Damian Taylor

Programming and engineering for Björk and others

Born in Halifax, Nova Scotia, Canada, in 1977, global-citizen Damian Taylor has immersed himself in recording and producing music in every imaginable situation, from 4-track experiments to sessions with some of the biggest names in music in top-level studios, to writing and recording on minimal equipment in remote locations around the world.

Combining the attitude of raw punk, the experimental nature of electronic music, the discipline of martial arts, the analysis of physics and the energy of the street with a massive dose of passion for making records and cutting-edge technology, Damian carved out his own techniques and fast built relationships with some of London's most talented and ground-breaking artists, producers and engineers.

Over the years Damian has built up a chain of credits with a fascinating array of artists, each spurring on new approaches to the production process. His work has also led him to produce, record, mix, program and write in many corners of the globe, from New York to remote Fijian islands, Australia to Iceland, into Europe and the regions of the UK.

Can you tell us a bit about some of your projects?

Just finished the work with Björk on her new album and programming for producer Steve Osborne for new Island-Def Jam signings Young Love. Also finished a couple of new Stone Lions tracks, and produced and mixed four tracks for The Magnificents. I've also been heavily involved with co-writing and co-producing Adam Freeland's new album and all his recent remixes, including the Grammy nominated "Fever" by Sarah Vaughan

Did you use Melodyne on these projects?

Recently I've used Melodyne gently in a couple of places on Adam's album although over the past few years I've used it very regularly.

How did Melodyne change the way you work with audio files?

It forced me to work with them in a completely different way which I now enjoy tremendously. Instead of looking at audio like metal or wood, it is now more like plasticine or dough.

How is your workflow with Melodyne?

I have Melodyne installed on my 17" Powerbook which I carry with me to all my freelance engineering and programming sessions. When I need to enhance vocal performances this is where I do it. I find it easiest to just export a stereo instrumental and the vocal tracks as AIFFs into Melodyne, I then wave a wand over them and send them back to the main studio rig as vibrant, kick-ass parts of the music.

What do you like especially about Melodyne?

I really like the way it can keep imperfections and subtleties in the performance, when used properly you can improve performances dramatically without "squaring" them off too much. I find that Melodyne allows me to gel a performance into the music very effectively so that those imperfections can breathe in the right places and maintain their individual character, as opposed to becoming homogenized into the mix as so often happens with over-corrected music. I also like the speed and ease with which changes can be made, or even explored. I hate what it does to sibilance and breaths though and really hope this will be sorted out soon.