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Interviews

Resolution publishes the industry’s definitive craftskill interview. We talk to leading production operators from all disciplines and no one gets into the nuts and bolts and the specifics as well as we do. Learn the skills, techniques and the mindset of the successful.

  • A black art that is not nearly as prevalent as it once was, drum miking can be a nightmare if you don’t know what you’re doing. We got a drum kit from FX Rentals in to the live room at Hear No Evil studios in London and got band recording specialist engineer Alan Douglas to communicate his methodology and his reasoning.
  • With a catalogue that is known by everyone, The Beatles in multichannel still remains rare. GEORGE SHILLING talks to the man who had the job of doing the Fab Four in 5.1 for the Anthology DVD.
  • Blur’s latest album Think Tank has enjoyed critical acclaim yet it’s creation did not follow a traditional course. ZENON SCHOEPE talks to the man who took it from London, to Marrakech, to Devon.
  • Galaxy Studios in Belgium has installed the world’s first API Vision all-discrete analogue surround production console into in-house producer/engineer Ronald Prent’s Studio One. How it got there is quite a story.
  • He’s ushered in the use of new technology on blockbusters and remains passionate about the part it plays in defining workflow efficiency in the production process. ROB JAMES talks to Chris Munro about keeping ahead.
  • Adopting a methodical approach to writing, tracking and mixing that pays particular attention to detail, Steve Mac clearly has a system – and a track record to prove that it works.
  • He’s a musician turned mixer who until three years ago hadn’t moved a serious fader in anger. ZENON SCHOEPE talks to a self-made multichannel recordist and mixer who has created a name for himself with live recording for DVD.
  • Unlike writers and directors, sound editors cannot afford to confine themselves to one or two film genres if they want to keep busy. Glenn Freemantle talks to KEVIN HILTON about the changes he has seen in technology, what he feels it takes to be a good sound editor and how to turn insects into helicopters.
  • Take the entire Gus Dudgeon-era Elton John catalogue and prepare to remix it in 5.1. Greg Penny is on the case and talks technique and philosophy to GEORGE SHILLING.
  • He’s one of the greatest names in BBC TV sound yet he combines his skills with a ‘plumber’s’ mentality. ROB JAMES talks to him about sitcoms and music, desk layout, and making mistakes.
  • Music for the games market has progressed dramatically in complexity and has even pioneered techniques that have trickled down to other disciplines. KEVIN HILTON talks to James Hannigan about the benefits of a musical education, the differences between film and games, his equipment preferences and why, even in a technology-led field such as games, the equipment should never take over.
  • He’s recorded more orchestral sessions than most and established himself as a big session deliverer of results. The pianist’s son who turned engineer talks to GEORGE SHILLING about track counts, stems, and the importance of getting the band ‘happy’.
  • He’s one of the most successful mix engineers in the business yet he prides himself on also being able to take care of symphony orchestra recordings. He shares his mixing approach and ‘scheme’ with ZENON SCHOEPE.
  • He’s young and dynamic and has a very clear idea of where he’s going. GEORGE SHILLING talks to Sergio Galoyan about production, vocals, preproduction and doing something really different.
  • Drummer turned engineer, producer and mixer, Greg Haver combines an organic approach with an adaptive approach. He talks to GEORGE SHILLING about drum miking, unbalanced stereo, the iPod, organisation and organisation.
  • He’s a musical prodigy turned music for television specialist with his own work space. Ty Unwin is also one of the first power users in the UK of Mackie’s new DigitalXBus desk. KEVIN HILTON gets him to explain his working methods.
  • He combines engineering, production and managerial skills in his repertoire and has helped to carve success and acceptance for Brit hip-hop. NIGEL JOPSON talks to him about his new desk, stepping up the gear a notch, breaking an act and maintaining creative control.
  • Tom Elmhirst is making a name for himself in sculpting the sound for some of the UK’s coolest new bands. He talks to NIGEL JOPSON about Neves, playing on the songs he mixes and the politics of stems.
  • You’ll more than likely be seeing his output applauded at the season’s succession of music awards yet his approach remains firmly based on traditional values and gear. NIGEL JOPSON gets him to spill the beans on ribbon mics, obscure outboard and that EMI desk.
  • Just when we thought we’d got the measure of him he’s gone and added a further award at this year’s Grammys to take his running total to ten; Rafa Sardina talks to NIGEL JOPSON about the specifics of Latin music, building a studio and starting his own label.
  • His background includes time in sound reinforcement, desk manufacturing, and studio build ups. As an engineer, producer and mixer he’s spanned prog rock, New Wave and the current crop of interesting and innovative bands.
  • There’ll be records he was involved with in your collection yet he’s surprisingly low key for a man of his skill and experience. Ken Scott worked at Abbey Road and Trident in the golden age, engineering and producing some of our greatest and most enduring talent.
  • His credit list goes back to the heady days of ZTT and SARM and his contribution has topped charts and established artists. A mixer by preference, Bob Kraushaar takes GEORGE SHILLING through the single day mix, the benefits of having your own place and not faffing around.
  • As close to a multichannel audio evangelist as we get in broadcast, yet he is just an ordinary chap who spends his days in sessions and on projects. ZENON SCHOEPE talks with ORF’s surround meister.
  • His time in mastering has seen some of the most incredible classic albums pass through his hands, yet Jon Astley remains an enthusiast as well as a craftsman. NIGEL JOPSON quizzes him on his work on the 5.1 of The Who’s Tommy.
  • Swept along by the success and historical signifi cance of the work he did with Monty Python, André has collected an amazing credits list and reckons he’s worked on more than 50,000 commercials. He talks to ROB JAMES about keeping it small, gear decisions and why he and Michael Palin could have been Starbucks.
  • He was in on the ground floor at two of the most influential studios that marked what is acknowledged as the birth of the modern recording era yet he still retains the passion and enthusiasm that influenced a generation of engineers who sat beside him. Mick Glossop talks to NI GEL JOPSON about quadraphonic pan pots, the first SSL , and inspiring musicians.
  • With a sizeable contribution to Hip-hop’s triumph at the recent Grammy’s, mix engineer Neal Pogue has been working with OutKast since 1996. NIGEL JOPSON talks technique on Js, Ks and The Love Below.
  • Spending most of his days in a truck behind a Stagetec console, Willi Zürrer’s workload regularly covers sport and music for TV with a particular inclination towards downhill skiing and opera. GEORGE SHILLING covers all the angles in Switzerland.
  • Post is a personal process, especially when it involves using equipment that you have bought yourself. ROB JAMES talks to a man who has made his own choices.