Now playing on dirty.radio: Loading...

  Dirty Forums > underworld.

Post Reply
 
Thread Tools Display Modes
  #1  
Old 10-09-2014, 01:54 PM
BeautifulBurnout
MadMinistrator
 
Join Date: Dec 2008
Posts: 2,520
Nice Interview in today's Guardian...
...could do with a few more Dirts bigging it up though. There are some right numpties on there.

Pop Tarts, ffs?

http://www.theguardian.com/music/201...?commentpage=1
__________________
"If I can't dance, I don't want to be part of your revolution" - Emma Goldman
  #2  
Old 10-09-2014, 03:18 PM
jetpig
LoveyouLoveyouLoveyou
 
Join Date: Dec 2011
Posts: 997
Re: Nice Interview in today's Guardian...
Random internet comment sections are so very often pissing matches and flame wars. Not worth the effort. The article is great through! Now I want some pop tarts...
  #3  
Old 10-09-2014, 05:04 PM
BeautifulBurnout
MadMinistrator
 
Join Date: Dec 2008
Posts: 2,520
Re: Nice Interview in today's Guardian...
Quote:
Originally Posted by jetpig View Post
Random internet comment sections are so very often pissing matches and flame wars. Not worth the effort. The article is great through! Now I want some pop tarts...
True.

On the other hand, there is serious comedy value at times too.

This, in riposte to the evil "Pop tarts" guy:

Quote:
You one of those English guys who spent 5k on studio equipment and Protools back in the day and your wife told you your record that went bleep, bloop, sqwark, blooperblip for 3 hours was giving her a headache so you sold all your gear in the pages of Loot and bought a flatscreen telly for 3k for your "home cinema" that is now of lower spec than the tellys you can pickup in Argos for 300 quid?
LMFAO!
__________________
"If I can't dance, I don't want to be part of your revolution" - Emma Goldman
  #4  
Old 10-10-2014, 03:46 PM
TheBang
Admaxistrator
 
Join Date: Jan 2006
Location: Sunny Hawaii
Posts: 4,422
Re: Nice Interview in today's Guardian...
Funktion One posted a nice interview with Karl on Facebook. Here it is:

Underworld play a special show at the Festival Hall in London toomorrow night to mark the 20th anniversary of the album Dubnobasswithmyheadman.

Karl Hyde is using a special monitor environment for the show, featuring two Funktion-One F1201s for stereo mix, a PSM12 for mono vocal, together with a MB212 minibass sub behind.

We spoke to Karl about re-visiting the album and about working with Funktion-One's John Newsham.

---

How are preparations going?
Preparations are going good. Weíve got just the right amount of mistakes happening, at just the right time, you know? You canít get too complacent about it, got to stay on edge.

Are you looking forward to the Festival Hall Show?
Yeah, yeah I am. Itís taken a while Ė I canít say I was to start off with Ė but I am now. Iím not one for re-living the past normally but itís a really good album and I like performing with Rick [Smith], so thatís two good reasons why I should enjoy it.

Have you played there before?
No, Iíve never played there before. Itís a lovely space Ė Iíve been to concerts there before.

Iíve done some concert halls with Brian Eno Ė we played the Opera House in Sydney Ė and Iíve played with my own band at the Melbourne Recital Centre. I really like that environment for playing in Ė itís clean. The house crew is always really, really good. Backstage is nice. And people go out their way to help you make a great night. It all focuses on you doing the best you can rather than having to fight the environment.

Has your idea of the Ďideal venueí changed?
When youíve been spoiled and you can hear what your playing and youíre playing at a volume where it feels human, thatís really appealing, particularly with music like ours. Itís got so much detail. So often Rick has to strip out some of the detail in order to play some of the big festival stages and some of the bigger spaces that we play, and thatís cool because itís doing its thing for the environment weíre in. Itís just nice to be able to play a really detailed record in the way that it should be played.

Weíre fortunate because Underworld can be more than one group. A couple of weeks after we play the Festival Hall we head to Belgium to play ĎI Love Technoí Ė a very different night. Very physical, very sweaty, turn it up, a quite visceral experience. Thatís two bands out of the same band. Thatís exciting for people who have been together for 34 years, to know theyíre in more than one band and itís the same band.

Perhaps because youíve always been driven by being progressiveÖ
I suppose, in some ways, yes but also our music, our records, are always very eclectic, with every album. Dubnobass is no exception, it kind of set the benchmark, really. Having tracks that could be played on a dancefloor, like Cowgirl, and other things like ĎRiver of Bassí, which could never be played on a dancefloor Ė when are you going to play tracks like that? Weíre playing them for the first time ever, really.

Mother Earth Ė I think we might have played Mother Earth once, with John Newsham in 1991, from the front desk at Glastonbury, when he let us come up and play live. Rick and me with John and Tony - Turbosound they were then - in the afternoon, on the main stage system, but from the control desk. That was the year before we all became the Experimental Sound Field Ė Michael Eavis gave us our own field, which in many ways was the blueprint for Underworld as a live, improvised band.

Youíll be playing Dubnobasswithmyheadman in its entirety and in orderÖ
Yeah, absolutely. Something weíve never done, ever. We havenít done anything like that. That was part of the appeal, really. Weíve never done anything like that before, so letís see what itís like. Weíve never been a band to say Ďneverí. Itís an opportunity to do something weíve never tried before.

Has the process sparked new inspiration?
Yeah, yeah, we both think itís an album which is very contemporary in its sound. Revisiting it is quite timely because weíre back in the studio writing and there are a lot of things about that album, not only in its sound, but the approach, and the mindsets that were going on at the time Ė you know, the attitudes we had to the things going on around us, and to things we were bringing into the studio. Itís been valuable to re-visit those things again.

How has life changed?
My life is completely different to what it was like then. It was a very dark and precarious existence. The lyrics that were being delivered to the recordÖ itís interesting to re-visit those processes and you start to think, can you achieve that very focused state of mind without having to do such damaging things to your body? And the answer has to be Ďyesí. Itís been very inspiring to realise that itís just a state of mind and you can find other ways to achieve that focus and sharpness of mind.

So youíve known John and Funktion-One for a while?
Since 1983. In 1983, we were at Stanbridges Ė that was a rehearsal studio Ė and they had Turbos in there and, in fact, in 1983 we recorded at Ridge Farm. When we were Freur we recorded one track of that first album at Ridge Farm and met Tony and John then Ė went over to the workshops, said Ďhií, then later that year we went to Stanbridges and rehearsed using Turbosound and weíve been in love with that sound ever since.

Do you see Funktion-One as the natural progression for Turbosound?
Oh yeah! Absolutely. Absolutely. It sounds human. Thereís just something about it. It comes on. Other systems have a colour to them, which feels more synthetic than Funktion-Oneís. Turbo was the same. They sound human, they sound organic. They feel like theyíre living, breathing things. They invite me in when Iím listening to them. Weíve got Funkion-Ones Ė quite a few subs, mids and highs Ė here at the studio and we have them on stage as our monitor system. Theyíre fabulous. We tried a couple of shows without them and it was awful. It was like our ears had been taken away from us Ė something was missing.

When I went out with my own band, we took them with us because I just felt like I couldnít function without them. Rick and I have grown up with them, both as a PA and as a monitoring system - theyíre a part of our sound. Theyíre a very important part of the sound of Underworld. When the two come together itís very special.

Is the monitoring system for the Festival Hall show new?
Yeah, itís very specific. It came out of my experiences with my own band. John did FOH when I took the Edgeland album on tour. We were using a kind of halfway towards the monitoring system that weíve got now. We were using side-fills and a small Funktion-One wedge in front of me and one in-ear in, with a little bit of reverb. It was a whole new system and I was working on cables instead of radios. Radios bring you so much interference and they filter out so much of the quality of the voice.

For this, I needed something that was very specific in the area that it covered because I didnít want it to spill out over Rick, so I couldnít use side-fills across the stage. So we set up a horseshoe of speakers Ė small wedge in front and two speakers on the side, pointing up at me. So I stand in this horseshoe, where Iím getting a stereo image of the mix that Rick is sending out to John, plus my vocal effects are in the stereo pair, and then my straight vocal comes to my own monitor desk Ė I can send it to the monitor straight in front, take it up or down.

Then Iíve got another control which sends to my single in-ear, which I can bring up and down, and add some ambiance to that as well. So I can completely contour what Iím adding to Rickís mix. I like to hear Rickís mix, but in this instance Iíve taken out my own vocal and left the vocal effects in the sides.

Itís really fantastic. Itís phenomenal. When we ran it at the Festival Hall the other day, we did a sound check, and even with the system slapping back off an empty room, it was phenomenal. It just allows me to hear my voice - the tonality and the various frequencies. Thereís a lot of air in my voice. Itís really important to be able to control the tail and front end. When I canít hear that, when Iím just using in-ears, then basically youíre just a vocal note thatís on or off, loud or quiet. For something like this Ė this album, in this kind of environment Ė itís imperative that Iím able to hear as much of the voice as is humanly possible, while at the same time hearing the space of the room. This new system that Funktion-One has created for me is fantastic. Itís the best Iíve heard my voice ever.

Itís curious, weíre doing some tracks that the band plays on main stages, things like Cowgirl, and itís quite shocking. My voice is so clear, Iím having to turn it down. Iíve just never heard it like that before. Iíve never ever had such control of the image of my voice, itís like Iíve been given a new lease of life.
  #5  
Old 10-10-2014, 03:47 PM
TheBang
Admaxistrator
 
Join Date: Jan 2006
Location: Sunny Hawaii
Posts: 4,422
Re: Nice Interview in today's Guardian...
When you get the monitoring right, do you deliver a better performance?
Yeah, you do. When you get that sweet spot as well. That’s one of the things I like about having Funktion-One behind us - it just feels fantastic. There’s a bit that’s been completed on the inside of your head. You feel like you’ve got all your skills available and you can take them anywhere.

The brilliant thing about working with John… I spent years and years in the ‘80s, spending hours trying to explain to monitor engineers what I was hearing. It would just go on and on and on, and it’s so demoralising. John walks up, and tweaks, it takes him less than a minute and he gets it. He understands. He’s a master. He is a master, there’s no question. When I went out on tour with my own band last year, I refused to go unless John was available. There’s just no point because you end up getting into these conversations about sound, which are untranslatable. But because we’ve grown up with John and also because he is such a master – he’s an extraordinary sound engineer – you just say to him, ‘John, can you just do that thing that you do’ and it’s great.

In our early days, when we’d go and play some clubs in America and other countries, the sound system would almost literally be falling to pieces, I remember club owners would be coming up to John and shaking his hand, saying, ‘Oh my god, how did you get it to sound like that?’ He just understands.

Some people are really good with animals, John is fantastic with sound and speakers.
  #6  
Old 10-10-2014, 06:05 PM
jetpig
LoveyouLoveyouLoveyou
 
Join Date: Dec 2011
Posts: 997
Re: Nice Interview in today's Guardian...
hrmm. Curious what the I love Techno set is gonna be like then. Dark and long, rez/cowgirl, dirty epic, nuxx are givens. I suspect scribble, tmo, KoS, dark train also. Perhaps spoon man and surf boy bridges?
Post Reply

Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off

Forum Jump


All times are GMT -7. The time now is 03:06 PM.


Powered by vBulletin®
Copyright ©2000 - 2019, vBulletin Solutions, Inc.