How to Mix a Turkish Psyche Element

I've been imagining about seven or eight James Ford kind of all jamming together yeah again I did car. In my head I was like trying to approximate something you know something that just felt a little loose and jammy. The mixes are done in a kind of a hybrid version it's like some kind of newer techniques or some more old school sort of techniques parallel stuff on the desk right so the mix weren't sound exactly like you know probably is doing it that way because you can never quite get back to it which is also good sometimes.

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In this episode, John ventures over to Clapton to join James Ellis Ford and talk about how he wrote, recorded, and produced the album ‘The Hum’.

His debut solo release after almost two decades working with some of the world's biggest artists, James looks back on how his approach to music has changed over the course of the album, reflecting on the different mindsets and decisions that come with producing his own work compared to that of others.

As well as a deep dive into his vast studio setup and hybrid system of new and old creative techniques, we’re treated to thoughts on the fine line of ironing out the humanness of mistakes, and how more often than not, pieces of gear can give you back ideas that you’d never have expected.

Listen to find out which undiscovered mics are used across almost all of the records he works on, how to implement a Frippertronics-style tape setup, and what you can create when you push a bass clarinet to its limits.

Tracks discussed: I Never Wanted Anything, Squeaky Wheel, The Yips

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Listen to ‘The Hum’ here.