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Mair mastering the studio

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use, then we’ll record it in wet, and I spend time tuning drums, getting the right snare sound. Which records and producers have been a key influence on you? When growing up I was obsessed with KT Tunstall’s album Eye To The Telescope, which was produced by Steve Osborn. Just a cracking album, great songs, and I think the production is very clever in how it all falls around the acoustic guitar parts, which drive the songs rhythmically. Steve Osborn also produced my favourite Placebo album Without You I’m Nothing. Those two records and Absolution by Muse were on repeat during my teens. What are the biggest challenges faced when embarking on a career in the studio? For me the biggest challenge is the hustle, having to be out there networking, meeting people and getting the jobs. Being in the studio itself is the easy part, it never really feels like work. What's next? I'll be working with a few new artists this year, both for production and songwriting, alongside extending my studio to make it more flexible and cost effective for artists and bands. I’ll be adding some more gear so I'll be looking into a second set of monitors and some more mic preamplifiers, I've got my eye on a couple of Neve 1073LBs. I'll also be putting more time into an indie label and publisher I co-founded last year (Palm Bay Music), created for songwriting and band and artist development.  Talk us through your home studio. I’m currently using a Universal Apollo 8 interface and Twinfinity 4-710d. I run the Twinfinity as a slave via adat from my Apollo. I love that I can dial between tube or solid state tones, it makes it very flexible. This paired with the super clean pres on the Apollo means I have more options when tracking guitar or vocals and the UA plugins come in handy too. I monitor on a pair of Amphion one15s that I am totally in love with. The detail is incredible and the mixes translate really well onto other systems. I also find that my ears don’t fatigue as easily as they did on my last set of monitors, working on them is pure joy.

Photo: Matthew Wilkinson

Do you have a particular approach or signature sound you adopt in the studio? It does vary from project to project but one thing that I always do is spend quite a bit of time with preproduction, especially if using other studios for tracking. Preparation is key for me. As for signature sounds, I would say not really. I do like to try and record parts as how they will sound on the record, for example, if a guitarist has a particular reverb pedal or delay they

Rhiannon Mair

www.psneurope.com PSE84.rhiannon.indd 2

22/02/2019 17:34

Profile for Future PLC

PSN Europe 84 - March 2019  

Dani Bennett Spragg - Meet this year's MPG Awards Breakthrough Engineer

PSN Europe 84 - March 2019  

Dani Bennett Spragg - Meet this year's MPG Awards Breakthrough Engineer