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Does anyone else like Let Forever Be?
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#24
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Posted 27 May 2003 - 4:15 PM
Oh dear. Another intellectual Internet conversation ...about elephants that can "play" accordians by simply trampling on them. Well, what I meant by the term "Super" is the unique breed of elephant that can ..."play" an accordian ...by simply trampling on it. Are you completely satisfied?
#26
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Posted 27 May 2003 - 9:08 PM
Talking about Let Forever Be
DJ Times: It’s got that Beatle-ish thing happening, like the ’60s never ended.
Rowlands: That was from a physically modeled string thing, and we mixed that with a brass tone, and then just played with it in a sampler backwards and forwards with lots of treatments and lots of harmonizers and stuff. It’s interesting, because it doesn’t really sound like anything you’ve heard.
Simons: It sounds like a string sample, but then upon further examination it isn’t very like any string sample you’ve ever heard.
DJ Times: Is that the point, to disguise it?
Rowlands: It wasn’t about disguising it; it didn’t need disguising. It was a physically modeled string on a synthesizer, so it wasn’t someone else’s sounds. But it was layered with different effects and harmonizers, which brought out a strange melody in it. It was an interesting way at arriving at a tune, not your conventional way of sitting down and writing a tune. The sound process that went into it made the tune come out. It’s a laborious way of working. It takes a long time until anything sounds good, but it’s an interesting way.
DJ Times: It’s got that Beatle-ish thing happening, like the ’60s never ended.
Rowlands: That was from a physically modeled string thing, and we mixed that with a brass tone, and then just played with it in a sampler backwards and forwards with lots of treatments and lots of harmonizers and stuff. It’s interesting, because it doesn’t really sound like anything you’ve heard.
Simons: It sounds like a string sample, but then upon further examination it isn’t very like any string sample you’ve ever heard.
DJ Times: Is that the point, to disguise it?
Rowlands: It wasn’t about disguising it; it didn’t need disguising. It was a physically modeled string on a synthesizer, so it wasn’t someone else’s sounds. But it was layered with different effects and harmonizers, which brought out a strange melody in it. It was an interesting way at arriving at a tune, not your conventional way of sitting down and writing a tune. The sound process that went into it made the tune come out. It’s a laborious way of working. It takes a long time until anything sounds good, but it’s an interesting way.