Adair Daufembach did everything to follow in the career path of his father, a lawyer, after he was approved to study law at the Federal University of Santa Catarina in the south of Brazil. But what began as a joke to record his own music turned into a rapidly rising career as a music producer, marking his influence on the new generation of Brazilian metal and evolving into working in the international sphere.
At 16 years of age, Daufembach started experimenting with home recording. Using a basic cassette tape recorder, he improvised to record a base rhythm guitar track. Then he’d record a lead part while playing along with the initial track. The result, as if made on two channels, was just a racket of noise, but sounded like magic to him.
Adair, who is a self-taught guitarist, founded the band “Eclipse” in 1998, with whom he would record his first CD. The feeling and atmosphere of being in a studio for the first time would long resonate for the future producer. The next gig, a year later, was joining the group, Soul Hunter, as vocalist and guitarist. The band produced a homemade demo tape, where Adair would get hands on contact with recording technology for the first time. Despite not knowing the mixing equipment, he was engaged in the process, influencing the tone quality and arrangements.
In 2000, Soul Hunter got a deal to record in Florianopolis, under command of the producer Alexei Leao. This connection permitted Adair to familiarize himself with the tools necessary to start recording on a more professional level.
2003 was the year that marked the start of Daufembach’s professional recording career in his home state of Santa Catarina, in the city of Criciuma, where he had decided to pursue the other side of music and built a very modest studio of his own. His first recording client was the hardcore band, Agony. The CD he helped them record had a strong impact locally and was recorded with just an on board audio interface Duron 800 Mhz computer and a Behringer B1 microphone.
Between 2003 and 2006, Adair, building his foundation as a producer, gained experience and maturity producing various rock, metal and punk bands like Vizinhos da Gloria, No Direction, Onix 8, Leopoldo & Valeria, No Way, Forest of Demons, Umseteuns, Methodic and Enforcer.
The next step of his advancing career came from partnering with the young band, Ponto Nulo No Ceu, who needed a producer for their first EP. In 2008, the band blew up the metalcore scene with their song “Ciclo Interminavel”, taking Adair to a new level of work as a producer.
2008 marked the start of another beneficial partnership, with the promotion of a workshop with Aquiles Priester, former Angra drummer. Aside from working together on the drummer’s solo project, Aquiles invited Adair to help with recording the band Hevilan in São Paulo. Recording problems early in the process led to Adair taking the reigns on the complete production of the album.
Later, Aquiles was vying for a spot in guitarist, Vinnie Moore’s band, and recorded a track with Adair called “The Maze”, on which the producer played guitar. The result was a success and Aquiles Priester was invited to join Moore’s group, which led to the famed guitarist doing some workshops in Brazil.
The friendship with the drummer would result in a coproduction of the Gaucho band, Holiness, for the CD, “Beneath the Surface”, mastered at a country home in Rio Grande do Sul. It was an opportunity for Adair to introduce the “mobile unit” of Studio Daufembach, which consisted of a kind of recording kit that could be disassembled and relocated to any place, where it could be used in rudimentary conditions.
Producing the band, Hangar, was a fundamental evolution for the Brazilian producer. The album was mixed by Tommy Newton, the German producer who had worked on one of Helloween’s first albums, “Keeper of the Seven Keys”. This allowed Adair to travel to Germany with Aquiles to follow the process and learn specialized recording techniques from Newton.
Aquiles also called upon Adair to record with the quintet, Hangar, on the album “Infallible” and in 2010 they continued working together on a drum instruction video of Aquiles’ called “The Infallible Reason of my Freak Drumming”, winning recognition as a top five production within their genre by “Modern Drummer” magazine.
2010 marked a significant growth in Daufembach’s work. Singles from the band, Ponto Nulo no Céu, “Sombra do Ego” and “Clarão”, the latter having over 500,000 Youtube views, brought recognition to his name and ultimately helped convince him to move to São Paulo to better keep up with demand.
While the producer was still based out of Santa Catarina though, Ponto Nulo no Ceu released their first album, “Brilho Cego”, and then would begin working with a young São Paulo metal band named Project46, recording the guitars in his studio.
Project46’s debut album was finalized in São Paulo, recording the vocals for “Doa a Quem Doer” in Adair’s studio in the capital city. The music producer was instrumental in convincing the band to take a gamble with recording their lyrics in Portuguese, as opposed to English, which helped make Project46 the premier name in the Brazilian metalcore scene.
All the while, Adair becoming known in his own right, being sought after to record some of the biggest names in the new generation of metal bands in Brazil, such as Command6, Trayce, Against Tolerance, John Wayne, Savant Inc. and Pray for Mercy.
Also connected to the modern music scene, Adair worked with the band Huaska, known for their mix of metal and Bossa Nova. Eumir Deodato, known in the Brazilian Jazz world, produced and arranged several tracks of their CD, “Samba de Preto”, which also featured the participation of Elza Soares and was initially sold on Amazon in Japan under the Rock category for 2014.
At the start of 2012, the band John Wayne released the album “Tempestade” under the helm of Daufembach, who went on to produce Savant Inc’s EP, “Hibrido”, the same year.
In 2013, the pace of work rapidly accelerated for Adair, who also produced albums for the bands Savant Inc., Maieuttica and Semblant. That year, he started a series of workshops, bringing in people from all over Brazil for a dozen different classes, each with 15 people a piece.
Project46 returned to Adair’s studio in 2014 to record “Que Seja Feita A Nossa Vontade”, while Ponto Nulo No Ceu reappeared after a period of inactivity with two successful singles, produced by Daufembach.
The partnership with Aquiles Priester was reignited in 2014 with the drummer’s solo album, as well as a gig with Tony MacAlpine. Aquiles did a tour with the guitarist and then showed Adair the album they did together. In December of 2014, MacAlpine needed a professional to mix the audio to a video being produced for EMG Guitar’s online channel “EMGTV” and called upon the Brazilian producer to help out.
Daufembach was then invited to Los Angeles for his first producing gig outside of Brazil, where he mixed MacAlpine’s album “Concrete Gardens” in January of 2015.
Adair has a certain expertise in his work, seeking out analog sounds, as well as taking advantage of technological conveniences in the recording process, while searching for more organic influences for his work. The producer is also known for his “hard line”, but without overdoing it. Not just giving the utmost attention to the arrangements and tonal qualities, but demanding the maximum from every song, allowing him to take the best of each in the recording process.