That's all for today …
Nowadays, I’m asked to master tracks for Instagram and Spotify as opposed to vinyl and CD. What’s your view about how streaming has affected everything? – John Davis, Metropolis Mastering
How do you use intuition as a tool in your productions and how do you know when something you are working on is finished? You mentioned Talk Talk and Mark Hollis – he stopped when he thought he could not add anything new. Can you imagine yourself doing something entirely different?
Is there any track from any artist you’ve worked with that you are particularly proud of? Something that brings back great memories when you listen to it?
Pavement’s Terror Twilight is one of my favourite albums and sounds incredible. But the band broke up soon after it was released and I understand that relationships were strained. Did you enjoy producing that album, and how do you think it holds up to the rest of your work?
Any chance of another Basement session?
Where did the artwork for the new Ultraísta album come from?
How hard is it making an album?
What do you listen to as you’re trying to fall asleep?
How much Marmite do you consume?
The most important part of making records is …
You seem to shy away from technical-oriented discussions. Any reasons for doing so? A lot of bands have noted how quickly you work and that you’re not too precious about the recording process, yet the final result comes off as meticulous. Do you have any insight into how to move fast and capture the energy of the moment? Do you organise the studio and control room in a way that is responsive to any creative situation?
Those of us who shelled out for the deluxe edition of A Moon Shaped Pool also received a small length of half-inch tape alleged to have been retrieved from actual Radiohead sessions dating back to Kid A. Were any lost and unreleased gems included as part of this Willy Wonka-like scavenger hunt, or is my piece of tape likely to contain something disappointing, like Colin Greenwood practising a bass run?
What was it like working with Roger Waters? Did you consciously avoid “big guitar solos” to negate it sounding like David Gilmour/Pink Floyd.
I would imagine that very few people question Paul McCartney’s methods in the studio. How difficult (or not) was it to say to him, “How about doing it this way?” during the making of Chaos and Creation in the Backyard?
Is it true that much of The King of Limbs was recorded with the software Max/MSP? If it is true, how much of a hand did you have in programming and using Max/MSP? Jonny Greenwood seems to have taken all the credit …
Favourite human artist
Thank you for your inspiring work! Do you have a favourite Joni Mitchell album?
Created an account just for this. I’m a human person who enjoys audio production and engineering a lot. I’m quite shy when it comes to working with other interesting music folk, mainly down to the fact I have no idea how to write a melody. I love sounds and atmospheres, making things sound full and all that great stuff. The question I’m really getting at is: when was the first time you knew you could do this? Did that moment happen at all? And how has your relationship to music evolved? Bit of a belter of a question, but you asked for this so I don’t feel bad.
Are you a night owl? If so, how do you deal with society’s preference for early birds? Do you suffer from insomnia?
What state are the songs in when you start working with an artist? What is the variant that most changes in the production process? Structure, aesthetics, sound? Love from Argentina!
You’ve worked with countless musicians. Do you adapt to their work process, do you propose a process, or is it an exchange? And with Ultraísta, specifically, did you have the same process with the second album [Sister, out in March] as with the first? Did all the time in between the two influence the way you produced an album together? Can’t wait to listen to Sister!
Which producers and which records inspired you as a young would-be producer?
What is your feeling/relationship with failure? Don’t mean to be a downer, just curious to learn about your journey when overcoming failure.
It’s been a year since the great Mark Hollis passed away. How much of an influence were/are Talk Talk on the Radiohead sound and your work with the band as producer?
Which album has the best atmosphere in its production? I can never get over how rich and ghostly Time Out of Mind by Bob Dylan and Daniel Lanois is.
When you’re making a record, do you try to listen to as much other music as possible to spark ideas? Or do you do the opposite – try and isolate any external music to not get thrown off what you set out to make?
And we're live!
Post your questions for Nigel Godrich
It’s been eight years since Nigel Godrich’s band Ultraísta released their debut album (we called it “a producer’s album, but not without the benefits that come from stepping out from behind the desk”), and now the trio are back with Sister, out on 13 March. Multi-instrumentalist Godrich joins frontwoman Laura Bettinson and drummer/producer Joey Waronker for what they’ve described as a “cinematic sci-fi soundscape that’s both exhilarating and laser-focused” and a “celebration of our friendship”, which is a strong Venn diagram if ever there was one.
Godrich is heading to the Guardian offices at 2pm on 25 February to answer your questions about Ultraísta – and of course his most famous gig as Radiohead’s long-term producer (not to mention a fixture of their various side projects, including Atoms for Peace, and Thom Yorke and Jonny Greenwood’s respective solo endeavours). On top of that, you can also ask him about his lauded work with U2, REM and Roger Waters, or who was the biggest diva on the 20th anniversary recording on Do They Know It’s Christmas? – not forgetting getting fired by the Strokes, and in turn firing Paul McCartney’s band before they got to work on Chaos and Creation in the Backyard.
That’s a lot to fit into an hour, but we’ll squeeze in as many of your questions for Nige as possible. Post them in the comments and we’ll see you on Tuesday.