Interview with... Paul Christie

Could you please introduce yourself to those reggae fans who don't know you yet ?
My name is Paul Christie. I was born in December 1981 and grew up in the sunshine city of Portmore, St Catherine with my family. I am from a very small and humble family which consisted of my parents and a sister. I am the second of the two children my parents had who are now deceased. My sister Carolyn stands by me as a mentor, spiritual advisor and an avid supporter of my music, just like my parents had done when they were alive. The love and support of my family greatly motivates and encourages me to work harder at what I love and enjoy doing best and that’s making music. I attended the renowned Kingston College on North Street Kingston, Jamaica. My interest in music started at a young age in the early 90’s. My favourite artists back then were Garnet Silk, Mariah Carey, Sade, Shabba Ranks, Buju Banton, Tupac, Bob Marley, Supercat and Michael Jackson. I enjoyed the diverse lyrics of their songs and would listen to them as often as I could. This has helped me to have a greater appreciation and understanding of unique lyrics and rhythms in music.

How did you learn the mixing process ?
I went to Derrick Harriot record shop where I met Mr. Mattocks. I told him of my interest to become an engineer and a producer. He advised me to go to Rorey Baker who is the engineer for Sly and Robbie, at One Pop Music Studio. I contacted Rorey and he invited me to the studio. All of this took place in 2010. When I went there I told him that I'm very interested to become an engineer. He told me that I could come and learn. This was the opportunity of a lifetime for me and so I eventually started working at the studio in march 2010, as an apprentice engineer. I learnt the fundamental skills in that area including how to build rhythms and how to produce records for artists. Rorey Baker taught me the basics of engineering and gave me the essential knowledge which would have helped me to make a name for myself in the industry. He is a well-known and respected engineer in the music business.
In september 2011, I left One Pop Music Studio, to seek for further growth and development in my career. In 2012, I met Paul Love at Jaria celebration of Reggae Music month at a concert at Emancipation Park. Paul Love referred me to Stephen Stewart a record producer and engineer. Stephen then told me to go Penthouse Record Studio to speak to Donovan Germain. I visited Penthouse and formed a good relationship with Donovan. Donovan invited me to visit his studio to continue learning and perfecting my craft. I've been working there from then to date. At the studio, Kevino Bunu Elliot and Shane Brown took me under their wings and showed me how to improve my skills as an engineer. I really started to learn mixing from Rorey Baker in 2010 but at that time I never really understand what was going on because I was very young in mixing process. When I went Penthouse Records, I learned from various engineers like Shane Brown,Kevino "Bunu" Elliott, Claude "Weakhand" Reynolds and Stephen Stanley but I primarily learned from Shane Brown and Kevin "Bunu" Elliott because they are based at the studio. One of the thing I can remember while being trained is they always told me that I must look and watch what they're doing and also to listen all kind of music that is how my ears will be developed. In 2017, I mixed my first song for my label Ultra Beam Records that is “Pon Di Beach” by Esskell, that song played all over the world.

Which other engineers work inspired and influenced you ?
Shane Brown inspired me a lot, when he mixes the music he makes the whole studio shakes like an earthquake. Also, when Shane is producing he is very detailed with the sounds that he really wants. I'm also like that when I am producing, telling the musicians the kind of sounds I really want and how specific I need it to be. In addition when I making a riddim and mixing, I must get the right sound or else I am not going to be comfortable with it.

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.
Well the contribution of a Recording engineer is to ensure that all instruments recorded properly, which means you should have no distortion and also have the volume at the right level. The role of Recording Engineer, he/she should have the studio prepare for recording like adjusting the Microphone stand, patch all the instruments and also communicate with everybody in the production process.

Did you work for other labels before Penthouse ?
Yes, I worked for One Pop Music Studio / Taxi.

What is Donovan Germain's singularity comparing to other producers ?
He is a very opening minded producer.He likes give engineers, artists and musician a chance to express themselves creatively.

Can you talk to us about your collaboration with the other engineers who work for Penthouse Records : Kevino "Bunu" Elliott and Shane Brown ?
My collaboration with Shane Brown and Kevino "Bunu" Elliott is a very good one. I record mostly vocals and Overdubs. However, Shane and Kevino are the ones who do most of the mixing at Penthouse Records. I also try to learn as much as I can from these guys. Additionally, I also record music for Juke Boxx which is Shane Brown’s label.

Tell us about Penthouse studio equipments.
The kind of studio equipment Penthouse Studio uses are Protools 12.3, Digidesign Control 24 mixing board, Focal, NS10,Tannoy Studio Monitors. A Drum Room for live recording, AKG P 170, Neumann U87AI Microphones and a Universal Audio Apollo 16 Interface.

Is there an artist you enjoyed more working with ?
I really enjoy working with all artists I don't have any special one to be honest.

Among all the singles you recorded for Penthouse, which ones are your favorites ?
My favourite is “Real Know Real” by D-Major.

In 2016, you launched your own label Ultra Beam Records. Tell us about the identity of your label and its singularity.
I don't have an identity yet but my singularity is to try make the best music as possible because quality don't have no fear of time.

What differences do you make between your own productions and the work that you realize for Penthouse Records ?
The difference between my production and Penthouse Records is that most of my releases so far more lean on the dancehall side, that is because my artist Esskell he is that kind of artist while Penthouse mostly produced reggae music. I also release reggae riddims like the Raw Nuts riddim and a couple releases with Slashe and Levantay.

As a conclusion, can you talk about the last recordings in which you participated for Penthouse ?
I recorded some guitars for upcoming reggae riddim soon to be release.