![]() So it was kind of like, well, I can’t undo that. She just found it all too loud and full-on, but that was the album she had made. I mean, you could almost say that with the album I mentioned earlier. Stuart: Suppose to a degree, yeah, that does happen. Have you ever had that you mastered an album or a track, and then the artists came in, and the personality and the music clashed? You need to be involved with the people that are calling the technical shots. You might have more of an understanding of the project, but it’s not essential from a mastering point of view. I mean, it’s great to know the artists because the relationship with the music gets a bit deeper and you get closer to the project. If that’s the artist, then it’s important to have that relationship or that communication with that one person. ![]() So the most important thing from a mastering point of view is to have a working relationship and good communication with the person that’s calling the shots on how the project sounds. ![]() She didn’t mix it, she didn’t produce it. Recently, I did an album with one female pop star. Stuart: Does it matter? It can help my job, it depends if they’re calling the shots. The relationship with the artists varies from job to job.ĭo you think it helps to know the artist personally, or it doesn’t matter to you? A lot of the time, I’d say most of the time, you’re not dealing with artists you’re dealing with the mix engineer, or the producer or the label, the management, or combinations of. Some of them don’t get technically involved. This was the first time I worked with him. Whereas, with other artists, you’ll get far more… With Kojey Radical, when we mastered the album he came in. All of the communication with that particular act goes through the label’s A&R. But I’ve done three, four albums, a couple of EPS, loads of her singles. I’ve never spoken to Charli XCX, for example. Because quite often, you’re dealing with the artist’s music, and you never speak to them. Stuart: Every artist has different needs. How do you approach your relationship with the artist? It’s great to have worked on it because it stands out.Īs a mastering engineer, you work with an enormous array of different people. I think that was just such a brilliant album. Is there a nominee this year that stood up for you? Like Stormzy, J Hus, Headie One, and most recently Clavish, More recently, I’ve done more grime, stroke, and hip-hop stuff. Stuart: In the Brits, it’s such a variation. *laughs*ĭo you track which category you’ve been nominated most in? Well, I’ve been doing this for a long time. Six different categories and so many years in a row that you’ve been nominated. Recently we sat down with Stuart Hawkes to talk all things tech, work ethics, cryptic client briefs, and celebrate his nominees in 6 different categories at this year’s Brit Awards.
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