A CONVERSATION ON MY APPROACH TO RECORDING, PRODUCING & MIXING
Q: How closely do you like to work with a band?
A: I like to work close enough that I am privy to all the tracks that we will be recording well before the date. Whether that means pre-production or just immersing myself in demos will depend on the project. If I think a song is struggling to get over the line, I like to sort that out well in advance. Ultimately however, it is the band's album and my job is to get the great performances and create the sonic world that they are striving for. Having said that, I will be often making suggestions along the way in terms of arrangement and this where my experience as a songwriter and arranger really comes in to play.
Q: What’s your favourite stage of recording?
A: Day 1 of tracking when everyone is super excited and ready to jump into takes. There is an incredible energy at this stage and often you will get some keeper takes right off the bat with this fresh energy.
Q: What do you like about recording remotely?
A: Most of the remote recording is done in country houses and that of course means that you are away from the stressful tensions of everyday living – you are surrounded by clean air and the hours are loose. If it's a location where noise is not an issue, then you can have an 11am start and work through until after midnight. People take turns at cooking and the whole experience is communal and creative. From a producer and recording engineers perspective, this exposure to landscape and openness can give you extra stamina and inspiration, as often regular recording studio's are like bunkers – a little claustrophobic and the only fresh air is the air conditioner.
Q: Is there something about the Blue Mountains that shapes what you do?
A: Not really, but it is great to have a studio here in the Blue Mountains as I finally have a place where I can record electric guitars without annoying the entire neighbourhood. I have all my gear, guitars, keyboards at my disposal and I suppose the general tranquility is helpful for mood.
Q: What’s your favourite piece of recording equipment, and what does it bring to the finished product
A: This changes all the time, but right now it is my Synchron AU7A microphone, made in Connecticut in the 1960s. An extremely uncommon and odd microphone, it is however an awesome sounding thing that I would say holds it's own against classic Neumann and Sony solid-state condenser mics of that period. I have used it on singing, acoustic guitar, bass guitar amps and mono drum overhead to incredible results. And it looks stunning in a totally plain utilitarian way. It's beige.
Q: What do you take from your days in Belles Will Ring and playing into producing and mixing?
A: Although I was really learning the craft of recording and engineering along the way with BWR, one thing that I prided myself on from the very beginning was our guitar sounds. They still hold up and still sound vibrant and exciting. Also, because a lot of the early BWR recordings were done to either 4-track or 8-track tape machines, I learned how to get a good drum sound with minimal mics. These days I would most often stick to 5 or 6 mics on the drum kit, but if I had to go down to 2 mics I wouldn't complain and indeed I would make it sound amazing.
Q: Who are some of your fave producers and their best albums?
A: Tony Visconti - “Low” by David Bowie
Todd Rundgren - “Something / Anything” by Todd Rundgren
Martin Hannett - “Closer” by Joy Division
Nicolas Vernhes - “Microcastle” by Deerhunter
Anything by Joe Meek