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Old 22nd November 2020
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Working with Regina on Soviet Kitsch, from beginning to end, was one of the highlights of my life-- truly. She played me one song, the day I met her (Poor Little Rich Boy) and not only did we start recording that song, exactly as you hear it on the album-- but I had an instant vision of how I wished to hear her songs and present her phenomenal music and storytelling to the world via my production. Young woman and piano... ok, thats a combination thats been done many times very well... um,, Joni Mitchell Blue! Tori Amos etc. So what could I do to set it apart? I thought what if i set the preamps and compressors and room mics so that when she sings pretty, and soft-- the sound is GORGEOUS and warm, but when she gets excited and maybe yells, every piece of gear in the studio that we were using-- say 9 microphones and preamps, a fender twin reverb amp and a leslie speaker... all got upset and hissy and a bit aggressive too?? I used an SSL preamp and cool vintage LA-2A compressor on her voice for part of it, and a Neve 1073 vintage and Distressor for the other songs...

I have seen Regina live a number of times since I worked with her, and she is always amazing, always in her great musical power. I haven't studied all of her recordings, but I know I prefer Soviet Kitsch's intensity and focus more than the first few subsequent things I heard.