When Bryan said that he wrote for Vesta, Shanice, Barry, Janet and Sting all of those acts are of course from A&M Records in the 80s. Never knew he was the son of Gene Dozier. Bryan did his best on the MJ Dangerous album in 1991, especially when he did Do the Bartman from Simpsons.
How to explain complicated things in a simple way. She's the most articulate person in her field. She has the Prince street cred and now the scientific background, she really is one of a kind. Everything I have read of her, or anything I have heard her say has always made me feel better about my abilities and always allowed me to move one little step forward. Protect her at all costs.
I really wanted to hear his stories about how Michael would sing his musical parts and hear entire tracks in his head and expect everyone to help him bring his vision to life
Hello, thanks for your question. You can find out more about our Advanced Diploma in Music Production and Sound Engineering here on our website - abbeyroadinstitute.co.uk/courses/diploma-music-production-sound-engineering/ And you can find out about the types of jobs that our graduates go into and who they're working with here as well abbeyroadinstitute.co.uk/courses/diploma-music-production-sound-engineering/careers/ And some interviews with our alumni too! abbeyroadinstitute.co.uk/category/alumni/ Hope that's useful :) If you'd like to speak with one of our admissions team, they'll be very happy to help you. Please contact london@abbeyroadinstitute.com
Hi Ben! Thanks for your question. Yes, we are now able to sponsor international students to study with us. You can find out more about applying to study with us here - abbeyroadinstitute.co.uk/courses/diploma-music-production-sound-engineering/international/ and please drop us an email at london@abbeyroadinstitute.com if you have any questions at all :)
Hello, You can find the fees for the Advanced Diploma in Music Production and Sound Engineering here on the course page - abbeyroadinstitute.co.uk/courses/diploma-music-production-sound-engineering/fees-funding/ If you'd like to speak with our team and arrange a call with admissions or a tour of the studios you can contact us on london@abbeyroadinstitute.com Speak soon!
Hello! This Songwriting Camp was hosted at our Abbey Road Institute in Sydney for students studying on the Music Production course they teach. If you'd like to find out more about the course, head to abbeyroadinstitute.com.au/program/advanced-diploma-of-music/ and also reach out to our team there on sydneyatabbeyroadinstitute.com and they'll chat with you about how to join!
100% agree about gear being “meh”…I will, however, say that the IK SSL emulations are top shelf. About ten years ago, I used them on a pretty important record in my career and they sounded incredible. Very, shockingly faithful to the consoles. I’ve since shifted to the waves strips because the CPU hit is so much lighter. Maybe I’ll dust that stuff off at some point for busses or something. I don’t know if it’s changed but the one thing that used to suck about IK was its infrastructure…you had to buy “points” and get plugins through their “custom shop”. Hopefully they’ve done away with that 😑
So intrigued by this amazing artist, especially the work he did with Michael. Making demo from ~84-‘86.. The nucleolus of my favorite period of MJ artistic life.
I live in Russia, and we don't have the same level as the Abbey Road Institute, and this imposes some limitations in knowledge. there is a feeling that you lose heart, and you think why am I doing all this ..? watching such videos, I find support from a distance! Good job Solomon, you lit a spark. the best motivation for me🙂
Thanks for your question and your interest in studying at Abbey Road Institute, you can find out about how to apply to study with us by following the link here - abbeyroadinstitute.co.uk/courses/diploma-music-production-sound-engineering/entry-requirements/
I love the deesser trick! I usually use a frequency side-chain HF cut EQ, often with a frequency specific compressor with just enough mix information to position it in separation to all frequencies above my cut limit. But using the deesser is brilliant; as it allows for high cut without subjecting frequencies below that threshold to any artifacts or coloration. Thanks, man!
I'm tired of holding my phone waiting for a worthy comment to make but after the understanding of this concept, which Susan so blissfully esposed my mind rejects everything to say... I can't not thank her, 'though... This MI graduate THANKS YOU 🙏
Great artist, I've always been a big fan. I love how characteristic Kenny Larkin's voice is. Apart from the big club tracks, he can make such pretty music too, like Amethyst, where it's all for the love of the cosmic electric tone - like Derrick May's timeless track 'Icon'. I think you can hear some of Larkin's particular style come through a bit in some great soulful techno artists that followed him, like Patrice Scott and EP's like Motions. Good interview too, I like how respectful he was, but without fawning, and just got out of the way transparently - like clean recording channel :) I get his point, but there are classically trained musicians that make great techno, people like Matthew Dekay. But like he said, it needs to be approached as an artist rather than a trained musician. Modern 'classical' musician training is a lot more artistic, broadly based and culturally aware than it used to be. And, Matthew's approach is more similar to Larkin's than different, loves the sounds and hands on playable technology. And he plays everything in live, by feel, in takes - Lost in a Moment isn't a million miles away from Larkin, especially in vibe, timbres, spaciousness and cosmic outlook.
