www.musicweek.com FEATUREMPG
The music production group’s LIPA prize shows how education can drive forward the creative industries
03.08.12 MusicWeek 23
A PRIZE EXAMPLE EDUCATION BY TONY PLATT, MPG EDUCATION REPRESENTATIVE
respect for, we underline the MPG’s view that well- constructed and accredited educational courses are the best way forward for all creative industries. Additionally through our educational initiative, JAMES, formed in collaboration with APRS, we actively support the Gus Dudgeon Foundation which runs an annual, week long workshop session for nine of the best students from JAMES accredited courses. This event is supported by Sonic Distribution, Focusrite, PMI, Michael Simkins LLP and Unity Audio. Passing on knowledge and experience is vital and
O
n July 25 at its annual Graduation ceremony, the Liverpool Institute for Performing Arts (LIPA) presented Guy
Clarke with the 2012 Music Producers Guild Prize. Now in its third year, this Prize is given to the
most promising student graduating from LIPA’s Sound Technology degree programme. Its aim is to recognise the student who has shown the most exceptional talent, initiative and commitment to the art of Music Recording and Production. Apart from the kudos of winning, Guy will also
benefit from a number of unique opportunities such as mentoring from top record producers, hands-on experience in professional recording studios, in- depth tuition from various pro audio equipment manufacturers, help with his expenses from Robertson Taylor and the chance to shadow the current winner of the MPG Producer of the Year and BRIT Best Producer Awards (which, this year, is Ethan Johns). The MPG has always recognised the importance
of supporting the next generation of producers and engineers. As the hit makers of tomorrow, they have a vital role to play in ensuring the success of the UK’s music industry. However, in the ever changing landscape of today’s music, industry we also know that opportunities for “learning on the job” are more scarce. This was a primary factor in introducing the
MPG Prize and by linking it with LIPA, an educational institute that we have a great deal of
we are actively seeking to widen this concept to other parts of our sector. To this end JAMES currently enjoys an associate partnership with UK Screen and endorsements from BASCA and Skillset for its accreditation scheme but is keen to widen these collaborations.
“Passing on knowledge and professional experience is vital and we are actively seeking to widen this support” TONY PLATT, MPG
The recipient of the inaugural 2010 MPG Prize
was Henrik Barman Michelsen. Originally from Norway but brought up in Tokyo, he began playing guitar at the age of 10 and by 15 was experimenting with writing songs and recording. After high school, he took a music technology course in Norway and played in several bands before enrolling at LIPA. Since graduating he has formed a song writing
and production partnership (Electric) with Edvard Førre Erfjord. In conjunction with L Marshall and Bibi Jones, Electric has written one song on Cheryl Cole’s A Million Lights album and has also produced six tracks for Ronan Keating’s upcoming album Fires. Indeed three of these were co-written by Electric, including the title track which will be the first single. Other projects have included writing with The Overtones and working with a songwriters and artists in the UK and US.
ABOVE
A sound education: Steve Levine with Henrik Barman Michelsen
Here he explains how winning the MPG Prize has helped his career. “Winning the inaugural MPG Prize was a
wonderful surprise and I was thrilled. The prize came with various opportunities and I took the first – free legal advice from MPG’s lawyer Penny Ganz – soon after leaving LIPA. Then I waited until I moved to London, which definitely made taking advantage of the opportunities easier. The MPG prize also introduced me to Kore,
where we did all the drum tracking for Ronan Keating, as well as some of his vocals. “Meeting the 2010 MPG Producer of the Year
Paul Epworth and sitting in on some of his sessions was an amazing experience. He was recording Florence + The Machine’s Ceremonials and The Big Pink’s Future This. He allowed me to sit in while he was writing songs with Florence in his studio and had me tracking some of her vocals when his engineer was away. He invited me to Abbey Road when they were tracking the album and was very open, explaining what he was doing and talking about his approach to producing as well as introducing me to everyone. He’s an inspirational guy and seeing how these sessions were run was very useful. “My mentors from the MPG were Steve Levine (MPG Chairman) and Tony Platt who were always ready and willing to help and offer advice on which studios were suitable for which projects. Steve introduced me to the staff at Metropolis and I did some live sound work there, which helped later when I returned to work with Cheryl Cole. “There is no doubt that winning the Prize has
furthered my career. The experiences I’ve had, the advice I’ve been given and the connections I’ve made as a result have helped me get to where I am. Having a mentor helps you realise your potential, brings out the best in you and gives you confidence. Someone else’s experience can also help you avoid pitfalls. I am very grateful that I had this opportunity and wouldn’t have missed it for the world.”
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