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Recording the Whitlams Issue 45

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Recording the Whitlams Issue 45 FEATURE THE LONG & WINDING ROAD RECORDING THE WHITLAMS AT 44 AT’s Editor, Andy Stewart, Recounting the story of an album that has provided the personalities involved were taken a year to complete, involved half a dozen compatible enough to sail into the unknown provides a very personal studios, thousands of recording, mixing and together and survive the stresses and strains of account of recording The mastering hours and several dozen green the journey. But making a prediction about how chicken curries is a difficult task, one that I everyone might get on based on this one meeting Whitlams’ new double album hardly know how to begin. was nigh impossible. So I looked back on two decades of memories of nightmare sessions, Little Cloud & The Apple’s Eye. It seems like a lifetime ago now that I was sleepless weeks and countless studio dramas… Sit back for a year-long ride invited down to a pre-production rehearsal at and then said ‘Yes’ to the project… like the Tim Freedman’s house in Stanwell Park to meet through multiple cities, studios, glutton for punishment that I am. I decided to the main protagonists and get an initial feel hop on board for the first leg of the trip and overdubs, mixing sessions… for the new songs and what might be involved reassess the situation when we reached landfall in recording them. It was a very informal get and a leech. five days later. That was a year ago now, and together from my point of view. My good friend we’ve only just rolled up the sails and stepped Text: Andy Stewart J Walker, who’d been asked by Tim Freedman onto dry land. to produce the record, had already been holed up with the band for a week by the time I arrived, UNCHARTED WATERS and the ‘shabby edges’ were already beginning For me, the album really began around schoolies to show on a few faces, even though the studio week 2004 – I remember it only because the sessions were still weeks away! ‘retreat’ in Byron Bay, where Tim, J and I stayed, The production of a Whitlams album would was surrounded by pissed and sunburnt teenagers obviously be a major undertaking. My gut feel who did their best to make us feel welcome by was that it would be an interesting project, staying up 24/7! The clear and peaceful air of AT 45 without getting too involved in the ‘production’ – something I promised J I’d do my best to resist! By the time we got to the studio the ‘sound’ of the record was already in my head which, for me, is a far more effective way of preparing for the first session than any supposed ‘time saving’ plots and lists that I might have conjured up. Living in the house together for that week was actually one of the most significant album preparations I’ve ever had the luxury to be part of. Although it might have seemed a waste of time to an outsider, for the three of us (and particularly yours truly), it created a friendly and relaxed atmosphere in which each of us could gain the trust of the others, so that by the time we hit the studio, a bond had been established. In fact, there was one specific incident that constituted the best possible preparation for any big production… The incident involved a visit to a friend’s property in Mullumbimby that was mostly covered in rainforest. Throughout the humid afternoon and into that evening Tim, J and I traipsed up and down its steep slopes, taking in the spectacular views and drinking from the freshwater creek that flowed through the property. After an exhausting day we piled in the car and headed back to Byron, desperate for something substantial to eat. We wound up in a fancy new restaurant where we proceeded to order half the menu, paying little heed to the cost at the end of the night. Everything was going well… until the ‘incident’. In the middle of our unsophisticated demolition of a cheese platter, something landed on the floor under our table. I have no real recollection now how it was I came to notice it, but there, to my horror, in plain sight of half the restaurant was a leech the size of a squash ball! Stunned, each of us began checking ourselves for bite marks but none of us could work out whom it had fallen off. Then, in a moment of adolescent behaviour befitting schoolies week, Tim picked it up and placed it on the cheese platter (next to the brie from memory). Over the next five minutes the three of us laughed ourselves sick as we watched the leech search, anemone-like, amongst the Byron was filled of an evening with the sound Camping out in leftovers for another bite to eat. Camperdown: The main of crickets, wind in the sheoaks, screaming recording room at Electric Avenue in Camperdown, and yelling and the smashing of beer bottles! But then everything fell apart. Hilarity turned to Sydney hosted many of the Throughout most days of this final week of terror as Tim decided to pretend the leech had, in main tracking and overdub pre-production it rained like I’ve never seen fact, been served to us (in retaliation for an earlier sessions. Vocals were often recorded under a rain before. It was like someone had tipped the argument with the waiter over the freshness of beach umbrella to minimise world upside down, and it gave Tim and J the the cheese platter - which Tim was convinced the ambience around the had been microwaved). The leech was positioned vocal mic. The vocal mics perfect opportunity to sit around the keyboard under the ‘bigtop’ (pictured deliberating over lyrics and song structures, eating alongside the quince paste (which looked above) include a Neumann macadamia nuts and drinking tea. My days mainly uncannily similar to the leech), the waiter was M49 & U87 and an AEA R84 ribbon. involved clearing my mind, avoiding loud music called over, the ridiculous cock&bull story retold and contemplating the recording road ahead. and the mortified waiter took the plate back to the I’ve never been a great one for listing theoretical kitchen. Moments later the owner of the restaurant recording chains or drawing band setups, came out and sat at our table… Things got tense. and most of the albums I’ve recorded I’ve also He quickly discovered that our story was about as produced. I’ve always been far more interested in watertight as an upside down U47, and asked us getting under the skin of the songs and ‘hearing’ to leave. We happily obliged, fearing for our lives them as a finished product as early as possible. So as the chef (who unbeknownst to us had watched my time was mainly spent listening to the songs the entire incident from the open kitchen) seemed in their infancy and soaking up the air around inclined to want to leap the serving bench and them; getting a feel for what they were becoming throttle us! We were wholly embarrassed by the AT 46 AT 47 incident (though not wholly contrite), but we’ve sensitive to the fact that I was mainly concerned simple, and given the number and variety of mics continued to laugh about it for the last year… to keep the lines of communication open, and at our disposal (thanks to Electric Avenue’s massive that as much as possible, engineering changes and vintage mic collection) very little was tracked with MAKING TRACKS repatching needed to take place almost invisibly, EQ, despite all the magnificent APIs, Neves and The initial tracking session took place at Phil something we managed quite well together. Pultecs on hand. This took at least one element out Punch’s Electric Avenue Studios in Sydney – the of the chain. If I didn’t love a sound I usually moved With J often in the control room with a Shure facility that spectacularly rose from the ashes of and/or changed the mic over until I hit upon the tone SM57 in front of his acoustic (by J’s special ‘Milk Bar Studios’ – and although everything in I was after. J also does a lot of recording and between request), I was also regularly monitoring through the place was new to the premises – right down us we managed to determine pretty quickly whether cans, which I typically do anyway during tracking to the wiring in the walls (apart from the Neve a sound was working or not. console) – the studio itself was the one thing because above all else it’s crucial to be sensitive to that was familiar to me, having been involved in what the players are listening to. I know this is Drums were positioned in one of the smaller Milk Bar’s initial construction and several of its an oft-trotted out cliché, but it really is imperative rooms so that the ambient mics wouldn’t sound too recording sessions thereafter… before the milk that the players are quickly made comfortable and enormous when they were compressed and mixed. ran out and the police moved in. not left ‘hanging’ while an engineer has his or her Again our ‘production philosophy’ involved closer, back to everyone and their head in the patchbay. tighter sounds during the initial tracking stage. The recording philosophy for the Whitlams album And because albums are also fundamentally about I miked the kit in a fairly orthodox manner: a was pretty straightforward: record things well to that other clichéd notion, ‘trust’, I much prefer U47FET on the kick drum (placed outside it, under the studio’s beautiful two-inch Ampex 24-track leaving the talkback mic open initially during a rug to improve the isolation and make it ‘tighter’), tape machine, with an ear for something a little setup; it forces people to mind their ‘Ps and Qs’ a ‘bug’ mic taped to the front skin, SM57s on the less ‘glossy’ and ‘produced’-sounding than perhaps and it negates the unnatural sonic isolation of a snare top and bottom (with an Octava 012 taped to had been the case on previous Whitlams albums.
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