Always in tune
A teenage Nigel Pegrum (above) was intending to be a journalist but that changed with the lure of the 1960s’ music scene.
A TEENAGE Nigel Pegrum was intending to be a journalist but that changed with the lure of the 1960s’ music scene, when young people were given a voice for the first time.
“I made lousy tea, so they said we better find you something else to do,” the music producer said.
“I played guitar and drums with various bands and I was lucky enough to be in bands that got to go in studios, which in those days were generally pretty big, expensive affairs.
“From that moment I was completely besotted with the whole engineering side of things. Not from a technical point of view but from the realisation the only way you’d get your music to a bigger audience was by recording.
“I thought if I learn how to do this it’s the fast track to getting my music exposed.”
Mr Pegrum toured the world as part of the renowned folk-rock band Steeleye Span, along the way “earning phenomenal amounts of money but spending phenomenal amounts of money”.
Mr Pegrum said most people are drawn to the industry in the hope of being “rich and famous”, but warned the job required “absolutely 150 per cent dedication”.
“You work 24 hours a day. If the job isn’t finished you carry on doing it until it is,” he said.
“The percentage of people who achieve great success is tiny. But there is another body of people who work in TV and film and live work such as in a play as a sound designer.
“The best part of the job is the fact you’re creating, whether it is the next number one hit in America or a TV and radio program.
“For me the equipment is there to enhance the experience for the listener, you’re taking the emotional creation of the writer and transforming it. I’m now in my 60s and it’s still my life.”