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07.09.12 MusicWeek 27
I really like it. I’m very fond of Noel, he’s an amazing artist - brilliant.
Do you worry about the quality of music falling with format shifts from vinyl to CD then to MP3? No, I’m always moving forward. Yes, vinyl sounds different to MP3, but you have to embrace technology. I’ve got an old jukebox that I love but then I like the convenience of just clicking on my computer or iPhone. My children just listen to stuff through shitty computer speakers and that’s where we are – that’s the way people listen to music now.
Production credits are hard to find online and piracy has hurt sales. Do you worry for the next generation of engineers, mixers and producers? It’s hard for the studios, they are going under; there’s fewer and fewer studios around. I really do notice it now in the UK and in America. It’s really hard for the commercial recording studio, but for your young budding engineer/producer equipment is so cheap and available now. The fact you can experiment in a little room with your mates with two microphones and some software and make an amazing record is great. The only unfortunate side to it is that some kids who want to be recording engineers or learn that craft are going to be lost because there aren’t the major studios for these people to watch others and learn microphone techniques and all that kind of stuff. It’s important for people like me to maybe try and work out a way to give something back to these people, but I’m all for technology and people experimenting at home to make records.
Are we right in thinking you’re contributing to some drum software? Yeah. It’s a little early stages now, but it’s drum loop software with EastWest.
It’s not finalised yet, but they are a big software company in the States. I’m really excited about it. They’ve approached me to record a load of drum sounds for them.
Might that sort of thing be an important future source of revenue for top producers? For me it’s about making records; I’m very flattered to be involved with this, but I’m more about making or mixing records and working with artists than anything else.
Who’s the most talented artist you’ve ever worked with? You can’t ask me that! You’re always going to upset someone by answering that, aren’t you? Erm, my mum.
Okay, okay - who particularly stands out? You’ve mentioned a few of them. Working with people like Noel, Madonna and No Doubt over the years. They’re standout artists who’ve done well. Equally I’ve worked with a lot of brilliant people where the records have never seen the light of day. There are so many talented amazing creative producers and engineers out there who maybe haven’t had the chances I’ve had. I’m very fortunate from that point of view.
Do you believe traditional record labels are still really important? I think so. It depends on what kind of artist you are. Some indie bands might want to build it up themselves via social networks and gigs. Your social network is an extremely powerful tool.
Will record labels still be around in 10 years? Yeah, definitely. Maybe the way they do business will be completely different; perhaps it won’t be an arrangement where an artist gets a
small percentage of a deal. Maybe it will be like a partnership-based thing where everyone can share a bit more. At the moment it seems you look at big deals, it’s like 18-20 points [% that goes to the artist].
“My children just listen to stuff through shitty computer speakers and that’s where we are – that’s the way people listen to music now” MARK STENT
Are there any records you are particularly proud of from your career? Oh God. You’ve got me again. I don’t know… maybe one of the Massive Attack records that I was involved with. Those were brilliant records and I loved working with that band. It’s probably Mezzanine or something like that.
Who’s the best music exec you’ve worked with over the years? You can’t ask me that! There’s lots of them. The ones I still work with, put it like that!
Has anyone particularly inspired you? There’s lots of inspirational people in this country – not just people I’ve worked with. You’ve got to look to [XL founder] Richard Russell and see what he’s done, or [Mute founder] Daniel Miller. I first met Daniel about 30 years ago. What those sort of people have done with their labels and for British music is fantastic. They both built up small labels by supporting certain clubs and music. They were risk takers. It’s harder for execs in big corporations like Sony to do that.
Photo: Madelynn Elyse
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