Skyler Spence – Spotify for artists

Ryan de Roberts – best known to fans Skyler Spence-He started his home recording career when he was in eighth grade. “I was making a record of jokes with my friends, but I became really intense about them,” recalls the Long Island native. “We’re just plugging in the microphone we provided Rock band On the USB port of a laptop. I didn’t even have a keyboard that had any MIDI capabilities so I used musical typing for four years, until I could invest in a real keyboard. “

The 27-year-old, Brooklyn-based musician has come a long way since then, as he has traveled the world with artists. Anonymous And Madonna, Working on the Steam Wave project, the title of two installments of the 100% Electronic Festival St. Pepsi, And released the acclaimed 2015 album Prom King As Skyler Spence. “I gave up doing it in the most amateur way, similar to a professional musician,” he smiled.

And he did it all – including Prom King Follow-up, which he is now working on থেকে from his home studio. “I just really recorded from home,” Derobertis notes. “The computer I’m using is a 27 inch 2019 iMac Which I got last summer. It’s probably the best investment I’ve ever made in music because Ableton Runs whether I’m working with four tracks or 32.

“My headphones Sennheiser HD 6XX’s Which was a collaboration between Sennheiser and Masdrop, “he continued. Based on Sennheiser’s industry standards HD 650s, These open-back models allow users to enter through them to give the user a 360-degree experience where a track was recorded, just in contrast to the standard left-right mix that you turned off পিছ headphones or earbuds on the back. “It’s like a low-key, low-key version of those 3D audio videos. [the sounds are] Wandering around your head, binary type of thing, ”he notes, noting that if you use these in public, others will hear what you hear.

The key to Spence’s retro-future dance jam, though, is the irritable guitar, captivating vocals, and Lucy Synthesis. “Right now, I’m playing one Fender Stratocaster And sometimes I play a Electro on the right The DC-3 that I bought on a tour with Madion in 201 Made, “D-Roberts speaks of its go-to axis. For the lower end, Derobertis calls it” Frankenbus, “commissioned by Skyler Spence’s bassist Scott Intrant.” I think it got a fender body and the neck came from a Japanese company, “Derobertis said. He let me borrow it recently to record, and when we were on tour, he started using that lightning too. “

De Roberts tracks his voice Sure PG58 and a Zoom H4N, And summon his synths with a full size Arturia Keylab 49 Which uses virtual studio technology (VST) modeling to bring life from the past. “Keylab has no words of its own – no presets or anything,” he notes. “I’ll plug it into a computer and use it as a moderator for anything from drum racks to 80s syntheses like Nabi or Corg MS. Want to hear something like the Human League record, I’ll use Arturia.

DeRobertis depends though Spectral omnisphere, With his 80-gigabyte bank and algorithmic synth variations, to create word combinations, he is also exploring the depths of the new auditory with the classic, first ’00 synth. “I’m using one Corg Microcarg, Which is hand-me-down from my friend, who is a synth collector. He was in the quarantine in Vermont, so he let me take the bun so I could do some hard synth things, ”he says.

“For the guitar, I record clear-live in my interface,” he says. “The Radial J48 Whatever the limitations of the interface, Phantom uses power to work around the current. This is strengthening my guitar so that the interface gives it the levels it needs Blue Rogers A kind of melody, something that is not influenced by amplifier modeling or something like that. He imitates Rogers’ use of the river through one Altivarb Or a Lexicon. “They do algorithms for different types of rooms – a chamber, a concert hall. Depending on what space I want to occupy, my mileage will change. And then I shrink the hell out of it, because having a really aggressive thing in the mix is ​​my word signature. . “

For delays, DeRobertis also uses the Soundtoys’ EchoBoy plug-in. “It models a variety of delays – some from Memory Boy [delay pedal] Cheap tape resonating in a studio. I use it for vocals and synths. This is a versatile VST. “

DeRobertis connects to his computer using all these gears Focacrite Scarlet 2i2 Or Universal Audio Arrow Interface, then puts his song together with Ableton. “I’ve used garagebands, logic and reason over the years, but Ableton is where I feel most comfortable,” he says. “I do a lot of sample-based work, and the biggest thing about Abelton is that you can throw in a song you’ve already made and try to make the song understandable with any tempo, bit by minute, and time signature. You’re in session.”

“What I am currently doing is my straight and I couldn’t do without it Ableton Push, Which is Ableton’s version of MPD from Akai or APC40, “he says.”[The Push] A lot of pointing and clicking is done using a computer which does most of the work because you can just press a button. “

Analog and digital, old and new, and factory-made and homemade all contribute to the sound of Derobertis Craft Skyler Spence, which is complex enough to intrigue practicing musicians instantly enough to inspire dance in public. “I want something where you can’t really tell what was recorded and what was made by Abelton,” he says. “You are asking, ‘What is software? What is hardware?’ When you hear it, in my experience, it balances fake, primitive-sounding synths with original sound-patterned synths. “

– Maura Johnston

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