Heavy Frequency: Dave, you started out as a musician. What made you take the leap to the production side of music?

Johnson: Paying for horrible recordings. I figured “I can do this at home!” I was lucky enough to spend my early years learning the ins and outs of a recording studio with Gary West and his son Wes. I enjoyed the process and I am someone that can be obsessive enough to spend 12 hours placing a microphone on a guitar cab, some folks can't do that, or rather wouldn't do that. I'm probably OCD. On the personal side I was on a path of destruction that I had to remove myself from. I got wrapped up in being Everybody's X. I was a huge douche bag who hurt people that I cared about. I had become a caricature of everything I railed against in my music. I had to break down my ego, quit the sex, drugs and rock and roll and deal with real life, which I had never done. I didn't want to be Everybody's X anymore.

HF: In your opinion what makes a good producer?

Johnson: Well, as I alluded to, I think an eye (ear?) for detail is important. More important is an ability to push people beyond their comfort zone. I can tell you that what you are doing bores me, or feels forced or fake. I will push you. I want people to think about what they are presenting. If the song is supposed to be pissed off, then I am going to piss you off. If it is supposed to be sad I will make you cry. What I won’t do is let you phone it in. If it isn't real I'm not interested. Getting the emotion to “tape” is a hell of a lot more important than any technical considerations. A complacent producer isn't doing you any favors; I'm not here to blow smoke up your ass.

HF: When and why did you start ALLCAPS recording?

Johnson: About three years ago I found myself without a band or any creative outlet. I had 50 grand in gear lying around and I had a bunch of friends who had terrible demos. It sounded like something to do. I started out doing the EX stuff at home, then I recorded A Certain Cure and Customgrind to get my chops up. Apologies to them, you learn by making mistakes! The icing on the cake was doing a song out at (a major regional studio) with Sicadis. We were all excited to be out there, dropped 12 hours and a grand on one song and it sounded like shit. We got one or two takes apiece, no consideration for tone or content. “That was good enough” is not a phrase you'll ever hear at ALLCAPS. It was apparent to me I could get a better product with the stuff I had at home.

HF: How do you feel that your services compare to other recording studios or production companies?

Johnson: I understand what you are trying to sound like and how to get you there. Other studios in town are focused on hip-hop or making tampon jingles, not metal. Metal isn't a necessary evil—here it is, what we do.

HF: Do you feel that you have a certain insight that other producers don’t have?

Johnson: I know this music, I live this music, and when I get the chance I perform this music. I was operating at a fairly high level in this scene for a long time; in fact don't count me out just yet. I think you have to enjoy the music you are producing to get a good product, and if I don't dig what you are doing, I will pass.

HF: What would you suggest to a band that is looking to record, but has never done it before?

Johnson: Details! Everything is under a microscope. It never ceases to amaze me when a band comes in and they don't even know how to play the song, or worse, haven't finished writing it. Everything matters in the studio, get your guitars intonated, buy new drumheads, and learn to tune your drums. Production-wise learn about pre-production, when the record light comes on is not the time to figure out what you are doing. Bass players, the kick is God; you are not a guitar player, pay attention to what the drummer is doing and lock in with him/her. Drummers, map out your tempo changes etc. Get comfortable with a click track. These are the details that separate the men from the boys. Musicians are supposed to be freethinkers, but the restraints they put on themselves is staggering. For God's sake, try something different. You don't have to be exactly like band x or band y. In fact it is the one thing that keeps you from being great. Don't be afraid to be great.

HF: What would you say to a person who wants to make a living as a musician?

Johnson: Love your music with all your heart, with all your soul and all your mind. You’d better, because most of our heroes are destitute, dead or flipping burgers somewhere. At least mine are. The love of your art should be the sole consideration in pursuing a music career; that way if you don't make a living off of it you are still succeeding. That being said, it's a job. Be the best at what you do. Be a big fish in a little pond, believe in yourself, never let up and the industry will find you.

HF: Which do you prefer: Making the music or producing the music?

Johnson: There's nothing in the world like sharing your music with an audience, nothing. I miss it.

HF: You could be deemed seasoned in the Kansas City music scene. Everyone keeps hearing the scene is dead. Is it dead? If so, who killed the scene?

Johnson: Bad bands, lazy bands and excuses for them. The scene is only dead if you suck, or can't be bothered to do the legwork. I've been hearing that the scene is dead for 15 years. Go ask The Leo Project or Red Line Chemistry or Vedera if the scene is dead. The same bands that insist the scene is dead are bands that refuse to flier or record a decent demo. It would be awesome if throngs of fans showed up to see your band that no one ever heard of, but it isn’t happening. You have to generate excitement, and if you aren't excited about your band, why should I be? People are reactionary. You want to be an awesome band? Tell them you are awesome, and have your friends tell them you are awesome. Perception is reality, what are you putting out there?

HF: What do you think makes or breaks a person as a musician? Could it be ego, confidence, ability or girlfriends?

Johnson: Confidence is huge. An audience can smell the fear on a performer and it is suicide. If you don't believe in yourself why should I? Ego will destroy you, so will girlfriends, you have to be able to balance or you have to be willing to burn out on an epic scale. Don't get too wrapped up in the rock star bullshit. The people whose music touches me the deepest can expose themselves to the point of danger, let you right into their souls. Be real or go home, it is important.

HF: What is the best experience that you have had in your industry so far?

Johnson: Ad-libbing in a breakdown in the middle of a song at the Hurricane, completely improvised and looking out at several people who were crying, people I didn't even know, they just felt it. That was what it was all about. I've played bigger shows and more “important” shows but that was the place I wanted to reach, and it was unbelievable, and I'll never forget it.

HF: Who are your musical heroes?

Johnson: People who aren't afraid to do exactly what they want regardless of genre or whatever their supposed demographic is. People who have pushed beyond their comfort level and committed to the risk. People who can make me feel what they were feeling when they wrote the song. I listen to just about everything, music is amazing, and it is religion without guilt, or fear or shame.

HF: Do you feel that life imitates are or art imitates life?

Johnson: I'm not sure, but the gray area where they intermingle is the only part that interests me.

HF: As a musician, what do you do when you experience burn out? What would you suggest to people who are experiencing burn out?

Johnson: Experience life, read a friggin’ book, listen to things you wouldn't normally, write something you'd never play in front of anyone, make yourself uncomfortable in a new skin, or put it away, for a minute, you aren't curing cancer after all.

HF: How do you define the word “success?”

Johnson: Still breathing and free after every dumb ass way I tried to numb myself. A little suffering does wonders for perspective.

HF: Any other words or comments? Share your wisdom with the folks.

Johnson: Two favorites: “Wisdom is the reward you get for a lifetime of listening when you would have preferred to talk,” and, “You can measure a man by the opposition it takes to discourage him.”