Business End enables you to have your demo reviewed by a panel of producers, songwriters, musicians and managers. Would you rather have gear that can be upgraded at a sensible cost, or something that gradually becomes obsolete at no extra charge? From simple beginnings as an offshoot of an electronics project, RME have established themselves as well-respected soundcard and recording interface manufacturers whose products usually offer that bit more than those of their competitors.
We talk to their head of development about their recent innovations. It's not a bad gig being chief engineer to the world's hottest production duo, Pharrell Williams and Chad Hugo. But it takes a lot of hard work to keep up with The Neptunes Create an account. You are here Home Article section list Search this section. Leader Striking the right balance between simplicity of operation and powerful features is as elusive as it ever was You may login with either your assigned username or your e-mail address.
The password field is case sensitive. An instant classic, Moon Safari has sold more than three million copies worldwide. Brian Reitzell's drums were more upfront, tempos were faster, the sound cleaner and less ambient.
For their third album, 10,Hz Legend , they went more experimental, and began a collaboration with Beck. They wrote music for several performances and happenings with Italian writer Alessandro Baricco, released on the City Reading album, mixed by Nigel Godrich, and collaborated with choregrapher Angelin Preljocaj for his Near Life Experience ballet.
Godrich listened to the project, loved it, contributed some ideas, and took the album to Ocean Way Studios in Hollywood to complete it. Released in , it was richer and more ambitious than its predecessors.
Analogue synth sounds were less prominent, as was the vocoder, while acoustic piano was to the fore. This time, strings were arranged by Michel Colombier, another legend and idol of the band's. In , once again with the help of Nigel Godrich, AIR wrote an album for Charlotte Gainsbourg, , in a project studio put together in an apartment near Bastille. Nigel's input as a producer was more decisive on this album. But we couldn't work with a producer behind us during the whole making of an album!
We're producers ourselves, from our beginnings. A year later, the band worked with Godrich again on Pocket Symphony, which showed a strong Japanese influence Godin plays koto and shamisen, for example and sounds more polished and somewhat colder than previous AIR albums. Not at all! They were busy finishing, installing, then working in their personal studio for a new album. They had been looking for suitable premises since , and it took them a long time to find the right place: a former warehouse area in a building in Paris' 20th arrondissement.
AIR didn't want to build a commercial studio like Peter Gabriel's Real World complex, but nor did they want a glorified home studio. They were used to spending hundreds of hours in front of their instruments or at the console, and wanted somewhere they would be happy living and working day after day. Malcurt's mission was to create a place like home, with all the space needed to host AIR's impressive collection of electronic instruments.
An isolated recording room with dry acoustics was also needed so that they could record drums, guitar amps and concert piano without disturbing their neighbours.
We could choose from around 20 keyboards, always ready to use, connected to a input Speck X-Sum, used as a line mixer, and place them as we wanted. No large speakers, we don't need them.
Huge windows at the rear give us natural light, there's wood everywhere, and the acoustic is dry. In the studio itself, there's a Yamaha grand piano, a drum kit, a vibraphone, some kalimbas, a Neumann U47 microphone and Godin's collection of guitar and bass amps. Named Atlas, AIR's studio was finished late in We unpacked our instruments, put them in place in the control room, connected everything, played something… and that was, instantly, the beginning of the Love 2 album!
Each time we settle in a new place, the first track we create there is something special, extraordinary. You discover some energy you don't know yet, the feeling is new. It's the first time you hear how your guitar sounds in this new place, and it definitely has an impact on the way you play. So we began to play everything here: on 'So Light', you can hear all kinds of instruments, synths, piano, drums, percussions, acoustic and electric guitars, bass, voice.
We wanted to include everything. I love that track! We even bought a Vox guitar amplifier, for its warm sound and its tremolo, and a vintage Neumann microphone too, to record our voices. And we used some childish instruments, like the kalimba, or the recorder. I had to modify small details, add a patch or something, but everything was already in place and well done.
They know how to use the studio, but they prefer not having to deal with technical things when they create. So I cared for all their recording duties during Compared to other AIR records, Love 2 showed some major differences. There was no string orchestra involved, for example, and no guests except for drummer Joey Waronker.
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