"The world needs storytellers and musicians!"

We recently sat down with Gareth Hudson, the creative force behind Australia's Hazy Cosmic Jive studio, to talk about all things music, gear, and creativity. From his early days bouncing cassette tapes to shaping sounds with rare vintage gear, Gareth opens up about his musical roots, the future of analog, and how his Buso Audio workstation perfectly integrates his SSL Matrix console to keep his one-man operation running seamlessly.

- Interview by Illés Halász

 

Please introduce yourself, the studio and the team. What kind of work are you doing within the audio segment.

At Hazy Cosmic Jive Studio, it's a one-man operation, and I'm involved in many different areas of audio production. My work ranges from recording and producing to mixing and mastering. I collaborate with a wide variety of artists from my hometown of Newcastle, as well as musicians from all over Australia. My projects include everything from solo performers to full bands, spanning a diverse mix of genres and creative styles.

 

 

Tell us about your musical roots and upbringing, what brought you to the audio field?

I started piano lessons when I was about five years old and eventually went on to complete a Bachelor of Music at the University of Newcastle, majoring in classical piano performance. I've also been recording for as long as I can remember. When I was little, my dad brought home a keyboard and a stereo system with a microphone input, and that's really where my love for audio began. I'd record my voice and the keyboard, then make overdubs by playing back one cassette while recording onto another. The stereo even had EQ controls I could experiment with, and once I realised I could shape sound in my own way, I was completely hooked. For years, I recorded my own bands before gradually starting to work with other local artists. It all grew pretty naturally, and now I'm fortunate enough to do audio production full-time.

What is the story of the Hazy Cosmic Jive? Where is the name coming from?

I can't take credit for that name, it's from the David Bowie song Starman. "That wasn't no DJ, that was hazy cosmic jive". I thought it was such a fantastic name for a studio - but I must admit it's sometimes difficult for potential clients to remember!

 

What kind of music genre you're mostly drawn to, what styles do you prefer working on in the studio? 

I don't really have a preferred style, and that's part of what keeps the work exciting-every day is different. Some days I'm working with a band that's been gigging regularly and has all their arrangements locked in before they even step into the studio, so my role is mainly engineering and helping them capture their best performances. Other days I'm building a song from the ground up with a singer-songwriter, recording multiple instruments around an acoustic guitar or piano and developing the accompaniment as we go.

What are the projects you're most proud of?

I feel privileged and proud to have been working with some of my clients for around 15 years. Among them are the incredibly talented indie-folk artist Amy Vee and the First Nations blues musician Buddy Knox. It's incredibly rewarding to be part of an artist's long-term journey and to grow as a producer alongside them.

Which type of Buso desk are you using, and what brought you to that decision?

I work on an SSL Matrix Buso desk. I wanted something practical, with all my outboard gear easily within reach, the ability to integrate my keyboard seamlessly, and a setup that also looks great and professional!

 

What are your main musical influences?

I've always had really varied musical tastes. I grew up loving pop artists like The Beatles, Stevie Wonder, The Police, Bowie, and Peter Gabriel, but I was also playing guitar in the grunge era, so bands like Soundgarden, Pearl Jam, and Nirvana were huge influences. At the same time, classical music was a big part of my life - I spent years at the piano playing Chopin, Schumann, Mozart, and the like. These days, I'm really into jazz and blues, studying and playing while listening to legends like Bill Evans, Oscar Peterson, Chick Corea, Dr. John, and Jon Cleary. Honestly, I just love all kinds of music-it keeps me inspired.

Who are your main influences from the audio world?

I'd say George Martin and The Beatles. In Utero by Nirvana is one I love for guitar tones, produced by the late great Steve Albini. I love that he was true to his roots and never stopped recording analog.

Give us the studio tour, what kind of gear are you using, in the everyday work? 

The SSL Matrix is the heart of the setup and I'm using an Antelope Galaxy 32 for conversion which gives me plenty of routing options. I love my Neumann u67 and also have a vintage AKG c12B from the 60's which sounds incredible. My new Royer 121 ribbons are getting slammed at the moment too, I use them for drum room, electric guitar and piano mics so they are workhorses here. I have Neve 1073s, SSL, API, Heritage, and Chandler Pre's - as well as some that are locally made which I love - the Matrix allows me to patch all these different flavours easily. I've got a bunch of different compressors too which all get equal amount of love by API, Chandler and SSL, and some Warm Audio 1176 clones. My Retro 2A3 stereo EQ gets a fair bit of use, as does my MARA 1/2" MCI tape machine when I'm printing mixes. I've also got a 24 track MCI 2" which doesn't get used as much as I'd like - mostly on my own projects with mates.

 

How do you approach your workflow?

Having all my outboard gear within easy reach makes a huge difference at every stage of the process - whether I'm tracking and shaping sounds, or mixing and mastering. I used to keep everything under the console, which made it difficult to really listen and make adjustments on the fly. Also, now my keyboard is also ready to go, so I can quickly lay down parts without having to set it up and pack it away. The Buso desk has completely tidied up my setup and made everything much more practical and efficient!

How do you see the future of analogue equipment? In regards to how big of a ground digital audio has gained in the previous decades.

Digital is great, but there's just something about analog gear that makes everything sweeter in my opinion. When I'm working with clients and I run a mix through tape or my tube EQ, you see the look of approval from clients when flicking between options. Having said that, great records are being made in the box - so it's the old cliche - it's all about the music really. I really enjoy playing and experimenting with different combinations of outboard within my creative workflow and I will continue to have a hybrid analog-digital setup moving forward.

 

 

A question reflecting our times: AI is gaining more and more ground in the music business as well. How do you see it affecting the audio world and generally the industry?

The musicians I work with every day genuinely love being in the studio and creating music. It's a joyful space, even though most of them aren't making a big income from their art-streaming has made it tough for indie artists to earn a living as recording musicians. Yet, despite the challenges, they keep making art, and that's something AI can't replace. I still want to experiment with recording, producing, and writing songs and compositions - I don't want a computer to do that for me. That said, AI tools can be incredibly useful when used thoughtfully. Plugins that remove clicks from a vocal track, or smart multiband compressors that quickly tame harsh frequencies, for example, save time and allow me to focus on the creative side of music-making instead of getting bogged down in tedious tasks. These are the AI elements I find genuinely helpful - they speed up the workflow without taking away the artistry.

Staying with that topic, how do you see the music industry and its tendencies in our time? Would you suggest starting out in this world?

Absolutely. The world needs storytellers and musicians!