Podcasts about air studios

In our interview with Christopher Lennertz, the award-winning composer shares insights about his work on the soundtracks for the video games "Quantum of Solace" and "From Russia With Love." He delves into his creative process, recounts his experiences at Abbey Road and Air Studios, and shares a memorable moment of enjoying Mexican food and Margaritas with the legendary Vic Flick!

In this episode, we talk about the title song of Paul McCartney's 1983 album Pipes of Peace. In addition to our usual discussion of lyrics and music, we talk about the powerful video that accompanied the song starring two "Pauls" (a German and English one!). This was Paul's last #1 in Britain -- does it live up to that reputation all these years later? And as always, we get into the myriad cover versions as well. Here's a list: Sergio Denis https://www.youtube.com/watch?v=jmNyiIKIB6s  Gerry Marsden https://youtu.be/tG99N_2PjtU?si=u1O-hs58zf9YD4mM  Chill Out Sex Band https://www.youtube.com/watch?v=8wDIepvuSMw  Samantha Landrum https://www.youtube.com/watch?v=P1U6LyUiOTs  The Poppy Girls  https://youtu.be/CbTsb9lf-Xk?si=Q1vU-SlwihPaq4Mz  Naturally 7 https://www.youtube.com/watch?v=i26mqL8jDgQ   Muna  https://www.youtube.com/watch?v=FfaXiJ_DTlU  And a rare interview with Paul about this song, looking quite preppy! Paul McCartney on Harty (Pipes Of Peace Mixing, Air Studios, London, December 14th, 1983, Restored) Enjoy! Feel free to email or record a message to ivegotabeatlespodcast@outlook.com and we'll include you in our "Please Mr. Postman" segment. Also, please rate us wherever you listen to your podcasts. You can now watch us on YouTube! Complete episodes can be found at https://ivegotabeatlespodcast.podbean.com. Email: ivegotabeatlespodcast@hotmail.com X: @ivegotabeatles Facebook: I've Got A Beatles Podcast Our video venture: "Song Album Career!"

AIR Studios engineer Gianluca Massimo talks about his role on Coldplay's recent song, All My Love, their 10th studio album Moon Music, working on a live Yungblud session, and working on AIR Studio's iconic Neve consoles, which are essential to his workflow.

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. We talk spoilers and creating themes for characters. Spoilers are talked about in this episode. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part two. Now you guys did the scoring process in Air Studios, right? Just for the choir. Just for the choir. Yeah, so we flew out to London to record there. That was maybe one of the best experiences I think we've had recording. It was very, very special and cool. But yeah, it was just a small choir. And so everything had already been written. So it's just about going in there, getting rid of our MIDI choir, any of our temp choir, making it sound more human. Other than that, everything was done here. How did you guys go about choosing the themes for the characters? How did that process go? And was that something that you could really only... Before you got hired, were you... Because you did the first episode and that was kind of like your test. And I was like, yeah, you guys are hired. But were you privy at that point of kind of where the story was going so that you could know? Madsen gave us... We had access to everything. We were very close with Madsen, so we were able to get in from that side. So when we started doing character work early on, pretty much around when we were scoring the first episode, we knew where all the characters were going. So we had a very clear picture of their arc, which helped a lot. OK. All right. So I think now we're going to get into spoilers here. So this is going to be hard to talk about the music without talking about spoilers. So let's let's do it. Doing spoilers now. Click off if you don't want to hear any more. I love the idea in this story, you know, that we find out at the end that Aiko is really Malcolm Lee's mother and that the Oracle sends back his mother to save him. I just thought that was such a great twist. It didn't come out of nowhere. You can tell they protected the twist, you know, when they're on the bridge, you know, never sees her. Was that something that you got when you guys... Did that influence you guys when you knew that was kind of where it was going or is that something you guys found later? I think it influenced us a little bit. We the two themes for, I guess, like Malcolm's theme and Aiko's theme do have some similarities. And I think that was intentional. We never wanted it to be blatant, but I think having just like a it's a little bit similar. Like you hear his stuff and then you hear hers, but hers is in the future and dressed completely differently. But, yeah, there was some similarities between the two. And I think we used we knew it was going to happen. So it was we started thinking about that in the beginning. And then there was a really small, like vocal line, a female vocal line over. I forget which episode it is. I think it's episode it's when Malcolm's talking about his origins, his origin story. And, you know, during the birth moment, we have this vocal sample come in. Then again, we have it come in when he's talking to Aiko in episode eight as all this action is coming around. And then we have it again. Can I do big spoilers? Yeah, yeah. We have this vocal line that's kind of threaded through and it's subtle, but it's like we were very aware of when to thread it in. Was that something when you guys were looking at the script? We're like, oh, wow, this is really interesting where they're where they're going with this. Yeah. I mean, it was pretty fun. And there were other characters, too, that like really. But like those are spoils for other seasons. So I can't really. A lot of the kids, they have they're just starting their arc, you know. But it was really helpful knowing the clear picture of everything so that we could really create themes that would last. The theme that I feel like kind of defines the show is it will never be the same. That's kind of like we keep hearing that kind of this is that you guys talked about how you wanted to play it. If you can play it simply. I'm paraphrasing exactly what you guys said in the interview. But you said play it simply or sing it simply like just so that's something you just came up with on the on the on the piano or something. And then just for like, we'll just build on that. Yeah, well, it took time to figure out how I mean, so that was an early demo. So that was like, it'll never be the same was was from the demos way back when. So that was probably the biggest one that stuck and now and run. Yeah, the opening sequence of episode one. But Madsen kept being like, if I had it my way, it'll never be the same would be the theme of the show. And we were just like, it's not like, it's not it's really sad. It's like all everything about it feels like you're just kind of like, falling back. And we were struggling to find a way to create a theme for that ending of episode one. We had like, so many different ideas, it was a week was horrible. And then we were toward the end of it. And again, having that just ring in our head that Madsen was like, if this could just be it. We took it'll never be the same, put the chords on guitar. And I feel like it's a good songwriting trick. Anytime I get stuck with songs, or you get too caught up with production, it's like, can you play it on guitar and sing it? And does it hold up? And if it doesn't, then maybe you got too many tricks going. And you know, you're relying on production too much, like, is it solid or not? So instead of, you know, playing it on piano, I just started palm muting the chords. And then we just started singing. And naturally, we sang it in a different way. It's like it's it's very similar melody lines, but it's swung in a more anthemic driving way. It's less sad. And then that just like opened it up. They're like, Oh, right, you can just play it'll never be the same like this. And then it feels like it has more agency and it feels like a theme. It kind of comes back in the end of the world. And underground. Those are the two times where I like really noticed that being replayed. And it's laced throughout as well. But like, those are the most distinctive moments specifically into the world. That's like when we were like, okay, now let's play it as sad as possible. That's an example of just like, it was completely low hanging fruit for so long, but it took us a while to see it. And then see it that just everything unlocks. Because with Run, which is, I believe that's the first song we hear that, you know, when she's, you know, trying to get away from the, you know, the Terminator, and it's kind of, you know, gets us all going. Like right into it, you got that little distorted voice that that comes in. Was that the voice you guys are talking about with the... It almost signifies that, you know, the Terminator is coming. Is that kind of what you guys were doing with that theme? Yeah. And specifically with the beginning of Run, we wanted to take acoustic instruments and distort them to hell. So I think a big one of that was violin samples and make them sound robotic. And we kind of like made them into like a scary melody line. And it wasn't... I think the piece of Run that we wrote to the demo, like was the demo, was once things pick up. Once you get the four on the floor action part, we had written that as a demo. So it was about like, we had that piece, but then we had to kind of build it a bit because it was like... And the scene was super long. Five or six minutes. So it was a lot more to do. Yeah, because you talked in previous interviews that you didn't want the Terminator to have like its own theme. You just kind of wanted like a sound cue for when he's coming. And I think for that, it was like this like two note bass line, like duh, duh, was one of the... There's a few different signifiers for like he's coming. And then there are the metal hits that we use whenever he's sort of like attacking. And then there's like a three note horn line that we use a few times when he's like really in action. But we wanted to keep it because he is not human. And the other characters, for the most part, are at least have human tendencies. Like he didn't... He didn't... He didn't deserve a human theme because he said he needed a, you know, a more robotic. Very atonal. Atonal. Yeah. But I like that, that you guys came in for that. Because the audience might not know that, you know, but subconsciously, they'll pick up on the fact that, you know, that that's happening there. One of the themes I really like that I don't think it's talked enough about is the traveling in time theme, where you've just got like this, it almost sounds like a bell or taking like a fork and you're just hearing this. Oh, there it is. Is this what it is? That's what it is. Top of a candle holder. I thought something like that. Yeah, it's like, and the other also have this bell that we use. These are just like tongue bells. Wow. So a lot of that. Yeah. A lot of sampling those running them through like a crystallizer. Yeah, found twice crystallizer, which made it much more swirly and washed out. Yeah, a great reference that Madsen brought up was the score to brick. I don't know if you remember that. Yeah, yeah, I know. Love that. And it has a ton of melodic bells. And that was a big inspiration. It does. And it was like, this felt like a moment where we could really do something different. Because a lot of the score, it can be really moody. It can feel like it's everything's really weighing on you. And this just kind of lifts us up. And it, it became a really good sonic palette for any time they're talking about time travel. There are other moments in the film or in the in the series where time travel comes up. And a lot of times where it was appropriate. You can hear a little swell of these bells. And yeah, exactly. I so what made you guys decide on on using bells to come up with that? I think it highlights everything because now she's alone. She's just witnessed her friends, supposedly all dead. And now she's in a new time period as she's erased the clock. And you're hearing just this distorted, you know, it just is like, all I kept feeling is like alone. It's distorted. What made you decide on bells or, you know, the candle holder? I think I think that that's, you know, a testament to direction for Matson of just like, Oh, check out brick. I think this this like scene from Rick, like kind of the vibe that could be cool. And then just, you know, a late night experimenting with bells and, yeah, and piano and other things. And, yeah, you know, just like trying something out. But it was nice to use. I like we still affected it quite a bit, but it was nice to use bells in a slightly more organic way. Because a lot of Kokoro, a lot of scenes with Kokoro have I use those tongue bells on a lot of that and filtered heavily with different pedals and distortion stuff. So like you have two versions of the bells, the AI version. Yeah, this was an opportunity to bring it back, but in a more natural way. Yeah, because I don't know that one just stands out so much to me because it's such a change from what we've heard in the series. That's what I really like about this score is it's like, it's not just relying on the same thing. It's you're going for something that I mean, it's bold. I mean, you could have just gone for this, you know, very determined score thing. But that's what really stands out to me is just the complexity of the music and just those different sounds. Talk a little bit about Choose and how you guys came to that. God. I've been talking a lot. No, but this sort of started with you. Well, so back when we were doing episode one, they were like, and you kind of even gotten the kick, but they were like, can you? Can you create like, a bunch of other music that we can like sprinkle in later for temp music later or something? They were starting episode, they were working on episodes like two and three, and we were still on one. And they were like, we would love you to write us some temp music so that we can animate to it. And we were like, Okay, hope we get the gig. Funny enough, they never got temp music since it was all this stuff. They probably worked on it, though. Maybe. But so we had this whole other group of songs, a lot of the character themes came from, from this, this push, and it was this, this was a potential Terminator theme. When we first wrote it, we thought that this could maybe be like the theme. It wasn't, and it wouldn't have been good for it. But we had this idea that was like half-baked, but it had like all the elements that you hear in Choose. And we were working on the last episode, and we're like, wow, we still haven't used this one idea. And we were watching this scene, the death scene. And, you know, oftentimes, sometimes you get lucky when you just throw things in. And we were like, okay, let's use this theme. And then it can be a theme that we can carry out through other seasons. And we just dropped it in and it just like, just took off. And we obviously changed it and made it way cooler. And we brought in the choir element, which was like really awesome. That was one of my favorite choir moments. Yeah. I think I have a video of us in the, at Air Studios, like that happening and us all listening to it. And it was one of those moments that like, you know, we'd written these choir parts and, you know, I usually will sing them in as my voice. So it's like a bunch of my voice stacked. And they were really dissonant and they were weird, but like getting in and hearing it with the choir, like it's like this pulsing, dissonant, crazy chords that hit really, really hard. And it was like a very intense experience to just be in this like iconic studio and hear them, like this like wall of sound coming out of just eight singers. Yeah. Very cool. And then- Just a real moment, you know? Yeah. Like probably what Beethoven felt when he discovered the Ninth Symphony. You know, just like, wow. Exactly that. Exactly. Bliss of God. Please like, share and subscribe. Thank you for watching. 00:00:00 - Introduction 00:00:05 - Scoring Process and Character Themes 00:01:40 - Spoilers and Character Development 00:01:55 - Musical Themes and Influences 00:04:31 - Creating the Theme 'It Will Never Be The Same' 00:07:43 - Creating the Theme 'Run' 00:10:13 - Creating the 'Traveling in Time' Theme 00:13:58 - Creating the Theme 'Choose' 00:17:00 - Conclusion

Slip on your flares and get comfortable as we dive deep into crocodile-infested waters for our mammoth ‘Live and Let Die' three-episode marathon. In the first part, we discuss the main title song, and Chris takes JW and Logan from its conception through to recording and release. We leave no stone unturned as we travel from AIR Studios, London, to Jamaica to learn the story of this iconic masterpiece.

From Jen Tough Gallery & AIR Studios, owner Jen Tough discusses an exhibit at her gallery entitled Human and Chimp Collaborations, an exhibit featuring paintings by rescued apes from labs including many from Alamogordo, New Mexico which proceeds go to Save the Chimps. All with TJ on News Radio KKOBSee omnystudio.com/listener for privacy information.

Jake Jackson reveals how he recorded and mixed Mark Korven's score for The Omen prequel, The First Omen at London's AIR Studios using a 96-channel Neve 88R console.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden, CEO of Rubber Cheese.Fill in the Rubber Cheese 2024 Visitor Attraction Website Survey - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcast.Competition ends on 17th July 2024. The winner will be contacted via Twitter. Show references: https://aerstudios.co.uk/https://www.linkedin.com/in/jamesliweb/ Tools for Sustainability:https://ecograder.com/https://www.websitecarbon.com/ James Hobss is a people-focused technologist with over 15 years experience working in a range of senior software engineering roles with a particular focus on digital sustainability.He is Head of Technology at creative technology studio, aer studios, leading the technology team delivering outstanding work for clients including Dogs Trust, BBC, Historic Royal Palaces, and many others. Prior to joining aer studios, James was Head of Engineering at digital agency Great State, where he led a multi-award-winning software engineering team working with clients including the Royal Navy, Ministry of Defence, Honda Europe, the Scouts, and others.He also has many years experience building and running high-traffic, global e-commerce systems while working at Dyson, where he headed up the global digital technical team. Transcription:  Paul Marden: Welcome to Skip the Queue, a podcast for people working in and working with Mister attractions. I'm your host, Paul Marden. The last twelve months have been the warmest of any twelve month period since records began. And while over 70% of attractions have a sustainability policy, only 12% have actually tested the CO2 emissions of their website. In today's episode, we're joined by James Hobbs, Head of Technology at Air Studios and a member of the Umbraco Community Sustainability Team. James shares some easily actionable tips to reduce the emissions of your website. Paul Marden: James, welcome to skip the queue. Lovely to have you. James Hobbs: Thanks for having me. Paul Marden: So we always start with some icebreaker questions. So it would be unfair if I didn't inflict the same pain on you. James Hobbs: Go for it. Paul Marden: Let's start with a nice one, I think. What actor would you want to play you in a film about your life? James Hobbs: I mean, instinctively, I'd say someone like Jack Black. Just think he's really funny. A lot more funny than me. I'm not sure how much of a resemblance there is. He's got a much better beard than I do someone. Yeah. If there's gonna be an adaptation, I'd like it to be funny. Paul Marden: I like the idea of that one. I think I'd struggle with that one. I'd struggle to pick. Yeah, you know, it's gotta be an archetypal geek that would play me in the story of my life. I'm not sure who that would be. James Hobbs: Not John Cena or something like that. Paul Marden: So the next one, I'd say this one I found really hard, actually. What was your dream job when you were growing up? James Hobbs: Oh, okay. So I can answer that one easily because my parents still take the Mickey out of me for it. So when I was quite young, I told them very kind of certified. When I grow up, I want to be part time mechanic, part time librarian. Paul Marden: Well, that's an interesting job, shed. James Hobbs: Yeah, it's really random, I think, because I like, I love books. I love reading. Did back then, still do now. I also like dismantling things. I was never very good at putting them back together and then continuing to work. But, yeah, that was my aspiration when I was a kid. Paul Marden: I remember going to careers advisors and just some of the tosh, they would tell you. So everybody was told they could be an undertaker and you got your typical finance jobs. But I really. I desperately wanted to be a pilot. And I was told by the optician I couldn't because of eyesight, which was nonsense. But actually, I couldn't have done the job because I have a zero sense of direction. So later in life, when I trained for my private pilot's license, I got hopelessly lost a couple of times. The RAF are very helpful, though, when that happens. James Hobbs: They come up, fly alongside you and tell you to get out of their airspace. Paul Marden: They don't like people invading the Heathrow airspace. And I was dangerously close to it at the time. James Hobbs: Nice. Paul Marden: That's another story, though. But no, they sent me from my work experience to work in the local council finance department. Department, which I don't think could be more different than being a pilot if you actually tried. James Hobbs: I mean, it's not the most glamorous, I mean, it's important, but, you know, it's not quite Top Gun, is it? Paul Marden: No, no. Exactly. There you go. Tom Cruise. That can. He can play me in the film of my life. James. So we want to talk a little bit about digital sustainability. So I thought it'd be quite nice for you to tell the listeners a little bit about your background in digital and more specifically the stuff that you've been doing more recently in digital sustainability. James Hobbs: Okay, I'll give you the most succinct property history I can. So I guess my background 15, 16 years ago started off as a developer, not a very good one. And since then I've worked for a range of different sorts of organisations. So everything from a local council, national charity, global manufacturing company, and then two digital agencies. For the last ten years or so, I've been more in leadership positions, obviously have to stay close to the technology. And in more recent years, one of the big passions of mine, I suppose, or something I'm really interested is the sustainability side of digital, because I think it's interesting and that we can make a massive impact, which I'm sure we'll talk about at some point. James Hobbs: But my current role is I'm Head of Technology at a creative technology studio called Air Studios, who also share my enthusiasm for sustainability. So I'm excited to do some work there. Paul Marden: Yeah. And my background stalking of you told me that air does some work in the attraction sector as well, doesn't it? So you work with a few attractions? James Hobbs: Yes, that's right. Yeah, we've got a few. Paul Marden: So there's some form here. James Hobbs: Yeah, I would say so. Paul Marden: Cool. One of the things that I know that you've been working with is so we're both. We've spent a lot of time in the Umbraco community, and Embraco is a content management system that a few attractions use not many, but some tend to be larger organisations that use Umbraco typically. But we've both spent time in the Umbraco community going to lots of events and talking to a lot of people. But one of the contributions you've made over the recent period is joining the Umbraco Sustainability Team. What is it, what does it do and who's involved in it? James Hobbs: Okay, so the Umbraco has this concept of community teams, which I think is a, Umbraco is a very unique organisation. Anyway, you know this because you're part of community as well, but they have a very strong connection and link with the community of developers. And not just developers, anyone who has anything to do with Umbraco and works with it. And the sustainability team is one of the several community teams that exist. The idea is that it brings together people from Umbraco's and people from the community who have a shared passion in something relevant to Umbraco to help steer it, share knowledge, and ultimately achieve a goal. And for the sustainability community team, the goal is to, I guess it's multifaceted. Firstly to make Umbraco as a product more sustainable, which is brilliant. James Hobbs: Secondly, to raise awareness of what organisations or individuals need to do to be able to improve the sustainability posture of whatever they're up to, which is brilliant as well. So there's a very umbraco focused side to it, but there's also a wider kind of awareness raising, educational side of it too, because this is a very, its a quite a new, say, it's a relatively new thing. I think digital sustainability as a concept completely hasn't really existed for that long, unfortunately. But now it does. Paul Marden: Yeah, exactly. And theres been some impact as well that the team has had on the product and the direction of the product isn't there. James Hobbs: Yeah. So and again, this is, there's several of us in this community team and I want to make it really clear that like a lot of work's gone on. It's not just me doing it. So we've managed to achieved a few things. So first of all, the Umbraco website, they launched a new website a little while ago. Its sustainability posture wasn't great. So we've worked with them, people that internally built that to improve it, and that's made a massive difference. Paul Marden: Excellent. James Hobbs: It's gone from being dirtier than a large majority of websites to being cleaner than most, which is great. We've pulled together some documentation for covering all sorts of areas from front end, back end development, content editing and so on, to educate people on how to build more sustainable websites. And some of the team members as well have built an Umbraco package, an open source package that you can install into Umbraco, and it will advise you in terms of the pages that you're making, whether they are good from a carbon footprint point of view or not. And we'll give you a rating, which is superb because it brings that whole thing in much closer to the end users who'll be making the pages. So that was a really nice piece of work. And on top of that, we do appear on things like this. Do webinars and talk at conferences and stuff. Paul Marden: Yeah, and I think Andy Evadale from Tangent is one of the members of the team. And honestly it was Andy who totally opened my eyes to this whole subject when I first started seeing him talk about it and giving some stats, and we'll talk a little more about those later on. There's definitely an impact that the team is having and it's really weird, isn't it? I mean, I don't want to geek out too much about Umbraco and the community, but there is something quite special about this commercial organisation that has open source software that gets given away for free, that collaborates with the community to build a product which is easy to use, pretty cool, really effective, but also sustainable as well. There's not many organisations that work in that way. James Hobbs: Yeah, it's unique and I love it. I think it's great. It just shows you it's possible to run a business and make money, but also have a really engaged community of passionate people and work together. I think it's brilliant. Paul Marden: Look, let's just take a step back from geeking out about Umbraco. Then I want to set the scene. Longtime listeners will know that Rubber Cheese run a visitor attraction website survey. We've done it for two years in a row. This year we simplified the survey down to make space for some more questions. And one of the key questions we've talked about is Sustainability. We are still just over the halfway point of the survey period, so there are still lots of responses coming in. But based on the data that we've got so far, we know that 72% of attractions in the current survey have got a sustainability policy, but only 12% of attractions have ever tested the CO2 emissions of their website. And we'll come to in a minute why we think the measurement and focusing on CO2 emissions in digital is important. Paul Marden: But whilst very few are actually testing their site, nearly half of all of the respondents so far have attempted something to reduce the CO2 emissions of their website. So there's clearly action going on, but it's not necessarily driving in a coherent direction because there's no clear benchmarking and target setting and retesting. So I think what I'd like to cover today is for us to understand that a little bit more, get under the skin of it a little bit, and then talk a little bit about how we can actually reduce the CO2 emissions, how can we actually make things different and why we might want to do it. Because it's more than just kind of the ethical, we all should be doing something. There were some real business benefits to it as well. My next question, without stating the bleeding obvious. Paul Marden: Okay, why do you think digital sustainability matters? I mean, the obvious answer is just because it does. But it's important, isn't it, as a contributor to global warming? James Hobbs: Yeah. So, I mean, there's lots of statistics knocking around, one of which I think it shows you the scale of the impact of the digital industry is. I think the total carbon footprint emissions of the digital industry is greater than global air traffic. And if you go and look on something like Flightradar or Skyscanner or whatever, and look at how many planes are in the air at any given moment in time, that's a pretty sobering statistic. There's lots of other ones as well, in terms of the amount of electricity that's being used, and water compared to even small countries like New Zealand. So we are generating a hell of a lot of carbon directly and indirectly, by doing all the things that we do. James Hobbs: And every time you hold up your phone and you load up Instagram or TikTok or download something, there's a massive disconnect cognitively, because it's just there and it just works and it doesn't feel like it's using up electricity and so on, but it is. There's a whole massive supply chain behind all of the lovely things we like to do on our devices that is hungry for electricity and generates pollution and that kind of thing. Paul Marden: Yeah. So my background was at British Airways and I was there for ten years. It really wasn't that hard to spot the fact that environmentally, that we have a challenging problem. Because when you stood on the end of Heathrow Runway, you can see what's coming out the back end of a 747 as it takes off. But I don't think I ever quite understood the impact of what I do now and how that's contributing more to CO2 emissions than what I was doing previously, which. Yeah, I just don't think there's an awareness of that more broadly. James Hobbs: No, yeah, I'd agree. And it's complicated. Paul Marden: In what way? James Hobbs: I guess it's complicated to quantify the carbon impact of the type of work that we do in the digital industry, because I guess there's what we're shipping to end users, which is one thing. But most modern websites and applications and stuff are built on a big tower of cloud services providers, and all of their equipment has to be manufactured which has a carbon impact. And rare earth metals need to be mined out of the grid. All of that stuff. There's a big supply chain backing all this stuff and we can influence some of that directly, but a large chunk of it we can't. So it makes choosing your suppliers quite important. Paul Marden: Yeah, absolutely. So if you're going down the road, if you accept the premise that this is a big contributor and making small gains on any of the stuff that is of interest to us and marketers who are owning websites attractions, I think for me, probably the first step is testing and trying to figure out where you are. Do you think that's a useful first step? Is that important as far as you're concerned, James? James Hobbs: I think it's important because with any sort of improvement, whether it's related to sustainability or not, I think quantifying where you are at the start and having a benchmark allows you to see whether you're going in the right direction or not. And improvement doesn't always go in one direction the whole time. There might be a two steps forward, one step back, depending on what you're doing. But I think without measuring where you are, and ideally regularly measuring your progress, it's hard to say what impact you've had and you might be going in the wrong direction and bumping up the wrong tree or whatever. So I think it's important. Paul Marden: Yeah, it's super important. And is it something that marketers themselves can do, or is this something that only a sustainability consultant can do, or is there somewhere in between? Is it the techy geeks that run the website that do this? Or is it a little bit of all of those things? James Hobbs: Well, that's a really good question. So I think this is still quite a new kind of industry. There are some tools out there that you can use to help you quantify the carbon impact of what you've got out there in the wild now. So the big one that most people talk about is websitecarbon.com, which is the website carbon calculator that was built by, I think a combination of an agency and some other organisations come up with an algorithm. It's obviously not going to be 100% accurate because every single website app, it's slightly different and so on. But as a consistent benchmark for where you are and a starting point for improvement, tools like that are really good. Ecograder is another one. Those offer non technical routes to using them. James Hobbs: So for the website carbon calculator, you just plunk a website address in hit go and it'll run off and tell you that's not very scalable. If you've got a 10,000 page website, or if you've got a large digital estate, there are also API level services that are provided that might make that easier to automate. But again, you then need someone who knows how to do that sort of thing, which raises the barrier to entry. I think what I would like to see is more and more vendors building carbon dashboards into their products and services so that the rest of us don't have to run around and build this stuff from scratch. Azure, for example, Microsoft's cloud platform, has a carbon dashboard that is scoped to your resources. That's really interesting and useful to see. James Hobbs: The stuff I mentioned about what we're doing with Umbraco and building a sustainability package, we're hoping to get that built into the core product. And again, the idea being that if you're a content editor or a marketer, you shouldn't have to know how to wire up APIs and do all this stuff, you should be able to see at a glance. Okay, well, that page I've just built actually is a little bit on the heavy side. Maybe I need to look at that. So I think the way to democratize it is to make it easier to do the right thing. Paul Marden: Yeah, absolutely. So these tools are giving you, they're giving you a grading? Yeah. So some of them are like a to f. I think it is for Website Carbon, Ecograder gives you a score out of 100. I think it is. Are there any advantages to one or the other? Or is it a good idea for people to use both of them and see the differences that the two different tools can give you? James Hobbs: I think it will come down to, well, for me anyway, I think using a tool in the first place is a step forward from what the vast majority of people are doing currently, which are not even thinking about it. So in many ways it doesnt really matter. I think it will depend on what people find easier to use. I think when people start to integrate this sort of sustainability measurements into their build pipelines, for example, release pipelines. That's where you will need to maybe think more carefully about the kind of data that you're interested in and what criteria you want to look at. Because, for example, at the moment, a lot of organisations who write software, hopefully their developers, will be writing some unit tests. And if the tests fail, then you don't deploy the website that should fail the build. James Hobbs: I think it would be good to move to a world where if your sustainability posture regresses and gets worse than similar things. There are other tools outside of those websites that we've been talking about, though. So there's an organisation called the Green Web Foundation, a nonprofit who do a lot of work in this space. And they've created a couple of tools. One's called CO2.js, which you can integrate directly into your website that can actually be a bit more accurate than the carbon stuff. And they've also built a tool called the Grid Intensity CLI. And without going into loads of horrible detail, what that is, essentially it knows when the electricity grid is at its most, what's the right word? At its most pollutant. When it's generating the most carbon. James Hobbs: So you can use that to figure out when to run background jobs or do lots of processing. You can do it when the grid is at its most renewable. So there's things like that as well. There's lots of options out there. You can go deep as you want. Paul Marden: Amazing. One thing that you just mentioned that I thought, oh, that's really interesting. I've never thought of that before, is the idea that you can drop a URL into Website Carbon or Ecograder and it will give you the score of that page. But actually, if you've got lots of pages on your website, you need to be testing across multiple pages. That should never occur to me before. James Hobbs: Yeah, because I think a lot of people plunk the homepage in and go, cool. It's a. I guess it's effort versus reward thing. No one's going, well, hopefully no one's going to spend time manually entering 10,000 website URL's into a tool like that. Not least because it would probably take the tool down. There are probably better ways of doing it than that. And also, homepages are typically quite different to the rest of a website. It serves a different purpose. So I think testing a representative portion of your digital services is probably the way to go. Paul Marden: Yeah, absolutely. I've been wondering recently whether buyers should be thinking about this as something that's part of the requirements of a new website. So if you're going out to tender and buying a new website, oftentimes you and I will both see requests for proposal that have accessibility requirements in them. But I genuinely don't remember a time that I've ever seen an RFP say, “You must achieve grade c or above on website carbon across the majority of the pages on the site.” And I think when buyers start to do that you'll begin to see agencies doing more of this sort of stuff. I think baking it into contracts will make a big difference. James Hobbs: Yeah, yeah and it's that kind of selective pressure isn't it? Clients start requiring this stuff, then agencies will have to step up. And it's unfortunate that might well be the catalyst but actually I don't care what the catalyst is as long as we're going in the right direction. Its the main thing really, which is lessening our impact. Yeah absolutely. But yeah that whole supply chain thing is huge. That's one way we can make a big impact is by mandating certain things. And there's actually a certification, a green software engineering certification. It's offered for free that developers or technical architects can go through to educate them a bit on green software engineering techniques and things like that. James Hobbs: And that's the kind of thing that hopefully in the future companies who are putting RFPs out might say, “We want your engineering team to be aware of green computing techniques” and so on and be able to prove it. Paul Marden: Yeah, I wouldn't be surprised as well that it gets legislated for as well. So in the same way as you know, public sector bodies have got to meet certain accessibility requirements. I would not be surprised if we enter a world soon where there's a statutory obligation for these things to be done in a sustainable way as well. James Hobbs: Yeah. Paul Marden: So getting your act together now is a really good thing to do because there's going to be less work later on when you've got no choice but to do it. James Hobbs: Exactly. Get ahead of the game now. Paul Marden: So we've made the case, people have bought into it, they're going to go and do some testing and they realise that they've got a smelly, polluting, rich website. What can they do next? How can your average head of marketing, head of digital influence their website to get better? James Hobbs: Yeah. Okay, so this is where I think there's a really nice angle here. We did talk about this earlier on, but there is a fairly close link between the things that will make doing the things that will make your website, your digital services more sustainable and kind of KPI's and metrics that will probably make it more commercially successful as well, depending on what you're doing, with a bunch of caveats that I won't go into. So, for example, sustainable websites are typically lightweight, they're fast, they're optimised for getting the right things in front of the user as quickly as possible, which can include everything from content delivery networks to optimising images to a whole host of stuff. Doing all of those things will also typically positively impact your search engine optimisation, positively impact your conversion. James Hobbs: Because if you look at Google's guidance, Lighthouse guidance, the different things it looks at and so on, it's very clear that fast, relevant websites are what get prioritised and what Google's looking for. Fast, relevant websites that are served from locations close to the user are also likely to be sustainable. So there is a link there. And what that means is there's a built in business case for doing the sustainability stuff. James Hobbs: So if you've got a hard nosed suite of executives who couldn't care less about the planet, not that I'm saying that's what everyone's like, but, you know, the commercial world that we live in, it's a hell of a lot easier to sell this stuff in by saying, “You know what as well, like we can do an MVP or a pilot and we're confident that we might be able to improve conversion by 0.1%, 0.5%”, whatever it might be. It's also typically a good way to save money by being smarter about what you're computing and where and when and using some of those tools that I've talked about, you can save yourself potentially a bunch of money as a business, which again, is a commercial win. James Hobbs: So I think whilst the ethical side of it is really important, and, you know, none of us want to be boiling to death in 50 years time because we've ruined the planet. Making small changes in digital can have a massive impact because the amount of people that are using them. And I think it's easier to sell in because of the commercial. Paul Marden: Yeah, absolutely. So I'm guessing there's stuff that you can do at key stages in the design and development of a site. So what are the things that people should be thinking about during the design of the site that could make it more sustainable? James Hobbs: So, okay, so that's a really good question. So this is a huge topic. So I can give you some examples of the kind of things you should be thinking about. So. And I guess we could divide them up into two sections. So when we're designing a website. There's how it looks and how the user experience work. There's also the technical design. As with anything, the further, the earlier you start thinking about this kind of stuff, the easier it is. Crowbarring in. It's a bit like accessibility, you know this, try and crowbar it in the last week of the project, it's not going to work. So from a design point of view, and some of this stuff is difficult to quantify its impact in detail, but things like not having massive 4k full bleed videos at the top of your webpage. James Hobbs: So being very careful and intelligent use of things like that, because they are large, they have to be transferred from wherever you're serving them from to the user. There's a big energy cost associated with that, not using loads and loads of external dependencies on your web pages. And that could be anything from fonts to JavaScript libraries to the vast myriad of tools that are being used. The more things you're throwing down the pipe to your end user, especially if your hosting infrastructure is not set up in a distributed way, the more energy intensive that thing is. You can even go as far as looking at the color choices that you're using. So certain darker themes are typically less energy intensive. Yeah, because of how OLED screens and modern screens work. Again, very hard to quantify. James Hobbs: And then we go down the rabbit hole of yeah, but where does the electricity that charges my phone come from? And you try and quantify all that stuff, it gets very head explodey. But there are things you can do in that sense. Some of them are easier to quantify than others. The weight of the page is a very easy thing to measure. If you keep that low, it will be easier to cache, it will load quicker for users, it will better for SEO, and faster pages tend to have better conversion. James Hobbs: And that works whether you're selling things from an e commerce point of view or you're trying to register interest, whatever it might be, from a technical angle, I think one of the most impactful things you can do, beyond making sure that your code is optimised and is running at the right times, at the right place, is simply to consider using a Content Delivery Network. And for your listeners who aren't familiar with a content delivery network, a CDN is something that all of us have interacted with at one point or another, probably without realising in the traditional way of serving or having a website, you've got some service somewhere, in a data centre somewhere. When someone types your website address in, it goes and fetches that information from the web server and back comes a web page in the simplest sense. James Hobbs: Now, if your website servers live in Amsterdam and your users on the west coast of America, that's a big old trip for that information to come back and forth. And it's got to go through lots of different hops, uses up lots of energy. A content delivery network is basically lots and lots of servers dotted all over the planet, in all of the major cities and things like that can keep a copy of your website. So that if someone from the west coast of America says, “Oh, I'm really interested in looking at this website,” types the address in, they get the copy from a server that might be 1020, 50 miles away from them, instead of several thousand across an ocean. James Hobbs: So it loads quicker for the user, which is great from a user experience, SEO, all that stuff I talked about, but it's also great from an energy point of view, because it's coming from somewhere nearby and it's not having to bounce around the planet. That's one thing that you could do that will make a massive and immediate impact commercially and from a sustainability point of view. Paul Marden: So you get those kind of performance improvement for the people all the way around the world accessing the site, but it's going to take load off of the server itself, so you might need less powerful servers running. One of the big issues that attraction websites have got is that it's such a cyclical market. The people that, you know,James Hobbs: Spiky.Paul Marden: Exactly when the Christmas meet Santa train is released at an attraction, or the traffic to the website is going to peak. If you can keep some of that traffic off of the web server by using that Content Delivery Network instead, you're going to be able to withstand those really peak times on the website without having to spend lots and lots of money on improving the resilience of the service. So it really is a win win win, isn't it? James Hobbs: I think so. And also it can help potentially avoid things like the dreaded queue where you log on to a website that's busy and it sticks you in a queue and you're 41,317th queue or whatever. Exactly like you say. If you can leverage this tech to take the load off your back end systems and I, you'll be delivering a better user experience. Paul Marden: One of the measures that I know a lot of the algorithms that are assessing CO2 emissions look at is the type of hosting that you use. So they talk about green hosting. What is green hosting? And is all green hosting the same? James Hobbs: No. So yeah, again, this is a big topic. So I guess hosting generally runs the spectrum all the way from kind of one boutique sort of providers who can set up VMS or private servers or whatever all the way through to the big goliaths of the Internet, the AWS and Azure and so on and everything in between. So green hosting is broadly hosting that is carbon neutral, powered by renewables, that sort of thing. So in theory shouldn't be pumping more pollutants into our atmosphere than it's saving. So if we look at the big cloud providers initially, so they've all made some commitments in terms of improving their sustainability posture. And this is really good because when one does it, the other one has to do it too. And obviously there's Google Cloud platform as well and they're doing similar sorts of things. James Hobbs: But it's almost this, I like the competitive angle of this because all it means is the sustainability posture of all of them will get better quicker. So it's good. So for example, I'll try and do this off the top of my head, you should check yourselves. But Azure and AWS and Google all have some pages that talk about their commitments and primarily they're focused on carbon neutrality and using renewable electricity. Aws have done a good job of that. So in certain AWS regions the year before last, they were completely 100% renewable powered, which is brilliant. Paul Marden: Really. James Hobbs: Yes. Not everywhere. Azure are going down a similar path and they've made the same commitment in terms of the year when they're going to hit renewable powered everything. They've also made commitments to water positivity. Enormous amounts of water are used during the operation of data centers and there are a lot of these data centres. So they've made commitments I think by 2035 or 2040 please double check to be net water positive, which is great. And the other thing that people don't think about, and this is I guess the supply chain thing I was talking about earlier, all those servers got rare metals in them. They've got all kinds of stuff in them thats been dug out of the ground, often in areas where there's a lot going on from a human point of view. James Hobbs: So Amazon, AWS, Google, et cetera, they're looking at that angle too. How can they keep servers in commission for longer so they don't need to be replaced as often? Where are they getting their materials from, et cetera, all that kind of stuff, because they're not just a computing company know they're invested in the hardware and getting this stuff out of the ground and manufacturing it and all the rest of it's a very big operation. So that's something we can't influence beyond pressuring them as consumers, but it is something that they're doing something about, which is great. Paul Marden: Yeah, absolutely. And if we go back to that point I made earlier on, buyers are in control of this. If they are choosing to include that in their contracts to buy new web services, that it needs to be green by offsetting or green by using 100% renewable power, then that drives change, doesn't it? Procurement managers drive change through that kind of thing. James Hobbs: Yeah, absolutely. And just one final point on the greenhosting the Green Web foundation, who I mentioned earlier, the nonprofit who work in this space, they maintain a list of green web hosts. So hosts that are known to be green that you can use without having to worry too much. So it's worth looking at that as well. And it's a kind of impartial list. Paul Marden: Excellent. Do you think this is a story that attraction should be telling? So they're going to be, we're hoping that people are going to become energised by this and they're going to want to go on a digital sustainability journey. Do you think that is that something that they could be shouting about? James Hobbs: I think so, if done in the right way. Obviously, you've got to be careful of the sort of, we planted some trees and now everything's fine, because I don't think that's necessarily the case. But I think talking about it in the right way, which is we know we're not perfect, but we're doing something about it, and this is our plan, and being transparent about it, I think, is a good thing. I think it will also foster competition between different attractions, and everyone's a winner, really, because it will make everyone more sustainable. Paul Marden:  Yeah. James Hobbs: And yeah, I don't see why you shouldn't talk about it. I think its something thats important. And to your point earlier about consumers being able to influence some of this stuff, I really, truly hope that the generation of youngsters that are coming up now are going to be more hyper aware of this sort of thing, and they're going to care a lot more because it's likely to affect them more than it will us. So I would like to think that they will be selecting products, services, attractions, whatever it might be that can demonstrate that they're actually doing something to lessen the impact of their operations. James Hobbs: I've got two relatively young children, and I can already see them asking questions and being interested in this kind of stuff in a way that wouldn't have occurred to me when I was a kid, just didn't think about it. I cant change that. But what we can do is try and improve the world that were going to be leaving to the the youngs.Paul Marden: Yeah, absolutely. So, one last question for you. Is there anything. Is there anything happening in this space that you think is really cool and interesting to think about? James Hobbs: That's a good question. I mean, like, I hope this isn't a non answer. I think the thing. The thing that is exciting me most is that more and more people are talking about this stuff. More and more people are asking questions about this stuff and I've done a lot of talks and webinars and things on this topic and the thing that really makes me feel positive and excited about it is that nearly all of them afterwards, people come up to you, they message you and say, “I just didn't realise.” The fact that we're able to raise awareness is brilliant because we can start to build up a bit of momentum. I think the thing that. I think I mentioned it earlier, products and services, building this sort of stuff into their platforms in terms of helping users use their services more efficiently, I think that's the area that I'm most excited about, because otherwise it's people kind of hacking stuff together. I think it should be a first class part of any solution, really is like, carbon impact of what I'm doing. That's what I'm probably most keen to see more of. Paul Marden: James, thank you. One last thing. We always ask our guests for a book recommendation and you've already said you're an avid reader, so no pressure, but I'm quite excited to hear about this one. James Hobbs: Well, there's two and I thought I'd just make the decision when you asked me the question about which one to recommend. So I'm going to go with my legitimately favourite book, which is the Player of Games by Iain M Banks. It's part of the culture series of novels and I'm a bit upset because Elon Musk has been talking about it. I feel like he's tarnished it slightly. A magnificent series of novels. I remember finishing the 10th one and sadly, the author died a while ago and I genuinely felt slightly bereft that there weren't going to be any more of them. It's a brilliant book. It's exciting. Yeah, it's exciting. It's so creative and inventive. It makes you think differently about things. It's definitely not one for children. James Hobbs: You know, there's a lot of violence and all kinds of other things in there. But it's a fascinating book. All of his books are fascinating. My favourite author. So if you're going to, if you think about getting into his books and specifically the culture novels, that's a great point to jump in at. It's accessible and it's absolutely brilliant. I love it. Paul Marden: That's quite the recommendation. So, listeners, if you want to get into this culture series of books, then when we post the show notice on X, get over there and retweet the message and say, “I want James's book.” And the first person to do that will get that sent to them. James, this has been brilliant. There's a couple of takeaways I want people to go and think about, one from me, which is go and test your site and then jump into the Rubber Cheese website survey. Paul Marden: Go to rubbercheese.com/survey, tell us all about your attractions website and one of those questions will be about have you tested the CO2 emissions of your site and have you done anything about it? The more we understand what the sector is doing, then the more we can understand how we can all help and improve things. Paul Marden: James, you had one idea of a place where people could go and find out more about this sort of stuff. James Hobbs: Yeah, I mean, there's some organisations that I mentioned. So the Green Web Foundation is one that's got lots of interesting material on there, both tools that they've made, but also they fund research in this space, which is really important. It should be treated like a specific discipline. I suppose they're doing some great stuff there. There's the Green Software foundation, which confusingly similar name, doing some good work in this space. There's also lots of interesting groups on discord forums that are out there. I guess my main message would be we're all learning more about this field. No one has all the answers, but there are organisations out there that you can come and speak to that can help you understand where you are currently. James Hobbs: And I definitely encourage you guys to fill in the surveys, Paul said, because the more information that we've got, you know, the better we can understand where things are. Paul Marden: James, this has been a lot of fun and really interesting. Thank you ever so much. Thank you for joining the podcast. James Hobbs: Thanks for having me on. Thanks a lot. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, SkiptheQueue.fm. The 2024 Visitor Attraction Website Survey is now LIVE! Help the entire sector:Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsFill in your data now (opens in new tab)

AIR Studios engineer Adam Miller opens up about his work as score engineer and mixer on one of the biggest Netflix shows of 2024 so far, One Day.

Quiz question for you - what links Torchwood, Thunderbirds, Happy Valley & Mog? We'll tell you what…some seriously great scores courtesy of this week's guest Ben Foster.Ben is a BAFTA winning composer, but also a well renowned and much in demand conductor, orchestrator and arranger with a string of TV and film credits to his name.We met up with Ben in his writing room, tucked away at the top of Air Studios for a chat about just a fraction of his incredible musical output. (N.B there is a glaring error in the fact we didn't get round to chatting about his work on last year's Beatles single Now and Then - maybe next time?)Ben talks about important relationships he has formed with musicians over the years, how he found himself with a room at Air and composing themes for the brilliant BBC drama series Happy Valley.He discusses the importance of time efficiency and knowing when to switch off, as well as realising when a job Isn't working out and how to get out of it.We discover whether the much mentioned ‘Toby' Ben speaks of is man or myth!Find out more about Ben Foster here; https://coolmusicltd.com/composers/ben-foster/SUPPORT THREE IN A BAR ON PATREONJoin our Members' Club for a bonus podcast feed plus many more rewards.Click here: https://www.patreon.com/threeinabarInstagram @threeinabarpodTiktok @threeinabarpodThree In A Bar on YoutubeAnything you'd like to share with us? Any guests you'd love to hear or anything you'd like us to do better? Drop us a line at hello@threeinabar.com Click here to join the Members' Club on Patreon! Hosted on Acast. See acast.com/privacy for more information.

Cicely Balston won the 2023 Music Producer's Guild's Mastering Engineer of the Year Award, and when you hear the music she has mastered—and the smart, easygoing way she discusses it—you understand why. Working out of AIR Studios in London, Balston has applied her talents to the doom-punk band Witch Fever and David Bowie's back catalog, as well as some dynamite-sounding hip-hop reissues for the Vinyl Me, Please record club, including Eric B. & Rakim's Don't Sweat the Technique, Gravediggaz's 6 Feet Deep, and Madlib's Shades of Blue. How did this young British woman become an ace hip-hop masterer, and do those albums require a specific skill set? Are people too fixated on analog vs. digital? How did she become a mastering engineer anyway, and what's the most commonly misunderstood aspect of what she does? (Photo by Silvia Gin.)

Today's episode is with Tyler Durham, LA-based composer whose work in film and TV scores, notably News of the World, Fantastic Beasts, and Biohackers has culminated into a debut of his own under the name LIMINA. Coming Home was recorded at AIR Studios in London, largely where Tyler drew inspiration, and is being released a la Sonic Ritual, the LA-based label whose showcase I covered for Girl Underground Music at Harvard & Stone about two years ago? Those following the page will remember. Great label with a solid ear for the good stuff. We nerded hard about that movie Arrival, and I would give a spoiler warning, but the movie is almost ten years old and free on YouTube. Go check it out and enjoy our talk! --- Send in a voice message: https://podcasters.spotify.com/pod/show/sketchedsounds/message

One of the rare original songs on McCartney's “Give My Regards To Broad Street” soundtrack was “No Values”. However, it was s not composed for the film. The song had been in the works since late 1980, when Wings did some demos that can be found on bootlegs. McCartney recorded another version of the song at AIR Studios on Montserrat in February 1981, during the Tug Of War sessions. The final version for the film was done in December 1982 at AIR in London, with the same musicians as on ‘Not Such A Bad Boy'.McCartney has said that "No Values" came to him in a dream, much like 'Yesterday' did. But here, he dreamt that the Rolling Stones were playing the song: "They were all there, Bill, Charlie, Keith and all the lads; and Mick was up there singing, “No values, seems to me that you've still got no values…” I couldn't quite hear all the lyrics but I heard all the chorus and I woke up and thought I really like that song that they do. Then I thought, Hey, wait a minute – there is no song called “No Values”. They don't do that song. My brain had just created it, or however it happens. I haven't told Mick Jagger – he'd probably claim the copyright!"The 1980 outtakes still have a bit of a Rolling Stone feel, but by 1982 that had gone and it had become a typical 'Wings' track. A good occasion to set Artificial Intelligence to work, and produce a version of "No Values" with the Rolling Stones swagger; is this the way McCartney heard it in his dream?

New treat for you Buddies on this latest 'sode of Vinyl Community Podcasts. On our 100th episode of VCP, we feature a conversation taking us behind the music: specifically, I'm speaking with Cicely Balston of AIR Studios in London. Earlier this year Cicely was awarded the 2023 Music Producer's Guild "Mastering Engineer of The Year" honor - and for good reason! With over a decade in the field, she began to develop her trade back in 2013 at Gearbox Records, an all-analog shop known for cutting on a vintage Skully lathe. She moved on to AIR Studios in 2016, with a detour at Alchemy Mastering (later acquired by AIR) in between her return to Sir George Martin's enterprise in 2020. She's been involved in some terrific releases of late courtesy of Vinyl Me Please, including the exciting recent release of Chalino Sanchez' "15 Exitos 15". She's been part of working on projects from artists like David Bowie, to Young MC, Busta Rhymes, Witch Fever, Sun Ra and a litany of artists across many genres and styles. We touch on that, as well as navigating mastering from digital files and analog both for today's hungry vinyl consumers. As the "vinyl resurgence" continues to go full speed ahead, the mastering side of things is in great hands with Cicely and other mastering engineers taking the baton from their predecessors. This episode has it all: science, music, laughs, and some name dropping (mostly by me). Let's jump into this terrific conversation now on Vinyl Community Podcasts!   For more information on host Concert Buddie: https://www.youtube.com/@ConcertBuddie   For more information on guest Cicely Balston c/o AIR Mastering (London): https://www.airstudios.com/cicely-balston/   For more information on Vinyl Community Podcasts: https://vinylcommunitypodcasts.com/  

About the guestJen has a passion for building businesses centered around art and artists. She has a studio and commercial art background and a BFA in Sculpture.Jen founded her Gallery in the San Francisco Bay Area in February 2017 and moved to Santa Fe just prior to the Covid Pandemic. She quickly pivoted by creating an online artist community called Artist Alliance. Gallery https://jentough.com/Artist Studios https://www.airstudios.art/Artist Alliance https://www.artistalliance.community/c/generaldiscussionRachel Rodgers Book “We should all be millionaires” https://amzn.to/46XjNq9Destination Art Retreats https://uptrek.com/retreats/artMarcel Dzama https://www.davidzwirner.com/artists/marcel-dzamaMust Have Tools For Visual Artists Resource linkGrants for Visual Artists https://artbizconsulting.com/blog/professional-development-grants-for-visual-artists/  Subscribe to the Art Biz Talk NewsletterApply to be a guest Ask a question for the show Become part of the community for professional visual artistsIf you're a late emerging or mid-career visual artist earning $5K or more a month and are ready to scale your studio practice, Art Biz Pro is the place for you. (Re) Emerging ArtistsStarting to build your full time studio practice and need a DIY guide with templates for your artist statement, Press Kit and pricing your art? Sounds like you need our Artist Starter Kit. CREDITSOriginal Music composed by Hillary Albrecht at Rhapsody on MarsArt Biz Talk is hosted by Andrea La Valleur-Purvis, Artist and Art Business Coach at Vivid Creative

Join us for an insightful conversation with Jen Tough, founder of Jen Tough Gallery & Air Studios in Santa Fe, New Mexico. Here's what we discuss:1. What inspired Jen to open a gallery and residency program for artists.2. The importance of investing in your art career, advocating for your work, and cultivating genuine connections with curators and collectors.3. Why it's essential to take your art career into your own hands, and specific strategies for making strides in today's art world.About Jen Tough:Jen Tough is a creative with a passion for building businesses centered around art and artists. She has both a studio and commercial art background with a BFA in fine arts. Most of Tough's professional life was spent in Los Angeles as an art director. She was the former art director for Warner Bros Records, Urban Outfitters (corporate), Hollywood Records (Disney) and several ‘90s magazines. Her freelance clients included Capitol Records, Drew Carey and Nike.Tough founded Jen Tough Gallery in the Bay Area in February 2017, and then had the misfortune of trying to open in Santa Fe the first weekend of Covid shutdowns. Her business was declared “non-essential”, so she pivoted to online, and created an online artist community called the Artist Alliance. Tough's latest project is AIR (Artists in Residence) Studios in Santa Fe offering self-directed residencies, awarded residencies, workshops & mini-solos.Instagram: @jentoughgalleryWebsite: jentough.comVisit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymag Join our newsletter:visionaryartcollective.com/newsletter

EPISODE 91: Kara Talve is an in-demand composer and multi-instrumentalist for film and television and, as a leading composer at Bleeding Fingers Music, has strengthened a variety of projects through her extraordinary talent and keen collaboration abilities. Most recently, she scored Apple TV+'s Prehistoric Planet alongside Hans Zimmer and  Anže Rozman, which was narrated by David Attenborough and produced by Jon Favreau in conjunction with BBC Studios' Natural History Unit. The score, which features custom-built, otherworldly instruments blended with an 80-piece orchestra has received global acclaim, including a win for Best Original Score for a Documentary Series at the Hollywood Music in Media Awards (HMMAs) and a nomination for the 2022 Bulldog Television Broadcast Awards. The soundtrack of Prehistoric Planet has, to date, claimed over 80 million streams. Captivated by music from a young age, Anze was improvising and composing his own tunes on the piano at just nine years old. After earning a degree in composition and music theory from the Academy of Music in Ljubljana (graduating summa cum laude) and going on to pursue a master's degree in scoring music for film, TV, and video games at Berklee College of Music in Valencia, Spain, Anže's final project at Berklee (a 3-minute orchestral piece recorded at Air Studios in London) caught the attention of Hans Zimmer and led to an invitation to join Bleeding Fingers Music as a full-time composer in 2018. He currently resides in Los Angeles. karatalve.com | archestralmusic.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es; 23,05h a 01,00h). Mark Stewart fue líder a finales de los setenta de The Pop Group, uno de los grupos fundamentales del post-punk británico y una influencia referencial para infinidad de formaciones tanto británicas como del ámbito internacional. Suede anuncian la reedicón de su debut, con motivo de su 30 aniversario. La remasterización ha sido realizada por Phil Kinrade en los AIR Studios. Justo cuando se cumple un año exacto de que Bloc Party compartieran su sexto álbum de estudio, titulado Alpha Games , la banda británica nos sorprende con un nuevo tema titulado High Life , una vuelta al indie de los 90."Plan B" es una canción de Joaquín Talismán escrita especialmente para la obra de teatro "Dirty dream (todos tenemos un plan B)" de Juanma Soriano, con dirección de Pepa Castillo. La realización del videoclip es de Jose Filemón. El músico británico Miles Kane ha anunciado los detalles de su quinto álbum en solitario, titulado One Man Band, que saldrá a la venta el 4 de agosto a través de Modern Sky. El disco ha sido producido por James Skelly, el cantante de The Coral, y cuenta con la colaboración de su primo Ian a la batería, así como de otros amigos como Tom Ogden, el líder de Blossoms.Como adelanto, Kane, que pasó por el Warm Up en 2022, ha compartido el primer single del álbum, Troubled Son, una canción introspectiva y energética que refleja las luchas internas del artista.De festivales hablamos con Joan Vich, codirector del FIB.Después de tantos años de ausencia, los fans de Everything But the Girl estaban deseando escuchar nuevas canciones del dúo. Y por fin, su sueño se ha hecho realidad. Claim presenta EL DORADO, el primer adelanto de su segundo LP, que se publicará en octubre de 2023 con Son Buenos, que habla de enfrentarse a la madurez y a los retos que conlleva las responsabilidades y los miedos de estar a la altura en algún momento clave de la vida. El nuevo disco de Crudo Pimento es muy bíblico, y de ahí el estrambote del “13:7” en el tírulo: hay muerte, hay sangre, hay cadáveres, hay tragedia, hay profecías… “Frío” es el nuevo single de Boria, en colaboración con Lero. El sonido del tema se mueve entre el dream pop y synth-pop, con un sonido de sintetizadores y guitarras atmosféricos con influencia de artistas del bedroom pop internacional como Mac Demarco o Bratty

This week we look at the "not-quite-a-Biography" about George Martin produced by the Arena folks in 2011.     A young Giles, the previous iteration of Beatles history, and some interesting tales concerning the comics, musicians and others George Martin encountered during his youth, military career and adult life within Parlophone and AIR Studios.     Lots of Judy Martin as well!

In June of 1983 The Police released their 5th and final studio album. Recorded in just six weeks at Air Studios, the band recorded live in three separate rooms (“for social reasons”). It would go on to be a worldwide smash hit and the final nail in their proverbial coffin. Let's talk The Police, Synchronicity!

Prolific composer and musician, Isobel Waller-Bridge, releases her brand new EP ‘VIII' – a bold, gripping body of work for string ensemble. The eight tracks, conceived as compact miniatures, feature beautiful, lush soundscapes as well as tense, unsettling moments. Recorded at Air Studios in London, and performed by the pioneering, un-conducted string orchestra, 12 Ensemble, this poignant collection of pieces sees Isobel using innovative string techniques throughout.Tracklist:1. Daylight 2. Haiku3. For A Moment 4. An Odd Interlude5. My Brain Distorts Again6. An Exercise In Restraint (Until You Go) 7. Trace8. Song For AHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Author Brian Sallerson leads Ray and Markus through the path he took to writing his first book, Island Music: The History Of AIR Studios Montserrat, an essential history of an important recording environment in paradise! A unique jewel in its time, AIR Montserrat, built and run by Sir George Martin, as part of the era of destination studios, has fascinated many, including Markus and Ray.How and why Brian came to the project via an epiphany of sorts is discussed, and he explains how he went from looking into Martin's Caribbean recording oasis to visiting it in its current state. Beyond the glitz and glamour, he found the deeper stories of the studio; it's equipment and construction challenges, and most importantly, the people. Whether they worked at the studio or not, the people of the island made every artist's journey a better experience. Brian also explains how the island and its people became the main character of his book. Find Brian's book in whichever format you need, using the links below:Color paperback:  https://www.amazon.com/dp/B0BGNCDKSQ?ref_=cm_sw_r_cp_ud_dp_S7986K4ZBP6J3HJXA1JMBlack & white paperback: https://www.amazon.com/dp/B0BGNDTM9N?ref_=cm_sw_r_cp_ud_dp_1FCHT93VDTXJC4YHH7SPKindle: https://www.amazon.com/dp/B0BGJMJPT9?ref_=cm_sw_r_cp_ud_dp_B2D97E64M189VWP0Q43FWe suggest that you also visit Brian's web site for more on him, and his amazing adventure!Soooo, let's get back to paradise!We love our sponsors!!! Please visit their web sites, and support them because they make this crazy show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/   

Author Brian Sallerson leads Ray and Markus through the path he took to writing his first book, Island Music: The History Of AIR Studios Montserrat, an essential history of an important recording environment in paradise! A unique jewel in its time, AIR Montserrat, built and run by Sir George Martin, as part of the era of destination studios, has fascinated many, including Markus and Ray.How and why Brian came to the project via an epiphany of sorts is discussed, and he explains how he went from looking into Martin's Caribbean recording oasis to visiting it in its current state. Beyond the glitz and glamour, he found the deeper stories of the studio; it's equipment and construction challenges, and most importantly, the people. Whether they worked at the studio or not, the people of the island made every artist's journey a better experience. Brian also explains how the island and its people became the main character of his book. Find Brian's book in whichever format you need, using the links below:Color paperback:  https://www.amazon.com/dp/B0BGNCDKSQ?ref_=cm_sw_r_cp_ud_dp_S7986K4ZBP6J3HJXA1JMBlack & white paperback: https://www.amazon.com/dp/B0BGNDTM9N?ref_=cm_sw_r_cp_ud_dp_1FCHT93VDTXJC4YHH7SPKindle: https://www.amazon.com/dp/B0BGJMJPT9?ref_=cm_sw_r_cp_ud_dp_B2D97E64M189VWP0Q43FWe suggest that you also visit Brian's web site for more on him, and his amazing adventure!Soooo, let's get back to paradise!We love our sponsors!!! Please visit their web sites, and support them because they make this crazy show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/   

I'm joined by composer, cellist and deutsche grammophon artist, Peter Gregson.We got to know each other working together as musicians and bonded during lockdown when covid meant that recording studios closed their doors. We both have studios at home which meant that we could collaborate on projects both of Peter's own and for other composers. We both share an interest in the technical side of recording seeing the technonogy as an inevitable extension of our own instruments. A way to extend the possiblities for ourselves as musicians.His latest album, Quartets 2 and 3 is out on 11th of november 2022, please see the link at the bottom of the show notes to hear itWe met at Air Studios in London where Peter has a writing room and where I spend a lot of my working life.Read more about Peter's life and career here:https://petergregson.co.uk/aboutListen to his latest album here:https://petergregson.ffm.to/quartets3and4.OWE Hosted on Acast. See acast.com/privacy for more information.

After his time with EMI (and all of those Beatles records), Sir George Martin founded AIR Studios, opening multiple locations. This week, the Imbalanced Brothers focus on AIR Montserrat, a tropical paradise with a world-class recording studio! The story is well-told in "Under The Volcano," which is airing on Showtime and Hulu! Dozens of well-known albums were made there between Climax Blues Band's opening of the place, and The Stones' "Steel Wheels," the studio's final project before tragedy strikes. Markus and Ray tell the tale of those halcyon days of the recording business, and the double-sided sword that Mother Nature tosses at the island, that takes the life of Martin's tropical dream. Along the way, Gracie Otto's directorial depiction of those days has caused both of our hosts to consider an adventurous return to those hallowed studio grounds. 'Til then, enjoy the trip inside this episode! Check out Boldfoot Socks for Father's Day, and enter the code "DAD25," to save 25%, now through 6/19/22! All of OUR episodes are available, any time, on-demand via our website: www.imbalancedhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices

After his time with EMI (and all of those Beatles records), Sir George Martin founded AIR Studios, opening multiple locations. This week, the Imbalanced Brothers focus on AIR Montserrat, a tropical paradise with a world-class recording studio! The story is well-told in "Under The Volcano," which is airing on Showtime and Hulu!Dozens of well-known albums were made there between Climax Blues Band's opening of the place, and The Stones' "Steel Wheels," the studio's final project before tragedy strikes. Markus and Ray tell the tale of those halcyon days of the recording business, and the double-sided sword that Mother Nature tosses at the island, that takes the life of Martin's tropical dream.Along the way, Gracie Otto's directorial depiction of those days has caused both of our hosts to consider an adventurous return to those hallowed studio grounds. 'Til then, enjoy the trip inside this episode!Check out Boldfoot Socks for Father's Day, and enter the code "DAD25," to save 25%, now through 6/19/22!All of OUR episodes are available, any time, on-demand via our website: www.imbalancedhistory.com

After his time with EMI (and all of those Beatles records), Sir George Martin founded AIR Studios, opening multiple locations. This week, the Imbalanced Brothers focus on AIR Montserrat, a tropical paradise with a world-class recording studio! The story is well-told in "Under The Volcano," which is airing on Showtime and Hulu! Dozens of well-known albums were made there between Climax Blues Band's opening of the place, and The Stones' "Steel Wheels," the studio's final project before tragedy strikes. Markus and Ray tell the tale of those halcyon days of the recording business, and the double-sided sword that Mother Nature tosses at the island, that takes the life of Martin's tropical dream. Along the way, Gracie Otto's directorial depiction of those days has caused both of our hosts to consider an adventurous return to those hallowed studio grounds. 'Til then, enjoy the trip inside this episode! Check out Boldfoot Socks for Father's Day, and enter the code "DAD25," to save 25%, now through 6/19/22! All of OUR episodes are available, any time, on-demand via our website: www.imbalancedhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices

After his time with EMI (and all of those Beatles records), Sir George Martin founded AIR Studios, opening multiple locations. This week, the Imbalanced Brothers focus on AIR Montserrat, a tropical paradise with a world-class recording studio! The story is well-told in "Under The Volcano," which is airing on Showtime and Hulu!Dozens of well-known albums were made there between Climax Blues Band's opening of the place, and The Stones' "Steel Wheels," the studio's final project before tragedy strikes. Markus and Ray tell the tale of those halcyon days of the recording business, and the double-sided sword that Mother Nature tosses at the island, that takes the life of Martin's tropical dream.Along the way, Gracie Otto's directorial depiction of those days has caused both of our hosts to consider an adventurous return to those hallowed studio grounds. 'Til then, enjoy the trip inside this episode!Check out Boldfoot Socks for Father's Day, and enter the code "DAD25," to save 25%, now through 6/19/22!All of OUR episodes are available, any time, on-demand via our website: www.imbalancedhistory.com

Sound engineer Rupert Coulson is one of very few engineers to have experienced all three incarnations of AIR Studios. During his career, he has worked with the likes of George Martin, The Rolling Stones, Danny Elfman, and on films including Blood Diamond, Transformers, The Grand Budapest Hotel, and No Time To Die. He discusses his score recording and mixing work on Fear and Loathing in Las Vegas and The Invisible Man, and explains how Neve consoles have always been at the core of his creative workflow.

Kompositören Henrik Lindström förmedlar kraftfulla känslor till bioduken och andra kulturella upplevelser, en dröm och passion han haft sedan barnsben. Han är ett musikalist geni, fråga Hans Zimmer! Vi bekantar oss med låten som fick Henrik att ta sin egen musik på allvar, vad en säveltäjä gör och hur det kändes att besöka Lorne Balfe och en megafet inspelning i aningsrika AIR Studios i London.Popula utforskar tillsammans med Henrik bastuns potential till musik, vilka ljud kan man producera med björkris, svettiga ryggar och furuväggar? Onko se vasta vai vihta, tuleeko vaivaa studiossa? Kalle spelar ett välkänt riff i studion: CCCC A A G G A, som väcker en intressant diskussion. Han har även förberett en hemlig musikutmaning till dig som lyssnar, kan du lista ut vilken låt han letar efter? Sanna Laakso & Kalle Kinnunen popula@sverigesradio.se

2021金馬影展即將在下個月11月11日盛大展開！【金馬隨聲聽】Podcast也將陸續帶來更多好聽、有趣的節目。 本集我們邀請到「瘋戲樂工作室」藝術總監、電影配樂家、音樂製作人 #王希文 老師擔任客座主持人，以及今年分別以《月老》、《我沒有談的那場戀愛》入圍金馬獎最佳原創電影音樂的 #侯志堅 老師與 #李英宏 水哥，帶我們一起踏進電影配樂的世界，分享他們的創作起源與許多有趣的故事。 【本集重點】​ ​◐ 當流行音樂遇到電影配樂 ​◐ 侯志堅、李英宏與電影配樂的第一次接觸 ​◐ 個人創作與商業考量的平衡 ​◐ 「越信任我的導演，得到我最好的東西」 ​◐ 電影配樂 VS. 電影歌曲 ​◐ 解開大眾對電影配樂的迷思 ◐ 《月老》入圍金馬獎最佳原創電影音樂的重要性 ◐ 李英宏：「這次做《我沒有談的那場戀愛》真的有操到。」 ◐ 電影配樂家發願：一起前往著名錄音室「AIR STUDIOS」

Episode 62 covers The Police's fourth studio album, 1981's "Ghost in the Machine." The album was released on 2 October 1981 by A&M Records. The songs were recorded between January and September 1981 during sessions that took place at AIR Studios in Montserrat and Le Studio in Quebec, assisted by record producer Hugh Padgham. Ghost in the Machine topped the UK Albums Chart and peaked at number two on the US Billboard 200. The album produced the highly successful singles "Every Little Thing She Does Is Magic", "Invisible Sun", and "Spirits in the Material World", with a fourth single, "Secret Journey", also being released in the US. Ghost in the Machine was listed at number 322 on Rolling Stone's list of the 500 greatest albums of all time. Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of this album as well as share personal stories of discovering The Police's "Zenyattà Mondatta." Tune in next week for Episode 63 covering the fifth and final Police studio album "Synchronicity."Available at https://lightthesky.net/podcasts/the-police/ghost-in-the-machine/ and on all podcast streaming platforms (just search "Light the Sky Podcast.")Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS.LTS Website: https://lightthesky.net/Instagram: https://www.instagram.com/lighttheskypodcast/Twitter: https://twitter.com/LighttheSkyPod1Facebook: https://www.facebook.com/LightTheSkyPodcast/

Three-time Grammy Award-winning recording and mix engineer, Geoff Foster, delves into how he recorded the orchestra for Billie Eilish's Bond theme, No Time To Die with Hans Zimmer at London's Air Studios for the much anticipated new Bond film, for which he is also the score engineer. Foster reveals what it takes to capture the quintessential Bond sound, and how he achieved this using a Neve 88R console.

Olga FitzRoy is a recording engineer and mixer. After a decade working her way up the ranks at AIR Studios, from tea-girl to mixing the music for the 2012 Olympics, she is now freelance, working on projects for Coldplay and mixing the music for The Crown. She was named Recording Engineer of the Year at the MPG awards 2016 and received an Ivors Academy Gold Badge Award in 2019. She was elected to the board of the UK Music Producers Guild (MPG) in 2019. After having her son, she founded the #SelfieLeave campaign, which aims to support freelance women when they have children, by campaigning for self-employed families to get shared parental leave. As a result of her lobbying, a bill was read in parliament and the government began a consultation on a change in the law. She was named no.11 in the BBC Woman's Hour Powerlist 2018 and won the Women In Music Campaigner of the Year award in 2019. She ran for parliament for the Labour Party in 2019 and has spent much of the pandemic campaigning for better support for those affected by the crisis, particularly engineers, producers, and recording studios. As a volunteer for the charity Pregnant Then Screwed, she led their campaign against mothers who have previously taken maternity leave receiving reduced COVID-support from the government. The result of this work is currently awaiting judgment in the Court of Appeal. She lives in London with her husband and 5-year-old son.  

Gracie Otto's musical documentary Under The Volcano and Liam Neeson's The Ice Road are on this week's itinerary, as Popcorn Podcast travels to Caribbean gem Montserrat and the frozen tundra of Canada's ice roads respectively. But which has us wishing we'd turned around? Plus, we reveal the special guests joining us on the podcast soon, Bohemian Rhapsody eyes a sequel, Margot Robbie and Idris Elba make casting noise and there's a Nicolas Cage Bonanza in full swing!Visit popcornpodcast.com for more movie reviews, celebrity interviews and news.Popcorn Podcast interviews the biggest stars, including Hugh Jackman and more, on YouTube: youtube.com/playlist?list=PLMbnsLGBKE8Wp37PLyR-7l9IyUbajOrDd

In 1979 The Beatles producer Sir George Martin turned a Caribbean paradise into a 1980s hit making crucible for the likes of Paul McCartney, Elton John, and such acts as the Rolling Stones, The Police, and Dire Straits. His vision was to create a studio where artists could come and be free to express their creativity and record albums.  After a decade of hits, and at the peak of its popularity, AIR Studios Montserrat was destroyed when hurricane Hugo hit the island in 1989, followed by the eruption of the Soufrière Hills volcano in 1995.  Acclaimed filmmaker Gracie Otto wrote and directed Under the Volcano (2021), in which she documented this incredible story. She shares how she tracked down all those who were involved with AIR Studios Montserrat in the 1980s and how she obtained the rights for the amazing soundtrack for the film ("Money for Nothing", "Every Breath You Take").  Under the Volcano came out on digital platforms in the UK on July 26th and releases in the US on August 17th, and Australia and New Zealand on September 1st. “AIR Studios Montserrat was such a representation of the time, of the music industry, of what was allowed, and how big the budgets were.” - Gracie Otto Time Stamps: 00:00 - Under the Volcano trailer. 2:58 - Introducing our guest Gracie Otto. 4:23 - What Under the Volcano is about. 6:17 - What famous songs and albums were recorded in AIR Studios Montserrat. 9:39 - What was so special about AIR Studios.  13:20 - What made Montserrat in the Caribbean a special place for musicians. 15:22 - How Gracie tracked down all the people who were involved with AIR Studios.  20:10 - Montserrat's woes since the hurricane in 1989 and the volcanic eruption in 1995. 24:00 - How the music industry worked in the 1980s, and how it has changed since. 26:16 - A clip from the film: Sting and others talking about AIR Studios at Montserrat. 27:22 - How Gracie got involved with making this film. 33:24 - The budget for music rights for the film soundtrack. 35:35 - What other projects Gracie Otto is working on. 39:00 - The different processes of working on documentaries, feature films and TV. 41:48 - What it's like to make a documentary about a parent or a family member. Resources:  Under the Volcano (2021)  Innersound Audio Alamo Pictures Connect with Gracie Otto:  Website Twitter Instagram Connect with Factual America: Facebook Instagram Twitter Connect with Matthew Sherwood: Facebook LinkedIn Twitter More From Factual America: Mary J Blige: The Unheard Story of the Album 'My Life' HBO's Revolution Rent: Broadway in Cuba Moby Doc: A Life in Reprise

Engineer, producer and mixer Fiona Cruickshank talks about her work on The Grand Budapest Hotel, Sex Education 2 and Supernova, and her history with AIR Studios and Neve consoles.

All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: unpluggedtube@outlook.it and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ---------------------------------------------------------------------------------------------------- 4AD and Jagjaguwar have collaborated on a live session that captures a truly unique Bon Iver performance, featuring Justin Vernon and Sean Carey. On recent tours fans will have become accustomed to seeing Vernon flanked by an eleven-piece band, with the swell in numbers lending a grandiose element to even his most delicate songs.   Sidestepping expectations, the idea Vernon presented for this session was to provide a wildly different experience. Recorded in AIR Studio's Lyndurst Hall - a building that was originally a church and missionary school designed in 1880 by the great Victorian architect Alfred Waterhouse (designer of the Natural History Museum) - Vernon was joined only by Carey, with the pair positioning themselves opposite one another at two grand pianos. Although neither Justin nor Sean's first instrument is piano, they were able to remodel the songs in a way that showcases their complimentary vocals and, perhaps more strikingly, a seemingly effortless ability to experiment with form and structure. As such, fans are treated to jaw-dropping interpretations of several songs from both the new album and the 'Blood Bank' EP, as well as a cover of Bonnie Raitt's "I Can't Make You Love Me". And interpretation is an apt word, as these songs are artfully abstracted from their original incarnations. Rather than layer the sound as on 'Bon Iver, Bon Iver', the focus is on paring back, in part evoking the minimalist approach of contemporary classical music, while remaining true enough to the source material to retain those elements characteristic of Bon Iver. As on "Babys" and "Hinnom, TX", Vernon's trademark falsetto is positioned centre stage, framed by subtle and unexpected instrumental flourishes that render the performance simultaneously weighty and airless. It's quite an achievement that songs so widely-known and loved in their recorded form are able gain in emotional impact, and stands as testament to Bon Iver's singular talent.   1. Hinnom, TX 2. Wash. 3. I Can't Make You Love Me 4. Babys 5. Beth/Rest Director: Iain Forsyth & Jane Pollard Recording & Mixing: Jake Jackson with Brian Joseph Recorded in London at AIR Studios, October 16, 2011 "Hinnom, TX", "Wash.", "Beth/Rest" (c) 2011 April Base Publishing (ASCAP) "Babys" (c) 2009 April Base Publishing (ASCAP) "I Cant' Make You Love Me" (c) 1991 BMG Songs, Almo Music Corp., Bird Blues Music, Hayes Street Music (ASCAP)   Team UNPLUGGED.

This episode features Katy Pickes (PILLARS, Air Management / Studios) We discuss politics, the pandemic, and much more. Katy's Mental Health paper: https://issuu.com/katypickles/docs/katy_pickles_-_33472894_dissertatio https://unlockyoursound.com/

Dan has worked on hundreds of TV programmes including some groundbreaking shows such as The Word, The Brit Awards, Big Brother and Top Gear. He has shot and directed many corporate and music videos and has been on the board of various media companies including Air Studios. Dan is also a qualified Master NLP Practitioner, Hypnotherapist and Counsellor and is a well known figure in the television industry. Dan brings both his filmmaking and business experience to corporate video production. Dan was nominated for a BAFTA in 2002.https://www.linkedin.com/in/dangable/ https://www.shoutout.social/ https://sprat.tv/ Support this show http://supporter.acast.com/scaling-your-business-wrian-lanigan. See acast.com/privacy for privacy and opt-out information.

Podcast number seven features my chat with guitarist and sound designer Toby Pitman Recorded remotely in February 2021, across roughly 57 miles from Toby's room in Air Studios, London to the Atkin workshop in Canterbury, Kent. We talk about making Film and Television soundtracks, working with Giles Martin and playing the Bond theme. Huge thanks to the wonderful Jim Moray for letting us use his tune 'Lord Douglas' at the end of the podcast, you can listen to it along with some other carefully selected relevant tunes on my Podcast Playlist. Links Toby's Website The Atkin Guitars website Jim Moray's website

Screenwriters Will Collins (Wolfwalkers) and Kevin Lehane (Grabbers) return for a *musical episode where Kevin reveals his five favourite musicals, gets into the history and legacy of the genre and reveals his big show-stopping number to play them out. They also discuss how music plays into their screenwriting process. Kevin discusses being present for the recording of Grabbers score at Air Studios and Will talks all about Song of the Sea and how important music played in the genesis and development of the film. Kevin then spins the wheel for Will and hands him another left-field choice for next week!*This episode was re-edited on April 26th, 2021. The episode as originally released can be found here: https://soundcloud.com/best-bits-310278835/the-best-bitsYou can contact the show with any comments, questions, or scene suggestions through Twitter or email us at bestbitspodcast@gmail.com! Merch is available to purchase through RedBubble. All proceeds help us produce the podcast. Please rate and review us wherever you get your podcasts. It really helps us out and allows others to discover us. Thanks for listening!Support this podcast at — https://redcircle.com/the-best-bits/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Interview with the legendary producer Mark S Berry. Originally from Brooklyn, NYC, Mark began his music career at the Institute of Audio Research (IAR) in New York City in 1972. At the young age of 16, Mark was commuting into Manhattan at night, learning the inside ropes of making records and recording up & coming basement bands. After graduating from IAR and high school in the same year, Mark was drawn to the Brit sound and was off to London, England, where he soon arrived on the doorsteps of AIR Studios, one of the world's most renowned recording facilities, owned by Sir George Martin. "I just flew over and started walking the streets of London looking for a job, stopping in every studio that I took off the back of my favorite albums," he remembers. Mark is the founder, Chairman and visionary behind AMG and our associated companies. He has over 40 years of entertainment industry experience and his credits include (but are not limited to): Joan Jett, Paul McCartney, Carly Simon, New Edition, Deep Purple, Duran Duran, Alisha, Billy Idol, Boy George and more. --- Support this podcast: https://anchor.fm/phiresflames/support

Dom Richmond of Eiger Studios catches up with Olga FitzRoy to talk all things music production, what it's like working at the prestigious Air Studios and the process of creating great records. Olga is a music producer and mix engineer who began her career working at AIR Studios in London. She has worked with George Michael, Paul McCartney on The Beatles Love album, Coldplay, Foo Fighters, Muse and Hans Zimmer as well as many Oscar-winning composers and some of the world's biggest bands. She has also recently been involved with and worked on TV scores such as The Crown, The Innocents and Doctor Who.In addition to her work as an engineer, Olga is a campaigner on women's issues, working hard to tackle obstacles faced by self-employed parents with her campaign for Parental Pay Equality, leading to a new bill being debated in Parliament. She has a high-level influence on matters of equality in the music industry through her board membership of UK Music and the Music Producers Guild and was named eleventh on the 2018 Woman's Hour Power List of women having an impact on music.

Hello! I am glad to bring you a voice vs. voice chat between Will and I! It was such a cool conversation! His whole catalog of work is so sick! Everyone go record/get your stuff mixed/mastered by him! So thank you so much to Will for being able to come on! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/drivesafetextwhenhome/support

Today we're talking to Phoebe Price, a friend of ours from London that Sam met in Whistler! We talk about taking a gap year; why we felt the need to, where we went and what we wished we knew!We hope you enjoy this episode and if you'd like to support us, subscribe on your podcasting platform of choice, leave a super nice review, and screenshot the episode/show us where you're listening to us by posting on your instagram story and tagging @samandemhaveproblems :) Our recommendations this week were:Sam - Bon Iver at AIR Studios recording session (music)Em - Shut Up and Go (website) and Huji Cam (app)Phoebe - Radioooooo (app) and Drunk Women Solving Crime (podcast) and Bon Iver cover of I can't make you love me/Nick of time (song) Follow us on Instagram, TikTok and Facebook:@samandemhaveproblems If you want to hear some bonus content where we chat about our favourite travel stories, support us on Patreon and join our 99 Problems tier for $4.17 a month! We'll be posting the episodes a day early there and with exclusive bonus content from now on! Support us here. Music by The Vinyl Press - Outside@thevinylpress Your hosts are Emily Judd (emily_judd) and Sam WallisFor business enquiries please email samandem.podcast@gmail.com

We catch up with Barry Grint - co-founder of London's Alchemy Mastering - one of the country's leading mastering houses, to find out about his massive new venture with Air Studios. The recording giant recently acquired Alchemy, which will massively strengthen its already well established mastering department. Barry takes us through the journey.

This week on the just an Insight Podcast we have a little bit of a different flavour as we are joined by recording engineer extraordinaire and guitarist Will Killingsworth. We discuss what it was like growing up in Alabama, how when Orchid started they wanted to forge their own path, how he has always wanted to test himself musically and what his drive is now with Dead Air Studios. You can listen to the current projects Will is involved with here: LONGINGS: https://longings.bandcamp.com/ NO FAITH: https://nofaith.bandcamp.com/ For all your recording and engineering needs visit Dead Air Studios here: https://deadairstudios.com/

Little Orpheus , created by the award-winning studio The Chinese Room, is set in the Soviet Union in 1962. Sure, there's a space race, but "interior-naut" Ivan Ivanovich is being interrogated for his journey to the center of the earth, in charge of a nuclear device, the Little Orpheus, which has mysteriously disappeared. Ivan spins a fantastic tale about his adventures for his Siberian general, who may or may not believe him. Composer Jim Fowler worked with BAFTA Award-winning composer Jessica Curry to craft a soundtrack that's inspired by film music of Shostakovich, Disney, and even The Wizard of Oz! Jim says the lovable character of Ivan, and the gorgeous art created by the Chinese Room gave him and Jessica plenty of inspiration. The soundtrack was recorded at the legendary AIR Studios in London. Long before they arrived at the session, Jim and Jessica gave the studio a "wish list" of the performers they wanted to use. Because they put their requests in so far in advance, they were

Steve Cooper talks with musician Trevor Steel. Trevor is best known for being the lead singer of the band The Escape Club. They released their first album in the UK in 1987. Their next album was released in the summer of 1988 on Atlantic records out of the USA.  The title track and first single, Wild Wild West went to #1 on the Billboard hot 100 chart and was Grammy nominated. They released two more singles from the Wild, Wild West album, Shake for the Sheik which got to # 28 and Walking Through Walls. They released their third album in March 1991 which included the # 8 single, Ill Be There. In 1992 when the band temporarily disbanded, Trevor went on to start a career as a songwriter and producer with John Holliday. Based out of Air Studios in London, first under the production name ‘Bump and Grind’ and later as themselves, they wrote and produced many U.K. pop hits.

Ben & Jim interview music producer legend Steve Churchyard. Steve Churchyard is an English record producer, recording engineer and mixer who began his career at Sir George Martin’s AIR Studios in London. He currently resides in the United States. He has been nominated for 15 Grammy awards. In 2008 he won a Latin Grammy for Juanes' album La Vida... Es Un Ratico. In 2010, he won a Latin Grammy for the album Paraíso Express by Alejandro Sanz. In 2011, Steve Churchyard received a Grammy nomination for Katy Perry's album Teenage Dream and again in 2012 for Jason Mraz's album Love Is a Four Letter Word. He has multiple previous nominations. He has worked on recordings by INXS, Eagles, Herbie Hancock, Billy Joel, Sex Pistols, Meat Loaf, Keith Urban, Shakira, George Michael, Hanson, Faith Hill, The Darkness, Scorpions, Avril Lavigne, Kelly Clarkson, Joni Mitchell, Blinker the Star, Siouxsie and the Banshees, Dalis Car, The Pretenders and The Stranglers. Steve Churchyard was featured in the book Behind the Glass by Howard Massey. https://www.stevechurchyard.com https://en.wikipedia.org/wiki/Steve_Churchyard https://wiresworld.net/blog for show notes. You can support the UnWired show at https://wiresworld.net/donate - thank you in advance for helping UnWired deliver on the value for value model. Thanks, Ben & Jim --- Support this podcast: https://anchor.fm/james-pyers9/support

Robert and Kenny begin the show discussing the HBO film Bad Education, which includes the latest score by Michael Abels. Over the weekend, Kenny also re-watched Avatar, a film Robert worked on with James Cameron and James Horner. Robert reveals that Beyoncé was the original choice for the end credits song, but she was too expensive. Then, Emmy and Grammy-winning composer David Arnold (James Bond franchise, Independence Day, Stargate, Good Omens, Sherlock) joins the show to talk about the benefits of having his studio inside AIR Studios in London, why a record store clerk might be the reason he got his first James Bond film, how he wrote the theme from Independence Day in a dream and the pressure of being music director for the 2012 Summer Olympics in London. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Tim Maleeny is the author of the award-winning Cape Weathers Mystery series and and the bestselling comedic thriller JUMP, which The Boston Globe called “hilarious” and Publishers Weekly described as “a perfectly blended cocktail of escapism.” This new books BOXING THE OCTOPUS relased this year to wide acclaim. His short fiction appears in several major anthologies and has won the prestigious Macavity Award for best story of the year. Booklist says, “The Cape Weathers mysteries are smart, snappily written, energetic mysteries starring an engaging hero.” Tim started writing crime fiction when he moved to San Francisco near Chinatown. Tim currently lives in New York City with his remarkable wife, Kathryn, and their two kickass daughters, Clare and Helen. Tim is working on his next novel, a screenplay, and a book for young readers. More at www.timmaleeny.com. J.T. Ellison began her career as a presidential appointee in the White House. Jaded by the political climate in D.C., she made her way back to her first love, creative writing. More than 20 novels later, she is an award-winning New York Times and USA Today bestselling author. She is also the EMMY-award winning cohost of A WAR ON WORD a literary interview television show, and co-wrote the “A Brit in the FBI” series with Catherine Coulter. She lives in Nashville with her husband and two small gray minions, known as cats in some cultures. www.jtellison.com @Copyrighted Listen on your favorite podcast app.

Spitfire Audio founder and composer Christian Henson (Poirot, Alien: Isolation) has his own unique take on the Forever Studio, stealing specific pieces of equipment from recording facilities he's visited. Learn what he'd pilfer from the studio made by Mark Knopfler, and what he'd love to take from Air Studios. And hear the surprising story behind his non-gear-related item... Listen to learn more.

Music Industry Longevity - Eddy Temple-Morris and Andy Strange discuss their very successful and long careers and how they managed to sustain and build their careers. This is their first meeting in 30 years.Click to listen to a Spotify playlist with all the music mentioned in this episode, all listed in order of mention.Please take our survey and let us know what you think, any and all feedback is very appreciated. Eddy Temple-Morris, who has worked in what could be termed as the Entertainment Industry Plus for over 27 years, has extensive experience as a radio presenter and a radio show producer including years of duty at BBC Radio One, Atlantic 252’s On The Edge, The Remix show on XFM and his current position as a presenter on Virgin Radio. His TV experience includes producer and presenter for MTV’s Up For It, presenter on Channel 5’s chart show, producer and presenter for ITV’s This Way Up, presenter for Channel 4’s Mobile One The Grid.He’s been music curator for festivals, TV and radio shows, even music for The Queen’s summer exhibition plus the favorite tour DJ of The Prodigy, Placebo and Pendulum. He’s produced and composed music used by Films and TV shows including Game Of Thrones and CSI, and video games like Far Cry. He is undeniable proof you can get through this business while being nice to people. Plus he is Chair of the Music Board of mental health charity, CALM (Campaign Against Living Miserably) and involved with a new game changing mental health start up and non-profit called My Black Dog. He is on a mission to get men to be more like women, by this he means to communicate their feelings more openly and for people to realise that suicide is a permanent solution to a temporary problem. He moves, like a benevolent vapor, between the worlds of music, radio, TV, cars, food, wine and mental health. One day he’ll do something that joins all these things. We wish you luck on that.And joining Eddy is Andy Strange who, for over 30 years, has worked as recording engineer, mix engineer and/or producer. He worked as the assistant and engineer for the legendary Sir George Martin for 15 years and has engineered for dozens of number 1 albums and artists including The Pretenders, Natalie Imbruglia, Burt Bacharach, Mark Knopfler, Bush, George Rafferty, Pulp, John Lennon, Elton John, Duffy, Celin Dion, Cher, Michael Jackson, The Fugees, Paul Young, Robbie Williams and on and on. He currently runs his own studio called Strange World which has both vintage analogue and modern digital systems offering Mixing, Mastering, Recording, Live Recording and Remote Mixing services. You can find in-depth information regarding their services at strangeworld.co.uk.The background music players on this episode are Joe Schirl on bass guitar and Peter Mayerhofer on hand pan. All other elements of the music was composed, engineered and mixed by Lionel Lodge.This episode conversation was recorded at The Joint in the Kings Cross area of London, England. Click here for more information on their services. If you have any suggestions for future episodes, themes and/or guests, or comments on this episode, please let us know.If you wish to support us in producing this podcast series, please click the donate button. Any and all help will be put towards production expenses and leSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=WVZLRF49C7Y6A&source=url)

Music Industry Longevity - Eddy Temple-Morris and Andy Strange discuss their very successful and long careers and how they managed to sustain and build their careers. This is their first meeting in 30 years.Click to listen to a Spotify playlist with all the music mentioned in this episode, all listed in order of mention.Please take our survey and let us know what you think, any and all feedback is very appreciated. Eddy Temple-Morris, who has worked in what could be termed as the Entertainment Industry Plus for over 27 years, has extensive experience as a radio presenter and a radio show producer including years of duty at BBC Radio One, Atlantic 252’s On The Edge, The Remix show on XFM and his current position as a presenter on Virgin Radio. His TV experience includes producer and presenter for MTV’s Up For It, presenter on Channel 5’s chart show, producer and presenter for ITV’s This Way Up, presenter for Channel 4’s Mobile One The Grid.He’s been music curator for festivals, TV and radio shows, even music for The Queen’s summer exhibition plus the favorite tour DJ of The Prodigy, Placebo and Pendulum. He’s produced and composed music used by Films and TV shows including Game Of Thrones and CSI, and video games like Far Cry. He is undeniable proof you can get through this business while being nice to people. Plus he is Chair of the Music Board of mental health charity, CALM (Campaign Against Living Miserably) and involved with a new game changing mental health start up and non-profit called My Black Dog. He is on a mission to get men to be more like women, by this he means to communicate their feelings more openly and for people to realise that suicide is a permanent solution to a temporary problem. He moves, like a benevolent vapor, between the worlds of music, radio, TV, cars, food, wine and mental health. One day he’ll do something that joins all these things. We wish you luck on that.And joining Eddy is Andy Strange who, for over 30 years, has worked as recording engineer, mix engineer and/or producer. He worked as the assistant and engineer for the legendary Sir George Martin for 15 years and has engineered for dozens of number 1 albums and artists including The Pretenders, Natalie Imbruglia, Burt Bacharach, Mark Knopfler, Bush, George Rafferty, Pulp, John Lennon, Elton John, Duffy, Celin Dion, Cher, Michael Jackson, The Fugees, Paul Young, Robbie Williams and on and on. He currently runs his own studio called Strange World which has both vintage analogue and modern digital systems offering Mixing, Mastering, Recording, Live Recording and Remote Mixing services. You can find in-depth information regarding their services at strangeworld.co.uk.The background music players on this episode are Joe Schirl on bass guitar and Peter Mayerhofer on hand pan. All other elements of the music was composed, engineered and mixed by Lionel Lodge.This episode conversation was recorded at The Joint in the Kings Cross area of London, England. Click here for more information on their services. If you have any suggestions for future episodes, themes and/or guests, or comments on this episode, please let us know.If you wish to support us in producing this podcast series, please click the donate button. Any and all help will be put towards production expenses and leSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=WVZLRF49C7Y6A&source=url)

Music Industry Longevity - Eddy Temple-Morris and Andy Strange discuss their very successful and long careers and how they managed to sustain and build their careers. This is their first meeting in 30 years.Click to listen to a Spotify playlist with all the music mentioned in this episode, all listed in order of mention.Please take our survey and let us know what you think, any and all feedback is very appreciated. Eddy Temple-Morris, who has worked in what could be termed as the Entertainment Industry Plus for over 27 years, has extensive experience as a radio presenter and a radio show producer including years of duty at BBC Radio One, Atlantic 252’s On The Edge, The Remix show on XFM and his current position as a presenter on Virgin Radio. His TV experience includes producer and presenter for MTV’s Up For It, presenter on Channel 5’s chart show, producer and presenter for ITV’s This Way Up, presenter for Channel 4’s Mobile One The Grid.He’s been music curator for festivals, TV and radio shows, even music for The Queen’s summer exhibition plus the favorite tour DJ of The Prodigy, Placebo and Pendulum. He’s produced and composed music used by Films and TV shows including Game Of Thrones and CSI, and video games like Far Cry. He is undeniable proof you can get through this business while being nice to people. Plus he is Chair of the Music Board of mental health charity, CALM (Campaign Against Living Miserably) and involved with a new game changing mental health start up and non-profit called My Black Dog. He is on a mission to get men to be more like women, by this he means to communicate their feelings more openly and for people to realise that suicide is a permanent solution to a temporary problem. He moves, like a benevolent vapor, between the worlds of music, radio, TV, cars, food, wine and mental health. One day he’ll do something that joins all these things. We wish you luck on that.And joining Eddy is Andy Strange who, for over 30 years, has worked as recording engineer, mix engineer and/or producer. He worked as the assistant and engineer for the legendary Sir George Martin for 15 years and has engineered for dozens of number 1 albums and artists including The Pretenders, Natalie Imbruglia, Burt Bacharach, Mark Knopfler, Bush, George Rafferty, Pulp, John Lennon, Elton John, Duffy, Celin Dion, Cher, Michael Jackson, The Fugees, Paul Young, Robbie Williams and on and on. He currently runs his own studio called Strange World which has both vintage analogue and modern digital systems offering Mixing, Mastering, Recording, Live Recording and Remote Mixing services. You can find in-depth information regarding their services at strangeworld.co.uk.The background music players on this episode are Joe Schirl on bass guitar and Peter Mayerhofer on hand pan. All other elements of the music was composed, engineered and mixed by Lionel Lodge.This episode conversation was recorded at The Joint in the Kings Cross area of London, England. Click here for more information on their services. If you have any suggestions for future episodes, themes and/or guests, or comments on this episode, please let us know.If you wish to support us in producing this podcast series, please click the donate button. Any and all help will be put towards production expenses and leSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=WVZLRF49C7Y6A&source=url)

Iain Carnegie presents another edition of the companion podcast to the regular monthly Politics of Sound: Politics of Sound BITES. In this occasional release, Iain speaks to those making the news now about their actions, motivations and the role that music plays within their lives.His guest is prominent Award-winning Studio Engineer and Labour Party Parliamentary Candidate, Olga Fitzroy.They discuss her recent experiences as a candidate at the General Election, the state of the Labour Party, her campaigning work for self-employed parents and her award-winning studio work.

Olga Fitzroy provides an insight into her world working at Air Studios in London and shares feedback on fresh tracks taken from the Introducing Uploader. Tracks featured: La Lune - Grape Soda, The Islas - Back of Your Neck and Rachel K Collier - Dinosaur..

In this episode Matt and Emily discuss the world of Production Music and Scored Music composed and recorded for sync in visual media (TV, film, advertising, trailers)Click to listen to a Spotify playlist with all the music mentioned in the 2 parts of this conversation, all listed in order of mention. Matt Cansick, who is Account Manager at BMG Production Music and has a BA Honors in History from the University of Sheffield and also holds a private pilots license started his career at The Music Sales Group as their Third Party Licensing Administrator, from there he moved over the Warner/Chappell Production Music as a Music Consultant. After two and a half years at Warner/Chappell he took the position of Senior Music Consultant at Amphibious Zoo Music, which led him to his current position at BMG Production Music. And joining Matt is Emily Richardson. Emily, who is Head of Creative, Film & Trailers at The Music Sales Group and has a BA Honors in Music from the University of Sussex, started her career as an intern at Air Studios and then at Air-Edel. Her first Music Supervisor position was at SUPAJAM which lead her to Warner/Chappell Production Music where she held the position of Senior Music Consultant. From Warner Emily went on to be Director, Synchronisation at Nettwerk Music Group and from there to her current position at The Music Sales Group which is one of the world’s leading independent music publishing companies with offices around the globe.Click to listen to a Spotify playlist with all the music mentioned in the 2 parts of this conversation, all listed in order of mention. We decided that just conversation on podcasts was lacking atmosphere, so we have written and recorded unique music for each conversation. The players on this episode are Joe Schirl on bass guitar and Peter Mayerhofer on hand pan.This episode conversation was recorded at The Joint in the Kings Cross area of London, England. Click here for more information on their services. If you have any suggestions for future episodes, themes and/or guests, or comments on this episode, please let us know.If you wish to support us in producing this podcast series, please click the donate button. Any and all help will be put towards production expenses and let us afford to travel to far off lands to interview some of the most interesting and experienced music industry professionals about the music they treasure.Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=WVZLRF49C7Y6A&source=url)

In this episode Matt and Emily discuss the world of Production Music and Scored Music composed and recorded for sync in visual media (TV, film, advertising, trailers)Click to listen to a Spotify playlist with all the music mentioned in the 2 parts of this conversation, all listed in order of mention. Matt Cansick, who is Account Manager at BMG Production Music and has a BA Honors in History from the University of Sheffield and also holds a private pilots license started his career at The Music Sales Group as their Third Party Licensing Administrator, from there he moved over the Warner/Chappell Production Music as a Music Consultant. After two and a half years at Warner/Chappell he took the position of Senior Music Consultant at Amphibious Zoo Music, which led him to his current position at BMG Production Music. And joining Matt is Emily Richardson. Emily, who is Head of Creative, Film & Trailers at The Music Sales Group and has a BA Honors in Music from the University of Sussex, started her career as an intern at Air Studios and then at Air-Edel. Her first Music Supervisor position was at SUPAJAM which lead her to Warner/Chappell Production Music where she held the position of Senior Music Consultant. From Warner Emily went on to be Director, Synchronisation at Nettwerk Music Group and from there to her current position at The Music Sales Group which is one of the world’s leading independent music publishing companies with offices around the globe.We decided that just conversation on podcasts was lacking atmosphere, so we have written and recorded unique music for each conversation. The players on this episode are Joe Schirl on bass guitar and Peter Mayerhofer on hand pan.This episode conversation was recorded at The Joint in the Kings Cross area of London, England. Click here for more information on their services. If you have any suggestions for future episodes, themes and/or guests, or comments on this episode, please let us know.If you wish to support us in producing this podcast series, please click the donate button. Any and all help will be put towards production expenses and let us afford to travel to far off lands to interview some of the most interesting and experienced music industry professionals about the music they treasure.Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=WVZLRF49C7Y6A&source=url)

BEN FOSTER is a four-times BAFTA-nominated composer with extensive credits in major productions across a variety of genres. He has composed over 200 episodes of scripted television. Ben worked with David Arnold on Amazon/ BBC One's hugely acclaimed Good Omens, providing additional music for the series, and arranged the songs of Elton John for Dexter Fletcher's film Rocketman. As an arranger and conductor he has worked with composers such as John Williams, Jóhann Jóhannson, Will Gregory, Mica Levi and Marc Streitenfeld. He also arranged and conducted the music for 110 episodes of Doctor Who.NICK FOSTER is a multiple BAFTA-winning composer, arranger and producer of music for television, commercials and film. Working both solo and in collaboration from Air Studios, London, Nick has made his name composing scores for television shows in the UK and US including: Timewasters, Bounty Hunters, the Derren Brown specials (including the recent Netflix specials, Sacrifice and The Push), The A List, Cuckoo, the Emmy-winning Hank Zipzer for the BBC. Ben and Nick Foster have collaborated on the original music for 78 episodes of the animated series, THUNDERBIRDS ARE GO (ITV) for which they have been nominated for BAFTA, Music and Sound and British Academy Awards.Thunderbirds Are Go is a British animated science fiction television programme produced by ITV Studios and Pukeko Pictures. It is a remake of the Supermarionation series Thunderbirds created by Gerry and Sylvia Anderson that follows the exploits of International Rescue (IR), a life-saving organization equipped with technologically-advanced land, sea, air and space rescue crafts; these are headed by a fleet of five vehicles named the Thunderbirds that are launched from IR's secret island base in the Pacific Ocean. The main characters are the five Tracy brothers, who pilot the Thunderbird machines. Thunderbirds Are Go premiered on 4 April 2015 and is currently in its third series.In this episode of the Annotator, the brothers Foster open up their original score for series 2 of THUNDERBIRDS ARE GO. They discuss their unique treatment of Barry Gray's original theme as a part of their audition for the project. Not only do they reveal how they incorporated some of Barry Gray's original instrumentation and style but also how and when they departed from it. Lastly, the two share how they specifically chose to utilize a large symphonic orchestra for this score with the idea of exposing young children to such music and hopefully introducing the idea of being involved with music in some way.ANNOTATED TRACKS / SEGMENTS03:22 - TV-2105:09 - Thunderbirds March05:54 - Surveyor Located07:45 - Ray Mechas09:52 - The Mechanic11:21 - International Rescue vs The Mechanic14:30 - The Jeff Tracy Fix16:37 - I Am The Mechanic17:51 - Thunderbirds March (Minor Version)OTHER TRACKS18:47 - Lovely Day for a Massive Drone MalfunctionSOUNDTRACKThe soundtrack was released on August 30, 2019 by Silva Screen Records and can be purchased on Amazon.com , iTunes, and streamed Apple Music. MORE ABOUT THE COMPOSERSYou can find out more and hear more music by Ben Foster at Cool Music Limited and Nick Foster at his official site https://www.nickfostermusic.com/. You can follow them on Twitter @benfostermusic and @nickfostermusic ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorInstagram @TheAnnotatorEmail theannotatorpodcast@gmail.com

Our guest on this week's Soundtracking is not necessarily a name you'll be familiar with. But as a movie fan, you'll certainly know the music he has had a key hand in. For in his 20 years at Air Studios, Jake Jackson has produced and engineered an extraordinary number of magnificent scores. As well as being Nick Cave and Warren Ellis's go-to guy, he has also worked on Gladiator, Pete's Dragon and Under the Skin among many other well-known films. Indeed, his work has featured on at least 20 episodes of this podcast, which is why we were so keen to get him on.

This podcast extra interview was recorded at the press launch of the new Universal Audio Apollo x series of interfaces held at the stunning AIR studios in London. James Ivey say down with producer, engineer and owner of Flux studios in New York City, Fab Dupont to talk about his roll in the event, the new Universal Audio Apollo x range and a string of other music and recording related subjects, like, “Why are the drum room mics outside the booth”?

 Join Dave as he explores, through the music, AIR studios. With a focus on AIR Montserrat.    http://www.pacificnorthwestradio.com/ (www.pacificnorthwestradio.com)http://www.pacificnorthwestradio.com/contribute.html (Support the show.) Support this podcast

Composer Lorne Balfe invites Matthew Sweet behind the scenes at Air Studios for the recording sessions of the score for the new Mission: Impossible film which is in cinemas this week. Matthew finds out what goes into recording a Hollywood film soundtrack from the people at Air studios who make it happen. As well as Lorne, he talks to three-time Grammy Award-winning recording engineer Geoff Foster, music editor Cecile Tournesac, conductor Matt Dunkley, orchestra leader Perry Montague-Mason and principal double-bass Mary Scully.

Im heutigen delamar Check widmet sich Henry unbekanntem Terrain: Im Spitfire Audio Hans Zimmer Strings Test geht es voll und ganz um Streicher. Was passiert, wenn man 344 Musiker in den Air Studios in London... Der Beitrag Spitfire Audio Hans Zimmer Strings Test – DC013 erschien zuerst auf delamar.FM.

Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.

Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.

„Naujienų pulsas“: mirė rusų ukrainiečių dirigentas Fiodoras Gluščenko, dirigavęs BBC, A. Toskaninio, Ukrainos nacionaliniam ir kt. orkestrams; „Air Studios“ laimėjo byla prieš Jeffrey šeimą, planavusią greta studijos stambias statybas, pergalė atsiėjo 200 tūkst. Svarų.Su rubrika „Retro“ prisiminsime fenomenalią violončelininkę Jacqueline du Pre, taip pat pažymėsime video žaidimų garso takelių kompozitorės Yoko Shimomuros 50-metį bei pasiklausysime vienos iš Piotro Čaikovskio spalvingųjų simfoninių poemų.

„Naujienų pulsas“: mirė rusų ukrainiečių dirigentas Fiodoras Gluščenko, dirigavęs BBC, A. Toskaninio, Ukrainos nacionaliniam ir kt. orkestrams; „Air Studios“ laimėjo byla prieš Jeffrey šeimą, planavusią greta studijos stambias statybas, pergalė atsiėjo 200 tūkst. Svarų.Su rubrika „Retro“ prisiminsime fenomenalią violončelininkę Jacqueline du Pre, taip pat pažymėsime video žaidimų garso takelių kompozitorės Yoko Shimomuros 50-metį bei pasiklausysime vienos iš Piotro Čaikovskio spalvingųjų simfoninių poemų.

It's fair to say Soundtracking might not exist without Clint. That's because the genesis of the idea formed when Edith saw him performing his film scores at the Largo in Los Angeles back in 2012. And 5 years later, here we all are! After his band Pop Will Eat Itself disbanded in 1996, Clint was introduced to the business when Darren Aronofsky asked him to score Pi. The pair have collaborated several times since - as part of total body of work comprising around 50 films. During the course of the conversation, you'll hear extended extracts of Clint's work on High Rise, Moon, Pi, Black Swan and Requiem For A Dream. But we begin in the iconic venue in which this interview took place - Air Studios in London - with the main theme from the very first score he recorded there ...

Composer Takeshi Furukawa had the incredible task of creating the musical score for The Last Guardian, which is best described as a traditional orchestral fantasy score. The Last Guardian, from Shadow of the Colossus designer Fumito Ueda, centers on a boy and his friendship with Trico, a giant creature who looks like a hybrid of a bird and a cat. Furukawa was first approached for the project five years ago — but the game was delayed to be reengineered for PlayStation 4. Two years later, he resumed his efforts and went on to compose and conduct a score that was performed by the London Symphony Orchestra, Trinity Boys Choir, and London Voices at Air Studios.

Our fifth episode of Reversal of the Muse is Laura’s conversation with Olga FitzRoy, who was recently crowned Recording Engineer of the Year 2016 at the MPG awards. Following her Music and Sound Recording degree, Olga trained as an engineer and mixer in the renowned AIR Studios in London, where she’s worked on chart-topping records for Coldplay, The Foo Fighters and Muse. She also assisted Sir George Martin on the last ever Beatles recording for the 2006 album, Love, as well as working with top film composers such as Hans Zimmer. Laura and Olga are both well accustomed to the long working hours of the studio. Together they discuss whether women are able to meet the demands of working in a studio and still have children, or if the two are mutually exclusive which has consequently lead to the male dominated environment. Laura also notes that women scientifically hear differently to men, which sparks the question: Have we been creating records for the male ear, as most of our studio mixers are male? Olga and Laura consider if we’re missing a feminine part to everything behind music and the way it’s created. http://www.olgafitzroy.com/ http://www.reversalofthemuse.com/

Rob Albertson from Rare Air Studios discusses his work, why he's a member of the Georgia Production Partnership and you should too, and upcoming outside threats every Georgia filmmakers should worry about!

Robert Ziegler conducts from Air Studios, London.Presented by Katie Derham.The top twenty pieces of film music chosen by radio presenters and played in the order voted for by listeners.

We went behind the scenes at Air Studios as the Philharmonia Orchestra recorded the music for the new Harry Potter and the Deathly Hallows (Part 1) Video Game to find out more about how music for games is composed, recorded and designed to enhance the in-game experience.