The 808 was our master clock and was triggering a few other machines that were triggering other machines. This is what happened when Telephones and I worked together on the track "Long Distance Call", for my album.
It’s a lot of fun trying to hook up as many machines as possible and let them run all together, to get into a certain kind of trance, before even thinking of recording. I definitely do use CV-gate triggering to achieve a more organic swing in the groove of both rhythmic and melodic content. Are you playing and modulating a lot of these parts by hand? You must be using a lot of CV triggering to get these machines communicating, but there are also a lot of stabs and melodies that sound a little too complex for control voltage messages. The final mix down takes place in Live as well. Once I have recorded everything into the computer, if I am still not totally satisfied, I use an EQ Eight to polish the sound even more. In my studio, there are four different analog mixers: two rotary Boss KM-60s, which all my drum machines and a few monophonic synths are connected to a Yamaha MG 16/4, where all my polyphonic synths are connected and a Mackie 1604 VLZ-Pro, which is my main mixer, where the previous ones and also two patchbays are connected. So how do you go about finding space for all these elements?
You seem to use a traditional mixdown method in that you’re keeping these big analog sounds intact rather than drastically EQing them to make them fit. All the tracks on With One Another have a very dense, thick character.
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