Hati - Tiny Tower
Tiny Tower captures the uncanny and warped perception of politics being presented to us daily. The track dismantles Trump-era ideologies that continue to harm and silence people of colour, LGBTQ+ communities, and women... all in service of power, profit, and white male comfort.
If they weren't so alone, they might feel more at home... But for now they'll just abuse their power...
Harriet (Hati) and I were getting stuck on the song we were initially working on (Mood), nothing was clicking, and I decided that instead of wasting our session, we'd try a new approach and work from scratch.
"Every session with Bess is approached with the performer's comfort in mind, and I have incredible vocal results due to her approach to recording!" - Hati
THE PROCESS:
CONSTRUCTING THE INSTRUMENTAL
This track started as an instrumental I had produced a year earlier. I believe I was sampling 'Wichita Lineman by Glen Campbell' on a plugin called Serato. I then added drums and some other minimal elements, and it sat in a drawer for a year.
RECORDING THE VOCALS
I organised the recording session in my bedroom studio, prioritising comfort over show. We spent 3.5 hours recording, and it was a very enjoyable and effortless session. I took inspiration from pop standard vocal recording methods as well as my experience capturing my own vocals, and we generally recorded and used 3-5 lead vocal layers and 2-4 harmony layers.
Harriet’s partner, Jacob, was present throughout the session, and as we were wrapping up, I suggested he double a few lines for emphasis. I value moments like this - where collaboration extends naturally - because making music isn’t just about efficiency or outcome, but about creating a unique, memorable experience in the process.
MIXING THE TRACK
The time spent on recording and mixing for this track approximates 19 hours, with the mixing taking up around 13 of those hours (or 68.42%). I recorded Harriet using my regular vocal chain, then slightly adjusted, mixing in the Neve and UAD rooms. This chain was comprised of predominantly:
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An EQ to cut
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A tube EQ for colour and saturation
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A FET Compressor for warmth
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An Opto compressor for character and clarity
I then sent the sources to 3 buses:
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A warm reverb
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A long reverb
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A tape delay
This allowed me control and cohesion over my effect sends - so I could dial in the reverb and delay. I keep my files very colourful because I need to be engaged and able to comprehend what I am working on.
FILMING CONTENT
In SCP class time on 08/09/2025, Harriet, Poppy and Jacob of the band Elsewhere and I shot promo videos and content for the Tiny Tower release. As I had created the beat, Harriet was keen to feature me, and so we donned our suits and filmed around levels 5 and 6 of Z9.
SESSIONS
Here is my record of the combined hours I have spent on 'Tiny Tower'...
COLLABORATION & COMMUNICATION
I worked closely with Harriet (Hati) and Sofia Cirino from Vermillions' A&R team to coordinate both the recording process and the rollout strategy. From the outset, Sofia and I aligned to keep the project on track and ensure that we recorded and finalised one complete song within the first month.
This required a balance of creative sensitivity and practical project management — particularly when Harriet initially hoped to spend more time developing multiple tracks. Through open communication and clear scheduling, I helped guide the process toward a focused, achievable outcome without compromising the creative intent.
REFLECTION
Tiny Tower has been one of my favourite projects to date. As one of my first full productions under Vermillion, it pushed me to balance creative direction with technical precision. I managed the recording, production, and mix process, shaping the track from its early demo to the final master.
This project taught me how to balance structure with experimentation. I explored analogue textures and reverb depth to complement Hati’s voice, learning how space and tone can emotionally drive a song. One of my favourite choices was running the second verse through a rotary cabinet simulation, creating a unique, swirling texture. I also refined my workflow for vocal comping and buss compression, using subtle automation and EQ to keep the mix warm but defined.
Collaboration and communication were key. I worked closely with Hati and Sofia Cirino (A&R) to keep the project on track, ensuring we completed a full song within the first month. Navigating creative differences — like how many songs to focus on — taught me how to guide an artist respectfully while maintaining momentum.
I’ve also been inspired by the team’s rollout efforts, particularly Harriet’s consistency in posting and promoting Tiny Tower in the lead-up to release.
Overall, this project strengthened my confidence as a producer who values emotional authenticity as much as sonic quality — and reminded me that creating a supportive environment for the artist is often the most powerful production tool you have.
