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Son Of Dad - Album Out Now



It was heaps on fun working on the album for Son of Dad. The band are a bunch of funny characters. The first question the drummer Matt asked when he arrived to the studio, pointing at the screen in the control room, "So what version of Garage band is this?" He was obviously joking.


We tracked the guitars, bass, drums and guide vocal all live without a click track as the guys wanted to capture the same energy on the album as they have on stage. They all feed energy off each other so it was important for them to all play live. I completely isolated the guitars and bass from the drums and we did the guide vocal in another tracking room. This meant we had total isolation between all the instruments and vocals so we could overdub some bass and guitar parts where needed without having to worry about spill from the instruments into other mics. The guys have been playing together for 7 years so they are very tight. Some songs we just used the original bass and guitar parts that were played along with the drums. Other songs we dropped in takes and added layers.


The brass was also tracked all the same time but I placed each player in their own separate tracking room with their own instrument and room mic. This allowed the sax, trumpet and trombone to be played at the same time like what they are used to but we also had very minimal to no bleed between the instrument mics plus they all had their own room mic which helped make a much fuller sound. I used a combination of ribbon and condenser mics for the brass, we spend a while making sure everything was being tracked close to how we wanted the end product to sound so that we were able to get a nice big full brass sound.


The vocals were overdubbed on the track last. We spend quite a bit of time tracking and compiling the best takes as well as autotuning in graphical mode to give a natural sound but completely in tune all the time


"I Won't Leave". I kept saying to the guys, 'This will be your hit song.' I was not going to let it leave the studio without it sounding like a hit since it has so much potential. I kept pushing Craig and Nina to give the song more energy in the vocals. Nina would have definitely performed the song more laid back she kept saying, 'I can't do punchy' but I kept pushing her and pushing her and guess what... She can do punchy! She just needed someone to keep telling her she could for two hours! We were all very happy with the outcome of that song. I even ran some of the clean guitar through distortion in the verse to give the song more energy and now we are all in love with the song.


From all their crazy stories in the studio it was definitely a memorable recording. I remember not being able to see the computer screen and one point because my eyes were all watery from laughing so much. Checkout their songs on our website, I recorded, produced, mix and mastered their entire album myself here at Current Sound. Find them on facebook and come along to their next gig, they are always a crowd favourite.


-Tom Watson (Director/Producer)

-Current Sound

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Current Sound Client Signed to New York Label!



The act RunSquad consists of two electronic music producers from Adelaide, South Australia, Marc Withersea and Sammy Brett. Marc Withersea started learning piano/synth and production with Tom Watson at Current Sound after being a fan on Open Your Eyes by Transparent which was written, produced, recorded, mixed and mastered at Current Sound and hit number 1 on Fresh Fm's international chart show in 2006. Marc and Sammy Brett have been producing tracks together for some time now.


System Recordings (NY label) became interested in a song produced by RunSquad, 'Never Cry Again'. The song at the time was unmastered. System Recordings asked RunSquad they had someone they wanted to use for mastering and RunSquad chose Tom Watson at Current Sound. We gave RunSquad mixing tips and production suggestions prior to mastering their final mix of the song. RunSquad and System Recordings were both very happy with our masters. System Recordings has since signed another 2 songs from RunSquad to its label which we also mastered at Current Sound. Marc came up with the name Manzini for one of the new songs and chose the name for the EP. Fun fact, both Manzini and Pocket Pool were named by RunSquad after browsing urbandictionary.com



Checkout the Manzini EP on beatport


-Tom Watson (Director/Producer)

-Current Sound

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Actor Miriam Margolyes at Current Sound



I was more than happy to have actor Miriam Margolyes (Harry Potter/Blackadder/James and the Giant Peach) at Current Sound. She is in Adelaide at the moment performing her play Neighbourhood Watch at the Dustan Playhouse.


I've had Miriam in the Current Sound recording studio on three separate occasions. The first was a live stream (ISDN equivalent) via Source Connect to Jungle Studios in London for a live overdub VO for Dolmio. Miriam has been doing the voice for the Mama character/puppet for Dolmio for the last 10 years now.


A few weeks later she was back again to do the VO for another commercial for Dolmio, this time we streamed live via Source Connect to Angell Studios in London who produced and recorded the session.


Thirdly we had another afternoon in the studio the following week doing a VO for director Graeme Haddon who flew down for the afternoon back to back with another session for the Nature Conservation Trust of NSW which involved bringing in a film crew and Autocue operator/teleprompter to shoot some video of Miriam in front of a green screen in the studio for their 'Who is Quentin?' campaign.


It was great to be able to work with Miriam, she is a very caring, down to earth person. If you would like Miriam to do a voice over for your next advertising campaign, flim, or TV show, contact myself at Current Sound and I will forward your inquiry to her manager for a quote.


-Tom Watson (Director/Producer)

-Current Sound

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50 in the City



50 in the City (named after the Adelaide speed limit) are easily the most talented 17 and 18 years old musos in the Adelaide music scene. Their impressive list of gigs and awards continues to grow, just 2012 alone they won 1st place in the 2012 Burnside Battle of the Bands and Red Bull's Bedroom Jam. They are always playing somewhere around Adelaide and I found it interesting that their last gig was to over 25,000 people at Carols by Candle Light then they came into the studio to play just to me. Probably a bit of a letdown after a gig like that. It reminded me of the scene from Flight of the Conchords when the band only had one person to play to at a gig one time and that man had 2 shopping bags on the seats next to him so technically most of the audience was shopping bags. The guys from 50 in the City soon got over it after I tuned and miked up their Pear Reference Series drum kit and it was sounding amazing.


The drum overheads needed very little EQ thanks to the great sounding drum kit and my German made SPL Gold Mike preamp. Those that are familiar with the sound of 50 in the City, other than their tight playing, you will notice that they have a very unique snare drum sound. They use a Pearl Custom Alloy SensiTone Elite, with 8 snare wires removed and an Evans Power Centre Reverse Dot head. I would normally put a gate on the tom mikes but I was getting a nice spill from the snare into the mikes that it sounded better not gated. It actually made me realise that perhaps I should have more than my usual top and bottom close snare mikes for their sound so I added another condenser in front of the drum kit facing the snare to capture more of the sound of the front of the kit. I had to be careful to measure distances between mics so that there were no phase issues doing this. I ran it through a warm tube pre and tube compressor which helped dull the cymbals while tracking but still bring out the unique pop sound of their nice snare.


The guys from 50 in the City are used to studios and playing to a click so we used a click track for their songs. One of their songs speeds up at the end. We tried recording that section first without a click. I thought it could sound tighter so once I got their tempo from used a bpm tap counter I then made them a custom click on a tempo track that speeds up at an even amount. We all thought it sounded much tighter playing to the click that speeds up so we ended up using a click track there as well.


Most of the bass was tracked live with the drums, a few sections were overdubbed later. Will wanted to get the right expression from his guitar parts so we overdubbed the guitar with him sitting right next to his amp. Will wanted a full warm, upfront sound for his vocals so I gave me just that using one of my warmer USA made CAD mikes running through a Daking mic pre. The vocals required a lot of belting. Will and I felt that he was losing a bit of energy at the end of the day so we started doing some mixing in the afternoon instead of laying down the belted choruses allowing him to rest for the day before belting out the vocals the next day in the studio.


50 in the City have some great guitar solos so we spend a bit of time creating different guitar tones in the studio before laying down the solos. We recorded on some pretty hot days but luckily the bar fridge was very well stocked with soft drinks for the young guys. I'm really happy with the way the songs came out. Good luck to them, they're definitely gonna be around for a while.


-Tom Watson (Director/Producer)

-Current Sound

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Actor Jonathan Pryce at Current Sound



You've probably seen Jonathan Pryce in countless movies over the years, Pirates of the Caribbean, Evita, Tomorrow Never Dies not to mention his numerous plays. He was in Adelaide as part of the Adelaide Festival performing in his play "The Caretaker". Which is why he's got a beard at the moment. We were lucky enough to have him in the studio as part of a corporate recording, doing the voice overs for a popular international brand, which I've been told not to mention yet as the commercial hasn't been approved.


It was interesting in having an international celebrity actor in the studio since there are very rarely even international celebrity actors in Adelaide at all. We did the recording as quick as possible since Jonathan had to do his play shortly after that same day. It sounded great and he's got a very cool deep voice. His corporate taxi cancelled on him at the last minute so I drove him back to his hotel in my car after the session so that he could prepare everything for his play in time and we had a nice chat in the car.


-Tom Watson (Director/Producer)

-Current Sound

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