studios like Henson, Capitol and Conway, along with Electric Lady in New York City and their own Paris studios.Īn engineer’s job can range from selecting and properly placing microphones to running the mixing board, choosing effects and generally using their technical expertise to execute a band’s vision for their sound. Over five years, the engineering crew - Franco, Guzauski, Florian Lagatta and Daniel Lerner - worked with the band in world-class L.A. In another shift from the band’s futuristic musical aesthetic, Daft Punk hired a team to re-create the expensive, perfectionist L.A. They collaborated with veteran guests like Rodgers, disco producer Giorgio Moroder, the Oscar-winning songwriter Paul Williams and a bevy of session musicians who had performed on Michael Jackson, Eric Clapton and Herbie Hancock albums. Here they only used hand-designed electronics like modular synthesizers and vocoders. On “Random Access Memories,” Daft Punk largely ditched the digital trickery of their old albums (where they used software and machines to sample and manipulate pieces of tracks). Much of it is made on computer software using samples and virtual instruments. I think Daft Punk wanted to have that experience and see what they could do here.”Īmerica is awash in the electronic dance music (or EDM) that Daft Punk helped popularize in the late ‘90s and early 2000s. All of my favorite albums were done in these kinds of studios. “Anyone can record in their house, it’s so cheap and simple to make a record today,” said Peter Franco, one of four nominated engineers who worked with the band during the recording process (another two of the nominees, Bob Ludwig and Antoine Chabert, mastered the album). A week before the Grammys, four of the engineers nominated for their work on “Random Access Memories” gathered there and remembered how good it felt to take their time recording.
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