“Don’t turn the music into the wallpaper in a kid’s bedroom”: Two video game soundtrackers on crafting music that players actually hearTo close out his panel on video game composition for the debut edition of the London Soundtrack Festival, Steve Schnur, President of Music for Electronic Arts, asked the composers on stage the following question:
“What composers have influenced you?”
Sitting on the panel were lauded game composers such as Ludvig Forssell (Death Stranding) and Stephen Barton (Star Wars Jedi: Survivor), the latter of whom organised the video game programming for the festival.
READ MORE: Behind the sound of Star Wars Outlaws: a polarising game with a Grammy-nominated soundtrack
After everyone had their turn, naming musical greats from Jerry Goldsmith to Tim Hecker to Ryuichi Sakamoto, Schnur closed by saying:
“The people who are about to study composition, their answers will be the people on this stage.”

Soundtrackers onstage at the London Soundtrack Festival. Image: London Soundtrack Festival
Today, video game music is held in the same esteem as film scores. It’s unsurprising, then, that the London Soundtrack Festival hosted masterclasses with composers such as Gordy Haab, plus performances of music from Baldur’s Gate 3, Battlefield 2042, and Metal Gear Solid, among others.
“[The festival] was in memory of a composer called Christopher Gunning,” Barton says of the programming. “He did TV, he wrote symphonies, he did concert music, he did film — he did everything. He would have undoubtedly done video games if they’d been a thing sooner. Honouring games seemed like a natural thing to do.”
From AAA titles within an iconic franchise such as Star Wars to auteur-driven indie games such as Death Stranding, the music is evolving with the format. But one thing remains true: game music is more grounded in technology than music for any other form of visual media.
“On a film, you deliver your stems, and it goes into Pro Tools at some point to be mixed. It’s no different from our music mix process. Just an extension with dialogue and effects. With games, we’re dealing with a technical architecture and sometimes writing for that architecture,” Barton says.
Within that technical architecture, the central processing unit of the game system or personal computer delivers the music in real time along with the sound effects, graphics, dialogue, enemies, environments, and everything else seen and heard.
The music is woven throughout that library of coding that’s like a Jenga tower; if something is out of place when the audio team implements the music into the game engine, the entire tower could topple over.
“Most of the time, the doesn’t want the composer anywhere near the build because we’re pretty good at breaking it,” Barton says with a laugh, going on to mention that certain game companies require 16-bit audio for every piece of music he writes.
“Game engines are so fragile. I’m in 24-bit, 48 kHz all the time, as is everybody. But that game engine is coded in such a way that it always only puts in 16-bit audio files. If they accidentally drag a 24-bit file into the structure, it will just crash the game, and it’s a major AAA game.”
Composers are also constantly working around sound design in the games. Barton composed for EA’s Titanfall series, in which the player pilots a titan, a giant robot. At these moments, the titan’s massive weapons and mechanical motions swallow the bulk of the low and mid-range.

“Everything [Titanfall] does is loud, so quite quickly I realised tons and tons of bass isn’t going to work here. You’ve only got so much headroom. The sound effects are certainly going to be the thing that takes over. One thing is going to have to win,” Barton says, adding that the HDR mixing function in games will lower the volume on everything else when these big sounds are running. “I found it was better to use higher frequency stuff and find my moments to use low bass-end sounds and then get out of the way, because I’m not being turned down.”
When Ludvig Forssell served as composer and audio director for Death Stranding, the open-world action game from Hideo Kojima’s Kojima Productions, he made those moments himself because he directed both the sound design and music.
“Having the power to influence in that way as a composer is very unusual and very privileged,” Forssell says. From this privileged position, he spent years “throwing shit at the wall to see what sticks,” as he developed the game’s overall sonic aesthetic.
Games have far more room for ideas to stick because players can spend hundreds or even thousands of hours on one game. Star Wars Jedi: Survivor has six hours of music. The composer and the technical team work together on how that music exists within the gameplay.
“That’s often the challenge. Balancing musicality versus something that’s actually going to make sense,” Barton says. “A lot of it is trying to think about why we want to start music or stop music; the way the transitions work and how you go from one musical state to another.”
The in-game music in Death Stranding mostly starts and stops depending on combat. As with Kojima’s famous franchise, Metal Gear Solid, the combat is at the player’s discretion. They can choose to be stealthy, face the enemy head-on, or avoid combat altogether.

To allow the music to naturally shift between these states, Forssell focused a great deal on layering three primary modes: caution, evasion, and alert. Caution means the enemy is suspicious that you are there. Evasion means they saw you, but you’ve escaped their immediate sight. Alert means they see you and they are engaging with you.
Then, each of these states has multiple layers dependent on factors like the number of enemies and the physical distance from enemies. As the danger increases and decreases, more layers fade in and out. This is especially crucial for stealth when players need to hear enemies to avoid being seen.
“I provide the music editors and [implementors] with as much material as I can,” Forssell says. “So I write very, very densely. If we put stuff in that’s supposed to be for the mid-caution tension layer, and it doesn’t feel like it’s intense enough, or it’s too intense, there are always small layers that we can add or take away to mitigate that. We do a lot of balancing after production on the music is done and it’s been implemented to make sure that those different layers of tension are adequately presented to the player.”
Ludvig Forssell (left) and Stephen Barton (right), signing Star Wars: Jedi Survivor and Metal Gear Solid merch. Images: London Soundtrack Festival
Star Wars Jedi: Survivor also allows the player to explore the various planets they visit as the protagonist, Cal Kestis. Barton and his co-composer Gordy Haab wrote exploratory music, but they also use music to serve the narrative by creating suspenseful loops as a boss fight approaches or inserting melodies to inform the player they’re going the right way towards their current objective.
By LucasFilm’s directive, the score captures a similar aesthetic that John Williams immortalised in Star Wars. Barton recorded the score at Abbey Road as well, which is where Williams recorded every Star Wars score from The Empire Strikes Back moving forward. But Barton wanted to capture that spirit without biting those iconic melodies. In fact, he only wrote with “Binary Sunset,” also commonly known as the “Force Theme,” twice in the whole game.
“We don’t need the music to perpetually remind you you’re playing a Star Wars game,” Barton says. “Let’s not make the music the wallpaper in a kid’s bedroom.”
Kids have been playing video games in their bedrooms for decades, but only the most recent generation has been exposed to music on par with classic films. Today, one young gamer might just grow up to be one of the most prolific composers of their time.
Read more music production features. 
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New Trending Touring Artists Chart powered by BandsintownToday we unveil Hypebot's new Trending Touring Artists Chart powered by Bandsintown led in May by emerging artists Sombr, Will Wood and James Marriott.
The post New Trending Touring Artists Chart powered by Bandsintown appeared first on Hypebot.

How to Use Short Form Video to Promote Music on Social MediaLearn how to use short form video to promote music across social media. It's easier than you think to create scroll-stopping clips that get noticed without fancy gear or endless editing.
The post How to Use Short Form Video to Promote Music on Social Media appeared first on Hypebot.

HEDD Audio unveil the A-CORE Series HEDD Audio's new A-Core Series comprises a pair of two-way designs that employ the company’s Air Motion Transformer tweeter and custom-made woofers, but omit the digital processing found in their MK2 relatives.

Live Nation launches $30 ticket deal for over 1,000 summer 2025 concertsBeen holding off on concert plans because of high ticket prices? Live Nation is here to change that with a limited-time deal offering $30 all-in tickets to over 1,000 concerts this summer.
Going on sale starting 21 May, the “$30 Ticket to Summer” promotion includes access to shows across the US and Canada from artists such as The Offspring, Pantera, “Weird Al” Yankovic, Avril Lavigne, Billy Idol, Halsey, and The Black Keys, among many others.

READ MORE: SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the future

Fans with early access through T-Mobile and Rakuten can purchase tickets beginning Tuesday, 20 May 10AM EST by visiting the companies’ respective platforms to obtain a presale code. General public sales launch the following day, Wednesday, 21 May at 10AM local time, via Live Nation’s official Ticket to Summer website.
The deal applies to a wide range of performances at Live Nation amphitheaters across the country, with tickets priced at $30 flat – all fees included. Visitors to the Ticket to Summer site can filter their search by artist, venue, or location to find eligible events near them.
More shows are expected to be added throughout the summer as well, so remember to check back regularly for new listings.
The initiative comes at a time when music lovers continue to voice frustration over soaring ticket prices. Last year, a study by global research firm YouGov revealed that UK concertgoers pay an extra £145 million annually to ticket touts, with nearly half of surveyed fans saying they struggle to identify legitimate resale platforms.
Roughly one in five tickets, the report added, end up on a resale platform of some sort.
O2, which facilitates over a million ticket sales annually through its Priority customer reward platform, said of the findings: “We are tired of professional ticket touts abusing the market and stealing tickets out of fans’ hands.”
“Music fans deserve the chance to buy tickets at a price set by their favourite artist, but all too often they are forced to pay a price decided by a stranger on the internet. Consumers deserve more protection and better information about the tickets they’re paying for.”
Check out the full list of participating shows at Live Nation’s Ticket to Summer website.
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Ethereum Foundation unveils security initiative to supplant legacy systemsThe Ethereum Foundation has launched a security initiative aimed at supporting the broader adoption of onchain technologies, according to a May 14 announcement. The effort is part of an ongoing push to strengthen Ethereum's role in programmable digital assets.Fredrik Svantes, a protocol security research lead, and Josh Stark from the Ethereum Foundation management team will be the initial co-chairs of the initiative. Three contributors to the Ethereum ecosystem — samczsun, Medhi Zerouali, and Zach Obront — will help guide the project.Called the Trillion Dollar Security Initiative, the effort seeks to analyze, improve, and communicate to Ethereum developers areas where security can be improved, including user experience, wallet security, smart contract security and infrastructure.According to DefiLlama, Ethereum still is the leading ecosystem for decentralized finance (DeFi), having held between 50-60% of the total value locked across all blockchains since May 2022. The network's TVL stands at nearly $80 billion as of May 14. Blockchains by total-value-locked. Source: DefiLlama“Achieving Trillion Dollar Security is only possible with the support of the broad Ethereum ecosystem,” the Foundation said in a statement. “Billions of individuals are each comfortable storing more than $1,000 onchain, collectively amounting to trillions of dollars secured on Ethereum," it added.Related: Vitalik Buterin outlines vision as Ethereum ecosystem addresses hit new highEthereum rebounds with Pectra upgradeEthereum’s struggles during this bull market have been well-documented. It has suffered from low traffic and a lack of attention-grabbing use cases, and its layer-2 chains that make Ethereum faster have been plagued by bad UX. But then came the Pectra upgrade.Pectra, Ethereum’s most significant upgrade since The Merge, has delivered three key improvements, including external accounts as smart contracts, increased staking limits and data blobs per block.Ethereum’s native token (ETH) price has risen significantly since the upgrade, jumping over 43% since May 7. Magazine: Comeback 2025 — Is Ethereum poised to catch up with Bitcoin and Solana?

Loaded Dice Entertainment & Amaze Partner in Strategic Merchandise DealAmaze Holdings Inc. has announced that it has been selected by Loaded Dice Entertainment as its official merchandise partner.  "Loaded Dice empowers independent musicians through artist development programs, transparent revenue-sharing, robust music distribution, and innovative marketing strategies," reads a statement. "As part of the partnership, Amaze will host both Loaded Dice branded merchandise and artist-specific items that will be appreciated by fans worldwide. The first Loaded Dice artist featured on the Amaze storefront is Hudson Thames, whose debut album BAMBINO was recently released and whose storefront includes artist designed sweatshirts, t-shirts, and hats."“Partnering with Loaded Dice provides the brand and its artists with unparalleled opportunities for new exposure amongst Amaze’s users,” said Aaron Day, CEO of Amaze. “As Loaded Dice helps artists with their music, Amaze will help artists reach new audiences and easily create and sell merchandise on their own. Merchandise revenue can be a significant support for artists, and we look forward to empowering artists to create and sell items that represent their art and resonate with their fans.”“From day one, Loaded Dice has been committed to creating a distinctive environment where artists can thrive creatively and professionally. As we continue to grow, it’s essential that we align with partners who share our values and vision. That’s why we’re thrilled to announce our partnership with Amaze. Together, we’re empowering our artists to express their authentic style, reach new audiences, and offer fans innovative merchandise experiences that go far beyond the traditional. We’re excited to collaborate with the Amaze team as we redefine what fan engagement and artist support can look like,” said Jeff Z (Zuchowski) and Chad Doher, Co-Founders of Loaded Dice.Find out more at amaze.com.The post Loaded Dice Entertainment & Amaze Partner in Strategic Merchandise Deal first appeared on Music Connection Magazine.

YouTube viewers will start seeing ads after ‘peak’ moments in videosImagine you’re watching a highly anticipated video from your favorite YouTube creator — perhaps the moment a famous couple finally gets engaged — when an ad pops up immediately after the clip. This is part of YouTube’s new ad format called “Peak Points.” The company revealed the new ad format during its Upfront presentation on […]

Your Own Core Rope MemoryIf you want read-only memory today, you might be tempted to use flash memory or, if you want old-school, maybe an EPROM. But there was a time when that wasn’t feasible. [Igor Brichkov] shows us how to make a core rope memory using a set of ferrite cores and wire. This was famously used in early UNIVAC computers and the Apollo guidance computer. You can see how it works in the video below.
While rope memory superficially resembles core memory, the principle of operation is different. In core memory, the core’s magnetization is what determines any given bit. For rope memory, the cores are more like a sensing element. A set wire tries to flip the polarity of all cores. An inhibit signal stops that from happening except on the cores you want to read. Finally, a sense wire weaves through the cores and detects a blip when a core changes polarity. The second video, below, is an old MIT video that explains how it works (about 20 minutes in).
Why not just use core memory? Density. These memories could store much more data than a core memory system in the same volume. Of course, you could write to core memory, too, but that’s not always a requirement.
We’ve seen a resurgence of core rope projects lately. Regular old core is fun, too.

Maarten Steinkamp appointed Interim President of Armada Music GroupSteinkamp has worked closely with Armada as an interim board consultant for the past several months
Source

Get the Levine’s Machines – Drum Machine Linn LM-1 Plugin for $79 for a limited time
Iconic Instruments has partnered with legendary producer Steve Levine to create Levine’s Machine software series. The series recreates some of the most-used hardware from Steve’s studio in the virtual realm, and Levine’s Machines – Drum Machine is the first installment. Levine’s Machines – Drum Machine is an authentic recreation of Steve’s LM-1 drum machine. The [...]
View post: Get the Levine’s Machines – Drum Machine Linn LM-1 Plugin for $79 for a limited time

M-Audio announce M-Track Duo HD Aimed at musicians, producers, podcasters, streamers and content creators, the M-Track Duo HD promises to avoid the trade-off between ease of use and professional results.

SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the futureSoundCloud’s CEO Eliah Seton has penned an open letter to its users following suspicion that it was using artists’ content to train AI.
Earlier this May, SoundCloud users raised concerns about the platform’s Terms of Use, which seemingly suggested that their content “may be used to inform, train, develop or serve as input to artificial intelligence”. However, there was a misunderstanding about what this actually meant.
The term had been in place since February 2024, but had garnered new attention online. Following the panic, SoundCloud affirmed that it has never used any artist content to train generative AI, and that the term actually referred to its internal use of AI, including personalised recommendations, content organisation, fraud detection, and improvements to content identification.

READ MORE: Spotify’s AI DJ now takes requests

Now, Seton has set out to further reassure its user base, and most importantly, has also promised better clarity on AI from now and into the future. The brand has also scrapped the original term from its ToU article which caused the alarm, and replaced it with a much clearer statement.
Seton’s letter reads, “SoundCloud has never used artist content to train AI models. Not for music creation. Not for large language models. Not for anything that tries to mimic or replace your work. Period. We don’t build generative AI tools, and we don’t allow third parties to scrape or use artist content from SoundCloud to train them either.
“In fact, we’ve already put protections in place like a ‘no AI’ tag that explicitly signals content on SoundCloud can’t be used for AI training. At SoundCloud, protecting artist rights isn’t new for us and being artist-first isn’t a slogan. It’s core to who we are and always will be. It’s in our DNA.”
The statement later explains, “Our use of AI is focused on discovery – helping fans find new music and helping artists grow, starting with their first fans. That’s core to our mission. Three years ago we expanded our AI and machine learning capabilities through the acquisition of Musiio which significantly improved how we connect creators with listeners, fuel music discovery and help rights holders identify what’s next.”
Further to this, Seton has taken responsibility for the language in SoundCloud’s ToU document for being “too broad”, and has said it “wasn’t clear enough”: “It created confusion, and that’s on us. That’s why we’re fixing it,” he says.
As a result, SoundCloud’s ToU now reads, “We will not use your content to train generative AI models that aim to replicate or synthesise your voice, music, or likeness without your explicit consent, which must be affirmatively provided through an opt-in mechanism.”

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Seton emphasises that SoundCloud believes AI should support and not replace artists, and that you’ll see further changes reflected online within its Terms of Use in the coming weeks.
“Our approach will always be guided by a single principle: artist-first. We’re going to keep showing up with transparency. We’re going to keep listening. And we’re going to make sure you’re informed and involved every step of the way,” he concludes.
For more information, you can read the full letter from Eliah Seton via the SoundCloud website. 
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Triceratops | decap Bottom HeavyBottom Heavy – Multiband Distortion €24.99 (excl. VAT) | VST3 & AudioUnit | Mac & Windows | Lifetime Updates. Crush. Mangle. Obliterate. Bottom Heavy isn't just distortion—it's pure, unapologetic audio destruction. Designed for hardcore bass heads, techno freaks, and distortion junkies, this multiband beast delivers everything from earth-shaking low-end growls to ear-splitting mid and high-end punishment—without turning your mix into mush. Oh yeah, and there's a voluptuous booty shaking on the UI. You're welcome. Why Bottom Heavy? Heavy. Fucking. Distortion. Never-before-heard waveshaping that goes beyond standard clipping and saturation. Multiband Madness. Separate distortion settings for low, mid, and high frequencies—sculpt your filth with precision. Hilbert Transform Drive. Generates harmonics that follow your drive factor for a completely unique sound. Randomize Everything. Hit a button and let chaos take the wheel. Simple but Deep. One macro knob to control the madness, plus dry/wet, post gain, and fat, bass-heavy presets to get you started. Made for the Wild Ones This is not a plugin for your dad's jazz quartet. Bottom Heavy was built for producers pushing sound to the extreme, including: Hardcore, Hardstyle & Rawstyle producers. Dubstep & Phonk beatmakers. Noise & Industrial artists. Techno & Heavy Ambient sound designers. Trap & Drill producers looking for raw, dirty textures. One-Time Purchase. Lifetime Updates. €24.99 (excl. VAT) – Get all future updates, refinements, and potential new features for free. Refunds? Yeah, We've Got You. 30-day refund policy (because we legally have to). You won't find Bottom Heavy anywhere else. Get it exclusively here. Read More

Waz-u: “If you want to do something unexpected, be controlled and intentional about it”Electronic producer Isaac Baden-Powell, AKA Waz-u, has become acutely attuned to spinning many plates. As well as the release of his latest album, Preludes: Duck Psalms, Baden-Powell also runs a studio alongside his brother and fellow producer, Mali Baden-Powell, and is the drummer for alternative soul project Monzanto Sound and experimental punk project Nexus_0.

READ MORE: Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album?

The artist has a distinct knack for intertwining funk-fuelled beats with his love of classical composition techniques. He has described his work as a fusion of religion and dance music, making audiences equally pensive, emotive, and excited on the dance floor.
Waz-u sits down with MusicTech to unpack his workflows as a producer without using a computer, and his love of analogue synths and instruments that inspire his work.
Preludes: Dusk Psalms by Waz-u
Your second album, Preludes: Dusk Psalms, is out this month — what lessons did you learn from your debut that carried into this record?
I learnt a lot from my last record. Artistically, I felt a lack of focus and have tried to create a cohesive world with Preludes: Dusk Psalms. It’s easy to try to show the listener your taste and influences in a record, but all the albums that stand the test of time do so because that record has a consistent stylistic aesthetic.
I also learnt that relying too heavily on record labels is not a good thing for the artistic process. [My debut album], Prayer for Dawn was originally going to be released by another label but was dropped last minute for undisclosed reasons; as a result, I have tried to take a more active role in releases to make sure things are done professionally. It was a lot of work, but I’m happy with how my first record’s campaign went, and it’s given me more confidence to release music that I believe in.
You have lots of different creative projects on the go, such as Monzanto Sound and Nexus-0. How do your creative approaches differ in your solo work?
With those two projects, I work primarily as a drummer and secondarily as a producer. The music is heavily focused on live instrumentation, and what I can add to them is more about songwriting and feel. Production-wise, I oversee mixes and tweak musical ideas to get the most out of them, but I mainly try to take more of a backseat role.
In my Waz-u project, the sonic palette is electronic, and the drum parts (if there are any) are all programmed. It’s a way for me to explore composition differently and think more about atmosphere than in my other projects.
Photo: Mali Baden-Powell
Your musical identity is very varied, with classical, reggae and funk roots. How do you work to combine all of this into your releases? Is it easier said than done?
I treat influences like flavours for a chef: you need to use the right ones at the right times, and if you want to do something unexpected, be controlled and intentional about it. This record has no drums on it, as it has an ambient aesthetic, so the reggae and funk influences are sparse if at all; but the process and workflow of using an analogue desk for mixing and ‘dubbing out’ tracks live with send effects is something that the greats such as King Tubby and Lee Scratch Perry pioneered.
The classical influence is much more present throughout, and I actually had to turn down the intensity of that influence: a lot of the initial demo versions of the tracks were unnecessarily harmonically complex and, as a result, felt twee and excessive. I’ve tried to retain the taste but still keep the music palatable. You can clearly hear The Word is influenced by the baroque progressions of J.S. Bach. and G9 LUVs bowed textures mimic classical string parts and harmonies throughout the record.
Tell us a bit about your studio.
My studio, Biodiversity Studio, is based in Greenwich in South-East London. My brother Mali and I run the space, and he designed it in a way to optimise workflow and sound quality. We also have an in-house mastering engineer, Alex Batchelor, who worked on this album: he has a private studio now with different acoustics but formerly worked in this space and has strong ties to the Biodiversity studio as the Soundcraft console was originally his.
The concept is to have a space capable of creating diverse genres of music. Having a drum kit and a piano as well as a large selection of outboard and synthesizers allows this space to be a source of limitless creativity. Collaborating with other artists is part of our bread and butter, and this studio has been used to record anything from neo-soul to dub techno. On Fridays, we invite artists or producers to come in and collaborate on a tune as a fun way to connect and make something different and exciting.
Waz-u’s effect rack. Photo: Mali Baden-Powell
What’s your latest gear purchase?
My latest purchase was a Boss BX-80 mixer, which has been modded to have direct outputs. It has some of the best natural drive and distortion of any gear that I have encountered and is perfect for summing drums to get beautiful saturation that simply can’t be achieved in the box. I had to pay a little bit of money to get the direct outs as a mod but it allows a degree of flexibility which is necessary in what is quite a complex routing set up.
What’s the best free plugin you own?
UAD LA-2A compressor. This is on the bass on almost every single track, as well as being a key part of my vocal mixing chain.
What’s been the biggest investment in your career/studio?
The biggest investment in my studio was on monitoring. Our main monitors are a pair of Gethain RL906 with an Eve audio subwoofer. The transient detail and upper midrange ‘air’ is unparalleled for monitoring of that price bracket. We also put a lot of funds into proper acoustic treatment; Mali made a bunch of custom baffles and as a result producers always compliment the ‘sound’ of the studio. My advice to younger producers is to invest in good monitors and acoustic treatment. This is because you can’t make music sound good until you can really hear what is going on! In a better sounding room you can find your sound without guesswork and make informed mixing decisions.
Your music is very synth-heavy — do you prefer the versatility of digital synths or are you more of an analogue synth purist?
I don’t use plugin synthesizers at all because I find the immediacy and tactility an essential part of the creative process when composing electronic music. In terms of synths, I’m a sucker for the sonic imprecision and ‘vibe’ of analogue synths. I also find the workflow of being forced to commit to audio from the get-go very refreshing, and it helps me to focus more on the composition and overall mix and less worried about endlessly tweaking something in the box.
Photo: Mali Baden-Powell
You’ve said previously that your music is written and mixed with little to no use of computers. How does that impact your work?
I make electronic music, but my background is playing instruments. I find that the piano allows me to tap into the emotive quality instantly — almost all of the tracks were initially written on a piano before being transcribed onto synthesizers. I feel like if something melodic doesn’t work on the piano, then it probably won’t work on a synthesizer. As a result of this, I like the feeling of performing an instrument, albeit a synthesizer, and ‘playing in’ the sound of something.
When it comes to mixes, I enjoy having the same approach: using an analogue desk. I use a Soundcraft Delta 32, and I enjoy being able to tweak everything instantly in real time. I generally record stems onto the computer and then run everything out through the desk via our Motu 828Es. In this way, I’m treating the computer like a tape machine was used back in the day.
Photo: Mali Baden-Powell
What’s a music production myth you think needs debunking?
The idea that spending more time on a track makes it better is a complete myth and something that I believe to be categorically false. If you never finish tracks, you never learn how to finish something and often, your initial idea was the best.
I think the only way to get better at making tracks is by finishing lots of them, and the easiest way to do this is to work quickly. Generall,y working slowly shows a lack of confidence in the idea and an excessive attachment to that particular track. My philosophy is: it’s not that deep, it’s just track. If it’s bad, make a new one tomorrow. Then, when you have lots of tracks, go back and dig through them, and there will definitely be some good ones in there.
Who gave you the biggest lesson in your career?
The biggest lesson is to just turn up. I remember someone telling me this years ago when I lived in Glasgow and it has always stuck with me. As an artist, it can be hard to keep doing the thing that you believe in, as no one else but you can make you do it. Just being present can allow you to achieve the things that you need to.
Read more Studio Files interviews on MusicTech. 
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