Here is a great technical run down of this recording, now released with more to come utilizing multiple studios and technique. And you can listen to the first single right here

This is how it was done in the golden age of recording when the highest standards of analog recording were paramount. Thanks to Jim Taig for the great write up.

Special Techniques

There is the 4 bar drum break which features the massive drum sound of the DG’s room, then fed back through 2 x DGs Marshalls – and re-mic-ed in the room – all compressed to hell.

Then there are ALL the guitar sounds using exclusively the fabulous in house DG’s amplifiers and cabinets including: Fender Bassman & Cab, all 3 x Marshall amps 50w & 100w.

Not to forget the Hammond Organ & Wurlitzer (featured on one of the tracks yet to be released).

Going to analogue tape first, via the Neve modules, Pultec etc.

Almost everything on these tracks, is “played live”. There were no click tracks used (except for a 2 bar tempo reference before each take). The keyboards, and in particular the Hammond really benefits from being mic’ed in stereo and having real energy in the room (on Why Not – yet to be released – linked to

Technical Credits.

Pre-Production at Talon Music Rehearsal Studios – Rose Bay

vibes by Brent

Tracking at Damien Gerard Studios, Gosford

Recorded by Andrew Beck, assisted by Murray Dilger

Overdubs at RMS Studio, Sydney

Protools & Additional Production by Rafael May

Mixed at Studios 301, Alexandria

By Jim Taig & Jack Garzonio

on an SSL 9048K (& just a smidge in-the-box)

Mastered by Leon Zervos

Produced by Jim Taig (EX 301 Castlereagh St)