If that stops it immediately switches to the output from the B machine." "If there's a green light there then it can hear the tone. There's a tone on a spare track on each Radar and they feed into a Radial SW8 switch box. You set one off and the other is set in chase.
PE: "Yes, we have two Radars, an A and a B - one is ran simultaneously for backup, so it's just like the old days. During the gig he's dancing around, really getting into it."Īnd once again, a backup Radar for your Radar? There are starts for triggering the video but as for the performance, the flashes of light, that's all old school. PE: "No they're from Graham, who's front of house! He's a great lighting director. "They've got three keyboard players so they do play a lot but sometimes it has to go to the Radar."Īnd are the lighting queues from the Radar? Meanwhile incidental stuff, percussion that Christian doesn't play, some of the strings that Peter doesn't play come off the Radar. All the big riffs that you'd recognise are all played, mainly using the Receptors. The band tend to play all the lead sounds. So there's plenty of playing, but how many tracks come off the Radar? No latency, and we can get the electronic sounds we need whenever we need them." Live is so versatile - they tried it out and they love the sound.
SYNTHOGY IVORY 2 SET UP SOFTWARE
The drum sounds are going in via a MOTU 828 interface, processed in software then output via another 828. "We decided not to use triggers so we're taking the live drum sounds into Live and processing them live. The band decided they wanted to use live drums, but they wanted them to sound like electronic drums, depending on the song, of course. PE: "Yes, it's quite complicated! But Kerry went down to Christian 's place in Austria and they ummed and ahhed about the best way to do it.
SYNTHOGY IVORY 2 SET UP PRO
Sorry, Pro Tools and Ableton Live? Live is doing live drum processing? I used it on Snow Patrol and Verve too, with Logic, but it seems to work with Live too." You load all your projects into it and when it gets the change it closes songs in Ableton Live and loads the next one up. Program changes are fired out of Pro Tools for the guitar rig and the keyboards on stage, and into a bit of software that I wrote that controls Ableton Live in the second computer. So Pro Tools runs in time with the Radars. "It works like this: The Radars are kicking out time-code which is going into Kerry's laptop running Pro Tools. Paul controls the Receptors from his laptop. Then we've got a custom-built switch box at the side of the stage so we can switch between each keyboard player's Receptor if something goes wrong." Each pair is a main A and a backup B doing the same thing. PE: "Yes, we've got six of them: two per keyboard player. The big lead sound is Massive and ImpOSCar all layered up to create that main riff sound."Īnd the plug-ins are all hosted in Muse Receptors? There are some sounds you can't get with the synths, so we use the samples for those, but there's a lot we can do and we try to use the synths as much as possible. We're also using a lot of GMedia ImpOSCar and Synthogy Ivory for pianos too. "Sample wise we're using Native Instruments Kontakt and Massive a lot too. We used Pro Tools for the playback, during rehearsals but just before the tour started we printed the tracks to our pair of machines. I've used sequencers for playback for Snow Patrol and the Verve - we were using Logic - and they ran fine. The last time they toured they were using Logic and the EXS sampler but they had a few glitches with it. "After we managed to convince the guys not to take all the old keyboards out we spoke to a few people about Muse Receptors and they told us that they were rock solid. So, we're using those new samples and some plug-ins for our sounds too. So Kerry went back to the original two-inch tapes again and redid all the samples for this tour. "In the past that meant they relied a lot on samplers: Emulators and the old Emax sampler, but all the samples were too grainy to use again and needed updating. So they wanted the old sound but - of course - wanted it to be rock-solid… But obviously there's loads of problems with the gear: oscillators going out of tune, things breaking down and they've been plagued with trouble in the past with technology going down. For the new record they took those keyboards into the studio and obviously wanted to recreate those sounds. Increasingly over the past few years he's been working on a huge collection. This was because the record was all recorded with it. PE: "The original plan for this tour was to take out all Martin 's old analogue synth gear.
How long did you spend trying different options, trying to come up with the final set up? Paul Eastman at the helm of The Mode's Radar setup.
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