On Kate’s last studio album “Life in a Paper Boat’ you introduced synths and drum programming. How did this come about?
The bass player in Kate’s band, Duncan Lyall, is also a very talented piano and synth player, among many other talents. He is the proud owner of a Moog Sub Phatty Analogue Synth, and having heard him play it on other music, I asked if he’d be up for bringing it along to the recording sessions for this record. I was moving in a different direction with this recording production wise and I could hear the new textures and sounds Duncan could bring to the table. For me it was one of the defining sounds of ‘Life In A Paper Boat’ and one that makes it stand out from the rest.
With the drums and programming, I have been working with a guy called Josh Clark from Bath. He runs his own business called Get Real Audio, based in Bath, were he is jack of all trades and master of all – studio engineer, mixing engineer and mastering engineer – and he also happens to be a great drummer and creator of drum loops and programming. Having worked with him closely on my 2015 album, ‘Areas of High Traffic’ I love his creativity and work ethic. Percussion and especially drum programming are areas we have exploited very sparingly with Kate’s music. So again, used in a tasteful manner, it is another layer of sound which I envisaged would create something new. Kate was very open-minded about the production of this album and gave me a lot of the decisions so I was like a kid in a sweety shop ;-)