Whilst I was mixing up a storm in Primrose Hill; up in the old city of York, Chris Waring had been preparing his bass guitar parts on his Fender Precision. I wasn't 100 % sure that remote bass was going to work, but it has well exceeded my expectations. Chris plays with impeccable timing and instantly picked up on the rock influenced flat tuning we used for the album (think G n' R / Thin Lizzy / Jimi Hendrix). Hearing Norway complete with bass for the first time was one of those finger tingling moments I sometimes get as a musician. Nestled alongside that smooth sax, right in the middle of the mix, all our hard work was starting to sound like a high quality production. What also amazed me was how easy it was to import Chris's parts onto my TASCAM DP-24SD (especially once I'd uncovered the user's manual from underneath some cardboard boxes).
Then came the morning of the many wires. For those readers not familiar with guitar terminology, we call the kind of wires guitar players use leads in the UK or cables in the US. One wire was heading from my Ibanez RG550 to my Boss BCB-60 pedal board with three pedals connected by wire: my (from right to left) Digitech Bad Monkey overdrive, Boss DS-1 distortion pedal and Boss DD-3 delay effect. The whole system was then wired into the DP-24SD, ready for some lead guitar action for the closing album tracks Ferdinand of Abyssinia, The Sinner of Pinner (I later added some bass guitar from my Fender Jazz for these two myself) and the epic Nightingale. Happy that we have nailed the parts for nine of the twelve tracks, we now await a final burst of inspiration from my old partner in crime, the sound magician Chris Monger.
A trip to my former home Oxford might do the trick.
|My Epiphone Les Paul with cherry sunburst finish.|