So, after two long weekends of long days in the studio we’ve pretty much finished recording the album, and are now crushed by a sense of sudden purposelessness as we return to our other lives. At least we had the buffer of the bank holiday. There’s still plenty of work to do on the album, but logistical details of planned overdubs, edits, mixing and eq-ing aren’t interesting, so I won’t talk about them.
Sunday was the last day of recording, and we invented a game which had racquets made of rope that you used almost like a sling, and you had to have inflatable balls because otherwise you’d get too much power behind the ball and it would be impossible to return it and people would get hurt. I think we decided there were teams of ten or eleven, and a really big pitch—loads bigger than a football pitch—and you scored when you hit the ground on your opponents’ side, like tennis or badminton, but there would be targets as well for bonus point. Penalties would be memory games like the little bonus rounds in Super Mario Bros. 2. When I say we invented this game, this was just control room chat. We didn’t actually play the game. The game will be called Centrifugo.
Also in the control room there was much hilarity when the C bomb came up in Boggle. Rosie, Ben and myself spotted the word immediately as the timer started and all did a loll [with a double l, it means ‘laughed out loud, literally’].
There was an occurrence later when Aidan asked me to overdub a euphonium part two octaves lower than normal. I‘ve always considered my pedal range to be pretty good, but apparently my first few takes were hilarious because my low B sounded like ‘an out-of-tune foghorn,’ as I was informed by Owen later. The riotous laughter that came down the cans between takes was, let us say, not the best of motivational tools, and I find the recollection of the whole episode rather upsetting. Nevertheless, when I asked the others what ‘funny moments’ I should include in this blog entry, Owen was insistent that this be included.
As the day drew to a close, I asked Aidan if he felt his artistic vision had been realised. His face took on a blank expression, and about two seconds later he replied, ‘Sort of.’ We hope you, gentle reader, will share Aidan’s enthusiasm when the album is eventually released.
Thanks to James Gow and Nick Walters, who added some wonderful double bass and trumpet sounds respectively, and to Joel Magill for his technical wizadry and tactful people management.