Dave Maughan first came to prominence through his work on the 2000 Mercury Music Prize nominated Kathryn Williams album Little Black Numbers, and almost simultaneously, the critically acclaimed, ground-breaking (and eponymously titled) debut album by The Morris Quinlan Experience.
With more than thirty years recording industry experience, he cites his additional grounding in feature film and TV work as partly how he’s able to offer "something new, perhaps a more 'filmic' approach to recording and producing albums."
Dave is also
amongst the top music editors in the UK, experienced not only in rock and pop
fields, but also in classical music work. Whilst familiar with most high end
digital editing systems, he favours the European SSL Soundscape system, which
he has found to be faster and more reliable than many others.
His Newcastle based Face Musical Productions Studio combines a formidable SSL Soundscape 96-track recording/editing system with the more traditional analogue 2" 24-track tape format, where an acoustically optimised control/mixing room delivers the very best from superb Genelec tri-amped monitors, and cool vintage valve (tube) equipment complements an array of excellent microphones. Oh, and a beautiful old Hammond C3 with Leslie 122R!
In the past he's worked with such famous names as Lindisfarne, The Animals, Billy Connolly, Robson Green, Dennis Waterman, Andrew Sachs, Craig Fairbrass. The 2006 release of Follow On, the second Morris Quinlan Experience album, brought Dave’s work to the attention of an even wider international audience. And with production and engineering/mixing credits on releases by the likes of Maximo Park, Kathryn Willliams, Jinski, Diesel Therapy, Decade In Exile, Nano Kino, Beccy Owen and numerous others, barely a day goes by when you won't hear some of Dave's work on national music radio.
"Keeps me off the street!", he remarks dryly. Dave has a jolly good sense of humour, drinks too much tea, loves bacon sarnies, and knows how to call a spade a spade. Whilst absolutely uncompromising in his audiophile approach to recording and production, he is still probably one of the easiest people in the music business to work with.
out more about Dave by reading the feature article on him in the November 2000
issue of Sound On Sound magazine, written shortly after Kathryn Williams’
Mercury Music Prize nomination.
Additionally, check out the series of video blogs created for his 2014 Advent Calendar on the Archive Page of this website.
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