Actually, that’s not too far from the truth, but it’s only part of the story:ĭrozd, he says, used only one mic - his Shure KSM44 through a Universal Audio 6176 direct into Pro Tools - and the result was almost ludicrously distorted. Upon first listen one would assume the songs were recorded live in one take with just one room mic capturing everything and with minimal overdubs and studio manipulation–a very different approach from what we’ve been accustomed to seeing. The amazing thing about Embryonic is that it comes across like an extremely well-recorded jam session that went straight from performance to tape with extraordinary results. The first thing I think of is his trademark gloriously trashy (in a garage rock way) and overly compressed drum sounds–definitely distorted and clipping in some ways.īy now I’m sure we have all heard the latest Flaming Lips album, 2009’s Embryonic, and mused on their departure from the Pro Tools Symphonies of Soft Bulletin and Yoshimi to a much more organic live acid rock sound. Dave makes quite an impression with his work. He has been the ears (and fingers) behind the productions for every Flaming Lips album of the last 2 decades, MGMT (Oracular Spectacular), Mogwai, and my favorite band/album of 2010, Tame Impala. Dave Fridmann’s musical genius and that weird Flaming Lips album…
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