PRODUCTION INSIGHT – CREATING INTRIGUE & ANTICIPATION

Here’s another little production walkthrough which hopefully will inspire some artists / producers who also love a sense of intrigue in their music.

This focuses on the introduction and first verse of Feather Blue by Tom Harris Is OK which started out as a more conventional acoustic folk sound. I used some ‘odd’ synth sounds, reverb and EQ to create a soft, intriguing bed on which the intimate vocal could sit.

new episode of the curious producer podcast – tom harris is ok

After a long break from podcasting, I’ve put out a new episode of The Curious Producer featuring a lovely, funny and interesting conversation with Tom Harris Is OK who I recently worked with as a Producer & Mixer on two of his original songs.

The podcast is available on Spotify or wherever you listen to podcasts.

New mix tip video…

Music Producers spend many hours working on a track to make it sound as awesome as possible and then people listen to it through their phone or laptop speakers. Sigh. Where did the bass go?

This is a simple but effective method to help the bass to cut through on smaller speakers, but also to add some texture and width to the part.

ALBUM TEASER – INDIGENT GHOUL

Since late 2020, I’ve been working on the debut album by Alex Jemmet AKA Indigent Ghoul, producing songs one by one and starting from his own Ableton Live projects.

We’ve been exploring synths, drum programming, sound-design and atmospherics as well as capturing great vocal and instrumental performances in my studio.

With influences ranging from Ariel Pink to Radiohead to Lana Del Ray and some extremely infectious and inventive songs, it’s been a really fun journey so far (just finishing the sixth track) and I’ve learned tons along the way!

I’m so excited about how it sounds so far that I’ve spliced together some of my favourite pieces so you get a taste.

The process has involved a lot of manipulation of sounds, re-sampling, slicing, experimenting with effects and making the music sonically adventurous. I have also used session drummer Thom Mills, violinist Becka Wright and bassist Steven Oates to add additional human layers on top of the programmed, electronic elements.