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Mark Plati

Mark Plati is an American , , , and songwriter based in , renowned for his collaborations with artists such as , , and . Born in , he began playing music at age 10, starting with the in his school band, and later studied drum set and electric bass before attending University's , where he earned a in telecommunications, an associate's degree in audio technology, and a minor in music. Plati's career gained momentum after moving to in 1987, where he worked as an engineer, mixer, and synthesizer programmer under dance music pioneer Arthur Baker at Shakedown Sound studio. In 1991, he joined Philip Glass's , contributing to a wide array of projects over the next decade. His breakthrough came through his partnership with , co-producing the 1997 album and serving as Bowie's musical director from 1999 to 2002, while also performing on bass and guitar during tours and recordings for albums like and . Throughout his over three-decade career, Plati has engineered, produced, or performed on works by diverse artists including , , , , , , , and , earning credits on gold and platinum records. He has also worked internationally, including a stint in from 2005 producing platinum-selling artists, and continues to balance studio production with live performances and teaching, such as master classes in and co-authoring a musical in .

Early life and education

Early life

Mark Plati was born in 1963 in , where he was raised and developed an early interest in music without a prominent family background in the field. At the age of 10, Plati began his musical journey by playing the in his elementary , marking the start of his lifelong engagement with percussion. This initial exposure laid the foundation for his instrumental skills, leading him to explore further during his middle and high school years after his family relocated to . There, he studied drum set and bass under the guidance of William, Duke Ellington's nephew, honing techniques that blended classical and influences. By age 16, Plati had advanced to professional-level involvement, participating in his first recording session with Ellington's jazz ensemble, an experience that introduced him to studio recording dynamics and collaborative performance. These pre-college years solidified his passion for music production and performance, paving the way for formal training at Indiana University.

Education

Mark Plati enrolled in the Audio Technology program at Indiana University's Jacobs School of Music in 1980, where he pursued formal training in audio engineering and music production. He completed his studies in 1986, earning a bachelor's degree in telecommunications, an associate's degree in audio technology, and a minor in music. During his time at , Plati gained practical experience in audio engineering and music production, including engineering and performing on recording sessions by his year. He recorded orchestras and ensembles at the university's and provided live sound support for bands performing at Bloomington venues such as the . These activities allowed him to apply coursework in audio technology to real-world production scenarios, honing skills in and live performance engineering.

Career

Early career

Following his education at , where he earned a in , an associate's degree in audio technology, and a minor in music, Mark Plati began his professional career in the music industry. After graduating, he relocated to , , in the mid-1980s, immersing himself in freelancing opportunities to build practical experience. There, he interned on a 48-track remote recording truck, engineered sessions at three local studios, produced an for a Dallas-based band, and performed as a in various local groups, honing his skills in both recording and live sound engineering. In 1987, Plati moved to to pursue greater opportunities in the competitive music scene. He quickly joined producer Arthur Baker's Shakedown Sound studio, where he served as an engineer, mixer, synthesizer programmer, and . This role exposed him to the fast-paced world of dance and pop production, allowing him to contribute to diverse projects during the late 1980s. From 1991 to 2001, Plati maintained a decade-long association with Philip Glass's in , taking on responsibilities as a producer, engineer, mixer, and performer on numerous recordings. During this foundational period in his New York career, he worked on projects with artists such as , Alisha’s Attic, , and , among others, which helped establish his reputation in the industry.

Collaboration with David Bowie

Mark Plati's professional relationship with David Bowie began in 1996 when he served as co-producer on the album Earthling, released in 1997, initiating a multi-album and three-tour collaboration that spanned the late 1990s and early 2000s. This partnership marked a significant phase in Plati's career, positioning him as a key creative force in Bowie's exploration of contemporary sounds during a prolific period. From 1999 to 2002, Plati expanded his roles to include , , performer on guitar and bass, and musical director for Bowie's live performances and recordings. He contributed to albums such as 'hours...' (1999) and (2003), while also overseeing sessions for the unreleased project recorded between 'hours...' and . As musical director, Plati helped shape Bowie's stage presentations, including notable live shows at the in 2000 and the NetAid concert in 1999, where he performed alongside Bowie and the band. On , Plati's contributions emphasized innovative production techniques, blending Bowie's rock foundations with drum 'n' bass rhythms and elements inspired by 1990s acts like and . He handled engineering, mixing, programming, loops, samples, and keyboards, helping to create a futuristic sound that adapted Bowie's style to electronic club culture. For (2002), Plati co-produced and engineered the album, guiding its introspective tone through layered instrumentation and atmospheric arrangements that reflected Bowie's post-millennial reflections. Plati also supervised the live execution of Bowie's 1976 album Low during the in 2002, ensuring faithful yet dynamic re-performances of its instrumental suites alongside full playthroughs of at select dates. This oversight extended to other high-profile events, such as and The Concert for New York in 2001, where Plati's direction maintained the integrity of Bowie's evolving catalog.

Later career and other projects

Following his extensive collaboration with David Bowie, which concluded around 2003, Mark Plati relocated to Paris in 2005, where he immersed himself in the French music scene as a producer and mixer. He has also continued to balance studio work with teaching, including master classes in Greece, and co-authoring a musical in Italy. He worked with prominent artists such as Louise Attaque on their 2006 album À plus tard crocodile, contributing production and mixing that blended rock and folk elements. Similarly, Plati collaborated with Alain Bashung on the 2008 album Bleu pétrole, handling production duties alongside Gaëtan Roussel of Louise Attaque, resulting in a critically acclaimed work that earned Bashung multiple Victoires de la Musique awards for its poetic intensity and experimental sound. Other key French projects during this period included production on Les Rita Mitsouko's 2008 album Variety, Émilie Simon's atmospheric tracks, KYO's rock outings, and Charlie Winston's 2009 debut Hobo, where Plati mixed sessions at Pigalle Studios to fuse indie pop with brass arrangements. These efforts expanded Plati's portfolio into chanson and alternative genres, leveraging his New York-honed expertise in live instrumentation and electronic textures. Beyond his French endeavors, Plati's discography features diverse collaborations across genres and eras, showcasing his versatility as an engineer, producer, and musician. In the late 1980s and early 1990s, he engineered sessions for on various projects, contributed remixes to Janet Jackson's 1991 single "State of the World," and worked with during their transitional phase. He also engineered tracks for Prince's 1990 album Graffiti Bridge, incorporating dance and rock elements at Studios. In the 1990s, Plati produced and mixed for , including remixes like the 1995 "Nineteen63" update, and handled engineering for Natalie Imbruglia's debut Left of the Middle (1997), notably on the hit "." His work with included a 2004 remix of "" featuring , released on the 2004 compilation Join the Dots, which added layered guitars to the classic. These projects, spanning R&B, , and , highlight Plati's role in bridging studio precision with artistic innovation. Plati has maintained an active presence in New York and as a producer, engineer, and multi-instrumentalist, splitting time between his studio in NYC—equipped with Designs consoles—and international sessions. In recent years, he mixed the Belgian band GRANDGEORGE's album, produced tracks for , and revisited Bashung material, while contributing guitar and production to the 2024 KillerStar debut album, a project blending glam and . In June 2025, Plati produced Czech artist Karin Ann's reinterpretation of "" for her single release, infusing it with haunting electronics, and performed at Bowie tribute events like the Sound and Vision celebration at . He continues to seek new collaborations, emphasizing vocal-driven productions that merge live and electronic elements across , and pop genres.

Musical style and influences

Production techniques

Mark Plati's production techniques emphasize the seamless blending of diverse genres, particularly with , drawing from his broad musical influences such as artists including , , , , , and Led Zeppelin. In collaborations such as those with , Plati incorporated jazz-inspired , exemplified by pianist Mike Garson's piano solo on "Battle for Britain (The Letter)," which fused Stravinsky-like complexity with structures to create textured, experimental soundscapes. This approach allowed for organic genre fusion, where electronic beats underpinned live performances, reflecting Plati's philosophy of serving the song's vision without imposing a signature style. A hallmark of Plati's innovative recording methods involves integrating live with elements, as seen in the production of Bowie's , where high-tempo live drums at 160 beats per minute were layered with manipulated loops and samples to achieve a hybrid drum-and-bass texture. He preserved raw takes, such as the initial guide vocal for "Little Wonder," and used chopping techniques on "junk" sounds to generate unconventional sonic elements, ensuring the final mixes retained the energy of live sessions while benefiting from digital precision. This method, informed by influences like Tricky and , prioritized rhythmic drive and improvisational freedom over rigid genre boundaries. Plati's engineering style evolved significantly during the 1990s in studios, transitioning from analog tape-based workflows to hard disk recording, which enabled rapid edits—such as rearranging verse-chorus structures in mere seconds rather than hours. Starting with analog setups at Shakedown Sound under mentor Arthur Baker, where he mastered sequencing for remixes, Plati adopted tools like software at for , dumping tracks to tape as a while embracing computer-based manipulation for its recall and flexibility. This shift, amid the revolution, allowed him to balance analog warmth with efficiency, adapting to the era's technological advancements in NYC's vibrant studio environment.

Instrumentalist roles

Mark Plati's instrumental background began in childhood, when he started playing at age 10 before transitioning to electric and guitar at age 12. These form the core of his multi-instrumental expertise, with a particular emphasis on contributions that ground arrangements in , pop, and genres. In live settings, Plati excelled as a performer and bandleader, notably serving as musical director for David Bowie's tours from 1999 to 2002, where he handled guitar and duties alongside arranging and conducting the ensemble. He frequently swapped instruments with bassist during shows, adding flexibility to the band's dynamic sound. A highlight was his participation in Bowie's iconic 2000 headline performance, delivering energetic guitar and lines to a crowd of over 100,000. Plati's studio musicianship spans numerous recordings, where he provided bass and guitar tracks that enhanced the rhythmic and textural layers of albums. On David Bowie's Hours... (1999), he played bass, , and 12-string electric guitar across multiple songs, contributing to the album's introspective tone. Similar roles followed on (2002) and (2003), where his bass and guitar work supported Bowie's evolving art-rock style. He also featured on the posthumously released (2021), handling bass and to revive Bowie's early catalog with fresh energy. Beyond Bowie, Plati worked on projects with artists like and , including engineering and production, showcasing his versatility as a .

References

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