Blog Archives

John Kenneth Muir discusses The X-Files

Author of The X-Files FAQ, John Kenneth Muir, has reviewed the first episode of the television show The X-Files! Read below to see what he had to say.


00124644After far too long an absence from television, Chris Carter’s The X-Files (1993-2002) returned to television on Monday night with an episode titled, cannily, “My Struggle.”

That title — not coincidentally, I presume — is also the translated-to-English title of Adolf Hitler’s 1925 literary autobiography, Mein Kampf.

That historical fact may prove the key to understanding better this new starting point for the series.

When we consider Hitler and his particular “struggle,” we think immediately of genocide, totalitarianism, and fascism.

We think of a man who destroyed both individual freedom, and the lives of millions of innocent people. That autobiography, written in a jail cell, laid out one man’s mad dream essentially, for Germany and the world.

Unfortunately, Hitler made much of that mad dream a reality before his death.

And if viewers and critics believe that this new X-Files series doesn’t address those very same issues, they aren’t paying close enough attention.

The title should cue them in.

Specifically, our old friends Fox Mulder (David Duchovny) and Dr. Dana Scully (Gillian Anderson) — now estranged — are informed of a terrifying conspiracy by an Internet celebrity and fear peddler: Tad O’Malley (Joel McHale). 

Think Alex Jones meets Glenn Beck, only better dressed.

O’Malley’s story of an “evil” conspiracy in “My Struggle” involves the invasion of America, illicit scientific experiments on American citizens, and the vast expansion of a totalitarian state. 

In other words, the tale concerns a 21st century threat to our freedom not entirely unlike the threat to Germany (and later the Allies) in the 1930s and 1940s.

I have often written of Carter’s powerful sense of anticipatory anxiety in relation to The X-Files, Millennium (1993-1996) and Harsh Realm (1999-2000). In the nineties, he feared that the Clinton Era of Peace and Prosperity couldn’t last. We were so distracted by the Economic Boom created by the Internet that many of us weren’t paying attention to the larger world.

And Carter was right, of course. The Age of Peace and Prosperity — the Roaring Nineties,if you will — came to a crashing end on 9/11/2001.

Read his review in its entirety here.


John Kenneth Muir was also interviewed by Geek Chic Elite. The interview is available below!

 

With twenty five reference books to his credit, author John Kenneth Muir’s latest release is called THE X-FILES FAQ, which explores the 1990’s series that aired on Fox for nine seasons. Recently, we had a chance to talk to John about the new book, the legacy of creator Chris Carter and what his thoughts were on the six part X-Files ‘event’ series.

Were you always interested in writing and how did you move into the world of literary critic?

Well, I began my career as a literary critic, I think it was when I was five years old. My parents had the knowledge or foresight to sit me down in front of a British science fiction series called Space: 1999 and the episode I watched was called ‘Dragon’s Domain’ and it was about the people in the year 1999 encountering this horrible tentacle monster that would suck people into its mouth and spit out steaming bones. I was five years old and this just sort of struck me, the idea of these people of the future, because then of course 1999 was the distance future as this was 1975, I thought the people of the distant future and all of their technology but they’re encountering a monster. It was like science fiction meets horror, high tech meets gothic, it just obsessed me and it started the next decade I guess, in the eighties, I read all of these things about shows that I love like The Outer Limits, Star Trek, Twilight Zone and no one had written a book about Space: 1999 and I thought one of these days I’m going to write a book about this show and the values it had as this sort of gothic show. So I went to college, I studied in film, I had a concentration of film studies and so I kind of learned the language of film through that and then I thought, but what if I could analyze Space: 1999 through film studies techniques and boom, I had my first book. By 1994 I guess I was twenty five, I had a contract for my first book about Space: 1999 using my film study background and I been doing it now for twenty years about other topics I love.

Read more here

5 Ways To Overcome Age Discrimination in the Music Business

Author of Business Basics for Musicians, Bobby Borg, has teamed up with Music Insider Magazine as a guest author on their page! You can’t avoid getting older, that’s what author Bobby Borg wants you to know, but there are some ways to deal with the age discrimination that may occur in the music business. Read below to see what more Bobby Borg had to say!


 

00139915Although age can be a sensitive subject for most musicians, you must accept that there’s a general prejudice against aging in the commercial music industry. Generally speaking, the industry views music as a youth-oriented business. While this might totally infuriate you, be sure that age discrimination can be overcome by reading these five tips. 

1. Understand the Rationale: The idea is that a musician’s life expectancy in the pop, rock, R&B, and rap genres parallels that of an athlete’s career span in the sports world. As you approach the age of thirty-five, your chances of succeeding have significantly diminished.

While this is somewhat paradoxical, since musicians’ skills tend only to improve with age and experience, understand that most larger record companies rely heavily on youth, vitality, and sex appeal to sell music. They also prefer signing younger acts that, if successful, can bring them a return on their initial investment for several years to come. Be clear that these companies are businesses just like any other, and bottom line profits comes first and foremost.

 

Read the entire article HERE.

 

Important things to do before shooting a music video!

Steve Gordon, author of The Future of the Music Business, gave a few tips on Digital Music News regarding the legal ins-and-outs of producing a music video. He also gives a brief history of music video followed by a survey of how successful artists have used and continue to use them to launch their careers. Click on the link below to read the entire article!


00123126Part I: History & Continuing Importance of Music Videos.

1. Before Music Videos

Audiovisual presentations of music have existed since the first motion pictures containing sound.  In fact, the first Hollywood “talkie,” released in 1927, was a musical featuring Al Jolson called “The Jazz Singer.”  Before the invention of the video cameras, there were many musical short films featuring the performance of single songs, such as Frank Sinatra’s patriotic “The House I Live In (That’s America To Me).”

These films were sometimes shown before main features at movie theatres.  In the 1960’s, artists like the Rolling Stones and the Beatles started to make short form films of individual songs to promote their albums.  The dawn of what we think of as music videos began in the 1970’s.  For example, in 1975, Queen commissioned the production of a video for their new single, “Bohemian Rhapsody,” to show on Top of the Pops, a popular British TV show showcasing the week’s top hit songs.   In the U.S., Video Concert Hall, launched on November 1, 1979, was the first nationwide video music program on American television, predating MTV by almost three years.

2.  MTV and the Birth of the Era of Music Videos on Television

In 1981, MTV launched by airing “Video Killed the Radio Star,” and this began an era of 24-hour-a-day music videos on television.  The founders of MTV, including Robert Pitman (current chairman and CEO of iHeartMedia, Inc. (formerly Clear Channel)), convinced record labels to produce more videos and to give them to MTV for free, just as they gave free records to radio stations.  The pitch was that the videos would promote the labels’ records and increase sales.  The only money MTV paid the labels was a relatively small fee to secure exclusive rights to play select videos for a limited period of time.

For instance, MTV paid Sony Music $4 million a year for such rights.  By the mid-1980s, MTV grew to play a central role in marketing pop and rock music.  Many important acts of this period, most notably Madonna, Aerosmith, The Who, Phil Collins, John Mellencamp, Phil Collins and Billy Idol, owe a great deal of their success to the seductive appeal of their videos.  After years of controversy regarding the lack of diversity among artists on the network, MTV aired Michael Jackson’s “Billie Jean,” “Thriller” and other videos, which helped Jackson become the best-selling pop artist of all time.

But by the late 90’s, MTV sharply decreased the number of videos it showed on its airways.  Former MTV president Van Toeffler explained: “Clearly, the novelty of just showing music videos has worn off.  It’s required us to reinvent ourselves to a contemporary audience.”  A decade later, MTV was playing an average of just three hours of music videos per day, preferring cartoons such Beavis and Butt-Head and, later, unscripted reality shows such as Jersey Shore.

MTV continued to play some music videos instead of relegating them exclusively to its sister channels (such as MTV Hits), but around this time, the channel began to air music videos only in the early morning hours and in Total Request Live or TRL, which aired the ten most requested music videos of the day, as voted by viewers via phone or online.  As a result of these programming changes, Justin Timberlake implored MTV to “play more damn videos!” while giving an acceptance speech at the 2007 Video Music Awards.  Despite the challenge from Timberlake, MTV continued to decrease its total rotation time for music videos in 2007 and shut down TRL in 2008.


Click here to read the article in its entirety!

Predictions for the music industry: Part 2

Bobby Borg, author of Business Basics for Musicians, is back for Part Two of predictions for the music industry! This time, they focus on artist branding, live performances, and new products that might evolve for musical artists. Check them out below and let us know what you think!


00139915Music isn’t going anywhere – we dance to it, graduate to it, and get married to it. But one thing is for sure, the music industry will continue to change and grow. As we head into the bold new musical landscape, indie musicians must keep their eyes on the future.

1. Shifting demographics mainstreamed (Dan Kimpel, Music Journalist)

In making predictions about the music industry in 2020, I envision that the topography of the music landscape will be much more inclusive of artists who are representative of the shifting population demographics.

I believe that Latin artists, communicating in English, Spanish, and “Spanglish,” will be mainstreamed, and that Asian-American singers, bands and producers will become major creative forces. Songwriters will continue to bond together into “writing camps” and will exert an ever-greater influence as shapers of talent and as arbiters and producers of content. Mixers and remixers will become more dominant, as Electronic Dance Music (EDM) continues to unite the globe through worldwide anthems.

What will never change is the power of motivated, forward-thinking creators to configure music to challenge, change, and inspire the lives of listeners.

2. A focus on exciting music – not the latest technical trends (Mike Gormley, LA Personal Management; former manager of the Bangles, Oingo Boingo, and Danny Elfman)

While the focus in the music business has been on the latest technological trends and delivery platforms, innovative, great music will always be the future and true savior of the industry, whether it be the year 2020 or 2025. When jazz arrived on the scene, it was controversial, exciting, and real – as was rock, rap, and EDM. It propelled the music industry forward and gave it life. But what’s next?

The year 2020 will be marked by a new direction in music that shakes up the world once again and puts the focus back on the art and the talented creators, and not just on technology. Those artists who create something unique will thrive.

3. Extended product lines and stronger brands (Fred Croshal, Croshal Entertainment Group, LLC)

In 2020, music will be consumed virtually everywhere – on platforms that are seen today and others that have not yet been envisioned.

To survive, musicians – more than ever – will have to embrace this technology, but they must also realize that music and the distribution and sales of it will only be a one part of the their revenue pie (and perhaps even the smallest piece).
 
Artists will have to extend far beyond just selling recordings (streams, downloads, CD, vinyl, or whatever new format is discovered), hitting the road, and selling merchandise. Artists will need to grow their product offerings into licensing, sponsorships, production, co-writing, acting, modeling, restaurant franchising, investing, directing, educating, and other new creative ventures unknown today in order to survive and thrive in the new music business.
 
Thus, in 2020, protecting the artist’s true vision, values, integrity, authenticity, and overall brand image is paramount. Those who understand marketing will grow brands stronger than ever – relating to target markets and engaging fans on a far more personal level than they are doing now.  

Long gone are the days of the “mass” broad stroke mentality and narrow mindedness in marketing artists. It’s a new world today and it will continue to evolve in 2020 and beyond. The marketing savvy artist who can grow with it all will thrive.


Read the whole thing over at DiscMakers!

 

Andy Babiuk speaks with Music Radar about “Beatles Gear”

Andy Babiuk, author of Beatles Gear – The Ultimate Edition, spoke with Music Radar about his book and how he came about certain instruments.


00333744The original Beatles Gear book was published back in 2001 and, over the past decade-and-a-half, it’s become the go-to bible for anyone with an interest in the extensive equipment the Fab Four dabbled with during their incredible albeit brief career.

The new expanded Ultimate Edition, which has recently hit the shops, provides fascinating new interviews, 650 new and previously unpublished photos and a slew of surprising recent gear-related discoveries that author Andy Babiuk has helped uncover.

One astounding addition to Beatles Gear is the inclusion of John Lennon’s original 1962 Gibson J-160E acoustic, which had been lost for over 50 years. This was the guitar that Lennon wrote many of The Beatles’ early hits on before it was stolen in December 1963 at the Astoria Cinema in Finsbury Park, London.

“This one happened last summer when a guy contacted me on the phone,” explains Andy, “I get a lot of people calling and emailing with stuff but 99% of the time, it’s nothing or just nonsense.

“Anyway, this guy said, ‘My friend’s got John Lennon’s J-160E’. So I was like, ‘Hey, right, okay… well, send me the picture’ and sure enough, he sends the picture and I’m like, ‘Wow, I’ve got to talk to this guy!’

“The grain looked similar. It belonged to some guy in San Diego who bought it for 175 bucks after he got out of Vietnam in ’69 or something. It was just his personal guitar ever since. When I examined it personally, the grain was an exact match: it was John Lennon’s J-160E.

“No-one knows how it made it out of England and made it to Southern California but that’s just one of the wacky stories that are in this book.” [NB. Since we chatted to Andy, the guitar sold for a staggering $2.4 million at auction.]


Read the entire article over Music Radar!

Predictions for the music industry: Part 1

Bobby Borg, author of Business Basics for Musicians, shares some insight on what the music business will be like in the future in this two-part interview at DiscMasters. No one really knows what the future holds and the music business and the technology surrounding it are constantly changing.  Here are Bobby’s thoughts. Check them out below!  (We’ll past Part 2 next week!)


00139915 What can we expect in the year 2020? Let’s see what a group of attorneys, music publishers, managers, and music industry entrepreneurs had to say about this. Enjoy.

1. Artists are more like tech start-ups and less like wandering minstrels (Greg Victoroff, Esq.)

In the brave new world of pop music in 2020, writers, musicians, vocalists and producers will be more similar to engineers and inventors, creating new apps and software. For those who innovate and monetize, there is vast potential. For musicians who aspire to just be record label “employees,” income from artist’s royalties alone will be insufficient to support a full-time career. To succeed in the world of digital music now and in 2020, musical artists need to think of themselves more like tech start-ups, and less like wandering minstrels.

2. Success that’s earned on your own: DIY style (Don Gorder, Chair and Founder, Music Business/Management Department, Berklee College of Music)

In 2020, as it is today, the marketplace will be overcrowded with music. There will still be the select superstar whose songs reach the masses through the efforts of a support team, but the vast majority of musicians will need to continue taking on a DIY approach to their careers to get seen and heard.

The good news is that technology will continue to advance and make doing it yourself even more possible than it is today. Successful do-it-yourselfers will continue to leverage the latest social media platforms and analytic tools to connect with their fans and fund their projects, partner with product and service companies for branding and advertising campaigns, license their music for film, television, games, ads, etc., leverage relationships with electronic media as part of their marketing strategy, and book and promote their tours and concerts – all with an ultimate goal of getting their music to the ears of the curators of the outlets for consumption, which will exist in business models that are still emerging.

Cutting through the clutter will continue to be a challenge, but great music combined with an entrepreneurial spirit and a lot of hard work will be the winning formula.

3. Affordable DIY services that capture new revenue streams (Tony van Veen, CEO, Disc Makers & CD Baby)

Many music industry trends over the last years have not been favorable toward artists and songwriters: we’ve gone from selling CDs for $10 to downloads for 99¢ to streams for under half a penny. While royalties in general will improve, it has been more difficult than ever for musicians to monetize their music.

As a consequence, independent artists and songwriters will continue to become more and more conscious of how to leverage their intellectual property into alternate revenue streams. In addition to the companies that already exist, you will see many new businesses offering affordable services to DIY artists to capture performance royalties, Internet royalties, mechanical royalties, YouTube royalties, sync licensing for film, TV, games, and commercials. Each of these incremental revenue streams may be small, but in the aggregate they will become a needle-moving part of the artist’s revenue mix.

 

Read the whole thing over at DiscMakers!

 

Stephen Jones speaks with Exquisite Terror!

Stephen Jones, author of The Art of Horror, spoke with Rich Wilson from Exquisite Terror about his inspiration for the book. Read the interview below and let us know your thoughts in the comments below!


00141141This new collection is beautifully put together by noted horror author Stephen Jones, and presents page after page of full colour art, from the earliest carvings of the Egyptians to the digital work of modern masters. As you’d expect, film and fiction are heavily represented, and the book is neatly split into sections — creatures, ghosts, psychopaths, etc. — with accompanying essays providing good reading material alongside countless posters and book covers. Often labelled as trash by the mainstream, The Art of Horror proves otherwise; this showcases superb work by immensely talented people, and richly brings your fears to life. As Jones states in his introduction: “Art will always be there to hold a mirror up to the universe and show us what is really out there…” This is a serious celebration of the genre, and a must-have for those who love things that go bump in the night.

We spoke to editor Jones about his inspiration for the book.

Where did the initial concept and idea for The Art of Horror come from?

Actually, this was one of those rare instances of a publisher contacting me. Elephant Book Company Ltd, a British packager of many classy coffee-table art books, approached me via a mutual colleague and asked if I was interested in writing a book about horror art. I initially turned them down as I was busy on a number of other projects and, having been involved with several art books before, I knew how much work it would involve.

However, they kept coming back, and I started to think that I didn’t want anybody else doing this book! So, in the end, we came up with a compromise where I would conceive and edit the book and we would get in other experts in their particular subjects to write the individual chapters. And that worked brilliantly — up to a point. In the end, it involved a lot more work for me than I had originally envisioned, but I had an incredible team backing me up and the more I got into it, the more fun I had doing it.

How important do you think these images have been in promoting horror literature and cinema in the past?

Oh, incredibly important. But the problem is that they are all over the place — in different countries, from different eras. That was the attraction to me, to bring together this rich vein of illustrative material relating to the horror genre into a single volume, so that people could see how it all fitted together, where the connections were being made.

Of course, even in a book of this size we barely scratched the surface. There is so much more that we could have included, but you have to work within certain commercial restrictions, and it was important to me that the cover price allowed it to be accessible to as wide an audience as possible. I’m very proud that we achieved that without sacrificing any quality whatsoever.

You have a wide and varied collection of artists featured, from legends such as Giger to comic book masters such as Charlie Adlard. Who chose the work to be featured, and how easy was it to obtain publishing rights?

This is where my team came in. Obviously, as I’ve been involved with the horror genre for nearly forty years, I was aware of the work of many of the artists we included, plus many of them were friends and acquaintances who I had dealt with before. But I also had an amazing project manager in Adam Newell (who I had previously worked with at Titan Books) and designer in Paul Palmer-Edwards, who both also suggested artists and various works to be included.

In the end, the final decision was always mine as it was my name on the book, but they brought to my attention artwork and images that I was perhaps not familiar with or had overlooked. On top of that, we had an experienced picture researcher who dealt with all the clearances. I simply could not have done all that work on my own, and without those people backing me up I would probably not have done the book at all. In the end, it really was a team effort.

Were there any artists you wanted to feature that didn’t make the book, for whatever reason?

Yes. There were some that turned us down — mostly because they wanted ridiculous amounts of money. When we found something that I liked, we usually approached the artist or their representative. In most cases they agreed to be included because they wanted to be in the book. As I say, a few turned us down and, in those cases, we just moved on and found a replacement piece of art to fit the specific theme.


Read the whole interview over at Exquisite Terror!

Mark Clark speaks with the Pittsburgh Post Gazette about the Star Wars Phenomenon!

As you may have heard, today marks the release of Star Wars: The Force Awakens! It’s been a busy month for Star Wars FAQ author, Mark Clark, and in this interview, he sits down with Barbara Vancheri of the Pittsburgh Post Gazette to talk about the first time he saw Star Wars and how it changed his life. Read below to learn more!


00122914As an 11-year-old, Mark Clark was a precocious reader with a taste for serious sci-fi by Ray Bradbury, Isaac Asimov, Arthur C. Clarke and Robert A. Heinlein.

His Uncle Marty had introduced him to those authors along with movies such as “2001: A Space Odyssey,” “The Day the Earth Stood Still” and “Forbidden Planet.” So when “Star Wars” came along, Mark passed on what he heard was a space fantasy, just not his thing.

At the end of summer 1977, Mark and his Louisville, Ky., family visited his uncle in Zanesville, Ohio. When he learned Mark had not seen “Star Wars” — in theaters for three months by then — “he looked at me like I just sprouted antlers or something.”

The next day, Uncle Marty remedied that lapse.

“So, I went and sat there for two hours with my mouth hanging open, just completely blown away by it, and my life has not really been quite the same since then in a lot of ways,” said Mr. Clark, author of “Star Wars FAQ: Everything Left to Know About the Trilogy That Changed the Movies” (Applause Books, $24.99). “It was a very overwhelming, almost, experience to see it at that age, at that time and that moment.”

When he returned to Louisville, he caught it four more times, collected the toys, joined the Official Star Wars Fan Club for $5 and sat cross-legged in front of his parents’ console TV for the 1978 “Star Wars Holiday Special.” He saw the next two movies along with the special editions on their opening days and adds, “for better or worse, I saw the prequel movies, too.”

“Star Wars” led him to the Akira Kurosawa films creator George Lucas cited as inspiration. That fueled a fascination with foreign films and cinema and even rekindled a spiritual curiosity.

Today, Mr. Clark is 49 years old, married to an Episcopal priest named Vanessa, the father of two, and one of countless Earthlings planning to see “Star Wars: The Force Awakens.”

“Star Wars,” which sent ripples or outright waves into the worlds of production, moviegoing, marketing, merchandising, pop culture, toys, games, theme parks and fashion (for starters), was the right movie for its time.


To continue reading at the Pittsburgh Post-Gazette website HERE

 

Michael Beinhorn on Chandler Limited Part 2

Michael Beinhorn, has been a record producer for 30 years and he is the author of Unlocking Creativity: A Producer’s Guide to Making Music and Art, in which he reveals how to deal with the interpersonal issues record producers face when they work with artists one on one or in small groups.  He also is the subject of a three-part interview at chandlerlimited.com. You can read to Part 1 herePart 2 is below.  Enjoy!


00122314

This is part two of our ‘Featured Artist’ conversation with the celebrated music producer Michael Beinhorn, covering production concepts. Part III of our Michael Beinhorn series will break down the Courtney Love Wedding Day EP sessions.

If you’re interested in Michael Beinhorn beyond this article series, you can visit his website, or dive into his recently released book- ‘Unlocking Creativity: A Producer’s Guide to Making Music and Art.’

CL: It seems like you show up to a production, happily waiting to be surprised by what will develop, rather than force-feeding a ‘Producer’s perspective’ onto the project, i.e. there’s not a specific cookie-cutter template when working with you. However, you do have a production methodology, correct?

MB: Yes, there is always a methodology. First and foremost, I like to insinuate myself in a recording project, not only as someone with a lot of experience, but as a collaborator. I feel more at ease with this than the timeworn stereotype of producer-as-supreme-deity on a recording session. On one hand, I see the recording process as a series of creative tasks (as I’ve laid out here- “Reframing the Recording Paradigm“) that, when performed in an appropriate sequence, will yield the very best iteration of an artist’s work. At the same time, I visualize what the project feels (or “looks”) like conceptually. That may sound kind of abstract, but I always get an image in my mind’s eye of a project. I also like to treat the recording process as creative experience and the result of everyone working on the project, collaborating with one another to make something special and unique. These facets are mainly determined by the individuals involved and the music they are making. The varying degrees of those parameters, combined with a different cast of characters on every recording insures that each will be different from one another.

CL: Are you profiling the artist on multiple levels from the get go in order establish their custom production program tailored for them?

MB: From one perspective, you can say that. From another perspective, I’m learning about them so I can help them maximize their abilities in the best interests of the recording project.

CL: Would you say your process, though abstract, is hands-on when it comes to contributing artistically to the production?

MB: Yes, very hands-on. It’s more fun that way.

CL: When contributing to the production on an artistic level there’s a balance you have to find where you’re enhancing and not overshadowing the artist correct?

MB: Yes, that requires sensitivity and paying attention to the immediate landscape. If you’re sensitive to your own work dynamic and simultaneously, what the mission of the project you’re producing is, you can tell right away when you’ve crossed the line and are letting your ego run rampant. It’s imperative to always maintain priorities and let them be a deciding factor in every decision that gets made. A lot of really good ideas get tossed out, but the ones that stay must always be the most appropriate to what the project requires.

You can read the rest of Part to at ChandlerLimited.com!

Alan Parsons discusses his Abbey Road lecture series at MusicRadar!

In advance of his lecture series at Abbey Road Studio, Alan Parsons author of, Alan Parsons’ Art & Science of Sound Recording, sat down with Tim Cant of MusicRadar.  Alan talked about his book (and the DVD set of the same name) and why he avoids using compression.


00333735Let’s get straight down to brass tacks. Tell us about your favourite desks!

“I think I’ve had the best luck with Neve, but having said that my biggest claim to fame, Pink Floyd’s //Dark Side of the Moon// was actually done on an EMI desk. I recently did an album with Stephen Wilson of Porcupine Tree, I did an album with him called The Raven That Refused to Sing and that was on a vintage Neve [RCA Custom 8028] Console at a studio here in California called EastWest, the same people that do the orchestral samples.”

Was there anything you particularly liked about that desk?

“Well, the opportunity is there to use external mic pre’s, that seems to be the way of the world right now, but I was perfectly happy to use the onboard pres most of the time. I’m a great believer in simplicity. It just complicates matters when you choose one mic pre for the kick drum, another one for the snare, a different one for the overheads…

“I just like to keep things simple. Having said that, my favourite mic pre which is also a limiter/compressor is the Universal Audio 6176… I’m looking at it right now. I’m also a big fan of the original dbx 160.”

Have you used the Universal Audio plugins?

“I use them all the time, I love their plugins, particularly their EMT plates! I use them on everything, any time I need reverb that would be my go-to.”

What about their range of compressors?

“I prefer to use external compressors and limiters. I tend to avoid compression and limiting, I never compress mixes, and I only ever usually limit two things: vocals and bass.”

Records are mastered very loud these days, so if you’re not compressing at the mixing stage the mastering engineer…

“I resist even letting the mastering engineer limit or compress. I mean, maybe just a dB of brickwall limiting for the peaks but otherwise no, I’d much rather leave it alone. If the consumer says it isn’t loud enough, turn it up! Do you think records sound as good as they used to?”

No.

“Absolutely. The level war is the worst thing to happen to audio in years. Interestingly though there has always been a level war, even on vinyl.”


Read the rest of the interview over at MusicRadar!

Follow

Get every new post delivered to your Inbox.

Join 163 other followers