Staff profile

Catherine Marks

Summer 2008 has seen super-producer Flood's handpicked studio assistant Catherine Marks land right in the thick of the action, as Miloco have moved into Flood and Alan Moulder's incredible tracking studio, Assault & Battery 2. As part of our ongoing celebrations for the opening of A&B2, we grabbed the opportunity to get to know our new star assistant a little better...

A) A few important starters:

MILC: First of all, how did you start out in the music industry?

CM: I was originally trained in classical piano. I did that for about 15 years and managed to win a few competitions and toured around Europe, but was more interested in how to change the things I didn't like about a piece of music. That used to drive my tutor insane. I finally discovered "popular music" and started playing in a couple of bands and writing songs for other people for fun. The last band I was in were really encouraging and basically said "go away, learn the things they do in England, become great, then come back and produce our record"... But I started out the traditional way, being green and making tea, coffee, decaf, peppermint, lemon and ginger, sandwiches, stews, salmon with asparagus and green beans in a mild terriaki sauce ...

MILC: And where do you want your career In music to take you? World domination? Hand-clap credits on the next Hanson album? Tell us... (!)

CM: World domination! For sure! I'd like to be known as the person who brought back the cowbell. Although, in all fairness, I don't think it's popularity ever went away. Failing that, there are some really amazing bands in Australia that all have to go overseas to record their albums if they want any sort of recognition beyond their shores. So, if the band has no money to do this, the good stuff just never gets heard. I'd love to be able to go home and record albums in Australia that are able to compete on a worldwide level.

MILC: You've hooked up with Miloco during the merger between us and Flood & Alan at Assault & Battery 2. You've been working with Dark Room Notes over in Hoxton over the last couple of weeks. How did the sessions go?

CM: Really well! The producer and DRN really utilized everything the studio had to offer and the results are better for it. We had synth corners and guitar corners and vocal corners and drum corners... It's a small space but they made it work for them. The weather has been glorious as well so there were many "ear breaks" spent sitting in the courtyard under the umbrella. On the weekend we took all the drums out into the courtyard for a percussion session... that was the day it rained.

MILC: You'll of course be assisting on many sessions over at Assault & Battery 2 now its been opened. How did you come about working with Flood and Alan and how long have you been working with them?

CM: I met Flood years ago when I was working as an architect in Dublin. I was really curious about the music industry and I had been writing songs thinking I could be the next Britney Spears. He suggested I go back to Australia and finish my degree, but also try playing in bands and writing and see if it was what I really wanted to do. He was really adamant that if I wanted to do what he did you had to forget about your own ego. It was a really good test because it meant I could rule that out. Four years later he called me up the day before my final exam and said: "right, do you still want to come and work for me?..." It's been over 3 years now and I haven't looked back.

MILC: It must be quite inspirational to work alongside such successful record producers...

CM: Not really.
Just kidding. It's another level.

MILC: You must be well equipped to give an insider's view on this awesome new studio! What do you feel bands will love about taking their tracking projects over to A&B2?

CM: Flood and Alan's collection of gear is unsurpassable. From analogue synths to valve mics, vintage and new, there is not one bit of gear in there that is shit! I'm sure there are studios around the world with more gear, but it's the quality and the years spent amassing their treasures that make the range of equipment on offer so unique. But I think the fundamental distinction is the like-minded people who have been involved in the set-up of the studio. Bands can come in and go: "Right! Let's move that couch here, bring the Mackie into the live room, put the modular synth in the guitar room etc etc..." Other than the control room, the space has no prescribed function. It has the rarely combined elements of the flexibility of a bedroom set-up and the resources of a top spec commercial studio. I love that! I think it was originally a conscious thing to contrive this but ultimately it's the inherent philosophies and personalities of Flood, Alan and Miloco that have made it's implementation successful.


Favourite music section:

MILC: What is your favourite album so far this year?

CM: This is a hard one. Start to finish: MGMT Oracular Spectacular. Bought it on vinyl.

MILC: What's the first record you remember buying?

CM: BloodSugarSexMagik by Red Hot Chilli Peppers on cassette. I really loved that song "Breaking the Girl". It also had Parental advisory explicit content written on the front, brilliant marketing to 12 year olds!

MILC: Which track in the entire history of music, are you the most goddamn relieved not to have any involvement in making? (this if course shouldn't really be in the 'Favourite Music Section' but hey...)

CM: I've thought about this and even the worst songs in the history of time have some merit or have made those involved filthy rich. But really, that crazy frog song, arghhh! Does that even count as music. Respect to those who profited from it.

MILC: Similarly, is there any track which whenever you hear, and whatever mood you are in, actually does turn you green with envy?

CM: 'With Or Without You' by U2 and 'Beat It' - Michael Jackson. Is there anything that comes close to that these days?


Technical stuff:

MILC: What piece(s) of gear have you come across recently which you'd recommend to fellow engineers and producers, and why?

CM: I'm about to purchase a Robert Keeley Fuzz Head. It's beautiful distortion without making it thin. It's awesome for keyboards.

MILC: Staff knob of the month. Of all the switches, buttons, effects and tools at your disposal during recent Miloco sessions, which single one has given you most satisfaction?

CM: The talkback button: "this is your conscience speaking..."

MILC: Besides knobs and your previous recommendations, what other pieces of gear are floating your boat currently???

CM: The Roland System 700 is always a favorite but apart from that I've rediscovered Flood's super Jupiter. We had it in the Bedroom studio but never really got it out. The Bass is wicked if you want a lot of front!


It's silly time:

MILC: How would you describe yourself in three words?

CM: Three's not enough.

MILC: When was the last time you lost your temper with someone and what did they do?

CM: I'm in a perpetual state of calm... This is a lie.

MILC: What's your biggest regret so far this year?

CM: Not seeing enough weekends.

MILC: Any ideas for what your tombstone might read?

CM: Borderline genius?


Final music section:

MILC: If you could turn back the clocks and re-visit ONE gig that you went to in the past, which one would it be??

CM: A David Kitt gig at the ambassador in Dublin. A thousand people still singing na na na to the outro melody 15 minutes after he walked off stage. He came back on stage and started the song all over again. Not bad for a guy with a guitar and a backing track.

MILC: What's the worst behaviour you've ever witnessed in a studio?

CM: Apart from the 2 things preceding the age old rock 'n roll cliche, not much really. I've seen some ridiculously absurd behavior... someone swiping their mobile phone over food to gauge it's spiritual and health related properties... A lead singer wanting to do his vocals in the kitchen so he could cook dinner at the same time... To me bad behavior is dropping chewing gum on the carpet when the bin is right next to them. Unnecessary!

MILC: What's the longest studio time you've ever spent on an, ultimately pointless, task?

CM: In many cases I'm sure this task is not pointless, but spending about 12 hours trying to get a guitar sound with a mic that looked like a magic 8 ball. The guitarist had to play the same riff over and over again. By the time it came to record, the guitarist could barely feel his hands. There's something in that.




The end bit:

Thank you very much, Catherine, for opening up to Milc Magazine. We hope you have got some issues off your chest, and more-importantly enjoyed your brief but very worthwhile interview. Your time, effort and patience is very much appreciated.



Catherine Marks was talking to MILC in August 2008


© MILC@Miloco 2008