Interviews

Bob Clearmountain: The King of Mixers?

BY Alexander Lawson PHOTOGRAPHS BY Isaac Ferry

Early in 2010 I got to work with Bob Clearmountain while he mixed the recent Bryan Ferry album, Olympia, with producer Rhett Davies at (my long-time mentor) Hugh Padgham's Sofa Sound studio in West London. One of the world's most successful mix engineers, Bob invented the concept of the specialist hit mix engineer — having mixed anyone who's anyone from the '70s to the present day, there would be plenty to talk about! Unfortunately, by the time we all had a good handle on the session itself, there wasn't time to put together the landmark interview that I was hoping for. Consider this more like studio gossip with Bob. These were topics that came up in conversation that we're printing with his permission. Bob is one of the nicest people I have ever had the pleasure to work with, and I hope that we will be able to give him more thorough coverage in the near future.

DAY ONE

You started at The Power Station?

No, I started at a place called Media Sound Studios in New York (which closed years ago) from '72 through '77. I went to Power Station when it first opened and I helped put it together.

Was that a nurturing place where you were encouraged to move on?

Well, it was more the other way around, where I was encouraging the other guys. [laughs] It was more like a team. Because I helped build the studio, I was kind of chief engineer, if there is such a thing. We really didn't have a title, but I was the main guy there when it started — production-wise maybe, because the owner Tony Bongiovi got me into producing — I co-produced three or four punk bands with him. Except it turned out that I finally decided that I didn't like producing, so years later I gave that up. Mixing became my main thing. My manager just felt the same way — I never really thought in those terms, but he was being a manager and was like, "Look, you can do better financially by just mixing than you can producing." Producing — you've got to get pretty lucky to do well.

The Dead Boys' Young Loud and Snotty — what happened around that album? Did you really play bass on that?

Yeah. [The producer was] this friend of mine, Genya Ravan — one of my best friends' girlfriend at the time. They came from Cleveland, they didn't have a bass player and she knew that I played bass, because her boyfriend Harvey [Goldberg] and I had one of those studio workshop bands — going in on the weekends and cutting stuff and me playing guitar. She goes, "You play bass?" and I said, "Yeah, sure." So I played bass on it and then I mixed it. When we finished mixing we went back and listened to the mixes, and the best mix on the album was the one she wanted to remix. I mean, it was perfect and I really learned from that experience. I went, "Are you fuckin' crazy?" and she fired me and remixed it with her boyfriend Harvey. They released my mixes eventually.

In '89 or something? [as Younger, Louder and Snottier]

Yeah, I don't know which are better though... I never compared. Harvey is a great mixer, so his mixes are good too.

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