where the writers are
SOUND MAN (part 3)

Back at Outlaw, heads cleared by searing stewed tea, stomachs grease-lined, we laid down the rest of the backing tracks.

“Right gentlemen,” Miki said.

We all looked round to see who had come into the room.

“We should be able to lay the vocals down on that lot in the couple of hours left today."

“Yeah. Including double-tracking.” I said.

“Double what?” Mulligan asked.

“I sing the same thing to a separate track. Once I’ve got the main vocal down. That’s when we’ll record backing vocals as well. We’ve only got 8 tracks to work with. And most of those are taken up with drums.”

“Double tracking?” Dik said, “And you with a one-track mind.”

“Least I’ve got one.” I said. “Two, in fact.”

This was way before the technology that would allow automatic double tracking with programmable variance that made it sound as if you hadn’t used automated double-tracking. What? Laying down vocals was just about my favorite part of recording, apart from mix-down. I didn’t have to concentrate on holding guitar and vocals down with the rhythm section, so I was free to yodel my bollocks off and have some fun. All very artistic I’m sure.