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So the next day, I was on a tour bus sitting next to Marc E. And, you know, I'm still a kid from the suburbs. Would you like to do it?'Īnd really, The Fall in those days were my favorite band of all time. We doing a gig tomorrow at Reading University and our normal sound engineer can't do it. And he said, 'Look, I've heard about you. There's a phone call for you.' So I went downstairs and there's a wall phone. And then one of the people that worked there knocked on the door and said, 'There's a phone call for Mr. I said, 'Nah, forget about it.' Eventually, a lecturer at film school who I was telling about it told me defer for a year, take one year off and go to London.Īnd then when I arrived, a few things happened.

But I never thought I'd make a living or doing any of it.īut then The Moodists got a deal in England and asked me to come with them. I was learning a little bit and doing some live sound too and playing in bands, just as a teenager would. By this stage I'd built a little four-track studio in my parents' garage and bands are making the trip all the way out to the suburbs to record there. I never really thought I'd make my living out of music. How old are you then? You're 17 at that point? He gave it single of the week in the NME after hearing it, because Nick was playing it. By this stage, Nick Cave had moved to London and he was sharing an apartment with Barney Hoskyns, who was a really great journalist in the NME.

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Not long after that, the band won a free day in a recording studio and said, 'Would you like to come in to the studio and just help us out, just sort of watch out for us?' which I did and they gave me a production credit on it. Immediately after they finished, I ran backstage to get the free beer and the band just said, 'Victor, you're a genius! Everyone said it sounds great.' Nick Cave and all that lot were backstage, everyone was there.

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It was probably the first time the band had played through a big PA and definitely the first time they'd used a professional mixer, if they were asking some 16-year-old boy to do it in the first place. How about that?' I guess he did a really great job. The guy who owned the PA was there and I was like, 'Oh, well, maybe could you just help me with this? I don't know this particular brand.' He immediately clocked it and said, 'Look, I tell you what. So, I basically played truant, hitchhiked into town, got into sound check, didn't know anything and went to the mixing desk. I told my parents I was going away from school trip, I told my school that I was going with the parents. It was just incredible, but I didn't know anything.

It was a big PA system and I had never seen a mixing desk like that in my life. So the first show they asked me to mix for them, they were supporting a larger band.

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For some reason, the singer asked me if I knew how to mix and for some reason I said yes, as a 16-year-old would. Victor Van Vugt: Yeah, I played in a band and we supported another band who had just done their second show. But I'd like to start back at the very beginning because you have an amazing story of how your career in music started…

Marc Young: You've worked with some incredible artists over the years: Nick Cave, PJ Harvey, Beth Orton and more. In the podcast, Victor tells how he blagged his professional mixing gig, how a magical phone call led to a tour with The Fall and why Berlin can be a creative black hole for some artists. For the latest episode of Signal Path, Marc Young visited the Australian producer Victor Van Vugt at his studio in Berlin, Germany.