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Home-schooled In Audio
At one point, Moulder pursued learning with the Ministry of Agriculture. But, when he became interested in audio he decided to learn hands-on, sans formal education.
Studios in London were not really employing people from schools at the time because the graduates would tend to think that after doing a couple of years studying they were proper engineers and were resentful of being asked to assist and get clients cups of tea and fetch pizza, he explains. Things have changed now and I think most London studios now only take on people who have done some form of training.
Moulder himself started as teaboy for Trident Studios, where he tapped into JAMC. I was very fortunate. When I was an assistant at Trident Studios, where I trained, I was really into alternative music and since it was the mid-80s most engineers were into the Trevor Horn style of polished andfrom an engineering point of viewimpressive style of production, explains Moulder.
I assisted Flood, who was also a Trident engineer, a lot and when he was booked to record a track with the Jesus & Mary Chain I made sure I was on the session, he adds. We got on well with the band, who had bad experiences with other engineers who didnt really appreciate their irreverent style, and they asked me to do some live sound for them and then asked me to engineer their album Automatic.
Patience Pays Off
The project went well and Alan McGee, who owned Creation Records and had signed JAMC, asked Moulder to do some mixes for Ride. He then thought I would be good with My Bloody Valentinewho were also experiencing problems with unappreciative and less than patient engineers, says Moulder.
So I went on to work with them. The Smashing Pumpkins and Nine Inch Nails were big fans of both the Jesus & Mary Chain and My Bloody Valentine, and I think I got a reputation for being patient and easy to work with, so I got to work with them as well, he adds.
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