Blog: FACT about how it's sounding

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I headed off to Leicester once again on Tuesday lunchtime, to Memphis Studio, wherein I met with Mr K Reverb for the purposes of finishing off our new EP.

It all went rather well.

Things started off slowly - "The Fair Play Trophy (again)" required some guitar, a keyboard solo, backing vocals and mixing, and somehow this took over four hours to do. I've no idea how this happened - OK, there was some shilly-shallying with setting the guitar up, a long time spent trying to work out how to make the guitar sound good (the correct answer, of course, would have been to get someone ELSE to play it), and then some Experimentation with keyboard sounds, but it all seemed to go awfully quickly. BEST bit was when Sorted Supremo Dave Dixey arrived, and we effected a Terrace Chant by double tracking me, him, and aforesaid Mr Reverb BELLOWING. Kev got really into it, it was ACE, although Dave did look a bit stunned by the experience. It sounds BRILLIANT though! And I have to say, there's a LOT of stuff on the track, and Kev had already spent an evening EDITING... so maybe four hours isn't actually that long, is it? Possibly other ARTISTES take a bit longer?

HA! That is because they are RUBBISH! Our lean mean mixing machine then hit the TURBO button, and AWAY we went. "City Centres" was soon sorted out and sounding ace - ooh, that end coda, with the multi-Emma's and the Lesley-fied Tom, it is SMASHING. "Let The Weird Band Win" also came out sounding RUMBUNCTIOUS, with all the overlapping bits, and soon we found ourselves contemplating a SIMPLER life.

I thought the last two songs would be peasy, tho Kev doubted this, as he QUAKED before the prospect of COMPING (studio talk!) three recorder tracks. He needn't have worried, they all came together beautifully, even allowing us DOUBLE TRACKED RECORDER in places. Be warned though, the POWER of the double tracked recorder is MIGHTY, and should be approached with caution. That was "The Primal Rhythms Of The Bolivian Nose Flautist" sorted out, after which "Billy Jones Is Dead" was a breeze. Indeed, we were all moved to note how light and poppy it sounded, being an almost entirely "as-live" recording (but for an extra Emma), lacking the usual string, brass, woodwind and SWIRLING CALIOTROPE sections that usually furnish our efforts.

It was a very very happy Hibbett INDEED who bade farewell to his colleagues that night. I tell you what, dear reader, I CANNAE WAIT for you all to get a chance to hear it, it's BLOODY GRATE!

posted 7/4/2004 by MJ Hibbett

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