blue monday sample
It was great because I could give them instant feedback, so for example, if I asked for a particular bit on its own without effects, they could provide that, no problem. "I knew that just getting started could be problematic because I'd done a similar thing for FC Kahuna, and they had very little of their stuff saved out, and in that case we had to contact all the different studios and programmers, who had a few audio tracks lying about, before it could be pieced together and edited. That sounds weird now in the age of the internet, but he really thought it worked by magic. However, ‘Blue Monday’, a track that 30 years on, remains as powerful as ever, will always be considered their defining anthem. The day that we wrote it was the day that we brought the circuit in, hooked it all up and pressed ‘GO’ on the drum machine, then the synthesiser started chattering away, and somehow it all worked. It isn't a particularly musical EQ but it's good for cutting out certain frequencies and making sonic gaps. It is the most tactile, and it has the best construction. The era when bands hired a studio for six months to do an album is gone, although it works for certain big rock bands. They didn't ask me to do any recording work with them because their manager, Andy, has done a lot of programming on New Order's stuff in the past so it makes sense for them to use him, but I was the natural choice to sort out the live stuff because I had the equipment and I'm passionate about the band.". grab the pack here: http://on.splice.com/sakima-pack
Inevitably, the final mix, as heard on the single release, had effects, EQ, levelling, fades and mastering compression added, all of which meant that the raw audio needed work before it sounded the same as it had on record. I sometimes have it going through the CLM Expounder, which is a dynamic EQ with dynamic filters, and nothing else sounds like that either, so together with the feedback of the Space Echo I can get some fantastic effects. Firstly I had to listen carefully to the relevant albums and get really familiar with them. It really was a gift, and it was quite ironic – and quite sad, really – that we stole it off a Donna Summer B-side. After that was all stored and prepared we could just take out what was needed to play live.". So I put really dense MDF tongue-and-groove, on top of the carpet, and then another carpet on top of that. Roger was entrusted with the task of gathering material from the multitracks, and then preparing it so it would sympathetically fit together with the live performances. "Steve worked really hard to get his drums to sound like they did on the original records, and by the time he'd finished they were spot on," says Roger. I think the way that everything in it is synchronised, so it’s like all these different gear cogs meshing together, and each synthesiser part is like a different gear. 2 by Splice.
You must be logged in to comment. Suddenly this track came along that sounded different to everything else, so DJ’s started playing it. Re: how to get reverb like a curve in velocity, New Audiomodern Opacity: Boutique Cinematic Guitars, how to get reverb like a curve in velocity, Digital amplifier repair (Flying Mole) - help needed. "We speeded some of the older tunes up and took some up a semitone, because then they sounded a little more upbeat and seemed to work better like that. The main working area in Roger Lyons's studio, which is based around an Apple Mac computer and a Mackie Control fader surface. Blue Monday - Splice Sounds Sample Pack by SAKIMA published on 2017-09-15T15:34:59Z i made a sample pack full of me singing and playing the piano that i started to make music with when i was a kid. The whole point of inspiration is that you take something as a starting point, and then make it your own. Copyright © 2020 WhoSampled.com Limited. Blue Monday 1988 by John Potoker, Quincy Jones (1988) Electronic / Dance. We programmed everything in step-time using binary code digital readouts. No sequencers were involved either. Single In addition to the DR16 parts, Hooky played live bass, Bernard sang, and Stephen and Phil both played keyboards. BS: I don’t really see it as a song. I was in a club in Berlin a few years ago where they were playing some really good, modern house music, then ‘Blue Monday’ came on and it just sounded great – even in a contemporary context, and up against modern production.
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