Black Box Bios

jeff's bio magoo's bio

Magoo is the professional name of Lachlan Goold, a multi award-winning Australian music producer based in Brisbane, Australia. With his business partner Jeff Lovejoy, Magoo operates Black Box Recording, a Brisbane-based recording facility.

After graduating a mechanical engineering degree, Magoo began engineering of a different sort. Recording local Brisbane bands such as Dreamkillers and Pangaea in the early 1990s Magoo began to get a name for himself locally. By the mid 1990's Magoo had also produced music by Powderfinger, as well as two EPs by Regurgitator. He rose to prominence nationally with his production of the Regurgitator debut full-length album "Tu-plang", which also earned him his first ARIA award nominations in 1996.

In the late 1990s Magoo was engaged to produce or engineer for a number of high profile acts such as Midnight Oil, Skunkhour, Custard, Not From There, Front End Loader, Shihad. In 1998 Magoo won the ARIA awards for both production and engineering, the former for his work on the Regurgitator album "Unit", and the latter as a collective award for his work with Midnight Oil, Regurgitator and Skunkhour.

In the 2000s Magoo established his own recording facility, "Black Box Recording" where he continues to work. He has since continued to work with high profile acts, such as Regurgitator, Spiderbait, Jebediah, The Cruel Sea, Gerling, TZU and Renee Geyer. In 2007 Magoo received ARIA award nominations for his work with Kate Miller-Heidke and Operator Please.

Magoo has just completed work on End of Fashions “Book of Lies” for EMI as well as An Horse’s debut album for North American label Mom and Pop.

ARIA awards and nominations:

See Magoo’s selected discography for more detail.

question time with magoo

What do I get if I cough up the big bickies for Magoo?

Well firstly I will only record a band if I feel I have something to offer the music. So, I need to hear demo’s. If I don’t feel there is anything I can add to your music, I will suggest another person you could use. This is probably the best idea for both of us.

From here I’ll listen to the music and see where I think it should go, how we will record it and suggest any changes that I think will make the recording better. I will send you an email with these suggestions. From here we will have a pre-production meeting. This can be a cup of coffee, lunch or we may dive straight into pre-production. Pre-production lengths change according to the project and I charge a minimal fee for this (as well as the usual cost of rehearsing). In the pre-production meetings we will try out any ideas and discuss all of our thoughts on recording the songs. It’s great to get all of this stuff clear before we are in the studio.

I guess after this, it’s crunch time. Into the studio we go. The first day involves a lot of set up and just general ‘hurry up and wait’ type stuff. If it is an album project, I like to make poster of things to do for the project. Across the top is the instrumentation and down the side is a list of the songs. In the middle is a whole heap of boxes that need crossing off. The poster also enables us to plan and write down ideas as we go. It’s hard to live without them really.

On the first day I also have to line up the tape machine. This gets everything in tip top shape for the recording. If you’ve read this much of our web site you will have already been through analogue/digital debate section. I love to record to tape!

Once we’ve picked a song and worked out who is playing on the live bed track we need to sort out everyone’s sounds and mic everything up. This also takes a bit of time. Now we are ready to get headphone mixes right and then we are ready to do some takes. Sounds again will be tweaked as it always changes when everyone is playing together.

Once we’ve done our master takes, (whether it’s two or three takes I’m editing together or just the one take) I dump them into protools from tape.

This is the general process for getting the bed of the song recorded. From here everything is overdubbed in protools. It’s a lot faster as there are issues with dropping in on the tape machine. It’s from the days where you got it right in one go.

The one thing I do like to do, is once we’ve recorded all the bed tracks, is to work on the songs from here one by one. I find this way of working a lot more creative and much better for the focus on the song. The singer doesn’t get exhausted singing for 3 days straight and it’s less boring for everyone, except maybe the drummer.

Well I could go on more, but won’t. We need to leave some surprises in there.