The track was ok just like this entire album. I think that what makes this track awesome is that Giovanni "Georgio" Moroder is telling his story as well as the story if the moog model d I think. I really liked this album and the musicians they got to work on it. But after all the hype I was disappointed by how repetitive it was for most of the tracks, and I figured with people like Giorgio Moroder, Todd Edwards, Nile Rodgers, and Pharrell, that the song form/musicianship would've much more intricate and developed than it was. Instead, they just made a bunch of super catchy 8 bar loops, "get lucky" being the bigges offender as the entire song is just 4 bars repeated over and over on the instruments, and pharells lyrics aren't that much more in depth. It's a great album for a new/young band, but for how seasoned and we'll known most of the musicians on the album are, it was kind of disappointing IMO.
Daft Punk peaked with "Discovery" for me, long and slow decline ever since. Some tracks on "Human After All" were pretty good. I do think they started something, or at least popularized it; sample-based cut n' splice music. My memory informs me that I've seen pictures of you in a studio, and audio engineering is like... your job. I love french house. It's fun to listen to new releases in the genre and compare them to "Homework". We've come a long way. What do you like to listen to? P.S. much of my free time has been spent working in Ableton. :)
Ableton is what I do all if my composition stuff in. But I do mastering engineering as my main focus, and recording/mixing for music and post as well so I do a lot of work in ProTools. I really lived what they did with their older stuff on Alive, but Discovery was definitely their best IMO. I listen to pretty much everything, but I'm recording an acoustic/blues album right now so I've been listening I a bunch of acoustic stuff like Greg Laswell and Ingrid Michaelson recently. Walk the Moon has been on a lot of my playlists as well.
Cool. On all points. I've got several thousand dollars worth of plug-ins. Sonnox Oxford Elite stuff, and Izotope Ozone (5, I think) are two of the big ones I use for mastering. What are your favorites? Doesn't have to be just for mastering, but for composition work too. Used to be that I listened to indie pop with instruments, but now I'm a sucker for solo projects and duos, almost always electronic-based. I've got a guitar and bass, but I gave away my drum set a few years when I moved into an apartment. Mic'ing drums is a nightmare anyway. Someday I'll get a set of e-drums and add a more human touch to my mechanical, driving crap that I feel limited to, for now. I'm not into sampling so much, myself, but I like to steal a lot of production techniques from French House.
I don't use a whole lot of plugins on my mastering chain, but the oxford limiter finds it's way on a lot of tracks. My analog chain goes: Manley vari-mu > Manley massive passive > various limiters(I use a few) > pt > Massey l2007 or oxford limiter. The sonic stuff really is amazing for digital. I use Abletons stock eq and compressor/glue composition most of the time, but I'll occasionally go for softubes tube tech or fet emulation compressors. I also use a bad harmonic enhancer on kick drums a lot, it's called bv4 by a company that you can get their whole set for like $30....crysonic? I do a lot of electronic/rock stuff, I'm way into synths and play guitar as well. You have a soundcloud/website?
Yep, I throw the Oxford limiter last in the chain on my master track. Stock EQ and then glue compressor right before the limiter. Love the Izotope Ozone Maximizer for making drum samples punch my ears in the face. I need to get better at making synths. Massive isn't terribly intuitive, I'm still getting better at it, but TAL-U-NO-LX is a really good emulator. Hard to go wrong there.
I have a Roland JX-8, a DSI Mopho, and a few other little analog desktops I use a lot so I am a little spoiled. If you're looking for an ni synth that is insanely powerful when used the right way, and intuitive start to mess around with modular building in kontact or the expert editor in fm8. Fm8 is crazy when you use it the right way. I use the tal as well, i like the noise oscillator for mono bass stuff.
'bl00 has repeatedly recommended Kontact. I think it's harder to acquire or spoof a license than most other things. I'm pretty jealous of the analog gear. Someday, I'll get some nicer digs.
Kontact is amazing and powerful, I don't have the newest version though and I really want razor and the new updates. The thing about kontact is that it has a ton of synth engines in it, it isn't just one vst, it's more like 1,000 haha. You can also stack their instruments in their modular programming window, which is kind of amazing as far as variability and sound possibilities. I have some stuff in a folder on an xhd I can send you I think, pm me your email.
That's how I felt about it too. They hyped the shit out of that album. This and Contact were the only tracks I really jammed to. Get Lucky was played into the ground pretty quick.
Contact was my favorite track in the album. And I liked the panda bear song too, really repetitive though there as we'll lol but I didn't expect as muh out of panda bear as Nile Rogers
French House will never die! ...But it may sample itself infinitely.
At that time, in Germany, in '69-'70, they had already discotheques. So, I would take my car, would go to a discotheque and sing maybe 30 minutes. I think I had about seven, eight songs. I would partially sleep in the car because I didn't want to drive home and that helped me for about almost two years to survive in the beginning. I wanted to do an album with the sound of the '50s, the sound of the '60s, of the '70s and then have a sound of the future. And I said, "Wait a second... I know the synthesizer – why don't I use the synthesizer which is the sound of the future?" And I didn't have any idea what to do, but I knew I needed a click so we put a click on the 24 track which then was synched to the Moog Modular. I knew that it could be a sound of the future but I didn't realise how much the impact would be. My name is Giovanni Giorgio, but everybody calls me Giorgio. Once you free your mind about a concept of harmony and music being correct, you can do whatever you want. So, nobody told me what to do, and there was no preconception of what to do.When I was fifteen, sixteen, when I really started to play the guitar
I definitely wanted to become a musician. It was almost impossible because the dream was so big
I didn't see any chance because I was living in a little town; I was studying.
And when I finally broke away from school and became a musician
I thought, "Well, now I may have a little bit of a chance," Because all I really wanted to do is music – and not only play music. But compose music.