I use the same approach with the EQ's on the avalon. On my Trace Elliot, it has a graphic EQ section so i'm boosting everything below 400k, cutting 400-1000-boosting again at around 1.5k, and keeping it pretty level on the high end. Ran it through the above mentioned chain (just DI, no amp/mic) and it was really about EQ going in. ![]() that's equal to about $2k nowadays with inflation haha i'm getting old) I put flatwounds on it, but it worked because I was looking for a super trashy/sloppy sound. its my old yamaha (dont know the model) from high school (paid prob $100 back then. on pink matter i used prob the worst possible bass ever. Well bass tone really begins with the instrument. Hmm, oh yeah, the arpegiator thing is done on the arturia CS-80 Bass was live, high pad sounding thing during the transition from side 1 to side 2 was and ebow on my Strat. On that particular song the lead synth was actually from omnisphere (played live thru the chain I described previously), I created the main chop with some analog bell type sound off an original juno 106 and some choir sounds from the mtron. Thanks Malay! Truly cannot wait to hear your future material!I use all of the arturia analog remakes. Thanks Malay! Truly cannot wait to hear your future material! Any specifics on the plug-ins and synth like stuff for the geeks? Lol When listening to a song like Pyramids, the synths throughout the whole song get you. You say your synths were arturia, care to say which ones? It seems odd that your synths on the album were in the box when they truly sound analogue. ![]() Thanks for listening and appreciate the love.Malay! Awesome work dude!įirst off, how long have you been musically playing? Seems like your musicality is definitely a strong suit for you! Great talent man! I guess I could get more detailed on specific setups if y'all have questions about certain tones/songs or whatever. Thanks for listening and appreciate the love. #PYRAMIDS FRANK OCEAN ARP SOFTWARE#Always send the duet through stereo pair of 1073 (any software based stuff has to leave the computer and hit some kind of circuit board). I play the virtual stuff out of my laptop rig (tools/duet2) into my HD rig. Computer stuff is arturia (best shit ever), battery (can still load all my old mpc sounds!), mtron (baddass). Juno 106, Wurlitzer, b-3 organ, Rhodes (keys). P Bass, epiphone eb-2, Yamaha piece of shit ive had since high school (basses). I play old strats, les Paul, 335 (electrics). Vox chain: 1073/cl1b or 1073/Fairchild 670, also used standalone Avalon 737 (part of a mobile rig we created). Coles 4038 stereo room, RCA 44 for close on violins, u67 for cellos Vocals: U47 and 251 (vintage), M149, sm58 (yup)-Įlec guitars: re20 and m160 (fender Princeton, ac-30)Īcoustic guitars: royer 122 (tube), u47, Km84.īass: DI chain is trace elliot GP12 into avalon 737 (just for eq), then squashed thru 1176. ![]() Im kinda rambling like a f*k!n idiot right now, so I'll just list some gear I remember using on the records. I've made music on bootleg versions of cubase (big boi) and on the other end re-tracked vox thru a studer A827- back thru a Fairchild 670 (comp) 1073 (eq) back into tools (part of the post process on channel orange). I love gear, shitty stuff, vintage stuff, new stuff. Through the years, I've realized music should never be forced. If it veers off path, I'd rather ditch it and try again another time. A typical session for me starts with me laying down some musical ideas (guitars, keys, drums) and we'll start laying down some lyric/melody concepts. I find creating ideas from scratch with the artist is much more rewarding and allows for the song and the sound to be catered to the specific project. I used to do the track thing when I was younger, but it never really worked out for me. Id rather go into the studio with the artist and/or writers and create from scratch. My writing process with most artists (including frank) is very artist specific i.e.
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