Producing Coldplay: An Interview with Markus Dravs

Motoi · 11-10-2008, 12:28 AM

Theres an interview on apple.com with Markus Dravs, it talks about what went into producing Viva La Vida and why he liked using Logic software so much (which happens to be my favorite program!).

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Music producer Markus Dravs has worked with many notable musical artists on several significant albums, among them: Arcade Fire’s Neon Bible; Brian Eno’s Nerve Net; and Bjork’s Homogenic. Recently he worked with Coldplay on their highly anticipated album, Viva la Vida or Death and All His Friends (2008).

Coldplay is one of the world’s most popular rock bands. Since coming together in 1998, they’ve sold 35 million albums. Their second album, A Rush of Blood to the Head (2002), was selected by Rolling Stone magazine as one of the 500 greatest albums of all time.

For Viva la Vida, their fourth studio album, Coldplay looked to make a purposeful break with their past and a meaningful change in their sound — arguably one of the most recognized musical styles in the world. "We're still obsessed with making songs that can be sung to the rafters," says Coldplay front man Chris Martin on the band’s website. "We just wanted to present them differently." As part of the difference-making team, Dravs was asked by the band to co-produce alongside Brian Eno and Rik Simpson.

In the spirit of express experimentation, Viva, Coldplay’s fourth studio album, was recorded in various locations selected for their unique sonic qualities. We recently spoke with Dravs about his work, the album, and his choice of Logic Pro and Apogee Symphony as his go-to tools for producing, recording (in studio and on location), and mixing.

How did you first get involved with Viva la Vida?
MD: I had just returned from Canada, after working with Arcade Fire on Neon Bible, suitcases still packed, when Chris Martin called me and told me he had a conversation with Win Butler, who suggested, “He’ll kick you into shape.” (Poetic for, “He will do his utmost in helping you to develop your artistic horizon.”)

After the initial discussions, did you, the band, or Brian Eno have any particular preconceptions?
MD: We all agreed very early on the most important aspect in making this record should be the actual playing and performing. Songs should be developed in the room by the band playing and exploring various angles.

How would that affect the setting up of a band?
MD: To be honest, we didn’t really concern ourselves too much with the technical side and approached it more from the point of view: does everybody feel comfortable in their space?; is there good visual contact between the musicians?; is the environment inspiring? And great, great credit to the amazing Rik Simpson for working transparently around us.

Tell us about your production collaboration with Brian Eno; it's been quite a few albums now. How do you guys keep from stepping on each other's toes?
MD: We do enjoy a very open and direct approach to communication. So there is no real stepping on each other’s toes. We don’t necessarily agree on everything, and when we don’t, we normally continue working on a direction or idea till we’re both happy with it – which is a great way of raising the bar.

What was Rik Simpson's role? Did he use Logic?
MD: Rik was (and continues to be) the engine room of the project, as well as a fantastic sounding board (which earned him a well deserved co-production credit). He’s constantly considering what the next step may be and preparing for it (together with his assistant Andy Ruggs), so we never missed recording an idea or spur of the moment performance. The whole recording aspect felt quite effortless (thanks to Rik). It’s an incredible luxury, when you’re just free to play and get on with it, wherever you feel like it. And, yes, he does use Logic — Rik and I spoke about which software to use very early on and we decided Logic would serve our needs best.

Why Logic?
MD: Various reasons really. First, it’s important to me to be able to keep working on a project, whatever the surroundings or hardware available. Many times I would take a session and continue working on it while traveling somewhere. Second, I enjoy (as was the case on Viva La Vida) having a few smaller satellite stations set up so band members can experiment with ideas and bring them to the table while other things may be going on elsewhere. Finally, because I also enjoy working on different styles of music quite a bit, I try to introduce programmed aspects into band productions and acoustic instruments into a more electronic environment: Logic gives me the best of both worlds.

How did you divide your time between preproduction and actual recording?
MD: I don’t think we ever really separated our time in terms of pre-production, recording time, and so forth. We focused more on our day-to-day rhythm. It was Brian actually who was (rightly so) adamant about consciously structuring our day and taking regular breaks. Starting the day with just playing for an hour — nothing that was considered for the album (although some of these ideas became part of the record). He’d try to continuously shake people’s comfort zone by asking them to play a different instrument, or take a different role.

It’s reported that you moved around during production.
MD: Yes, we changed locations a few times, ending up in churches, monasteries, and even a recording studio at some point.

Was it a nightmare moving all the gear around?
MD: Not really. We took a Logic rig with some Apogee converters and a few of Rik Simpson’s bits of choice mics and outboard, and, as if by magic….

You mentioned churches. Why churches?
MD: I guess the building budgets for studios have been outdone a bit by the wealth of the Catholic Church (certainly in the past). They definitely knew how to design acoustic spaces back in the day (6th century onwards). I guess that’s why some of my favorite studios are converted churches. And it works the other way as well, given the number of times producers pray in studios.

Did you have any concerns about doing this?
MD: The main concern would be not to annoy the priest, or break anything while abseiling a couple of mics from the choir balcony.

Didrecording Coldplay on location bring out something that wouldn't have happened in the studio?
MD: I certainly think it added to the whole approach when trying to think outside the box, both for the band and the producers.

How long have you been working on Logic?
MD: A good 10 years now, after getting properly into it when working on Post and Homogenic by Bjork. It’s amazing to see how much the software has developed over the years, and now with Logic 8 and all its thrills I really don’t need to reach for any other software.

What were some of the unique rewards and challenges of working with Coldplay?
MD: Coldplay are an extremely hard working band. Despite their success over the years, they push themselves and want to be pushed as much as possible to continue to develop without getting trapped in a comfort zone. I find it very flattering for a band to ask me to kick their butts, and although we certainly had our “creative discussions” during the project, it was always clear that it’s to pursue the common goal, which is making a great record, even if it means banging our heads together and not taking the easy route or agreeing for the sake of it.

http://www.apple.com/logicstudio/act...vs/?sr=hotnews
Retrieved from http://wiki.coldplaying.com/index.ph...h_Marcus_Dravs

A RUSH OF VIDA · 11-10-2008, 03:04 AM

Cool..thanks!!

Space Cadet · 11-10-2008, 04:35 AM

Neat interview.

Thanks

marie/pims · 11-10-2008, 06:29 AM

very nice!!Thank you for posting

busybeeburns · 11-10-2008, 09:19 AM

great article thanks!

nkydickson · 11-10-2008, 11:13 AM

Great interview !! Thanks

cha buckland · 16-10-2008, 11:13 PM

Coldplay is one of the world’s most popular rock bands. Since coming together in 1998, they’ve sold 35 million albums. Their second album, A Rush of Blood to the Head (2002), was selected by Rolling Stone magazine as one of the 500 greatest albums of all time....

Next here : http://www.apple.com/logicstudio/act...vs/?sr=hotnews

coldplay12 · 16-10-2008, 11:15 PM

thank's Cha......"Shé is Cold Cha shé Playing The Piano lol"........Interviews With W9=M6 French Tv
Proprement Dit merci Charlotte....

interview For W9

For Cha

**lolo**

cha buckland · 16-10-2008, 11:18 PM

Sorry I had not seen the topic !

11-10-2008, 12:28 AM	#1
Motoi Coldplayer Join Date: Oct 2005 Posts: 222 Location: LA Chat posts: 0 Thanks given: 0 Thanked 0 Times in 0 Posts	Producing Coldplay: An Interview with Markus Dravs Theres an interview on apple.com with Markus Dravs, it talks about what went into producing Viva La Vida and why he liked using Logic software so much (which happens to be my favorite program!). ------------------------------------ Music producer Markus Dravs has worked with many notable musical artists on several significant albums, among them: Arcade Fire’s Neon Bible; Brian Eno’s Nerve Net; and Bjork’s Homogenic. Recently he worked with Coldplay on their highly anticipated album, Viva la Vida or Death and All His Friends (2008). Coldplay is one of the world’s most popular rock bands. Since coming together in 1998, they’ve sold 35 million albums. Their second album, A Rush of Blood to the Head (2002), was selected by Rolling Stone magazine as one of the 500 greatest albums of all time. For Viva la Vida, their fourth studio album, Coldplay looked to make a purposeful break with their past and a meaningful change in their sound — arguably one of the most recognized musical styles in the world. "We're still obsessed with making songs that can be sung to the rafters," says Coldplay front man Chris Martin on the band’s website. "We just wanted to present them differently." As part of the difference-making team, Dravs was asked by the band to co-produce alongside Brian Eno and Rik Simpson. In the spirit of express experimentation, Viva, Coldplay’s fourth studio album, was recorded in various locations selected for their unique sonic qualities. We recently spoke with Dravs about his work, the album, and his choice of Logic Pro and Apogee Symphony as his go-to tools for producing, recording (in studio and on location), and mixing. How did you first get involved with Viva la Vida? MD: I had just returned from Canada, after working with Arcade Fire on Neon Bible, suitcases still packed, when Chris Martin called me and told me he had a conversation with Win Butler, who suggested, “He’ll kick you into shape.” (Poetic for, “He will do his utmost in helping you to develop your artistic horizon.”) After the initial discussions, did you, the band, or Brian Eno have any particular preconceptions? MD: We all agreed very early on the most important aspect in making this record should be the actual playing and performing. Songs should be developed in the room by the band playing and exploring various angles. How would that affect the setting up of a band? MD: To be honest, we didn’t really concern ourselves too much with the technical side and approached it more from the point of view: does everybody feel comfortable in their space?; is there good visual contact between the musicians?; is the environment inspiring? And great, great credit to the amazing Rik Simpson for working transparently around us. Tell us about your production collaboration with Brian Eno; it's been quite a few albums now. How do you guys keep from stepping on each other's toes? MD: We do enjoy a very open and direct approach to communication. So there is no real stepping on each other’s toes. We don’t necessarily agree on everything, and when we don’t, we normally continue working on a direction or idea till we’re both happy with it – which is a great way of raising the bar. What was Rik Simpson's role? Did he use Logic? MD: Rik was (and continues to be) the engine room of the project, as well as a fantastic sounding board (which earned him a well deserved co-production credit). He’s constantly considering what the next step may be and preparing for it (together with his assistant Andy Ruggs), so we never missed recording an idea or spur of the moment performance. The whole recording aspect felt quite effortless (thanks to Rik). It’s an incredible luxury, when you’re just free to play and get on with it, wherever you feel like it. And, yes, he does use Logic — Rik and I spoke about which software to use very early on and we decided Logic would serve our needs best. Why Logic? MD: Various reasons really. First, it’s important to me to be able to keep working on a project, whatever the surroundings or hardware available. Many times I would take a session and continue working on it while traveling somewhere. Second, I enjoy (as was the case on Viva La Vida) having a few smaller satellite stations set up so band members can experiment with ideas and bring them to the table while other things may be going on elsewhere. Finally, because I also enjoy working on different styles of music quite a bit, I try to introduce programmed aspects into band productions and acoustic instruments into a more electronic environment: Logic gives me the best of both worlds. How did you divide your time between preproduction and actual recording? MD: I don’t think we ever really separated our time in terms of pre-production, recording time, and so forth. We focused more on our day-to-day rhythm. It was Brian actually who was (rightly so) adamant about consciously structuring our day and taking regular breaks. Starting the day with just playing for an hour — nothing that was considered for the album (although some of these ideas became part of the record). He’d try to continuously shake people’s comfort zone by asking them to play a different instrument, or take a different role. It’s reported that you moved around during production. MD: Yes, we changed locations a few times, ending up in churches, monasteries, and even a recording studio at some point. Was it a nightmare moving all the gear around? MD: Not really. We took a Logic rig with some Apogee converters and a few of Rik Simpson’s bits of choice mics and outboard, and, as if by magic…. You mentioned churches. Why churches? MD: I guess the building budgets for studios have been outdone a bit by the wealth of the Catholic Church (certainly in the past). They definitely knew how to design acoustic spaces back in the day (6th century onwards). I guess that’s why some of my favorite studios are converted churches. And it works the other way as well, given the number of times producers pray in studios. Did you have any concerns about doing this? MD: The main concern would be not to annoy the priest, or break anything while abseiling a couple of mics from the choir balcony. Didrecording Coldplay on location bring out something that wouldn't have happened in the studio? MD: I certainly think it added to the whole approach when trying to think outside the box, both for the band and the producers. How long have you been working on Logic? MD: A good 10 years now, after getting properly into it when working on Post and Homogenic by Bjork. It’s amazing to see how much the software has developed over the years, and now with Logic 8 and all its thrills I really don’t need to reach for any other software. What were some of the unique rewards and challenges of working with Coldplay? MD: Coldplay are an extremely hard working band. Despite their success over the years, they push themselves and want to be pushed as much as possible to continue to develop without getting trapped in a comfort zone. I find it very flattering for a band to ask me to kick their butts, and although we certainly had our “creative discussions” during the project, it was always clear that it’s to pursue the common goal, which is making a great record, even if it means banging our heads together and not taking the easy route or agreeing for the sake of it. http://www.apple.com/logicstudio/act...vs/?sr=hotnews Retrieved from http://wiki.coldplaying.com/index.ph...h_Marcus_Dravs

11-10-2008, 03:04 AM	#2
A RUSH OF VIDA It's time to run! Join Date: Jul 2008 Posts: 4,494 Location: California Gender: Country: Chat posts: 0 Thanks given: 1 Thanked 0 Times in 0 Posts	Cool..thanks!! __________________ Just standin' where I am with all the people passing by me The sound of all these passersby Mixed in with the bus and motor-car Must be sure these are the signs 'Cos I've been here a million times before Read more: TRAVIS - COMING AROUND LYRICS

11-10-2008, 04:35 AM	#3
Space Cadet You have been warned. Join Date: Jun 2005 Posts: 6,738 My Mood: Location: Nova Scotia Gender: Country: Chat posts: 0 Thanks given: 0 Thanked 3 Times in 3 Posts	Neat interview. Thanks __________________ Spoiler http://img-fan.theonering.net/middle...trolls_als.jpg http://www.youtube.com/watch?v=K9WmxwgW2J0 "Troll sat alone on his seat of stone, And munched and mumbled a bare old bone; For many a year he had gnawed it near, For meat was hard to come by. Done by! Gum by! In a cave in the hills he dwelt alone, And meat was hard to come by. Up came Tom with his big boots on. Said he to Troll: 'Pray, what is yon? For it looks like the shin o' my nuncle Tim, As should be a-lyin' in graveyard. Caveyard! Paveyard! This many a year has Tim been gone, And I thought he were lyin' in graveyard.' 'My lad,' said Troll, 'this bone I stole. But what be bones that lie in a hole? Thy nuncle was dead as a lump o' lead, Afore I found his shinbone. Tinbone! Thinbone! He can spare a share for a poor old troll, For he don't need his shinbone.' Said Tom: 'I don't see why the likes o' thee Without axin' leave should go makin' free With the shank or the shin o' my father's kin; So hand the old bone over! Rover! Trover! Though dead he be, it belongs to he; So hand the old bone over!' 'For a couple o' pins,' says Troll, and grins, 'I'll eat thee too, and gnaw thy shins. A bit o' fresh meat will go down sweet! I'll try my teeth on thee now. Hee now! See now! I'm tired o' gnawing old bones and skins; I've a mind to dine on thee now.' But just as he thought his dinner was caught, He found his hands had hold of naught. Before he could mind, Tom slipped behind And gave him the boot to larn him. Warn him! Darn him! A bump o' the boot on the seat, Tom thought, Would be the way to larn him. But harder than stone is the flesh and bone Of a troll that sits in the hills alone. As well set your boot to the mountain's root, For the seat of a troll don't feel it. Peel it! Heal it! Old Troll laughed, when he heard Tom groan, And he knew his toes could feel it. Tom's leg is game, since home he came, And his bootless foot is lasting lame; But Troll don't care, and he's still there With the bone he boned from its owner. Doner! Boner! Troll's old seat is still the same, And the bone he boned from its owner!" Albums of the Year 2011 - Vote Here!

11-10-2008, 06:29 AM	#4
marie/pims Reign of Love Join Date: Dec 2006 Posts: 6,005 My Mood: Location: London Gender: Country: Chat posts: 0 Thanks given: 0 Thanked 5 Times in 3 Posts	very nice!!Thank you for posting __________________ http://i185.photobucket.com/albums/x...layimage-1.jpg "So we rode down to the river Where Victorian ghosts pray For their curses to be broken We go wandering 'neath the arches Where the witches are and they say There are ghost towns in the ocean" Sponsor and learn about my Ghana and Rwanda volunteer projects! http://long-distances.blogspot.com/ "We're all just working for Will Champion"

11-10-2008, 09:19 AM	#5
busybeeburns mr coldplaying himself Join Date: Sep 2002 Posts: 46,343 My Mood: Location: test Gender: Country: Seen CP: 20 times Fav. CP album: X&Y Fav. CP song: GPASUYF Fav. CP member: Chat posts: 4 Thanks given: 1,553 Thanked 941 Times in 423 Posts	great article thanks! __________________ The early bird catches the worm. The second mouse gets the cheese!

11-10-2008, 11:13 AM	#6
nkydickson Guy Berryman's Pants Join Date: Jun 2008 Posts: 1,077 My Mood: Location: Ohio Gender: Country: Chat posts: 0 Thanks given: 0 Thanked 0 Times in 0 Posts	Great interview !! Thanks __________________ Yo Quiero Guy ! Chris Martin:"Coldplay is for people with great taste, intelligence, incredible good lookingness, talent, ability, success, grabbing of life. Coldplay's for people who know what life's about. They're always entertaining. Delightful to talk to. Sweet, charming, incredibly good in bed. Virile. They have incredible success with girls, or boys, or both. They're generally just the world's best citizens. Maybe I'm biased, but I'm definitely right."

16-10-2008, 11:13 PM	#7
cha buckland Jotena Buckland Join Date: Jun 2008 Posts: 1,675 My Mood: Location: Lille France Gender: Country: Chat posts: 0 Thanks given: 0 Thanked 0 Times in 0 Posts	Producing COLDPLAY : Interview with Markus Dravs Coldplay is one of the world’s most popular rock bands. Since coming together in 1998, they’ve sold 35 million albums. Their second album, A Rush of Blood to the Head (2002), was selected by Rolling Stone magazine as one of the 500 greatest albums of all time.... Next here : http://www.apple.com/logicstudio/act...vs/?sr=hotnews __________________ ...Charlotte... Paris Bercy : 9 September 2008 …… The Bakery London : 7 Avril 2009 with Guy & Phil …… Main Square Festival : 2 Juillet 2009 …… Parc Des Princes : 7 September 2009 …… A Mail from London thank you so much Jonny and thank you so much Chris, Will & Guy! : 16 Février 2010 …… The Exhibition Room : 5 Avril 2010 …… The Exhibition Room : 5 Juin 2010 …… http://logicaltandori.tumblr.com/

16-10-2008, 11:18 PM	#9
cha buckland Jotena Buckland Join Date: Jun 2008 Posts: 1,675 My Mood: Location: Lille France Gender: Country: Chat posts: 0 Thanks given: 0 Thanked 0 Times in 0 Posts	Sorry I had not seen the topic ! __________________ ...Charlotte... Paris Bercy : 9 September 2008 …… The Bakery London : 7 Avril 2009 with Guy & Phil …… Main Square Festival : 2 Juillet 2009 …… Parc Des Princes : 7 September 2009 …… A Mail from London thank you so much Jonny and thank you so much Chris, Will & Guy! : 16 Février 2010 …… The Exhibition Room : 5 Avril 2010 …… The Exhibition Room : 5 Juin 2010 …… http://logicaltandori.tumblr.com/