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SAE Magazine 13-3

62 PEOPLE & BUSINESS // CHRIS ECKMAN For the last question I’d like to ask you a classic interview question. Do you have any words of wisdom for anyone try- ing to make it in the world of music production? Words of wisdom are always hard to come by. One thing I would like to say, that may seem obvious to some people but I think always needs to be under- scored, is that the best of what we do does not al- ways come out of our desire to make money. We obviously need to make a living and that is why we are enrolled and teach in recording programmes and that is what forces us to look for work with dif- ferent artists. However I do find that very little great work is done when only money is being thought about. There has to be other motivations, there has to be an interest of the project itself. There has to be the passion that the project produces in you, and my guess would be that your best work is not going to be done strictly for hire. I truly believe the more interesting the work you do is the more solid your career will be. Build an in- teresting, passionate discography and my guess is you will find work. To some extent, quality is always trendy. A great example of this is my friend Phill Brown, the English engineer who put together Talk Talk’s Spirit of Eden album. That record by Talk Talk’s standards was a com- mercial failure. Ten years later he recorded Dido’s debut which went on to sell like 10 million records. Phill has pointed out that h call based on the Dido re phone has been ringing cause of the Talk Talk reco Spirit of Eden is something and Dido’s record is just a Real artists tend to be lo can really help them mov some amazing way. You cial discography to attract Tell us more about your A Over the past few years I h some as a producer (Ta Traore) and some as an a ko, the capital city of Mali West Africa. However I do fin great work is do money is being There has to be o there has to be a project itself. The passion that the p in you, and my g that your best wor be done stric

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