LF: Is there a plugin that you can recommend?
TS: The Spiff Oak sound works well for more transient shaping and the Soothe 3 I think is amazing… if you’re recording digitally, you’re going to get all of that airy stuff, and residue, and the Soothe 3 helps in that area.
LF: Can you tell us about how you came to learn the tabla and what drew you to that instrument?
TS: The instrument came to me at such a young age. The sound of the instrument and the physics, the ergonomics of sitting cross-legged playing it, I was attracted to that idea, the spiritual space, the yogic energy from playing this instrument. I originally learnt from a few visiting masters, and then I found my teacher (Pandit Lashman Singh) who was devoted to guiding me musically, and spiritually. The tabla has given me a sonic understanding of sounds and rhythms (Singh goes on to demonstrate the different tones on his tabla here).
LF: Your solo album OK was released in 1998 to critical and commercial success, winning the Mercury Music prize and the Southbank prize. You recorded that album in five different locations, Mumbai, Madras, Okinawa, New York and London. Now days that happens all the time, but tell us about your production process on this album and the decision you made back then to record it in so many different locations?
TS: The idea of this travelogue album was very exciting, and there were so many musicians that I wanted to engage and work with like Bill Laswell in New York… the album was a melting pot of different people coming together and the experiences of travelling to these places was a big part of it.
Bombay was where we started because I’ve always been fascinated by the recording industry of Bombay. When I started getting into records and how they are made, the mysticism that I developed around studios and studio equipment, came from listening to records that were made there in the 80’s. Especially the saturated distortion which you heard on those Bollywood records… it blew my mind! It attracted me to the quest of knowing how? How can you get that sound?
It’s interesting because I found out that one of the chief engineers in the studios in Bombay had insisted that when the VU meters are red, that’s when you start recording, because he actually thought that meant it was ON!
LF: Is that why the music sounds so hot, so crunchy in the mid and high frequencies?
TS: Exactly, so everyone followed that tradition, and it became the Bollywood sound!
In London the Strong Room was the headquarters for the project. We used the Neve room because I wanted that warm, saturated sound. But we ended up recording it on Radar, that was our main machine. In Bombay we used the Tascam… I still have it. In New York we recorded with DA-38’s, they became really popular at that time. But everything we recorded we ended up transferring onto Radar.
I was executive producing the record, but I had such an amazing engineer (Tristin Norwell) who helped with recording, housekeeping, and mixing. It was intense though, we would finish at 3 or 4 in the morning, and my start time was 9am. But sessions were like that back in the day… you would have a lock-out in the studio for 3 weeks, and you wanted to make use of the time, not resting, or sleeping.
LF: Tell us a little bit about the ‘Hold Me In’ songwriting session at Pro7ect 2018. You were headline producer in the Prism Sound Sing-Star Studio with three other songwriters including Bev Lee Harling as featured artist. How did the day roll?
TS: Bev Lee’s energy was a reflection of everything that took place that day. She allowed things to happen, that’s very important in a studio environment, or any creative environment… to let things happen. The job of a vocalist is quite multifaceted because you’ve got to deal with lyrics, you’ve got to deal with your intonation, you’ve got to deal with the most subtle aspect of an instrument – your body, there’s a lot of things going on there. When you’re in that writing space there’s pressure to get something down and Bev Lee was letting things happen. I think that’s what produced a really good song. She sang the vocal in one take!
After the Hold Me In session Bev Lee said to me, very softly, “I love the way you recorded the vocals”, and I was like, “are you sure?” but when I heard it back in my studio I was blown away! I thought that I might need to clean a few things up, I often use Melodyne (pitch correction software) in a really subtle way, but I didn’t need to use any of it! I said to her afterwards that this is really amazing… when you have a take where there’s no editing involved, you’re storytelling, it doesn’t have to be perfect AND YET IT IS PERFECT! Because you can’t take anything away, and you can’t add anything. It’s a piece of art.
Pro7ect is excited to announce our return to Rockfield from 18th – 26th July 2023.
2023 Headline Producers are Emre Ramazanoglu (Noel Gallagher, Sia, Carly Rae Jepsen, Shakira, Duffy, Pulp, Jack Savoretti), Kaity Rae (The Shires, Lisa Pac, Betsi Gold, with writing and production credits on the film “How to build a Girl”), Gethin Pearson
Badly Drawn Boy, Charlie XCX, Kele Okereke, Mallory Knox), Lisa Fitzgibbon
Pro7ect Creative Director (the PowerFolk Quintet, Moonshee, The Standing).
Apply before 01.01.23 for the *Early Bird Rate*
Now in our 8th year, Pro7ect songwriting retreats at the world famous Rockfield Studios, is the only residential songwriting retreat in the UK offering music production in the room and an opportunity to collaborate with internationally acclaimed writer/producers.
For more information and to apply for Pro7ect songwriting retreats & Masterclasses go to: www.pro7ect.com
For exclusive Headliner Reader discounts on Pro7ect songwriting events put ‘Headliner’ in the “How did you hear about Pro7ect” question on your application: www.pro7ect.com/apply