A reliable, professional, highly motivated individual with a passion for the music and audio industry
My name is Callum and I'm a Producer, Engineer, Mixing, Mastering and Live sound engineer. I studied Music Technology at SRC Bede College under Patrick Jordan (Former assistant to Trevor Horn and Rob Orton) gaining a Distinction Star and a product of SAE Institute London.
I've been engaged with music since the age of 5 and actively involved playing music since I was 12, playing in several bands in the Teesside area. As my last band began to brake up I became more and more interested in the other side of the music industry, becoming fascinated with it and now I dedicate my life to the recording of music.
As well as running my own freelancing service, I'm the assistant engineer at 27D production for Steve Hoggart (former engineer at The Mill Studios) specialising in Punk & Metal and the go to mixing engineer for Afro-House lable Good Voodoo Music and GVM artist, Domineeky where serval of his songs have been featured on BBC Radio Tees Introducing.
All this experience has given me a wide repertoire of knowledge of music genres from classical, blues and rock'n'roll to modern rock, pop and house and anything in between.
No session is too small or too big, from classical to metal and everything in between I'm available to record, mix and master anyone and anything.
Get in touch if your interested and lets make some music!
Send me an email through 'Contact' button above and I'll get back to you asap.
Interview with Callum McGee Productions
Q: Describe the most common type of work you do for your clients.
A: I've work with all sorts of musicians and genres so its hard to nail down.
Q: What other musicians or music production professionals inspire you?
A: David Bendeth Chris Lord-Alge John Mitchell Romesh Dodangoda Mark Trombino Eric Valentine James Veck-Gilodi (Deaf Havana frontman) My last band I was in, All You Have Become
Q: Tell us about your studio setup.
A: My own personal set up can be found over on my FaceBook page and the 27D Productions set up can be found over at their website.
Q: What's your typical work process?
A: When I'm producing I prefer to be non-invasive (unless asked other), if something is really bad then I'll intervene, I tend to let the artist/client do what they want, I want them to push themselves to write the best songs they possibly can, after all its there music/project not mine, I'm there to guide them in the right direction and record them to best possible standard. In terms of engineering I like trying different/new microphone techniques and using quirky microphones, I have a few old Telefunken microphones for the 60's that have a unique tone to them which is cool, as it offers you something different and unique. With mixing, I have my own way of doing it, like every other engineer but my main objective is to make you the client happy at the end of the day and in doing so, I can mix a song any way you want me to essentially.
Q: What do you bring to a song?
A: What ever you want me to bring, if you want a standard session, I can do that. If you want something different and experimental, I'm your guy.
Q: What's your strongest skill?
A: Being able to take a step back, act as a fresh pair of ears and offer a genuine and honest opinion.
Q: What type of music do you usually work on?
A: Literally anything put in front of me!
Q: Can you share one music production tip?
A: Let the music speak for it self, don't over complicate it and don't be scared to try something different even if it isn't stereotypical to that genre, otherwise you'll never push yourself, your music and the industry. Be creative and have an open mind
Q: Which artist would you like to work with and why?
A: Deaf Havana, my absolute favourite band of all time. The lead man James to me is just an amazing songwriter and it would be a dream to work with them
Q: How would you describe your style?
A: Different, I like different and quirky microphones, techniques, instruments, amplifiers etc.
Q: What was your career path? How long have you been doing this?
A: Started self recording near 10 years ago and began recording seriously not long after that, I got sick of other peoples ego's in bands I played in and then while studying music tech at college I fell in love with the technical side of the industry rather than the performance side, though the last band I was in, has influenced the way I work because the way we wrote songs, we'd always try and write them different to the norm and just created something different for the listener, or at least we think we did!
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Mac Pro loaded with Pro-Tools SSL G+ 4000 (Love that console, was really lucky I got to use one while at uni) Urei 1176 blue face compressor Neve 1073 EQ My telefunken TD21 microphone
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be open minded
Q: What questions do you ask prospective clients?
A: Again be open minded and the usual budget and time scale for the project.
Q: What do you like most about your job?
A: Working with different people, genres, equipment
Q: What's your 'promise' to your clients?
A: I strive for punctuation, if you want it done in 2 weeks, I can 99.99999999999% guarantee you will have it in 2 weeks. I've worked through breaks and last nights to deliver to clients on time, so I'm not afraid to get stuck in.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Listen to Andy Jones - Here I Stand ('13) the first track I uploaded on my SoundCloud, scroll right down to find it. I'm really proud of this track as I didn't need to use a single drop of beat detective or quantise anything since Andy is an awesome musician. It was the first time I produced, engineered and mixed a track of that size by myself and to this day thing its the best piece of work I've produced.
Q: Analog or digital and why?
A: Both, I'm really lucky I've recording and mixed in both realms with some amazing gear and they both have there advantages and disadvantages. Recording and mixing digitally is super easy, convenient and there are plug-ins out there that are just as good, if not, better than some analog gear, for some reason people have this misconception that if its analog it's going to be great. Recording and mixing in the analog domain is just so, so cool though, its a shame its dying out and a load of people are switching to full digital, which you can understand why, but once I got the taste for the analog work flow, its hard to go back, its a completely different feel to digital. For me, to be a true engineer, you've got to of worked on analog equipment at some point. A lot of my favourite albums and yours as well will have been mixed on an SSL E+ or G+, I got to use a G+ as well as other SSL desk and some Neve desks as well and when I was given the opportunity to use a G+ I was so excited, its a completely different work flow I think.