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Radio PSA level – from production to packaging – A checklist Manufacturer
Jun 22nd
"The transmission began over 75 years of age. If KDKA, America has signed the first commercial radio station in Pittsburgh, PA," said Rick Ducey, senior vice president for research at the National Association of Broadcasters. "It 'was a new experience for the audience, which began in relation to people on the radio as trusted friends," he notes.
According to the Radio Advertising Bureau, Americans spend 22 percent of their time listening to the radio listenening, 14 hoursmore than 21 hours per week, depending on their age. The portability coupled with its ability to segment audiences through its program of taste in his many years of popularity has been helped.
There are nearly 13,000 AM and FM radio stations in the United States, with about two-thirds of the non-duplication stations (where AM and FM do not use the same programming language) on a regular basis with the public service announcements. But before sending PSAs to stations there are a lot of details that you should considerplan in preparation for the campaign. Some of them are:
– Establish a budget for your radio PSA-production package, developed, replicated and sent.
– Decide what you want to produce your PSA – if you hire an independent producer, producing with your advertising agency or their internal production
– Choosing a dealer radio PSA. It should present a plan for stations of destination, to achieve the target primary and secondaryExamples of packaging show the public, will attract the attention of public service managers, develop a plan for packing various items ever designed, printed and shipped, and discuss how you want to advertise to assess the impact.
Building a Budget / selection of media formats
Your balance will depend largely on radio who is your producer, using the talent (famous names, of course, cost more, unless you can not do pro bono), and if you or orignialMusic Library. However, there are some guidelines that you use to determine how much money earmark for a professionally conducted PSA radio campaign can have.
"Your radio production and creative work even better than television because you do not have visual images, you need it with words and sound effects to create".
"Because the radio is not a visual medium, it is important to put a lot of thought into the creative message," said Roger Vilsack, an award-winningManufacturer with more than 25 years of experience in the middle. "Your radio production and creative work even better than TV, even if you spend a lot more about television production. Why not have visual images, you must create with words and sound effects," said Vilsack.
As a hub of TV sometimes it works, "a television spot fine should not work in radio," Vilsack said, although it can be used during a TV lift for the radio. He also advises to get the bestTalent can for your radio production, "because your radio is the place to people who not only read the copy, but acting out may depend on it." Vilsack remembers choosing talent among the main markets, notably New York, where there is a large pool of educated talent available.
Vilsack recommends budgeting $ 4,500 – $ 20,000 for radio production, depending on the number of voices, music and sound effects. Tax creative direction, script and selecting talentCost another $ 2,500 – $ 5,000.
Format / length flexibility
One of the most frequently asked questions on the radio PSA refers to the length to be generated. As with all material DPI, flexibility is no longer able to offer the media, the greater the probability of PSA on the air. Try to provide at least three different lengths – 15,: 30 and: 60 and make sure you copy both recorded and live for stations that are only one or the other message formats. Also rememberNews about the production of different target groups, ie, Country & Western, Middle-of-the-road African-American and Spanish. PSA plus radio, the format of the station program, the greater the chance of meeting are used.
The next decision you have to do is what type of packet radio, you want to use for sending materials to the stations. There is strong evidence that a packaging concept better than other cables, and would be very difficult to measure the use of the stationbased on package design alone. There are many factors that the decision of the media on a specific PSA, which have nothing to do with package design, as the time of the year, the nature of the message, the availability of time and the number of stations of the PSA 'widespread use have been affected. To a large extent the choice of packet radio is based on internal considerations (maintaining brand image), and especially your budget.
CDs have become the standard for music and radioProgramming, but there are a variety of different packaging concepts that make a big difference between the crowd, you can budget for radio distribution. To minimize shipping costs, we recommend packages that meet the Postal Service's automated transport system.
The package, which we normally use is called flex-mailer. And 'to cover a four-color printing and measures 5×7 folded. "Inside, the letter-scale public service is on the left side (when using a vertical design) and there isto hold a slot on the right side of the CD, the evaluation of the response card and any collateral publications. Your dealer should be able to design models for all elements and specifications for the CD label, which can be particularly challenging.
There are also some guidelines to consider when creating the CD and packaging, which were by Bruce Dowdy, the vast experience has provided radio operations.
– Send files to both CD and CD-Audio Enhanced. ThisCD tracks are audio files for these stations CD-ROM/MP3, who prefer to use computer-friendly format. In this way, it is easy to play for each transmitter of the PSA, and if not make it easy, do not worry.
– When it comes with the talent unions receive unlimited use of buyouts so no matter if the air PSAs, you're protected. Or, alternatively, put a date on every package of killing radio PSA, stations, should be pulled if the PSA said. ByHave you done your due diligence with regard to compliance with collective agreements.
– Provision of two, "as recorded" live announcer copy and in stations. The first stations to reach your public service announcements to their audience, the second will be useful if the station does not use PSA recorded.
– Provide written descriptions of places, which are useful when the station quickly scan the material for the best "fit" for the sender to determine the demographics. Moreover, as recorded scripts, and liveCopy for stations that can not be used PSA recorded.
– If you create MP3 files, try them useful, descriptive file names – for example: U.S. OurOrg_5kWalk_Country_30.MP3 find a sampling frequency of 44.1 kHz with a bit rate of at least 128 kb / sec, or stations, the quality acceptable. 192 or 390 kb / sec is even better – especially if it contains your music news.
Another technique to get your messages on the air is "donut" posts, where some of the availableNotice is recorded, and some remain open for the local station to customize their talents on the air or tax supplement to be paid by a sponsor message.
Tips to reduce costs
Since you can put up to a value of hours of programming on a CD, you should seek the widest possible use of capacity. Here are some tips to consider:
Place all the different types of PSA in a single CD, even if they are aimed at different target groups. Your dealer can tell you what radioMost popular sizes, but tend to be those shown here. You can do separate separate PSA for the Spanish public and Afro-American, since that vary considerably. If you do PSA Spanish is not necessary to make a separate Spanish-package, but you must use a translator who speaks Spanish mainstream, and the use of Spanish titles and photography on the packaging.
Another idea is placed there, in front of two to five minutes of audio tracks – often referred to as the ANRS(Press Audio) CD. You are about to produce the same amount of money and to distribute the pay package, so that you can create more value, better serve your interests.
You can also distribute the PSA materials for any other type of media on the CD release as PSA. Both are distributed on CD and all you have to do is set the file of creativity in separate folders and label accordingly. This is done to its distribution in half compared to slicesseparate shipments.
If you're really on a tight budget, another way to reduce costs is to use a "shared disk" delivery service. We call our radio and synchronous DiskPAK wide variety of public service announcements on a single client record, we can reduce costs by more than half.
For the supply of
Regardless of the packaging concept, there are several things that you contact your local distributor. First, if you provide camera ready artwork, then you need to provideArt for all pieces of collateral on a hard drive with all the native files, including fonts, art and artistic expression. You should check with your dealer to see what kind of file is accepted the seller arts, packaging and replication. If the dealer is the production of the artwork is, you have to offer:
– Copy of a letter to the director of public service to your organization's letterhead
– Logo with color breaks and PMS colors for the logo
– Signature of subscriberLetters to black ink (felt tip preferred)
– Copy scripts live announcer, as recorded scripts, and facts about the problem of the client or organization (preferably a Word document file)
The distribution plan
Unlike television, which is a support in the general interest radio programs aimed at audiences with special interests, making it easier to stop the segment of ethnicity, age, education level and lifestyle. The following list contains the most important formats of radio andapproximate number of stations in each format:
AUDIENCE SIZE COUNTS
Adult Contemporary Years 2205-40
African-American/Urban 458 African-American youth
Beautiful Music / Big Band 332-to-Mid-Age Elderly
Classic 288 Mid-Age-to-Elderly
Country / Western 3346 All ages / lifestyles distorted / Rural
Education of young people 18-25 1238
Middle-of-the-road 1105 All ages / lifestyles
Oldies 784 Mid-Age 30 to 50,
News / Talk 908-to-Mid-Age Elderly
Religio 974 AllAge; distorted Black Gospel
Rock / Rock Albums 1208 Youth 18-25
Spanish 567 Spanish-all ages
40 324 Best Mid-Age 30 to 50,
The number of stations which should aim at is influenced by a number of factors, including your target audience, budget, demographic considerations and the practical use of the previous station. Our typical program of 3,500 stations, but also the actual scope of this plan is more than 5,000, because there are more than 1,500 stations, which have multiple owners,and just want to be a PSA, they receive a share of his sister with their stations. These stations are all ex-SAP users, and provides coverage in all markets and formats of the program.
Since only a limited budget, you must make some difficult decisions about which stations target and why. The budget, we believe that the next important factor to consider are the stations that regularly PSA. We maintain such a thing as the previous user index (PUI) for every radio station in our databaseThis is very useful when targeted subsets of the entire universe radio.
Another factor to consider in the development of distribution centers, which we consider may be important to your community partners. Stations have done, for example, the support of local non-profit charity events, those living in remote controls for a special occasion, or those who provided the cover should all be aligned.
Finding Radio PSA
There is also another problem that shouldAddress when planning the radio production – if the location of the SAP. There are several ways to find radio PSAs, including:
– Supply of live-read scripts for the presenter on-air personality with local phone numbers and contact information
– Provision of a "donut" with "holes" for the information stations located, enter the record of his own personality and speakers
– Provision of a fully localized version of stations for the local product with the tag already VOincluded on the CD.
Evaluation
It 'important for assessing the impact of radio PSAs for several reasons:
– We help stations dealer for your next destination of the PSA, to those that your previous year were used as received
– It helps the retailer to update their database of radio station PSA and PSA-maker preferences
– We need feedback on where your PSAs are getting used to (geographically) and what types ofTarget groups, which can be accessed through the analysis of station formats in which they were transmitted PSA
– It helps to justify the cost of production and distribution of other campaigns, because the management is able to see exactly what he received in return for their investment
There are a variety of assessment methods that are used in order to use the data on the radio PSAs, including telephone surveys can be used to analyze the calls, if the toll-free numbers are used in the PSA, and mostcommonly used technique is the bounce-back card. The BRC is used in the package with other materials will be posted at stations and on the back of a shipment clues to maximize response rates.
The quality and the response you get is due in large part, well, the BRC will be determined. Open questions, where the stations can subjectively give vague or feedback should be avoided because the evaluator must interpret what stations does "TFN" (until further noticeNotice), "ROS" (Run of Station) and other nonsensical comments.
To use quite precise and significant design data, the stations we have questions, very specific data that are required to provide reports to provide reasonable use. The critical information that is necessary is: What long spot was used, the frequency (number of times a week, and now the frame (number of weeks) to make it easier for stations to the BRC, where we use a complete design. stationssimply circle the frequency and duration of use. In addition to usage data, other information that should be on the response card has spaces to provide the name of the director of public service station call letters and format of the station
We are often asked how our PSA, compared with the others to treat you? To answer this question, we use a benchmark result of 43 radio campaigns, we distributed over several years. With the reference data, the average value of a radio PSA campaign$ 750,000 free broadcasting time, a solid return on an investment of $ 40 thousand in the production and sale.
Their assessment reports should be the standard type of feedback on their use, or summarize the sender's name, size, number of pieces of length commercials and a monetary value with an estimated gross impressions and user-friendly statistics. If you have local offices, it is also useful to sort through the office to write reports so that you can see where the coverage is stronger andweaker.
New methods of assessment
To complete bounce-back cards that admits all is not as accurate as electronic tracking, there are some monitoring services available that are used for the new radio PSAs should follow exposure. We have successfully tested a MediaGuide name in our tests and has electronic tracking attention if only 40% more bounce-back cards contributed uses. Since there is no trace of electronic service, the PSA-sharing on all U.S. radio canStations, it is important to use both methods of monitoring, but make sure your software is programmed evaluator to avoid redundant reporting by the two sources.
Reminder postcards
Many years of evaluation radio PSA campaign is a very significant amount of exposure that occurs for all radio campaign PSA, which is usually not reported, if you take any kind of follow-up.
While the vast majority of radio stations that your PSA is not submitted applicationsanswer, that does not mean they are not users. About 30% – - No matter how simple you make it for stations to respond, will be a fairly substantial number who do not respond to use, but a mailing PSA. To try to capture some of this effort, often use memory cards. Designed as two parts greeting card, this device usually contains a note to the director of public service, and a reply card, which is identical to the original sent with the package. These cards can generatesignificant increase in reported rates of use and exposure, as shown.
In summary, a radio PSA of more cost-effective production techniques of mass communication are used to spread your message to both general audiences and discrete populations.
Radio PSAs offer flexibility, allow you to reach out-of-home audience, are relatively cheap, and give a good return on investment. However, to maximize the return on investment, like any other massCommunication tool, you should establish goals and develop a comprehensive plan for the campaign.
Infected Mushroom production interview reveals tips and tricks
Jan 20th
Innovators, scammers geek, obsessive perfectionist, a severe, electronic rock genius? Time will tell, but the legend of Black Döner, is the 7th Infected Mushroom Album surely grab the chair from under and leave you to think that I'm not sure what is driving this meticulous musical chaos, but I can not, even after that the title above.
Hailing from the sunny shores of Israel, now based in another sunny location in Los Angeles, the sun will always shineinfected country is the heart, iron and Amit Erez Duvedevani. But seriously, between the hard-earned success, the salad, the exhibition nuclear, private jokes, there are two species is very do-it-yourself of scientists, musicians, write to produce, mix, master, edit and fix almost all the detail of their music.
Part 1: 'It's always changing, you know "
AF: Can you quickly introduce the band? Who does what?
Iron: We started my partner Amit Duvedevani,aka Duvdev, and I, Erez iron in 1996, a terrible music. Now we have now as a big band, you know, are not great, but we have a drummer called Rogerio Jardim is a great drummer from Brazil, living in America to buy. We have a network of Israeli guitarist Erez, which is one of the best electronic guitars, the best in Israel. We love him. And Thomas Cunningham, a young guitarist from America kick ass, which plays with us. This is infectedFungus.
AF: What do you think are your influences? You are with 'metal' some concerts and some "jazzy organs" on the same tracks, some hip-hop influences, some influences of Spanish music …
Iron: It 's always changing, you know. It 'started with bands such as electronic Psytrance, Simon Posford, Shpongle as is known, even hallucinogenic. By the time we liked X-Dream, Etnica, lots of other bands of this genre. These are the most important. And slowly over the years, we havefor everything that was open. We are in radio and MTV's music, not as it is today, terrible, but as more stuff will be used with heavy metals. Although hip-hop is sometimes a few tracks from Jay Zee, can be beautiful. Maybe we do not like the concept, but we like some ideas. We're just trying to have fun in the studio and basically be as creative as possible.
AF: Your style has changed a lot for many years in the past. When you return to the old songs and listen to them, what are yourThoughts?
Iron: The Gathering, the first album has been infected, I tend to think it's some decent songs for me. I think Tommy the Bat is one of them, and a few others, but the production is terrible. I am not so proud, we say. But, you know, I was 16 I think if we did. So it's OK.
AF: Have you started a song in the studio or have some time to go somewhere else for inspiration?
Iron: No, it's always in the studio. We tried to doSigns on the road, but we have never done before. Sometimes we just do not submit ideas for the study and decide on a BPM, it is usually only 145, and starts to kick, bass, and somehow looking for sounds and so on. Sometimes we're lucky, all is well and we have a track is very fast, and sometimes we get stuck like a week straight.
AF: I know what you mean. For years I have set for 10 people.
Iron: If you do not go on, I wanted to kickAt times I wanted to say "enough, I can not hear more, I have no ideas", but then Duvdev said: "We see it as a struggle in the studio, like a video game there is a level is really hard to move on and try again until you move to the next level. So this is how we see these days and it really helps. For us, when we in these terrible days, we just give her a fight. Sometimes it's the lyrics. Duvdev comes with lyrics, and from there you get something that many-easier. Every time is different.
AF: What tape as your biggest challenge?
Iron: We always challenges. I believe, was the first major challenge to the band done to find guitarist to find the drummer to write pieces for them, because the tracks have already been filled so for us, and we did not have it done out loud the live show. And 'quite difficult at first, think about what would play the guitarThis does not sound too busy, and how to add a drummer that will not make too much of a mess.
AF: In the studio, and you can produce music in ideal conditions. There will be a challenge to recreate that sound on stage. As you approach?
Iron: Yes, for the stage, it feels a bit 'lower, they feel that you have a great speaker and you hear the bass, not only feels. This is very important. And for the rest of the frequencies that we are tryingmake it as good as we can, in comparison to what we had in mind, the studio that has never happened, among others. With our luck, we are going to sound terrible time systems. It 's always a challenge to make a proper control of sound.
Part 2: "I hate compressing": change and Sound Design Technique
AF: I see you have a microphone blue, as you have this?
Iron: We have two microphones and a blue bottle blue. When we were in Israel, we were very luckyLooking for a man who had all these old school Telefunken microphones, including the high-end Neumann and special. Very good microphones. The way I learned that I do the test, I call it the blind test. WAV file and then you have to choose only what sounds better. No matter what it is, you have to go with him. So we tried, say, five microphones, and the Blue the best sound for us – in everything.
AF: It seems to select a good way.
Iron: This is always what we do. SorrySometimes we discover that we spend money, for example, expensive compressors, and eventually discover that a plug-in sounded better. Which is annoying, but it sounds better, sounds better.
AF: I see you have an amplifier in front of Avalon. How do you usually use on individual instruments such as guitars, synth?
Iron: The Avalon preamps use synth, synthesizer, so we have some thorns to Avalon – just sounds so much better than directly, of course,unbalanced cable. We use it for recording guitar. It 'the same as the synth in fact I am only the output of the zoom-effect processor for guitar.
AF: The G7?
Iron: In the studio we use the G9 actually. It 'the same, almost the same. You connect directly to it and it sounds great. The only negative thing I have to say that very quickly distorted. Contrary to the 1073rd Neve But it still sounds good. If it is not distorted, it soundsreally, really good.
AF: I saw the photos of your home studio 6 or 7 years and now have a greater Los Angeles, but you still have the BM6A Dynaudio. I have the same pair for 7 years as well. They are good, but the aggressive nature in the high tones. He never wanted to upgrade the speakers in a different way?
Iron: the one we had a lot of monitors in the past, and again, we also had the Dynaudio BM15 and … I do not remember the model, has twoWoofer and a tweeter, it is really expensive as $ 6,000. We said we try and did not play so well. The mix did not come out as good as we had on BM6A. So we said fuck it, it sounds pretty good. Maybe there will be no change in the future, I know there are a couple of monitors that the sound seems much better for mixing, as I have heard good things about Adam.
AF: And here are accustomed to, so that the ears to know exactly how they work …
Iron: we used tomany years. I can throw these speakers in most rooms and a decent mix.
AF: Do you have a second pair for mixing?
Iron: No, I hate this system. Previously, we tried that too, it just confuses me. I can not mix Sun
AF: What do you use a compressor or limiter final mix? Why do your songs do not sound to compressed music such as songs in comparison to other electronic equipment.
Iron: We use no compression at all in the final mix.
AF: Ok.Interesting.
Iron: I mean, this is our we-say-our secret. Big secret. We do the mastering as well. We learned the reason, if you really push the high gain and get everything in a distorted that you do not hear, you see only the red really, really – 6dB + says you do not hear distortion and yet you understand that analogy to get another drive then we play a lot better. It tries to find the wave Ultramaximizer me sound betterof what we do. I find the waves, for example, under the peaks a bit of distance '. And not only so, many other companies do the same thing. The highs are gone, and something goes off in the details. In this way, analog recording, in our case, we take it for Prism Sound, and you get the distorted sound Prism ['view'. Therefore, the inputs are distorted, and the meter shows that it is not my ears feel cliping] distortion. We get very high gain and a sounduncompressed sound.
AF: Yes, definitely, if you feel better, more dynamic.
Iron: I hate compression. If I can help, I prefer to avoid compression. Detail of lateral compression of the chain.
AF: It 's nice to hear that because you know more people and more just to compress and squeeze too …
Iron: I do not understand why. Forget the music. Where's the music? But then again it is a matter of taste. Everyone does what he feels betterthem.
AF: You do everything together in Cubase?
Iron: Yes we do, mix everything in Cubase. We are, in fact, the spread of RME AES32 mixer channels, so that the sound in there somehow. I think it sounds better, and then record the two outputs, two inputs of another sound card that Prism Sound.
AF: What are your favorite virtual synth?
Iron: I used to say many things, but I think these days I only Omnisphere. It 'absolutelysurprising and we also have Trillian, which is really very good. We bought the whole package from Native Instruments, for example, and I would say, Massive – is an amazing synth, but not working correctly in Cubase.
AF: You mean it crashes?
Iron: always crashes. Massive, sometimes when you really want to have a different sound that we use on another computer Massive stand-alone, unfortunately. I think these are the best VST. I do not think there is nothing that can compare toSpectrasonics stuff, in terms of everything. And we also have strings for the Vienna Symphonic Library, VSL, the plug-in.
AF: In one of your songs are really played like a fiddle and a violin that is what you use?
Iron: Yes This is what we use.
AF: I thought it was true.
Iron: It 's expensive stuff that Wiener, very expensive, but nothing compared to it. It looks so realistic. And if you write it the right way, is incredible. The Viennais amazing. Also in Cubase 5 plug-ins created sounds really good. The same synth, the sound quality is good.
AF: Well, what gear to use the hardware more when you play live?
Eisen: Well, it's very simple. As a synth, I use only the reason XS6. Edirol PCR-800 control. And 'good enough. I check the cut with the band Boss pedal. For a mixer, use the Yamaha 01V96 Version 2 This is great in live performance, we simplyButton, and 99% of the sound check is done. The only thing I have to do is finally EQ for the system, and that's all.
AF: Very practical.
Iron: I am also the control of post-production on my midi controller keyboard from Edirol. So if I have several guitars I do not need to approach the need for sound, I urge more guitars … I checked everything from the keyboard. Everything is very fast in the live show, because I have the right mix for live performance.
AF:And by the computer that you've never had any crashes while playing live?
Iron: We have a long time ago because of our mistakes. We had to open the stupid mistake of using an anti-virus, and opted for an upgrade, or find something. Today we have a backup for almost everything. But we have not blocked for many years of happiness.
AF: a few minutes ago were mixed, speak your. I'm always very accurate, no license, spectrum, althoughBig Game synthesizer. For example, I read in your forum, she said: "The hard work that things mix well and remove unwanted frequencies. If you reduce the range of most of your instruments in the mix to achieve this?
Iron: High filtering out everything but the bass and bass drum. In fact, I have a plug-in in the reactor that settled the issue of cash and low. I basically side chain EQ in some way. Whenever there is a kick, there is a high-passFilters for the bass line, for example. Every time that football was played, the bass line, a high-pass filter. I used to do it manually. Then I said, you know what, we do it in the reactor, it is quite simple.
AF: It works really well. The bass and drums are really always very precise.
Iron is necessary to clean only the mix. However, if the football does not play, still sounds fat. Especially if you always want to have on the bass drum at the same time. This is the biggest problem -just found a bass line that you do not know. Bassline those without football. For me, at least we solved this problem for infected people. Only I do all low cut, not low, unless there is a break, and during the break, you can reset all the bass. But when it comes to football, I think that most of the mix of sounds cleaner if you cut at 100-120 Hz is much more clear.
There are so many techniques I use – Stereo synthesizer, so that the sound of the synthesizer moreStereo. I do a technique like the double tracking of the guitar. Basically, I say that we have a simple bass line. So I have a little 'game with the cut-off, I play a bit' with the attack, with the fall a bit 'with the publication of the sound. I do a long session that I play with him. As they say, 8 bar, ok. And then I export these 8 bar by bar 8 to an audio file, and I share the 8 to 4 bars and 4 The first 4 I put on the left channel and the second 4 Ithe right channel. And then I have this little movement in the bass line and saw the hand movement in a way that is not as accurate. The left channel is not just for the right channel and then sounds more stereo without effect.
AF: As a refrain.
Iron: Yes, like a chorus. But if you're more like a chorus of playing the melody, would sound off-tune.
AF: I think really have two players simultaneously.
Iron: Yes'It seems that two players simultaneously. Do not really know what's going on, but stereo sounds more and more fat in a way. So I'm doing it for almost everything to be honest. Almost every end, what we do – there is a longer version, then we cut in half. The first part, we left to right, the second part, and that's all.
AF: Very interesting for our readers, this kind of tricks.
Iron: I have so many, I do not know where to start, I will not bore youdeath.
AF: I'm not bored day, even if all we talk about 
.
Part 3: The Legend of Black Döner
AF: I play the intro of Poquito Mas. The first 10 seconds you have an acoustic guitar, what kind of drops and will be returned to the field, such as scratches, if I were in the process. I am interested to know how the sound you get this change in pitch range, but not exactly as a.
Iron: Basically what is in many ways, I supposesay, in a note the guitar part and I just have an effect on them. This shift of the step, if not wrong, because I hate the Sound Forge Pitch Shift with Cubase. So just take it pitch shift and Sound Forge to paint, how deep I want to take the pitch shift. It 's really easy to do Sound Forge. So I'm on this side of the tree and bring it back in time, and he alone in that second. If I have a trigger, I will highlight only a small part, I pick up the short cycle, there may be some samplestoo. I try to avoid clicks when I'm in the process of finding zero crossing. I just do not have the trigger and put it at the right time.
AF: What do you use delay? It looks like a delay with a filter on it, is a plug-in?
Iron: It's actually a delay that I did.
AF: I have a Lexicon MPX-1, and reminds me of one of the effects on them. It 's really nice. To mix a filter for the delay.
Iron: This is a delay of 8-tap on it, and touch all those present, you can add allDesired effect.
AF: guitar, shortly after the intro, you have an amplifier effect. You said you are not with a guitar amp.
Iron: No, not really.
AF: So the effects, use the …
Iron: In this particular guitar, it is basically clean the Avalon and the Avalon is a really LA2A, a real, a little 'compression. I think, for the heights, the brightest guitar, I use the UAD Pultec plug-in. I love the highFrequencies in the Pultec. Normally, I only choose the highest profile.
AF: On Sa'id, the beginning drum part, it is your drummer is playing?
Iron: The impact here is really only touch an acoustic guitar.
AF: Really?
Iron: Yes, with the fingers just touching the body of the guitar and with the same technology, the stereo, we talked about earlier. The impact of the whole with an acoustic guitar, only the battery inGuitar. It looked pretty cool. We did not expect to use it. I do not know how it sounded Sun We just tried it and the microphone is close to really listen, and it sounds like this.
AF: Sometimes there are surprises.
Iron: good stuff is always surprised.
AF: at 1:00 there is a certain effect on the entry. How do you make that kind of tone to your voice?
Iron: Basically, we cut each syllable of the word. We say that "I am ashamed," we cut the "I" andthen the "feel" the word we just cut the "f", the "ee" and then "l". For example, only the "ee" of "feeling" we trigger on that. A very small release, until the tone, the note that we do.
AF: No. Because if you loop through it poses particular harmonic.
Shall be an "A" of the loop on a multiple of: – [Editor's Note: frequency (in Hz) = 1 / period of the cycle (in seconds): the sound is the length of the loop never voted 2,2,727 thousandMs]
Iron: Yes, if it's really short, you receive these special harmonics. So you need the length of the loop, you can do until you get the right tone white. Basically we do it on every syllable. The "shame" there are a lot of them. Usually in the "s", "t" and "d", the beginnings of words, consonants, we consider not touch us, and only we the cause of harmonious sound. It takes time.
AF: I thought it was a plug-in, was to do it. SoThey are doing it manually.
Iron: I hope it's a plug-in. Please give me. This is what we do. We have a long period of time on a track called I Wish. This was the first time we tried to do – for the album, Converting Vegetarians. We have here again, but only difference is that we in this small distortion. We succeeded because we do not have the time to remove all clicks. We were lazy. If you play a sample of shots without voice distortionsound like with more clicks.
AF: You know, Depeche Mode, right? He feels a certain influence, sometimes cross?
Iron: Certainly. Look, we are big fans of Depeche Mode. We are very influenced by them. From the cities of the future. It 's very, uh, tried to be in a Depeche Mode. Unfortunately, we are far away.
AF: It 's really creative, very different, but we can feel in some way influence.
Iron: We like the chord changes of Depeche Mode, and also the waythat stuff is really unique and beautiful. So let's do it our way, but of course everyone can hear, you know, stolen by Depeche Mode.
AF: not stolen, but concerned. Now, for the Project 100, there is a very nice Rhodes piano. It 's a plug that is used in?
Iron: No, only the Motif XS.
AF: And you play a certain effect on them? As a modulator FM / AM on it?
Iron: a fast LFO, I believe that the LFO panning, if Iwrong.
AF: OK, once again, put the sound, as opposed to a preset. The [song] Franks, the top, there are some really cool strings, as some EQ and some overdrive. Then again, what a tool and the use of impact for you?
Eisen: I think its the Motif XS through distortion. This distortion is not so great. In reality, it is with the amp simulator Cubase. I have this sound on the Motif, but I do not remember what kind ofSound that is.
AF: The beauty of this album is a collaboration with Jonathan Davis, Perry Farrell and Doors. This is something that artists have long wanted to do, for a time with others? And what was their contribution?
Iron: Can we start with the doors. It 'was the song that Warner Brothers has asked us to remix doors. They have a CD of remixes of songs on many doors, and basically we are allowed to use it in our album – The Riders on the Storm. Weoriginal channels from the gates, which was really exciting to say he played in all those cool pictures that I have to be good enough. This was the easiest because it was pre-recorded, so we do not really together.
Jonathan Davis of Korn at the beginning, we asked him what song he wanted to sing. He chose Killing Time in principle. He came into the studio and we said, 'You try to smash their enemies, because we are more your style, think of the mind. "And he said' sure '. Henot practice, but we just printed the translation into German, gave it a shot and I'm not singing for over an hour and it was registered, the.
AF: So basically, the lyrics and melodies were written and run them alone?
Iron: Yes Everything has been written before. It 'just came and brought the entry. The same goes for Jane's Addiction singer Perry Farrell. We asked him if he minds doing Killing Time, and the like. With him we have two different sessions. Webothered him twice. In reality, we know for a long time. He added Classical Mushroom EP and The Gathering, which was very strange for us. As to why you have these albums? It 'was pretty funny.
Our move to Los Angeles was making the transition to work with people. In Israel, we have enough to artists Israelis have nothing against limited. But it is mainly confined to Hebrew. There are dreams to children, not working with great artists, and you never believe that you canSo we said let's try. We sing almost Dave Ghan from Depeche Mode, but in the end it did not happen. Hopefully Dave will happen to the next album.
AF: One last question about your song [the title] "The Legend of Black Doner," are very positive and almost sending a message, but perhaps with a little 'warning. I assume that these are not entirely accidental that song is something you've made the time and now want to share with yourListeners?
Iron: When we started doing songs, we said that we should write about everything but love. Why do not we do something for love, but every song is about love. So we said everything but the love was not so difficult. It slowly became a street Duvdev, most of the texts. He came into the studio with almost all the texts and, perhaps, I have one or two words. Duvdev is a pretty crazy guy. It has many strange ideas. Many of them can not evenwrite. We try things with less sense is that people think of things to write open. Or do we write lyrics very little private jokes that only serious between us and our friends. So please do not take seriously our texts.
AF: So you think that you really do not want to turn vegetarian for real?
Eisen: Why not? No, I'm just kidding … Everything is just fun, do not take it too seriously. Converting vegetarians, if there is a sense it is especially important: convertto listen to music regularly and be open to listening to other types of music.
Infected Mushroom production interview reveals tips and tricks
Jan 2nd
Innovators, scammers geek, obsessive perfectionist, a severe, electronic rock genius? Time will tell, but the legend of Black Döner, is the 7th Infected Mushroom Album surely grab the chair from under and leave you to think that I'm not sure what is driving this meticulous musical chaos, but I can not, even after that the title above.
Hailing from the sunny shores of Israel, now based in another sunny location in Los Angeles, the sun will always shineinfected country is the heart, iron and Amit Erez Duvedevani. But seriously, between the hard-earned success, the salad, the exhibition nuclear, private jokes, there are two species is very do-it-yourself of scientists, musicians, write to produce, mix, master, edit and fix almost all the detail of their music.
Part 1: 'It's always changing, you know "
AF: Can you quickly introduce the band? Who does what?
Iron: We started my partner Amit Duvedevani,aka Duvdev, and I, Erez iron in 1996, a terrible music. Now we have now as a big band, you know, are not great, but we have a drummer called Rogerio Jardim is a great drummer from Brazil, living in America to buy. We have a network of Israeli guitarist Erez, which is one of the best electronic guitars, the best in Israel. We love him. And Thomas Cunningham, a young guitarist from America kick ass, which plays with us. This is infectedFungus.
AF: What do you think are your influences? You are with 'metal' some concerts and some "jazzy organs" on the same tracks, some hip-hop influences, some influences of Spanish music …
Iron: It 's always changing, you know. It 'started with bands such as electronic Psytrance, Simon Posford, Shpongle as is known, even hallucinogenic. By the time we liked X-Dream, Etnica, lots of other bands of this genre. These are the most important. And slowly over the years, we havefor everything that was open. We are in radio and MTV's music, not as it is today, terrible, but as more stuff will be used with heavy metals. Although hip-hop is sometimes a few tracks from Jay Zee, can be beautiful. Maybe we do not like the concept, but we like some ideas. We're just trying to have fun in the studio and basically be as creative as possible.
AF: Your style has changed a lot for many years in the past. When you return to the old songs and listen to them, what are yourThoughts?
Iron: The Gathering, the first album has been infected, I tend to think it's some decent songs for me. I think Tommy the Bat is one of them, and a few others, but the production is terrible. I am not so proud, we say. But, you know, I was 16 I think if we did. So it's OK.
AF: Have you started a song in the studio or have some time to go somewhere else for inspiration?
Iron: No, it's always in the studio. We tried to doSigns on the road, but we have never done before. Sometimes we just do not submit ideas for the study and decide on a BPM, it is usually only 145, and starts to kick, bass, and somehow looking for sounds and so on. Sometimes we're lucky, all is well and we have a track is very fast, and sometimes we get stuck like a week straight.
AF: I know what you mean. For years I have set for 10 people.
Iron: If you do not go on, I wanted to kickSometimes I wanted to say "enough, I can not hear more, I have no ideas," but then said Duvdev: "Let us see it as a struggle in the studio, like a video game there is a level is really hard to move on and try again until you move to the next level. So this is how we see these days and it really helps. For us, when we in these terrible days, we just give her a fight. Sometimes it's the lyrics. Duvdev comes with lyrics, and from there you get something that many-easier. Every time is different.
AF: What tape as your biggest challenge?
Iron: We always challenges. I think, was the first major challenge to the band done to find guitarist to find a drummer to write pieces for them, because the tracks have already been filled so for us, and we did not have it done in a loud voice for the live show. And 'quite difficult at first, think about what would play the guitarThis does not sound too busy, and how to add a drummer that will not make too much of a mess.
AF: In the studio, and you can produce music in ideal conditions. There will be a challenge to recreate that sound on stage. As you approach?
Iron: Yes, for the stage, it feels a bit 'lower, they feel that you have a great speaker and you hear the bass, not only feels. This is very important. And for the rest of the frequencies that we are tryingmake it as good as we can, in comparison to what we had in mind, the studio that has never happened, among others. With our luck, we are going to sound terrible time systems. It 's always a challenge to make a proper control of sound.
Part 2: "I hate compressing": change and Sound Design Technique
AF: I see you have a microphone blue, as you have this?
Iron: We have two microphones and a blue bottle blue. When we were in Israel, we were very luckyLooking for a man who had all these old school Telefunken microphones, including the high-end Neumann and special. Very good microphones. The way I learned that I do the test, I call it the blind test. WAV file and then you have to choose only what sounds better. No matter what it is, you have to go with him. So we tried, say, five microphones, and the Blue the best sound for us – in everything.
AF: It seems to select a good way.
Iron: This is always what we do. SorrySometimes we discover that we spend money, for example, expensive compressors, and eventually discover that a plug-in sounded better. Which is annoying, but it sounds better, sounds better.
AF: I see you have an amplifier in front of Avalon. How do you usually use on individual instruments such as guitars, synth?
Iron: The Avalon preamps use synth, synthesizer, so we have some thorns to Avalon – just sounds so much better than directly, of course,unbalanced cable. We use it for recording guitar. It 'the same as the synth in fact I am only the output of the zoom-effect processor for guitar.
AF: The G7?
Iron: In the studio we use the G9 actually. It 'the same, almost the same. Contact us directly and it sounds great. The only negative thing I have to say that very quickly distorted. Contrary to the 1073rd Neve But it still sounds good. If it is not distorted, it soundsreally, really good.
AF: I saw the photos of your home studio 6 or 7 years and now have a greater Los Angeles, but you still have the BM6A Dynaudio. I have the same pair for 7 years as well. They are good, but the aggressive nature in the high tones. He never wanted to upgrade the speakers in a different way?
Iron: the one we had a lot of monitors in the past, and again, we also had the Dynaudio BM15 and … I do not remember the model, has twoWoofer and a tweeter, it is really expensive as $ 6,000. We said we try and did not play so well. The mix did not come out as good as we had on BM6A. So we said fuck it, it sounds pretty good. Maybe we will change in the future, I know there are a Few monitor the sound seems much better for mixing, as I have heard good things about Adam.
AF: And here are accustomed to, so that the ears to know exactly how they work …
Iron: we used tomany years. I can throw these speakers in most rooms and a decent mix.
AF: Do you have a second pair for mixing?
Iron: No, I hate this system. Previously, we tried that too, it just confuses me. I can not mix Sun
AF: What do you use a compressor or limiter final mix? Why do your songs do not sound to compressed music such as songs in comparison to other electronic equipment.
Iron: We use no compression at all in the final mix.
AF: Ok.Interesting.
Iron: I mean, this is our we-say-our secret. Big secret. We do the mastering as well. We learned the reason, if you really push the high gain and get everything in a distorted that you do not hear, you see only the red really, really – 6dB + says you do not hear distortion and yet you understand that analogy to get another drive then we play a lot better. It tries to find the wave Ultramaximizer me sound betterof what we do. I find the waves, for example, under the peaks a bit of distance '. And not only so, many other companies do the same thing. The highs are gone, and something goes off in the details. In this way, analog recording, in our case, we take it for Prism Sound, and you get the distorted sound Prism ['view'. Therefore, the inputs are distorted, and the meter shows that it is not my ears feel cliping] distortion. We get very high gain and a sounduncompressed sound.
AF: Yes, definitely, if you feel better, more dynamic.
Iron: I hate compression. If I can help, I prefer to avoid compression. Detail of lateral compression of the chain.
AF: It 's nice to hear that because you know more people and more just to compress and squeeze too …
Iron: I do not understand why. Forget the music. Where's the music? But then again it is a matter of taste. Everyone does what he feels betterthem.
AF: You do everything together in Cubase?
Iron: Yes we do, mix everything in Cubase. We are, in fact, the spread of RME AES32 mixer channels, so that the sound in there somehow. I think it sounds better, and then record the two outputs, two inputs of another sound card that Prism Sound.
AF: What are your favorite virtual synth?
Iron: I used to say many things, but I think these days I only Omnisphere. It 'absolutelysurprising and we also have Trillian, which is really very good. We bought the whole package from Native Instruments, for example, and I would say, Massive – is an amazing synth, but not working correctly in Cubase.
AF: You mean it crashes?
Iron: always crashes. Massive, sometimes when you really want to have a different sound that we use on another computer Massive stand-alone, unfortunately. I think these are the best VST. I do not think there is nothing that can compare toSpectrasonics stuff, in terms of everything. And we also have strings for the Vienna Symphonic Library, VSL, the plug-in.
AF: In one of your songs are really played like a fiddle and a violin that is what you use?
Iron: Yes This is what we use.
AF: I thought it was true.
Iron: It 's expensive stuff that Wiener, very expensive, but nothing compared to it. It looks so realistic. And if you write it the right way, is incredible. The Viennais amazing. Also in Cubase 5 plug-ins created sounds really good. The same synth, the sound quality is good.
AF: Well, what gear to use the hardware more when you play live?
Eisen: Well, it's very simple. As a synth, I use only the reason XS6. Edirol PCR-800 control. And 'good enough. I check the cut with the band Boss pedal. For a mixer, use the Yamaha 01V96 Version 2 This is great in live performance, we simplyButton, and 99% of the sound check is done. The only thing I have to do is finally EQ for the system, and that's all.
AF: Very practical.
Iron: I am also the control of post-production on my midi controller keyboard from Edirol. So if I have several guitars I do not need to approach the need for sound, I urge more guitars … I checked everything from the keyboard. Everything is very fast in the live show, because I have the right mix for live performance.
AF:And by the computer that you've never had any crashes while playing live?
Iron: We have a long time ago because of our mistakes. We had to open the stupid mistake of using an anti-virus, and opted for an upgrade, or find something. Today we have a backup for almost everything. But we have not blocked for many years of happiness.
AF: a few minutes ago were mixed, speak your. I'm always very accurate, no license, spectrum, althoughBig Game synthesizer. For example, I read in your forum, she said: "The hard work that things mix well and remove unwanted frequencies. If you reduce the range of most of your instruments in the mix to achieve this?
Iron: High filtering out everything but the bass and bass drum. In fact, I have a plug-in in the reactor that settled the issue of cash and low. I basically side chain EQ in some way. Whenever there is a kick, there is a high-passFilters for the bass line, for example. Every time that football was played, the bass line, a high-pass filter. I used to do it manually. Then I said, you know what, we do it in the reactor, it is quite simple.
AF: It works really well. The bass and drums are really always very precise.
Iron is necessary to clean only the mix. However, if the football does not play, still sounds fat. Especially if you always want to have on the bass drum at the same time. This is the biggest problem -just found a bass line that you do not know. Bassline those without football. For me, at least we solved this problem for infected people. Only I do all low cut, not low, unless there is a break, and during the break, you can reset all the bass. But when it comes to football, I think that most of the mix of sounds cleaner if you cut at 100-120 Hz is much more clear.
There are so many techniques I use – Stereo synthesizer, so that the sound of the synthesizer moreStereo. I do a technique like the double tracking of the guitar. Basically, I say that we have a simple bass line. So I have a little 'game with the cut-off, I play a bit' with the attack, with the fall a bit 'with the publication of the sound. I do a long session that I play with him. As they say, 8 bar, ok. And then I export these 8 bar by bar 8 to an audio file, and I share the 8 to 4 bars and 4 The first 4 I put on the left channel and the second 4 Ithe right channel. And then I have this little movement in the bass line and saw the hand movement in a way that is not as accurate. The left channel is not just for the right channel and then sounds more stereo without effect.
AF: As a refrain.
Iron: Yes, like a chorus. But if you're more like a chorus of playing the melody, would sound off-tune.
AF: I think really have two players simultaneously.
Iron: Yes'It seems that two players simultaneously. Do not really know what's going on, but stereo sounds more and more fat in a way. So I'm doing it for almost everything to be honest. Almost every end, what we do – there is a longer version, then we cut in half. The first part, we left to right, the second part, and that's all.
AF: Very interesting for our readers, this kind of tricks.
Iron: I have so many, I do not know where to start, I will not bore youdeath.
AF: I'm not bored day, even if all we talk about .
Part 3: The Legend of Black Döner
AF: I play the intro of Poquito Mas. The first 10 seconds you have an acoustic guitar, what kind of drops and will be returned to the field, such as scratches, if I were in the process. I am interested to know how the sound you get this change in pitch range, but not exactly as a.
Iron: Basically what is in many ways, I supposesay, in a note the guitar part and I just have an effect on them. This shift of the step, if not wrong, because I hate the Sound Forge Pitch Shift with Cubase. So just take it pitch shift and Sound Forge to paint, how deep I want to take the pitch shift. It 's really easy to do Sound Forge. So I'm on this side of the tree and bring it back in time, and he alone in that second. If I have a trigger, I will highlight only a small part, I pick up the short cycle, there may be some samplestoo. I try to avoid clicks when I'm in the process of finding zero crossing. I just do not have the trigger and put it at the right time.
AF: What do you use delay? It looks like a delay with a filter on it, is a plug-in?
Iron: It's actually a delay that I did.
AF: I have a Lexicon MPX-1, and reminds me of one of the effects on them. It 's really nice. To mix a filter for the delay.
Iron: This is a delay of 8-tap on it, and touch all those present, you can add allDesired effect.
AF: guitar, shortly after the intro, you have an amplifier effect. You said you are not with a guitar amp.
Iron: No, not really.
AF: So the effects, use the …
Iron: In this particular guitar, it is basically clean the Avalon and the Avalon is a really LA2A, a real, a little 'compression. I think, for the heights, the brightest guitar, I use the UAD Pultec plug-in. I love the highFrequencies in the Pultec. Normally, I only choose the highest profile.
AF: On Sa'id, the beginning drum part, it is your drummer is playing?
Iron: The impact here is really only touch an acoustic guitar.
AF: Really?
Iron: Yes, with the fingers just touching the body of the guitar and with the same technology, the stereo, we talked about earlier. The impact of the whole with an acoustic guitar, only the battery inGuitar. It looked pretty cool. We did not expect to use it. I do not know how it sounded Sun We just tried it and the microphone is close to really listen, and it sounds like this.
AF: Sometimes there are surprises.
Iron: good stuff is always surprised.
AF: at 1:00 there is a certain effect on the entry. How do you make that kind of sound to your voice?
Iron: Basically, we cut each syllable of the word. We say that "I am ashamed," we cut the "I" andthen the "feel" the word we just cut the "f", the "ee" and then "l". For example, only the "ee" of "feeling" we trigger on that. A very small release, until the tone, the note that we do.
AF: No. Because if you loop through it poses particular harmonic.
Shall be an "A" of the loop on a multiple of: – [Editor's Note: frequency (in Hz) = 1 / period of the cycle (in seconds): the sound is the length of the loop never voted 2,2,727 thousandMs]
Iron: Yes, if it's really short, you receive these special harmonics. So you need the length of the loop, you can do until you get the right tone white. Basically we do it on every syllable. The "shame" there are a lot of them. Usually in the "s", "t" and "d", the beginnings of words, consonants, we consider not touch us, and only we the cause of harmonious sound. It takes time.
AF: I thought it was a plug-in, was to do it. SoThey are doing it manually.
Iron: I hope it's a plug-in. Please give me. This is what we do. We have a long period of time on a track called I Wish. This was the first time we tried to do – for the album, Converting Vegetarians. We have here again, but only difference is that we in this small distortion. We succeeded because we do not have the time to remove all clicks. We were lazy. If you play a sample of shots without voice distortionsound like with more clicks.
AF: You know, Depeche Mode, right? He feels a certain influence, sometimes cross?
Iron: Certainly. Look, we are big fans of Depeche Mode. We are very influenced by them. From the cities of the future. It 's very, uh, tried to be in a Depeche Mode. Unfortunately, we are far away.
AF: It 's really creative, very different, but we can feel in some way influence.
Iron: We like the chord changes of Depeche Mode, and also the waythat stuff is really unique and beautiful. So let's do it our way, but of course everyone can hear, you know, stolen by Depeche Mode.
AF: not stolen, but concerned. Now, for the Project 100, there is a very nice Rhodes piano. It 's a plug that is used in?
Iron: No, only the Motif XS.
AF: And you play a certain effect on them? As a modulator FM / AM on it?
Iron: a fast LFO, I believe that the LFO panning, if Iwrong.
AF: OK, once again, put the sound, as opposed to a preset. The [song] Franks, the top, there are some really cool strings, as some EQ and some overdrive. Then again, what a tool and the use of impact for you?
Eisen: I think its the Motif XS through distortion. This distortion is not so great. In reality, it is with the amp simulator Cubase. I have this sound on the Motif, but I do not remember what kind ofSound that is.
AF: The beauty of this album is a collaboration with Jonathan Davis, Perry Farrell and Doors. This is something that artists have long wanted to do, for a time with others? And what was their contribution?
Iron: Can we start with the doors. It 'was the song that Warner Brothers has asked us to remix doors. They have a CD of remixes of songs on many doors, and basically we are allowed to use it in our album – The Riders on the Storm. Weoriginal channels from the gates, which was really exciting to say he played in all those cool pictures that I have to be good enough. This was the easiest because it was pre-recorded, so we do not really together.
Jonathan Davis of Korn at the beginning, we asked him what song he wanted to sing. He chose Killing Time in principle. He came into the studio and we said, 'You try to smash their enemies, because we are more your style, think of the mind. "And he said' sure '. Henot practice, but we just printed the translation into German, gave it a shot and I'm not singing for over an hour and it was registered, the.
AF: So basically, the lyrics and melodies were written and run them alone?
Iron: Yes Everything has been written before. It 'just came and brought the entry. The same goes for Jane's Addiction singer Perry Farrell. We asked him if he minds doing Killing Time, and the like. With him we have two different sessions. Webothered him twice. In reality, we know for a long time. He added Classical Mushroom EP and The Gathering, which was very strange for us. As to why you have these albums? It 'was pretty funny.
Our move to Los Angeles was making the transition to work with people. In Israel, we have enough to artists Israelis have nothing against limited. But it is mainly confined to Hebrew. There are dreams to children, not working with great artists, and you never believe that you canSo we said let's try. We sing almost Dave Ghan from Depeche Mode, but in the end it did not happen. Hopefully Dave will happen to the next album.
AF: One last question about your song [the title] "The Legend of Black Doner," are very positive and almost sending a message, but perhaps with a little 'warning. I assume that these are not entirely accidental that song is something you've made the time and now want to share with yourListeners?
Iron: When we started doing songs, we said that we should write about everything but love. Why do not we do something for love, but every song is about love. So we said everything but the love was not so difficult. It slowly became a street Duvdev, most of the texts. He came into the studio with almost all the texts and, perhaps, I have one or two words. Duvdev is a pretty crazy guy. It has many strange ideas. Many of them can not evenwrite. We try things with less sense is that people think of things to write open. Or do we write lyrics very little private jokes that only serious between us and our friends. So please do not take seriously our texts.
AF: So you think that you really do not want to turn vegetarian for real?
Eisen: Why not? No, I'm just kidding … Everything is just fun, do not take it too seriously. Converting vegetarians, if there is a sense it is especially important: convertto listen to music regularly and be open to listening to other types of music.
Infected Mushroom production interview reveals tips and tricks
Nov 22nd
Innovators, scammers geek, obsessive perfectionist, a severe, electronic rock genius? Time will tell, but the legend of Black Döner, is the 7th Infected Mushroom Album surely grab the chair from under and leave you to think that I'm not sure what is driving this meticulous musical chaos, but I can not, even after that the title above.
Hailing from the sunny shores of Israel, now based in another sunny location in Los Angeles, the sun will always shineinfected country is the heart, iron and Amit Erez Duvedevani. But seriously, between the hard-earned success, the salad, the exhibition nuclear, private jokes, there are two species is very do-it-yourself of scientists, musicians, write to produce, mix, master, edit and fix almost all the detail of their music.
Part 1: 'It's always changing, you know "
AF: Can you quickly introduce the band? Who does what?
Iron: We started my partner Amit Duvedevani,aka Duvdev, and I, Erez iron in 1996, a terrible music. Now we have now as a big band, you know, are not great, but we have a drummer called Rogerio Jardim is a great drummer from Brazil, living in America to buy. We have a network of Israeli guitarist Erez, which is one of the best electronic guitars, the best in Israel. We love him. And Thomas Cunningham, a young guitarist from America kick ass, which plays with us. This is infectedFungus.
AF: What do you think are your influences? You are with 'metal' some concerts and some "jazzy organs" on the same tracks, some hip-hop influences, some influences of Spanish music …
Iron: It 's always changing, you know. It 'started with bands such as electronic Psytrance, Simon Posford, Shpongle as is known, even hallucinogenic. By the time we liked X-Dream, Etnica, lots of other bands of this genre. These are the most important. And slowly over the years, we havefor everything that was open. We are in radio and MTV's music, not as it is today, terrible, but as more stuff will be used with heavy metals. Although hip-hop is sometimes a few tracks from Jay Zee, can be beautiful. Maybe we do not like the concept, but we like some ideas. We're just trying to have fun in the studio and basically be as creative as possible.
AF: Your style has changed a lot for many years in the past. When you return to the old songs and listen to them, what are yourThoughts?
Iron: The Gathering, the first album has been infected, I tend to think it's some decent songs for me. I think Tommy the Bat is one of them, and a few others, but the production is terrible. I am not so proud, we say. But, you know, I was 16 I think if we did. So it's OK.
AF: Have you started a song in the studio or have some time to go somewhere else for inspiration?
Iron: No, it's always in the studio. We tried to doSigns on the road, but we have never done before. Sometimes we just do not submit ideas for the study and decide on a BPM, it is usually only 145, and starts to kick, bass, and somehow looking for sounds and so on. Sometimes we're lucky, all is well and we have a track is very fast, and sometimes we get stuck like a week straight.
AF: I know what you mean. For years I have set for 10 people.
Iron: If you do not go on, I wanted to kickAt times I wanted to say "enough, I can not hear more, I have no ideas", but then Duvdev said: "We see it as a struggle in the studio, like a video game there is a level is really hard to move on and try again until you move to the next level. So this is how we see these days and it really helps. For us, when we in these terrible days, we just give her a fight. Sometimes it's the lyrics. Duvdev comes with lyrics, and from there you get something that many-easier. Every time is different.
AF: What tape as your biggest challenge?
Iron: We always challenges. I think it was the first major challenge to the band done to find guitarist to find a drummer to write parts for them, because the tracks have already been filled in order for us, and we did out loud to the show live. And 'quite difficult at first, think about what would play the guitarThis does not sound too busy, and how to add a drummer that will not make too much of a mess.
AF: In the studio, and you can produce music in ideal conditions. There will be a challenge to recreate that sound on stage. As you approach?
Iron: Yes, for the stage, it feels a bit 'lower, they feel that you have a great speaker and you hear the bass, not only feels. This is very important. And for the rest of the frequencies that we are tryingmake it as good as we can, in comparison to what we had in mind, the studio that has never happened, among others. With our luck, we are going to sound terrible time systems. It 's always a challenge to make a proper control of sound.
Part 2: "I hate compressing": change and Sound Design Technique
AF: I see you have a microphone blue, as you have this?
Iron: We have two microphones and a blue bottle blue. When we were in Israel, we were very luckyLooking for a man who had all these old school Telefunken microphones, including the high-end Neumann and special. Very good microphones. The way I learned that I do the test, I call it the blind test. WAV file and then you have to choose only what sounds better. No matter what it is, you have to go with him. So we tried, say, five microphones, and the Blue the best sound for us – in everything.
AF: It seems to select a good way.
Iron: This is always what we do. SorrySometimes we discover that we spend money, for example, expensive compressors, and eventually discover that a plug-in sounded better. Which is annoying, but it sounds better, sounds better.
AF: I see you have an amplifier in front of Avalon. How do you usually use on individual instruments such as guitars, synth?
Iron: The Avalon preamps use synth, synthesizer, so we have some thorns to Avalon – just sounds so much better than directly, of course,unbalanced cable. We use it for recording guitar. It 'the same as the synth in fact I am only the output of the zoom-effect processor for guitar.
AF: The G7?
Iron: In the studio we use the G9 actually. It 'the same, almost the same. You connect directly to it and it sounds great. The only negative thing I have to say that very quickly distorted. Contrary to the 1073rd Neve But it still sounds good. If it is not distorted, it soundsreally, really good.
AF: I saw the photos of your home studio 6 or 7 years and now have a greater Los Angeles, but you still have the BM6A Dynaudio. I have the same pair for 7 years as well. They are good, but the aggressive nature in the high tones. He never wanted to upgrade the speakers in a different way?
Iron: the one we had a lot of monitors in the past, and again, we also had the Dynaudio BM15 and … I do not remember the model, has twoWoofer and a tweeter, it is really expensive as $ 6,000. We said we try and did not play so well. The mix did not come out as good as we had on BM6A. So we said fuck it, it sounds pretty good. Maybe there will be no change in the future, I know there are a couple of monitors that the sound seems much better for mixing, as I have heard good things about Adam.
AF: And here are accustomed to, so that the ears to know exactly how they work …
Iron: we used tomany years. I can throw these speakers in most rooms and a decent mix.
AF: Do you have a second pair for mixing?
Iron: No, I hate this system. Previously, we tried that too, it just confuses me. I can not mix Sun
AF: What do you use a compressor or limiter final mix? Why do your songs do not sound to compressed music such as songs in comparison to other electronic equipment.
Iron: We use no compression at all in the final mix.
AF: Ok.Interesting.
Iron: I mean, this is our we-say-our secret. Big secret. We do the mastering as well. We learned the reason, if you really push the high gain and get everything in a distorted that you do not hear, you see only the red really, really – 6dB + says you do not hear distortion and yet you understand that analogy to get another drive then we play a lot better. It tries to find the wave Ultramaximizer me sound betterof what we do. I find the waves, for example, under the peaks a bit of distance '. And not only so, many other companies do the same thing. The highs are gone, and something goes off in the details. In this way, analog recording, in our case, we take it for Prism Sound, and you get the distorted sound Prism ['view'. Therefore, the inputs are distorted, and the meter shows that it is not my ears feel cliping] distortion. We get very high gain and a sounduncompressed sound.
AF: Yes, definitely, if you feel better, more dynamic.
Iron: I hate compression. If I can help, I prefer to avoid compression. Detail of lateral compression of the chain.
AF: It 's nice to hear that because you know more people and more just to compress and squeeze too …
Iron: I do not understand why. Forget the music. Where's the music? But then again it is a matter of taste. Everyone does what he feels betterthem.
AF: You do everything together in Cubase?
Iron: Yes we do, mix everything in Cubase. We are, in fact, the spread of RME AES32 mixer channels, so that the sound in there somehow. I think it sounds better, and then record the two outputs, two inputs of another sound card that Prism Sound.
AF: What are your favorite virtual synth?
Iron: I used to say many things, but I think these days I only Omnisphere. It 'absolutelysurprising and we also have Trillian, which is really very good. We bought the whole package from Native Instruments, for example, and I would say, Massive – is an amazing synth, but not working correctly in Cubase.
AF: You mean it crashes?
Iron: always crashes. Massive, sometimes when you really want to have a different sound that we use on another computer Massive stand-alone, unfortunately. I think these are the best VST. I do not think there is nothing that can compare toSpectrasonics stuff, in terms of everything. And we also have strings for the Vienna Symphonic Library, VSL, the plug-in.
AF: In one of your songs are really played like a fiddle and a violin that is what you use?
Iron: Yes This is what we use.
AF: I thought it was true.
Iron: It 's expensive stuff that Wiener, very expensive, but nothing compared to it. It looks so realistic. And if you write it the right way, is incredible. The Viennais amazing. Also in Cubase 5 plug-ins created sounds really good. The same synth, the sound quality is good.
AF: Well, what gear to use the hardware more when you play live?
Eisen: Well, it's very simple. As a synth, I use only the reason XS6. Edirol PCR-800 control. And 'good enough. I check the cut with the band Boss pedal. For a mixer, use the Yamaha 01V96 Version 2 This is great in live performance, we simplyButton, and 99% of the sound check is done. The only thing I have to do is finally EQ for the system, and that's all.
AF: Very practical.
Iron: I am also the control of post-production on my midi controller keyboard from Edirol. So if I have several guitars I do not need to approach the need for sound, I urge more guitars … I checked everything from the keyboard. Everything is very fast in the live show, because I have the right mix for live performance.
AF:And by the computer that you've never had any crashes while playing live?
Iron: We have a long time ago because of our mistakes. We had to open the stupid mistake of using an anti-virus, and opted for an upgrade, or find something. Today we have a backup for almost everything. But we have not blocked for many years of happiness.
AF: a few minutes ago were mixed, speak your. I'm always very accurate, no license, spectrum, althoughBig Game synthesizer. For example, I read in your forum, she said: "The hard work that things mix well and remove unwanted frequencies. If you reduce the range of most of your instruments in the mix to achieve this?
Iron: High filtering out everything but the bass and bass drum. In fact, I have a plug-in in the reactor that settled the issue of cash and low. I basically side chain EQ in some way. Whenever there is a kick, there is a high-passFilters for the bass line, for example. Every time that football was played, the bass line, a high-pass filter. I used to do it manually. Then I said, you know what, we do it in the reactor, it is quite simple.
AF: It works really well. The bass and drums are really always very precise.
Iron is necessary to clean only the mix. However, if the football does not play, still sounds fat. Especially if you always want to have on the bass drum at the same time. This is the biggest problem -just found a bass line that you do not know. Bassline those without football. For me, at least we solved this problem for infected people. Only I do all low cut, not low, unless there is a break, and during the break, you can reset all the bass. But when it comes to football, I think that most of the mix of sounds cleaner if you cut at 100-120 Hz is much more clear.
There are so many techniques I use – Stereo synthesizer, so that the sound of the synthesizer moreStereo. I do a technique like the double tracking of the guitar. Basically, I say that we have a simple bass line. So I have a little 'game with the cut-off, I play a bit' with the attack, with the fall a bit 'with the publication of the sound. I do a long session that I play with him. As they say, 8 bar, ok. And then I export these 8 bar by bar 8 to an audio file, and I share the 8 to 4 bars and 4 The first 4 I put on the left channel and the second 4 Ithe right channel. And then I have this little movement in the bass line and saw the hand movement in a way that is not as accurate. The left channel is not just for the right channel and then sounds more stereo without effect.
AF: As a refrain.
Iron: Yes, like a chorus. But if you're more like a chorus of playing the melody, would sound off-tune.
AF: I think really have two players simultaneously.
Iron: Yes'It seems that two players simultaneously. Do not really know what's going on, but stereo sounds more and more fat in a way. So I'm doing it for almost everything to be honest. Almost every end, what we do – there is a longer version, then we cut in half. The first part, we left to right, the second part, and that's all.
AF: Very interesting for our readers, this kind of tricks.
Iron: I have so many, I do not know where to start, I will not bore youdeath.
AF: I'm not bored day, even if all we talk about .
Part 3: The Legend of Black Döner
AF: I play the intro of Poquito Mas. The first 10 seconds you have an acoustic guitar, what kind of drops and will be returned to the field, such as scratches, if I were in the process. I am interested to know how the sound you get this change in pitch range, but not exactly as a.
Iron: Basically what is in many ways, I supposesay, in a note the guitar part and I just have an effect on them. This shift of the step, if not wrong, because I hate the Sound Forge Pitch Shift with Cubase. So just take it pitch shift and Sound Forge to paint, how deep I want to take the pitch shift. It 's really easy to do Sound Forge. So I'm on this side of the tree and bring it back in time, and he alone in that second. If I have a trigger, I will highlight only a small part, I pick up the short cycle, there may be some samplestoo. I try to avoid clicks when I'm in the process of finding zero crossing. I just do not have the trigger and put it at the right time.
AF: What do you use delay? It looks like a delay with a filter on it, is a plug-in?
Iron: It's actually a delay that I did.
AF: I have a Lexicon MPX-1, and reminds me of one of the effects on them. It 's really nice. To mix a filter for the delay.
Iron: This is a delay of 8-tap on it, and touch all those present, you can add allDesired effect.
AF: guitar, shortly after the intro, you have an amplifier effect. You said you are not with a guitar amp.
Iron: No, not really.
AF: So the effects, use the …
Iron: In this particular guitar, it is basically clean the Avalon and the Avalon is a really LA2A, a real, a little 'compression. I think, for the heights, the brightest guitar, I use the UAD Pultec plug-in. I love the highFrequencies in the Pultec. Normally, I only choose the highest profile.
AF: On Sa'id, the beginning drum part, it is your drummer is playing?
Iron: The impact here is really only touch an acoustic guitar.
AF: Really?
Iron: Yes, with the fingers just touching the body of the guitar and with the same technology, the stereo, we talked about earlier. The impact of the whole with an acoustic guitar, only the battery inGuitar. It looked pretty cool. We did not expect to use it. I do not know how it sounded Sun We just tried it and the microphone is close to really listen, and it sounds like this.
AF: Sometimes there are surprises.
Iron: good stuff is always surprised.
AF: at 1:00 there is a certain effect on the entry. How do you make that kind of tone to your voice?
Iron: Basically, we cut each syllable of the word. We say that "I am ashamed," we cut the "I" andthen the "feel" the word we just cut the "f", the "ee" and then "l". For example, only the "ee" of "feeling" we trigger on that. A very small release, until the tone, the note that we do.
AF: No. Because if you loop through it poses particular harmonic.
Shall be an "A" of the loop on a multiple of: – [Editor's Note: frequency (in Hz) = 1 / period of the cycle (in seconds): the sound is the length of the loop never voted 2,2,727 thousandMs]
Iron: Yes, if it's really short, you receive these special harmonics. So you need the length of the loop, you can do until you get the right tone white. Basically we do it on every syllable. The "shame" there are a lot of them. Usually in the "s", "t" and "d", the beginnings of words, consonants, we consider not touch us, and only we the cause of harmonious sound. It takes time.
AF: I thought it was a plug-in, was to do it. SoThey are doing it manually.
Iron: I hope it's a plug-in. Please give me. This is what we do. We have a long period of time on a track called I Wish. This was the first time we tried to do – for the album, Converting Vegetarians. We have here again, but only difference is that we in this small distortion. We succeeded because we do not have the time to remove all clicks. We were lazy. If you play a sample of shots without voice distortionsound like with more clicks.
AF: You know, Depeche Mode, right? He feels a certain influence, sometimes cross?
Iron: Certainly. Look, we are big fans of Depeche Mode. We are very influenced by them. From the cities of the future. It 's very, uh, tried to be in a Depeche Mode. Unfortunately, we are far away.
AF: It 's really creative, very different, but we can feel in some way influence.
Iron: We like the chord changes of Depeche Mode, and also the waythat stuff is really unique and beautiful. So let's do it our way, but of course everyone can hear, you know, stolen by Depeche Mode.
AF: not stolen, but concerned. Now, for the Project 100, there is a very nice Rhodes piano. It 's a plug that is used in?
Iron: No, only the Motif XS.
AF: And you play a certain effect on them? As a modulator FM / AM on it?
Iron: a fast LFO, I believe that the LFO panning, if Iwrong.
AF: OK, once again, put the sound, as opposed to a preset. The [song] Franks, the top, there are some really cool strings, as some EQ and some overdrive. Then again, what a tool and the use of impact for you?
Eisen: I think its the Motif XS through distortion. This distortion is not so great. In reality, it is with the amp simulator Cubase. I have this sound on the Motif, but I do not remember what kind ofSound that is.
AF: The beauty of this album is a collaboration with Jonathan Davis, Perry Farrell and Doors. This is something that artists have long wanted to do, for a time with others? And what was their contribution?
Iron: Can we start with the doors. It 'was the song that Warner Brothers has asked us to remix doors. They have a CD of remixes of songs on many doors, and basically we are allowed to use it in our album – The Riders on the Storm. Weoriginal channels from the gates, which was really exciting to say he played in all those cool pictures that I have to be good enough. This was the easiest because it was pre-recorded, so we do not really together.
Jonathan Davis of Korn at the beginning, we asked him what song he wanted to sing. He chose Killing Time in principle. He came into the studio and we said, 'You try to smash their enemies, because we are more your style, think of the mind. "And he said' sure '. Henot practice, but we just printed the translation into German, gave it a shot and I'm not singing for over an hour and it was registered, the.
AF: So basically, the lyrics and melodies were written and run them alone?
Iron: Yes Everything has been written before. It 'just came and brought the entry. The same goes for Jane's Addiction singer Perry Farrell. We asked him if he minds doing Killing Time, and the like. With him we have two different sessions. Webothered him twice. In reality, we know for a long time. He added Classical Mushroom EP and The Gathering, which was very strange for us. As to why you have these albums? It 'was pretty funny.
Our move to Los Angeles was making the transition to work with people. In Israel, we have enough to artists Israelis have nothing against limited. But it is mainly confined to Hebrew. There are dreams to children, not working with great artists, and you never believe that you canSo we said let's try. We sing almost Dave Ghan from Depeche Mode, but in the end it did not happen. Hopefully Dave will happen to the next album.
AF: One last question about your song [the title] "The Legend of Black Doner," are very positive and almost sending a message, but perhaps with a little 'warning. I assume that these are not entirely accidental that song is something you've made the time and now want to share with yourListeners?
Iron: When we started doing songs, we said that we should write about everything but love. Why do not we do something for love, but every song is about love. So we said everything but the love was not so difficult. It slowly became a street Duvdev, most of the texts. He came into the studio with almost all the texts and, perhaps, I have one or two words. Duvdev is a pretty crazy guy. It has many strange ideas. Many of them can not evenwrite. We try things with less sense is that people think of things to write open. Or do we write lyrics very little private jokes that only serious between us and our friends. So please do not take seriously our texts.
AF: So you think that you really do not want to turn vegetarian for real?
Eisen: Why not? No, I'm just kidding … Everything is just fun, do not take it too seriously. Converting vegetarians, if there is a sense it is especially important: convertto listen to music regularly and be open to listening to other types of music.
Infected Mushroom production interview reveals tips and tricks
Oct 26th
Innovators, scammers geek, obsessive perfectionist, a severe, electronic rock genius? Time will tell, but the legend of Black Döner, is the 7th Infected Mushroom Album surely grab the chair from under and leave you to think that I'm not sure what is driving this meticulous musical chaos, but I can not, even after that the title above.
Hailing from the sunny shores of Israel, now based in another sunny location in Los Angeles, the sun will always shineinfected country is the heart, iron and Amit Erez Duvedevani. But seriously, between the hard-earned success, the salad, the exhibition nuclear, private jokes, there are two species is very do-it-yourself of scientists, musicians, write to produce, mix, master, edit and fix almost all the detail of their music.
Part 1: 'It's always changing, you know "
AF: Can you quickly introduce the band? Who does what?
Iron: We started my partner Amit Duvedevani,aka Duvdev, and I, Erez iron in 1996, a terrible music. Now we have now as a big band, you know, are not great, but we have a drummer called Rogerio Jardim is a great drummer from Brazil, living in America to buy. We have a network of Israeli guitarist Erez, which is one of the best electronic guitars, the best in Israel. We love him. And Thomas Cunningham, a young guitarist from America kick ass, which plays with us. This is infectedFungus.
AF: What do you think are your influences? You are with 'metal' some concerts and some "jazzy organs" on the same tracks, some hip-hop influences, some influences of Spanish music …
Iron: It 's always changing, you know. It 'started with bands such as electronic Psytrance, Simon Posford, Shpongle as is known, even hallucinogenic. By the time we liked X-Dream, Etnica, lots of other bands of this genre. These are the most important. And slowly over the years, we havefor everything that was open. We are in radio and MTV's music, not as it is today, terrible, but as more stuff will be used with heavy metals. Although hip-hop is sometimes a few tracks from Jay Zee, can be beautiful. Maybe we do not like the concept, but we like some ideas. We're just trying to have fun in the studio and basically be as creative as possible.
AF: Your style has changed a lot for many years in the past. When you return to the old songs and listen to them, what are yourThoughts?
Iron: The Gathering, the first album has been infected, I tend to think it's some decent songs for me. I think Tommy the Bat is one of them, and a few others, but the production is terrible. I am not so proud, we say. But, you know, I was 16 I think if we did. So it's OK.
AF: Have you started a song in the studio or have some time to go somewhere else for inspiration?
Iron: No, it's always in the studio. We tried to doSigns on the road, but we have never done before. Sometimes we just do not submit ideas for the study and decide on a BPM, it is usually only 145, and starts to kick, bass, and somehow looking for sounds and so on. Sometimes we're lucky, all is well and we have a track is very fast, and sometimes we get stuck like a week straight.
AF: I know what you mean. For years I have set for 10 people.
Iron: If you do not go on, I wanted to kickAt times I wanted to say "enough, I can not hear more, I have no ideas," but then said Duvdev: "Let us see it as a struggle in the studio, like a video game there is a level is really hard to move on and try again until you move to the next level. So this is how we see these days and it really helps. For us, when we in these terrible days, we just give her a fight. Sometimes it's the lyrics. Duvdev comes with lyrics, and from there you get something that many-easier. Every time is different.
AF: What tape as your biggest challenge?
Iron: We always challenges. I think, was the first major challenge to the band done to find guitarist to find a drummer to write pieces for them, because the tracks have already been filled so for us, and we did not have it done in a loud voice for the live show. And 'quite difficult at first, think about what would play the guitarThis does not sound too busy, and how to add a drummer that will not make too much of a mess.
AF: In the studio, and you can produce music in ideal conditions. There will be a challenge to recreate that sound on stage. As you approach?
Iron: Yes, for the stage, it feels a bit 'lower, they feel that you have a great speaker and you hear the bass, not only feels. This is very important. And for the rest of the frequencies that we are tryingmake it as good as we can, in comparison to what we had in mind, the studio that has never happened, among others. With our luck, we are going to sound terrible time systems. It 's always a challenge to make a proper control of sound.
Part 2: "I hate compressing": change and Sound Design Technique
AF: I see you have a microphone blue, as you have this?
Iron: We have two microphones and a blue bottle blue. When we were in Israel, we were very luckyLooking for a man who had all these old school Telefunken microphones, including the high-end Neumann and special. Very good microphones. The way I learned that I do the test, I call it the blind test. WAV file and then you have to choose only what sounds better. No matter what it is, you have to go with him. So we tried, say, five microphones, and the Blue the best sound for us – in everything.
AF: It seems to select a good way.
Iron: This is always what we do. SorrySometimes we discover that we spend money, for example, expensive compressors, and eventually discover that a plug-in sounded better. Which is annoying, but it sounds better, sounds better.
AF: I see you have an amplifier in front of Avalon. How do you usually use on individual instruments such as guitars, synth?
Iron: The Avalon preamps use synth, synthesizer, so we have some thorns to Avalon – just sounds so much better than directly, of course,unbalanced cable. We use it for recording guitar. It 'the same as the synth in fact I am only the output of the zoom-effect processor for guitar.
AF: The G7?
Iron: In the studio we use the G9 actually. It 'the same, almost the same. You connect directly to it and it sounds great. The only negative thing I have to say that very quickly distorted. Contrary to the 1073rd Neve But it still sounds good. If it is not distorted, it soundsreally, really good.
AF: I saw the photos of your home studio 6 or 7 years and now have a greater Los Angeles, but you still have the BM6A Dynaudio. I have the same pair for 7 years as well. They are good, but the aggressive nature in the high tones. He never wanted to upgrade the speakers in a different way?
Iron: the one we had a lot of monitors in the past, and again, we also had the Dynaudio BM15 and … I do not remember the model, has twoWoofer and a tweeter, it is really expensive as $ 6,000. We said we try and did not play so well. The mix did not come out as good as we had on BM6A. So we said fuck it, it sounds pretty good. Maybe there will be no change in the future, I know there are a couple of monitors that the sound seems much better for mixing, as I have heard good things about Adam.
AF: And here are accustomed to, so that the ears to know exactly how they work …
Iron: we used tomany years. I can throw these speakers in most rooms and a decent mix.
AF: Do you have a second pair for mixing?
Iron: No, I hate this system. Previously, we tried that too, it just confuses me. I can not mix Sun
AF: What do you use a compressor or limiter final mix? Why do your songs do not sound to compressed music such as songs in comparison to other electronic equipment.
Iron: We use no compression at all in the final mix.
AF: Ok.Interesting.
Iron: I mean, this is our we-say-our secret. Big secret. We do the mastering as well. We learned the reason, if you really push the high gain and get everything in a distorted that you do not hear, you see only the red really, really – 6dB + says you do not hear distortion and yet you understand that analogy to get another drive then we play a lot better. It tries to find the wave Ultramaximizer me sound betterof what we do. I find the waves, for example, under the peaks a bit of distance '. And not only so, many other companies do the same thing. The highs are gone, and something goes off in the details. In this way, analog recording, in our case, we take it for Prism Sound, and you get the distorted sound Prism ['view'. Therefore, the inputs are distorted, and the meter shows that it is not my ears feel cliping] distortion. We get very high gain and a sounduncompressed sound.
AF: Yes, definitely, if you feel better, more dynamic.
Iron: I hate compression. If I can help, I prefer to avoid compression. Detail of lateral compression of the chain.
AF: It 's nice to hear that because you know more people and more just to compress and squeeze too …
Iron: I do not understand why. Forget the music. Where's the music? But then again it is a matter of taste. Everyone does what he feels betterthem.
AF: You do everything together in Cubase?
Iron: Yes we do, mix everything in Cubase. We are, in fact, the spread of RME AES32 mixer channels, so that the sound in there somehow. I think it sounds better, and then record the two outputs, two inputs of another sound card that Prism Sound.
AF: What are your favorite virtual synth?
Iron: I used to say many things, but I think these days I only Omnisphere. It 'absolutelysurprising and we also have Trillian, which is really very good. We bought the whole package from Native Instruments, for example, and I would say, Massive – is an amazing synth, but not working correctly in Cubase.
AF: You mean it crashes?
Iron: always crashes. Massive, sometimes when you really want to have a different sound that we use on another computer Massive stand-alone, unfortunately. I think these are the best VST. I do not think there is nothing that can compare toSpectrasonics stuff, in terms of everything. And we also have strings for the Vienna Symphonic Library, VSL, the plug-in.
AF: In one of your songs are really played like a fiddle and a violin that is what you use?
Iron: Yes This is what we use.
AF: I thought it was true.
Iron: It 's expensive stuff that Wiener, very expensive, but nothing compared to it. It looks so realistic. And if you write it the right way, is incredible. The Viennais amazing. Also in Cubase 5 plug-ins created sounds really good. The same synth, the sound quality is good.
AF: Well, what gear to use the hardware more when you play live?
Eisen: Well, it's very simple. As a synth, I use only the reason XS6. Edirol PCR-800 control. And 'good enough. I check the cut with the band Boss pedal. For a mixer, use the Yamaha 01V96 Version 2 This is great in live performance, we simplyButton, and 99% of the sound check is done. The only thing I have to do is finally EQ for the system, and that's all.
AF: Very practical.
Iron: I am also the control of post-production on my midi controller keyboard from Edirol. So if I have several guitars I do not need to approach the need for sound, I urge more guitars … I checked everything from the keyboard. Everything is very fast in the live show, because I have the right mix for live performance.
AF:And by the computer that you've never had any crashes while playing live?
Iron: We have a long time ago because of our mistakes. We had to open the stupid mistake of using an anti-virus, and opted for an upgrade, or find something. Today we have a backup for almost everything. But we have not blocked for many years of happiness.
AF: a few minutes ago were mixed, speak your. I'm always very accurate, no license, spectrum, althoughBig Game synthesizer. For example, I read in your forum, she said: "The hard work that things mix well and remove unwanted frequencies. If you reduce the range of most of your instruments in the mix to achieve this?
Iron: High filtering out everything but the bass and bass drum. In fact, I have a plug-in in the reactor that settled the issue of cash and low. I basically side chain EQ in some way. Whenever there is a kick, there is a high-passFilters for the bass line, for example. Every time that football was played, the bass line, a high-pass filter. I used to do it manually. Then I said, you know what, we do it in the reactor, it is quite simple.
AF: It works really well. The bass and drums are really always very precise.
Iron is necessary to clean only the mix. However, if the football does not play, still sounds fat. Especially if you always want to have on the bass drum at the same time. This is the biggest problem -just found a bass line that you do not know. Bassline those without football. For me, at least we solved this problem for infected people. Only I do all low cut, not low, unless there is a break, and during the break, you can reset all the bass. But when it comes to football, I think that most of the mix of sounds cleaner if you cut at 100-120 Hz is much more clear.
There are so many techniques I use – Stereo synthesizer, so that the sound of the synthesizer moreStereo. I do a technique like the double tracking of the guitar. Basically, I say that we have a simple bass line. So I have a little 'game with the cut-off, I play a bit' with the attack, with the fall a bit 'with the publication of the sound. I do a long session that I play with him. As they say, 8 bar, ok. And then I export these 8 bar by bar 8 to an audio file, and I share the 8 to 4 bars and 4 The first 4 I put on the left channel and the second 4 Ithe right channel. And then I have this little movement in the bass line and saw the hand movement in a way that is not as accurate. The left channel is not just for the right channel and then sounds more stereo without effect.
AF: As a refrain.
Iron: Yes, like a chorus. But if you're more like a chorus of playing the melody, would sound off-tune.
AF: I think really have two players simultaneously.
Iron: Yes'It seems that two players simultaneously. Do not really know what's going on, but stereo sounds more and more fat in a way. So I'm doing it for almost everything to be honest. Almost every end, what we do – there is a longer version, then we cut in half. The first part, we left to right, the second part, and that's all.
AF: Very interesting for our readers, this kind of tricks.
Iron: I have so many, I do not know where to start, I will not bore youdeath.
AF: I'm not bored day, even if all we talk about .
Part 3: The Legend of Black Döner
AF: I play the intro of Poquito Mas. The first 10 seconds you have an acoustic guitar, what kind of drops and will be returned to the field, such as scratches, if I were in the process. I am interested to know how the sound you get this change in pitch range, but not exactly as a.
Iron: Basically what is in many ways, I supposesay, in a note the guitar part and I just have an effect on them. This shift of the step, if not wrong, because I hate the Sound Forge Pitch Shift with Cubase. So just take it pitch shift and Sound Forge to paint, how deep I want to take the pitch shift. It 's really easy to do Sound Forge. So I'm on this side of the tree and bring it back in time, and he alone in that second. If I have a trigger, I will highlight only a small part, I pick up the short cycle, there may be some samplestoo. I try to avoid clicks when I'm in the process of finding zero crossing. I just do not have the trigger and put it at the right time.
AF: What do you use delay? It looks like a delay with a filter on it, is a plug-in?
Iron: It's actually a delay that I did.
AF: I have a Lexicon MPX-1, and reminds me of one of the effects on them. It 's really nice. To mix a filter for the delay.
Iron: This is a delay of 8-tap on it, and touch all those present, you can add allDesired effect.
AF: guitar, shortly after the intro, you have an amplifier effect. You said you are not with a guitar amp.
Iron: No, not really.
AF: So the effects, use the …
Iron: In this particular guitar, it is basically clean the Avalon and the Avalon is a really LA2A, a real, a little 'compression. I think, for the heights, the brightest guitar, I use the UAD Pultec plug-in. I love the highFrequencies in the Pultec. Normally, I only choose the highest profile.
AF: On Sa'id, the beginning drum part, it is your drummer is playing?
Iron: The impact here is really only touch an acoustic guitar.
AF: Really?
Iron: Yes, with the fingers just touching the body of the guitar and with the same technology, the stereo, we talked about earlier. The impact of the whole with an acoustic guitar, only the battery inGuitar. It looked pretty cool. We did not expect to use it. I do not know how it sounded Sun We just tried it and the microphone is close to really listen, and it sounds like this.
AF: Sometimes there are surprises.
Iron: good stuff is always surprised.
AF: at 1:00 there is a certain effect on the entry. How do you make that kind of tone to your voice?
Iron: Basically, we cut each syllable of the word. We say that "I am ashamed," we cut the "I" andthen the "feel" the word we just cut the "f", the "ee" and then "l". For example, only the "ee" of "feeling" we trigger on that. A very small release, until the tone, the note that we do.
AF: No. Because if you loop through it poses particular harmonic.
Shall be an "A" of the loop on a multiple of: – [Editor's Note: frequency (in Hz) = 1 / period of the cycle (in seconds): the sound is the length of the loop never voted 2,2,727 thousandMs]
Iron: Yes, if it's really short, you receive these special harmonics. So you need the length of the loop, you can do until you get the right tone white. Basically we do it on every syllable. The "shame" there are a lot of them. Usually in the "s", "t" and "d", the beginnings of words, consonants, we consider not touch us, and only we the cause of harmonious sound. It takes time.
AF: I thought it was a plug-in, was to do it. SoThey are doing it manually.
Iron: I hope it's a plug-in. Please give me. This is what we do. We have a long period of time on a track called I Wish. This was the first time we tried to do – for the album, Converting Vegetarians. We have here again, but only difference is that we in this small distortion. We succeeded because we do not have the time to remove all clicks. We were lazy. If you play a sample of shots without voice distortionsound like with more clicks.
AF: You know, Depeche Mode, right? He feels a certain influence, sometimes cross?
Iron: Certainly. Look, we are big fans of Depeche Mode. We are very influenced by them. From the cities of the future. It 's very, uh, tried to be in a Depeche Mode. Unfortunately, we are far away.
AF: It 's really creative, very different, but we can feel in some way influence.
Iron: We like the chord changes of Depeche Mode, and also the waythat stuff is really unique and beautiful. So let's do it our way, but of course everyone can hear, you know, stolen by Depeche Mode.
AF: not stolen, but concerned. Now, for the Project 100, there is a very nice Rhodes piano. It 's a plug that is used in?
Iron: No, only the Motif XS.
AF: And you play a certain effect on them? As a modulator FM / AM on it?
Iron: a fast LFO, I believe that the LFO panning, if Iwrong.
AF: OK, once again, put the sound, as opposed to a preset. The [song] Franks, the top, there are some really cool strings, as some EQ and some overdrive. Then again, what a tool and the use of impact for you?
Eisen: I think its the Motif XS through distortion. This distortion is not so great. In reality, it is with the amp simulator Cubase. I have this sound on the Motif, but I do not remember what kind ofSound that is.
AF: The beauty of this album is a collaboration with Jonathan Davis, Perry Farrell and Doors. Is this something you wanted to deal the artists long for a time with others? And what was their contribution?
Iron: Can we start with the doors. It 'was the song that Warner Brothers has asked us to remix doors. They have a CD of remixes of songs on many doors, and basically we are allowed to use it in our album – The Riders on the Storm. Weoriginal channels from the gates, which was really exciting to say he played in all those cool pictures that I have to be good enough. This was the easiest because it was pre-recorded, so we do not really together.
Jonathan Davis of Korn at the beginning, we asked him what song he wanted to sing. He chose Killing Time in principle. He came into the studio and we said, 'You try to smash their enemies, because we are more your style, think of the mind. "And he said' sure '. Henot practice, but we just printed the translation into German, gave it a shot and I'm not singing for over an hour and it was registered, the.
AF: So basically, the lyrics and melodies were written and run them alone?
Iron: Yes Everything has been written before. It 'just came and brought the entry. The same goes for Jane's Addiction singer Perry Farrell. We asked him if he minds doing Killing Time, and the like. With him we have two different sessions. Webothered him twice. In reality, we know for a long time. He added Classical Mushroom EP and The Gathering, which was very strange for us. As to why you have these albums? It 'was pretty funny.
Our move to Los Angeles was making the transition to work with people. In Israel, we have enough to artists Israelis have nothing against limited. But it is mainly confined to Hebrew. There are dreams to children, not working with great artists, and you never believe that you canSo we said let's try. We sing almost Dave Ghan from Depeche Mode, but in the end it did not happen. Hopefully Dave will happen to the next album.
AF: One last question about your song [the title] "The Legend of Black Doner," are very positive and almost sending a message, but perhaps with a little 'warning. I assume that these are not entirely accidental that song is something you've made the time and now want to share with yourListeners?
Iron: When we started doing songs, we said that we should write about everything but love. Why do not we do something for love, but every song is about love. So we said everything but the love was not so difficult. It slowly became a street Duvdev, most of the texts. He came into the studio with almost all the texts and, perhaps, I have one or two words. Duvdev is a pretty crazy guy. It has many strange ideas. Many of them can not evenwrite. We try things with less sense is that people think of things to write open. Or do we write lyrics very little private jokes that only serious between us and our friends. So please do not take seriously our texts.
AF: So you think that you really do not want to turn vegetarian for real?
Eisen: Why not? No, I'm just kidding … Everything is just fun, do not take it too seriously. Converting vegetarians, if there is a sense it is especially important: convertto listen to music regularly and be open to listening to other types of music.
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