These days I'll often overdub one or two sounds over a recorded live take, just wherever I think the song needs more interest, or if a sound isn't quite right. There's more scope for funky accidents with jammed tracks. Once it's recorded (again just stereo), I'll usually edit heavily so you just get the good bits.
Some of the tracks were done like that, but some are just live jams where I'll have a few sequences on the go (or even just one) and then just make the track by changing mutes or synth sounds on the fly.
ED DMX SOFTWARE
If I feel it's necessary, I occasionally record a part separately into the computer so I can do something to it, like using a software compressor or doing some kind of editing that's more complex than I can do with MIDI, or if I just can't make up my mind about the right level for that sound but don't want to spend too much time worrying about it because it's stopping the flow. When the arrangement's finished and the mix is sounding good, I just press record and record the track into Ableton, just a stereo mix, no separate parts. When I've recorded all the different sections I want, I'll arrange it all in the MPC. I mix the track as I go along and add effects. For most tracks, I just start recording stuff into the sequencer, maybe some drums or a bass line first, then some melodies and chords, etc. I have a load of synths and samplers and things, all connected by MIDI to a sequencer, all connected to a mixing desk.
I think it comes from people who spend their time moving rectangles around on a screen. Lazenbleep: What was your studio process for 'You exist'? What kit were you using and how did you go about building the songs?Įd DMX: I just make up tunes and play them into a sequencer, "building" sounds so clinical and cerebral. This month Lazenbleep interviews Ed DMX (DMX Krew).
ED DMX SERIES
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