A Quote by Tom Jenkinson
There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.
Related Quotes
For AERO, I wanted to revisit in 5.1 some existing tracks in order to give them that space I had imagined when I originally composed them, and also to compose some new tracks for this new technology. All of the existing tracks in AERO have been performed with the original instruments, re-recorded and spatially arranged/spatialised for this new dimensional sound experience without betraying their very essence.
In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.
I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.
Yeah, my drum programming especially is based on my knowledge of playing a drum kit. For the bass too, definitely. It was the first thing that I translated any sort of ideas through. It must have shaped it somehow.
Amon Tobin has been producing electronic music since the mid-'90s, and was a key figure in the rise of drum-and-bass. He's also written some of the genre's most compelling tracks, in the process delving into jazzy breakbeats and bass lines.
It's my opinion tracks got too wide. You put 43 cars on the track, and if the turns are too wide like they are at some tracks, you sort of lose perspective of what's going on.
I hate the idea of getting in a building that someone else has designed and having to do something to it yourself to sort of dress it up - it's like using presets in your tracks.
When I'm creating a song, I'm thinking of a hip-hop beat playing on a live drum set - kinda like the Roots would do. I will put New Orleans music on top of that with some other rhythms.
The reason for backing tracks is to not veer off too far from the record and have what the fans actually want to hear. Artists use backing tracks just so they can stay close to the record and what the consumer heard for the first time. It's not to be confused with lip synching or anything like that cos that's not happening at all.
Recently I have been spending my lunch with other game directors playing over local connection battle in Spirit Tracks. It is very good to do that in order to facilitate better communications between us. I have been partnering with the director of the Spirit Tracks to fight against the director of the new Wii game and yes, recently we have been winning!
That's such a wonderful thing about the mixing process is when you write the demo or the track, [and] it sort of goes through a couple of different changes and you don't really know what tracks are going to end up working out.
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
I'm always making tracks. I find that when you make tons of tracks, you stumble upon genius. You can't always turn the drum machine on and right away there's a hot track. Sometimes you luck out. But it can take a lot of time between thinking about the artist, listening to music for inspiration or going to clubs.
People forget that I have grown up playing on Indian tracks and have bowled huge number of overs on unresponsive Indian tracks.
After living in LA for 8 years, I sort of wanted a change, but there's not much production in New York, which is where I primarily live, so I just sort of drifted over to London.
There was always this sort of weird process in the development and pre-production, thinking, 'How do we get the studio tracks that Joy Division recorded that are so clean and pristine but sound rough and live and how do we get the live versions to actually sound clear enough so you can make out what they're saying?' That was sort of the frustration with Anton Corbijn and myself, figuring out how we make that work.
Related Authors
Ani DiFranco Quotes
American
Musician
Bob Dylan Quotes
American
Musician
Brian Eno Quotes
British
Musician
Bruce Springsteen Quotes
American
Musician
David Bowie Quotes
English
Musician
Drake Quotes
Canadian
Musician
Elton John Quotes
English
Musician
George Harrison Quotes
British
Musician
Henry Rollins Quotes
American
Musician
John Lennon Quotes
English
Musician
Madonna Ciccone Quotes
American
Musician
Moby Quotes
American
Musician
Nicki Minaj Quotes
American
Musician
Patti Smith Quotes
American
Musician
Thom Yorke Quotes
English
Musician
Tori Amos Quotes
American
Musician