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This is a rough mix from my upcoming album, 'Three Little Pigs'.
Category Music / All
Species Unspecified / Any
Size 120 x 120px
File Size 4.37 MB
Listed in Folders
Thanks. I think the Solina strings were done by the Triton on this one (also the piano) but I certainly picked it for that particular sound.
This was one of the songs I added the drums as an afterthought. I actually had to re-track the vocals because I discovered they were seriously out-of-time with the rhythm (but you could only tell when there was a fixed rhythm to compare against).
This was one of the songs I added the drums as an afterthought. I actually had to re-track the vocals because I discovered they were seriously out-of-time with the rhythm (but you could only tell when there was a fixed rhythm to compare against).
My father used a Triton before that I used to goof with. I'm surprised I never noticed that preset. But here, check this out: http://www.youtube.com/watch?v=5h3klms6FJw
It's an analog chorus unit built to sound almost exactly like the Solina. I want to pick one up some time.. since you can use it for anything really and it's versatile.
What is your process of recording? Just laying it track by track on 8-track reel recorders? What part do you usually record first?
It's an analog chorus unit built to sound almost exactly like the Solina. I want to pick one up some time.. since you can use it for anything really and it's versatile.
What is your process of recording? Just laying it track by track on 8-track reel recorders? What part do you usually record first?
Oh, oh, I think I want one of those. It would be a pain to fit in the rack, though... it's almost as big as the Lynxes!
Because I'm hopeless at actually playing, everything is sequenced. So it's worked out in SONAR first, then I assign the sequencer tracks to tape tracks on paper and record them on the multitrack one by one. The 8th track is striped with a timecode first, then the others are added.
Often I will group similar sounds together, e.g. bass sounds on one track, because I only have seven to play with normally and at least one is usually reserved for the voice unless it's an instrumental. In some cases I'll lock two machines together which gives me a maximum of 14 tracks, but it's a bit of a fiddle to do that.
I lay down the tracks which form the main melody first, since it helps me get a feel for where I am in the song. This is particularly important if I need to print effects within the track, e.g. leslie speed on the organ or varying the delay / phaser etc. Vocals are added last.
On this song, I think it was the bassline first, followed by the strings.
Because I'm hopeless at actually playing, everything is sequenced. So it's worked out in SONAR first, then I assign the sequencer tracks to tape tracks on paper and record them on the multitrack one by one. The 8th track is striped with a timecode first, then the others are added.
Often I will group similar sounds together, e.g. bass sounds on one track, because I only have seven to play with normally and at least one is usually reserved for the voice unless it's an instrumental. In some cases I'll lock two machines together which gives me a maximum of 14 tracks, but it's a bit of a fiddle to do that.
I lay down the tracks which form the main melody first, since it helps me get a feel for where I am in the song. This is particularly important if I need to print effects within the track, e.g. leslie speed on the organ or varying the delay / phaser etc. Vocals are added last.
On this song, I think it was the bassline first, followed by the strings.
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