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When producer Greg Haver answered the final question here he seemed unduly modest about his “32 years of studio experience”.

He might have name-dropped because in the international arena he has produced for artists as diverse as Manic Street Preachers and Mel C, Bullet for My Valentine and Super Furry Animals. And many more.

In New Zealand he has been behind releases by Opshop, the Checks, Nathan King, the Feelers, Carly Binding, Six60 . . .

Haver is a go-to producer for many of this country’s biggest and best-selling . . . and he has 32 years of stories to tell.

Haver will be sharing his enthusiasms at the forthcoming Music Month Summit alongside the likes of DJ Aroha Harawira, Kings, Moana Maniapoto, manager Scott Maclachlan and others.

Billed as “For the Love of Music; Industry Professionals Talk About Their Passion”, the event takes place on Saturday May 20 (10am-5pm) in the auditorium of the Auckland War Memorial Museum . . . not so coincidentally the final day of the long-running Volume: Making Music in Aotearoa exhibition.

Tickets and information about the summit are available here, but meantime let’s hear from Greg Haver . . .

ce4ef0b9_78e7_4f22_a38a_315455c2cca3The song where you really first heard the production was . .. .

“Tom Sawyer” by Rush. The drums, the arrangement, it had power and space and was a revelation.

Ever bought an album for the producer rather than the artist? If so which?

Often, any work by Trevor Horn, Rupert Hine, Brian Eno, Peter Collins, Rich Costey, Rick Rubin.

The one producer you will always listen to, even if they disappointed you previously, is?

Tony Visconti.

As producers: George Martin or Joe Meek; Phil Spector or Rick Rubin; Quincy Jones or Dr Dre; Brian Eno or Nigel Godrich?

They’re all amazing, but if I had to choose: Martin, Rubin, Dre, Eno.

The three songs (yours, or by others) you would love everyone to hear because they so well produced are . . .

Grace Jones “Slave to the Rhythm”

Super Furry Animals “Run Christian Run”

Kraftwerk “The Model”

The recording studio you'd most like to visit just to get the vibe would be . . .?

I’ve been lucky to have visited many, but I would love to work at Rancho De La Luna.

The best book on music or musicians you have read is . . .

Behind the Glass by Howard Massey, for its insights into the strange world we inhabit.

If you could co-produce with anyone it would be . . . 

Brian Eno. I tend to be quite methodical when producing, I think he would inspire me to take the unconventional approach.

The last CD or vinyl album you bought was . . . (And your most recent downloads include . . .)

Ryan Adams “Prisoner” (Downloaded: British Sea Power, Baynk, Elbow and October)

One song, royalties for life, never have to work again. The song by anyone, yourself included, which wouldn't embarrass you would be . . .

‘When the Levee Breaks” Led Zeppelin.

Analogue or digital; vinyl, CD or streaming?

Analogue. Streaming for convenience, vinyl for nostalgia and sonics.

Production on a daily basis: What's the ratio of inspiration/perspiration?


Ever woken up hearing the sound of a song fully-formed in your head? If so which one?

Close, but never fully formed as the artist’s contribution will always educate your thinking.

And finally, what do you as a producer bring to an artist which you believe can be your unique contribution?

32 years of studio experience with amazing artists and musicians, some cool bits of gear and lots of good stories!

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