The Tambourine Girls On What It Takes To Make A Great Record In The Face Of Grief | theMusic.com.au

Usually, when we make a record, we reserve studio time with an album’s worth of songs ready to be recorded. Calculate the amount of time it takes to record the number of songs you have and book the studio based on that. However, this time, the studio time was mostly booked as a “holiday” for the band. We love the experience of being in the studio, so it was special for us.Instead of trying to record three songs a day, we brought in four ideas and recorded them over three days. This approach of not using many songs over a lot of time was a revelation for us. Because I felt I had time to take risks, try different songs and generally see where the mood for each idea would go. In doing so, we were able to surprise ourselves with music we never thought we would make, and we vowed to continue approaching studio time in this manner.

The album project froze for over a year after guitarist Nick passed away, and I didn’t have the strength or courage to finish it without him. We knew there were additional recordings we wanted to finish, but there was still a lot of work to be done in editing and producing the recordings. Our longtime friend, Tony Buchen, the producer and mixer of the Tambourine Girls’ first recording and his engineer, felt it was a natural choice to help us complete the record. . As soon as we started mixing, Tony took control of the project, drawing on his immense skill and confidence in recording music to wrap up loose ends, clean up arrangements, and finish off instrumental finals. We added the finishing touches and took the record home. Sounds great with his mixing. We originally went to see Tony for his mixing skills, but his steady guide, both as a friend and professional, left us unguarded and confused about the state of the recordings we made with our best friend. When we felt like we were doing it, we quickly realized it was just as valuable to us. .

After recording You Know How To Bring Me Down, completely fell in love with the sound of the rough desk mix that engineer Simon Berkelmann did on the day of recording. This is a fairly common occurrence, as there is usually a long gap between recording and mixing, and bands grow attached to the sound of rough mixes. This is often eliminated when the songs sound so good that they are professionally mixed. However, in the case of this track, it was quite torn between the rough mix and the final mix by the end, so I actually blended the rough mix with his mix by Tony Buchen, a great professional, to keep some of the original feel of the rough mix. bottom. Get the best of both worlds. Mastering engineer Nick Franklin said he’d never heard of anyone doing that and couldn’t believe it worked! , can do weird things that make the pros nervous!

When we recorded our first full-length album, we discovered that Antonia Gauci, the assistant engineer on the record, had a wonderful voice.At the time of recording by chance another street, I discovered that Simon Berkelmann’s assistant engineer, Chloe Dad, also has a great voice! I had both of them sing and found that there is always a plus to additional human voices, especially great voices like Chloe and Antonia. .

Long before the pandemic hit, we were trying to make songs over the long haul by sending tracks to each other and adding parts individually. We made some songs that we love this way, but when we got back to a professional recording studio for the first time in years and played together, our band decided to get together in a room and play music together. I realized that there is no winner. Funny thing is, it was during the pandemic when we booked these sessions, so just when the rest of the music industry started experimenting with long-distance recording, we started making music “IRL.” was rediscovered.

Stream or download Different Streets here.