I’ve been mastering a few tracks for old friends Maxdmyz, who were recording in Northampton this Summer. As soon as there’s a release date, I’ll post it.
We’ve finished the new Cockney Rejects single, 40 Years Undefeated, a hard-hitting track with a tremendous hooky chorus.
I’ll let you know when it’s released. Meanwhile, it’s worth booking for their O2 gigs in December…
Melodies and Motion is a new album by our favourite genius Stuart Matthew Price, who I’ve been working with, on and off, for about 10 years.
This is an ambitious album of his own material, sung by various MT luminaries in various studios, all over the world.
We’ve been tracking the orchestra (made up of members of the London Musical Theatre Orchestra) at Master Chord Studio, engineered by Ronan Phelan, and editing at Baker Street with Danny Monk. The songs have tremendous orchestral arrangements by Charlie Ingles, and the conductor was Freddie Tapner.
Learn more about this project here.
I’ve been in the Phoenix Theatre with the team from Advision TV, who were filming the LCB’s 2019 production, Ballet Shoes. Working with Mark Watts, I swapped the MADI system I used last year for a Dante system with Lauten and Aston mics, and banks of Audient mic pres. Editing and mixing was done back in Canterbury.
Something unusual for me. I don’t generally get involved with live sound, but I was asked to provide some sound services for The Big Reveal‘s production of The Burning Of The Boats at Northbourne Park School. I set up the system, operated FOH, made SFX, and wrestled with the actors’ radio mics. None of this would have been possible without the excellent work of Mark Drew and Emile Porée.
Following the vinyl master of The Glass Bead Game I made for Breathless earlier in the year, I’ve mastered the album for digital formats this week for immediate release.
The mastering was all analogue, using SSL compression, Neve 551 and Zähl EQ1 EQs.
I’ve hugely enjoyed mastering Steve Hamilton‘s new album “Hamland”, which is one of the funkiest albums I’ve heard in a long time. Highly recommended for any fans of rare groove, funk, soul, jazz-funk, r’n’b and hip-hop.
I’ll post when there’s a release date for the album.
I’ve re-mastered the Emerald Sabbath album “Ninth Star”. The original album was released last year. Two or three tracks have new mixes, and there are a couple of new vocals on this version of the album, which features many members of Black Sabbath.
Great to be working with Iain and Frank McKay again. They first came to Berry Street about fifteen years ago, and have been recording with me periodically since.
Their high-end function band, The Clan, specialises in rousing modern versions of traditional Scottish songs, together with contemporary covers.
Check out their YouTube page here.
I’ve been recording vocals for the Paul Young/Corey Hart duet “Young At Hart”…
The single is recorded in advance of their June gig in Japan.
I’ve just mixed five songs for Diamond Dogs, the Swedish Rock band, for their upcoming LP, Recall Rock n Roll and the Magic Soul.
The songs were tracked at Strawberry Studios in Töreboda, mixed by me in Canterbury, and will join a collection of songs harvested from some of the band’s previous albums covering twenty years.
Synthax Audio, one of the UK’s most respected pro-audio specialists, have posted an article about my recording of last year’s London Children’s Ballet production of The Canterville Ghost. It was the lead story of their New Year newsletter, and can be read here.
I’m a member of an exclusive panel of “top producers, engineers, FOH guys and artists” who blind-listen to various iterations of microphones in development for innovative UK mic manufacturerAston, as a vital part of their R&D process.
Following this process, Aston have released a new multi-voicing mic, Stealth.
Aston Microphones has introduced a sleek new model: the Aston Stealth. This handsome unit is packed with features, including four switchable voices and a first-of-its kind autodetect function that senses phantom power.
The Stealth is a cardioid, broadcast-quality microphone that’s stage- and studio-ready. Aston is billing it as “the world’s most versatile microphone”, due in no small part to its many features:
Developed by a panel of more than 90 audio engineers, the Stealth has four settings optimised for various functions:
- V1 (Vocal): Best suited for male performers
- V2 (Vocal): Best suited for female performers
- G (Guitar): For all types of guitars
- D (Dark): For a vintage feel, reminiscent of ribbon mics
The four signal paths of these voices are contour networks, not EQ filters. So most of the signal does not even pass through any filter circuitry. This stands in contrast to other mics that add pre-EQ to the signal, making professional post-production very tricky.
Phantom power autodetect function
The Stealth functions with or without phantom power. While in passive mode, the signal bypasses the active circuit to deliver a clean sound. However, the Stealth has a unique feature that, upon sensing 48-volt phantom power, automatically toggles over to the active mode to make use of the onboard preamp.
Class A mic preamp
When in active mode, the Stealth engages its built-in Class A mic preamp. Most active microphones use a single-ended preamp – it takes half of the wave from the capsule and keeps the other half grounded – but not the Stealth. This microphone amplifies both halves of the wave from capsule to output, delivering a better signal-to-noise performance.
More information at astonmics.com
a nice end-of-year project: mastering “The Glass Bead Game” for vinyl at Baker Street.
Originally released on vinyl in 1986, The Glass Bead Game was Breathless’s first album. The original masters were unavailable, so I used the subsequent CD master as the basis for this release. I judged that the audio was slightly harsh and unsympathetic, so the whole album has been re-balanced and sounds great.
The new version will be available on Tenor Vossa Records in the next couple of months.
Congratulations to Larz Kristerz, whose album “Get Gå Bra Nu” has just been nominated for a Swedish Grammy.
The album was recorded in Sweden during January and February, and mixed by me in the UK in March of this year.
Thanks to Sulo Karlsson for involving me in the project.
“Fanatical – a sci-fi convention musical” is due to open this month at The Playground.
Over the last few years I’ve worked at various stages of this musical, which was developed by The Stable (of which I’m a board member). – most recently recording a newly-cast Sophie Powles.
It’s a great show. Good luck to it!
You can get tickets here!
SimG have released “Imaginary” a live concert recording of the NYMT’s 2017 production, which I’ve edited, mixed and mastered during the first half of 2018.
Imaginary is a moving, funny and inspiring new musical about the wonder of childhood, and the struggle to hold on to that wonder as you grow up. Chaotic, open-hearted and imaginative Milo is Sam’s only friend. They do everything together. But as Sam’s first day at secondary school approaches, his mum is worried that the mischievous Milo is holding her son back, stopping him from growing up. School turns out to be full of surprises – and secrets. Can Sam and Milo’s friendship survive in this new world, where a painful revelation threatens to change their lives forever?
With book & lyrics by
and music & lyrics by
Stuart Matthew Price, Imaginary
was commissioned, produced and performed by the National Youth Music Theatre at The Other Palace, London, in August 2017. Direction was by
and musical direction / orchestrations by
Since 1976 the award-winning National Youth Music Theatre has represented the very best in work with young people in musical theatre, leading Andrew Lloyd Webber to describe it as “the best youth music theatre in the world”.
The NYMT is a small arts charity (registered educational charity number 281159) with no core funding and relies upon participants’ fees, ticket sales from productions and income generated through fundraising. Profits from the sale of
will go directly to them in order to continue providing opportunities for future stars for years to come.
Tom Price, Josh Gottlieb, Haroun Al Jeddal & Full Company
- The Last Day Of Summer
Jade Oswald & Josh Gottlieb
- The Best
Chloe Twigg, Arran Ryder, Haroun Al Jeddal, Rhiannon Bailey, Luke Hogan, Bill Stanley, Dominic Bryant, Zoe Troy & Isabella Li-Yan-Hui
- Upgrade Time
Robin Franklin, Elsa Waterfield, Billy Nevers, Ella Thomas, Ciaran O’Brien & Full Company
- The Headmaster’s Office
- She Played Guitar
Lizzie Wells & Robin Simoes Da Silva
- The Adventurers’ Code
Josh Gottlieb & Lizzie Wells
- It’s Your Time
Toby Turpin & Aya Benyahya, Sadie Hurst, Phoebe Poulter-Kerry
- Entr’acte/ Imaginary Land
Toby Turpin & Full Company
- Those Were The Days
Billy Nevers, Elsa Waterfield, Ella Thomas & Ciaran O’Brien
- All The Fun You Had
Oliver Adams, Jade Oswald, Tom Price & Josh Gottlieb
- The Headmaster’s Soliloquy
Robin Franklin, Ben Pulford, Freya Alexander & Company
- Oogie Boogie Woogie
Oliver Adams, Toby Turpin & Full Company
- The Final Upgrade
Robin Franklin, Elsa Waterfield, Josh Gottlieb, Tom Price & Toby Turpin
- You’ll Find Me There
Tom Price, Josh Gottlieb, Lizzie Wells & Full Company
Released 1st October 2018 – Catalogue No: SimGR-CD034
London’s Forget The Down have released Faith, Hope and Love – an EP I recorded, mixed and mastered in the first half of 2018.
True to form, it’s a cracking EP: recorded at Baker Street, Emeline Studios and RYP.
Brilliant Outsiders, the album of duets which Sulo and I created in 2016, is having another lease of life after its disastrous initial release by Universal. Cargo records is releasing it as part of a two-album package with Nightshift, Sulo’s latest album.
Brilliant Outsiders features duets with Bellamy Brothers, Chris Spedding, Clare Teal, Idde Schultz, Janis Ian, Kikki Danielsson, Linda Gail Lewis, Los Pacaminos, Maria McKee, Paul Brady, Paul Young, Rissi Palmer, Sam Gleaves, and Terry Reid.
Los Pacaminos was the house-band for the album. It was co-written, arranged, produced, mixed and mastered by me, and I contributed a lot of playing on various instruments, as well as some backing vocals. It’s a great album, and deserves better luck than it has had.
Sulo is performing at Camden’s Dublin Castle on 21st November to promote the album.
Los Pacaminos have released their live album, Viva!, on Recado Records. I edited, mixed and mastered the album, which was recorded in Harrogate in 2017. We were very keen to make sure that the energy of the performances made it onto the album, and it’s gratifying to see that the early reviews all mention this aspect.
Available from all the usual suspects.
After the buzz of Canning Town Beach, Sulo, Jeff and I spent a great couple of days recording the next New Deal song, Life on the Island, with Ian at Emeline Studio in Whitstable on the 18th & 19th July. We followed this up with a day out in Dymchurch, where we enjoyed the beach, bumper cars, the ghost train, & filmed some footage for the video.
Jacob Lewis made easy work of the violin and viola parts, while Canterbury music legend Richard Navarro added some excellent trumpet. Apart from Sulo’s acoustic guitar, the rest of the instruments were handled by me, and I also made the video. I’m not sure it’s something I want to do again. There will be a physical release through Misty Records.
Larz-Kristerz’s new album Get Går Bra Nu was released on 1st June on Playground Music. I mixed the album during March. The launch gig in Älvdalen was apparently quite an event.
The first single, En Pilsner i Juni, has been receiving good radio play in Sweden.
En Pilsner i Juni: https://open.spotify.com/track/3xx1OgKwodqlw4dDW5wF94
Scaramanga Silk has contributed to Bill Drummond’s The 400 Remix Project with this track, I’m Losing Kontrol – which I mixed and mastered at the end of April. The 400 Remix Project is raising money for The Natural Death Centre Charity and The Florrie ADP/NYC fund.
Following last year’s EPs, Circles, and the Procrastinator EP, I’ve been working with Simon Millar from veteran indie band Forget The Down on new material for 2018 release. I realise that I’ve been working with them since 2003.
We’ve been tracking drums and vocals at Emeline Studio, Whitstable, with Ian Sadler; strings at Baker Street with Danny Monk, bass in Canterbury, and we’re due to track electric guitars and to mix at Baker Street over the next month.
The first single from The New Deal is receiving good press and radio play (including national radio play) in the UK.
Expect more this year.
Over the last few months I’ve mixed three tracks for Canterbury artists Riches, featuring Richard Navarro and Nicholas Thurston.
The first single, For The Moment, was released in late April, and is currently receiving good radio play.
Two more, Winner and Let Them Fall, are scheduled for release over the next few months
Thanks to Sulo Karlsson, who recommended me for the job, I’ve had a huge amount of fun spending the end of February and much of March mixing this great album by Swedish band Larz Kristerz.
The first single, Som en pilsner i juni, is due for release on 1st June.
A very entertaining day yesterday. I went over to Gospel Oak Studio in Warwickshire, run by the splendid Baz Bayliss, to meet Mad Mike 666, and hear about the progress of his Emerald sabbath project. The album is a re-working of various Sabbath songs, with a rich line-up consisting of various ex-Sabbath members, and input from Sabbath designers, producers, engineers, etc. Back in 2016 I worked on the track Supertzar, with Terry Chimes drumming at Emeline Studios, Whitstable.
Here’s me with Neil Murray, Mike Exeter, Mad Mike 666 and Bev Bevan.
I’m really pleased to have finished mixing the album that Tony Van Frater was working on when he tragically died last year.
Locating and collating all the files, and finishing off the last few bits of tracking has been done piecemeal over the last few months. Thanks to Micky Geggus, who’s been the driving-force behind getting this project finished, which now stands as a testament to Tony.
Imaginary is a new musical by Stuart Matthew Price and Timothy Knapman, commissioned by National Youth Music Theatre and premiered at The Other Palace in August 2017.
I’ve been editing and mixing the live recordings made by Danny Monk for the Live Cast Album. Release TBA.
A real treat to spend a great few days recording and mixing new versions of songs for Stiles and Drewe’s Soap Dish, which is set to have its premiere in London in 2018. The recordings were made in London and in New York.
Lovely to be working with two of my favourite people again.
Sulo has released an album of new material “Sulo’s Full English” on Cargo Records. Packed full of excellent songs, it sounds like a slice of early/mid-seventies English rock.
The drums, bass, acoustic guitar and lead vocals were recorded in Sweden, and keys, electric guitars, lap- and pedal-steel, brass, BVs etc etc were arranged and added by me at various places in the UK over the course of 2017. Electric guitars by Chris Parks, Jamie Moses, Guy Bailey and Chris Spedding. Keys, violin and sax by Matheson Bayley, BVs by Rachael Willment. Lap- and pedal-steel by Melvin Duffy. I’ve also played electric guitar, percussion, keys, mandolin and sung BVs.
Reviews have been excellent:
I’ve been recording a new EP’s-worth of material with Emma and the Fragments.
Recorded at Baker St Studio with Danny Monk, it was mixed & mastered at home – SSL all the way for recording and mixing.
There’s a taster video made by Doug Rimmington here.
Last year I took part in a series of blind listening tests for Aston Microphones, which led to the development of their new Starlight small-diaphragm condenser microphone.
I’m very proud to be part of the development panel – “the top audio professionals in the industry”. If only all manufacturers consulted a pool of their potential end-users during the R&D process, we’d get better audio…
I’m on the Advisory Board of The Stable, an organisation that commissions, develops and produces original musical theatre.
We’ve just spent a couple of days reading Wigmaker, a new musical in development by Douglas Hodge and Bryony Lavery at Jerwood Space. The second day included a reading to potential partners. The cast was truly A-List, and it was fascinating to see what they brought to the text. I was recording a few songs, and operating a bit of playback.
I first worked on some of this material over three years ago, and it’s already attracted a certain amount of press:
The New Deal is a new project: Sulo, Jeff Turner (Cockney Rejects) are writing and singing: I’m producing, arranging & playing instruments. We’ve just had a very good couple of days in Emeline Studios in Whitstable, with Ian behind the desk.
This will feature all of us as you’ve never heard us before. As you’d expect with Sulo’s involvement, there are some great songs.
Watch this space.
Cockney Rejects have released “Chapecoense”, a portuguese-language adaptation of last year’s “Goodbye Upton Park”. All proceeds will go towards the dependants of the victims of the Chapecoense tragedy. We tracked the vocals at Emeline Studios in Whitstable. I’ve produced, mixed and mastered the track.
It’s been a long time coming – we first recorded this material in 2014 – but I’ve finally mixed and mastered Dave Castell’s Piano Album, and it’s been released on Furlongs Media. Some beautiful songs on this – just piano and vocals. I’m very happy with the material, and with my input.
I’ve been mixing a couple of tracks for publicity on Wind In The Willows. The show, by Stiles and Drewe and Julian Fellowes is scheduled for the London Palladium this summer.
I’ve been a minor cog in the Wind In The Willows machine from the beginning, having recorded various versions of songs, and read-throughs, at Berry Street and on location. The current recordings are from Angel Studios .
We’ve had a very stimulating time at Baker Street with Stuart Matthew Price recording his studio cast album of Before After. Written by Stuart and Timothy Knapman, this is a two-hander featuring Caroline Sheen and Hadley Fraser. Danny tracked the vocals, and I’ve mixed and mastered the album. Released by SimG Records.