Graduating from Berklee College of Music in May 2017 with a major in Contemporary Writing and Production, Farrokh Shroff has charted an impressive career in the music industry. Throughout his journey, he has garnered critical acclaim and invaluable experience working with top-notch artists and studios. Awarded the Berklee Achievement Scholarship and maintaining a consistent place on the Dean’s List, Farrokh’s academic accomplishments were just the beginning. Since leaving Berklee, he has written and produced over a hundred songs and played various sessions as a multi-instrumentalist.
Starting off at Red Gate Recorders and Limitless Sky Records, Farrokh carved his niche, eventually landing his dream job as an assistant engineer at the illustrious Sunset Sound Recorders. The illustrious studio, once the birthplace of Disney film scores, has hosted iconic artists such as the Rolling Stones, The Doors, Van Halen, and Miley Cyrus. Farrokh’s illustrious work history and significant achievements make him a compelling figure in the music recording scene.
Hi Farrokh! Glad to have you with us today. To start, can you tell us about your experience working at Red Gate Recorders, Limitless Sky Records, and Sunset Sound Recorders?
Red Gate Recorders was the first time I worked in a professional recording studio. The owner of the studio had a very sink-or-swim approach to new hires. I was expected to learn the new gear and handle interpersonal relations on the job. I got my first taste of professional engineering and absolutely loved it. At Red Gate, I had the opportunity to work closely with A-list artists such as Lupe Fiasco, Devendra Banhart, and Fitz and the Tantrums.
When I moved to Limitless Sky, the focus shifted from music to film. I spent long hours working on dialogue and composing for TV, documentaries, and films, which are now available on Amazon Prime. Michel, the owner, and I collaborated on a short film called “Walk, Run, Cha Cha,” which received an Oscar nomination!
I have been working at Sunset Sound for a few short months; however, I can say without a doubt it is my dream job. The state-of-the-art vintage gear and historic studios are more conducive to creating amazing-sounding music than any other studios I have ever been to. The top-tier clientele that visit Sunset Sound make it possible for me to work with amazing artists such as rock legends Glenn Hughes and Joe Bonamassa. I also earned a mixing credit for musical pioneers Sigur Rós on their newest album “ATTA.”
How did you first get involved in the music industry, and what led you to pursue a career in music production and engineering?
As a high school student, I started playing guitar and immediately joined the school/college band. Competing in intercollegiate events gave me an understanding of the level of competition and showed me that I could make something of my guitar playing. I learned to record in order to have a library of my own original music. However, I never thought of it as a full-time job until I was admitted to Berklee College of Music. As one of the world’s leading music colleges believed in me, I decided to pursue music as a career. My interest and ability to record and capture high-fidelity sounds grew each day, eventually overtaking my passion for guitar playing.
Which artists have you worked with that you feel have pushed you to be a better producer and engineer?
All artists have a specific vision for their project, and I love the process of achieving their goals using the tools and technology available. However, one client stands out to me: Tichina Arnold, an award-winning actress (in shows like Martin, The Neighborhood, Little Shop of Horrors, Everybody Hates Chris, etc.), had a musical project we had been developing for a few years. It had some unique difficulties because the idea was to capture studio-level sound quality from a live performance for the cameras and audience. When we finally achieved this goal, it was incredibly rewarding for the band and myself. I learned a lot of tricks and tools from the experience that I will use in all recording environments.
How do you approach the production process with an artist, and what is your philosophy when it comes to bringing out the best in their music?
The first step is to perfect the raw performance. Today, we tend to edit and manipulate songs/audio extensively because the advancement of technology enables us to “fix” performance issues after the fact. The truth is, there is no better fix than to try again until you get the best possible take. This needs to be done in a way that does not put undesired pressure on the artist, as that will negatively affect their ability to play and/or sing. If that is taken care of, then it is my job to enhance the sound in a pleasing manner using the gear and technical aspects of the recording process.
You’ve worked on a number of film projects in addition to music. How does your approach to composing for film differ from your approach to producing music?
I have three mindsets for making music. First, serve the project. When composing for a film, I will not add a single note unless it supports the picture on screen. For example, if it is a peaceful scene, the music must not distract from the director’s goal of creating a calm environment. Second, serve the client. Sometimes I disagree with the client; however, the client is much more invested in the project than I am. I am just there to execute their vision. What I mean is, I will do exactly what the client wants, even if I disagree. This can be a film director or a musical artist. Third, serve myself. When I compose for my own projects, I am able to exercise my creativity, experimenting with harmonic ideas as well as sonic landscapes, all to please my own ears without thinking about how others will perceive it.
Can you walk us through your typical workflow when working on a new music project, from pre-production to final mix?
First, I listen to the songs and choose the best ones. Then, I find the right musicians or players for the genre. Next, I rehearse the band, make suggestions on arrangement and lyrics, and tighten up the performances. In the studio, I focus on choosing and shaping the sounds. We run takes until we get one that everybody is excited about. After that, we overdub any mistakes and layer the song with appropriate instruments and vocals. Finally, I create a balance and add the necessary effects to the tracks for the final mix.
You’ve also released music under the name F.N.S. How does your experience producing music for other artists inform your approach to your own music projects?
Other artists teach me what industry standards are for all the different genres. For example, when an artist asks me to make them sound like Dua Lipa, I have to listen to a lot of her music and understand what makes her tracks unique. I have to adjust my musical sensibilities to achieve this new sonic palette. Then, when I write my own music, I can adopt the aspects I like and leave out the things I don’t.
In your opinion, what sets a great producer apart from a good one, and how do you strive to be a great producer in your work?
Musical choices are unlimited, so all producers make different decisions throughout the production process. The most important thing to remember is that the client has to live with the song forever, so they need to be happy with the end result. The difference between good and great has more to do with the personal relationship you can create with the musicians and singers. This is because the better your relationship, the easier it is to communicate and come to a conclusion that enhances the song to be all it can be.
Farrokh Shroff’s dedication, diverse skill set, and passion for music make him an influential force in the recording industry. His journey from Berklee College of Music to the iconic studios of Sunset Sound Recorders showcases his extraordinary talent and relentless pursuit of excellence. As F.N.S, he continues to evolve as a producer, recording engineer, mix engineer, and composer. Keep an eye on Farrokh Shroff’s upcoming projects, and follow him on his social media channels to stay updated on his latest releases and collaborations.
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