The Master of the Yups

The thing that I use all the time is the up 2,600 you know it is amazing in terms of I take it to a lot of sessions. You can get an incredible base and lead sounds out of it but it goes back to crazy pretty quickly. It's got a brilliant spring in it it's got a pre-amp so often you can just you know run something into it drums or whatever it distorts really well. James says he'll be like a huge lobster costume with like lots of arms for his next banding performance.

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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.