“It’s a very common name. Back of $20 bills, that’s me.” Producer Andy Jackson is being typically self-effacing as he leans back in a chair across from me in front of the massive Neve 88R console that dominates the control room in the Astoria, the grand houseboat recording studio moored on the Thames somewhere near Hampton, Middlesex in England. It’s late August 2014, and it was my distinct honor to be summoned across the Pond to partake in an exclusive listening session for The Endless River, which has been deemed the final Pink Floyd album. (River will be released worldwide by Columbia on November 10.) After a rousing listening session in a place where much of the music I heard was either created, recorded, and/or mixed, I sat down across from Jackson exclusively to discuss the genesis of River, the costs and benefits of mixing in both analog and Pro Tools, and what may (or may not) be in Floyd's future.
In my Track One column in the print edition of S+V’s June/July/August 2011 issue, I mentioned that I would be discussing my experiences with Autonomic’s Mirage MMS-5 media server in this space. Wellll... things change. Because we’re all good friends here, I’ll give you the scoop.
So, Sam, have you had a chance to breathe yet? It seems like you've been going, well, forever on all the Spider-man projects, especially Spider-Man 3. This is the longest movie cycle I've ever worked on. But yes, now I have a chance to breathe and spent time with my family, do some writing, and read some great books. I'm really enjoying myself.