kevin shields interview

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They're real drums and the rest is programmed.Me, Colm, and the engineer, none of us had done this before, so we got a computer and learned how to use it. Very, very simple kinds of arrangements.Yeah, it was just because at the time, just to get the feeling across I couldn't be more complicated than that. You'd bring one mic up and it changes everything. [laughter] It's kind of these two extremes: On one hand I'd be really, really purist about recording everything really dry but then, by the time the mix came down, I'd do anything I wanted.We used all the standard ones. First, that you were doing an article, on...Since I often record alone, I've developed a few techniques to compensate for the lack of extra eyes, ears and hands (until cloning is available to the masses) that I work without.

I decided that I didn't like 57s but I liked them [421s] because there was less of a frequency spike in them.

There used to be phase problems and we'd use that, sometimes, as a basic kind of effect. Whereas if you contrive something, and only make it up and play it because you want it for an intellectual reason, it doesn’t seem to have that magic ingredient anymore.It’s difficult, because I’m not really organized, and I’ve never really done anything the way I would have preferred to. Guitarist. A bit like the difference between KRK speakers and NS-10s.

Try typing something like "creative blocks", "spiral", "world", "green" or "blue" and our snail will find what you're looking for.When it comes to quality, there’s actually not a big difference between used material or unused material. From that perspective I've been an engineer. People just left us to it. The churning rhythms, the cascading noises, the ghostly vocals that shimmered like mirages, it was unsettling, WEIRD. The typical track sheet would be like the drums, maybe two or three main guitar tracks and then the overdub tracks like just for the bits when there's no singing. “I’m really used to people not getting things. For guitars I often use the 67 or a 57 or a 421 typically.Yeah, I'm not prejudiced against anything now. Kevin Shields, reclusive leader of seminal British noise-pop band My Bloody Valentine, has agreed to an interview. The megaphone, or "conical" shape, used to be the crux of the the recording business. Early recording devices used "horns", as they called them, to capture and project sound. It's just the first few, they're the best anyway. I didn't really follow those rules. You'd press the phase button and it's like, "Hmm, that's better or worse." It's weird, I mean I don't mind having stereo two channels, left and right, but I quite like using different mics, which I know doesn't make sense. Wouldn't something happen? I got worried. It's like a mixture of not having patience. He’s got a way of working that never gets in the way of interesting accidents happening.

I used to have these ATC 100A monitors, the kind of large midfield monitors but self powered but I didn't hardly ever use them.Ummm, no. It's kind of weird 'cause I lost all that kind of purity of having to do things in a certain way. There was just a year period where I would only use condenser mics for guitars.For the first half of it, 'cause all those records were recorded in different studios. I'm really trying to get into more spontaneous, loose things. They're that much more alive and free.Oh, totally, yeah. Owner of Major Label and Ecco-Fonic Records. We have an Ampex 1/2" which is really nice, you know.

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