![]() ![]() But what I’m starting to do now is decide which bits I want to perform live and then put a backing track together without those parts. What I used to do was take the separate stems into Ableton and then sequence them together live. I’ll then get stems back from the mix engineer to then put into Ableton. Most of the time I’ll build the track in Logic, record Victoria, work it, chop it up until we’re happy and then I send off stems to be mixed for the final record. MT: So how do you marry your two very different studio and live set-ups together? MW: It can get even more complicated. The complete studio is actually a self build from scratch that Max completed with friends including the shed it sits in He sent that track to him and he played it on the radio the same day and we got signed to his label, Brownswood Recordings. We got management off the back of that and one of them knew Gilles Peterson. I wasn’t expecting anyone to be able to write anything to it as it was pretty weird, but she came back straight away and had done a complete vocal on it. In 2011 I met Victoria Port and I’d done this track called Yes Guess but it was an instrumental. I started demo-ing this sound – house music, bass music, that kind of thing. I was learning a lot from doing all this other music but was leaning more to electronic music so I ended up eventually settling on my house music sound. I ended up getting an Akai MPC but didn’t really use it for hip-hop! When that project ended I had quite a decent studio but was at a bit of a loose end over what I wanted to do so I started working with live musicians, but whenever I went back to the MPC I started to get excited again. So that got me into more producing, and more into sampling loads of vinyl. MT: When did you become successful? MW: Well it progressed from there and I ended up getting a record deal when I was quite young doing hip-hop. It was around the time of the Aphex Twin and The Prodigy and I was obsessed with these electronic noises. Then we started getting competitive over who could make the best beats on these terrible bits of software. I had a really early Mac and found the equivalent tracker for it. I had a mate who had worked out how to make hip-hop beats on this shareware one that he had. So I lost the lessons but got into sampling all sorts of noises, playing them back at different pitches, and I think you could loop stuff on it too.įrom there I got into mod trackers. I took it as a bit of a challenge and had this little keyboard, a Yamaha, I think, that you could sample into. ![]() He basically got rid of all of his bad students and kept the best, and I didn’t make the grade. How did you get into music production in the first place? Max Wheeler: I guess it goes back to when I had piano lessons aged ten and I was fired by the teacher. MusicTech: We might as well go back to the start as it’s question number one. Victoria Port’s vocals on Yes Guess helped to catapult Anushka to stardom It’s an interesting tale with an even more interesting mix of gear: from mod trackers to Push, from that piano to two completely different gear set-ups, so we’d best get on with it… As we’ll see, that early-years sacking led to multi-genre music production, two label signings and his current success. All your 32-bit-only plug-ins will again reappear in the plug-ins menu as they once did.But Max doesn’t do music production in a very typical way. No special re-wiring or routing is required. Older Logic 9 sessions will completely load into Logic Pro X, including all presets, parameters, and automation. 32 Lives generates 64-bit Audio Units versions of your beloved and hard-earned 32-bit legacy plug-ins, helping you to cross over to the new 64-bit Logic Pro X smoothly and transparently. ![]()
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