INTERVIEW

STEVEN WILSON: REMIXING CLASSIC ALBUMS

Prog-rock wunderkind Steven Wilson is using his studio skills

to give legendary rock albums a new lease of life.

TONY BACON far, he’s polished classic records by King during otherwise dead time on his extensive
Crimson, Roxy Music, Jethro Tull, Yes, XTC, tours. So far this year, he’s played over 60

“T
he equivalent of polishing the
Sistine Chapel, that’s what I feel
I’m doing sometimes with these
classic records.” Steven Wilson is talking
about his remixing work, which he began
in 2009 as a sideline to his very successful
career as a musician and producer. So
Tears For Fears and more, creating new
stereo and 5.1 surround mixes that have
been generally praised by fans and critics.
He says this sideline has grown to take
up maybe a fifth of his working life, and
has recently developed a laptop setup
that means he can do much of his remixing
concerts in Europe and North America, with
a further 60 or so slated toward the end of
2018 and into 2019 in Japan, Australasia,
North America and Europe.
“If I’ve got a couple of days off in a hotel
and time to kill,” Wilson says, “I can load up
an album remix project and start to piece

100 January 2019 / w w w . s o u n d o n s o u n d . c o m


it together. I can’t create definitive mixes,
and obviously I can’t do the surround mixes,
but I can do a good 60 percent of the work
sitting in a hotel or dressing room: editing,
compiling, getting basic balances, figuring
out stereo placement on the original mixes.
So although I’m busier than ever in my own
career, I’m managing to maintain the remix
work too. I’m becoming more selective
about what I take on, though, because I’m
in the fortunate position of being offered
more and more projects. But then I’ve only
ever wanted to remix things that I have an
affinity with, whether it’s an album I grew up
Photos: Lasse Hoile
Steven Wilson in his home studio.
listening to, or one that I can genuinely say
I love — and with nearly all the projects I’ve
taken on, both are true.”
Five Steps To Audio Heaven
A typical Steven Wilson remix goes through
five stages. First, he receives a commission
from a record label or a management
company; the choice of album is often
connected to a meaningful anniversary,
or to an artist gaining new rights to their
back catalogue, or a back catalogue being
acquired by a different label.
Next, the commissioning company
w w w . s o u n d o n s o u n d . c o m / January 2019
locates the relevant multitracks, which
is not necessarily a straightforward task.
“For example, at one point I was asked
if I wanted to remix the back catalogue
of a legendary rock band, but they just
couldn’t find enough of the tapes,” Wilson
says. The other factor here is fiscal: every
visit to the tape library or archive is usually
at a cost to the company. When the tapes
are located, they are baked, directly
transferred to 96kHz, 24-bit digital files, and
supplied to Wilson as a complete set of raw
WAV files. “So if there’s 10 minutes of test
tones on the tape, I’ll get that,” he explains,
“or if there’s 10 minutes of silence at the
end of the reel, or of the band tuning up,
that will also be part of what I receive.”
The number of files he gets matches
the number of tracks on the tape. “So I
might get eight files, 24 files — or, in one
case, 72 files,” he adds with a smile. He
also gets scans of the tape boxes, where
available, as sometimes they can reveal
useful information about which takes were
used and so on.
The third step is to listen to what’s
been transferred from the multitrack reels
in order to identify the master take. This
often long process can be a mixture of
revelation, as when he discovers unreleased
material, for example, and tedium, such
as listening to the band going through 27
false starts or mis-takes. “Sometimes there
can be multiple takes that were compiled
to create the finished master,” he says. “So
you might find a particular master is half of
take five and then the second half of take
12, and then it might cut back to take five
for the last four bars — whatever it is. So at
this stage I’m figuring out what the master
takes are. I then compile a session where
I have all the right takes. You’ve still done
no treatment, no balancing, no editing, no
stereo placement, nothing like that. But
at least now you have all the master takes
compiled and ready for mixing.”
Even more close listening follows, as
Wilson lines up the original stereo mixes
to compare them with the master-take
multitracks. This is a slow, painstakingly
intense part of the process. “I start listening
to 10, 15 seconds at a time, and it’ll be ‘Oh
yeah, the guitar’s muted for those first four
bars of the second verse, so I need to do
that in my session.’ Then I’ll listen to the
next 10 seconds, and ‘Ah, OK, there’s a
phaser been added to the hi-hat there.’ And
so on through each song.”
Usually, Wilson is dealing with detailed
pieces of work, where the texture of
individual sounds and their presence and
101
 INTERVIEW
STEVEN WILSON: REMIXING CLASSIC ALBUMS
location is just as important as any other
constituent of the classic recording in
question. “Some of these mixes were real
works of art,” he says. “They’d spend a
couple of days, and there’d be three or
four of them, all on the faders, bringing
phasers in, bringing reverbs in on particular
words, panning things left and right, riding
102 January 2019 / w w w . s o u n d o n s o u n d . c o m
solos or phrases in and out, that kind of
thing. So listening on headphones and
identifying all of these mix moves and
where things have been muted or taken
out of the mix maybe for a few bars — all
of that takes the most time. That’s the
detective work. And it’s so easy to miss
things without full concentration.”
Apple’s Logic has been Steven Wilson’s sequencer
of choice since before it was Apple’s Logic!
Finally, Wilson reaches the point where
he can actually remix the track whilst
remaining true to the artist’s original vision:
he stresses that his stereo remixes provide
an enhanced version of the original and
not a wholly new experience. His task to
this end is often made easier by the clarity
and exposure that the original multitracks
can reveal, and then it’s a case of making
adjustments only where necessary. “At
this stage in the workflow, it’s a matter of
refining,” he says, “trying to get as close
as possible to the original mix, tweaking
EQs and so on. Over a period of days, I’ll
finish the mix, and then when I go back to
it a couple of days later I’ll hear things that
aren’t quite right. Usually the artist will have
some feedback, too. Sometimes they’ll
have memories of how they did things,
which is really useful. But,” he adds with a
smile, “mostly they don’t remember much
at all. Hopefully, then the artist will come
up and listen, and maybe they’ll have some
more feedback based on listening to it in
my studio.”
At that point, with an agreed final stereo
mix, Wilson either goes on to create the 5.1
mix, if that’s part of the job, or he’ll deliver
This original track sheet from the ‘Sound Chaser’
multitrack indicates the degree to which Yes
pushed the limits of 24-track recording.
a stereo mix if that’s all that’s required. The
files are delivered as 96kHz, 24-bit WAVs,
usually to whoever is mastering the CD or
authoring the Blu-ray or DVD.
History Channels
That’s the broad outline of Steven Wilson’s
remixing work, from commission to
completion. His primary tool for the job
is Apple’s Logic Pro, which he’s used for
many years, beginning back when it was
still C-Lab Creator. Before that, he worked
his way up from his teenage years, when
his dad, an electronics engineer who
worked for Nokia among others, built him
a little multitrack cassette recorder and an
echo box.
The first pro-level machine he owned
was a Tascam 16-track tape recorder, which
he had for a couple of years in the late ’80s
and early ’90s, using it to record his early
No-Man records with Tim Bowness and
the first Porcupine Tree album. Soon after
that he discovered ADAT machines and the
world of early digital recording. “When I
listen to my ADAT albums now, they have
that signature of the early generation of
Familiar Failings
Steven Wilson recalls a conversation with
Allan Rouse, the engineer who curated the
2009 Beatles remasters, about the degree to
which mistakes should be corrected. Rouse and
the team had to ask themselves questions about
seemingly minor things such as clicks and pops
and hums and other ephemeral noises that
were part of the original recordings. Should
they clean them up? “He told me it was six of
one and half a dozen of the other,” Wilson says.
“Some they decided they should remove, some
they decided it was best to leave, because they
had become part of the fabric of the song. You
just have to follow your own instincts. And
because I have an affinity with these records,
I think I have a good instinct for knowing what
I should fix and what I shouldn’t.”
A case in point arose on his remix of
Marillion’s 1994 album Brave. At one point,
two songs are crossfaded together, but this
digital recording, the opposite of analogue.
At the time, I liked the clarity and silent
noise floor after years of struggling with
faulty analogue tape machines, but now,
of course, they sound a bit harsh and cold,
w w w . s o u n d o n s o u n d . c o m / January 2019
hadn’t been done too well on the original
release. “The final note of the previous song
was supposed to hit the first note of the second
song, and in the original it missed. I asked
myself, ‘Should I fix that?’ At first I fixed it,
but then I decided no, I should put it back to
how it was, because that’s the way people have
been listening to it for 25 years. It’s no longer
a mistake: it’s become the way it is. For every
person who complained that I didn’t fix it,
there would have been someone who’d have
said, ‘How dare he change that? Sacrilege!’“
There have even been instances where the
artist has asked Wilson to change things and
he has been resistant. “One said to me ‘Oh,
when we played that in the studio, we played it
too slow. Can you speed it up?’ I said ‘No! I’m
not going to do that. This is a classic album,
and whether you’re happy with it or not, this is
like a sacred text. I’m not going to change it.’”
and I recognise that some of the beauty
of sound is missing. Nowadays, digital
recording has come a long way.”
As for Logic, it could just as easily have
been Pro Tools or Cubase, but his local
103
 INTERVIEW
STEVEN WILSON: REMIXING CLASSIC ALBUMS
Many of Wilson’s remix projects
involve surround mixes, for which
a 5.1 monitoring system is vital.
dealer suggested C-Lab Creator. “The guys
in Apple in Hamburg that take care of Logic
have become good friends, to the point
that they actually changed some of the 5.1
implementation based on my suggestions.
I can’t imagine being able to do that with
most companies of that size. You’d think
Apple of all companies would be the most
impenetrable of all, but they’ve been
fantastic. So I’ve been a Logic guy probably
for more than 20 years now.”
In fact, when people ask Wilson what
instrument he plays, “I tell them that for me,
the studio has always been the instrument.
I’m not that interested in playing or being
a musician — I just love being in the studio,
messing about. The studio, that’s my
instrument. It’s that Eno thing, you know?”
In The Round
Wilson’s introduction to the idea of
surround remixing came when Elliot
Scheiner created 5.1 remixes of the
Porcupine Tree albums In Absentia and
Deadwing, in 2004 and 2005 respectively.
“Being the control freak that I am,” Wilson
says with a smile, “I started to feel that this
was something out of my control. I wanted
to be able to do it myself. There were some
mix decisions that Elliot made that weren’t
the way I would have approached it. But I
didn’t have the skills, or the technology at
the time, to be able to do it myself.”
So Wilson taught himself how to make
104 January 2019 / w w w . s o u n d o n s o u n d . c o m
surround mixes. The next Porcupine Tree
album, Fear Of A Blank Planet (2007), came
out with a Wilson surround mix. “And it got
a Grammy nomination for best surround
sound mix! So I thought wow, I must be
doing something right.”
This led to Wilson’s first remix for a
band other than his own, on King Crimson’s
In The Court Of The Crimson King. At
the time, King Crimson and Porcupine
Tree shared the same management.
Like any good managers, they asked
Robert Fripp if he’d be interested in their
Grammy‑nominated client making remixes
of the Crimson catalogue. “I guess it was
a perfect storm,” Wilson says. “I wanted to
get more involved in remixing, and I think
they were looking to revamp the catalogue
with anniversary editions and so on.” Wilson
duly made a new 5.1 and a recreated stereo
mix for the Crimson King box that came out
in 2009, on the album’s 40th birthday.
Buried Treasure
Wilson’s first crack at remixing for another
artist was also his first experience of finding
alternative takes and unheard versions
among the multitracks, which can form part
of the draw for fans who always want to hear
that little bit extra from the archive. Wilson’s
personal preference is to find new songs or
completely alternative treatments of songs,
rather than simply alternative takes. On
Crimson King he found a haunting version
of ‘I Talk To The Wind’ with just Fripp on
guitar and Ian McDonald on flute. “That was
a beautiful instrumental,” he says, “and a
completely different piece, really, not just
another take of what we already know. To
me, alternate takes are not so interesting,
though I understand there are people out
there who would happily listen to a whole
disc of studio run-throughs of ‘21st Century
Schizoid Man’. What I’m excited by is when
you find a performance that actually adds
something new to the canon.”
Then there are pieces that benefit from
the clarity afforded by a modern mix and
digital format. For instance, the final 10
minutes or so of ‘Moonchild’ from Crimson
King are very quiet indeed. “If you listen
to the original mix, you’re literally listening
through a wall of tape hiss,” Wilson says. “It’s like the tape
hiss is louder than anything going on in the song! And so
that was one of the nice things we were able to do with the
remix. I got that noise floor right down — not completely,
but now you can hear a lot more of what they’re doing.”
Fripp is a musician who revels in intelligent observations,
and Wilson recalls one in particular concerning the Crimson
King album. “He told me that he believed the traditional
notion of genius is wrong: this idea that there are certain
artists in the world who are musical geniuses. He believes that
genius is something that visits people temporarily and then
moves on. In 1969, he said, King Crimson were temporarily
visited by the spirit of genius, and they made that one record.
He wasn’t saying all their other records aren’t good too, but
he said that record had the magic. And then the spirit of
genius moved on, maybe to Pink Floyd, who did Dark Side Of
The Moon, or whoever it was took the next step into creative
genius. That’s a really interesting point. Because I think there’s
no artist who hasn’t made at least one below-par record, so
how does that square with the notion of them as a genius?”

Lung Transplant
Steven Wilson has remixed much of Jethro Tull’s back
catalogue, and Aqualung in particular was an album that
cried out for a remix. Wilson knew the original well and
remembered how muddy and hissy it was, with some weird
frequency issues going on. Popular opinion seems to agree
with his own view that his remix fixed many of those sonic
problems. And here’s the paradox: it sounds better; but
perhaps also it’s a little more clinical.
“That’s almost inevitable,” he says. “Honestly, to me,
bearing in mind I don’t know a lot about analogue tape, it
sounds like the original was mixed on to a faulty machine
or a machine that wasn’t lined up properly. And it’s always
sounded a bit like that: very muffled and hissy. I was able
to fix that, because the source multitrack tapes sounded
beautiful. The remix has clarity missing from the original, it
sounds beautiful, and to some it’s the definitive mix now.
But understandably, other people would probably still rather
hear the original analogue mix with all its flaws. I accept that.
That’s not something that can ever be reconciled with a remix
project, which is why I always try to encourage the record
company to include both the original and the remix on a
reissue set, as two different experiences.”
Many of the Tull records that Wilson has remixed provided
an unusually rich seam of unreleased or little-heard songs. In
his estimation, the Tull tapes generally reveal at least twice
as many songs as were selected for the final album. With
Aqualung, for example, there was enough for an entire disc
of such material, most of which was in an almost-finished
state. “The Tull series has been a lot of fun,” he says, “finding
all these completely unreleased songs that even Ian can’t
remember recording. Apparently they quite often went into
the studio, recorded a song, and then literally forgot all about
it — didn’t even mix it!”

Topographic Equalisation
Wilson has so far remixed five Yes albums, and he’s
particularly pleased with the results on Tales From
Topographic Oceans, a recording that has had its critics since
it was released in 1973. You’ll recall that it’s the one with four

w w w . s o u n d o n s o u n d . c o m / January 2019 105

 INTERVIEW
STEVEN WILSON: REMIXING CLASSIC ALBUMS

Virtual Vintage

The biggest move forward in technological capability in recent years for
Steven Wilson’s remixing work has come with plug-ins that recreate vintage
studio effects. These make it easer to get sounds in the digital domain that
are closer to the original analogue effects used on many classic records. “I’m
using a lot of the Universal Audio plug-ins, which are fantastic emulations
of original analogue stuff. Now I’m able to use emulations of a lot of the old
The availability of good plug-in recreations of vintage gear makes Steven
Wilson’s job a lot easier, as here on Jethro Tull’s ‘Aqualung’.
analogue compressors, like the Fairchild or the 1176, and the EMT 140
plate — many of the things they were using at the time. The last couple of
years I’ve been adding the UA Oxide Tape plug-in to the output bus, too,
which definitely seems to give things a little more of that analogue magic.”

long pieces spread over four sides of the example, it might start off as a percussion fantastically ambitious, but he knows
original double vinyl album. “I was happy part, then there’d be a little bit of bass, that must have made it a nightmare to
with what I achieved with that one and then a backing vocal would come in, and mix originally. “So I come along 40 years
with Relayer, because I later, and of course I
don’t think those albums can load up the 24-track
sounded sonically as good original and split out
as the earlier ones,” he everything on to its own
says. “I’ve tended to most channel. So a 24-track
enjoy working on albums tape ended up being
that perhaps had some maybe an 80-channel
kind of problem with the session, because I’ve
original mix. So I figured given every little piece
OK, now that we’re its own track. And that
remixing, we can maybe means I can treat each of
fix some of those things.” those parts with its own
His aim on these two EQ, its own compression,
albums was to give them reverberation, treatment
more sonic richness and and placement. In that way,
clarity, more definition, and to make them then a guitar overdub, then it would go I was trying to get a little more out of it than
a little less harsh to listen to. “Topographic back to the percussion. And every track they possibly could in the original mix.”
Oceans was a particular challenge, with of the multitrack was like that. They were
these huge 20-minute pieces of music cramming every inch of every channel
Picking Up The Pieces
which were recorded on 24 tracks — on this 24-track tape. If Yes had had the At the time of writing, Wilson’s 5.1 remix
because what Yes were reaching for was limitless possibilities of digital recording of Seeds Of Love by Tears For Fears is
something way beyond the capabilities of available to them, they’d probably have awaiting release some time in 2019, its
24-track tape. I’d be taking one channel gone even further with their vision.” 30th anniversary year. It has been his most
in isolation on a 24-track tape and, for Wilson describes Topographic as complicated remixing job so far. It’s also

106 January 2019 / w w w . s o u n d o n s o u n d . c o m

On songs like ‘Ritual’, Yes squeezed
far more than 24 instruments onto 24
tracks; modern DAW recording gave
Steven Wilson the luxury of being able
to separate out all of these elements
onto their own Logic tracks.

one of his favourite records of all

time. “In terms of ’80s production,
it’s the very pinnacle for me,” he
says. “Yes, there’s a lot of digital
reverb on it, and yes, there’s a lot
of ’80s synthesizers on it, but the
songwriting, the craftsmanship, the
production, the engineering and the
mixing are flawless.” Which explains
why Wilson only did a 5.1 remix: it
would be pointless, he says, to try to
improve on the original stereo mix.
The original recording, too, was
anything but straightforward. It
took Roland Orzabal, Curt Smith,
and their collaborators around
three years to complete. And this
complexity feeds into Wilson’s
story, too. “They used different
studios, tried different musicians,
made different takes, had different
engineers, and so when we came to
consider the multitrack tapes, there
were many problems.” Some of the
songs were recorded with three
24-track tape machines running in
sync, essentially a master and two
slaves, resulting in up to 72 tracks of
recorded information.
“Not only that,” Wilson adds,
“but some of the tracks were
recorded over a long period of time.
Sometimes the takes had been
cloned, and then certain things
had been replaced. For example,
one take had been copied, and
then a different drummer had come in and when you’ve asked the record company to We tried going to Roland’s personal tape
overdubbed his drums over the top of bake another 10 or 20 tapes, and you’ve store, but it was nowhere to be found, and
somebody else’s drums. So you might think been back four or five times, and it’s nobody remembered where it had come
you’ve got the right slave tape for, say, ‘Year costing them an arm and a leg every time, from. So I took it off the original stereo
Of The Knife’, and then you load it up. You you get to the point where they say ‘Sorry, master tape, and of course then you can’t
hear the bass part’s right, the synth part’s we can’t bake any more tapes, you’re just do anything with that in surround, you’re
right, the vocals are right, but, oh dear, going to have to piece it together with just stuck with stereo. But,” he says with a
that’s a different drum take. Ah, we need what you’ve got.’” laugh, “it’s just a few seconds.”
to find a different slave reel with a different And that’s what Wilson did, using what
drum performance on it but all the other he estimates as 95 percent of the material
For The Fans
stuff the same.” he sought, and pushing forward with An important consideration for Wilson
To cut a very long story short, they never the help of the original engineer, David when he’s creating remixes is the audience.
found all the right parts. “So, for example, Bascombe. “In one case, I had to take the Perhaps that’s obvious, and yet there
the drum mix for ‘Woman In Chains’, which first five seconds of ‘Sowing The Seeds Of are other remixers who seem to work for
is Phil Collins, we never found the correct Love’ from the original stereo tape, those themselves rather than anyone else, who
drum multitrack slave — it’s just a stereo static sounds of radio tuning that I could seem to take too many liberties with the
bounce-down from one of the other reels. have had a lot of fun with in surround. I original. Wilson has the benefit of being a
That’s all I had to work with. Not ideal, but couldn’t find that on any of the multitracks. musician, a fan, and a performer, alongside

w w w . s o u n d o n s o u n d . c o m / January 2019 107

 INTERVIEW
STEVEN WILSON: REMIXING CLASSIC ALBUMS
Tears For Fears’ Seeds Of Love album has proved
to be Wilson’s most complex remix project so far.
his deep love of recording. “My approach
probably doesn’t sit well with everyone,
though,” he says. “I’ve seen comments
from people where they say they’ve bought
a Steven Wilson remix expecting something
radical, but it sounds the same. But to other
people, that is the point. It’s the same as
they remember, just with a bit more clarity
and so on. I saw a comment about my
Chicago II remix saying what was the point
if it’s so faithful to the original? Well, you
would hear a significant difference in the
sonics if you compared them against each
other. But ultimately, on the surface, it’s not
supposed to sound different.”
Wilson says he’s acutely aware of who
he’s doing these remixes for, of who’s going
to listen to them and what they want from
them. “I’m primarily doing them for the
people who already know and love these
records. It would be wonderful to think
there’s a potential new audience that might
appreciate something because it’s been
remixed and made to sound a bit vivid for
modern listening. But I think 99 percent of
the audience are people who have bought
these records at least once before, if not
three or four times.”
The artist can be an important
contributor to the process. “They have the
prerogative, of course, to change their own
work,” Wilson says. “You don’t want to
108 January 2019 / w w w . s o u n d o n s o u n d . c o m
mess with someone else’s vision, but all the
same I think often it’s better that the artist
isn’t too closely involved in the project, at
least during the main mixing process.”
One artist refused to include a version of
a classic track with seven or so minutes of
the band improvising beyond the original
fade; another vetoed an out-take because
he hadn’t written it. Wilson has to be a
diplomat in addition to his technical duties.
He sums up his approach as being
devoutly faithful to the original mix when
he’s working in stereo, and creating
something fresh when he’s working in
surround. “When you’re working in digital
and remixing — at very high resolution,
I should say, from beautifully transferred
copies of the analogue tapes — then detail
that wasn’t there before will come out
anyway, almost without necessarily changing
anything. Suddenly, you hear things that
you didn’t hear before. When you get to
surround sound, that’s even more the case,
because you have this space and these
extra dimensions. Now you can hear things
that you would never have heard in stereo.
There’s a whole psychology going on with
the way people connect with remixing. It
can be quite controversial, and I think if
I’ve achieved anything, I’ve minimised the
controversy by doing something that people
can at least appreciate, even if they would
still rather hear the original mix.”
Work Work Work
We leave Wilson with his sixth solo album
to write and record, a slew of further live
shows to perform, a Blu-ray DVD of a recent
Albert Hall date set for release, and various
remixes in the works, including the next in
his series for both Jethro Tull and XTC, plus
a boxed set of Tangerine Dream material
set for release with his 5.1 remixes of
Phaedra, Ricochet and an unheard 1974
album. “Just use your ears,” he concludes.
“It doesn’t matter if it’s not perfect, or if you
don’t really know how or why it works. The
question has to be: does it sound good? I
didn’t go to audio school, I never learned
how to to use any of this stuff. I just messed
about until it sounded good.”
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January 2019 edition

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