Paul Hardcastle: King Of The Castle

Paul White catches up with the man who pioneered the art of radical remixes in the '80s, and has gone on to become a hugely successful producer and songwriter.

Paul Hardcastle is well known in the British music industry, but he doesn't seem to have the superstar status that his impressive history of top‑selling records, on both sides of the Atlantic, might suggest. In part, this is because Paul has tended to release both his own projects and remixes under other names. From the mid‑'80s, Paul produced or remixed tracks by Barry White, D‑Train, Hiroshima, Ian Dury, and Phil Lynott, as well as recording the unforgettable single '19' back in 1985 — in all, he's sold over 10 million records!

Paul's '80s Top Of The Pops theme tune was an instantly recognisable classic, and more recently he's written music for film and TV, including the Spice Girls' movie Spiceworld.

Probably the main reason for Paul's low profile is that he likes a normal life — he's deliberately kept his bigger projects in the USA so that when he's had enough he can come home and relax. Having said that, I don't know exactly when he finds time to relax, as he almost always has an album in the charts somewhere around the world, and he's either working on the next one or putting together music for TV shows. Paul kindly invited me to come along to his studio to see what he was up to.

You still seem to have a much higher profile in the US than in the UK. Do you put that down to the more eclectic approach of their radio stations?

"Definitely, but also I think my smooth jazz‑type music has more of an American feel. I had five top 10 hits here in the UK, then I started doing a lot of remixing — but when it got to the point where my name was as big as that of the original artist on the sleeve, I thought it was getting a little bit silly. It was also taking up all my time, so I thought I'd try producing material for America, be the pop star or whatever you want to call it there, then come back home to England to have a normal life with my family. I don't think people realise what happens when you become famous. Your life changes totally, and if you're not careful it can be for the worse — it's not something that can just be switched off when you want to."

You made quite a name for yourself in the '80s as a remixer. How did you get into doing that?

"The funny thing was that the first remix I had was for Third World, and it had already been worked on by a few people who'd added percussion plus a few other bits and pieces, but I decided to start again by throwing away everything apart from the vocal and the hi‑hat. I played everything back in manually using a Linndrum — because there was no way of sync'ing it back up — then added new bass, new chords, everything. When I took the finished piece back to Island Records, I thought they were either going to love it or kick me to death. They went berserk and said it was just what they wanted, so I guess you could say that I started the trend for doing extremely radical remixes. I did also made records under different names — DTI, LFO, The Acid Boys track 'We Don't Exist' — and they sold bucketloads."

That seems totally at odds with your obvious interest in jazz, so you obviously have a wide range of musical influences.

"I think that's right. In fact, my favourite band is still Pink Floyd, and one of my happiest moments was actually being recognised by David Gilmour in the south of France — I was like a little schoolboy. The remixing was fun, but I eventually wanted to get back to doing the music I wanted to do, so I set up a band called the Jazzmasters. It created quite a stir in America and has sold two million albums — more than the 19 album, in fact."

From Synclavier To Logic

The control room in Paul Hardcastle's lavish home studio, showing (in rack, top to bottom) Kurzweil K2500R, Korg O1R/W, Yamaha TX802, Emu Morpheus, Roland JV2080, Korg M1R, Studio Electronics MIDIMini, Roland JV1080 and R8M, Studio Electronics SE1, Korg Wavestation SR, Emu Vintage Keys, Technics WSA1R, Korg DVP1 digital voice processor, Roland JP8080, Roland MKS70, and Emu E64 sampler. In front of the DDA desk is the remote for the Synclavier, while the Roland V‑Drum module sits on top of the desk. JBL and Tannoy monitors complete the picture.

You've worked with cutting‑edge studio technology right through the career, and you're particularly known for your long‑standing love affair with the Synclavier. Tell us about the main items in your studio.

"Well, it's based around a big DDA analogue console linked to Tannoy and JBL monitors, but yes, there's no multitrack because recording is handled by the Synclavier. When it first appeared, it was absolutely unique, and because I tend to work mainly on my own, it was the best choice in that it combined MIDI sequencing, multitrack hard disk recording and sampling facilities. My current system has eight MIDI ports, 16 separate outputs for hard disk audio and a further 24 separate outputs for samples. The system has recently been upgraded so that all control is via an Apple Mac (which lives in the machine room alongside the noisy Synclavier drive racks). The Synclavier is much faster now it's run from the Mac — when I first got it, it had something like 4Mb of sample memory and a 20Mb hard drive! Now it's so much more powerful. The user interface is still very text‑based, but it's fast and logical.

"I like the fact that using the Synclavier is like using a tape recorder, with buttons for everything. Even the MIDI sequencer has dedicated buttons for all the main functions. Of course I know that a modern MIDI + Audio sequencer can achieve the same results at a much lower cost these days, which is why I'm planning to put in a Logic Audio/Mac system, but I still hope someone comes up with a friendly hardware user interface for it. I know that the sequencer in Logic is much better than the one in the Synclavier, but I can work so quickly with this machine — I composed the TOTP theme within a day. I've been trying Logic Audio 4 at a friend's house and it seems to have a really tight feel, whereas some sequencers seem a little loose on the timing front. Even the native effects sound absolutely brilliant. I also like the Screen setups so you can customise your interface and choose your own key commands. I'm already used to working with Macs because I have one running a little video editing suite in the house."

Other than the familiar user interface, do you feel that the Synclavier still offers anything that a sequencer and a rack of samplers can't give you?

"Well, I think the A‑D converters in the Synclavier sound extremely good, and having 24 separate outputs for sample playback is important. But mainly it's because I'm so familiar with it. On the other hand, I think that by getting Logic, I'll be setting myself a new challenge which may lead to new sounds or new ways of working that will inspire me. It's the same as when you buy a new sound module and one of the sounds gives you an idea to use on a record."

People And Equipment

When it comes to composing and recording, do you try to do as much as possible on your own or do you like working with session players?

"It depends on what the track needs. If it needs somebody else, I'll get them in. I can do most of what's needed myself, although it is nice to work with other musicians sometimes — I'm happy for them to try out their own ideas to see what they can contribute to the track. I'm not one of these dictatorial types who expects the players to follow my ideas exactly, and very often the track turns out better anyway."

It always seems to be a problem for people working mainly alone that they don't have a chance to bounce their ideas off other players. Do you find this a problem or do you have a constant source of fresh ideas?

"I find that using different equipment gives me new ideas, which is why I get different guitars, effects and so on. It's only in the keyboard area that I find inspiration lacking — it all sounds the same to me. For example, I went to check out the Korg Triton, but to me it sounds like a cross between the Z1 and the Trinity.

"I already have a number of synth modules, many of which I use mainly for specific sounds. The Kurzweil K2500R has got great sounds and is a good all‑round workhorse, while the Korg 01R gets used for more ethereal parts. I've also got a Wavestation SR that has a few interesting textural sounds in it, and to be honest, I've actually named tracks after its patch names! My Emu Morpheus is usually left set to its Vibes patch.

"I love the old TX802 FM module because it can create all those classic FM sounds, and of course, I have a JV2080 which has its own character and is expandable. I have the World card in there for the ethnic instruments, but I buy expander cards and then forget what I've got — it's terrible really! There's also the Roland Super JV, which is great for vocal Oohs and Aahs, and below that is an R8 that I don't think I've used for years.

"The M1R gets used for its Bottle Bell patch, but I have to say that I'm a bit disappointed by Studio Electronics' MIDIMini analogue synth, as the tuning drifts quite badly. However, I also have their SE1 analogue synth which is great for bass. Surprisingly, the little Peavey Spectrum Bass also has some great bass sounds that I use — patches three and four. My Vintage Keys is only used occasionally, mainly for the Wurlitzer piano, while the Korg X3 is left set to patch 10, a kind of Rhodes sound. The JV1080 also has a lovely electric piano sound on it, but I'm a bit disappointed with the Technics WSA1R as it doesn't have many really usable sounds. I've just bough a Yamaha CS2X for a bit of fun, for sequencing and so on, and the Trinity I still like.

"It may be old, but the Roland SH101 still sounds great for bass, and next to it is a Roland JP8000 which I think is brilliant, not least because it has direct control using knobs and sliders. I since bought the rackmount version which is a bit of a pain because you have to set it up every time before you can use it. When I'm doing a track and I'm really into it, I just want the sound to be there — I don't want to have to mess around, so I've left that alone for a while.

I'm planning to put in a Logic Audio/Mac system, but I still hope somebody comes up with a friendly hardware user interface for it.

"Under the table is an Alesis QSR, and though it's really just another sample‑based synth, it has a few sounds that seem different to the others, so I rather like it. A Kurzweil Micro Piano is left permanently set to preset 32, which is a nice pad, and for conventional piano sounds, I actually use the little Alesis Micro Piano. There's a Roland GI‑10 guitar‑to‑MIDI box under here somewhere as well, which I have used to control MIDI instruments from guitar. You have to play incredibly carefully, but it does work. You can some interesting results if you pick the right sounds, but if you don't play really carefully, you get loads of rogue notes."

Paul at the controls of his beloved Synclavier, with Korg Z1 and Peavey PC1600 MIDI fader box above.

I guess that with the sampling capacity in your Synclavier, you don't need to rely on conventional synths as heavily as most people, but although you seem to have a huge library of drum sounds in there, you also have a Roland V‑Drum module sitting bang in the middle of your mixing console. Have you found this to be useful?

"It's actually really good, but I don't have pads to go with it yet — I ordered them but the shop never rang back! It is a great little machine and very easy to use."

Having all these modules, do you have enough inputs on your main DDA desk to accommodate them all, or do you use submixers?

"I submix all the modules via Yamaha MM1242 line mixers mounted in a separate cabinet at the side of the studio. If I didn't submix, I'd run out of inputs. There's also another mixer you can't see tucked away underneath the main console that handles a few more modules. I don't dedicate separate effects to the keyboard mixers because, as a rule, I use the modules' own onboard effects. This can be a problem when you work multitimbrally, but because I always use each module for only one part, I can have the effects set up the way I want."

Effects

So do you use any stand‑alone outboard effects units?

"Yes, most of one rack is occupied by studio effects. I have an SPL Vitalizer which I used to use for processing complete mixes, but now all my album material is mastered in Hollywood, so I don't use it for that any more, though I might still use it on an individual sound or submix, or for a smaller project I'm finishing here. I think if you're going to have your work professionally mastered, then the less processing you do to the final mix the better. They have the right equipment as well as great monitoring and a lot of experience, so anything you do to the master could actually prevent them from doing the best possible job. I also have an Aphex Aural Exciter, which isn't used as much as it used to be, for the same reason.

"Some of these boxes have been here for years, such as the Roland SDE300 delay, which still works extremely well; I also love my Sony reverb. There's an old Roland DEP5 effects box which has the benefit of real knobs on the front panel, and an RE800 which was really cheap, but can do a few nice things. Another cheap box that is quite fun is the Lexicon Vortex, which produces some nice modulation and echo effects — then there's an old REV7, which is still good on drums now and again. And if you think that's old, there's an original Yamaha SPX90 [one of the first ever multi‑effects units], which I keep just for certain things that it does well.

"Slightly more up to date is the Roland SRV330; it's a lovely‑sounding reverb that also has some kind of stereo width expansion based on their RSS system. A BSS box takes care of compression and de‑essing while a Drawmer DS201 looks after gating — that's really good for gating hi‑hats and that kind of thing. I bought a Digitech SmartShift ages ago, and at the time I thought it was the best thing since sliced bread, though it's now defunct.

"The Lexicon PCM70 has always sounded fantastic, but I also picked up one of the little MPX100s. I went into the shop, liked what I heard and thought I had to have one. And this thing, the TC Electronic G Force, is brilliant. It's a guitar effects unit — it doesn't have a great preamp or overdrive section, but I can use my Boogie V Twin pedals for that — but the effects are so good, it's probably the best unit I've got. You can even write your own scrolling advertising slogans across the display, though this one still has the message the shop programmed into it."

How did you choose your monitors?

"I tend to monitor very loudly — I can't get into music unless it is very loud. I've got used to monitoring this way and it works for me. Part of the reason for buying these monitors is that they didn't blow up like my NS10s. I rely mainly on the JBLs because I've got used to their sound, and when I monitor loud with the Tannoys, they start to hurt my ears."

Joining The Club

What kind of work are you doing at the moment?

"The latest thing was doing music for the S Club 7 show, a project I did on my own. They'd just ask for music for a particular part of the show and I'd produce it. On the first programme, they needed a heavy rock track, so I just came in here, programmed a solid back beat and then got the guitar out, turned it onto extreme distortion and it worked. Being able to do what I want, that's great fun. Most projects start out with me at the Synclavier keyboard, putting together a backing, then I'll add parts over the top. The guy in the programme was supposed to be some kind of thrash metal lunatic, so I gave them something that went with what he looked like."

When you come to mix, do you treat the Synclavier like a tape machine or do you rely heavily on its cut and paste features?

"Sometimes I will do a lot of cutting and pasting, and on this jazz track I'm working on now, I'm taking all the best bits, then mixing them onto different tracks. Being able to move things about is very creative — it's the greatest thing in the world being able to change a chorus or move it to another place. However, I feel it's important to try something different from time to time, not stick to the same formula. I might start a song with bass, guitar or keyboard — just do things differently every day. Because I'm recording and playing, I do most of my work in the control room, but it's reasonably quiet because all the noisy stuff is across the corridor in the machine room."

Do you have any advice for our readers who are trying to produce commercial music?

"Just go for it, and don't be put off by people who tell you that can't do this or you can't do that. I wasn't prepared to listen to what people said. We are a very 'down' sort of race in the UK, and once you are up there, they can't wait to shoot you down. In America, people like success, and if they like you, they tend to stick with you. I know that when I launch an album there, we'll ship out at least 100,000 records straight away. To be able to do that and feel safe about it is quite nice

Like many audio professionals, Paul looks forward to his regular monthly copy of Sound On Sound, and makes time to read it cover to cover.

"When it comes to engineering and production, I don't have a set formula — I do things differently every time. I remember when I first started out, I'd be going into studios where they'd be spending hours getting the bass drum sound right, only to find it didn't sound right when the rest of the mix was playing. I just chuck all the faders up and see how it sounds, then I'll start to bring things up and down. I use as little EQ as possible, maybe just to tweak the guitar up a bit so it cuts through. You can produce the hell out of something, then when you hear the demo you think 'Christ, what have I been doing?!'

"The great thing for Sound On Sound readers now is that most of them have all the equipment they need to be able to produce a quality end result, and I never had that when I started. The technology has given people the ability to be creative, but I think it's very important that people go off in their own directions rather than trying to do what they think is expected of them. It's like dance music where you're always supposed to have a 909 drum here and an 808 snare there, but I hate all that. Obviously you don't do a dance track at 3bpm, because nobody will be able to dance to it, but at least you can avoid the clichéd sounds and tricks. With most dance songs you know exactly what is going to happen, how long the intro will play before the 16‑to‑the‑bar drum fill comes in. It's so predictable — if I can take a record I've never heard before and tell you when the drum fill or hi‑hat is going to come in, it's terrible. So don't try to play too safe, and don't use sounds just because everybody else does."

The great thing for Sound On Sound readers now is that most of them have all the equipment they need to be able to produce a quality end result, and I never had that when I started.

That being the case, how much mileage do you think is left in the dance genre?

"I think it's going to be around for quite a while yet — there are so many people doing it, and the equipment makes it so easy to do. Even some of the demos that come built into keyboards you could put out and release as a record! That's why I'm glad I've changed and gone in a different direction. I've sold over 10 million records, and that's not through copying everyone else. If the record company doesn't like what you do, go somewhere else, don't try to change. Can you imagine the reception I got when I was taking '19' round the record companies — 'It goes 'n‑n‑n‑n‑nineteen' and it's about the Vietnam war!' I nearly got kicked out — they thought I was nutty. Radio 1 wouldn't touch it. There was just this one guy called Ken Grunbaum who thought it was a bloody good record and probably risked his job putting it out. It eventually sold four million singles. When they put it out it was the highest‑played record on the radio, then everybody said, 'We knew it was going to happen!'

"That gave me an early insight into what the business is really like. There are lots of stories of A&R men telling bands or artists what they should sound like, rather than letting them be what they are. Then, when they've changed, they still don't like the result and blame it on the artist. I've had that happen to me before now. I was told (by London Records) never to do instrumental music, yet the amount of instrumental stuff I've sold is very significant. If I'd listened to them, where would I have been?"

Do you have any plans for a mainstream pop project, or do you want to stick with light jazz?

"I might put a band together — get some extremely good singers and dancers. There are too many boy bands that sound the same, so I guess what I am talking about is a modern equivalent of the Jackson Five. I'd effectively be the songwriter and musical arranger. I don't have the urge to front my own pop project in the UK because I like the way things are now — I go over to America, do my pop star bit, then come back to the UK where I can just be Paul Hardcastle."