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Holding it together A

I’ve done every job under the sun just to afford the next bit of gear or help me make music in

some way. Stuart Roslyn

udio Pro’s much-loved advertising manager, Darrell Carter, has a phrase that he delivers every time he manages to collar someone on the telephone that he’s been after for a while, which is quite often: ‘You must be the busiest man/woman [delete where not applicable] in pro audio’. And if just ten people read this feature, I’m confident that this will strike a chord with one of you, because a phone call from Carter is never more than a few minutes away. I’d never given much thought to who was actually the busiest person in the industry but I think, despite Carter’s valiant efforts to locate them, I might have beaten him to it. The first sign came when I fired off an email request for an interview with Stuart Roslyn and the reply came not from the man himself, but from a very efficient assistant named Brian. Having an assistant isn’t, broadly speaking, an unusual thing, but in this business it is something of a rarity. I’ve been lucky enough to interview some of the most celebrated producers and engineers around and only one or two, with schedules that Clark Kent would find it hard to adhere to, had assistants. I quickly got the impression that Roslyn’s time was stretched tighter than Burt Reynolds’ face, which wasn’t much of a revelation, having read the list of artists and projects that he’s been working on in recent times. The likes of Leona Lewis, Finley Quaye and Mark Owen have all called on his services, and he has just bagged a worldwide number one in the dance charts with a Paul Oakenfold remix of the track written with Matt Goss called Firefly. TV shows such as The Oprah Winfrey

38 audioPRO October 2010

For UK producer Stuart Roslyn music is business, but uniting the two in a career requires no small amount of diligence. He speaks to Rob Hughes about balancing the creative with the corporate…

Show and the forthcoming Ray Winstone feature film Father of Girls have been finished with scores composed and recorded in his studio, found in south west London’s Matrix complex. And when he’s not snatching the odd moment to make music, he’s taking care of the myriad business issues generated by two production companies and a management firm. Despite an in-tray of biblical proportions, Roslyn was kind enough to give us a few minutes of his time…

What does your work involve at the moment? There are three branches to what I do – Intrusion Productions, Red House Productions and Red House Management, which I run with my business partner Eamonn England. We’ve just signed a band called The Musgraves to Imagem Publishing. We’ve been developing them for a few years now and currently we’re concentrating on getting autumn/winter press and radio for a release in April 2011.

Another avenue is my own songwriting and production. I’m always developing new artists, as well as writing and producing for established acts. I’ve been working with several X-Factor finalists and also developing artists with Crown Management. I’ve written songs for The Monroes in Germany that have sold over a million, so songwriting is a very important aspect. My daily process is to try and combine all these things and still actually make music, which is the only thing that earns me money, really. So along with all the business stuff I need to make sure that I’m doing something musically every single day.

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