Production Walkthrough – champion fever remix

Full Production Walkthrough – Champion Fever Seadog Remix

I make music under the alias @champion_fever and recently (Aug 2021) Brighton band Seadog asked me to make a remix of their song Foolhardy, to feature on their new EP.

It was super fun to make and I decided to enter the world of screen capturing by recording a walkthrough showing how I made it and some of the various production and mixing techniques within Ableton Live. Enjoy!


Since late 2020, I’ve been working on the debut album by Alex Jemmet AKA Indigent Ghoul, producing songs one by one and starting from his own Ableton Live projects.

We’ve been exploring synths, drum programming, sound-design and atmospherics as well as capturing great vocal and instrumental performances in my studio.

With influences ranging from Ariel Pink to Radiohead to Lana Del Ray and some extremely infectious and inventive songs, it’s been a really fun journey so far (just finishing the sixth track) and I’ve learned tons along the way!

I’m so excited about how it sounds so far that I’ve spliced together some of my favourite pieces so you get a taste.

The process has involved a lot of manipulation of sounds, re-sampling, slicing, experimenting with effects and making the music sonically adventurous. I have also used session drummer Thom Mills, violinist Becka Wright and bassist Steven Oates to add additional human layers on top of the programmed, electronic elements.

Unreleased & atmospheric

7mins and six seconds of snippets from unreleased tracks produced, recorded and mixed by me.

Atmosphere is a big part of my productions and this selection of unreleased tracks showcases some of the textures, ethereal sounds, experimental synths, sampled sounds and effected drums that I’ve produced for some recent yet-to-be-released tracks.

Featuring CLOUDMiRROR & Anja, Tom The Pen, Atton Raon, John Seaton and Wounded Gods.


Can you afford a Producer?

When you think about your favourite songs: the greatest artists, the biggest selling albums and songs of all time, how many were made without a Producer, Recording Engineer or Mix Engineer?

Hard to think of any right? Not even Prince engineered his hits. 

In this blog post, I’m going to make the case that a successful record needs a Music Producer (Record Producer). If you’ve already made several records, you’ll no doubt agree but if not, it’s food for thought and if you have any feedback about what I say, please get in touch.

Back in the golden age of huge budgets and big posh studios, there were Tape-Operators, Assistant Engineers, Technicians and Runners all on the payroll helping to make a record.

These days, budgets are smaller and a Producer / Engineer will do most of the work, but the credits will always include them (also the Producer & Engineer are often the same person).

I’m a big fan of D.I.Y, Lo-Fi and Independent music! A lot of cool stuff is self-made and put out directly by bands and artists skilled enough in recording and mixing to match their tastes with their audiences’  expectations – perhaps a band member or friend has enough studio gear and know-how to make a cool EP. 

I’m all for that: It’s creative, liberating and fun, and really what the Indie scene is about, but it’s rare for successful career-making albums to become

At the very least, a self-producing artist will have their music mixed and mastered by a pro before it’s released (I recently mixed an album that was recorded really quickly in the artist’s bedroom).

It’s common for an artist or band to make their debut EP/album themselves for next-to-nothing (GarageBand is called that for a reason), pick up some interest via gigs and radio, before getting signed to a label who – you guessed it – wants to make that band ‘successful’, so they hire a Producer, Recording Engineer and Mix Engineer to either re-record it or go straight to the follow up.

Of course, many artists also record their own demos to try and impress managers and A&R but that is becoming much less common in the self-releasing era where an A&R rep isn’t such a key gatekeeper.

Arctic Monkeys’ hugely successful debut album was nearly all re-recorded versions of the band’s rough demos, which were leaked online and had a life of their own before the major label Domino signed them.

Elsewhere, Mix Engineer / Producer Owen Morris (who cites Tony Visconti and Phil Spector as inspiration) is responsible for the success of Oasis’s debut album. The initial mixes of Definitely Maybe were weak and thin – no label was interested – but then they hired Morris who remixed and sculpted it into the fastest selling UK album of all time. 

You don’t have to be an Oasis fan to appreciate how the sound on that album was like nothing we’d heard before. If they didn’t hire Morris, they wouldn’t have made it (I’m not really a fan but I still remember hearing Definitely Maybe for the first time!).

Michael Jackson & Quincy Jones. David Bowie & Brian Eno / Tony Visconti. Radiohead & Nigel Godrich. Blur & Stephen Street. Red Hot Chili Peppers & Rick Rubin. The Beatles & George Martin. Eminem & Dr. Dre. Taylor Swift & Jack Antonoff. Billie Eilish & Finneas. Countless artists & Pharrell Williams… Timbaland, J Dilla, DJ Premier, Nile Rogers, Pete Rock, Steve Albini, Tyler The Creator, Mark Ronson, Danger Mouse, Sylvia Massey…. right back to Sam Philips recording Elvis in Sun Studio in the 50s. The list is endless (and mostly men – but that’s another blog post).

From this list along, it’s clear that Producers are an invaluable prerequisite for success. These names and countless others helped make the music we love, dance to, share with mates and listen to in the car. Without them, the sonic landscape of our lives wouldn’t be as rich or inspiring.

So, back to my question. Can you afford a Producer?

Well, if you’re serious about your music and career, the question should be ‘can you afford not to?’

At any stage of your career, badly produced or poorly mixed music won’t engage listeners and the listeners you do get probably won’t stick around – especially since they listen to music on playlists where your track needs to hold it’s own. Better gigs, more fans, more followers and greater industry attention all stem from great recordings and excellent production.

Integrity and artistic vision is important to your fans and I believe the most important part of an idea is its execution. A Music Producer’s role is about delivering a songwriter or artist’s vision so it should be something every artist considers.

As I’ve talked about in previous blog posts; a Producer does a lot more than just make the song sound great. They’re a trusted partner, another pair of highly tuned ears with years of listening experience, someone to help push you to your best, to have fun with and collaborate so you get results that you would never get on your own.

So, can you put a price on excellent execution when it comes to music production?

Yes you can… and of course it depends on what music we’re going to make and how you, the artist wants it to sound.

Artists should be budgeting between £1000 – £300 for recording, production and mixing for one song.

That’s obviously a very broad range but some songs can be made in a days, some take much longer – and really, time is the most critical factor when it comes to the project price.

My clients are often independent artists who are taking the steps to invest in their music and career. Budgets are always quite tight but I build the process (and sound) around what is possible for them. The value of investing in your music is much larger!

Hopefully this post has made the argument for hiring a Music Producer & Mix Engineer like me. Please do contact me if you’d like to discuss your music. You might be surprised at what can be achieved.

I’m always happy to chat music and process, find out what you want to achieve and how I can help you to achieve it.

You can learn more about what I do by reading my website & other blog posts (more to come).. or drop me a line.