(October 2013 - penthouserecords.free.fr)

Interview with ...
Donovan "Snakie" Simmonds


Oral Donovan Simmonds is one of the first engineers who has worked in Penthouse studio during the emerging period of the label. He learned the ropes of engineering thanks to the knowledge and experience of Dave Kelly, Tony Kelly and Steven Stanley, before pursuing his career in the USA.



What made you become an engineer ?
I always had a passion for music starting out as a Dj aka selector at a young age. I have always wanted my music different from what it was originally. I would go to the studio to get dub plates recorded with various artists but I would always have my own idea of how I wanted it and it would amaze the studio engineers at the time. After a few trips to the studio the engineer would invite me to sit around the console and do it the way I wanted it done and slowly the interest started to increase and other sound men would ask me to do their sessions too.

How did you learn the mixing process ?
I was introduced to a few prominent engineers who I looked up to and watch them as they would mix some of dancehall early hits. I would bring that same approach to the dub studio which started a new sound in the dancehall where a dub plate would sound just like the record but now with a few twist to enhance the vibe and the sound. I often time sit in on sessions just to learn the new products to me but regular to the older cats in the game after which I would test it out on a session or two until a noticeable difference was heard. Back then there were no YouTube to catch up on a tutorial so you had to put in the time to gain knowledge.

Which engineers work inspired and influenced you ?
I am always a student when it comes to a few masters of the craft. I am influenced by the work of Stephen Stanley, Tony and Dave Kelly, Cegrita Sojie Hamilton, Bobby Digital Dixon, Syl Gordon and Lloyd Jammys James. These few sets of engineer contributed to the molding of the dancehall music as we know it and from all their work I took a tiny piece to create my own.

We talk a lot about artists, musicians and producers, but not enough about the engineers. What is, according to you, the contribution of the recording engineer in the musical productions.
The engineer is the first major link in the puzzle. It all get started with musicians with an idea but then you need an engineer who was trained in the placement of microphones, the principles of acoustics, signal flow and most of all proper levels. A proper recording by a trained engineer will create a chain of ease while working the project for example, it will be much easier to mix and master and even to a point of making it onto the radio, night clubs and sound system where a noticeable difference can be detected within seconds of play.

When and how did you get connected with Donovan Germain ?
Wow !! I think it was in early 1989. I was a guest engineer at Penthouse mixing there for the first time and while working this guy walked across the floor fold his arms as if I was about to be hammered but without saying a word he walked back out. Now not knowing who that was kind of Shake my evening up but it was the next day I heard that Germain wanted to see me and the rest is history.

You recorded in Penthouse studios with some greats rhythm makers like Dave Kelly and his brother Tony Kelly. Can you tell us a little bit more about them and the way they work ?
I must say that the approach that these brothers take in the production of music is different from the normal. Working with Dave Kelly you learn he think out side of the box and work out side in. This is never the regular process because for Dave he recreates his choice of sounds on a groove that is out of the normal. Now working with Tony was different because he is the kind of musician that hears that groove in his head and drops it just like that while dancing around the studio. While Dave is the more reserve in creation Tony builds his vibe off the energy from who is on his session.

Can you talk about your collaboration with the engineers who worked with you in Penthouse studio (Garth Atkins, Stumpy, Steven Stanley, Syl Gordon...) ?
It never seems like work while working because we have so much fun doing it and everyone has their own little fun to tap into each day to make the work day seen like a breeze. The one thing that Germain mold in us young engineers coming up in the game is that knowledge is key and never be afraid to ask questions from the more advance or senior engineers. We always tag team sessions and we could almost know what the next person is thinking by looking at him because there was a formula which Penthouse engineers use to lock down the market.

Penthouse Records ruled the dancehall during the 90s thanks to a recognizable sophisticated sound. Can you describe how you elaborated this sophisticated sound ?
The 90s is when dancehall music took its form and was no longer heavy bass but the dawn of clean in your face type of mixing which started on Slipe Road. Dancehall music is a commanding type of music and Penthouse was commanding the streets giving rhythm after rhythm causing others to now waiting to see which direction Germain is gonna to go so they could trail.

Do you remember songs or riddims produced by Germain on which ones you occupied the function of engineer ?
Funny you ask because the first song I recorded for Penthouse was Beres Hammond "Love Within The Music" but the memorable part of recording this song is that it brought out so many big name artist on this project. This project also captured the works of a few of Jamaica's finest musicians but it was the message coming from Uncle Beres and how he visioned the project. Working on the Fire Burning rhythm project was also a memorable experience.

Among all the singles you recorded or mixed for Penthouse, which ones are your favorites ?
I must say the Fire Burning project is my favorite especially adding Cutty Ranks to Marcia Griffiths' rendition of Fire Burning.

Is there an artist you enjoyed more working with ?
Terror Fabulous was very quick, Tiger was also quick but recording Beres was different from everyone else. Beres Hammond has this way of recording his songs in a reverse pattern which is the best formula for recording that I still use up to this day.

When did you leave Penthouse Records ?
I think it was in early 1991.

Why did you leave the label ?
I gained the knowledge needed to move up to another level and started touring making room for the next generation of engineers.

Are you still in touch with the other Penthouse engineers, musicians and artists ?
Still in touch with most of the engineers and occasionally we cross path on the road when I'm out on tour

What is Donovan Germain's singularity comparing to other producers ?
Germain was the type of producer who is always present while his session is in progress and will be the first to correct you if a bit of mistake was detected. He was keen on the choice of sounds that the musicians use on his sessions. Although it was very funny that he couldn't play the instruments he would mimic it and believe me the crew knew exactly what he was coming with.

What are the other labels you have worked with ?
I have worked with many producers like King Jammys, Bobby Digital, Two Friends, Shocking Vibes, Mad House, Roof International, Specs/Shang…

You have been in the reggae industry for a long time. What is your opinion about the new reggae music and the evolution of the jamaican music over these years ?
The music have gone full circle as if they where searching for a new style but it is back to the basic once again with the dawn of these new artist who are now owning their music instead of adapting their song. The newness of live music is putting back that calm in the music and force the new and upcoming artist to get into the frame of mind of writing and creating melodies that captures the listening audience. It is just now they are understanding the power of good music and the life span of a well produced song. I just wish we could re live the days when singers sang three verses and four chorus to make up a song but today as we see it we are lucky if we get two strong verse and on the other side of things it is making that music seem like its incomplete.

What is your opinion about the latest Penthouse's productions ?
Again the bar has been risen with the new set of artist hailing from the studios of Penthouse. I was briefly in Jamaica and and was introduced to the new generation of reggae music and heading the pack was Dalton Harris and my new fascination Shuga.

What would you hold dear to you the most from your Penthouse experience ?
It was when I took my career to Penthouse Studio I got the chance to be a student of Steven Stanley and start expanding my knowledge of the principles and techniques in mixing. I had senior engineers taking the time out to teach me the new gear that Germain had in his studio. Penthouse was like a school and class was in session everyday you walk in. I will never let the memories of Penthouse slip away because 90% of what I continue to do is that what was thought to me at the Academy of Music Penthouse Studio

To conclude, what are your plans for future works ?
Right now I am presently touring with a few R&B artistes. I am also working on the new Shabba Ranks project and I am always a radio Dj fighting for quality music. One day I would love for the entire crew to reunite and work on an album.