![]() The first time I met him and recorded with him was very intimidating. “I’d met Judah Singer (actually he called himself Singer Judah) from St-Vincent, but living in Montreal, through my friends from the street art collective HVW8. This is something that changed lately as I read books and have been digging deeper in the history of this music. “I definitely feel like an imposter for this one, but I always loved dub and reggae without knowing enough about the culture. The spoken word bit comes from a jazz documentary by Ken Burns.” For Your Pleasure feat. I think the drums came from Brass Construction, maybe? I don’t want to jinx myself by revealing the main sample, but it’s an orchestral jazz record from one of my favourite producers ever. “Even today, if I start something in Ableton, I usually finish and mix it in Logic. I have a feeling I may have finished this in Cubase SX, after. I actually used ACID for this one, which I never used to use. It was extremely simple and came together quickly. ![]() “This might be the only sample-based track of the album. When Eric left, I looped two bars from our session and started the house version which featured on the 12” of this.” Winter Blues I think I also used some of the drum kits on it. A kind of poor man’s Motif or Triton with lots of Rhodes, organs, strings and fake synths sounds. Drums would’ve been mostly my EMU ESI-32, and a lot of keyboard sounds came from the Roland RS-5. “There was definitely a Latin influence to this. He brought his bass so we also recorded the bass on this. “I brought in my friend Rise Ashen from Ottawa to sing on this one. ![]() I used NI Spektral Delay on this one.” Light of Day feat. ![]() The guy who came to install my internet at my house was a fan of electronic music, so we became friends and he brought me two CDs full of ‘free’ plugins and VST instruments. I remember these were the early days of using more computer technology and my first DAW that had audio. “This is the intro of the album, using my friend Rise Ashen’s acapella from the title track. Then a bit of the Waldorf D-Pole plugin and the classic Orange Vocoder to round it out.” Track by track with Fred Everything In “Some drums came from the Akai MPC-2000, and a little Space Echo for the dub styles on Close To You. Oh, and the Lounge Lizard EP-4 plugin for synth piano stuff. “Software-wise I would have been using Native Instruments’ Spektral Delay, TC’s Mercury plugin for bass bits, GRM Tools, and Steinberg’s Cubase SX. “There was also some Fender Rhodes piano in there, some Roland Juno-106, some SH-101, a Roland RS-5, and Korg MS2000. ![]() I had a AKG Solidtube mic and an old Focusrite Platinum Penta unit. And then the mixing console was a Soundcraft Ghost 32. Then an Emu ESi32 synth, which you can hear on tracks like Elevate. “For this album I was using some Event 20/20 and Yamaha NS10 monitor speakers. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |