Im a producer, mixer and multi instrumentalist. Ive been making making records for 15 years with some of the biggest names in "pop". My credits include records with Tina Turner, Kylie Minogue, Robbie Williams and a wide variety of genres. My studio is a mix of vintage and contemporary. Programming and live.
I spent 8 years in house with writer Guy Chambers before heading out freelance seven years ago. With Guy I worked with a vast array of artists. From Annie Lennox, Britney Spears, Kelis, Janet Jackson, to some of the newest up and coming artists at the time. I now work from my own studio in London which has an array of vintage keys, guitars, mics and drums, mixed with UAD, Native instruments and a vast array of plugins and toys! I work predominantly with up and coming artists developing their sound, writing and producing. I programme, play keys and guitars. I mix and master. From the songs rawest form through to a polished finished track, creating something professional and unique to the artist is key.
Contact me through the green button above and let's get to work.
Credits
AllMusic verified credits for Paul Stanborough- Primal Scream
- Tyler James
- Tyler James
- Julian Lennon
- Julian Perretta
- Julian Perretta
- Julian Perretta
- The Wanted
- The Wanted
- The Wanted
- The Wanted
- The Wanted
- The Wanted
- Katie Melua
- Christophe Willem
- Christophe Willem
- Christophe Willem
- Monrose
- Monrose
- Monrose
- Kerli
- Kerli
- Kerli
- Aqualung
- Aqualung
- Beverley Knight
- Beverley Knight
- Eros Ramazzotti
- Eros Ramazzotti
- Eros Ramazzotti
- Eros Ramazzotti
- Diego Boneta
- Diego Boneta
- Diego Boneta
- Melanie C
- Kylie Minogue
- Kylie Minogue
- Kylie Minogue
- Kylie Minogue
- Kylie Minogue
- Beverley Knight
- Isis Project
- Isis Project
- Isis Project
- INXS
- INXS
- INXS
- Charlotte Church
- Natasha Bedingfield
- Natasha Bedingfield
- Natasha Bedingfield
- Beverley Knight
- Beverley Knight
- Beverley Knight
- Delta Goodrem
- Delta Goodrem
- Delta Goodrem
- Melanie C
- Klangmeister
- Sarah Close
- Sarah Close
- Sarah Close
- Sarah Close
- Sarah Close
- Young Kato
- Young Kato
- Christophe Willem
- Christophe Willem
- Christophe Willem
- Delta Goodrem
- Delta Goodrem
- Delta Goodrem
- Graziella Schazad
- Tyler James
- Måns Zelmerlöw
Interview with Paul Stanborough
Q: Analog or digital and why?
A: Both!
Q: What's your 'promise' to your clients?
A: Quality.
Q: What do you like most about your job?
A: That I make different genres of music on a weekly basis.
Q: What questions do customers most commonly ask you? What's your answer?
A: "How much do you charge?" "Whats your budget!"
Q: What's the biggest misconception about what you do?
A: That I only work with signed artists.
Q: What questions do you ask prospective clients?
A: budget, direction and what they hope i can bring.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be organised and realistic with what youre looking for.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Laptop, piano, U87, maschine, Speakers!
Q: What was your career path? How long have you been doing this?
A: I studied creative music technology at Bath Spa University, then spent 8 years in house with writer Guy Chambers and have now worked from my own studio for seven years.
Q: How would you describe your style?
A: I make good pop music.
Q: Which artist would you like to work with and why?
A: This changes on a weekly basis!
Q: Can you share one music production tip?
A: Getting the vocal sounding great is probably one of the most important and often over looked things in a track!
Q: What type of music do you usually work on?
A: I tend to work with artsist, singer songwriters and bands. An array of genres but mostly that would encompass pop.. or rather "popular" which to me is most things!
Q: What's your strongest skill?
A: Awareness of a musical direction and sonic identity
Q: What do you bring to a song?
A: I always aim to innovate and push the sonic identity with the artist to create something unique.
Q: What's your typical work process?
A: I usually start with a rhythm track be this live kit or programmed. Then bass, vocals and begin to fill in the colours around the vocal with whatever is inspired or needed. Genre depending that can be guitar, keys, or creating something from scratch.
Q: Tell us about your studio setup.
A: I have an array of neumann mics that go into my api 3124s, into UAD Apollo. I have vintage keys (philicorda, wurlitzer, Juno 60, moog, yamaha cs60, roland 101). A beautiful sounding upright piano, a tamar drum kit, 1970 vox, 1960 fender champ, fender telecaster, fender jaguar, martin acc. I run maschine and battery for beats, but also programme live kit. I also have a vast array of plugins and virtual synths.
Q: What other musicians or music production professionals inspire you?
A: Max Martin, Rick Rubin, Paul Epworth, T-Bone Burnett, Prince, Nigel Godrich.. and many many more!
Q: Describe the most common type of work you do for your clients.
A: I take songs and dress them. Direction is key.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: This tends to be the last thing Ive worked on! But playing guitar on Tina Turners "Im Ready" has to be up there!
Q: What are you working on at the moment?
A: Im making a pop/rock record with a band.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Jay Stapley
- ProducerAverage price - $1000 per song
- Programmed drumAverage price - $100 per song
- Electric GuitarAverage price - $100 per song
- Mixing EngineerAverage price - $400 per song
- Recording StudioAverage price - $250 per day
- Vocal TuningAverage price - $40 per track
- EditingAverage price - $40 per track
I find there is never a standard charge, each project is different. I work fast, so I tend to base my charge on how much I can do in a day. I ask for half pay up front and the remaining on completion
- Juno 60
- Philicorda
- 1960 champ
- u87s
- API pres
- UAD
- YamCS60
- moog
- Maschine
- Telecaster
