John Cunningham in the Lecture:: John Cunningham used to go to NYU and he studied at Clive. He also has the best booming voice. You should do a podcast with that voice. Maybe one day. Or become a country singer.
Talking To Emily Warren About NYU:: So we have so much to talk about, but I do want to start with the beginning of you actually going to NYU. We've had Emily Warren's been up here. Emily said I didn't learn a thing except the people I met, and I had to get out of there quickly.
NYU Music Student Interview:: The most valuable thing for me was just the time, where really my primary focus was just to not suck as much as I did at the time. Being like a normal person and being yourself is probably the most important thing that I learned in that environment. But it's really hard to make a music school in a fairly corrupt institution like NYU.
How I Got My First Job After NYU:: After NYU, you interned at a publishing company called Prescription Songs. From there, you went on to work at Rock Nation and the Grammys. Your journey is a great example of what gets you to what you want.
When You Were Working As an Intern:: Did you see yourself having a career as a publisher, record company? Or were you thinking, oh, this is a smart way to get my music heard? It was kind of a combination of both. Never even told people I made music.
I Didn't Think My Songs Were That Good:: There was a meeting in the ANR meeting, which was a turning point. I definitely didn't think anything I was making was that good. And then when it sucks, it's really embarrassing. Because everyone's like, awkward. So I definitely hesitated from doing that.
Publishing Executives on JVs:: JVs stands for joint venture. A label will offer a producer a JV in a sense that's like, hey, here, you can have your own label. Also, it's a way for a label to kind of lock you up. It's really just about putting the numbers in front of people.
One Inmate Played Guitar While in Jail:: In Broward County, Florida, where he was, it wasn't that common to find people who played instruments and could play chords around him. He was really just looking for someone to help him do that. And I kind of became that person.
You met Noah Cyrus after finding his music online:: Tobias was the most excited I'd ever been in my life. The moment I found his music was already invigorating. To go from that to then being in the studio making music with him was really, really sick. It may come out one day.
A&R Manager's Drama:: The rapper talks about creating an environment where artists can be themselves. Having a day set up to be creative with a manager can be stressful and unproductive. Instead of chasing after the big name, he went with the music.
Sad Banjo:: Sad Banjo is the name of the rapper's new album. The song was inspired by a video of him playing chords on an acoustic guitar. The producer picked the title off of the song's title.
Freddie's Voice Memo:: I have a voice memo of me, like, the minute he hears it. I don't know if I would be making music today if it wasn't for that. It's the most useful thing, he says. The song is from Scissors album.
Banjo:: Banjo is a creation of a modern masterpiece. It follows all the rules of a great pop chorus. This song would not have happened if you didn't title it Banjo at the end of it.
No Rules:: The song was the first time I saw that you could have a song that's two minutes and what long. How do you get used to that as a producer? Max Martin: You don't need too many elements.
On Working With X on his Album:: The only guiding light anyone can ever trust is like, is this going to be big? Did this break down any walls of doubts and lack of belief in yourself? Totally. It really shows how important our creative relationship is between the right artist and the right producer.
The Making of 'Sad' With No Intervention:: Sad went straight to number one. The album is like his vision. It feels very authentic, and it feels very undiluted. It was wild but great that nobody interfered with it.
JV Record Deal and Splits:: John took a different type of deal. In a distribution deal, you own the lion's share of the thing. From a producer standpoint, I think it's a great way to do it, especially with new artists. I think more artists should do that.
In the Elevator With Lil Peep:: The producer met his best friend in August of 2017, and he died in June of 2018. He says things balance themselves out, for better or for worse. Being close to the music that hadn't come out was a way for you to still feel some form of connection.
In the Elevator With Ye:: Any song that we recorded that I have on my computer is either going to come out or not. It brings up a lot of really tumultuous, problematic situations. But I do hang my hat on a couple things that very, very proud to have been able to accomplish for him.
On The Estate of Dead Dog:: How do you feel about artists music being released after they pass? Nothing will ever compare to Dude. I don't think there's any artist alive that can even touch him. How do you even contemplate following that?
Working With Nas X Was... Horrible:: Working with Bro really ruined or spoiled a lot of the other people that I once kind of thought were exciting. What artist are you looking for? And how did you go on in your own musical career?
Vocal Lessons:: Do you play any instruments? Like when you say you play piano, are you like me where you can kind of play or shred? It's really interesting, like musically speaking, sonically speaking. Chords are in between minor and major. There's no chance to mess around.
Post-Part 8: Leonard Cohen:: All the songs came from a real place. He was just dealing with a lot. Making music was the only way for both him and I to not feel worthless, he said. His music really got him through tough times.
Pond Songs: Pillow Wheel and More:: I like Omnisphere because it has a shuffle button. There's this plugin called pitch wheel. Plugins are cool, but I don't know if I have any favorites like that.
Oh Geist:: I make all my drums in a thing called Geist. It's like basically an MPC, but in plugin format. Nobody uses it. I think me and James Blake are the only two people I know that use it. All right, use it while you can.
On Writing Songs With Just Your Phone:: All sounds have to go through a voice note. Most of the music I make is in a hotel room now. What I like about it is that it challenges the notion of there's a right way to do it. It also challenges this.

John Cunningham Mentor Session 2022

Insights from LAAMP's Mentor Session with John Cunningham

In a riveting LAAMP session, John Cunningham, acclaimed music producer, shared invaluable insights from his journey in the music industry. Starting with his education at NYU, he emphasized the significance of networking and the essence of staying true to oneself in music. He discussed the dynamics of artist-producer relationships, the importance of adapting to an artist’s vision, and offered a peek into his creative process of beat-making. Delving into industry challenges, Cunningham highlighted the complexities of music deals and the importance of artistic integrity. His advice to aspirants: Trust your instincts and commit to your unique artistic voice.

John Cunningham