Recording - August 2010 - 27
Once the form is set, the last thing is to redo all of the drums. If I keep any of the original loop, I’ll add fills and other loops along the way to break up the segments. To me, there’s nothing worse than an unchanging loop. What sounds exciting at first quickly becomes mundane and irritating if it doesn’t change up. So, I try to make music that keeps my interest intact. That’s something I learned from listening to a lot of techno and electronica: the best artists are forever changing things throughout the song. Even if something comes back to the main melody at the end, the sounds have changed underneath it in some way. Your drum/percussion parts sound like an awful lot of effort went into creating them... The percussion and drumming was the most time consuming of anything on the CD. I started with the concept that I’m not only not a drummer and don’t have a good drummer’s vocabulary, but I wasn’t even going to attempt to make things sound as if a drummer played them. That attitude was very freeing, to just get some kind of groove with whatever sounds I felt like, without worrying about what could physically be pulled off. Where did your drum sounds come from? I really wanted to have different drum sounds on every track. Most of the industrial metallic sounds all over the CD are from the Roland 505 drum machine. On “Ricochet” I used the Sansamp plug-in for distortion. In “In the Aftermath”, the drum loop is from a soundtrack-loop CD pitched and slowed down. In “Run With It”, I used several Roland 505 sounds, often pitching them way down from the original sounds. The sample CDs I used most were Drummers of Motown, and Freak Beats. After finishing Whatever, I swore for a long time I’d use a live guy next time. A good drummer can kick out a whole CD in a few days and this took me years. It was like giving birth to a family of rhinos—very painful. If I use a live guy next time, I’ll either leave it as is, or use most of their stuff and mess with it by sampling and cutting and shifting and adding things here and there.
Onworkingin thehomestudio
I don’t see any studio or engineering credits in the liner notes, can I assume that you did your own engineering in your own studio? Yes. My current room is nothing special—just a small room in my house with the closet doors removed. My studio has been in the middle of an upgrade for a while but for the Whatever CD I used Logic software with Pro Tools|HD hardware.
RECORDING AUGUST 2010
27
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Recording - August 2010
Table of Contents for the Digital Edition of Recording - August 2010
Recording - August 2010
Fade In
Contents
Talkback
Fast Forward
PreSonus Studio One
Recording the Music for a Theatre Play
AEA A840 Active Ribbon Mic
Jennifer Batten
Reviewed and Revisited
Running Your Studio Under Linux
Recording’s Guitar Column
Steinberg CC121, MR816 X/MR816 CSX, and CI2
Glyph GT 062E
Recording’s Showcase of Sounds
Muse Research Receptor 2
It’s Your Music—Know Your Rights. Chapter 5: The Business End—Part 2
Plug-in Outlet
Readers’ Tapes
Advertiser Index
Fade Out
Recording - August 2010 - Recording - August 2010
Recording - August 2010 - Cover2
Recording - August 2010 - 1
Recording - August 2010 - Fade In
Recording - August 2010 - 3
Recording - August 2010 - Contents
Recording - August 2010 - 5
Recording - August 2010 - Talkback
Recording - August 2010 - 7
Recording - August 2010 - Fast Forward
Recording - August 2010 - 9
Recording - August 2010 - PreSonus Studio One
Recording - August 2010 - 11
Recording - August 2010 - 12
Recording - August 2010 - 13
Recording - August 2010 - 14
Recording - August 2010 - 15
Recording - August 2010 - Recording the Music for a Theatre Play
Recording - August 2010 - 17
Recording - August 2010 - 18
Recording - August 2010 - 19
Recording - August 2010 - 20
Recording - August 2010 - 21
Recording - August 2010 - AEA A840 Active Ribbon Mic
Recording - August 2010 - 23
Recording - August 2010 - 24
Recording - August 2010 - 25
Recording - August 2010 - Jennifer Batten
Recording - August 2010 - 27
Recording - August 2010 - 28
Recording - August 2010 - 29
Recording - August 2010 - Reviewed and Revisited
Recording - August 2010 - 31
Recording - August 2010 - Running Your Studio Under Linux
Recording - August 2010 - 33
Recording - August 2010 - Recording’s Guitar Column
Recording - August 2010 - 35
Recording - August 2010 - 36
Recording - August 2010 - 37
Recording - August 2010 - Steinberg CC121, MR816 X/MR816 CSX, and CI2
Recording - August 2010 - 39
Recording - August 2010 - 40
Recording - August 2010 - 41
Recording - August 2010 - 42
Recording - August 2010 - 43
Recording - August 2010 - 44
Recording - August 2010 - 45
Recording - August 2010 - Glyph GT 062E
Recording - August 2010 - 47
Recording - August 2010 - Recording’s Showcase of Sounds
Recording - August 2010 - 49
Recording - August 2010 - Muse Research Receptor 2
Recording - August 2010 - 51
Recording - August 2010 - It’s Your Music—Know Your Rights. Chapter 5: The Business End—Part 2
Recording - August 2010 - 53
Recording - August 2010 - Plug-in Outlet
Recording - August 2010 - 55
Recording - August 2010 - Readers’ Tapes
Recording - August 2010 - Advertiser Index
Recording - August 2010 - 58
Recording - August 2010 - 59
Recording - August 2010 - 60
Recording - August 2010 - 61
Recording - August 2010 - 62
Recording - August 2010 - 63
Recording - August 2010 - Fade Out
Recording - August 2010 - Cover3
Recording - August 2010 - Cover4
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