adrian utley studio

Geoff [Barrow] stands up playing drums. [6][7], In 2009, he was part of the jazz collective Stonephace, releasing a self-titled album. ", "I had a dream that we had these really hard analogue sequences, this chopped–up, brutal kind of noise. ", "That's been around a long time, and we feel it's more a traditional Portishead track in a way. We were sat around this big kind of table in this hotel in Clifton, and there was a mobile hairdresser. The attic space has been converted into a drum room, with angled walls producing a nice acoustic … A Portishead performance is always an event, and the band have been unusually active on the live front this year. When Beth gave me the track back after I'd given her the layout of guitar, it turned out she had sung over it, and the track had run out, and she had carried on singing until she'd ended. What is a "hybrid" audio interface anyway? Alongside a Jaguar with all strings tuned to E, which he used to play with Glenn Branca, Thurston Moore et al at the All Tomorrow's Parties festival Portishead curated last December, there's a cheap old beginner's acoustic that has featured on more than one Portishead track. He's very original with his beats. Then it goes into a rhythmic drum & bass groove, which was actually the original part of the track, and Geoff put some organ to it, and I added psychedelic guitar. "Modern gear is also plentiful, such as this large Doepfer modular synth. They often come with a little snare and crappy stuff, but he's added a proper snare, and he uses trigger pads. Limited playing, too. I think it's a fantastic instrument, especially in a live situation, where I can flip from one mad sound to another really easily. Why does Liam Gallagher's vocals sound shit? They're not really like vinyl, but vinyl is a problem, with the stage jumping, or with them warping under the lights. Mine will come out on wheels, so I can get round the back and also get it round the mixer area to record.". Geoff did that particular one. "Because you want to interact with it yourself. Portishead's long–awaited third album has been one of the artistic highlights of 2008. So we had to keep a pulse going. Adrian Utley: Personal humiliation day I think it's called. I said he had to be fucking joking. This album has been out of print on LP for many years and was recorded with former Talk-Talk bassist Paul Webb. Those are pretty much the chords she'd written. John Baggott is on keyboards — Akai sampler, Fender Rhodes, Hammond clone, Siel Orchestra, Minimoog, Roland SH09 for the Theremin-type sounds (which I did on SH101 for Dummy and then on an SH09 live, then a Mini). Bass – Adrian Utley Featuring [Vocals] – Pascale Daniel: 4:18: 2-01: The Fall Of Saigon: 3:57: 2-02: The Other Side Of Town Guitar, Clavinet – Adrian Utley Vocals – Stuart Staples* 3:34: 2-03: The Needle And The Damage Done: 3:37: 2-04: India Song Guitar – Adrian Utley: 6:41 We were using my Clavioline, out in the room next door, with no carpet, and I'd put a Bollywood–style echo on it. And we added hurdy–gurdy from our friend Stu Barker, and Will Gregory [of Goldfrapp] played baritone sax on it. The All-New Behringer Keyboards 'n' Stuff Thread, 30-day modular deep dive/writing challenge. Geoff came up with this double–time beat. Geoff and I talked about it, but this came from him. Then it drops back to Beth with the ARP and the guitar. "Altiverb is amazing," says Adrian. I mean, if you were playing with Bob Marley or something, I would absolutely insist on having a real Leslie and Hammond, for proper Hammond playing — you'd hear the difference; but with us, it's so distorted, or echoed, and although in reality it does make a difference to use real instruments, our keyboard tech Hughie was forever taking our Vox organs apart (and eventually we sacrificed one to keep the other alive). Adrian Utley's Trident Series 75 mixer, the centrepiece of his studio. "Clive Deamer is on drumkit (and the back of a guitar for 'Nylon Smile'). He is now the closest thing Portishead have to a public voice, and also loves performing live ("For me, it's joyous to play live, because I've spent most of my life doing it, from when I was 17, playing in Country & Western bands or whatever."). [1] He built up a collection of vintage instruments and studio equipment, and moved into production and film work. "Geoff has CD decks for the old stuff, but he's not very happy with them — there's a bit of slack. The synth area includes an old Minimoog, a bit battered and out of calibration, but well–loved, not least because it has Bob Moog's signature on the top rail. The Bristol, U.K.-based producer and member of Portishead has become a go-to collaborator for dark, uncompromising rock, with credits on recent albums by Torres, Marianne Faithfull and Perfume Genius. "There's quite a lot of VCS3 malarkey on Third, so I programmed sounds on my Voyager which were like it, and also sampled a couple of them so Geoff could play them off the pads — one of the particularly weird hissy oscillator pulse things, for instance, and added quite a lot of white noise in to make it sound like it was off a record. Geoff said he wanted to put these backing vocals on it, and I said I was having nothing to do with it. But that would cost us, and there was a time thing too. There was a big argument about the chorus. It's not a compromise, it's a creative decision. I was trying to get the analogue sequencers to play the arpeggios, but just couldn't do it, because the chords change. Most of the rest of it was recorded here — the big orchestral bass drum, and the bell tree. I do love that ARP synth, it's been on a couple of things. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. It's very important for us that we have control of the sound, so that we make the sound, and the PA just makes it louder. I now use a Moog Voyager, while in the past I would have used a Minimoog. Geoff plays the duh–duh–duh–duh–duh–duh, but when it goes into the flanged bit, he has to use another hand to adjust the flange, so he put it in as a triggered sample, so he doesn't have to do it double handed. "It's the same line–up as in the past," explains Adrian Utley. I use it with Roland MIDI bass pedals as well. I would have a Leslie too, which I'd play my guitar through, so we had two Leslies miked up, and they were constantly breaking. That's what he started on, sax — and we made him be a free jazz player that day. I used to use Elka pedals for bass, but realised I could hook the Roland up to the Voyager and play top lines as well.

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