She recorded many funny vocal takes, chattering about these fashion-forward clubbers looking like androids with silicon skins strutting their stuff in Vuitton and Galiano. Shout out to Fatboy Slim, Eli Escobar and Jonathan Peters.Īmong Lula ‘s brilliant ideas was one that involved those clubbers who were so meticulously groomed and botoxed, they looked like they belonged in a futuristic android convention. “Hours of Dancing” was also sampled by Eli Escobar for his “NY So.Hi” single off of his debut Album by Night People. Lilla wrote the “Hours of Dancing” hooks but Lula had the idea of the club callings they merged the ideas. Those resulted in “ The Underground” by Jonathan Peters and “ Hours of Dancing” produced by me She also recorded songs that Lilla of KULT had written for her. One of those became “Last Night A Dj Saved My Life” (While Another One Gave Me Trouble) feat Papa Joe which reached Number 6 On the Top Dance Chart in Billboard Magazine ]. When Lula came from Austria to NYC in 2009 to shoot the Video of Lula vs Alan T “There Is Only One” she also came to the Studio and recorded a few vocal ideas that she had in mind. Lula needs no introduction to the world of the underground as she entered the speaker in 1997 serving up the vocals for the groundbreaking and chart-topping underground classic, “Goosebumps” by Nylx on Twisted America and has never left the woofer since. “Like an Android” which is out on June 2nd 2023 exclusively on Beatport for a month, all started with the inimitable force of nature that is Lula ! Could you elaborate on the creative process that was undertaken to produce ‘Like An Android’?Įddie Cumana – Thank you so much! Glad to be interviewed -) We caught up with Eddie Cumana to learn more about how the record came about, his studio set-up, and his thoughts on how AI is playing a role in the music industry.Īditya – Hello, we’re glad to have you for this interview. Lula vs Eddie Cumana ft Alan T vs Franklin Fuentes – Like An Android (Extended Vocal Mix).So nudge your clip gain, convert, trim with fader, convert, up, down, go to town. I have both of these as soft keys on my Artist Mix. Notice also that you can go back and forth with the opposite: Coalesce Clip Gain to Volume Automation. Want to get super detailed in your clip gain? Use the fader to write volume automation, select the region, go to Edit > Automation > Coalesce Volume Automation to Clip Gain. Oooooooh, sexy.īut this all assumes that you have no fader at your finger. Then I discovered that the scroll wheel on my mouse worked in place of the arrow keys. It's good, it's accurate, and it gets you pretty damn close. Highlight the region (or portion of a region) that you want to nudge and hold CNTRL + SHIFT + up/down arrow. This can be as little as 0.1 dB, I have mine set to 0.5. In Preferences > Editing > Clips there is a box that reads Clip Gain Nudge Value. If you are mousing through your clip gain, stop. This works much better in super-sessions with all the reels splayed out, than each reel to it's own session. I come to a scene I know we've heard already, click through my bin, select my bgs, copy/paste, tweak, add/subtract as needed, move on. As I go through the show and create my BGs, by the time I get to reel3 80% of the rest of the scenes are at least 75% complete. "INT Main Character's BR DAY" "EXT Street Med Traffic Night" so that they all group together in the clip bin. I try and stay consistent with the naming ie. I create an audio track, switch the voice from "dyn" to "off", select from the first to last frame of the scene (overlapping for dissolves) and create blank Region Groups. They're particularly useful to block out scenes. and markers are left for working with sync or "Pick Up here". Since we're not blessed with multiple types of markers, I use empty region groups to spot foley, adr, make general notes, etc. Screenshot1 screenshot2 screenshot3 screenshot4 screenshot5 Then set the threshold all the way and back it down until I feel i have the right amount of stuff retained.ģ) set my timeline drop order in the bins to "left to right"Ĥ) drag all of the regions back into the same timeline, now the spaces are completely removed and what I have is a steady stream of the larger transients in the recording. I usually set the minimum strip duration to zero and use very small start and end pads. If i have a long sound file with a lot of little transients that I want to isolate and use all at once I do the following:ġ) spot the long file to a track in protoolsĢ) use strip silence to isolate the transients and remove all of the whitespace.
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