Interview With Record Producer John Leckie
British Award Winning Music Engineer Talks About Digital Revolution
Jun 22, 2009
The music industry would be at a loss without British record producer John Leckie. He has produced for pioneering acts such as Radiohead with The Bends, Muse with Origin of Symmetry and the debut album of The Stone Roses.
Leckie produces for music he sees himself “Get off on and get inspired by.” Considering he has a down-to-earth attitude, he certainly without a doubt is a source of inspiration. Radiohead opened up to his salt-of-the-earth nature, admitting to him that “they questioned their abilities” and thus he “gave them confidence to record their best performance and helped them create their sound.”
Living For Music
As technical as producers need to be, Leckie’s music adoration is not clinical, “I produce for music I enjoy the most. It’s usually obvious as to which I’ll pick, as it is the ones that have a heart-felt thing; giving musicians inspiration and ones that are simple with a universal feel.” Working class ethics are not to be amiss in his quest either, “In the studio some musicians only pick up their instruments when they feel like it- they are lazy and want to find an easier way. A musician however, needs dedication to their music. Who lives for their music.”
Leckie still works hard at the top of the music industry ladder, but he started out as a tape-recorder engineer in Abbey Rd and describes it as “a responsible job” where he had to sit at the back of the studio and listen very carefully, run the tape and, “Go forward, go back- quickly learn what language people used. I was lucky enough to work with all types of music.” It was his assertiveness which got him there in the first place- by writing a letter to the studio for the job.
Digital Revolution
Since the digital revolution a lot has changed from 39 years ago. How has this affected producing? “It has given exercise for freedom, to explore possibilities- there are different avenues to go up and it has made recording a lot cheaper.” Yet he claims the essence is still the same when comparing digital rights management and “people have always been copying music and demos from one tape to the next”. He explains lap-tops have meant musicians do not need a studio to record and can advance a lot quicker than before, but that “quality can go out the window” compared to the past.
The Producer's Job
Leckie explains his role depends on the act he is working with and what is needed, “I’ve done records with bands who would need a months rehearsal-they mix and match their good verses and choruses. Other bands go in the studio right away and capture their performance” and he has to adapt to whatever response. He does not tamper with musicians’ music, nor makes producing a profanity, believing it to be “dangerous to change the sound too much” and remembers more often than not he is “not a performer, but a listener, someone who communicates with musicians.”
This outlook differs to many record companies, who perceive music to be a mere product to sell, rather than give musicians artistic license to create on their own accord. Leckie smiles knowingly with the mention of them- he resonates a low laugh, “Record companies can at times want something which is not there in the music, and lose touch of what it is they heard in a band in the first place. It is almost a cliché because of how stupid it is, that they only see the marketing potential.” His job satisfaction however, has always been found in “discovering a sound and then recording it.”
Modern Music Industry
Leckie’s reminiscence for the “old days” is not in a clingy sentimental way, but his bright blue eyes flash acceptance for the changes in the present, “Back then, all musicians did was play their music. Nowadays they need to know about all aspects of the business.” Ticking off each finger on his hand like a mudra he continues, “Know how to record; how to work computers with so much information technology; multi-track; how to make a music video, how to write a (music video) script- their time is spent doing all these things.”
So with all these swift changes in how music is interpreted, how it is recorded and how it is played apparent since his early days in the 70’s, could there be any room left for a vicissitude in vintage- “In reality, vintage equipment is still being used 50 years after it has been invented.” He is particularly partial to Martin and Marshall Amplifiers which “do the job properly” as do Fender and Gibson guitars.
For microphones, he has a soft spot for the German Norman 47 and says it is what should be chosen today “if you are going to use the best tool to sing naturally.” The irony in such a choice? It was designed for Adolf Hitler in 1936. Yet it just goes to show music equipment can either be used for cherishment or degeneration- the ethics all depending on the hand which feeds it. And just as legendary John Leckie sums up music producing, “It is all about making decisions- the right ones.”
The copyright of the article Interview With Record Producer John Leckie is owned by Louise Devlin. Permission to republish Interview With Record Producer John Leckie in print or online must be granted by the author in writing.
Quotes granted by face-to-face interview with John Leckie by Louise Devlin.
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