The track was recorded between January and May 2011 with Gotye struggling to find a suitable female vocalist, as a "'high profile' female vocalist" cancelled the collaboration at the last minute, and Kimbra "lucked out as the replacement".[12] He tested his girlfriend, Tash Parker, but "somehow their happiness meant that it didn't work out" so he followed the recommendation of the song's mixer and used Kimbra's vocals.[12][13] Martin Davies from Click Music considered the song "instantly captivating", and named Kimbra's voice "clean and sugar-soaked", further commenting that it bears an "uncanny resemblance" to singer Katy Perry.[14]
Ttaz's relationship with de Backer began with Gotye's second album and Australian breakthrough, Like Drawing Blood, on which Ttaz is credited with additional production, mixing and mastering. "I work best as Wally's sounding board. He plays me stuff and I suggest anything that comes to mind, which is kind of like a production role. In my opinion, Wally is at his strongest with the Gotye project when he has his hands all over it and does things by himself, as was the case with Making Mirrors. Though Wally may well disagree! The way he approaches things when it's just him is what makes his music so special. It's very idiosyncratic. I just bounce off ideas with him, suggesting that this or that could be better or maybe he should try so and so, but generally I don't get hands-on during writing and arranging. I know he finds it frustrating sometimes, because working by himself can be very lonely, but I think it's the fact that he has to grapple with all the different challenges that makes what he does special.
Gotye Somebody That I Used To Know Acapella Free Download
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"Wally's verse vocal, 'Vocal Comp', has Auto-Tune, used only on the odd word, the Cranesong Luminescent and Iridescent for some drive, two Renaissance De-essers, Renaissance EQ, and a slow compressor, which is one of the McDSP Compressor Banks. I again made a duplicate. The main vocal goes to a bus called 'Wally', and the duplicate goes to the 'HallPreDelay' aux with the Altiverb church reverb. The duplicate also has a De-esser, the Renaissance EQ and, again, the Compressor Bank. The reason I created a duplicate is that it is EQ'ed going to the reverb. There are a number of sharp 's' sounds in the verse, and so it has a big de-esser in front of it and then the EQ rolls out all the high so the reverb is fed a much smoother sound. The 'Botanicals' track underneath was an experiment [he plays a very psychedelic track with lots of reverb and delays]. I wanted some depth and grandeur, but it was too much and clouded up the subtle things that the flute parts were doing, so we ended up muting that track.
"Below the two chorus vocal tracks are all the backing vocals for the final section, you can tell from the names what words are sung. Several didn't need treatment. The 'somebodys' were recorded with Wally's Mac laptop mic, and were pretty lo-fi. You can hear him stomping and stuff like that, but we liked how they sounded. Some hi-fi vocal tracks also sounded good enough to be left untreated. We tuned some of the softly sung 'used to know' backing vocals with Auto-Tune. We liked the vibe of them, so we decided to tune rather than redo them. You can see that the plug-ins that I did use on various backing vocal tracks are similar to those on the main vocals: Auto-Tune, de-essers, Luminescent and Irridescent, SSL Channel and Renaissance EQ. There's also a BF76 compressor. The three tracks called 'BVs' go to the 'Oh Oh Oh' master track, and these are the ohs in the final chorus. Wally demo'ed these vocals, and Kimbra did sing some of them, but we felt that she sounded a bit harsh, so we used Wally's demo vocals. Wally and Kimbra convinced me to mix them in rather loudly, so it gives the effect of a bit of a battle between the 'ahs' and Wally's lead vocal. It was a new element that came in and that became a hook in its own right.
Ttaz adds: "In my early 20s, I also did a lot of remix pop work and I learned a lot about engineering from Australian engineer Mark Forrester, who used to be the in-house engineer at Prince's Paisley Park studios. That was really invaluable for the beginning of my career. I see mixing and engineering skills as a practical necessity. I wanted to gain those skills because I had become obsessed with sonics and textures and I wanted to be able to articulate and realise my own musical ideas without being dependent on others. Also the reality of working in Australia was that there was no way I could write and produce music full time and make a living from that, so my wife suggested I begin my own studio facility, which became Moose Mastering. I opened it in 1998 as a place where I would be able to do all the different things I wanted to do with my own music, and also mix and master other people's projects. Mastering was something I had a real interest in, and I spend a lot of time in my late 20s learning the craft. One of the main mastering projects I have done here was Merzbow's 50 CD box set of noise music, Merzbox [2000]. I think it means I'm well qualified to talk about noise.
"The main room here is six metres wide and eight to 10 metres long, and has a wall with Schroeder diffusers at the back. I have a large Pro Tools rig with a whole bunch of plug-ins and DSP. Other than an Avid Command 8, I don't have a desk, and very few bits of outboard gear. My main piece of outboard is the Cranesong HEDD. I do all mastering in Pro Tools. I'm a minimalist: if I don't use something pretty much every day, I don't see the point of having it, and it's cheaper not to have it. What I do is very much based on a musical-feeling thing and not on what gear I use. Designing and building the room here was quite expensive, and I invested in Duntech Sovereigns, which are my main monitors. They have ATC mid-range drivers with a very clear mid-range and bottom end that extends flat to 27Hz. The acoustics of the room are very even as well, so I have a really good sense of what is happening in the lower two octaves. I also have a 5.1 set of Mackie HR824 speakers, which I don't like that much, [Yamaha] NS10s, Auratones, Genelec 8050s and Event Opals. I used the last a lot when mixing Wally's record.
Like most of his songs, 'Somebody That I Used To Know' was programmed by de Backer in Ableton Live, after which he switched to Pro Tools for recording live audio, in this case just the vocals. Franois Ttaz received a 24-bit, 44.1kHz Pro Tools session with 160 tracks in the playlist, though only about 40 were used. Several tracks were doubled, since Ttaz likes to work with parallel treatments, and with four aux tracks and a few mix buses, the entire session consists of just over 60 tracks. The final mix ('V2.23') is at the top of the session. Below that are a 'Mix' bus and its parallel, 'Mix Squeeze' (with McDSP Compressor Bank compression), and then a 'Xylo' bus purely for the xylophone; all three are controlled with the 'Volume' track and routed to the 'Hedd' track, which feeds the stereo mix to Ttaz's Cranesong HEDD. From there, it comes back in on the 'SmbdMix08' track. Underneath are four aux tracks: 'Speakerphone', with Audio Ease's Speakerphone set to an EMT plate reverb; 'HallPreDelay', with the same company's Altiverb set to a 2.5-second chapel reverb; 'TapeSlapBright', with Line 6's Echo Farm; and 'Plate', with an Altiverb EMT plate reverb fronted by a 170ms (dotted semiquaver) pre-delay.
But before we plunge headlong into the future, let's take a break from pop's shark-like need for forward motion to acknowledge one of those three tentpole songs that held up the pop charts over the last five months. Not "Call Me Maybe," Carly Rae Jepsen's sugary smash about infatuation, or "We Are Young," fun.'s anthem on aging. We've already spent time with both.
Universal planned, from the beginning, to introduce "Somebody" to American audiences by landing it in rotation on two types of radio format: Alternative (basically anything that's "rock" but not "classic rock") and Adult Album Alternative (broadly known as AAA or "triple-A," it caters to people who don't have to borrow their parents' credit card to buy a song on iTunes). That's a typical plan for a song by a relative unknown, Tombrink says, but the response from radio stations was anything but typical. Where it usually takes around four months from the point of introduction to move a song into heavy rotation or "power" rotation, "Somebody" made the jump within "a couple of days in some circumstances," Tombrink says. "That just doesn't happen."
"It obviously captured an emotion for people in a way that hadn't been said before, did it in a slightly different way," Kimbra said. "There's a sense of tension in the song or intrigue the first time you hear it. Perhaps you have that sense of wanting to hear it again and understand a bit more of the story. And the fact that it tells two sides, it's not coming from one perspective. Everyone knows how it feels to want to have their side of the story told."
"It still baffles me. I think that's the beautiful mystery of music," she said. "You don't necessarily know why something is so successful. It just hits at a perfect moment for people and strikes a chord and starts a chain reaction around the world."
With Jeff Lynne handling production duties, McCartney, George Harrison and Ringo Starr completed new recordings for "Free as a Bird" and "Real Love" as part of the Beatles' "Anthology" project. When it came to "Now and Then," the audio was apparently so degraded, having originally been recorded on cassette, that the "Threetles," as they came to be known, scrapped any plans for enhancing Lennon's solo demos in the future. As Starr noted at the time, "recording the new songs didn't feel contrived at all, it felt very natural, and it was a lot of fun, but emotional too at times. But it's the end of the line, really. There's nothing more we can do as the Beatles."
There's so much more to read about her, but for this interview's purposes, you just need to start off knowing that she loves Prince. He admired her work, telling Janelle Mone that his favorite song from The Golden Echo (2014) was "Carolina." And here, she gushes about his. 0852c4b9a8
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