Tone Talk with Teni Rane | “Tone is sometimes about creating a specific sound that captures a mood or the emotive space of a song.”
We are delighted to welcome Teni Rane to Tone Talk column as she prepares for the release of her debut album, Goldenrod, on August 8. Ranei, based in Chattanooga, brings a unique blend of folk-country, Americana, and jazz influences to her music, captivating listeners with her relatable lyrics and vintage vocal edge. Her upcoming album, recorded with renowned musicians and co-produced by GRAMMY-nominated Mike Stephenson, promises to showcase her eclectic style and heartfelt storytelling. Rane’s journey from a Chemical Engineer at Eastman Kodak to a full-time musician and house concert presenter is as inspiring as her music.
Beyond her musical endeavors, Rane is a dedicated board member of the Taraloka Foundation, supporting young girls in Sikkim, India. Her involvement with the foundation highlights her commitment to empowering others, providing financial support, life guidance, and encouragement to pursue their dreams. Rane’s passion for music and philanthropy is evident in her work both on and off the stage, making her a remarkable artist and humanitarian. As she prepares to share Goldenrod with the world, we look forward to diving deeper into her musical journey and the influences that shape her sound.
What is your definition of tone, and how has it changed over the years?
The concept of tone can be so broad! Tone is sometimes about creating a specific sound that captures a mood or the emotive space of a song, and it is sometimes about the signature sound that people associate with a certain artist. When a song comes on or when the vocal comes in, everyone immediately knows who the artist is. It’s something to protect as well. Often, as an artist, you are pushed to “sound like” someone who is more well-known. That can be a helpful strategy for growth — it is something that I am wary of when people start asking, “Who do you want to sound like?” Tone can also be thematic — for instance, albums may have an overall tone that relates to the stories and the content presented in the project. I think magic must happen when an artist is comfortable in their own tonal space, the tone of the song is honored, and the emotive tone of the story fits authentically together.
Which guitars, amps, and pedals are you currently using and why?
My go-to travel and recording companion is a Composite Acoustics OX — I love a carbon fiber guitar because it is SO hearty and unbothered by travel experiences. It goes everywhere with me, and I’ll always be a fan of carbon fiber! The CA’s also sound great. We have three in the family — my dad has an identical one to mine (black) and we just brought home a new, red CA GX body style. I’m in the process of upgrading the electronics package to an LR Baggs Anthem at the recommendation of my favorite guitar tech in Chattanooga. I use an LR Baggs Para Acoustic DI to dial in the sound when going into nearly any system on the road. It gives me enough influence on stage to work with anyone at the soundboard. It’s nice to have the multi-band EQ because different systems have different personalities. I look for gear that is solid quality and straightforward to use. I value simplicity highly when it comes to gear. I always want my main focus to be on the writing, the story, and the emotional experience of a song. How it sounds is an important part of that, and I am hooked on keeping the sound as natural as possible.
What about strings?
I don’t like to change strings often — it drives my dad nuts. I’m in need of a change right now! I usually bounce between D’Addario and Elixir — I try not to have to change them much unless I’m about to head into a tour or some studio time. Playing a carbon fiber guitar, I don’t have to worry about coming out of tune all that much, so as long as I like the feel of the strings and they aren’t showing a lot of wear, we rock along!
Are there certain recording techniques you prefer in the studio?
I like having the arrangement locked in before getting to the studio and have my acoustic guitar done as a guiding track for the rest of the players with a vocal scratch-track on top. It’s so great to have my guitar takes already done and to be able to focus on managing studio time and energy and not be constantly worrying about my artistic performance as well. Once the full instrumentation is completed, it’s important to me to go back in and retake a final vocal so that everything meshes together and there can be interaction and response between the instrumentation and the vocal melody. Someday, I think it would be really fun to try recording live with a band all together on a future project — for now, it works really well to go track by track and create a lot of specificity for each part to tell its part of the story.
How do you keep your sound consistent onstage?
My LR Baggs Para DI is handy for consistency — different systems have different frequencies and noises hiding in them, and having some ability to notch or to boost with EQ can be helpful. I like to keep everything as simple as possible — that means less moving parts of worry with if something is feeling/sounding out of place. If I can be consistent in my setup, then I can focus on sharing the story and the song and relieve some worry about dialing in a sound in a certain way.
What does your practice consist of?
If I’m getting ready for a show, I like to split the set list up into a couple of parts and set aside time to practice each bit to feel how it is flowing. Then, to go through the whole thing a couple of times front to back. Putting together a set list can be tricky because there is a mood and a vibe to manage song to song, and there is usually a thread or storyline that I am pulling through — just like the idea of an album progressing through a storyline. There are a lot of pieces to consider to keep a show cohesive and so those elements have to be present when practicing or rehearsing, too. I’ve also learned that it is important for me to have time set aside that is for playing just for the sake of it — not prepping for anything specific but just sitting down with my guitar or at the piano and playing whatever I feel like. Maybe it’s pulling up old covers, playing some originals that I haven’t visited in a while, or just putting fingers on strings or hands on keys and seeing what comes up and what feels good.
Favorite guitar riff or lick that inspired you to play guitar?
I have enjoyed listening to the guitar work of many incredible players over time. Even though I really am not in the rock space with my current work, I always go back to The Eagles. But more relevant to my style are folks like James Taylor, Joni Mitchell, Pierce Pettis, and Cosy Sheridan. What inspired me most to play guitar was that it could carry the melody and the lyrical line. Growing up around listening to room-style shows, I’ve always gravitated towards the unplugged, story-teller feeling. It was less a specific player or famous guitar lick and more the capacity of the acoustic guitar to underpin and create a container for an important story.
What is your advice for young women who hope to work in the music industry?
Don’t let someone else tell you what success looks like. There are SO many ways to participate in the music industry, and YOU have to figure out what works for you and what your goals are. Give yourself permission to let the goals change and evolve as you go. It has been really helpful to me to have some personal criteria for WHY I am doing something. Whether that is considering a gig, planning to record, or going to a conference. There are endless things that you could do (and some people will say you should do!) in a given day, week, or year as it regards your career in music. Just because it is something that you could do doesn’t mean you have to do it. You are allowed to be persistently selective about what, why, when, where, and who — it is your time, and you are the only one that can govern it or give it away. It isn’t easy to say no or to prioritize, but it is how I stay sane in a fast-paced world.
Tour Dates
8/07 – Chattanooga, TN – WUTC, Richard Winham Show (11am)
8/07 – Chattanooga, TN – Yellow Racket Records (LP Release) [6pm]
8/09 – Asheville, NC – Arbor Evenings @ The Arboretum
8/10 – Horse Shoe, NC – House Concert
8/16 – Bristol TN/VA – Radio Bristol – Appalachian Travels
8/17 – Norton, VA – High Knob Outdoor Fest (performing w/ Dave Eggar & Bristol Lightning)
8/20 – Emory, VA – WEHC 90.7 (Appalachian Artists Live)
9/19 – Chattanooga, TN – House Concert*
9/20 – Red Bank, TN – Food Truck Fridays*
9/21 – Chattanooga, TN – Crabtree Farms Fall Festival*
9/21 – Chattanooga, TN – Gate 11*
9/22 – Chattanooga, TN – Creative Discovery Museum – Songwriter’s Residency
9/27 – Kingsport, TN – House Concert
9/28 – Knoxville, TN – WDVX Blue Plate Special (12pm)
9/29 – Chattanooga, TN – Creative Discovery Museum – Songwriter’s Residency
10/2 – Fayetteville, AR – U of A Honors College House Concert*
10/4 – Neosho, MO – House Concert*
10/5 – Joplin, MO – North Heights Porch Fest*
10/12 – Chattanooga, TN – Highland Park Porch Fest
10/23 – Stanton, KY – The Hive at High Rock
10/24 – Newport, KY – Falcon Theatre – Poet & Song Series
CONNECT WITH TENI RANE
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