Some questions answered by Taylor Deupree
10. toryjames - March 24, 2007
Taylor,
Would you tell me about your progression towards digital music production? I noticed you no longer have the Doepfer in your studio, I am curious about how your methods and ideas have changed with your choice of instruments. Is the physical design of the equipment you use very important?
I wonder about this because you put a great deal of thought into the aesthetics surrounding your label and music. The packaging is beautiful and obviously very important. It leads me to believe you might have a similar interest in the look and feel of your equipment. Do the tangibility of music packaging (vs mp3s) and musical hardware (vs software) relate to one another? Or could you be happy doing everything within the computer?
Also, do you think that the availability of computers and consumer musical software have lessened the percieved value of electronic music (and possibly all forms of music)?
Thank you for your time,
tory james: yes, i sold the doepfer a while ago.. i just wasn’t using it.. even though it was quite cool.. but it has not so much to do with losing interest in hardware, but just not liking to keep things around that don’t get used. i found myself doing similar sounds with the nord modular, which is much more flexible. it was sad getting rid of the doepfer from a visual/aesthetic point of view (which leads into the next point)… but, practicality won out.
this is a very interesting question… yes, i am very intereted in the physical design of equipment.. so much that it often is a major influence in gear that i purchase from both an aesthetic point of view (the oberheim xpander, for example.. just beautiful)… and from an interface design point of view.
i’ve always firmly believed that objects shouldn’t just be succesful in functionality, but also designed well. you can apply this thinking to everything in your house. for example, you have so many choices when you buy forks, spoons and knives… why not buy some that are beautifully designed, you interact with them every day…
of course, functionality should win out over aesthetics… a fork that looks beautiful isn’t worth anything if it doesn’t feel right and work well (balance, weight..)… fortunately, there is almost always solutions that are both functional and beautiful.
so while i’m very conscious of object design it’s always important to get the right tool for the job. i’m not terribly fond of the design of my Kyma’s Capybara box.. but i wouldn’t give it up for anything..
could i be just as happy doing music on a computer with no hardware? absolutely not… what i’ve found REALLY important to me is a control surface for Digital Performer. (i use Mackie Controls)… i really need the physical interface between me an a mixing environment. having physical sliders and panning knobs is something i’m totally reliant on… i hate mixing and creating music with only a mouse.. or, worse, a trackpad. that’s probably the most important physical device in my studio… but with a lot of devices i’m quite happy with software. i love software synthesizers becuase they often have more interesting forms of synthesis than your standard hardware synth..
although, i’d rather have hardware versions of all of my software.. but they just don’t exist.. except for one.. i bought the Hartmann Neuron software synth when it came out because i always wanted a Neuron and this was an affordable way to get one. however, having the software only makes me want the hardware even more. it’s such a fascinating and original synthesizer, i can only imagine that having it’s beautifully designed physical interface would make it even more enjoyable. additionally, i’m such a fan of the Nord Modular G2.. i’ve had the rack version (the Engine) which has no physical interface at all… i’m in the process of selling it now as i just bought the keyboard version of the G2.. as i’m really looking forward to having the keyboard and knob interface… i’ll be using it even more now.
so.. yes.. in a nutshell.. physical design is very important.. as long as it does not detract from the functionality of something.
your next question is interesting as well.. maybe too much of a question for this forum…. i’ll be brief….. i think on one hand.. music is music.. it doesn’t matter how it was created.. as long as someone enjoys it, it is successful.. and, most consumers don’t know how the music they made was created… so for them the availability of affordable bedroom studios probably doesn’t factor in. however it DOES mean that more people than ever are creating music, and more bad (and good) music is being created… so any sort of flood of a market can certainly reduce perceived value.. but in the end, good music is good music and the best will hopefully always be valued.
i hope i’ve answered your questions OK… felt a bit scattered answering this as i have a lot to say.. feel free to follow up if you need any clarifications.
Tuesday, June 12, 2012
Sunday, April 29, 2012
Sunday, March 18, 2012
Wednesday, October 19, 2011
Friday, September 2, 2011
Black Dog Productions
What did the instrumental set-up for the very first Black Dog-tracks look like?
[ken] Commodore Amiga computer (for sequencer and samples), DX7, Alesis HR16, Roland 202.
[Martin] My first set up was just a Roland W30, small mixer and two reverb units, I still have them but they had nothing to do with the early tBd tracks.
[ken] Commodore Amiga computer (for sequencer and samples), DX7, Alesis HR16, Roland 202.
[Martin] My first set up was just a Roland W30, small mixer and two reverb units, I still have them but they had nothing to do with the early tBd tracks.
Tuesday, August 16, 2011
Thursday, June 9, 2011
Sunday, June 5, 2011
Tuesday, May 10, 2011
Sunday, February 27, 2011
Monday, February 14, 2011
Monday, September 6, 2010
Monday, July 19, 2010
Wednesday, June 16, 2010
Johnny Marr
"This is the Gibson 355 that I first used on Sheila Take A Bow. I wrote and played I Started Something, Stop Me If You Think You've Heard This One Before and Death Of A Disco Dancer on this guitar. It can be heard on the start of Paint A Vulgar Picture, and on Nothing But Flowers by The Talking Heads, and seen on The Smiths Top Of The Pops appearance for Sheila Take A Bow, and when we played The Tube. It's now owned and used by Bernard Butler who I gave it to in the mid 90's."
"1960's Gibson Firebird 12 String"
gibson 330 guitar"I used this guitar a lot throughout the nineties with Electronic. Bernard Sumner and I got one each and our third album has them all over it."
This is a 1961 Gibson Les Paul Special that I used with Electronic.
This 1957 Gold Top Les Paul was used on the Healers Boomslang album and Ed O'Brien used it on Radiohead's "In Rainbows".
An original 1965 Vox Teardrop.
This is a 1966 Gibson 335 12 String. They came in three colours : Black, Red and Sunburst. I still have a red one. I gave my Sunburst one to Bernard Butler.
Thinline Fender Telecaster guitar This late 60's Thinline Fender Telecaster once belonged to Donovan. It was the first electric guitar he ever owned and he played it at the Isle Of White Festival in 1970. Bernard Sumner used it with New Order during the Technique period and was seen with it on Top Of The Pops when they did "Round And Round.
My 1964 Rickenbacker 12 String that once belonged to The Who.
This is a 1954 Gibson 295 or "Scotty Moore" that I used in the video for "The Boy With The Thorn In His Side" and on some of "The Queen Is Dead" album.
My 1962 Fender Jaguar that I use with The Cribs and Modest Mouse.
The Gretsch 6120 that I used to write and record "Stretch Out And Wait". You can hear it on "Is It Really So Strange ?" too. I got it from The Who and It's one of the best old 1960's Gretsch's that I've played.
I wanted this 1963 Fender Jazz bass for a long time. It belonged to Paul Ryder from Happy Mondays and was on a lot of their records.
This is a custom colour 1959 Gibson 355 that I used on "Forbidden City" with Electronic. It's on the cover of "Get The Message, The Best Of Electronic.
This Blonde Gibson SG was made for me and is a one of a kind.
My Fender Bass Six, or Baritone Guitar. I used it on "Helpline Operator" by The The. It's tuned to A D G B E A."Gary Jarman played it on Stick To Yr Guns from Ignore The Ignorant by The Cribs and Ryan Jarman played it on Save Your Secrets."
The Martin twelve string that I used on "Unhappy Birthday" and "Bigmouth Strikes Again" by The Smiths, "Get The Message" by Electronic...amongst many others.
This is my 1983 Black Rickenbacker 330 that I used throughout The Smiths. I got it from A1 Repairs on Oxford Road in Manchester and it was my main guitar at all the early gigs. It's the sound of the riff on "What Difference Does It Make" and "Reel Around The Fountain", all of the first album and on other albums too. I still use it now.
This is a 1962 Epiphone Coronet. Shortly after I got it I put it in "Nashville Tuning", which means putting on an electric 12 string set (the bottom four strings are an octave higher than standard). It feels like your playing backwards because the higher strings are at the bottom. I used it to double a lot of the Rickenbacker arpeggios on Smiths records, most notably on "William It Was Really Nothing", it's also the main guitar on "Half A Person".
This is my White On White Fender Jaguar. It's a '62 body with a '65 neck. The pick ups were made for me by Tim at Bare Knuckle to the original 1963 spec and it has a custom made white pickguard. I've been playing it exclusively on the recent shows with The Cribs and it's my main guitar at the moment.
The 1963 Epiphone Casino that I used to record the main tremolo sound on "How Soon Is Now". I recording the rhythm part and then sent the track out to four Fender Twin Reverbs all with tremolo on and had to keep stopping the song when the amps went out of sync. It took quite a long time.
I wrote "Nowhere Fast" on this guitar and played it at the Glastonbury Festival in 1984. The picture on the inside of Hatful Of Hollow was taken in the dressing room before we went on stage so I have the guitar on in that picture.
"This is the Gibson 355 that I first used on Sheila Take A Bow. I wrote and played I Started Something, Stop Me If You Think You've Heard This One Before and Death Of A Disco Dancer on this guitar. It can be heard on the start of Paint A Vulgar Picture, and on Nothing But Flowers by The Talking Heads, and seen on The Smiths Top Of The Pops appearance for Sheila Take A Bow, and when we played The Tube. It's now owned and used by Bernard Butler who I gave it to in the mid 90's."
"1960's Gibson Firebird 12 String"
gibson 330 guitar"I used this guitar a lot throughout the nineties with Electronic. Bernard Sumner and I got one each and our third album has them all over it."
This is a 1961 Gibson Les Paul Special that I used with Electronic.
This 1957 Gold Top Les Paul was used on the Healers Boomslang album and Ed O'Brien used it on Radiohead's "In Rainbows".
An original 1965 Vox Teardrop.
This is a 1966 Gibson 335 12 String. They came in three colours : Black, Red and Sunburst. I still have a red one. I gave my Sunburst one to Bernard Butler.
Thinline Fender Telecaster guitar This late 60's Thinline Fender Telecaster once belonged to Donovan. It was the first electric guitar he ever owned and he played it at the Isle Of White Festival in 1970. Bernard Sumner used it with New Order during the Technique period and was seen with it on Top Of The Pops when they did "Round And Round.
My 1964 Rickenbacker 12 String that once belonged to The Who.
This is a 1954 Gibson 295 or "Scotty Moore" that I used in the video for "The Boy With The Thorn In His Side" and on some of "The Queen Is Dead" album.
My 1962 Fender Jaguar that I use with The Cribs and Modest Mouse.
The Gretsch 6120 that I used to write and record "Stretch Out And Wait". You can hear it on "Is It Really So Strange ?" too. I got it from The Who and It's one of the best old 1960's Gretsch's that I've played.
I wanted this 1963 Fender Jazz bass for a long time. It belonged to Paul Ryder from Happy Mondays and was on a lot of their records.
This is a custom colour 1959 Gibson 355 that I used on "Forbidden City" with Electronic. It's on the cover of "Get The Message, The Best Of Electronic.
This Blonde Gibson SG was made for me and is a one of a kind.
My Fender Bass Six, or Baritone Guitar. I used it on "Helpline Operator" by The The. It's tuned to A D G B E A."Gary Jarman played it on Stick To Yr Guns from Ignore The Ignorant by The Cribs and Ryan Jarman played it on Save Your Secrets."
The Martin twelve string that I used on "Unhappy Birthday" and "Bigmouth Strikes Again" by The Smiths, "Get The Message" by Electronic...amongst many others.
This is my 1983 Black Rickenbacker 330 that I used throughout The Smiths. I got it from A1 Repairs on Oxford Road in Manchester and it was my main guitar at all the early gigs. It's the sound of the riff on "What Difference Does It Make" and "Reel Around The Fountain", all of the first album and on other albums too. I still use it now.
This is a 1962 Epiphone Coronet. Shortly after I got it I put it in "Nashville Tuning", which means putting on an electric 12 string set (the bottom four strings are an octave higher than standard). It feels like your playing backwards because the higher strings are at the bottom. I used it to double a lot of the Rickenbacker arpeggios on Smiths records, most notably on "William It Was Really Nothing", it's also the main guitar on "Half A Person".
This is my White On White Fender Jaguar. It's a '62 body with a '65 neck. The pick ups were made for me by Tim at Bare Knuckle to the original 1963 spec and it has a custom made white pickguard. I've been playing it exclusively on the recent shows with The Cribs and it's my main guitar at the moment.
The 1963 Epiphone Casino that I used to record the main tremolo sound on "How Soon Is Now". I recording the rhythm part and then sent the track out to four Fender Twin Reverbs all with tremolo on and had to keep stopping the song when the amps went out of sync. It took quite a long time.
I wrote "Nowhere Fast" on this guitar and played it at the Glastonbury Festival in 1984. The picture on the inside of Hatful Of Hollow was taken in the dressing room before we went on stage so I have the guitar on in that picture.
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