This was not a new technique for the Gibb siblings. would do that sometimes, but more often, they would go out with the three of them on one mic and work out how the harmonies should be, together.” “Then, you would stack the other harmonies on top of it. “The way most artists record vocal harmonies is to record one at a time and get that polished,” he said.
In particular, he noted how the brothers would record their harmonies not separately, but in tandem. He would go on to work with the group for the next several years, over the course of which he gained a keen insight into how unique the Bee Gees’ process was. At that time, Merchant had just graduated from the University of Miami with a degree in Music Engineering, and he’d also interned at the Gibbs’ Middle Ear Studios on South Beach. Music engineer John Merchant began working with the Bee Gees in the late ’80s, as the group was working on their 1989 album One with engineer and co-producer Brian Tench.
There was no fixing it in post for these prolific songwriters, who cut their teeth in a world before autotune. Their recording career would certainly expand and evolve over the course of the next several decades, but one constant was their commitment to strong musical performances and tight harmonies.
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The Bee Gees made their first recordings in the late ‘50s after being discovered by radio DJ Bill Gates, having heard from racing driver Bill Goode about three talented, young songwriters performing at a Speedway in Redcliffe, Australia.
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