TalkAwhile - The Folk Corporation Forum

Hi Mark

I read in the official biography of XTC that Andy Partridge was the only person in history to get Dave Mattacks really riled in a studio. Probably an exaggeration, but when you worked with DM was he really as calm, authoritative and professional as everyone says, and are there others you have worked with who you would call "true professionals"

Cheers

Keith

    I've heard it said of Courtney Love........


  Obviously(lawyers please note) I've always strenuously protested.....

I remember doing an interview with DM in 1994 at Colchester, and of course I mentioned his work for others as well. And when I asked him about XTC's "Nonsuch" (which is a favourite album of mine) I had caught him. I knew from others he wouldn't give extensive answers normally, but then he began chatting a lot. He likes it when a whole rhythm section (or even a whole band) plays together in the recording studio. Talking about Fairport (he was in Fairport for 22 years) he said it's the camaraderie that always caused to come back (or stay). He told me there's no other band where musicians of very different roots come together finding a common sense.

Hi Kieth,

DM always was, and is the consumate professional. He always had an idea of the kind of drums and part or "kit" concept he would approach. Because of his experience with recording, he new if he wanted EQ, or compression or not etc. He knows his stuff, and as an engineer, that helps incredibly.

DM always talks about the "internal balance of the kit". So, in effect he was doing some of your job. You could put one mic on DM's kit and he would still sound fantastic. I miss DM and his drumming (no detriment to Gerry Conway, who is also one of the finest drummers alive!).

I remember one occasion with the Cropredy Box set recording, I wanted to put up an extra spot overhead mic and needed to put a stand to the left of the kit. DM's responce was; " You can't do that, you've missed the point!". His point being, his kit has no stands, or visible mics, which is how he wanted it kept. My point was, we had a job to do and who will notice or care about the mic stand anyway?

Anyway, we didn't get any letters!

Mark.

Hi Forever Young,

I was very lucky to have met Andy Partidge from XTC in the now closed Chipping Norton Studio. We had to pick up some editing tape for work we were doing on Jewel In The Crown.

(I digress) Gus Dudgeon had wanted to make a tape edit to The Naked Highwayman. He felt it was too long, and it was! He needed to razor the tape and remove 2 or so minutes of the 2" , 24 track tape recording. I felt that he would be better qualified to undertake this job than myself, and did not question his decision. Gus asked for some 2" editing tape.

Anybody who knows will realise that 2" editing tape is in fact 1" tape that is sticks the edit vertically. I offered the 1" tape to Gus, to which he replied " that's not 2" inch editing tape!". Who am I to argue that he's not right?  ???

On getting hold of some 2" editing tape from Chipping Norton Studios, I offered a replacement reel of 1" tape to him, and asked, " when was the last 2" edit you made? Gus replied, "Oh about 1968".  ;D

Returning to my original thread. I'm a huge fan of Andy Partridge.  Right from his solo album days in the late 70's, right through to his ambient project with Harold Budd, I've followed his entire career with great interest. English Settlement is one of my favourites.

DM had to meet Andy at Chipping Norton Studios, so I tagged along and met Andy and the mighty Barry Hammond (engineer and producer). great stuff! Also ironic as that was the studio Andy, Harold Budd and Barry Hammond made Through The Hill, which I love.

Mark.

Sounds odd...

On his site, he has some pics of him with Gus and XTC during the sessions for that LP. People seemed fine with each other.  But I s'pose once in a while, people might get riled... hopefully it was a one-off issue.  Wouldn't wanna speculate.

Wonder if DM would be up for being invited to guest in here and chat about matters important.

I, for one, have a couple of drum related questions for him.

As usual, Mark, a great value answer - now where's my question sheet....

Cheers

Keith

Hi David,

I guess we all get riled at times, especially in the studio. It often the place that brings out the best and worst in people.

Mark
 ;)

Yes.  One of the things I noticed myself in my band days.  One of the things that had me feel I wanted to just do it all myself, I suppose... if it's only me doing it, then there's nobody to fall out with.  I seriously wonder if part of an appropriate course of training for people going into production work might actually be at least an introduction to applicable psychology (social and environmental psychology, and the psychology of music perception).  I get the feeling from various biogs that producers tend to end up being the ones who have to sort out disputes... and maybe some are not as well-armed as they might find they need to be.  Conflict is very likely where people number more than one, but protracted conflict needn't come out of that.

What do you reckon, Mark?

Hi David,

In my experience, most of the people I've worked with are mature adults and have had years of previous recording experience. Probably , as a result they leave any major disputes to be discussed out of studio. It's only been the occasions when I've worked with young newly signed artists (to major record companies) where there have been major wobbles and rattles thrown about. This is often as a result of bad management by the record company, and the artists frustration can lead to disputes in the studio.

The other side of the coin is where you have a single individual controlling all aspects of the recording and production. Most of the people involved are essentially hired hands and do not argue or challenge decisions that don't involve them. Or another way of looking at it is - You don't bite the hand that feeds, unless you are confident of your reasons for doing so!

In my experience, complacency and incestuousness often leads to dispute.

Mark.

This is so true!!!

I hate every minute in a studio  :P

Interesting.... can you explain some more?  The complacency I kinda get.... but the other... in what way?

Hi David,

You wrote: Interesting.... can you explain some more?  The complacency I kinda get.... but the other... in what way?

Living together, sharing the same space together for long periods of time...

What is the definition of a recording studio? (Thanks Maart)

A place where people talk funny!

Which explains the madness and state of mind that can occur when locked up for long periods.

Being in a recording studio for a lengthy stint, is like touring, but without the buses, journeys and gigs. ;) ;D :-X

Mark

Ahaaaa... got it.

Thanks ever so, Mark....

David

Ha ha ha!  :D I'm surprised you remember that. Maybe it's because the studio is such a weird place if you're not in there on a daily basis, and maybe putting on funny voices can make you think you're taking the sting out of something that you really want to say without wanting to offend anyone. Sometimes the recordee can feel that they are under the microscope and maybe a fellow band member will want to join in with comments to chivvy their mate along but things can become misunderstood under pressure. Best to say nothing and leave it to the engineer and producer. They don't have to get in the van next week.

The other side of the coin is Vanlag, which after a few weeks can develop into a "don't you even dare look at me" kind of thing if you're not careful.

Maart

Hi Maart,

Re: definition of a recording studio.

I'll never forget it, because it's true!
 ;D

Mark.