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Ned Bigham
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As an established classical composer whose prize-winning compositions and arrangements have been performed internationally, as a successful dance music composer with a recent number one hit in the US Dance Charts, as a drummer for Neneh Cherry and founder member of D-Influence or as a producer with in excess of three million record sales, Londoner Ned Bigham has done it all, working with top artists and for the big labels (Universal, Warner Music, Sony, BMG and EMI). Amid all this activity, Ned has found time to tell us about his music, his career, and his equipment…
Ned, when and how did you decide to become a musician?
My uncle had a beautiful place in Ireland that was falling apart and after university I decided to become a musician so I could earn lots of money quickly to bail him out. Unfortunately it didn’t quite work out like that but here I still am fifteen years later!!
 When did you start Trinity College?
in autumn 1996.
What subjects did you study?
composition.
What instruments do you play?
drums and piano.
Do you have a favourite, or do you approach them all as a composer anyway?
I try to distance myself from each individual instrument and think more in terms of sounds. Playing an instrument can help provide an idea of technical possibilities/limitations, but I’ll probably be more objective about a performance if it’s not mine. Anything percussive or with strings gets me going…
Did you always want to compose your own music?
yes from a very early age I would thud all the black keys on a piano and it sounded nice.
Where do you find inspiration? Was it always easy?
there’s so much rubbish out there it’s difficult to find music that really moves and inspires me. But I only need to listen to a few minutes of Mahler, early Pink Floyd or soulful garage/house and I’m away! Or it could be an interesting idea that gets the juices flowing.
As a classical composer your work has been performed in several countries, is this ongoing even as you work in the pop/dance field?
recently I’ve been concentrating more on the dance stuff, but my classical/dope beats chillout album Anti Atlas “Future Nostalgia” is due for imminent release and has already been receiving airplay in a few different countries (www.antiatlas.co.uk).
What was your first big gig?
drumming for Neneh Cherry back in the day…
How did you get to start D-Influence?
Steve Marston (sax player) came round to my place one day and heard a track I’d been working on (“The Classic”) and got very excited, so we pressed it up as a white label and things kicked off. In the end we did all the pre-production for the first album in my bedroom, Sarah the singer would sit with her big boots on my bed eating salt and vinegar crisps.
How easy… or difficult was it to get started in the music business?
it’s a tough business but has also been very rewarding, I had a lucky break and from what everyone says luck seems to be a crucial factor.
What is your biggest hit to date?
“The Hum Melody” (Robbie Rivera) which I co-wrote/co-produced reached no.1 in the American Dance charts last year.
How did you become a producer?
I got fed up with having to carry drums around so I figured it would be easier to use a mouse instead.
Has producing influenced the way you arrange music? And he way you compose?
definitely! Sound is all important, better one idea that sounds great than two which are almost great. So I think it makes me aim for focus and simplicity and not settle for second best. Also I’m happy to adapt an idea/arrangement once I’ve heard how it actually sounds, nothing is written in stone.
Who influenced you as a producer?
my great influence is Robin Millar (producer of Sade and Everything but the Girl) with whom I have been fortunate to work. He is a genius with ears of gold, and also a very sensitive and generous soul. I also admire the work of Quincy Jones of course.
Do you mostly produce at home?
I have a studio in West London that’s part of a big multimedia set-up, so it’s nice that I’m constantly bumping into other musicians along the corridors etc. I record everything there, occasionally I’ll take tracks elsewhere to mix on a big analogue board.
What is your personal setup today?
soundscape run with logic going through a Mackie d8b, then the usual collection of synths/analogue outboard and a fine Fearn preamp.
When did you decide to get a Soundscape system? And what Soundscape configuration do you use now?
My publisher Courtyard Music recommended it back in 1999, I use the R.Ed 32 track system with nice big hard drives.
Do you mix in Soundscape?
some in Soundscape, some in the Mackie. The Soundscape compressors are brilliant for vocals.
What other recording and editing systems have you used?
akai mpc 3000, cubase, roland w30, adats, radar, tascams, old analogue 2”.
In your view what are the strong points of Soundscape?
the graphics are excellent, being able to move things around without affecting their track assignments etc. the reliability is an important feature, the sound is very good, it’s all intelligently thought out. It’s a joy to work with and everyone I collaborate with who hasn’t seen one before agrees with this when they see it in action.
What is your main project at the moment?
finishing vocals for Robbie Rivera’s forthcoming album, working on new Anti Atlas material.
How much do you enjoy what you do every day?
I’m very lucky to do something I love and believe in, the business side can get me down sometimes, but the music always wins through.
What is your main goal at the moment?
to write a decent tune.
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