behind the scenes in the land of recording studios and record producers

I was feeling peckish the other day, so I popped into my local chippy to grab a bite to eat.

Hornsey Road is a long slice of nowhere between Islington and Crouch End, two of North London’s more fashionable enclaves.  In recent years, the area has become what is known in estate agent speak as ‘upwardly mobile’, in other words a home for young professionals wanting a prestigious postcode beyond their modest means.  As a result, the traditional rows of run down shops are peppered with a smattering of glitzy frontages as café latte outlets and delicatessens spring up amongst the Greasy Spoons.

I was disappointed but not surprised to find the take-away under new management.  A shiny new menu hung behind the counter.  Gone were Cod and Chips, Baked Beans and Mushy Peas and in their place was a range of delicacies I’d never heard of and couldn’t afford. Except… lurking at the bottom of the list was something that would fill my empty tummy nicely. What’s more, it cost less than a tenner.

‘Let me have a cheese and onion pasty, please.’

‘An excellent choice if I may say so.’ The proprietor was smartly dressed – pin-striped apron and a silly boater hat. ‘And what kind of cheese would you prefer?’

‘Eh? Er…well, I want a cheese and onion pasty. So, whatever cheese comes with it.’

He broke into a condescending smile. ‘Our pasties are handmade on the premises.  We pride ourselves on the variety of fillings.  Our chef is quite a cheese aficionado.  We offer lots of choice.’

‘OK, so what are the options?’

In a scene reminiscent of Monty Python, he reeled off a list.  ‘Well, you can have Appledore or Brie, Caerphilly, Cheddar, Cheshire, Chevington, Coverday, Double Gloucester, Dorstone, Farleigh Wallop, Harlech, Hereford Hop, Ilchester, Lancashire, Red Leicester…’

‘I’ll have Cheddar.’

‘And would that be Farmhouse or regular?  Mild, medium, strong, extra strong or…?’

I glanced at my watch.  This was ridiculous.  ‘Look, just give me a bog standard, common or garden cheese and onion pasty.  With whatever cheese you recommend.’

‘Coming up…’  The shopkeeper removed something from his racks and started to wrap it in a sheet of virginal white paper.  Whatever happened to recycled newspapers?  I reflected ruefully.  The only time I read The Mirror or The Sun was when I chomped my way through fish and chips.  But… ‘Just a moment.  What’s that?’

‘It’s your cordon bleu Cheddar cheese and onion pasty, of course.’

‘No it’s not.’  I prodded the take-away suspiciously.  ‘It’s a lump of cheese wrapped in a slice of bread with a pickled onion.’

‘Ah, but what cheese.  It’s blended with blueberries and spiced with turmeric.’  He cleared his throat nervously.  ‘I will admit, though, that chef has a bit of a blind spot when it comes to food.  He’s obsessed with cheese, you see.  He seems to believe that as long as he has fifty flavours of cheese on the menu, nothing else matters.’

A suspicious bell rang at the back of my head. ‘ This chef of yours…he wouldn’t also be a recording engineer, would he?’

‘How did you guess?’  The shopkeeper’s chest puffed with pride.  ‘Unfortunately, he doesn’t have much success, but you should see his collection of mic preamps.  Dozens, he’s got – scores.’

‘Fifty?’

‘How did you know?’

‘Just a hunch. Including Blueberry spiced with turmeric, no doubt.’

‘Why yes. Great big meters, it has, and lots of flashing leds.  The red ones tell you when it sounds OK and the blue ones let you know it’s working properly. He hasn’t worked out what the yellow ones are for yet.  The writing underneath says something in German.’

‘So he has fifty preamps. And lots of mics, I assume.’

‘No. Just one. A Chinese copy of a U87.’

‘What does he record onto?’

‘Oh, anything that comes to hand. Cassette, maybe, or hard disc.’

‘Who does he record?’

‘Largely his own stuff.  Well, all his own stuff actually.  Clients get pissed off that he spends all day experimenting with different mic pres. He’s never happy with the sound he gets.’

I leant against the counter and crossed my arms. ‘Let me give you a tip.  As a longstanding local resident, I can assure you that folks round here aren’t that fussed what ingredients you use as long as the food tastes good.  I’ve been eating pasties all my life and never bothered to ask what kind of cheese they contained.  It’s the result that counts.  Mic preamps are much the same.  There are good ones and bad ones. I don’t particularly care what flavour mic pre an engineer uses as long as it’s up to the job and he knows how to use it.

In many ways, preamps are like cheese.  They should be an invisible ingredient, designed to capture the nuances of a performance and allow the listener to hear what’s happening.  Most great records were made using whatever preamps were in the console.  It was the musicians, the room, the mics, the performance and the skill of the engineer that made the tracks sound great.  So might I respectfully suggest that your chef looks for a new gig in a cheese shop, or maybe selling fancy mic preamps to confused wannabe pop stars?’  I pushed my snack away. My appetite had gone. ‘Please throw this pile of crap in the bin. And while you’re at it, chuck that stupid hat away.’

Progress, eh? One step sideways and two steps back.

 

Eccentric

 

Follow Eccentric every week here on the RP/Blog

 
Mike Skinner of The Streets talks on video about producing, writing, composing and making records at his private recording studio in London

WATCH MIKE SKINNER IN OUR VIDEO INTERVIEW BY CLICKING HERE

Mike Skinner is not only an innovating musician with major chart success, he’s also a true gear head.  We met up with Mike at his amazing private recording studio in London to find out about his recording processes and learn how he has gone from just an ‘in-the-box’ producer / performer to working with mixing consoles, mastering and hoarding loads of other lovely gear.

We think that you will be equally impressed at Mike’s studio and equipment when you watch this video but he is far more than a gear head, he has a unique and fresh perspective, the role of producer for him is to be involved with production at every stage, from writing to the mastering, he is the modern Mike Oldfield – I hope he doesn’t object to that!  Anyway, we think that fans of Mike’s, students and producers will equally enjoy his video which is in Quick Time 7 (or above) format and you will need a fast connection to watch.

This video is copyright, please don’t copy and re-upload to other sites, feel free to link to this page!

Special thanks to Mike for sparing so much time to record this feature.

 
music producer dave eringa video interview at a music recording studio

CLICK HERE TO WATCH DAVE ERINGA’s VIDEO FEATURES

Way up in North Wales, George Shilling tracked ace producer Dave Eringa at Bryn Derwen Studios and fired the questions that ranged from serious to ‘curved ball’…. We hope that you enjoy this video as much as we enjoyed meeting Dave, a true great guy and bound to be ‘mega producer’ one day!  So, who is Dave Eringa? That’s what we were at Bryn Derwen to find out. Dave is one of the names that we hear mentioned all the time but for some reason hadn’t met him so we were relieved to find that he is one of the most entertaining and talented producers that we’ve yet found.
For all of the biog blurb visit his website but you most likely know that he’s produced loads of the Manic Street Preachers work but maybe his work with Kylie Minogue is less familiar… Watch the video and in 20 minutes you’ll know loads more about the producer that we tip to be ‘mega’ in the near future!

Quick Time 7 or above is needed to view so visit Apple to download the latest drivers.

Special thanks to all at Bryn Derwen Studios, George Shilling and Dave for his time. A special mention must go to Greg Haver too.

Please let us know what you thought of the video in the comments box below.

 
Recording engineer Guy Massey at RAK Recording Studios

CLICK HERE TO WATCH GUY MASSEY IN OUR EXCLUSIVE VIDEO INTERVIEW

We are delighted to feature ace recording engineer Guy Massey in a video interview with Nigel Jopson shot during a break from recording the Coral at London’s RAK Studios.

This video is in Quick Time format and requires a decently fast broadband connection to view.

Guy Massey did his apprenticeship at one of the most prestigious studios in the world – Abbey Road – and is one of the most sought after recording engineers around. Guy Massey combines time engineering for producers like Dave Eringa, Steve Osborne, Mike Hedges and Gil Norton on projects ranging from MANIC STREET PREACHERS to BRENDAN BENSON, SPIRITUALIZED and IN CASE OF FIRE with recording directly with bands on his own.

Recent recording credits in his own right include THE CORAL, STEPHEN FRETWELL, THE BEES, DIVINE COMEDY and DAVID VINER. Production credits also include tracks on JAMES DEAN BRADFIELD’s “The Great Western” LP and DIVINE COMEDY’s “Victory For The Comic Muse”.

Guy is represented by 140dB

THE GUY MASSEY PHOTO GALLERY

Special thanks to Guy for sparing his time, to Trish and everyone at RAK Studios and Nigel Jopson.

© RecordProduction.com 2010/2011. All rights reserved.

 
Top mixing engineer and record producer Phil Harding behind the SSL mixing console at Strongroom Studios London

Mix engineer and record producer Phil Harding at Strongroom Recording Studios

Phil Harding. Photo by Mike Banks

PWL – From The Factory Floor

(Expanded Edition)

Phil Harding

To the modern pop world, Stock, Aitken and Waterman have taken on something of a lengendary status in recent years. The PWL label and studios produced so many hits in the 1980s that their name became synonymous with success, and that they created the template so expertly worked today by their protégée Simon Cowell.

From Elton Johns tea boy to successful record producer, Phil Harding’s career spans over 30 years, ranging from recording The Clash in the 70s  to producing hit singles for East 17 and Boyzone in the 90s. Phil played a key role at PWL Studios , Pete Waterman’s vision for a British Motown, alongside the legendary Stock, Aitken and Waterman production team, who’s Hit Factory productions and mixes sold over 30 million untis around the world via a surprisingly diverse CV of artists.

Refreshing and affectionately frank, From The Factory Floor tells the inside story of one of the most successful and fast-paced music studios of all time. His pivotal role provides a uniquely broad perspective, extending from the top of the organization, missing many classic SAW hits, down to the bottom, training up and coming engineers and so on, as well as involvement in the creative, business bottom, training up-and-coming engineers and so on, as well as involvement in the creative, business (and diplomatic!) aspects of being a critically-acclaimed producer in his own right and developing a profile and client base under the manangement of Pete Waterman.

After a sold-out limited release in 2009, the book has undergone extensive development  into this Expanded Edition, and contains a wealth of new material. Hightlights include Phil’s behind the scenes journey through the eventful rise (and fall) of PWL, commentary on the working styles and sounds covered during PWL’s history, detailed recollections of specific, classic PWL releases, in-depth interviews on working with some of the most significant artists of the time, a comprehensive guide to the south from recently rediscovered home video footage, Phil’s complete discography-comprehensive guide to his many hundreds of releases, a full review of Phil and his fellow producers Ian Curnow’s extensive personal archives and master tapes (including, for the first time, details on many PWL projects that remain unreleased and previously forgotten), and a new Harding/Curnow interview, looking back on their time working for PWL.

The book also takes in the technicalities of studio work, including a detailed case study of the mixing of a No.1 single in the form of Kylie’s  Hand On Your Heart, and information on the cutting edge  technology and techniques used in making the studio a world leader. This along with the inclusion of many previously-unseen photographs, makes PWL From The Factory Floor Expanded Edition a must-read for 80s, club, dance, and pop devotees, contemporary music followers, studio technicians and those with any interest in the extreme highs and lows that only pop can provide.

Phil is an in-demand writer, producer, mix engineer, guest speaker and lecturer. He speaks and lectures at Universties and Colleges around the UK , often with Pete Waterman and is currently Vice Chairman of the Music Producers Guild and Chairman of the Joint Audio and Media Education Service

The book is available now, published by Cherry Red.

 
recording engineer and record producer doug trantow video interview at a recording studio

CLICK HERE TO WATCH DOUG TRANTOW ‘s VIDEO INTERVIEW

Doug Trantow kindly gave up an hour at the amazing LA Sound Gallery Studios to talk about his career. Doug’s worked on a very diverse range of projects including:

Nine Inch Nails, Korn, Sugar Ray, Tracy Chapman, Hanson, Nanci Griffith, Hootie and the Blowfish, Linkin Park, Limp Bizkit and he has been also working with film and TV soundtracks including CSI Miami. You don’t get a credit list like that without good reason and we were delighted to spend an hour chatting about how Doug got started right through to his latest projects.

We hope that you enjoy this feature and get in contact with Doug to meet up and work with him on your next project!

Special thanks to Doug for his time, everyone at LA Sound Gallery Studios and to Johnny Jaskot of Babblefish.com for the lighting, sound and much more!

Doug has a website so probably best to contact him that way.

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