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Eg White
Eg White
Eg White
Eg White
Eg White
Eg White

Eg White

Songwriter

Eg White was in several bands back in the day, but really found his forte in songwriting. He has written huge tracks with Adele, Tom Odell, and Florence and the Machine and penned the number one 'Leave Right Now' for Will Young in just six hours. Thank god the 'band thing' didn't work out…

Adele, Tom Odell, Beverley Knight, Linkin Park, James Blunt, Duffy, James Morrison, Natalie Imbruglia, Joss Stone, Florence and the Machine, Will Young, The Hoosiers
Eg Uses
Origin
Who's coming through the door, I wonder?

I'm a songwriter and I was born into a family of classical musicians and joined the family trade. I discovered the joys of pop music in my teens, and I have been writing and recording songs for a long time. For a while in the 1980s and early 90s, I was in pop groups. Since then I've been writing and recording songs with whoever comes through the door in my studio in London.

My main system is Pro Tools and has been for 20 years. I'm trying to find a way of mixing up real and computer-generated instruments, though most of the time I'm probably trying to make stuff from scratch using the computer instead of using guitars or real drums. Obviously, it depends on who I'm working with. Sometimes people want to make records using more historical equipment, in which case I'm very happy to oblige, not least because it can be much quicker. I'm also moving to less traditional recording software like Ableton Live instead of just using Pro Tools, which is still effectively aiming to recreate a tape recorder with better editing.

I use a Calrec 1970s mixing desk, though most of the mixing is done inside the computer. I run that into an SSL bus compressor, and I've been using the same Apogee AD8000 SE converters for 20 years very happily indeed. I have recently been switching away from using Telefunken V76 mic preamps towards using Neve mic pres, searching for a slightly cleaner, more modern sound.

I'm also trying to move away from using hardware synths towards using software, in particular, Serum, the Arturia collections, and all the Native Instruments Komplete software, though I still find it much quicker to use an actual synth. I have a few: a Yamaha CS80, a Moog Sub 37, a Korg MS20, and the absolutely brilliant Alesis Ion (the presets it ships with are s***, though).

Embarrassing microphones

I've been using valve mics for a long time, preferring Neumanns to AKGs, and I know that the choice we make can make all the difference in terms of how easy, or even possible it is to place the vocal well in the final record. But I've also been trying to change the available range of sounds that I have access to, moving generally away from valve gear towards transistor gear, in order to tighten up the vocal sound I get.

I had been on a few sessions where the Origin was being used  – one in America and a couple in England – and I really liked it, and was surprised by how good the vocals sounded each time. I wondered if it was because the producer was using a different vocal chain or if the microphone was, in fact, really good.

I've just started using the Origin at home in my studio. It goes into a Neve 1073 preamp, then one side of a Urei 1178, and lastly through Apogee converters. Twice now, out of the three times, I have A/B'd it blind, I've chosen it over my Neumann U47 short body, just because it sounded better. It is embarrassing my mics that cost 10 or 30 times as much – my Origin often just comes up sounding better than them.

Out-takes

Q. If you weren’t working in music what would you be doing?
A. “Photographer or architect.”

Q. What would your fantasy mic be?
A. “Something more coloured than anything in existence.”

Q. What are the 4 words you’d chose to describe Aston, or your experience with the brand?
A. “Strong, warm, small, and clean.”

Credits

“At the moment, my favourite artists include Chance the Rapper, James Blake, and Leif Vollebekk.”

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