Engineering: Gareth Jones kertoo
Kuinka sitä musaa sit tehdään isommissa piireissä? Gareth Jones, britti engineer joka on sotkenut kasaan useita Depeche Moden levyjä valaisee vähän asiaa. Äijä on sotkeutunut tuotantoon myös Erasuren, Goldfrappin, Orbitalin, Sun Electricin ja vaik Nick Cavenkin kassiin.
Gareth Jones - I'm so excited (link to article)
Pätkää toisaalta Garethin kotisivuja Exciterin tekemisestä:
"What gear did you use?
Emagic Logic Audio was the center of my work on the album. One of the reasons I was asked to join the pre-production team was my Logic skills. I was also using a [Novation] Supernova and a Nord Micro Modular as sound sources. When we left the pre-production phase, everything was either recorded in Logic Audio, or running off these synths and an Akai S3200. Martin has a bunch of synths in his studio, and we used a Nord Lead (Paul was the Nord programming guru), Roland JV-2080, JP-8000, and JD-800 (Martin was the JD-800 programming guru), Minimoog, ARP 2600, Wasp Stinger (featured on the chorus of ?Shine?), EMS AKS synthi (featured on ?The Dead of Night?), Jomox X-Base module, Quasimidi Rave-o-lution (on which we created the original mood for ?When the Body Speaks?), Korg MS2000, and others I may have forgotten. Guitars were recorded through the Line 6 Pod, which I enjoyed using with Emagic SoundDiver software. SoundDiver also played an important role in keeping track of everything. Microphones were largely Shure SM57 and B&K 4006. We also ran my Laptop with Native Instruments Absynth and Reaktor, Hyperprism, Logic Audio with Cycling 74 Pluggo and other VST plug-ins, including Waves Renaissance, plus [Propellerhead] Recycle, [Bias] Peak, [Roxio] Toast, etc. My Doepfer MAQ 16/3 sequencer and Regelwerk were massively useful controllers.
I was using native audio on Macs with VX pocket cards on the laptops and initially an AW8 card on an old beige ? then, later, a MOTU 2408 on a G4. I used my Focusrite ISA 115HD feeding my Apogee AD500e, sometimes through my Focusrite ISA 131 compressor. So basically I had one or two recording chains only, usually on flying leads so I could pick up any sound from either Martin?s AMEK desk or the Mackie 32-8s that we used in the live rooms of the studios we worked in later. This kept things simple, which I like. Mark Bell was also interested in, and comfortable with, this style of working, so in the production we set up a 56-channel Mackie with a G4 desktop running Logic, Mark?s laptop running [Steinberg] Cubase with virtual synths (including TC Works Mercury and Waldorf Wave), and my laptop running whatever. In the control room we ran [Digidesign] Pro Tools on an Apogee AD8000 where Dave was recording vocals. Everything was word-synced. The output of my AD500e fed the G4, Mark?s laptop, his E-mu IVX Turbo sampler, and my laptop. Also hooked up was Mark?s [Akai] MPC2000, my S3200, an MS2000, the Supernova, and Nord Modular. Work on the songs would vary from Mark working alone on the stereo output of his laptop to more conventional multi-channel setups depending on what we needed to be doing. We exchanged data between machines on Zip and CDs with sneakernet. Martin had a setup based around a laptop running Logic in the booth as well, so we had three work areas, reasonably isolated acoustically but with good visual contact. This enabled us to be fluid and try all kinds of things very easily; it was easy to offer and get perspective from different members of the production at any time.
Anything you?d do differently next time around?
Network all the computers!"
GJ on todellinen konesoundin pioneeri. dM:n Exciter -albumi kuulostaa kyllä kokonaisuudessaan aivan mielettömän hyvältä, olisi todellinen painajainen joutua tekemään 1:1 covereita noista biiseistä, tulee pää kipeäksi kun vain miettii että milläköhän mikäkin soundi on tehty :)
Varsinaisena tuottajanahan tuolla albumilla on LFO:n Mark Bell, Gareth Jones toimi engineerinä ja vastasi pitkälti pre-productionista.
Ylipäätään tuollainen tuotantotapa on alkanut kiinnostaa enemmän ja enemmän, kun käytössä on kunnon budjetti ja taitavia ihmisiä ei tarvitsisi itse hukata aikaa jokaisen patchbay-piuhan kytkemiseen etc. vaan voisi enemmän suunnata resursseja niiden isojen, pään sisällä kulkevien, linjojen kytkemiseen.
Ja oishan se "ihan kiva" äänittää vaiks voksut NYC:ssa ja skitat Madridissa, jne. :)
Ois kyllä jees jos ois massia palkata kaikille jutuille oma pro tyyppi. Engineer hoitais nappienvääntelyn, Syntprogrammer syna soundit, Logic engineer sekvenssit jne. Ite makailis tuottaja sofalla läski jone huulessa :D
Eihän chem broskaan kummaa soundia ole mut niilläkin on ollut soundengineerit mukana alusta asti, samoin norman cook, timo maas, oakey etc.
Ois kyllä jees jos ois massia palkata kaikille jutuille oma pro tyyppi. Engineer hoitais nappienvääntelyn, Syntprogrammer syna soundit, Logic engineer sekvenssit jne. Ite makailis tuottaja sofalla läski jone huulessa :D
Eihän chem broskaan kummaa soundia ole mut niilläkin on ollut soundengineerit mukana alusta asti, samoin norman cook, timo maas, oakey etc.
Kjäh kjäh :D Niin sen pitää mennäkin ;) Mut täytyy kyl sanoo, et huomaa engineerin ja producerin skillit kun tollasenkin rumban jälkeen saadaan koko levy kuitenkin kuulostamaan samalta :D
Vielä kun Charlie Mayn toimintatapoihin sais samanlaisen katsauksen ni olis aika jees :)) Ei ehkä niin kokonaisvaltaisen pro engineeringii, mut voi kiesus mitä virityksiä :D Sen jälkeen kun ekan kerran kuuli Spookyn 'Gargantuan' albumin, ei o voinu ku diggailla hiljaa :Q