![]() ![]() I came in with my own sounds and stuff, but when we went to make a song he showed me how it works. I remember clearly when I started working with Max at Cheiron. There was just something with the processing. Is there one piece of gear from Cheiron that you miss? People would go to our local music store - travel from around the world to go to this Swedish music store - just to ask what synths we were buying! And the guys in the store would say some synth that doesn’t even exist! Just for fun.” We even kept quiet about what synths we used. “Our hard drive became our holy grail - our vault. The workflow just kept going… We had the kick and the drums… We used the same hi-hat, we used the same stabs, the same swooshes, the same pads ‘cos we were focused on the song and we built everything else around it.” “We worked in Logic and Logic at that time was amazing compared to Pro Tools. We had about 100 sounds! Ten hi-hats, ten snares, ten kicks and we just kept using and tweaking those. Or if we wanted a ‘snap’ we had to do it ourselves. In those days we bought sample CDs, mostly from Germany. “It’s not like today where you have things like Splice and there’s a whole ocean of sounds that are amazing. You get your sound by NOT having access to sounds! “People ask ‘how did you create that sound’, but it’s not like you ever put yourself in a situation where you say ‘I’m going to create a new sound’. Every time they released a new expansion card we just ran after it! That was the main synth and then the Euphonix desk meant that we had our own sound. We had all the expansion cards and that’s mainly what we used for all the stabs and the pads. We had about four or five of them in a stack. Plugins didn’t exist so we used a lot of hardware synths - the Roland JV-1080 and JV-2080. “Then we switched to recording vocals into an Akai sampler and we had a Euphonix CS 2000 board, which we loved, and we had a lot of outboard gear. Equipment was insane, you needed Pro Tools interfaces, and we used to record on analogue tape. “When I started out in ‘94, ‘95, it was very expensive to even attempt to do music. Things must have changed a lot over the years. We have a great group of people - 95% of whom are Swedish so it feels like home!” But then I felt I wanted to come back to the family and Max is like ‘the door is always open’. I did that for about five years and then I took time off with my wife and to look after my son. “Those five years just went by and then getting back into it I started working with Carl Falk and we did all the Niki Minaj and all the One Direction stuff. ![]() ![]() I was supposed to take one year off, but it became five. We were so close, but after seven years we became like an old couple. Then I took five years off as I was really tired. ![]()
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