You use a lot of string sounds, what tips would you give to people to make soft synths orchestral-sounding? I think that's one of the joys of electronic music that's being swept away, with people in a hurry to make tracks and use a lot of presets." "If you play a guitar, not every note is perfectly in tune, it's impossible - and that sounds more like music to me, but then I love modular synthesizers and crafting each sound. To me they don't sound like anything - if that makes any sense? The reason I love analogue synths is that they're imperfect, which gives the music a character and musicality that's missing from software. "Mostly Massive, because I think it sounds pretty good, although there's something about soft synths I struggle with.
#Conjure one software#
What software synths do you generally use? Overall, the record has a hardware-based sound."Ī lot of new people in electronic music don't know anything other than their laptop, and the way people using compression is shocking - they just slam everything it's a straight line and all white noise." I tried replacing some of the sounds with analogue synths but the energy wasn't the same. "The first song on the album, Kill The Fear, was all software because I did a lot of it on my laptop and ported it over. I mostly use analogue synthesizers and try not to use a lot of plugins.
#Conjure one update#
I have a Mac Pro and update that every few years and now use HD Native. "My basic studio hasn't changed much in the last eight years. I just like the way Pro Tools handles audio and mixing."
I find Pro Tools is a better environment for mixing and finishing, whereas Ableton is great for getting something 75% there. I do most of my writing in Abelton, develop the song to a certain point and move it over to Pro Tools.
It's based around Pro Tools and Abelton Live. What's sitting at the core of your studio these days? It's alchemy but I can't hear well enough, my ears are damaged from growing up in rock and roll." "What he's doing is very subtle, there's no slamming brick wall limiting. I've been to a top mastering studio in NY with Ted Jensen of Stirling Sound and literally had no clue what he's doing, but whatever he's doing it's making a difference, and when you watch one of the best you realise it's not easy. Sometimes I don't hear certain details until way later - it's right in front of you, but you don't see it. "You hear things differently when it's other people's work. Find it on all good streaming and sales platforms here from today.If someone can mix an album, why can't they master it? Imbuing it with the feeling of something breathing and animate, it adds a stunning extra dimension to ‘Wolves’.įor those that like their electronic music to play that much smarter, ‘Wolves At The Door’ is a modern day fairy-tale with an unforgettable feel and a killer remix twist. From her first words, Jeza draws you into an immersive lyrical enigma, which bewitches and intrigues in equal measure.įor his remix, Andy Duguid conclusively adds a drum element in, leaving it running at a perfect heartbeat pace. Syncopated bass pulse is ever-present in its background, while only the most fractional notions of drum are part of its slo-mo sonica.īeyond its title, ‘Wolves At The Door’s meaning is left for each individual listener to own for themselves. The sense the track supplies however is always that of the pensive, the brooding and the looming. Rhys’s Original version of ‘Wolves’ is anchored in the calmest of musical waters. UK-born/US-based singer Jeza adds a layer upon extra layer of ether to a track that’s already rich with it. established with Sarah McLachlan during his Delerium days, Rhys has opted to vocal the track with a singer renowned for putting real heart into her art.
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