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New Songs / Re: Allie X — Anchor (Oscar Görres)
« Last post by nanofives on Today at 05:59:03 PM »

The deluxe edition of Cape God is out, it features another song by Oscar Gorres: Milk
Written by Oscar, Allie X and Simon Wilcox, produced by Oscar
New song with Jörgen Elofsson

New Songs / Re: Westlife - Without You
« Last post by turnaround on November 25, 2021, 01:24:03 PM »
New album out (New Zealand) with 2 Rami songs! Rami even produced:

And one song is produced by David and Per!

Backing  Vocals: Aldae
Assistant  Mixing  Engineer: Charles Haydon-Hicks
Unknown: Cian Synnott
Unknown: Dan Grech-Marguerat
Additional  Programming: Dan Grech-Marguerat
Vocals: Kian Egan
Assistant  Mixing  Engineer: Luke Burgoyne
Vocals: Mark Feehily
Vocals: Nicky Byrne
Guitar: Rami Yacoub
Producer: Rami Yacoub
Backing  Vocals: Rami Yacoub
Vocals: Shane Filan
Drums, Keyboards: Sly
Producer: Sly
Backing  Vocals: Sly
Unknown: Stuart Hawkes
Composer: Gregory Aldea Hein
Composer: Ilya Salmanzadeh
Composer: Mark Feehily
Composer: Michael Pollack
Composer: Rami Yacoub
Composer: Shane Filan
Max Martin and friends / Re: Multitracks of Max Martin songs
« Last post by Tano87 on November 24, 2021, 11:30:59 AM »
I noticed that in the & Juliet album there are songs that got the original signature elements. If you guys have the chance to get ur hands on them please share them.
Thanks Dagge for your contribution. The approach of the guy is different from how boy bands go about it in their choruses mainly. He suggests the harmonies are mainly chord tone harmonyies or or pedal harmonies, while BSB for example rarely uses such oblique harmonies but rather uses tight harmonies and octave harmonies. Compare the danthemanbardo harmony tracks. I think the important message is to learn what different types of harmonies exist so that you can identify and qualify each harmony as one of the different categories. See 12tone vocal harmonies video (or download the attached pdf file) to learn about it.

Different mic positions are not necessary when you use different vocalist but could solve problems that occur because a voice sounds too much the same as the main melody.
Here is what I learned from a quite famous (and quite old) UK producer about building attractive pop harmonies. Change only main vocal melody tones while harmonies have to keep the same tone until you change a whole chord. Strum harmonies on the piano or a guitar, whatever sounds good it will sound even better with vocal harmonies. Every harmony tone record three times, every time having different distance from the mic, natural chorus. Compress back harmonies to death, add a bit of a good chorus with a slow rate. Finally have a good present mic like Neumann TLM-103. It's really not that hard actually.  With a bit of taste and practice you may go far :)
Max Martin and friends / Re: Multitracks of Max Martin songs
« Last post by Dagge on November 23, 2021, 12:41:29 AM »
Anyway I think that Cheiron team was very protective with their own soundsets...and this could be confirmed for the fact that no multitracks from the golden days are available except for Baby One More Time.

Generally, I could agree. Yet there were not many special sounds at that time. It was known that the majority came from the Roland JV-2080 and a couple of other mainstream synths like Korg TR ('stitch'). Bass came mainly from the SE-1 and actually only 'special' sound was the drum sound. A guy turned doctor that worked there at that time confirmed his astonishment at how ordinary their multi-tracks actually sounded. So this quest for early Cheiron multi-tracks would probably be a disappointment for many. There was no secret, 'only' a good taste and a talent.
Cheiron Classics / Re: A lot of reuse at Cheiron - list them here
« Last post by backgammonfiend on November 22, 2021, 01:56:36 AM »
Someone missed the interview where Rami explained that they reused their optimised sounds a lot because they would often try for quite substantial times to find/make better ones and fail
Any off-topic beyond music / Re: What happened to user "getawaydriver"?
« Last post by backgammonfiend on November 21, 2021, 03:27:17 PM »
he's right the forum is now so dead that im not even on anymore to run people off in the first place lmfao
Cheiron Classics / Re: A lot of reuse at Cheiron - list them here
« Last post by chramos2007 on November 21, 2021, 08:34:33 AM »
I feel like for a lot of their songs they would just work off the multitracks / project file of the song or whatever the proper term is of a successful song they made, use the same instruments / patches that were already there in the original to get the idea down, and then add in new instruments or replace ones if needed. It would explain why some sounds are hard to recreate because they could've taken ages to create but from there they would easily be able to just grab it from another song. It would explain why this demo of "I Will Be There" ( has the same instrument sounds / patterns as BOMT, as well as why some songs, like -

Britney Spears - ...Baby One More Time
Britney Spears - Crazy [The Stop Remix!]
Britney Spears - Oops!... I Did It Again (maybe)
Britney Spears - Stronger

share (possibly, in the case of Oops!) some of the same guitar track with the same licks, especially with BOMT, OIDIA and Stronger sharing an extremely similar snare sound, as well as all the other stuff sounding really close i.e. hits, windchimes, and that one suction noise in OIDIA and Stronger.
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