From the annex to The Odyssey: Bob Mackenzie on engineering some of the world's biggest artists

LIPA Sound Technology graduate Bob Mackenzie (2022) has built an impressive career in production and engineering, most recently contributing to the soundtrack of new Christopher Nolan film The Odyssey. Having worked with the likes of Genesis, Lola Young and Dave on music that has amassed over 800 million streams across his career, we spoke to Bob about his journey so far, his collaborative relationship with James Blake, and his experience recording ancient instruments for one of the biggest films of the year.

1. Tell us about your journey since graduating from LIPA.

It has been a fun one! My first job was assisting mix engineer Mike Cave which I did during my final year of LIPA. As I was finishing up my degree, a position opened up at the iconic Motor Museum recording studio in Liverpool. I jumped at this opportunity and was lucky enough to call that place home for a couple of years. In 2022 I joined Peter Gabriel’s Real World studios as House engineer, a totally life changing experience. I’d always dreamt of working in a big commercial studio so it was surreal to fulfil that. I’m now living in London as a freelance recording engineer and producer.  

2. For anyone who isn’t familiar with the role, what do you do as a producer and engineer? What does a typical day on the job look like?

Generally speaking, I see my role as facilitating the creativity of artists around me, allowing them to freely create without being distracted by the technicalities or slow paced nature of recording. The start of each session is always preparing the space, considering microphones, technical set-ups, ways people can collaborate with laptops, or instruments etc. I try to make the studio as fun as possible, and a big part of that is having loads of stuff set-up and ready to go. 

I’m then focused on making sure the space is inspiring as possible to work in. I consider layout, flow, lighting, even smells. Small details really go a long way into making people feel at home, and you usually get someone's best work when they feel ultra comfortable. Then the role falls into all the technical and creative stuff, being ready to capture any magic that unfolds and being ready to contribute to things when needed.

3. You have a longstanding collaborative relationship with James Blake, can you tell us more about that?

I was lucky enough to meet James at Real World studios where he was working on his latest record ‘Trying Times’. He was in the process of moving back to the UK and needed an engineer this side of the pond. My whole career people have told me sometimes you’ll just be in the right place at the right time. I was convinced this would never really happen to me, but this really was one of those moments. 

To be honest, recording James is a little bit of a cheat code. It’s basically impossible to make him sound bad, so to have a front row seat into his process is such a pleasure. I’ve learnt so much from him, and I’m sure I will continue to do so. He is the ultimate studio companion, calm, inspiring, and totally hilarious. He also has two amazing dogs which helps dramatically. 

4. You recently worked on the soundtrack for The Odyssey. How did that opportunity come about, and what was that experience like?

James and I were lucky enough to work with Ludwig Göransson on the soundtrack of ‘Sinners’ in 2025 which is where I initially made the connection. The Odyssey’s score is large-part made up of ancient instruments true to ancient Greece, and these musicians are based in Europe. As a result, the recording of these instruments was done in the UK so musicians didn’t have to travel so far. Ludwig asked if I could help him with these sessions and I was mainly recording a Lyre and Aulus flute - two of the most insane instruments from way before our time. We then recorded some vocals with James for the score, and then got to work on ‘When I’m Home’, which is the track that plays over the end credits. 

The sessions took place in Abbey Road Studios and Real World, it all came together quite quickly and was such a busy period that I didn’t really have time to take any of it in. Our little nook of the soundtrack team was filled with proper lovely, down to earth people, so it never felt completely crazy. It was actually extremely enjoyable. But it is insane to now see my name on the credits of a Christopher Nolan film. Quite weird actually! 

5. How did your time at LIPA shape your career path and help you develop as a producer/engineer?

Firstly, my tutors were so incredible and I’m so grateful to have had them. They taught me so many technical and soft skills, encouraged me to push myself, and guided me through 3 amazingly challenging but rewarding years. 

Secondly, during my time at LIPA I had such an openness to learn and absorb new things, from my classmates and tutors. This way of thinking has really never left me. I’m always open to learning and engaging with new ways of doing things each day, and that’s a mindset I hope to have with me forever.

 Music really is a labour of love and there is no shortcut to developing these skills, so I’m so grateful to have had my 3 years to get stuck into learning and practicing. Whenever I’m having tricky patches or sessions, I often think back to my time at LIPA where I was free to make plenty of mistakes and have fun making music. Reminding myself of this period reconnects me with why I started in the first place and that is extremely grounding. 

6. What advice would you give to those looking to pursue a career in production and engineering?

Don’t be afraid to ask for help and surround yourself with people who are way more knowledgeable than you. For years I carried a fear of asking silly questions out of fear of judgement, or appearing like I didn’t know what I was doing. Well, it turns out nobody really knows what’s going on, so letting go of that has helped me massively. I ask questions constantly no matter how stupid they are and try to be around people with more knowledge and experience. 

Creating music is so joyous and I’m sure everyone who has experience making music can relate to the euphoria it can provide. These moments remind you of why we do it in the first place and they are so useful to keep on track. At times music can be a bit of a slog; long hours, lack of sleep, not much time off etc. Hold on to every euphoric music making feeling and moment, and let it guide you through tricky times and keep you on the right path. 

You can listen to one of Bob’s contributions to The Odyssey soundtrack, the credits track When I’m Home, here: