy, check levels, move some mics around for the right sounds, get a well-tuned drum set and good drummer who hits everything hard and you're in business.

If you're recording something that will ultimately span 60-100 tracks, then you must consider things such as "where will the snare fit in this wall of sounds?" The real answer comes at the mix of course, but some insight to this helps make the mix an easier job.

I like to have the singer do a vocal track early on...a 'no pressure' vocal take. It helps to define the song when you can hear when not to step on the most important aspect of the song.

Sometime I will get a group of session players to cut the basic tracks with, or work within the group themselves, but most often things are recorded one at a time.

I like to leave every session with a rough mix of where we were at. It is a great perspective to have this tape four days later with a fresh mind and outlook to the songs.

The vocals are then next...close to last, but it's usually their third pass at it already. Sometime before this I will make them a tape of their 'scratch vocal' from early on in the recording, and give them notes on what will need to change, lyrically, melodically, and style wise--which notes are hard to control, to work on.

I get quite particular with vocals and have no problem spending some time in this area. It is the most important part of the song and should be done right, with emotion, and be in time and in pitch. I cannot bear an out-of-tune voice and do not want to put this burden on anyone else to have to hear it either---not if my name is going underneath it. It's easier today with pitch correction systems such as Auto-tune for Pro-tools, or even their new rack mount version, but I have spent a lot of time saying the word "again" in the past.

Not only should it be technically correct, it has to have that 'certain something' that is magical and inviting. Not everyone is a great vocalist, and sometimes you have to work with someone who really needs a lot of help, but what I tell them is, when its done, it's forever---lets make it worth it! During the vocal sessions I many times will modify a melody; let's say the verses are doing the same thing each time...well, maybe we will try varying the melody on the second verse, lines three and four...and maybe the last verse we will vary the feel, style, or emotion slightly.

Depending on the style, there can be some post-production things, last minute little pieces of ear candy that will come out in the long run of listens.

Again, it's just giving the song life, from start to finish doing whatever it takes to make it all worth it...and in the end, it is. I am very proud of the people who I have worked with, and it's fun, albeit sometimes hard work, to have them reach their potential. They just need a push---a BIG push---but it works out once they gained my trust and know that the song is as important (or more) to me as it is to them.

Steve: I suspect that being a musician and a writer yourself grants you a certain understanding, or, perhaps, a certain level of empathy, towards the fragile artist's ego.
Gary: Oh definitely. I myself wouldn't have much faith in a producer that didn't have a good understanding of what they were producing---first and foremost by playing or being a composer. In my case it also helps quite a bit that I play a few different instruments, so I can appreciate where the drummer is coming from, or what the bass play expects, etc.

"I love spontaneity a great, great deal but my best stuff comes out when I work, and rework things again and again into submission."

Steve: How do you decide which bands you want to produce?
Gary: Well, the money decides it...and my time. I usually do not take on too many outside projects when I am making a Shadow Gallery record, but in between, especially since we are touring, I keep making records. It's what I do.

Steve: Describe how you might apply---or alter---your aforementioned producing methods during the recording of the first-ever Gary Wehrkamp solo album.
Gary: Oh That's hard to say. I might be better off with someone producing me, or co-producing. I know I could get the job done myself, but it's that outside perspective that can shed so much light on something. I Guess it really depends on what kind of record it will be. We will have to wait to see.

Steve: What effect does Shadow Gallery being primarily a studio band have on how the songs are arranged?
Gary: It allows us to work on songs when we are not together. At any point any one of us can go in and add parts, but usually there is structure beforehand on when and where the song is going. We concentrate on one thing at a time for master recordings, but for demoing, anything goes. It is a nice convenience owning a studio. I also have a small studio at my house too, as it is becoming even nicer for me. I plan to track a lot of the next record here.

Steve: How might the arrangements and/or the distribution of guitar and keyboard parts differ if Shadow Gallery played live gigs on a regular basis?
Gary: The plan is: not at all. We perform all the parts exactly like the record. It means a lot of switching back and forth, especially for me, but Chris and Carl both play keys at points in the live show as well. Sometimes it gets interesting, as I will play a piano part that Chris wrote while he is playing a part that I wrote, but that is because he has to play acoustic guitar and lead guitar with Brendt on that song, so that is why I will take the piano part. It was pretty crazy during rehearsals. It's too bad we are not out playing it right now, but...well, time to make another record. As far as what we would do to the arrangement of the songs---I don't know, they might develop and change to some extend over a period of time, but by design, the point has been to recreate the record to the letter.

Steve: I'm curious to find out how you'll approach the complex vocal arrangements in a live setting. Perhaps, the band has considered cloning Mike Baker...!
Gary: Mike's three twin brothers accompany us on tour and remain backstage with wireless microphones. No actually, we all sing. It's quite an undertaking, but we're all constantly singing, catching some of his over-laps. I feel funny even saying any of this because we are not even touring now.

Steve: In creating material for the new Shadow Gallery album, what kind of expectations do you guys have of yourselves to top "Tyranny?"
Gary: It is a little different this time. Our attitude has always been "How do we top the last one?!" But, I think at this point we are looking at something different---onto making a more simple record. It'll still be the classic Shadow Gallery style, but with a different, fresh attitude along with it. We are not looking at doing the same thing, but in some respects, you'll find it picking up where the last one left off.

Steve: I'm curious to know how you guys handle the expectations of your fans.
Gary: Well...we cannot worry too much. No matter what we do, some will like it, others will dislike it. We won't redo the same thing to please people. We will write and record whatever we happen to be composing, and if people like it, then great. I guess I do have a few minor reservations about expectations from people, as "Tyranny" was so involved, and the next one will be much simpler.

Steve: The "Tyranny" T-shirt I ordered from the Shadow Gallery web site came with a letter signed by you, which tells me that you're involved with the band's marketing effort. I'm seeing that trend with many of today's prog rock and prog metal bands: they keep as much of their business efforts within the band's ranks as they can. What's Shadow Gallery's reasoning for doing this?
Gary: I do not know. We received hundreds of letters to our fan club asking for shirts, and we never got around to doing it for many years. Finally I said, "Hell - I'll do it myself," with plans for someone else to take it over, but somehow I am still doing it. At least I can be assured that it gets done.

Steve: At last report, you put aside the violin you got for Christmas because it was too small for your hands. Those who are interested in your musical exploits eagerly await an update.
Gary: I wish I had one. I think I probably returned it for credit and have been waiting to buy a violin from Paul Chou---he's the guy who played on "Tyranny." In the mean time I have rediscovered the bass, or perhaps it has rediscovered me. I have been playing bass weekly with a band and duo in the Pocono nightclubs and bars. I really enjoy that---it's much easier to setup than a guitar and keyboard rig. I will get another violin---actually I was just thinking about that last night---but it's sometimes hard enough keeping my chops up on the instruments I already play. I despise mediocrity, and if my playing becomes that (sometimes it borders on it), then I need to step it up. It's actually been a funny cycle for me in that whenever it has been a while since I have regularly played something, jobs in that nature come my way: if my drumming has slowed, magically I get a call from someone who needs me for twelve weeks worth of drumming gigs; when my piano fingers start losing their way I get hit with many weddings and receptions, etc.; my keyboard playing needed work and I got asked to do a keyboard solo on the new Ayreon record. This time around it's bass. I still am playing everything all the time as it is part of my job in session playing and teaching, but these little unexpected side things keep me rounded. It is like God, or something, says "We can't let your technique fade here so do THIS!"

Steve: How does technology (id est: computer software) affect the way you compose?
Gary: It pisses me off a great deal and forces frustration in my music...hahaha. No, it has been a great tool and I have always been a fan of the 'latest thing' but last time around with Shadow Gallery and "Tyranny" we got to put everything to test, perhaps a little bit too much. It was great fun, but these days I am more in the frame of mind to do more composing and playing than editing on a computer.

"I despise mediocrity, and if my playing becomes that, then I need to step it up."

Steve: You've said before that you'll always continue to write music, whether for Shadow Gallery, for video game soundtracks, or for yourself. What's the most prevalent process with you: writing what just comes to you, or writing for a particular audience and/or genre?
Gary: Both. One becomes the other. I get a lot of ideas when I am in the shower and I am usually trying to dry off while recording a first pass at something...and it develops. I love spontaneity a great, great deal but my best stuff comes out when I work, and rework things again and again into submission. Then when there is something concrete, I may take the idea and push it intentionally into a particular direction. I might say: "This could be a good Shadow Gallery thing," or "I can use this for such and such a project"---sometimes the two cross, and I have created competition for myself on where to take the music. Other times it is completely inspiring to think "I need to write some music for, say, James Labrie," and I constantly envision him singing it, and imagine him adding his parts to it, and that focus leads to something quite specific, and it turns out very much as I first pictured it in my head. Either way, when you're inspired, it is so easy, and when you're uninspired it feels completely contrived and sterile. For every good song I have written, I have written three that are bad or uninteresting.

Steve: ...and, speaking of video game soundtracks...how has that been working for you lately?
Gary: It has been pushed aside a bit actually. I started working with a company, but they experienced delays, and thus so have I. I look forward to continuing doing that. I have written an enormous amount of music for a few different games that are awaiting publication. And, if some do not come to pass, then I will try to use parts of that music for something else.

Steve: What other musical outlets do you envision yourself undertaking that you haven't attempted already?
Gary: Everything. My obituary will read that I play 100 instruments, and have written and recorded 5,000 songs of every style. In the near future I want to get back to violin, and I want to play saxophone, but I can't risk getting sloppy on the instruments I already play, so I'll have to find a way to keep my technique going on everything. I am young---there's still time to figure it all out.

Steve: Here's a scenario I'd like to get your opinion on: if progressive rock, or one of its sub-genres like prog metal, was to somehow attain the "in" sound status, similar to what Alternative and Hip-Hop currently enjoy, how do you feel this would strengthen, or dilute, what you currently recognize as "progressive" music?
Gary: Well, It would strengthen my financial status, so I warmly welcome it. One of the downfalls in being in a band that plays a style of music that is not so widely received is the inability to sell a lot of records---and unfortunately that snowballs down---to having a big budget to make those records and promote them on a grand scale. I am sure you would see many bands trying to do that kind of music to cash in on its accessibility to make money, and I am sure you would see more labels pushing bands in that direction, which would probably result in a lot of interesting interpretations. We'd have to weed out the good from the bad. But, I do not think it's going to happen...especially here. This culture has evolved into corporate, commercial product, and the majority of people have come to buy what they are force fed to buy---a simple product with easy rememorable melodies (or no melody at all... even 'easier'!)---backed by tons of promotion, by the way of radio saturation or MTV exposure. It's about the numbers. Do you really think any major cares about how 'good' a band is, when compared to how much money they can generate? Prog rock answers that question in a brief, blunt fashion: it cannot compete on the level of a 3:00 simple two-part song...although, music continues to evolve in cycles, and it would be nice to see even a simpler prog movement return, such as Styx or Saga.

Steve: Now, it's free-form time. If there's anything you'd like to add, go for it.
Gary: OK. 6+3=9, 12+129=141. That's all I wish to add. And thank you to everyone who supports progressive rock. I have found that fans of this kind of music are 'real fans'...people who believe, support, and give the music all the attention it deserves. These kinds of fans do not jump on the bandwagon so quickly, only to move on to what MTV dictates next. The downside of being in a band like Shadow Gallery is that it is hard for us to reach one million people - but we get the support, dedication and loyalty from one fan that would take 100 fans of pop music to equal---and that's pretty darn great.

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