That was the beginning of the whole record, it kind of took us off on this route.”ĭoes Paul have an order for how he likes to track different instruments? We did a couple of versions of the outro music that sort of morphed into this groove that Paul’s playing - the main acoustic riff in that. It kind of spiralled on from that really. Which was a follow-on from the title music from When Winter Comes. Steve: “It was Long Tailed Winter Bird, I think. But we’ve got nice mics, nice preamps, I think that if you get the front-end stage of your recording chain correct, and as vibey as you can then it’s captured nicely.”Ĭan you remember the first thing that you started out recording?
#PAUL MCCARTNEY III PRO#
We use as an effect rather than a method of working, because Pro Tools is the main crux of it. Steve: “We’ve also got a Studer 16-track with a two-inch headblock on it, and a 24-track too. Keith: “He’s really big on drums on it, there seems to be something about drums on one-inch tape that captures just a big fat sound.” Or to get something deeper we’ll record something at 15 ips and then play it back at 7.5 and transfer that into Pro Tools.” We’ll often do half-speed recording and then play it back at different speeds for different octaves and the tonality shift that you get. We often use that, Paul loves that machine. There’s a Studer J37 four-track, one-inch which sounds amazing. We do go to tape sometimes, we’ve got a variety of tape machines here. What is the main recording format in the studio, is it tape or a DAW? For the first couple of days I was tuning a guitar, wiping it and giving it straight to him.” I’m going home to a family, so is Steve, we’re pretty remote, we weren’t mixing with people outside of that.
Paul lives down here in Sussex on a farm and only had his daughter with him. Keith Smith: “I think we were all aware, even from early on that we had kind of formed a bubble. Steve: “A little bit, but we were conscious of everything - we’d come in every morning and wipe everything down with wipes and all of that stuff, so we were being very careful.” Given the circumstances the album was created under, did distancing and precautions make the recording more difficult? Paul will decide what he wants to do, so we have to be ready for any eventuality." It just depends on what we’re doing, often tracks will change. "There’s a very good mic collection, a nice live room, everything is set-up, mic’d-up so we’re always ready to record and mix at the same time. So that’s the bulk of the preamps, then we’ve also got some Helios and Chandler units as well." Then we’ve also got 10 channels of Focusrite ISA 110 vintage modules too.
#PAUL MCCARTNEY III SERIES#
It’s centred around a 60-channel Neve V Series desk, then we’ve got some vintage Neve preamps: 1081s and 1064s, we’ve got 10 channels of those. Steve Orchard: It’s an amazing setup we’ve got here. McCartney III was made at Paul’s own studio - but we’re guessing that it’s unlike most peoples’ ‘home studios’? Here, the only people present for the duration of the sessions talk us through how the project evolved, how each instrument was recorded and what it’s like to tell Paul McCartney he needs to do another take… The final product is a 10-strong collection of eclectic music, ranging from rootsy acoustic themes through some classic heavy RnB and incorporating many flavours in between.
He came back and we did some little tweaks and that was it.” It turned into an album after it had virtually all been recorded and mixed. “We started joking about a lockdown album, then Paul took a break for a couple of weeks and he’d talk to other people about it - friends, family and even management I think and they just kind of jumped on it. Keith Smith, Paul McCartney, Steve Orchard (Image credit: McCartney)
0 kommentar(er)
