What type of music do you usually work on?
We've done a lot of music for children, it's simple and fun although it leaves a little to be desired for the artists in us. However we've had the privilege to work on some really interesting projects which have been a lot of fun and have allowed us have full creative reign over the music, these kinds of projects are why we do this job.
What's your typical work process?
Its totally down to the job at hand but often we get sent demo a capellas so we start laying down some basic chord structures and try and build an arrangement from there inside Pro-Tools. Usually before this we have a chat with the clients to try and ascertain what they want in a final product, if they haven't sent us a brief already.
We usually try and develop as many melodic and rhythmic ideas as possible at first and just see which ones make the most sense. Then there is a back and forth with the client about the initial ideas and, once we've agreed on something fairly solid, we take these ideas into the studio and start tracking some parts properly and adding sound design. Making sure the composition is solid before you start tracking loads of parts in the studio is key, its a total pain to have to change two chords once you've tracked all the instrumental parts.
After this point things start to take shape and the process becomes a bit more rigid, depending on whether the client is still happy with the original ideas in their more finished form, we can move onto production details and mixing.
If all goes well we end up with a rather tasty finished product that the client is really happy with, this process can go very smoothly but its not always the case.
Tell us about your studio setup.
We’ve got two spaces that we work in; a project studio and a recording studio. Our project studio revolves around an iMac, in a treated room with solid monitoring. The studio's arrangement centres around creative workflow in order for us to be able to get ideas down as quick as possible with a minimum of messing about with cables. This is where most of the work happens, its only taken into the recording studio for tracking, mixing and mastering.
We record, do final mixdowns and master at Hidden Cam Studios in Brighton. Here we have access to a separate live room for tracking as well as a wide range of microphones, pre-amps and instrumentation. The mixing space at Hidden Cam is larger but still well treated with suitable monitoring.
Analog or digital and why?
Digital for tracking and sequencing, analog for everything else. Because tape machines are fiddly and expensive and using a computer to navigate a piece of music is immeasurably easier.
What advice do you have for a customer looking to hire a provider like you?
Make sure you know what you want. A solid foundation will save time, effort and a lot of money.
How would you describe your style?
I'd say we're both pretty prog-rocky but when it comes to work you do what needs to be done and try not to let your own tastes get in the way.
Which artist would you like to work with and why?
I think we could both firmly say David Gilmour, I don't think that requires an explanation.
Can you share one music production tip?
Concentrate on the composition of ideas, its not all about the gear.
What's your strongest skill?
I'm sorry, but I'm way too modest and English to answer that.
What do you bring to a song?
I like to think we bring ideas from outside the box; there's nothing wrong with using classic chord sequences or cliche sound effects but some people forget to experiment in lieu of lazy production methods, the greatest records were defined by their experiments, they can make the difference between a good record and a great one.
What other musicians or music production professionals inspire you?
Both of us here are big fans of the classic era of recording, Pink Floyd, The Beatles, Bowie etc. I think there's a real appreciation for how the producers had to work back then with the analog workflow and all its limitations, this also gave emphasis on good songwriting and solid performances which are both cornerstones of any good piece of music.
Describe the most common type of work you do for your clients.
The vast majority of our work is production, which is fortunate because its our favourite; it allows us to be creative and become engrossed in our work, this means we come out with the best results possible as we are truly invested in what we're doing.