Produce Like A Pro

Bleach, BBC Radio 1 and dodgy sunglasses: the story of Star 69...

Here’s a blast from the past – me, a goofy kid with bleached blonde hair, caught forever in time thanks to a photo by the brilliant Julian Butcher. (Yes, that’s me second from the left, looking like I just missed the auditions for a Britpop boy band.) Honestly, I look like I was either about to join a punk band or sell dodgy knock-off sunglasses on Camden Market. Turns out it was the former – sort of, although I definitely bought a few dodgy pairs of sunglasses along the way.

Star 69 was a short-lived but memorable band formed in London in 1994, fronted by the magnetic singer-songwriter Julie Daniels. Julie, who at the time was married to musician Francis Dunnery, brought a sharp, heartfelt songwriting style that became the band's signature. She started the band with guitarist Richard Corden, who she’d recruited early on from an Ad in the Melody Maker.

The rest of the line-up came together through a mix of old friendships and good timing. My old friend Patrick Hannan 'Patch', best known as the drummer for The Sundays, signed on to handle drums for Star 69 and invited me to join soon after.

Our early days were spent shaping the band's identity at Studio Poisson, the recording space run by Patch’s brother Nick Hannan. Nick, a talented bass player and engineer in his own right, would later become a world-class front of house engineer, mixing for legends like Siouxsie and the Banshees. Back then, though, we were just a gang of hopefuls trying to bash out songs and get a decent cup of tea between takes.

We recorded a batch of demos at Studio Poisson that captured the raw energy and emotional punch we were chasing. Those recordings helped us land a deal with Organic Records, the independent label run by David Steele, formerly of Virgin Records. Our publishing connection through Chrysalis, and particularly the support of Jeremy Lascelles, played a major role in opening that door.

We released two singles in the UK, scored airplay on BBC Radio 1 (which felt like winning the lottery at the time), and even played the Reading Rock Festival – the kind of gig you dream about when you are sitting on your amp in a rehearsal room wondering if anyone will ever care.

In October of 1995, we packed our bags (and a frankly alarming amount of hair product) and headed to Los Angeles to record our debut album with legendary producer and engineer Don Smith, known for his work with Tom Petty, Keith Richards, and Cracker. Patch unfortunately had to stay behind in the UK to make another Sundays record, so we called in a bit of a drummer dream team: Brian MacLeod, Chad Fischer, and Denny Fongheiser all played on the album, each bringing their own magic.

Once tracking was done, the album was mixed by Tom Lord-Alge, who basically ruled alternative rock radio at the time, turning guitars and heartbreak into airwave gold. The final polish came courtesy of mastering wizard Eddy M Schreyer.

The album was funded by Chrysalis, once again with incredible support from Jeremy Lascelles. After a whirlwind of label meetings (and more bad coffee than I care to remember), we signed with Radioactive Records, the legendary label run by Gary Kurfirst, who had guided the careers of Talking Heads, Blondie, and The Ramones, to name a few.

Star 69’s story might have been short, but it was packed with great songs, endless laughs, a few questionable fashion choices, and a ton of heart. Looking back, it feels like the perfect snapshot of a wild, brilliant time when everything seemed possible, and sometimes actually was.

5 days ago | [YT] | 319

Produce Like A Pro

Roy Thomas Baker (10 November 1946 – 12 April 2025)
The man who made rock sound like it was arriving from another planet.
Roy Thomas Baker, the English record producer, arranger and songwriter whose wildly imaginative studio techniques helped redefine rock music across five decades, has died in Lake Havasu City, Arizona, aged 78. Best known for his pioneering work with Queen, The Cars, Journey and countless others, Baker brought theatrical flair, sonic experimentation and technical mastery to the mixing desk, becoming one of the most influential figures in music production history.
Born in 1946 in London, Roy began his career remarkably early. At just 14 years old, he joined Decca Records and then moved on to Morgan Studios. Encouraged by producer Gus Dudgeon, he found his creative home at Trident Studios, where he assisted on sessions with titans like David Bowie, The Rolling Stones and Frank Zappa. It was at Trident where he met Queen, forging a collaboration that would change all their lives and ours.
Few songs capture Baker’s genius like Bohemian Rhapsody. With its layered operatic vocals, time signature shifts and audacious scope, the song not only became a global hit but also entered the Guinness World Records and won Queen a Grammy. Behind the desk, it was Roy who turned the impossible into reality, pushing analogue tape and multitrack recording to new heights. With Queen, he crafted five albums that remain iconic, culminating in 1978's Jazz, which pulsed with his unmistakable touch, bold, bright and gloriously unafraid.
For me, as a child, A Night at the Opera was an awakening. I was far too young to know better, really, but that Christmas morning I unwrapped a copy of the album, given to me by my father, a devoted classical and jazz enthusiast, who simply handed it over and said, “This is worthy.” And that was enough. I became utterly obsessed. I listened to side one every day, for hours on end, for two full weeks before I even considered turning it over. When I finally did, side two became just as consuming. It was the first time I’d heard production as part of the performance, the first time the studio itself felt like a character in the band. That was Roy.
Years later, I had the privilege of meeting him in person at my old studio, where he happened to be working while I was there with Jack Douglas. Jack introduced us and Roy didn’t disappoint. Dressed in a velvet jacket, sunglasses on indoors, every inch the legendary English producer, he was absolutely charming. He looked and carried himself exactly as you'd hope a rock and roll alchemist would. The aura, the wit, the charisma, it was all there. A moment I won’t forget.
The late 1970s and early 1980s saw Baker relocate to the United States and sign a production deal with CBS. He went on to produce platinum-selling albums for Journey, brought the Cars to superstardom with four classic records, and worked with artists as diverse as Ian Hunter, Dusty Springfield, Alice Cooper and Ozzy Osbourne. Whether in a Boston gym or a Hollywood studio, Roy had an uncanny knack for hearing greatness before the world caught on.
He was as much a champion of emerging talent as he was a trusted ally of rock legends. As Senior Vice-President of A&R at Elektra Records, he helped shepherd the careers of Metallica, Simply Red and 10,000 Maniacs among others. Yet he never strayed far from the studio, continuing to create adventurous records well into the 2000s, from The Darkness to The Smashing Pumpkins, and even returning to work with Yes in 2014, decades after an earlier, aborted collaboration in Paris.
Roy Thomas Baker was larger than life, not just in reputation but in sound. His productions were bold, technicolour affairs, full of drama, humour and joy. He believed the studio was not just a place to record but a place to invent, to perform, to dream. His influence is heard every time a guitar solo stretches into the cosmos, or when a harmony stack makes your hair stand on end.
In the long history of record producers, Baker occupies a rarefied place, not merely a facilitator of greatness but an essential architect of it.
He is survived by the music, dozens of albums that continue to inspire musicians, producers and fans alike. The fade-out may have finally come, but the echo of his creativity will never stop ringing.
Rest in power, Roy. You truly turned the knobs of destiny.

1 week ago | [YT] | 655

Produce Like A Pro

Happy Birthday, Al Schmitt.
Today I’m thinking about Al not just as one of the greatest engineers who ever lived, but as someone who inspired me on a deeply personal level.
Al Schmitt was a quiet giant. Kind, patient, and always gracious, he set the tone for what it meant to lead with humility in an industry that isn’t always known for it. He made everyone around him feel welcome, whether they were world-famous artists or just getting started. That warmth, that openness, it wasn’t an act. It was who he was.
To me, Al wasn’t just a technical wizard, although of course he was that too. His work with Sinatra, Ray Charles, Steely Dan, Natalie Cole, Quincy Jones, George Benson, those records didn’t just sound incredible, they felt incredible. He brought soul to the science. Emotion to the mix. He showed us how to listen not just with our ears, but with our hearts.
What really made him a role model for me was his spirit. He never stopped learning. He never stopped caring. Even after twenty Grammy wins, he still treated every project and every person with the same gentle enthusiasm. He taught us that greatness doesn’t need to shout. It simply shows up, does the work, and makes everyone around it better.
Al, thank you for being such a profound inspiration in my life and the lives of so many others. Your legacy isn’t just in the albums or the awards, it’s in the way you made us feel, the way you led by example, and the standard of excellence and kindness you left behind.
Happy Birthday. We still hear you in every note.
With love and gratitude

1 week ago | [YT] | 605

Produce Like A Pro

Clem Burke, legendary Blondie drummer and punk icon, dies at 70

Clement Burke, the iconic drummer whose explosive style powered Blondie from the band’s earliest days through every chapter of their remarkable career, passed away on April 7, 2025, following a battle with cancer. He was 70.
I had the privilege of recording with Clem during the Swing House days. Growing up a massive Blondie fan, those sessions meant the world to me. He was a hero before I ever stepped into a studio, and yet he was always lovely—warm, welcoming, and deeply human. That kind of grace, coming from someone who helped soundtrack my youth, is something I’ll never forget. 

It wasn’t just his playing that left a mark, it was the person behind the kit.

Born Clement Anthony Bozewski on November 24, 1954, in Bayonne, New Jersey, Burke first cut his teeth with local cover bands and in the Saint Andrew Bridgmen Drum and Bugle Corps. In early 1975, he joined Blondie just as the band was coming together. With Debbie Harry and Chris Stein, Burke helped shape a sound that was sleek, kinetic, and distinctly New York. From the start, he wasn’t just a drummer he was the engine, the pulse.
Burke’s drumming combined the technical discipline of studio legends like Hal Blaine and Earl Palmer with the anarchic energy of Keith Moon and the melodic instinct of Ringo Starr. His feel was unmistakable. Whether on the disco glide of Heart of Glass, the punk snap of One Way or Another, or the reggae lilt of The Tide Is High, Burke brought both style and substance.

Even during Blondie’s hiatuses, Burke stayed busy and always vital. He played with the Romantics, Pete Townshend, Bob Dylan, Eurythmics, Iggy Pop, Joan Jett, and many others. In 1987, he briefly stepped in with the Ramones as Elvis Ramone, drumming for two high-octane gigs that instantly entered punk folklore.
He remained a creative force in later years too, forming the International Swingers, the Empty Hearts, and the Split Squad. He was also at the heart of the Clem Burke Drumming Project, an academic study exploring the physical and psychological demands of drumming, which earned him an honorary doctorate from the University of Gloucestershire in 2011.

Burke was inducted into the Rock and Roll Hall of Fame with Blondie in 2006. Over the course of five decades, he became a beacon for countless drummers—not just for his chops, but for his taste, his range, and his relentless drive.

Clem Burke was more than a rhythm maker. He was a unifier, a creator, and a gentleman. He leaves behind a legacy written in records, memories, and the millions he inspired.

Rest easy, Clem. And thank you for the music, and the kindness.

3 weeks ago | [YT] | 776

Produce Like A Pro

🔥 Say Hello to PULSE 2 – The Ultimate FREE IR Loader Has Arrived! 🔥
After the massive success of the original PULSE, Lancaster Audio is back—bigger, better, and bolder—with PULSE 2, your new go-to impulse response loader. Whether you're sculpting tones in your bedroom or mixing for a stadium, PULSE 2 makes your creative process faster, smoother, and way more fun.
Built in collaboration with the brilliant minds at Aurora DSP, PULSE 2 isn’t just another IR loader—it’s a precision tool for unlocking jaw-dropping guitar tones. With its one-of-a-kind blending control, you can dial in the perfect mix of IRs, fine-tune your sound in seconds, and even export your custom blend as a new .wav IR. It’s your tone, your way—no compromises.
🎉 And guess what? PULSE 2 comes loaded with four FREE producer-selected IRs from our premium Lancaster Audio packs. That’s right—fire it up and start sounding incredible straight out of the gate.
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Stop digging through folders and start mixing with intention. PULSE 2 is free, intuitive, and ready to deliver pro results—right now.
👉 Download it. Launch it. Love it.
PULSE 2: Your tone. Your rules. lancasteraudio.com/shop/plugins/pulse-2/

3 weeks ago | [YT] | 38

Produce Like A Pro

Happy Birthday to the one and only Tony Franklin – The Fretless Monster! 🎂🎸

Wishing a phenomenal birthday to my dear friend Tony Franklin – a truly extraordinary musician and a generous mentor to so many. Tony, you’ve brought your unmistakable magic to countless tracks I’ve produced, and every time, you breathe them to life in a way only you can.

From your early days with Roy Harper to making rock history with The Firm, and on through a staggering discography with legends like David Gilmour, Kate Bush, John Sykes, and Kenny Wayne Shepherd – your fretless bass has become a voice all its own. Whether it’s hard rock, blues, prog, or pure groove, your sound is instantly recognisable and always soulful.

But beyond the stage and studio, you’re one of the kindest, most down-to-earth souls in the business – someone who lifts others up and leads by example. I’ve seen first-hand how your creativity, humility and sense of fun inspire everyone around you.

Here’s to more music, more inspiration, and more of your trademark fretless fire. Happy 62nd, Tony – the world sounds better with you in it.

#HappyBirthdayTonyFranklin #TheFretlessMonster #Legend #BassVirtuoso #StudioMagic #TonyFranklin

3 weeks ago | [YT] | 33

Produce Like A Pro

James Newton Howard, Marco Beltrami & More – Support Wildfire Relief
In January 2025, catastrophic wildfires destroyed over 15,000 homes, leaving many in the music and film industries without shelter or instruments.
To help, Evgeny Tonkha and K17, with support from BMI, The Village Recorder, The Bakery Mastering, and Hollywood Scoring, organised a Fire Relief Benefit Concert at The Village, featuring music by James Newton Howard, Marco Beltrami, Harry Gregson-Williams, Anna Drubich, Stephany Economou, Peter Golub, and Aaron Zigman—performed by Los Angeles’ finest musicians.

Download & Mix Exclusive Multitracks
Get the live multitracks of Anna Drubich’s Master and Margarita Love Suite (feat. Luanne Homzy, violin). A rare chance to mix world-class performances and support those in need.

Donate to Help Musicians Rebuild
100% of donations provide housing, food, and new instruments for those affected.

1 month ago | [YT] | 65

Produce Like A Pro

Happy Birthday to the incomparable George Benson, born 22 March 1943.

Few musicians have ever blended virtuosity, soul, and pure joy the way George has. A former child prodigy who began playing guitar professionally at 19, George went on to reshape the sound of modern jazz, R&B, and pop, all while making it look easy.

For me, Weekend in L.A. was the turning point. That live album, recorded and mixed by my dear friend Al Schmitt, played a huge role in my development as a guitarist. The clarity, the warmth, the feel of that recording is still unmatched. But what truly changed my life was hearing George scat sing along with his solos. His phrasing, his timing, that seamless connection between voice and guitar, it wasn’t just technique, it was language. And it spoke to me deeply.

From the soulful depth of This Masquerade to the pop brilliance of Give Me the Night, George has given us a soundtrack for both love and life. Ten Grammy Awards, platinum albums, and decades of unforgettable performances and still, he remains one of the most expressive voices on the instrument.

Thank you, George, for the music and the inspiration. Wishing you health, happiness, and a beautiful birthday surrounded by love.

Happy 82nd, maestro.

1 month ago | [YT] | 778

Produce Like A Pro

67 Years of Sunset Sound’s Legacy and the Unforgettable Craig Hubler

I grew up in a small village in the UK, where the rain never seemed to stop. Back then, the world beyond felt distant, almost mythical, and nothing captured that feeling more than the back covers of albums. I would sit for hours, pouring over liner notes, absorbing every detail. The Doors' records were a particular obsession. I would see the words "Recorded at Sunset Sound Recorders, Hollywood, California," and my imagination would take flight. What was this place? It conjured images of sun-drenched boulevards, palm trees swaying in the breeze, and a studio bathed in golden light, far removed from the grey skies outside my window.

Years later, I found myself in Los Angeles, not just visiting, but becoming part of its musical fabric. Sunset Sound was no longer a distant dream but a reality, a place I would come to know intimately. The studio had been created in 1958 by Walt Disney’s Director of Recording, Tutti Camarata, converting an old automotive repair garage into something extraordinary. Even in the 1960s, Sunset Sound had been pioneering—its sloped floors, originally designed to have oil drain, eliminated standing waves and unwanted sonic reflections, gave the rooms a unique clarity. That same clarity is embedded in some of the most legendary recordings ever made.

Walking through those doors for the first time, I could feel the history in the walls. This was where The Doors recorded their first two albums, capturing the raw energy of Jim Morrison’s voice, the haunting organ lines, and the hypnotic rhythms that defined a generation. It was here that some of Pet Sounds was crafted, where Led Zeppelin, Elton John, and Prince left their indelible marks. To stand in those rooms, knowing that Exile on Main St. had echoed through these walls, that Janis Joplin’s voice had once soared in this very space, was nothing short of awe-inspiring.

Sunset Sound became a second home, a place where music felt alive, where the past and present intertwined. Whether tracking or mixing, the spirit of those who had come before seemed to linger. The ghosts of countless sessions, of breakthroughs and frustrations, of magic captured on tape, were always present. It wasn’t just nostalgia—it was tangible, something that seeped into every recording done there.

By the time I was working in studios, Sunset Sound had already expanded its legacy. In 1981, Camarata acquired The Sound Factory, another legendary Los Angeles recording space. Between these two locations, Sunset Sound remained at the heart of the city’s recording culture. Even decades after its inception, artists continued to be drawn to it, from Guns N’ Roses to Disney’s Frozen soundtrack. The technology evolved, but the essence of Sunset Sound remained unchanged—an alchemy of acoustics, history, and a touch of California magic.

To think of that kid in the UK, staring at those album credits, it still amazes me that I not only walked through those doors but left my own imprint in the very rooms where my heroes once stood. That mythical studio in far-off Los Angeles became my reality, and the music created there continues to resonate, just as it did when I first dreamed of it from a rainy village so many years ago.

Craig Hubler, the longtime studio manager, was an integral part of Sunset Sound. He welcomed everyone who walked through the doors, understanding how to treat clients, nurture relationships, and uphold the studio’s legacy. He never made it about himself—in a world where everyone is trying to gain some kind of advantage for themselves, Craig knew the studio’s legacy and place in musical history, always putting the studio ahead of his own needs—making him the consummate studio manager. Craig cherished Sunset Sound, and his dedication to its history and continued excellence was unmatched. He passed away a few years ago, and he is sorely missed. There is a link here to a studio tour I did with him a few years ago. Craig was a legend who truly cared about Sunset Sound, ensuring it remained a place of magic for generations of musicians.
https://www.youtube.com/watch?v=fU3nz...

1 month ago | [YT] | 71

Produce Like A Pro

Happy Birthday, Dave Pensado!

Thank you for being a true revolutionary in the world of mixing, paving the way for all of us. Your work has not only shaped the sound of countless records but has also inspired and educated generations of engineers and producers. Your dedication, generosity, and artistry have made an indelible mark on music, and we’re all better for it.

Wishing you a fantastic day filled with all the love and appreciation you deserve!

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1 month ago | [YT] | 961