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Post by rotone on May 27, 2014 6:58:43 GMT -5
Hello, i´m so excited, i need to talk to somebody... So these are my favourite tracks: 1. THE PASSION (dark HEPOOSCLOUDS-Owen is back. i know, Owen, you don´t miss him, but i do  2. IN CONFLICT (what groove, what bass playing !) 3. SECRET SEVEN. (heartbreaking vocals...and again great bass playing) 4. --->(2) as in THE PASSION pure chord change candy... Funnily the songs which blew me live (songsfor5or6, infernal and riverbed) for now don´t work on me that well on the album, but who cares, they are still great songs. Are there any other (nerdy) opinions on the album/ sound/ arrangement/ production ? R. P.S: If you read this, Owen, i have a mega-nerdy question: is the brief synth drone soundloop at the beginning of INFERNAL inspired by the "GODs" sound in the oberheim 8 voice synth YT video ? if not: great chord. if yes: great choice, i could listen to it the whole day... |
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Post by butterflytsunami on Jun 4, 2014 11:10:42 GMT -5
My personal fav from 2014, thus far. Owen, you are one talented musician. I hope someday to see you play live. <3
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eamas
Pretty Girl
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Post by eamas on Jun 9, 2014 21:22:23 GMT -5
Today I took a long bike ride so I could finally listen to the album in its entirety. Now, I'm not smart enough to express in musical terms why I liked it so much, except that I teared up somewhere between The Secret Seven and The Passions, and I never cry at anything. I can say that I much preferred the mixing on this one to the mixing on Heartland. And also that Owen is a genius at creating melodies as well as, like, dismembering them. I could ramble on about how it's such a good album, but for the sake of everyone, I'll sum it up with: "It's such a good album."  |
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Post by Owen from Final Fantasy on Jun 10, 2014 6:01:05 GMT -5
@ rotone, no, I have not seen that video, though I love the sound of the OB eight-voice and have thought about the possibility of integrating-and-syncing a MIDI sequencer with my recorded loops, to control analog gear-- ultimately it would be so difficult that I've given up  I am trying to use an Analog Four in the place of the Nord Wave... I love the Wave but my fingers naturally move toward analog sounds in studio and I'd love to keep analog sound sources live. We'll see. @ eamas. Heartland was entirely mixed by Rusty Santos and myself-- I give Rusty full credit for convenience and also "credit where credit is due". He transformed the way I think of mixing my music. The stuff I did with Leon was meant to sound intimate and natural, just people in a room. After "49 MP" singles, I wanted to, you know, "create worlds". I did a bunch of trial stuff: Leon Taheny ("Joys"), Mark Lawson (Spectrum 14th C.), Dave Newfeld ("Flare Gun") were all helping me try and get a new, final sound. Rusty was the one who really knocked it out of the park with his Heartland mixes. I was nervous about working with him at first because I don't love half of the stuff he's mixed (the Panda Bear records are beautiful, but that is not the right sound for me). I was convinced by his work on the Born Ruffians record "Red Yellow Blue". That record sounds magical. (The amazing Dawn Of Midi record is his as well. Rusty is a genius.) However, Rusty's first mixes of tracks from "In Conflict" were not the right sound, and I got scared and went back to working with Leon on the mix, with Johannes Berglund coming over for some input. Leon helped me re-record some vocals, mixed the whole record and I sent it around to friends. Ultimately, some songs were perfect but others were not quite there. With regards to orchestral stuff, Leon's got a golden ear-- we used his mixes of "Afraid", "In Conflict", "Chorale" and "The Passions". I sent Leon's mixes to Rusty, who persuaded me to let him have another shot. He did the mix of "Five & Six" first and it was immediately so good that I sent him other tracks to mix. "The Riverbed" just wasn't coming together the way it should, either by Rusty or Leon. Dan Snaith convinced me to send the song to David Wrench, who got the amazing synth + live kit sounds on "Swim". His treatment of "The Riverbed" was so great, the live drums so strong, that I sent him "The Sky Behind The Flag" and "Infernal Fantasy" as well. So, the final mixes are: Afraid - Leon Conflict - Leon Path - Rusty 5&6 - Rusty Seven - Rusty Chorale - Leon Passions - Leon Flag - David Riverbed - David Infernal - David Soldier - Rusty Bridle - Rusty Instrumentals and bonus tracks I mixed myself. The funny thing is that I've had, on three occasions this past year, inside-musician-friends come to me and say "zomg I love the sound of your record! who mixed it?" I respond, "which tracks?" Without knowing who did what, one musician named the Leon tracks, another named the Rusty tracks, and a third named the David tracks. Funny, huh? I'm just happy the record flows so well from world to world. |
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Post by ragamuffin on Jun 10, 2014 10:21:21 GMT -5
^I didn't know there were different people mixing, but it makes a lot of sense now that you say it! The Rusty tracks sounds more in line with the Heartland stuff. Except for 'In Conflict' Leon's tracks are the ones I like the least. They have a more sensual character I guess..... And I HATE SENSUALITY!!!!!
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Post by Carlo on Jun 10, 2014 11:40:47 GMT -5
Owen, I'm curious as to what sounds you use live vs. in studio? I know that the Nord Wave has sampling capabilities (right?) so do you just sample what you've made in studio or are you doing something different with the Wave?
I've just noticed certain sounds you're making live are slightly different then what's on the record, like the 'drum machine' on The Riverbed. Any specific reason for having different sounds live (if they are)?
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Post by Nicole No. 5 on Jun 10, 2014 22:16:47 GMT -5
I love how the piano ballad version of The Secret Seven has a handful of nods to Debussy with the suspensions, sustains, octave doubling, etc. - beautifully done. also, thanks for the insight on the mixing; adds another dimension to the listening experience.
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eamas
Pretty Girl
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Post by eamas on Jun 11, 2014 16:13:39 GMT -5
How interesting, and thanks for the response, Owen! I wouldn't have been able to tell that it was mixed by different people on my own, but like ragamuffin said, it makes sense now that I give another listen. It's pretty cool that even though there were 3 (+ Owen) people mixing, it sounds quite cohesive. Did your juxtaposition of the songs on the album change based on the mixing, or did you know the song order before you knew who was gonna mix? Because the different sounds of the respective mixers flow quite well. I love how the piano ballad version of The Secret Seven has a handful of nods to Debussy with the suspensions, sustains, octave doubling, etc. - beautifully done. also, thanks for the insight on the mixing; adds another dimension to the listening experience. Probably a dumb question, but where can I find this piano ballad version? Google has failed me. |
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Deleted
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Post by Deleted on Jun 13, 2014 1:00:11 GMT -5
Hello, i´m so excited, i need to talk to somebody... P.S: If you read this, Owen, i have a mega-nerdy question: is the brief synth drone soundloop at the beginning of INFERNAL inspired by the "GODs" sound in the oberheim 8 voice synth YT video ? if not: great chord. if yes: great choice, i could listen to it the whole day... As an addicted synth video watcher/ogler, is it this video you are talking about, at 8.20 in particular? Amazing reference point if so, sounds very similar! |
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Post by Nicole No. 5 on Jun 14, 2014 1:34:06 GMT -5
How interesting, and thanks for the response, Owen! I wouldn't have been able to tell that it was mixed by different people on my own, but like ragamuffin said, it makes sense now that I give another listen. It's pretty cool that even though there were 3 (+ Owen) people mixing, it sounds quite cohesive. Did your juxtaposition of the songs on the album change based on the mixing, or did you know the song order before you knew who was gonna mix? Because the different sounds of the respective mixers flow quite well. I love how the piano ballad version of The Secret Seven has a handful of nods to Debussy with the suspensions, sustains, octave doubling, etc. - beautifully done. also, thanks for the insight on the mixing; adds another dimension to the listening experience. Probably a dumb question, but where can I find this piano ballad version? Google has failed me. if you go on tumblr and search "Owen Pallett", it should show up in the recent posts (you could also find it on my personal tumblr, thesideofalpentine, under "Owen things") |
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Post by rotone on Jun 14, 2014 13:32:48 GMT -5
Hello, i´m so excited, i need to talk to somebody... P.S: If you read this, Owen, i have a mega-nerdy question: is the brief synth drone soundloop at the beginning of INFERNAL inspired by the "GODs" sound in the oberheim 8 voice synth YT video ? if not: great chord. if yes: great choice, i could listen to it the whole day... As an addicted synth video watcher/ogler, is it this video you are talking about, at 8.20 in particular? Amazing reference point if so, sounds very similar! @lamonti: exactly  its also even right at the beginning of the video. i somehow remerdered it when listening to INFERNAL the first time, as it is such an impressive ambiguous chord, mayba Owen can tell what chord exactly it is. (maybe it is even a "famous" classical chord, which we don´t know, but owen) |
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its also even right at the beginning of the video. i somehow remerdered it when listening to INFERNAL the first time, as it is such an impressive ambiguous chord, mayba Owen can tell what chord exactly it is. (maybe it is even a "famous" classical chord, which we don´t know, but owen)