Chris Potter

It has long been my impression that the mixing engineer on any track is as important a collaborator as all of the musicians and artists themselves. There are mixing engineers and then there is Chris Potter who is a complete artist in his own right.

Mixing is an art that has been under constant dilution since the proliferation of the plastic beige sewage we have been subjected to for so many years and bought to its height by feeding the public with the painful bilge that has been slowly seeping out from BGT. 

Chris is an outstanding talent. Like many of us, he really came to my attention with his production and mixing work with The Verve on Urban Hymns. For me, it was a game changer in which he completely allowed every single individual part to breathe and have its truly own space. It was a sensory masterpiece awakening so much of the previously hidden edges of so many works. Chris’s credits are free of genre boundaries and have by far the most influence in my vinyl collection. Listen to his work the I AM KLOOT, ANGUS & JULIA STONE, THE ZOMBIES, GABRIELLE, JACK SAVORETTI, KEANE et al. 

We worked with Chris on two tracks. One was mixed at Sphere Studios in Battersea which was an extraordinary experience. A lot of the time, listening was tough, as he liked to play many sections at ear drum exploding levels. But listening to the track coming together was a revelation in the way he provided that very specious space for every single part. We then worked with him again at his own studio at Metropolis but left him to his own devices and we were subsequently presented with a mix that took the track to a level we had not imagined possible.

Chris mixed ‘There is a Dream’ & ‘Dance the Rain’

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