Producer, Jagz Kooner (Bjork, New Order) Gives Production Tips & More
“A good record is a good record irrespective of how much it cost to make”
Beginning his career remixing and producing for the likes of Bjork, New Order and The Chemical Brothers, Manic Street Preachers, Kasabian and Primal Scream also sit comfortably in Jagz Kooner’s impressive production career. He also famously co-produced Primal Scream’s cover version of ‘Some Velvet Morning’ alongside supermodel Kate Moss.
Jagz kindly offers Musosoup his industry insights, tells us why he hates the term ‘bedroom production’ and about the time he was told to never return to a studio!
What has been your favourite record to work on to date?
Jagz: That’s a tricky question to answer it’s a bit like asking what’s your favourite song? (my favourite song changes from day to day). However, I will say that there is normally a really good story behind every record I’ve worked on and I’ve always had a lot of fun working on everything I have done.
Is there a set approach you have to producing a record or is each experience different?
Jagz: It varies with each project. There is no uniform way I approach production as it depends on the type of music I’m making. The approach for working with bands can be to listen to songs then work out ideas and a vision for what shape the production could take, from there it’s normally into a rehearsal room to thrash out ideas and arrangements /sounds/ parts etc. before going into a studio to lay the tracks down. However, when working on electronic or dance music, it’s a very different approach.
Do you feel ‘bedroom producing’ has the potential to create the same results as professional?
Jagz: I’ve never been a fan of the term ‘bedroom production’. To me it doesn’t matter where a song was made or produced. It is how good it sounds when completed.
What advice would you give anyone who wanted to get into producing music?
Jagz: Learn your art thoroughly! Make sure you listen to music all the time and actually properly listen! Work out what sounds are in the song/ what the arrangement is / how it’s mixed/ find the story and info on how the song was made. There is a wealth of info and knowledge on the internet (YouTube/internet is great source for finding out how your favourite songs were put together)
What top three skills does one need to become a music producer?
1. Good people skills in order to get the best out of all the musicians.
2. Make sure you have a good vision for the song you’re working on.
3. Most importantly just be a real lover of music!
What training did you have to become a producer?
Jagz: I was self-taught and came up through a completely unorthodox way of getting into production. I was a DJ first then I learnt how to use a few drum machines to make my DJ sets more exciting and then that naturally lead to actually making music.
What is the best way for an artist to contact you about your production availability?
Jagz: You can find me easily on the Internet I suppose Instagram and Facebook are probably the best way nowadays. I’m very approachable!
Are there any producers you look up to/take inspiration from?
Jagz: Yes loads! The list is pretty big but if I had to try and choose a few that I’ve always held in high regard then I suppose I would have to include Arthur Baker, Andrew Weatherall, Lee Scratch Perry.
What genre of music is your favourite to produce?
Jagz: As I have a background in dance/electronic/indie and rock. It’s quite easy for me to switch between all of them. It’s more a case what the song I’m working on needs.
How would you approach the sensitive task of discussing changes to an artist/band’s music?
Jagz: It’s one of the first things that needs to be discussed. If they don’t like your ideas then [there’s] no point working on the music with them.
Are there any albums past or present you feel are let down by their production?
Jagz: No comment.
Is there one particular album that you love because of its production?
Jagz: I love Electric Warrior by T. Rex. He’s got a sonic quality that I always come back to.
Do you have any albums you like that you know had cheap production behind it?
Jagz: I don’t really like the term ‘cheap production’. You don’t have to be in £1 million studio to have amazing production, you just need to have good ideas wherever you are, be it bedroom studio/ recording studio / laptop with headphones. A good record is a good record irrespective of how much it cost to make.
In a studio, what’s the furthest you’ve ever gone to achieve a certain sound?
Jagz: I once had to mix a song and wanted huge amounts of distortion, so I over drove every channel on the desk. The desk would blow its fuses every 6 hours requiring it to fixed before we could carry on mixing. We finished the mix after 17 hours (and the desk blowing up three times).
The studio told us never to come back. I think that’s the furthest!
Words by Jasmine Hodge
Want to learn more industry insights from established producers? Check out our interview with the legendary ‘The Bends’ producer John Leckie here!