Multi-Instrumentalist producer

Q: What are you working on at the moment?

A: I’m working on a few really exciting projects at the moment though completing the build of Knockwood has been my main focus.

Q: Can you share one music production tip?

A: Don’t focus on creating the ‘perfect’ recording focus on capturing a feeling.

Q: What do you bring to a song?

A: I don’t like to sit back and just hit record I very much like to get involved so I feel that by using my knowledge of classic and contemporary recorded music I can often help create the push and pull dynamic that makes so much music so good.

Q: What's your typical work process?

A: My work process differs depending on the project. If starting from scratch working on a song that someone has written based around a guitar or piano chord progression. I would start by creating a guide track that includes the chords, a scratch vocal take and a simple drum machine or metronome to keep time. I would then build the track around this first capturing the ‘skeleton’ of the track before moving onto overdubs. I like to set aside time to experiment and to create a sound unique to each project.

Q: Tell us about your studio setup.

A: Depending on the project I work in different studios though I work mostly from Knockwood studios, the studio I built with my friend and collaborator Duncan Jones. I use pro-tools running on a desktop mac as well as a Tascam 38 8-Track 1/2” tape machine. My workflow is very much analog based so I record everything through either my Universal Audio 6176 or my Toft ATB-08 analog console. This is an 8 track console which is based on the design of the Trident consoles. I have a few pieces of analog outboard gear which I have selected for their distinct sound. These include a UAS 6176, Warm Audio WA76 (1176 style) FET compressor, a Warm Audio WA2A (LA-2A style) Opto Compressor and a Thermionic Culture, Vulture Stereo Tube saturator, a GBS spring reverb and a Melos DE-1 Analog Delay. I like to use guitar pedals as creative mixing tools and have them linked to my pro-tools I/O to do this. A few of my favourite pedals include the JHS Colour Box V2, the Demedash T-120 Videotape echo and a variety of Boss pitch shift/modulation pedals. I use plugins as well including ones by fabfilter, valhalla and soundtoys.

Q: What's your strongest skill?

A: I feel I have a a good ear for creating a balance of classic and new experimental sounds. I like to treat all sound as potential music, sounds such a feedback and spill have the potential to send a track in a completely new direction. I also think that I have a strong ear for melody. I also have a good perspective of a song as a whole which helps me to make the right suggestions when working on an arrangement.

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I have worked on a lot of amazing projects as an assistant engineer but I’m also very proud of my own solo album that I’m working on at the moment.

Q: What's your 'promise' to your clients?

A: I don’t rush or use a one size fits all approach to recording. I’ll do what I can to make the music unique and stand out amongst its contemporaries and I’ll be honest rather than rush through takes.

Q: What do you like most about your job?

A: Being creative and helping people realise the music they imagined.

Q: What questions do customers most commonly ask you? What's your answer?

A: ‘Can I have a cup of tea please?’, ‘Yes’

Q: What's the biggest misconception about what you do?

A: That I would just set up mics and hit record* I like songs to move and the studio is an instrument itself, the engineering and production has such a large role in capturing a good song. *though with certain projects where a band are super well rehearsed this can actually work very well.

Q: What questions do you ask prospective clients?

A: Firstly for a demo to see if I like the song, I like to discuss what I think would make it sound better and see if they agree. I like to get 2-3 reference tracks so I know what direction to head in with the engineering. I also like to know if the artist has funding or is covering the costs themselves, I’m not into music to make stacks of cash so I operate on a sliding scale pricing system for my work. I also like to meet the artist before we begin for a coffee or dinner and discuss in person what we aim to achieve.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Speak to them first, different producers suit different projects. I wouldn’t want to work on something that I’m not the right producer for.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Tascam Portastudio 244, Elektron Model Samples, Fender Jazzmaster, mellotron & SM57

Q: What was your career path? How long have you been doing this?

A: I have been studying sound production since leaving school. I recently completed my Ba(hons). I have been working in music the whole time and for the past year I have been working as an assistant engineer in a variety of professional studios.

Q: How would you describe your style?

A: It’s difficult to say since the way I work changes with each project but I aim to make something that sounds interesting rather than just ‘good’.

Q: Which artist would you like to work with and why?

A: I would love to record an album of stripped back songs by Brian D’Addario from the lemon twigs. His songwriting is very sweet & melodic and is often the highlight of a Lemon Twigs album for me.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Chris McCrory is a very talented producer/mixer who has a lot of experience working with a great variety of artists. His ear for ‘feeling’ in a performance is spectacular.

Q: Analog or digital and why?

A: I like to use both. I love analog and will try to use as much analog equipment as possible in a session as I believe this is where a lot of the vibe comes from. Every piece of kit is completely unique and adds it’s own character to the recording, it also responds in a more human way sonically than digital. Using analog kit especially tape is very instrument like itself. I love the versatility and non linearities of digital though, it allows me to create sounds that I simply couldn’t on tape. So a combination of both with the ratio depending on each project.

Q: What type of music do you usually work on?

A: I wouldn’t define my production style as being within one genre but my favourite things to produce are cinematic-pop songs and indie folk. Though anything that sounds a bit weird will also have my attention.

Q: What other musicians or music production professionals inspire you?

A: I grew up mostly listening to records from the late 1940s to the 1970’s. Artists like the Beach Boys and Beatles have been massive influences on me as I have learned. Modern producers who have taken these influences and then worked them into something new are a massive influence on me. Such as; Jack Antanoff (St Vincent, Lana Del Rey, Lorde), Jonathon Rado (Weyes Blood, Foxygen, The lemon Twigs) and Jonathon Wilson (Father John Misty, Angel Olsen).

Q: Describe the most common type of work you do for your clients.

A: I’ve mostly been working as an (recording) engineer for the last few years. Many of the people I have worked with have been self-producing their work and needed some help with the technical side. As well as this I’ve been working as a producer helping to shape and bring artists music to life. I have also been working as an assistant to a couple of producers but primarily Christopher McCrory.