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In-depth Feature:
The Life of Brian AKA BT
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...continued
Questions, Questions...
SS: Are there any recent technological developments that made a difference to this album?
BT: There are a lot actually, this is a good question. I think that the most exciting software tools made, aside from the most powerful and esoteric tools like Kyma, are in the realm of Vst and stand alone applications programmed by novice and beginner programmers. Some of the SeaSound based plug-ins and real basic guick interface plug-ins really played an integral part in sound design on this album. Some songs on this record have endured over 150 treatments per sound, easily.
SS: Do you have plans to tour this record? Do you hope to take a band with you?
BT: Yes, I hope to tour this record and do a live show with a band. I think it may be different that the six-piece that I took out last time. I'm planning on utilizing some of the technology I use in my live remix/DJ sets mixed with a band aesthetic.
SS: You're known for your deep programming and audio sequencing and also for not using MIDI. Is it just the timing or do you have other reasons?
BT: It's primarily the timing and latency (which, by the way, is a misnomer - see my interview in keyboard for more on this) that bothers me about MIDI, but also, it's the inability to hard process using Audiosuite, Vst and TDM plug-ins. Midi is a protocol from 1981. The only thing I want from 1981 are parachute pants.
SS: Scenario: You've just received the multi-track for a remix; presumably you already have an idea of what you want to do - briefly take us through the process.
BT: First I time-stretch the vocal, either to full tempo or half tempo - whichever is closer, using (Steinberg’s) Time Bandit. Next, I pick parts from the original song that have relevance for a dance floor remix and recycle or time-correct them and process with a shitload of plug-ins, write new beats, keyboard parts, acid lines, etc, record all material into audio and time correct, then mix and it's done.
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