The Mac had some mean MIDI software in the mid-80s. But primitive by today's standards.
Last edited by allegro; 06-19-2013 at 08:58 AM.
Originally Posted by Keyboard Magazine, March 1994
http://www.theninhotline.net/archive.../key394a.shtml
Last edited by Pyract; 06-19-2013 at 09:37 AM.
Neat. Maybe I'll listen to Art of Noise tonight.
Heh, to bring it back around on topic - even the Art of Noise brought in Duane Eddy on guitar when it came to doing Peter Gunn, because if you didn't use a real guitar in a 1986 electronic music recording, you usually ended up with something that sounded like, well, the music in that Apple video.
sorry to divert quickly again- but 'moments in love' never ceases to give me chills.
@Leviathant - agreed. i like my minimal synth (all primitive late 70s/80s analog electronics, and nothing but), but it's definitely limited and very same-y sounding without at least one guitar. throw a guitar into a dark electronic sound-alike track and you're instantly clan of xymox level awesome.
Last edited by frankie teardrop; 06-19-2013 at 01:02 PM.
Which one of these diversions counts as Diversion One? Useless trivia: Before I discovered Pretty Hate Machine, my favorite CD was "The Best of the Art of Noise." Their sounds really date pretty terribly (Hello, Fairlight!), but I don't care.
i see what you did there, @Leviathant .
dated? sure. pioneering? totally.
I guess it might have been harder back then, but still possible, and you could do it with a pattern that was entirely programmed and not even performed "live" on a controller. Even back before dedicated drum software included "humanizing" features, it was possible to fake it with meticulous editing in a sampler. You'd have to go through it all and slightly nudge the notes off the grid to emulate human imperfection, as well as individually adjust the velocity of notes (and slightly change the pitch of hits with relation to the velocity on some of the sounds).
Yeah, i remember Trent saying that the Piggy solo, was actually a "milking" session that ended up just working in the song as is. He talked about how they would set up the drums in different rooms with different mic setups, and just bang away on them. Then take the results and manipulate them however needed.
edit: the link to the keyboard magazine article above, is what i remember reading. just saw it after the fact.
Last edited by SM Rollinger; 06-19-2013 at 03:58 PM.
in the late 90s I had the pleasure of doing quite a handful of mixing sessions working with one of the recording engineers from the Broken album.
Of course I had asked him about his days working with Trent back then (I was not working in the business at that time). He had a lot of respect for Trent and was very proud to have been a part of that record, even though it sounded like it didnt go how he expected. He told an amusing story of how excited he was to work with him and the first day he brought all his great guitar amps to the studio ahead of time and meticulously set them all up to be nice and ready to have Trent audition some mean guitar sounds (a skill he was recognized for and thought that was WHY Trent had hired him for the gig). He said Trent finally showed up and he told Trent to plug into the amps and Trent just looked at him and said something to the effect of "what are you doing?...thats NOTHING of what Im about".
Trent just plugged the instrument direct into the computer and tweaked the sound in the box - which - back then was not very common The engineer said he was pretty confused and just said "then why the f did you hire me?" haha But he was clearly very proud to have worked with him for the time he did.
Side note - I remember buying that 94 issue of Keyboard magazine as soon as it hit the shelves, excited to read all the juicy details of the recording/mixing process of TDS as Trent was always good to go into a lot of detail for us studio nerds.