I bring music to life for singer-songwriters, producing and performing on songs that often begin with a simple vocal recording. From humble beginnings, I will accompany you in constructing fully formed songs that you're proud to release. I specialise in acoustic, blues, jazz and pop genres.
I would love to discuss your project and discover whether I'm the right person to help you produce your next track. Click the contact button above to get the ball rolling.
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Interview with Richard Parsons
Q: What's the biggest misconception about what you do?
A: The mastering process is for making a mix louder.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be clear in the qualities you are looking for in someone you would like to work. Find someone you click with and trust to do a great job.
Q: What other musicians or music production professionals inspire you?
A: I love the work of Ethan Johns, the way he weaves his own musicality and playing through the music of the artists he works with.
Q: Describe the most common type of work you do for your clients.
A: From the bare bones of a song, often beginning with a rough guide vocal or guitar chords and a vocal, I will frame the song with a supportive arrangement and instrumentation. I like to spend as much time as is needed on pre-production, especially with unsigned artists who are new to the production process.
Q: What are you working on at the moment?
A: I'm working on a couple of projects at the moment. One is the production of three songs for a singer-songwriter from London, which involves constructing songs around guide vocal recordings, adding drums, guitar, bass and piano parts. I'm also producing a track for a local songwriter. This project is based around an 808 drum loop and we're adding vocals and synths. The second project is not quite so 'acoustic', but I'm always up for combining vocals / acoustic instruments with electronic elements, whichever serves the song.
Q: What questions do you ask prospective clients?
A: Do you have a vision for your song?
Q: What type of music do you usually work on?
A: Production projects for songwriters, primarily acoustic / pop tracks.
Q: What do you bring to a song?
A: A layered sound, depth and rhythmic clarity.
Q: What's your typical work process?
A: I will build initial musical ideas around a vocal demo, fleshing out the bare bones of a song with additional layers that support the song and are in line with the artist's vision. When the structure and arrangement are in place I will 'frame' the track during the mixing process, by working on depth, clarity and cohesion of the individual elements.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I recently mixed the album 'Stepping Stones' for The Terraplanes Blues Band. In addition to mixing, I recorded new bass guitar tracks after their new bass payer joined the band, as well as re-amping electric guitar parts for some tracks, some revised harmonica parts and drum overdubs. The band are really happy with the results and I am proud of the sound of the album, which we all feel is a good balance of their live sound with some studio polish, stopping short of over-production.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Bruno Ellingham, an award winning producer & mixer.
Q: Analog or digital and why?
A: Both. Analog mojo, digital flexibility.
Q: What's your 'promise' to your clients?
A: 100% client satisfaction & clear, honest communication during the course of a project.
Q: What do you like most about your job?
A: Bringing something shiny and new into the world.
Q: Can you share one music production tip?
A: Spend time getting the sound right at it's source.
Q: What's your strongest skill?
A: Always listening...first and foremost to my clients and secondly, to the sounds I shape in my studio.
Q: Tell us about your studio setup.
A: I have a wonderful production room, which I built myself under the guidance of world renowned acoustician Philip Newell. The acoustics are second to none, with absorbent Troldtekt (woodwool) walls and ceiling, bass traps with suspended waveguide panels at the rear of the room and most importantly, natural daylight and a supply of fresh air from outside. My Neumann KH 310 3-way monitors are flush mounted in the front monitor wall. Production work I do in the room translates very well indeed to the outside world.