Part 3 of 18 serialised by Nuance, New Straits Times
Third & Fourth Week Of September 2002
I finished charting last week. Sherry, Kum Loong and I have also done all we can by way of preliminary rehearsals. Things are generally in accordance with how I thought the preparations would pan out. The rest would have to wait till full band rehearsals two weeks from now.
I thought I’d go jogging and build up my fitness before production begins. But the day job continues to be annoyingly intrusive. I don’t even get enough time to draw breath, and you need to breathe when you jog. So, I guess no jogging for me. Shrug.
Ronan the producer said in his email that he would like to avoid using any digital equipment on the album. This means that we will try to make an analogue record ñ no digital effects, no digital recorders, no digital editing and so on. Now, you may already know this, but most modern pop records are made with the help of very powerful digital recording, sound-processing and editing technology, without which it is more than likely that those MTV boy-bands you think sound so amazing can even sing in tune. Why, then, are we looking to avoid using such powerful technology altogether?
Well, for one, I personally have yet to hear a digitally recorded album that sounds as good as a well-recorded album done on a decent 2-inch analogue tape machine. You see, for all its powerful editing capability and hiss-free silence, digital recorders do not sound as warm and fat as analogue tape recorders. And since one of the things Ronan and I share is a love for ëfatí sounding records, we will try to make the fattest sounding album this side of Elizabeth Taylor. This means avoiding digital technology as much as possible.
Like retro-nuts gone mad, Ronan and I also decided that we wonít be using synthesisers on the record. Instead, weíll use the Indian harmonium and a 70’s keyboard called Fender Rhodes. I love the sound of the harmonium, and in particular, the Rhodes (anyone remember Led Zep’s ‘No Quarter’?). The harmonium should be easy to source, but the Rhodes will not because it is so ancient and unfashionable. I guess all I can do is give it a try.
So I sent the feelers out. Back came a few numbers. The first number I called belonged to a local jazz pianist of considerable repute, who also supposedly has a Fender Rhodes from way back. He was polite and all, but wouldn’t rent me the Rhodes for love or money because ‘I’m not in the rental business’. Instead, he tried to persuade me to use his studio to record the album. But there is no way that will happen because his studio does not have the gear we need. Oh well.
Later, I thought I might book the pianist’s studio for just one day in order to use the Rhodes. I called the studio in question. After some fumbling around, the studio manager told me they don’t have the Rhodes at all. Just whatís going on?
Luckily, my friend Iskander called and gave me the number to a nice man named Simon. I called. Simon listened patiently and gave me the number to someone who has a Rhodes sitting in his living room. I dialled the number and got another nice man at the other end of the line. He said the keyboard is old, in need of repairs, but it is workable. Only thing is, it belongs to his aged mother and she doesn’t like to have the thing out of her sight. Heíd have to ask her and get back to me later.
Then I called Andy Peterson. He is probably the top session bassist in town and another very helpful man. He was in the running for playing on my record but scheduling prevented it. He also owns a second-hand music instrument shop. Andy told me he’d make a few calls on my behalf and get back to me by next week. Cool chap, this Andy.
Ronan also wanted to use a ‘valve’ guitar amp as opposed to a ‘solid state’ one (valve amps have a warm vintage sound and are much more microphone friendly). He specified a Vox AC30: the same amp used by the Beatles, Brian May of Queen, and countless other 60’s and 70’s giants. The Vox sounds like a million bucks and cost a bomb. They are very rare, but I’d seen one sitting onstage at No Black Tie months ago. So I called Evelyn the owner. As it happens, it belongs to one of Evelyn’s regular customers. She called him. The thing is being repaired, but it should come back in time for my recording sessions. But the snag is, he wanted RM1800 for a month’s rental. That’s way above what I can afford. So I halved the rental period to two weeks. The price that came back was still high. One grand. I’d have to talk about it to Ronan when he arrives.
Yesterday, I wrote to Leo, reminding him to send the microphones he is lending to me in good time. Knowing Malaysian Customs, it could take anything between a few days to a month to clear customs. He has not replied. Meanwhile, another day job meeting beckons; something that requires me to go to Sabah late November.
Stressed. Wish I were Britney.