All my writing takes place during the recording of the master tapes. I never do have songs when I start up an album. I actually write them while I record.
A lot of people record on a laptop and use plug-ins, which might be OK for the kind of music that they're doing. But for the kind of music that I'm doing, that just doesn't work. I can't cut corners; everything has to be organic.
It's the actual recording of the vocal that is the most boring thing you'll ever do in your life.
Since his childhood, Bappa has observed me singing and practicing and is well aware of all sorts of recording and singing arrangements. I have a studio at my home, so whenever he needs my help I make sure I stand by him. I often sing for the tunes that he composes.
There's this weird game called 'Blueberry Garden.' For that game an artist recorded some piano music, but evidently he only had a really terrible microphone on top of the piano, and I really liked it and wanted to experiment with that. So, I made piano recording and really mangled it, and kept experimenting with the technique.
I think my own strengths are in television production.
I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.
For more than 10 years, Daniel Snaith has been playing mad scientist with pop and psychedelic music. As Manitoba, and more recently as Caribou, he's pushed the genres' limits with electronics and studio trickery.
I don't listen to my songs. The only time I do it is when someone points out a flaw in the end product.
I have such memories; I keep thinking about all the people I worked with. I was in the recording studio and I was talking to one of the engineers who is 24 and they don't know these people. They just absolutely don't know the people and it just tickles me. I don't feel like I've grown up.
I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble. I don't only listen to the guitar player.
I have a lot of songs, and I'd love to do some more recording with the band.
It takes so much energy and time to make one song perfect.
I'm trying everything. But voice work is the best thing you ever imagined. It's not about how you look, and you can go to work in your PJs.
I began working as an assistant since the age of 16 with my father Dabboo Malik, went on to work with composers like Amar Mohile, Salim-Sulaiman, Pritam Da, and Sandeep Chowta.
When you think about it, media's the intersection of content and technology - it's all about storytelling, like photography and the camera.
What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
I'm a good music provider, and I'm fine with that. I'm a quality music manufacturer.
We can guarantee you that 15 to 30 seconds of any of our songs are going to be good. The rest, we can't guarantee.
Creating a record on my own and deciding who plays and how the songs were structured, it was fun to do.
I want to make an album with just great beats and big vocals and just amazing lyrics.
When we recorded our first album sixteen track machines were the thing.
I've been in the studio environment since I was young, so I know what to expect.
I was using computers for music in the '70s, '80s and '90s, and people didn't get it. They thought you should only use computers for your taxes and making pie charts.
