Recording - June 2012 - 22
Mark de Clive-Lowe
the early ’90s, I was loving what Groove Collective was doing, what Herbie was doing, and I had to go through a Club and Rave music phase to really understand it. Was the connection to that music the African rhythm elements? Because a lot of musicians dismiss those styles, saying things like “they’re not really playing instruments live” for example, since they use so much sampling and programming. But they’ve come around in the last 5 to 10 years. Because for someone like J Dilla to be revered as much as an Ellington would have been laughable 15 years ago. I already had a real love for Club music anyway. In high school I got deep into Native Tongues and early New Jack Swing and Teddy Riley. As a keys player I could relate to the musicality. At 13 and 14, I had a Roland R-8, and other gear of the era. Then one day, I said to myself, “This is all just loops!” So I sold all my gear, most of my records, and just kept the piano and my Miles and Coltrane records. So, in hindsight, getting my feet wet with technology and the beats, and then having the feeling that I had to commit to the music, or what I perceived to be the music, was pretty extreme; the balance came much later. In London, I collaborated with people like IG Culture. He was interesting because he was coming from a Hip Hop and Roots Reggae background but with no training and no paradigm in which to educate himself. When I first met him he was jamming on an E-mu SP1200 drum machine, and it sounded like Harvey Mason on drums; it was the most amazing thing I’d ever heard. And he was just in it; I jumped on some keyboards, and I think we did a track a day. We hardly talked, so that’s when it really hit me: Non-traditional musicians making music; drum machines and turntables and samples are so ridiculously legitimate; how could they not be? I remember on the third day I was with him it was a bit more relaxed. I had a recording from a Herbie show; and I had this percussion break which was sick already. He was using an Akai S950 sampler, and chopped it up and totally reconfigured it rhythmically. And it’s the first time I had ever seen that done, and I realized that anything could be anything, if that’s where your imagination wants to take it. And that was the beautiful thing about the older hardware; you had to commit to a course of action. It sounds like your history has always been about collaboration. That’s been the strength of it. I think there’s a lot to be said of the culture of growing up playing with people. If you grow up making beats in your bedroom and putting them on the Internet, it’s just not the same. The Internet has changed it, and so has software. What do you see as the pros and cons on how technology has advanced? Do you create artificial limitations to keep that creativity? For a long time I worked with the Akai MPC3000, which, like the original MPs, has very serious limitations and it would force me to use a certain kind of workflow. Then I started using the Korg KAOSS pads, specifically the KP3, and it was also great because it’s a four-track sampler, so you have to be bouncing if you want more tracks and make choices, which then become your aesthetic.
22
RECORDING JUNE 2012
Lately I’ve been working with Native Instruments’ MASCHINE; its stand-alone software also has a lot of limitations, which I’ve had to work around. When it comes to DAWs, I work with Apple Logic. Why did you choose Logic? I’ve been on it forever; that’s what people used in London when I was there, so it just makes sense. I got to learn it very, very well. I never learned Pro Tools; I only use it in studios that are tracking on it, but I use Logic as the front end. I’ve always liked the programmability in Logic, how it treats MIDI. What do you like specifically about how it treats MIDI? I can get out my ideas really quickly. When Propellerhead Reason came out I had friends who jumped on it, and the speed with which they were creating kind of freaked me out. And then about a month down the track, we all agreed that it didn’t sound as good; the content was cool, but the actual sound was not professional. And Logic 8 sounded even better. So the sound quality has always been a consideration. I shied away from Ableton for the longest time for the same reason. So what about now? Do you use Ableton Live? I’ve started getting into it, and I love it. They’ve clearly done a lot of work on the sound engines. Now it’s great for me, because compared to a linear DAW it’s a different thing. In Logic specifically, do you use the library of sounds that it comes with at all? I don’t use much of the factory stuff; in Live I use some of them. So are you using real analog synths, plug-ins, or both? Recently I am using more and more soft synths. Any libraries in particular? I love the Arturia products, as well as GForce and Spectrasonics plug-ins. Korg’s are great too. I was the ultimate purist and I was in London a few years ago, there’s a studio that I like to use because they have great analog keyboards, and one time all their ‘boards were down, and I had to use their Arturia plug-ins, which I was not happy about. But then I ended up doing seven tracks because they sounded so great, and they all sold well. I think soft synths have come a long way. How much do you personally get involved in the miking side of things? I like to defer to engineers for that, although I’ve been in enough studio situations that I’ve learned quite a bit. If I am in a situation where I have to record vocals at home, I’ll get a Neumann and a good nice preamp in and know how to set it up. If I’m in the studio recording drums, I’m aware enough to
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Recording - June 2012
Table of Contents for the Digital Edition of Recording - June 2012
Recording - June 2012
Fade In
Contents
Talkback
Fast Forward
Finale 2012 As A Tool For Sample Playback
Mark De Clive-Lowe
Applied Acoustics Systems Chromaphone.
Reviewed and Revisited: PreSonus Studio One 2.0.
Toontrack EZkeys Grand Piano
Recording Fundamentals. Chapter 6: Introduction to Microphones—Part Three (From Proximity To Plosives)
Recording’s Showcase Of Sounds
Steven Slate Drums 4.0.
Sample Magic Electro and Hed Kandi: Disco House Samples
MOTU MachFive3
Reviewed and Revisited: audiobro LA Scoring Strings 2.0.
Milab DC-96B and DC-96C Condenser Microphones
Sennheiser MK 4 Condenser Microphone
Olympus LS-20M and LS-100 Portable Recorders
Readers’ Tapes
Advertiser Index
Fade Out
Recording - June 2012 - Recording - June 2012
Recording - June 2012 - Cover2
Recording - June 2012 - 1
Recording - June 2012 - 2
Recording - June 2012 - 3
Recording - June 2012 - Fade In
Recording - June 2012 - 5
Recording - June 2012 - Contents
Recording - June 2012 - 7
Recording - June 2012 - Talkback
Recording - June 2012 - 9
Recording - June 2012 - Fast Forward
Recording - June 2012 - 11
Recording - June 2012 - Finale 2012 As A Tool For Sample Playback
Recording - June 2012 - 13
Recording - June 2012 - 14
Recording - June 2012 - 15
Recording - June 2012 - 16
Recording - June 2012 - 17
Recording - June 2012 - 18
Recording - June 2012 - 19
Recording - June 2012 - Mark De Clive-Lowe
Recording - June 2012 - 21
Recording - June 2012 - 22
Recording - June 2012 - 23
Recording - June 2012 - Applied Acoustics Systems Chromaphone.
Recording - June 2012 - 25
Recording - June 2012 - Reviewed and Revisited: PreSonus Studio One 2.0.
Recording - June 2012 - 27
Recording - June 2012 - 28
Recording - June 2012 - 29
Recording - June 2012 - Toontrack EZkeys Grand Piano
Recording - June 2012 - 31
Recording - June 2012 - 32
Recording - June 2012 - 33
Recording - June 2012 - Recording Fundamentals. Chapter 6: Introduction to Microphones—Part Three (From Proximity To Plosives)
Recording - June 2012 - 35
Recording - June 2012 - 36
Recording - June 2012 - 37
Recording - June 2012 - Recording’s Showcase Of Sounds
Recording - June 2012 - 39
Recording - June 2012 - 40
Recording - June 2012 - 41
Recording - June 2012 - 42
Recording - June 2012 - 43
Recording - June 2012 - 44
Recording - June 2012 - 45
Recording - June 2012 - Steven Slate Drums 4.0.
Recording - June 2012 - 47
Recording - June 2012 - Sample Magic Electro and Hed Kandi: Disco House Samples
Recording - June 2012 - 49
Recording - June 2012 - MOTU MachFive3
Recording - June 2012 - 51
Recording - June 2012 - Reviewed and Revisited: audiobro LA Scoring Strings 2.0.
Recording - June 2012 - 53
Recording - June 2012 - Milab DC-96B and DC-96C Condenser Microphones
Recording - June 2012 - 55
Recording - June 2012 - Sennheiser MK 4 Condenser Microphone
Recording - June 2012 - 57
Recording - June 2012 - 58
Recording - June 2012 - 59
Recording - June 2012 - 60
Recording - June 2012 - 61
Recording - June 2012 - Olympus LS-20M and LS-100 Portable Recorders
Recording - June 2012 - 63
Recording - June 2012 - Readers’ Tapes
Recording - June 2012 - Advertiser Index
Recording - June 2012 - 66
Recording - June 2012 - 67
Recording - June 2012 - 68
Recording - June 2012 - 69
Recording - June 2012 - 70
Recording - June 2012 - 71
Recording - June 2012 - Fade Out
Recording - June 2012 - Cover3
Recording - June 2012 - Cover4
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