EQ Magazine - December 2008 - (Page 13)

Audio LA-610 or an LA-2A. “It’s quite a flexible box for the money,” says Jamieson of the Origin. “It’s great if you want to do combinations of solid state and valve preamps, or solid-state compression and, say, valve EQ. Sometimes, we’d put a couple of preamps in-line—like the LA-610 and the STT-1—so it’s going through the valve process a couple of times to get a bit of that grit and noise.” Though all the mixing and arranging was done in Live—with Logic acting as more of a tape machine for the crew—it wasn’t the group’s secret weapon. For that they turned to FL Studio 8. But rather than use it as a writing tool, they employed it as an automatable patch bay, connecting different modules within the program to one another to create complex sound-design matrixes. “Let’s say you have a reverb,” explains Jamieson. “You can have one parameter going from a bass line to the wet/dry of the reverb. Then, you can take another controller from another input, and give it a side-chain input to compress it, but just using the volume control within the plug-in itself. It’s almost like you’re using compressors, but you’re not. You’re just using controller information to manipulate parameters. It can get really complex really quickly.” Though Sasha rarely strays from his tech-house roots on Invol2ver, the album should have appeal outside the club due to a track selection that features, among others, Thom Yorke, M83, and Engineers. Furthermore, the convergence of analog warmth and razor-sharp digital deconstruction makes for a far more textured listening experience than your standard mix fare. Though he hasn’t released a proper artist album since 2002’s Airdrawndagger, the Involver series has proved to be just as labor-intensive. “The idea of working on an original album is fairly terrifying,” laughs Sasha. “I’d removed myself from the club scene for a good nine months, and that’s a long time to be away from what you do as your main thing. But, that said, we work a lot faster now, and I have such a strong team around me. So maybe we’ll start with a couple of tracks and see where it goes.” DREW RESSLER Sasha's Maven Mark II controller was custom-built from the ground up to allow a physical, hands-on connection to the software he uses. Even the fader caps were designed specifically for the Maven. www.eqmag.com DECEMBER 2008 EQ 13 http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - December 2008

EQ Magazine - December 2008 Contents Talk Box Sounding Board Punch In My Morning Jacket Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Cakewalk Sonar 8 Propellerhead Reason 4 Indie 500: Lunchbox Pres and Compressors 500 Series Preamps 500 Series Compressors Gadgets and Goodies Sounds Room with a Vu

EQ Magazine - December 2008

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