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Flash Atkins
Flash Atkins – failed superhero, disco stalwart and the alter ego of Ben Davis is one of the UK's electronic music treasures.
His stewardship of Paper Recordings, arguably the most influential British deep house imprint, has seen him become an authority on all things discoid and deep. As a producer he has worked alongside an array of artists including Kathy Diamond, Japanese songstress Leilani, lady’s man George Demure, Crazy P’s Danielle Moore and LA rapper Sean Reveron and helped create brilliant works which have been lauded by many a critic and punter.
We tracked down the renowned producer to have a quick Q&A time….
1. Digital Or Analogue? Which do you favour in your studio set up?
A mixture of both but leaning towards digital at the moment. I've got a Rhodes, Moog Voyager, Alesis Andromeda and Microkorg plus some other gizmos and gadgets. I've just brought a Native Instruments Maschine to try to get more hands on and away from the mouse. I looking at getting some more vintage synths to try and capture "the moment" a bit more but there are also some amazing plug ins on the market!
2. What gets your creative juices going when you start a track?
All sorts of things, a sample, an idea, a track, a vocal. I've always got a few things swimming round. I'm currently doing a deep disco cover of Sweet Exorcists's Test One.
3. What is your favorite piece of kit or plug in?
The Moog Voyager always does it!
4. What is your monitor preference? Passive or Active? Low level or loud & proud?
I've got a set of passive Dynaudios and Avantone Mixcubes, I recently brought some active KRKs but found them too bass heavy. I'm used to the Dynaudios now and keep it low level as my ears are the most important bit!
5. How do you feel about sampling and how it is used in much of todays music?
It's been part of dance music since the 80s and is fine when used creatively. The lines seem to be blurring with music so easy to download and give-away these days and I know of a few cases recently of people passing off other people's work as their own. But don't get me started on to the amount of disco edits flying around!
6. What is your secret weapon or a piece of kit or plug in that you just cant live without in the studio?
It's my laptop first and foremost but other than that, my Focusrite Platinum Voicemaster for vocals and I love my Rhodes, it's a thing of beauty!
7. How long does it generally take you to produce a track and what is your procedure?
Unfortunately it seems to take weeks! I'm a slow worker and with running Paper Recordings, don't have as much time in the studio as I'd like. I normally start with a drum loop and it builds from there with a bassline and Rhodes. They normally cover the main musical ideas and the sounds come as the track develops. I seem to spend a lot of time tweaking levels once the mixdown has been done.
8. How did you get involved in music production and what skills or information did you find useful on your journey to where you are today?
I went through the well established route of DJ to making music in the studio. I spent a lot of time sitting at the back of studios watching, learning and pitching in with ideas. If I did it differently I would have started using the gear on my own a lot sooner and done a practical course to give myself a better knowledge base. There are still big holes in my skills but you learn to get round them and I rely on my ears and feeling rather than actually knowing what I'm doing a lot of the time!
9. What tip would you give to new producers trying to break into the industry in today's unsteady climate?
Network. That doesn't mean sending unsolicited mass email / soundcloud messages out to labels who have nothing in common with your kind of music. If your stuff is good it will rise to the top and it has never been easier to get your music heard.
10. And Finally whats your all time favorite record?
Dance record is Voodoo Ray by A Guy Called Gerald...it still sounds like it's from another planet! Non-dance is Shelter From The storm by Bob Dylan. Of course, they could be different tomorrow!
His stewardship of Paper Recordings, arguably the most influential British deep house imprint, has seen him become an authority on all things discoid and deep. As a producer he has worked alongside an array of artists including Kathy Diamond, Japanese songstress Leilani, lady’s man George Demure, Crazy P’s Danielle Moore and LA rapper Sean Reveron and helped create brilliant works which have been lauded by many a critic and punter.
We tracked down the renowned producer to have a quick Q&A time….
1. Digital Or Analogue? Which do you favour in your studio set up?
A mixture of both but leaning towards digital at the moment. I've got a Rhodes, Moog Voyager, Alesis Andromeda and Microkorg plus some other gizmos and gadgets. I've just brought a Native Instruments Maschine to try to get more hands on and away from the mouse. I looking at getting some more vintage synths to try and capture "the moment" a bit more but there are also some amazing plug ins on the market!
2. What gets your creative juices going when you start a track?
All sorts of things, a sample, an idea, a track, a vocal. I've always got a few things swimming round. I'm currently doing a deep disco cover of Sweet Exorcists's Test One.
3. What is your favorite piece of kit or plug in?
The Moog Voyager always does it!
4. What is your monitor preference? Passive or Active? Low level or loud & proud?
I've got a set of passive Dynaudios and Avantone Mixcubes, I recently brought some active KRKs but found them too bass heavy. I'm used to the Dynaudios now and keep it low level as my ears are the most important bit!
5. How do you feel about sampling and how it is used in much of todays music?
It's been part of dance music since the 80s and is fine when used creatively. The lines seem to be blurring with music so easy to download and give-away these days and I know of a few cases recently of people passing off other people's work as their own. But don't get me started on to the amount of disco edits flying around!
6. What is your secret weapon or a piece of kit or plug in that you just cant live without in the studio?
It's my laptop first and foremost but other than that, my Focusrite Platinum Voicemaster for vocals and I love my Rhodes, it's a thing of beauty!
7. How long does it generally take you to produce a track and what is your procedure?
Unfortunately it seems to take weeks! I'm a slow worker and with running Paper Recordings, don't have as much time in the studio as I'd like. I normally start with a drum loop and it builds from there with a bassline and Rhodes. They normally cover the main musical ideas and the sounds come as the track develops. I seem to spend a lot of time tweaking levels once the mixdown has been done.
8. How did you get involved in music production and what skills or information did you find useful on your journey to where you are today?
I went through the well established route of DJ to making music in the studio. I spent a lot of time sitting at the back of studios watching, learning and pitching in with ideas. If I did it differently I would have started using the gear on my own a lot sooner and done a practical course to give myself a better knowledge base. There are still big holes in my skills but you learn to get round them and I rely on my ears and feeling rather than actually knowing what I'm doing a lot of the time!
9. What tip would you give to new producers trying to break into the industry in today's unsteady climate?
Network. That doesn't mean sending unsolicited mass email / soundcloud messages out to labels who have nothing in common with your kind of music. If your stuff is good it will rise to the top and it has never been easier to get your music heard.
10. And Finally whats your all time favorite record?
Dance record is Voodoo Ray by A Guy Called Gerald...it still sounds like it's from another planet! Non-dance is Shelter From The storm by Bob Dylan. Of course, they could be different tomorrow!
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