Scottie P., known for his FOH work with R&B stars such as Prince, Brian McKnight, Maxwell, and Earth Wind & Fire among others, talks about the music business. I recently caught up with him on the European leg of the R. Kelly tour.

Mr. P and the Midas XL-4

How did you get your start in the music business? I started out as a drum technician for Prince in 1990. I stayed until 1994, soaking in knowledge about musical arrangement along the way by listening to Prince, in rehearsals, talk about his theories on live playing. I look at those four years as my college. It was like a paid education. Until this day I don’t think I’ve ever thanked him for that. His theories have helped me on every gig since.

With so many engineers having mixed Prince over the years, what distinguishes you from the others?

Maybe it’s a communication level we’ve reached. He knows I have his best interests at heart. He used to say that his songs are like his children and I had to be the day care provider. I like that one. An engineer really has to do their homework on his songs because he notices everything and takes it very personally. He can spot an engineer who doesn’t know the songs a mile away and they don’t last long. Believe me. When I worked as a drum tech I bet he went through twenty sound guys in four years!

Were they that bad?

No. They were just not what he was looking for. There are some mighty big names on that list.

Who else had the influence on your career?

There are two people to whom I credit the most influence. One is Cody Anderson, a friend from Minneapolis and a great engineer in his own right, who helped me get started mixing sound and seems always to inspire me. The other is Dave Hampton, a studio builder in L.A., who has really opened my eyes to the business aspect of touring. Their advice has been influential and for that I will always be grateful.

Speaking of advice, what advice would you give to young people wanting a career in as an engineer?

If you have good ears that’s one thing, but that can be developed. Nearly all of the touring engineers out there can mix ninety-five percent of the big acts on the road. There are really no secrets to it to it, no matter what they might say. A lot of times they are just protecting their jobs. It is still just stereo program at high volume. Having a good basic mix is easy but that’s only part of it. The artist and the band have to have confidence in you as well. My theory is that it is one third musical, one third technical, and one third relational. If you can balance them out and be equally as good at all three that’s a pretty good start.

You’ve mentioned to me that you have a love of classical music. Do you think that directly lends itself towards mixing R&B?

Not directly, no. Classical music is layered with much more counterpoint than R&B music but the room for feeling emotion is the same. In classical music the orchestra and soloists are mixing themselves with guidance from the conductor. In live audio it is mainly close proximity mic technique with an in-your-face kind of mix that is achieved. Some of the subtlety in recording has been lost over the years with so many tracks available on which to record. Live music has gone that same direction. I’ve seen engineers not be able to fit one artist onto two 48-channel consoles. So much for the sublime.

What is your favorite console on which to mix?

So far it has been the Midas XL4. It provides a good balance of analog control and automation features. The Midas equalization is extremely transparent. I think it’s still the best in the business. When an input is eq’d well, it doesn’t sound eq’d at all. If you know what I mean.

Have you had a chance to mix on the Yamaha PM1D?

Not yet, but the idea of the PM1D is exciting and long overdue in the live setting so I look forward to that opportunity. The only thing logistically unsettling is that if an engineer relies too heavily on an automated show, critical things like mic placement, artist volume, and musical dynamics can be easily overlooked. For certain applications though, it will be the perfect union of technology and performance.

Do you have a most memorable gig? If so, why?

Yes. The first time I mixed the ‘Essence Festival’ with Maxwell. I think there were forty thousand people there. I kept waiting for that pre-show anxiety to kick in but it never did. I knew then that I would never be nervous again. I kind of miss that feeling though. It has definitely taken the excitement out of seeing live pop concerts.

Are you saying that you can’t mix business with pleasure?

No. It’s just that I prefer to spend my off time away from the music business. After all, it is the “music business”. Two words, each one equally as important as the other. One has to be good at both to succeed.

Out of all the artists you’ve mixed, who is your favorite?

It’s always the next one!