||Human Synthesizer -- 10cc's "I'm Not In Love"
| br>Dr. Sketch-n-Etch
| br>I found this very nice video on Youtube tonight, and thought I'd share it. This is about the making of one of my all-time favorite songs, 10cc's "I'm Not In Love." The remarkable thing about the song is the vocal backing track, which was made through the magic of multitracking, with sort of a human mixing-desk mellotron, or maybe a sampling synthesizer controlled in real time by human VCAs. I thought this might inspire some of you. Enjoy!
| br>Dave Kendall
| br>Thanks for posting that. Such a powerful song. The video was just the right length - no padding, and it pulled off a master stroke. When one of the band said, that after a mix they'd switch off the lights, lie on the floor and listen to it, I thought "that would be great - I'll do that when the video finishes".
But I didn't need to, and just sat there, because the whole track was played at the end with no talking and just a black screen. . .
That's how it should be done. br> br>
| br>the kik being a moog too, such a brilliant song br> br>
| br>Cool. They were remarkable at using the studio as an instrument, as Eno and others did.
Rubber Bullets and the first album has some great production value too.
10cc, Alan Parsons and Eno. Favorite rock production. And Spot.
edit - there is a real good docu on how Michael Oldfield did Tubular Bells. That is top notch too. br> br>
| br>It's eerie Dr. Sketch-n-Etch. I was logging in just to offer this as one of a few of the best multi-tracked tape recordings of all time. What a coincidence.
My list would have included this and "Tubular Bells" as well - MindMachine, you have my number.
"Bohemian Rhapsody" (as was offered in the above video).
"Good Morning Good Morning" off Sgt.Peppers.
"I Am The Walrus" off Magical Mystery Tour.
"Discreet Music" due to the ground-breaking loop invention.
"Ommadawn Part 1" is a remarkable example even though it is 24 track. The original was lost due to the tape being of inferior quality. Oldfield had to re-record the whole thing. Good thing too. It was a much better performance and composition. The beginning has some of the most beautiful tonal "mistakes" due to second and third generation overdubbing. It goes sharp and flat in regions (the bass guitar is +12 cents sharp and the background vocal pads are flat at about 1:20) against the other more recent tracks in a way that is almost magical. Pure bliss.
Honorable mention should also go to Les Paul and Mary Ford for their use of the Ampex 8 track tape machines in the early days. Later Phil Spector used the track-bounce method to create the "Wall-of-Sound" technique for pop music. This led to countless other artists doing the same thing for decades (including the Beatles and Beach Boys on four track) until digital recording came of age. br> br>
| br>I really can't start to think about how much work that was, recording and overdubbing all those single notes to tape and then practise the harmonies on the faders of the mixing desk. br> br>