The Varispeech is a really cool chorus-y, flange-y thing if you set it up that way. I had someone there to support me. And there were some tricks, too.
Album Profiles. How To. We submitted 50 songs, and a lot of them I wrote in two hours and never went back to again. By Kylee Swenson.
Economy was one of the words that we threw around a lot when we were first starting to talk about this record. Anybody can keep stacking things up until it sounds cool. None of those songs made it on the record, but it really inspired us. There was one I wrote when we were in New Orleans that Chris Walla picked on his list of potential songs, and Sara hated it.
How did Sainthood compare to past recording experiences?
The idea was that you could slow down a conversation at regular pitch but keep pitch where it was so that people could practice figuring out how to reconnect their mouth and their brain.
But virtually all of the gain reduction, compression, or smashing, I did with outboard gear.
Tegan and Sara have a knack for writing economical and catchy songs, and there are lots of them on Sainthood. I just feel broken. Ted is talking to Chris about what his bass part should be!
I did some pretty dramatic drumbus compression with the Empirical Labs Fatso and dropped snares and toms back on top after the fact. Why did you decide to record the bulk of Sainthood live? For identical twin sisters who have recorded and toured together over the past ten-plus years, Tegan and Sara live awfully far apart.
There you go.
We almost always used a Chandler preamp and Manley Variable Mu— [Walla also notes an Empirical Labs Distressor]—and a really small amount of de-essing, just grabbing the really fast sibilant stuff.
Early in their career, Tegan and Sara Quin caught the ear of Neil Young, who brought them on tour with The Pretenders in 2000 and signed them to his label, Vapor.
By Ken Micallef. Lots of takes there, too? I think a lot of songwriters just throw stuff in for varying degrees of insecurity about the song.