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WHAT IS YOUR PERSONAL STORY/WHY DID YOU GET INVOLVED IN THE INDUSTRY? I started out in this industry basically recording local bands and my friends’ bands as a hobby. I would do that on weekends whilst studying at college and working a part-time job. When I wasn’t making music or recording, I would be on the road doing merch for various bands. I didn’t realize it at the time, but I was building up a vast network of contacts.

YOU’VE WORKED AS A GUITAR TECH FO R NECK DEEP. WHAT HAS TOURING LIFE TAUGHT YOU ABOUT THE MUSIC INDUSTRY? IS THERE ANYTHING YOU LEARNED ON THE ROAD THAT YOU INCORPORATE INTO YOUR WORK AT PATRON SOUND? It has definitely taught me to be directive, honest and fair. It is a pretty cutthroat industry, and it definitely pays to be the difference and to give people your time when you can, offer them a hand when they’re in need. I will always remember the band members and crew on tour that went out of their way to be friendly or help me out. At the end of the day, these are the kind of people that will go far in the industry as everyone wants to be around them or work with them.

PATRON SOUND OFFERS SEVERAL DIFFERENT SERVICES—RECORDING, MIXING, MASTERING, TUTORING, AND MORE. DID YOU RECEIVE A FORMAL EDUCATION FOR THESE OR IS IT SOMETHING YOU ACQUIRED KNOWLEDGE OF OVER THE YEARS? I did study audio engineering at college here in Manchester. It definitely gave me an understanding of the basic principles for recording and mixing. I studied the software Pro Tools in depth, taking examinations on it. I now teach this, so I really value those years of education. Really though, most of my knowledge came from hours spent on forums and watching videos online, researching as much information as possible. I had a huge drive for achieving the sound of my idols and peers, and I was willing to learn as much as I could in order to get it.

WHAT IS A COMMON MISCONCEPTION PEOPLE HAVE ABOUT YOUR JOB? The term ‘producer’ is pretty vague, so most often when I tell people what I do, they really have no idea what is involved. Because of the likes of high profile hip hop producers such as Kanye West and Dr. Dre, I imagine they normally see it as a glamorous job— making beats, sat at a huge mixing console, moving a fader every once in a while. I’m okay with that!

DO YOU THINK WORKING WITH LARGER BANDS/ARTISTS GIVES A PRODUCER MORE CREDIBILITY OR DOES IT REALLY COME DOWN TO TH E QUALITY OF THE RECORDING NO MATTER HOW BIG OR SMALL THE BAND IS? I think it does give a producer more credibility, but in the sense that working with a larger band means more time spent being creative, a greater budget and therefore a nicer studio to work from with better equipment. I’ve been fortunate enough to work with numerous local, unsigned bands however, that are very creative and diverse, allowing me to add my own unique input and take my time with the process. So I really think you can become credible no matter how big the clients, you just have to find the right artist to work with.

WHAT ARE THREE OF YOUR MOST MEMORABLE CAREER MOMENTS? The FIRST would be guitar teching for Neck Deep at Madison Square Garden, with it being such a legendary venue and seeing videos of classic bands play there as a teengaer. The SECOND is when I completed my first full-length album as a producer, after a long and stressful recording process. THIRD would be the weekend that I basically went straight from the studio tracking drums with a band, to the airport, flying over to the U.S. to start Warped Tour. That was a crazy experience to say the least.

IS THERE ANYTHING ELSE YOU WANT TO ACCOMPLISH? I am working more as a composer now, writing and producing my own music for commercials and short films. I would really love to score a full-length movie soundtrack. That has always been a dream of mine.

t @EllM iddlet o n

PHOTO: Joshua Halling INTERVIEW: Jessica Klinner

i @ellio t _ middlet o n

HIGHLIGHTMAGAZINE.NET - 15

Issue #48  
Issue #48  

Issue #48: Ft. Awolnation, Light Years, Alien Ant Farm, Jule Vera, Short Stack, The Vanity, a film tribute to Bowie + more!

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