Posted: Tue Nov 25, 2008 7:24 pm
I should have gone and listened to the track before I made my claim! It's been a while.
But at least it wasn't a 909.....
c'mon, the rest is not as hard: dig through synclavier sample libraries to see if there are any matching factory sounds (it wasn't the synclavier II, imho the II was also released after the record) but the sounds are all pretty standard, so you should find suitable stuff in a random bread&butter soundlibrary.momentuk wrote:Ahh dudes im loving the talk.. but umm where's the help :-( drums are covered now, thanks for that one dom :D umm its an exact remake of the soft cell version by the way, no things can be changed to our taste.. e.g not a remix..
the synclavier was used to make nearly everything, how can i target these sounds through abletons.. e.g for the horn, swells, pads, and that feking beeep beeep sound!
Ooh, baby, babydom wrote:dom
Obviously it's a technical excercise. As for useful comments on how to do this... well I don't really have any, except maybe the obvious auto/evelope filtered white noise for the intro. Organ seems to be fairly standard basic synthesized thing too.momentuk wrote:i have to remake soft cells tainted love for my music technology coursework at school
nice call!
Thanks Dom, finally got a chance to read this ^
The mixing sessions were also a pleasure, aside from the 3am finish (remember, for me this was the second of two parallel projects). Although the track was long, most of the mixing and effects generation was done in real time. It was almost a theatre piece: lunging across the room to tweak a sound as the tape was whizzing by. You might think it set up for some gallery of performance art if you were looking on. I remember so clearly our focusing on the mix and then suddenly noticing that all of us in the control room were dancing as we were working on our feet, completely spontaneously and without being aware of it.
Yepp, software just doesn't cut the mustard in this area without a bunch of proper controllers :-) There's nothing like performing your mix in a free dance...rozling wrote:Thanks Dom, finally got a chance to read this ^
I really like this bit:The mixing sessions were also a pleasure, aside from the 3am finish (remember, for me this was the second of two parallel projects). Although the track was long, most of the mixing and effects generation was done in real time. It was almost a theatre piece: lunging across the room to tweak a sound as the tape was whizzing by. You might think it set up for some gallery of performance art if you were looking on. I remember so clearly our focusing on the mix and then suddenly noticing that all of us in the control room were dancing as we were working on our feet, completely spontaneously and without being aware of it.