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James Rutledge, ‘Remixer of the year’ at The Music Producers’ Guild Awards 2011, on using Pro Tools for remixes
The secret of seamless, file-based workflows is keeping it simple – particular on a huge series such as BBC1’s The Apprentice.
“The really big thing [about Pro Tools 9] is you don’t need an interface – you can just use it on your laptop wherever you like”
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NICK GRIFFITHS Senior editor EVOLUTIONS
JAMES RUTLEDGE Producer and remixer
James Rutledge is one of the UK’s hottest production talents, having remixed everyone from Bloc Party to Prefuse 73, Danger Mouse to Ellie Goulding, and famously producing a one off Radiohead remix lasting four hours that was then sold for charity. He recently picked up the MPG award for Remixer Of The Year. “It was really nice winning – until a couple of years ago I was very much in the periphery of the music industry, so it was quite odd.” “I try to pick stuff I like,” he says of his remixing projects. “I don’t really read manuals and really didn’t know what I was doing at first and I think that is quite nice. If you know too much you can get too preoccupied with what you think artists or labels will want. I’m coming from it more from a musician perspective and it seems to work out.” James is a big Pro Tool HD fan and it took just one session in the studio for him to see the software’s advantages. “I was working with a band in Oxford and we were tracking with Pro Tools, so I learnt it there, and then I did a lot of early remixes on Pro Tools M-Powered in 16 tracks,” he says. “I just found it really straightforward. I’m big into editing – a lot of the electronic stuff I do is built out of editing. I
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THE BENEFITS OF PRO TOOLS 9...
• A major benefit for Rutledge is Pro Tools 9 is no longer tied to hardware so is a lot more portable and open
• Pro Tools’ extensive plug-in suite is all you need for just about any type of project, says Rutledge
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also found it really neat and tidy. That may sound silly but I have this slight OCD thing.” “Now I’m on Pro Tools 9,” Rutledge continues. “The amazing thing is all of its ins and outs. You also have automatic delay compensation which is really helpful. But the really big thing is that you don’t need an interface – you can just use it on your laptop wherever you like.” He also admires the overall audio quality and the bundled extras. “I’ve always preferred the way it sounded,” he states. “It’s like there is way more separation between tracks – that has always been a big thing. Also all the plug-ins are really good. You can just buy Pro Tools and make whatever, right there out of the box.” And what about his favourite features? “If you want to draw a 30-second long fade you can easily do it,” he says. “Also if you are doing a lot of complicated electronic chop ups, you can just go into Beat Detective, get all the transients and instantly chop something up and start moving things around. I don’t think I could do without it.” “Also the whole multitrack features that comes as standard with Pro Tools 9 and ability to export as mp3. I know it sounds stupid but it’s a big thing to be able to walk around and listen to your mix on your iPod.”
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