Wizard of the Mixing Console!
The Tony Platt Interview.
Introduction of little importance and slight comedic value.
Substack is populated by people like me, who are nothing if not fans of something. And even though they don’t have any sort of journalistic training, they like to write about things that are close to their heart. I’m no
for sure.There sure are many people here who were or still are magazine publishers, even accomplished YouTubers like
or .Teenage heartthrobs like
and .Stellar musicians like
, , or are also present and accounted for.Even guys who have (willingly or unwillingly) well-known names like Rick Beato, Stephen King, or Ryan Reynolds. This last one even reached out to me via chat, asking if I was a fan and if I had a WhatsApp or Telegram contact I could give him. That was an eerie and uncomfortable situation, I tell you.
The world-famous actor/comedian who plays the avatar in the Jumanji remakes is on Substack.
.Comedians like
and .Even the guy who played Manuel on Fawlty Towers, written and starring John Cleese, is here.
.The real introduction
We are reasonably acquainted with the faces of our musical heroes, the musicians we idolize. That's not exactly the case with the technicians behind the boards. More often than not, even though we recognize their name, these faceless producers, engineers, and mixers are instrumental in bringing to life the creative vision of the artists/bands.
More often than not, giving them a recognizable sound, kind of a trademark, that you can identify as soon as you start listening to a certain album.
When I was growing up, I had the habit of reading through the CD booklets / or LP inlays religiously.
Names that appeared frequently, like Mike Fraser, Mike Clint, Tom Allom, Chris Tsangarides, Bob Rock, Colin Richardson, Scott Burns, Neil Kernon, George Marino, Bruce Fairbairn, Dave Jerden, Peter Collins, to name a few.
One of the names that popped up frequently in my records was a gentleman by the name of
.I was stoked when I found out he was on Substack and immediately visited his publication.
.I had followed the work he had done with AC/DC, Foreigner, even Celtic Frost, even though he kind of regrets doin’ that gig. I honestly believe he has no reason to regret the work he did, quite the contrary.
But we’ll get to that shortly….
I was surprised when he replied and agreed to let me ask him a few questions. I got a little carried away and had to be put in my place.
He didn’t ask me for my WhatsApp or Telegram contact, so I’m safe on that front.
But, enough talk.
The following is just a small insight into the mind of a brilliant producer/engineer, who was gracious enough to tolerate my questions.
He gives some insights into his work ethic and his very positive attitude towards the technological advances that have been implemented throughout the years. Even a snippet of something he is going to write about in the future.
Here it goes, and I hope you like it.
Hello Tony,
How's one of my favorite Engineer / Producer doing?
Hope everything is 🆗.
😁
As I've told you before,
I would love to pick your brain about your career.
Nothing too intrusive because you have your own publication to think of...
If you agree I can send the questions via email (I need you email adress) or via this chat its also fine by me.
And I Promise to keep the Celtic Frost questions to a minimum.
Hope to hear from you soon.
Be well
Hi Nuno, I'm happy to do that either way but probably this chat would be easiest/
Awesome Tony,
Lets star with an easy one!
With all this new technology (Autotune, Pro-Tools, etc.) do you feel that the traditional role of a producer / engineer is losing its relevance?
I'm not sure there is such a thing as a "traditional role" The role has changed significantly in the time I have been in the business and as a result I have needed to re-invent myself in order to keep relevant. The new technology is just more of that re-invention. Generally the people who are so concerned about change are actually the problem because they are so narrow minded and unimaginative. I do feel though that there is often too much reliance on technology and rather than the application of creative skills. Something that actually hasn't changed is the need for innovation and the ideas that go with it.
If anything the use of tools should be applied with as much restrain and creteria as possible.
And reinvention is the key to success nowadays.
Because many times with all the cut / paste that is done in the studio, the music tends to sound bland and totally unispired.
Wouldn't you agree?
Leaving room for mistakes!
Precisely!
Would you rather work at Abbey Studios Studios, make a million dollars for each track you produced, but have no creative control. Your just a hired gun.
Or
Work at Crap Sound Studios in No mans land, being payed in sandwishes and Soda bottles, but have full creative control Over the proceedings?
To be honest - neither! Both suggest an element of bad organisation!
My practce is to plan a project taking into consideration the artist's wishes and aspirations and find a way to do that within the available budget. Sometimes that ends up in a crap studio and sometimes a great one. Sometimes all the artist wants from you is to be a hired gun and that can be cool too. I have been hired for my drum sound or my guitar sound or just for recording or just for mixing. I never work for free though because it suggests the wrong attitude!
You mentioned your trademark sound and rightly so.
Without mentioning names (unless you want to), have you ever had any artist / band ask you to sound like AC/DC for example?
Plenty! My usual response (widely known) is that we will need a Gibson SG, A Marshal Amplifier and ........ Angus!
So of course that kinda goes for Brian as well. Mostly the requests for the AC/DC sound came from A&R people or Managers.
There is only one AC/DC and they will always do it better than anyone else. Same for the Stones or Led Zep or The Band, or Little Feat. Surely originality should be the goal?
The musician makes the music, not the other way around.
Speaking of legendary artists / bands, you've worked with Bob Marley, Cheap Trick, AC/DC and Foreigner just no name a few.
Is there anyone you would like to have worked with, and for one reason or another never got the chance?
Little Feat, The Band - loads!!!
Dr John, John Hiatt, Carol King, Wolf Alice, Tina Turner, Aretha Franklin - not enough years in a lifetime!
BUT - I love working with emerging artists - especially enthusiastic ones - so much to discover.
So many classic acts for sure!
You've mentioned Clare Teal, and you've also worked with The Blad Plus, both jazz artists.
Is it easier to work with rock / pop artist or Jazz musicians?
Also returning to the more technical stuff, do you favour recording each musician individualy or capturing the band all at once, like on a live setting?
Every style of music has its great moments and not so great moments. Easier doesn't really come into it - all artists need proper attention. As far as your technical question is concerned - the answer is actually similar. The approach to a recording is different for each project and although sometimes is influenced by genre is more influenced by the kind of recording the artist is looking to make. Remember I am there as a guide and therefore my particular wishes take second place!
Regarding your wishes, do you find more professionaly satisfactory the production of the engineering aspect of your work?
It's all part of the same job.
Excellent
Getting back to the new up and coming artists you enjoy working with, is there anyone you would like to highlight?
Hello Tony,
If this question is crap I can allways do another 😅😅 about Celtic Frost 😁😁
Or did you just forget?
Cheers
Thing is I don't really find myself working with up and coming artists any more. I work with occasional jazz artists and collaborate with a songwriter in Northern Ireland.
Scratch that!
Moving on.....
How do you feel about the remastering / remixing of Records?
To the best of my knowledge Foreigner and AC/DC have had albums reworked.
Do you feel it meddles with your original work?
Re-mastering is always a problem for me. An album surely captures moments in time and messing with that just seems pointless. When albums made for vinyl get re-mastered using the wrong source bothers me too but also cutting vinyl rom a CD master annoys me. There is a creative element to the technical processes that needs to be understood and allowed for. Too many of the people in record companys don't understand these nuances.
Now re-maixing is another topic really. Like cover versions. Don't fuck with it if you cant bring something new and exciting to the project.!
Would you, or have you ever Remixed or remaster anything?
I have been quality control for some heavy gauge vinyl releases for both Sony and Universal. I have done some remixes over the years but more as a test excecise than serious release.
Going back to the remixing / remastering aspect, do you have any album, you feel you could have done better? In other words, any work you would like to revisit, reapraise?
Another crap question.
I'm on a roll 🤣🤣🤣🤣
Not necessarily - just not easy to make an immediate response! On the one hand there will always be something that bugs me about an album but on the other hand nothing is perfect.
That is the ideal answer really.
As much as we like to do things perfectly, we allways have to factor in the human side of things.
I guess that if you don't wan't mistakes / imperfections, you can ask AI to do things for you.🤣
Can I ask you something abou t an album that realy bugs you?
Spoiler Alert: Cold Lake
Go on then!
How did the opportunity to work with Celtic Frost came about?
And were you at all familiar with their sound?
I thought I had answered that - maybe for omeone else. It was an approach to me maager from their label. The specific brief was to try to bring more commerciality to the sound. So I wasn't familia with the sound (or the band) but obviously I did my research before starting the album. I should say that I did require a bit of persuading!
That makes sense!
Using your skills to try and streamline their sound.
In my opinion you succeeded in creating a bridge between the more Extreme early sound of the band and a more comercial appealling approach.
The band has famously disavowed the record. Even keeping it out of their reissue campaign.
Only releasing a couple of re-recorded versions on a subsequent compilation.
Looking back, how do you feel about that particular album?
It was probably a mistake to accept the project to be honest. I think I did a good job in the circumstances.
I think the album is an extremely underrated glam metal gem.
Songs like Cherry Orchards, Seduce me Tonight and Petty Obcession are eerie and comercial in equal measures.
Reluctantly but surely you were an instrumental part of that process, for sure.
Moving on...
From the way you speak about him I gather you have a lot of respect and admiration for Angus Young and his plug and play nature.
You've also worked with two fabulous and incredibly underrated guitar players, Paulo Kossoff (Free) and OIlie Hansall (Patto).
Nowadays Hansall is revered by guitar aficionados, as for Kossoff alegedly even Eric Clapton asked him about is distortion.
Do you recall any episodes / stories from the sessions you did with these musicians?
This will probably be a topic for a future Substack posting!
I'm intruding, something I promised I wouldn't 😁
Can you give something, a detail, a curio, something that made you realize you were in the presence of greatness?
I solemnly swear I'll restack you posts everytime😀
I worked on an album with Ollie Halsall called "Don't Fret - Rusty Strings Is Here" - I don't think it ever got released. One day Ollie was very late for the session and finally arrived still in his pyjamas. He had his guitar with him but apparently he had dismantled the pick up assembly the previous evening and it wasn't actually screwed into the guitar. In any case he managed to do several overdubs holding the pick up with two fingers and playing with the rest. True genius!
Oustanding Tony.
Thank you very much for this tidbit.
Now you've piqued my curiosity.
Are there any other unrelesed sessions that you worked on?
An album by an Irish group call Light A Big Fire. Probably one of the best albums I have made but the band fired the singer and the label dropped the band!
I think we may be getting close to the limit of this "interview" ?
Yes Tony, and sorry for getting carried away with the questions.
Thank you VERY much for your time. For sharing a little bit of your knowledge and experience with me. It'll be something I Will Treasure for ever!
Cheers and be well.