[ad_1]
“I chose the longest, hardest way,” he observed. “That was not my best move.”
When he wanted a string-section part, for instance, he combed his record collection to find an orchestra playing the right note. “I was getting tiny pieces of recorded violin that I put together to make things that sound real,” he said. “It’s kind of stupid. Hindsight is a great thing, isn’t it? But I did it. There isn’t a single bit on that record where anybody plays in the same room as somebody else is playing. It’s pieced together, bit by bit. It feels like the most ludicrous way of putting something together, and the longer it went on the more stupid it seemed.”
But the solitary, painstaking recording also allowed Mr. Pierce to follow every glimmer of an idea. He kept on recording parts, he said, until he reached a Pro Tools limit: more than 200 tracks. “I don’t mind going down avenues that don’t go anywhere, just to say O.K., that doesn’t work,’” he said. “But usually something happens that you go, we would never have found that had we not gone this way.”
Since his London apartment is on a main route to a major hospital, he noted, “Every track has about seven or eight ambulance sounds on it.” And in the final stages of recording, he booked a few days of studio time with musicians to add instruments he doesn’t play: horns, upright bass, timpani.
Is it going to be his last album? He’s no longer so sure. “When I said before that this is probably my last album, it’s like complaining about something that I’m not really complaining about. I feel like the luckiest man in the world doing this.
“I don’t know that I can’t ever make records again. All my friends say that as soon as I go back on the road and play these things live and realize how beautiful that thing is, you’ll want to do it again. And you’ll get into the same cycle of it, and you’ll moan about it again, And we’ll have to suffer you one more time.”
[ad_2]
Source link
No comments:
Post a Comment