Folgender Artikel wurde auf der offiziellen Seite von "Apple"
veröffentlicht. Iim Grunde sehr interessant, weil man viel
über Alan's Arbeit erfährt und welche Geräte er benutzt. Natürlich
ist viel Werbung für Apple dabei, aber interessant ist der Artikel
auf alle Fälle. Leider habe ich ihn nur auf Englisch vorlliegen.
Quelle, so lange es noch online ist: http://www.apple.com/hotnews/articles/2002/03/alanmoulder/
“Before working with a
band, I’ll usually listen to the demo and then discuss with them what elements
we like and which ones we’d want to change,” explains Alan Moulder, the twice
Grammy-nominated producer/engineer behind moody alternative music masterpieces
from artists like Jesus & Mary Chain (JAMC) and My Bloody Valentine, to Nine
Inch Nails and Smashing Pumpkins.
“Then in the studio, we’ll
build up the song, starting with the rhythm section and adding instrumentation
until we’re happy with it,” he adds. “The use of computers in this type of
recording really can help this process. You can chop and change the arrangement
to try things out in a way you simply can’t with tape.”
Thanks to the influence of
his older, music-loving siblings, Moulder got into music at a very early age.
“I was hearing all types of bands from Tamla Motown, Beatles, Cream and early
Bee Gees. Then I got into playing in bands at around 16,” says Moulder. “But
after doing a demo in a local studio, I decided I would rather be an engineer
than a guitarist. From the first moment I was in a studio I loved it and knew it
was something I wanted to do,” he says.
“I decided this was more
for me than being in a band, so I really concentrated on trying to be a great
engineer,” he says. “I liked the idea of being creatively involved so
production was the next logical step.”
Moulder was lured by good
production from the time he bought his first album, even though—at the time—he
didn’t realize that was what he was drawn to. “When I bought my first album ‘
Electric Warrior’ by T.Rex, I loved the sound of it and thought it must have
been a good vinyl pressing,” explains Moulder. “It never occurred to me that it
had to do with production or engineering.”
He got his first experience
with computer sequencing while producing a solo album with his now wife, Toni
Halliday, before she was in Curve. “We did the album together and I had to
learn Steinberg’s Pro 24 program to do the demos,” says Moulder.
“I first got into the audio
manipulation side when working on ‘The Downward Spiral’ with Nine Inch Nails,”
he says. “Trent had a four-channel
ProTools 2 set up on which he was running Opcode’s Studio Vision. I was so
impressed with what he was doing that I bought the same set up as soon as I got
“Although he is considered
more of an artist, I think Trent Reznor is an absolute genius producer,” adds
Moulder. “I learned a lot from him.”
At one point, Moulder
pursued learning with the Ministry of Agriculture. But, when he became
interested in audio he decided to learn hands-on, sans formal education.
“Studios in London were not
really employing people from schools at the time because the graduates would
tend to think that after doing a couple of years studying they were proper
engineers and were resentful of being asked to assist and get clients cups of
tea and fetch pizza,” he explains. “Things have changed now and I think most London studios now
only take on people who have done some form of training.”
Moulder himself started as
teaboy for Trident Studios, where he tapped into JAMC. “I was very fortunate.
When I was an assistant at Trident Studios, where I trained, I was really into
‘alternative’ music and since it was the mid-80’s most engineers were into the
Trevor Horn style of polished and—from an engineering point of view—impressive style
of production,” explains Moulder.
“I assisted Flood, who was
also a Trident engineer, a lot and when he was booked to record a track with
the Jesus & Mary Chain I made sure I was on the session,” he adds. “We got
on well with the band, who had bad experiences with other engineers who didn’t
really appreciate their irreverent style, and they asked me to do some live
sound for them and then asked me to engineer their album ‘Automatic.’”
The project went well and
Alan McGee, who owned Creation Records and had signed JAMC, asked Moulder to do
some mixes for Ride. “He then thought I would be good with My Bloody
Valentine—who were also experiencing problems with unappreciative and less than
patient engineers,” says Moulder.
“So I went on to work with
them. The Smashing Pumpkins and Nine Inch Nails were big fans of both the Jesus
& Mary Chain and My Bloody Valentine, and I think I got a reputation for
being patient and easy to work with, so I got to work with them as well,” he
Up By Jesus & Mary Chain
“Working with the Jesus
& Mary Chain was fantastic. They are responsible for me working in the
field of music I am in now, as I was doing a lot of dance music before then.
They taught me a lot,” says Moulder. “Jim is one of my all time favorite
singers, and William likewise on guitar. What many people probably don’t
realize is that both the Reid brothers have a great sense of humor.
“So we had a lot of fun
doing those records, and on ‘Honey’s Dead,’ William and I really got into the
programming side of things,” he says. “We used a lot of loops and sampling.
Since they had their own studio it took off a lot of the time pressure and we
didn’t have to worry about anyone else. Most of the time there were just the
three of us there.”
Coming from a background
recording and mixing in the pre-digital days, producer/engineer/mixer Moulder
can profess that technology has made a great difference in his life. “With hard
disk recording and editing you can concentrate on getting a great performance.
If there are a couple of flaws that bother you, they can be fixed rather than
having to do the whole thing over,” he explains.
“Like everything, it is a
matter of taste as to how you use technology, but I know that I wouldn’t want
to go back!”
Logic and Reason
Moulder uses ProTools for
most of his recording work because he likes the way that it handles audio. “I
also use Emagic’s Logic Audio, which is great for MIDIand being able
to use VST plug-ins,” says Moulder.
“I also use Reaktor,” he
adds, “which I think is fantastic for coming up with sequences and sounds you
couldn’t do with anything else.” In addition, he likes Reason for its immediacy
and the ability to come up with drum patterns that can be scrolled through
loads of different sounds with ease.
Moulder runs ProTools,
Logic, Reason and Reaktor on a Power Mac in the studio, and on a PowerBook for
remote editing. “The PowerBook is great for all uses and I can’t think what I
would do without it now,” says Moulder. “I can use it on long plane journeys to
mess around with sounds or sequences and I can expand on those ideas when I get
to the studio.”
Plug-in Shopping List
When it comes to effects
plug-ins, Moulder fancies Waves. “I use the L1 a lot for getting things to cut
through and sit in mixes,” he says. “The Renaissance EQ I like for digital
equalizing and their De-esser works well. I use the McDSP stuff a lot for
filtering and their new multi-band compressors and analog channels are good,
“Antares Auto-Tune is also
a favorite of mine for that little bit of ‘nit picking,’” he explains. “But I
never just put it across a vocal. I always use the graphical mode and smooth
out any offending notes slightly and bounce them back into the original so I
can keep the imperfections I like and get rid of the ones I don’t.”
Moulder is also a fan of
virtual instruments and samplers. “I’m all for them,” he says. “I use the
virtual Virus a lot. If I want a sound that a virtual instrument doesn’t give
me then I’ll use a non-virtual one. With samplers, I think the fact they are
built into the computer obviously gives you better timing so generally, the
more stuff, the merrier!”
Being a hot-shot audio
engineer does not come without sacrifices. He warns, “Be prepared for a good
few years with no social life, no sleep and no money! It can be very tough at
the beginning and this tends to sort out the serious ones from the rest.
“If you take one step at a
time and really bury yourself in learning as many aspects of engineering as
possible, you will find it incredibly rewarding,” says Moulder. “It is one of
those jobs where you are constantly learning and just when you think you have
got it all worked out something comes along to show you otherwise.”
Moulder recently recorded a
new track with the Lost Prophets, mixed an album for Dry Cell, a new American
band, and did a single mix for a great new British band, Hoggboy.
“I just did a soundtrack
for a new horror film called “My Little Eye,” with two friends of mine, Flood
and Rob Kirwan, who are both also producer/engineers,” he says. “It was great
fun as we got to do some writing although a lot of it was sound design and odd
sounds—so I got a lot of value out of Reaktor.
“I’ve also done some
work on some new tracks for NIN that should be continuing at some point,” he
says. “And I think I’ll be doing some work with Billy Corgan for his new band