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from: Sample LOOPING Central
http://www.popeye-x.com/tech/128ch_paris.htm looking at pics of other studios, and working on constructing my studio. mine is like 1/6 this size, but I saw this article and I liked the wood, etc. getting ready to join the 7 string guitar craze, just so I can say "yeah, ALL my new recordings have 7 string guitar (low B string) as a compositional basis in EVERY song." I am also getting a sonically adequate, but dirt dog cheap, set of "mechanical oscillators" from the membrane family of instruments, i. e. real drums, (which I have been recording for 25 years, and banging on for over 35 years), and I will use my "home set" to create an unlimited library of beats for my monster sampler system, as opposed to relying on all the standard sounds on CD-ROMS. I use the machine to lock down the power elements of the kik/snare, and I can just "jam" over the top of that, doing toms and cymbals, making loops of different segments of the beat, and making the drums match the song, instead of the other way around. Also, I really dig the "clatter" of how drums sound when surrounded by other drums. I mic the sound that's going on about 5 feet on either side of the set, and I set the mics closer to the floor, @ 10 ft. or more apart from each other. Right now I'm getting into distance miking, because it gives me the "band" sound as an automatic landscape. I'm also in a heavy "hihat deluxe" phase of DEMANDING double and triple hihat layering, I want to have the "freshest" hihat pulse in the industry, I don't want to ever WISH for a hihat change, and NOT GET IT immediately. "Hihat deluxe" is a whole way of life, like Carlos Santana and his 1-2-3 drum set/congas/timbales combo, but with more real hihats, and cyber debris hihats, (who don't quite realize they aren't really hihats.) That's what I'm doing, mainly determining the overall "sound" of the "next thing", which in my mind, needs to be NOT sucking pinche synthesizer raw dog dildos, like all the tippy-tappy toy-box midi woodchucks crawling out of the woodwork at the moment.
My friend Will Alexander called last night, he's the guy who works for Keith Emerson, but just got off the road from a long tour with YES. He was playing me some CD's he made of different segments of YES, like just the guitars and keyboards solo'ed and mixed, it sounds so fine when you can isolate the parts and hear the little details. Its quite IMPECCABLE, you know. I'm glad Will is back, fame and fortune is cool, but "keyboard kommando force" is eternal. http://www.popeye-x.com/tech/willalexander.htm <---from an article in EQ mag, the photos were from Will. That's what I'm doing... NOTHING... but it sure is fun... Will said, the guys in YES asked him, "Can you get us loops?" (I raised my hand... uh, excuse me, but I believe I have the loops... I am the loop man...) I just installed something called GIGASAMPLER, "the largest sampler in the world", made by Nemesys, a company in Austin, Texas, so you see, this neck of the woods is Sample LOOPING Central, Will agreed we must attempt to dominate some aspect of it. (He's the one who taught me about sampling and looping 15 years ago.) He's gotten more into keyboard teching on tours, but I've been expanding the sample arsenel in the meantime, my latest system is a "nasty pig" by industry standards, but nothing on the scale of Tankersley's 128ch PARIS system http://www.emu.com/tankersley.html - Tankersley interview in Mix magazine
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