The Legacy of Stuart Epps: A Journey into Music and Mentorship
By Andrea Grasso and Robson Vianna
Introduction: Before we dive into the conversation with Stuart Epps, it's important to highlight the depth of his contribution to the music world. Known worldwide for his collaborations with Sir Elton John and other rock legends, Stuart has truly mastered the art of sound production. His book Elton John: The Early Years offers a fascinating and intimate look at his early years working with Elton John, revealing not only the behind-the-scenes of music creation but also the challenges and triumphs that shaped the artist's journey. Beyond his historical contributions, Stuart is committed to helping new talent, guiding aspiring musicians with the same care and dedication he applied to his own career. Throughout his journey as a producer, he has always believed in the transformative power of music, and it is with this spirit of innovation and generosity that he shares his experiences with us.
Question 1: Notable Recordings and Influences:
Throughout your career, which recordings (yours or others) have really stood out to you and influenced your work as a sound engineer? What elements from those productions did you incorporate or adapt into your own projects?
Stuart Epps:
Yeah, well, without a doubt, the recordings that I did with Gus Dudgeon as producer were very important for me. I worked as Gus's engineer at the Mill Studios from 1974. We worked on a band called Voyager. We worked with Elton on Song for Guy. I did that—actually, no, that wasn't Gus—but we did Ice on Fire with Gus.
Learning from Gus Dudgeon was brilliant. I've been very lucky; I've worked on many projects that I loved engineering and producing. I would say the work I did with Jimmy Page on Coda, the last Led Zeppelin album, and the work on The Firm with Jimmy Page and Paul Rodgers were great.
Additionally, the work I did with Van den Berg and Twisted Sister were two great projects in engineering and production. Then, when I had my studio at Wheeler End, I worked with Oasis, Robbie Williams, and Bill Wyman from the Rolling Stones with the Rhythm Kings. There isn't one particular project, but there have been many great ones.
Question 2: Challenges in Implementing Techniques:
What were the biggest technical or creative challenges you faced when trying to implement new recording or production techniques? How did you overcome those difficulties, and what impact did that have on your career?
Stuart Epps:
Are you talking about challenges from the past or the present day?
Well, working in the studio over the years, every time you record, there are challenges to overcome—technical issues, artist dynamics, or production challenges. My career spans 55 years, from stereo recording to digital and multi-track, and now to Pro Tools and modern equipment.
Overcoming challenges in the studio is part of the daily routine, but I wouldn’t call them "difficulties"—they’re just situations to solve. I always say there's nothing I can't do because of the extensive experience I've gained.
Question 3: On Technology in Music Production:
What are the pros and cons of recording technology from the ’60s and ’70s compared to today? With the advancement of music production tools, how do you see the influence of digital technology, including the use of DAWs (Digital Audio Workstations), on modern music creation? What kind of impact do you think these innovations have had on the quality and authenticity of musical productions compared to analog processes?
Stuart Epps:
When I started recording at the Mill Studios in 1974, it was the most advanced studio of its time, using analog tape machines and a 42-channel MCI mixer. Analog provided warmth and depth, especially in the low-end frequencies, but it came with limitations like tape hiss and the need for bouncing tracks to manage the 24-track capacity.
Digital recording, which began for me with Elton John's Ice on Fire, is much cleaner and doesn't degrade with duplication. However, it lacks the warmth of analog. Today's DAWs have democratized music production, allowing anyone to create high-quality recordings at home. While this is a great advancement, it still requires experience to produce commercially viable music.
Question 4: Autotune and Vocal Processing:
What’s your opinion on the use of autotune and other pitch-correction techniques in today’s music? Do you think it compromises the authenticity of artists, or does it enhance creative possibilities? Based on your experience with classic artists like Elton John, do you think techniques like autotune would have been adopted back then if they were available?
Stuart Epps:
It's a very good question. Autotune and general tuning have transformed music production. Back in the day, we didn't even have tuners. Bands would tune to a note on the piano, and each instrument would be slightly off, giving the music warmth and uniqueness.
When tuners and digital keyboards came along, everything became perfectly in tune—except the singer, who still had to pitch manually. Autotune was a lifesaver for producers, allowing fine-tuning of vocals without artists even realizing it. I remember working with Robbie Williams, whose voice we tuned extensively after recording.
Autotune can be used subtly or as an effect, and it has its place. However, a great singer like Aretha Franklin or Elton John doesn’t need heavy tuning. Overuse of autotune can strip a vocal of its natural character, but when used skillfully, it can enhance a performance.
Question 5: The Role of the Sound Engineer:
How do you see the evolution of the role of the sound engineer in modern music production compared to when you first started? What new skills are essential for today’s professionals? What are the main challenges sound engineers face now in a world where recordings are predominantly digital and remote?
Stuart Epps:
The role of the sound engineer has changed drastically. In the 1960s and ’70s, recording required a producer, an engineer, and often an assistant. Now, artists often act as their own producers and engineers, recording at home with digital equipment.
While this independence is great, it can sometimes result in lower-quality productions. A second ear—whether an engineer or producer—is often needed to bring out the best in a track. Modern engineers must understand digital tools, remote collaboration, and how to bridge the gap between the artist's vision and commercial viability.
In the past, music was a team effort, with input from multiple people, creating dynamic and memorable recordings. Today, many young artists find it hard to match that level of quality on their own.
Question 6: Impact and Future Trends in Music:
What trends do you notice in the development of new musical styles or recording techniques that might define the future of music? How do you see the future of analog recordings in the digital era? Do they still have a place in studios, or will they become a rarity?
Stuart Epps:
Analog recordings still hold value, especially for capturing the warmth and depth of live instruments. Many artists now record on analog and transfer to digital to preserve the sound quality.
However, most music today is created with digital instruments, which can sound more clinical. Artists like Ed Sheeran manage to maintain warmth and authenticity despite using modern tools. The challenge remains to capture atmosphere and emotion in recordings, regardless of the technology used.
While analog is expensive and cumbersome, it remains a gold standard for certain styles of music, particularly acoustic or band recordings.
Question 7: Remote Production and Collaboration:
During the pandemic, and with the rise of remote work, many artists and sound engineers adapted to working together at a distance. How do you think that experience has shaped the future of music production?
Stuart Epps:
Remote production has been part of my work for over 20 years, long before the pandemic. The internet and digital recording made it possible for artists from all over the world to send their tracks to me for mixing or additional production.
This method has significant advantages. Instead of flying to another country, artists can send WAV files, and I can add instruments or mix them without us ever meeting. It’s cost-effective and efficient, especially for independent artists.
During the pandemic, remote production became essential, and I found myself busier than ever. It’s a brilliant system that allows collaboration across distances while maintaining high-quality results.
Question 8: Thoughts on Elton John’s Recent Hits:
In recent decades, we’ve seen Elton John achieve great success with duets rather than solo songs. For example, “Hold Me Closer” with Britney Spears (2022) and “Cold Heart” with Dua Lipa (2021). Both tracks used autotune. Do you think this is what Elton John would need for another solo hit? What elements in solo recordings might be missing compared to collaborations with emerging talents? Considering your experience with Elton, how do you think collaborations have shaped the longevity of his career?
Box:
Songs with collaborations 2000 - 2022:
1. Good Morning to the Night (PNAU Remix Album) – 2012
2. Face to Face with Gary Barlow – 2014
3. Cold Heart (PNAU Remix) with Dua Lipa – 2021
4. It's a Sin with Years & Years – 2021
5. Merry Christmas with Ed Sheeran – 2021
6. Your Song with Gary Barlow – 2021
7. Hold Me Closer with Britney Spears – 2022
Text about the successes through collaboration with other artists:
Throughout this century, Elton John has demonstrated his ability to innovate and connect with different generations and musical styles through remarkable collaborations. His partnership with the Australian duo PNAU on the Good Morning to the Night album (2012) was a milestone, transforming his classic songs into new remixes that achieved success on the UK charts. The collaboration with Gary Barlow on "Face to Face" in 2014 also stood out, bringing a modern touch to his repertoire.
In 2021, Elton John returned to the charts with major collaborations. The remix of "Cold Heart" with Dua Lipa, released at the height of the pandemic, became a huge hit, showcasing Elton's ability to blend his style with the new wave of pop artists. That year also saw the collaboration with Years & Years on "It's a Sin," a powerful reimagining of the classic by Pet Shop Boys, which resonated with audiences in the UK and beyond. Still in 2021, the Christmas song "Merry Christmas," with Ed Sheeran, also topped the charts and became a holiday favorite. The duet of "Your Song" with Gary Barlow, an emotional and contemporary version of one of Elton's greatest classics, also contributed to Elton's continued success that year.
In 2022, the partnership with Britney Spears on "Hold Me Closer" brought Elton back to the top of the charts, while also marking Spears' musical return after a six-year hiatus.
These collaborations highlight Elton John's longevity and versatility, proving that his music transcends time and the changes in the musical landscape, continuing to influence generations of artists and fans.
Stuart Epps:
Elton is a genius in multiple areas—music, singing, and songwriting. He’s also a huge fan of other artists, which has driven his desire to collaborate. He doesn’t do duets purely for commercial reasons; he genuinely enjoys working with talented musicians.
These collaborations keep his music relevant to younger audiences. For example, with Dua Lipa, he didn’t have to record much; his voice was repurposed from earlier tracks.
Elton has always kept up with the times, and while he uses modern techniques like autotune, his core talent remains. Collaborations have certainly contributed to the longevity of his career, but I believe he could still achieve a solo hit if he wanted to.
Question 9: Memorable Recording Sessions:
Can you share any memorable moments or challenging technical experiences during the recording sessions of classic albums, like those of Elton John or Led Zeppelin? What lessons from those sessions still influence your work today? How do you see the differences between recording sessions in the 1970s and today in terms of studio dynamics and collaboration?
Stuart Epps:
A memorable moment was recording Elton’s Song for Guy. He kept making mistakes during the piano take, and I realized the tape was running out. Luckily, we captured the final chord before the tape ended.
In the 1970s, recording was a magical experience, with artists and engineers working closely together. Bands played live, and tempos would naturally shift, creating a dynamic and exciting feel.
Today, with click tracks and digital precision, some of that spontaneity is lost. However, the core lesson remains: always be prepared in the studio because you might capture a once-in-a-lifetime performance.
Question 10: The Mastering Era and the Impact of Streaming:
With the rise of streaming, the way music is mastered has changed to fit digital formats and platforms like Spotify and Apple Music. How do you evaluate these changes in mastering compared to the vinyl era? Is there a noticeable loss of quality when music is compressed for these platforms?
Stuart Epps:
Mastering has evolved significantly. During the vinyl era, mastering was highly technical and limited by physical constraints, like the volume and length of a record. You could only fit about 18 minutes of music per side without compromising quality.
With the advent of CDs, we gained more space for music and louder volumes. Many classic albums, including Elton John’s, were remixed or remastered for the digital format to take advantage of these improvements.
Today, streaming platforms like Spotify and Apple Music use compression, which can result in some loss of quality. However, digital mastering ensures consistency across devices and allows for broader accessibility. Personally, I aim to achieve an analog feel even in digital formats, retaining warmth and depth in the recordings.
Question 11: Evolution of Production Styles:
You’ve worked with different genres and styles. How would you compare the production process of artists like George Harrison and Oasis to today’s artists? Are there techniques or approaches that have been forgotten, but you believe still hold value today? With digitalization, it’s easy to use pre-produced samples and loops. How do you see the use of these tools compared to creating original arrangements in the studio?
Stuart Epps:
Working with artists like George Harrison was inspiring because of their natural creativity and talent. The Beatles, for example, stood out because of their unique musicality and ability to innovate.
While modern tools like loops and samples are useful, they’re only as good as the person using them. Creativity is still key. For example, Ed Sheeran uses digital tools brilliantly to enhance his music while maintaining authenticity.
Some traditional techniques, like recording live bands without click tracks, have been lost, which sometimes results in music that feels less dynamic. The challenge today is balancing modern technology with the human element that makes music resonate emotionally.
Question 12: The Return of Analog:
Many studios and artists are rediscovering analog gear and tape machines to capture a more authentic sound. Do you think this is just a nostalgic trend, or is there a real sonic advantage that digital technology hasn’t yet been able to replicate? During your career, you’ve witnessed key transitions from analog to digital. What were the biggest challenges for you during these shifts?
Stuart Epps:
Analog offers undeniable warmth and depth, especially for acoustic or rock music. However, it’s expensive and cumbersome, making it less accessible for home studios. During the transition to digital, the biggest challenge was preserving the emotional impact of recordings while adopting new tools.
Today, I strive to recreate the analog feel using digital equipment. For example, capturing the warmth of a drum sound or the richness of an acoustic guitar requires careful attention to detail, even with modern tools. While analog gear is often seen as nostalgic, its sonic qualities remain unmatched in certain contexts.
Guiding the Next Generation: Stuart Epps' Wisdom for Aspiring Musicians:
As we conclude this conversation with Stuart Epps, we are reminded of the importance of not only looking to the past but also understanding the road ahead for those looking to make their mark in the music world. His work with iconic artists, along with his dedication to developing new talent, continues to inspire the next generation of musicians. For those aspiring to enter the music industry, Stuart Epps' lessons are a beacon of guidance. As he has always believed, music is a universal language, and his insight and experience are treasures for those looking to follow in his footsteps. We are deeply grateful to Stuart for sharing his journey and wisdom with us, and we hope his words continue to light the way for future musicians.
Links
https://stuartepps.co.uk/elton-john-early-years/
https://en.m.wikipedia.org/wiki/Stuart_Epps
I picked out 3 interviews of Stuart Epps with someone else that I thought were interesting:
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