#Mad keyboard cowboy free#
One technique I like to do when making music is to play the MIDI notes into your DAW and then send the sequence back into your hardware synths and then mess around with the tone that way.* Video Game & Game Console changes are also Free *Īdditional Couple Details are $10 each and available in the drop-down selection. I kind of like stuff a bit sloppy or raw to an extent and I think a lot of electronic music can sound a bit emotionless. It kind of takes away the essence of music. But I really hate it when stuff is quantized too much. JM: I Well this doesn’t really define me and it’s not exactly a trick. MT: Talk us through at least one of your production tricks or processes that you tend to use most often and that perhaps defines your sound over others… And don’t be scared to try new stuff out or be a bit whack. Every artist that I know that goes into the studio trying to write a #1 sounds like shit. But from what I gather the best shit comes out when you go in with the intention of just making something that you’d listen to. JM: I haven’t done too much stuff in studio except for playing drums. We tour with the shittiest plastic keyboard case that came with my Juno 106. It’s funny how big it has got but me and Ben the drummer still set up and pack down all our own gear. So I went through that routine and did some world class flirting. I’ve got about 15 minutes worth of time I can be funny for. Ella bought Taylor Swift on to our bus one time then Ella said she had to go do interviews and left us with Taylor. By the end of next year I would’ve ticked off most of what I thought I would never achieve so I need to reevaluate and see what’s next. It’s a weird thing to be doing exactly what you’ve always dreamed of doing. I could happily retire and work in IT now.
Playing for a Grammy nominated artist makes me feel a satisfied man. It’s nice coming back to NZ after these trips getting to hang with my homies who don’t really give too much of a shit about it all. It’s amazing but everyone is pretty chill in our crew. I ran out of ways to celebrate so I walked in circles for a bit then settled on a cigarette. When she was number 1 in America it didn’t feel real. It’s cool, most of the crew are from New Zealand so everyone just feels like homies. It’s so nice to play for something that you are so proud of. We acted like a couple of insecure girlfriends for the first few weeks, but it’s a good feeling knowing that you stack up in America coming from New Zealand. Our first show was playing to a room of 150 people in Auckland and then our sixth show was playing to 15,000 at a festival in Australia! The first time we came to America me and the drummer Ben thought that we’d be just a couple of Hillbillies from New Zealand and a couple of amazing session guys would be waiting at the airport to step in for us and we’d be on the next plane home. MT: You must all be blown away by the rapid success – tell us a little on how you are all coping with it… We had some absolute cowboy of a monitors guy at a festival in Australia that put our click through the wedges so after that didn’t trust anyone so we take care of that ourselves. I control all our in ear monitors on stage as well. He sampled everything out from the record so it sounds pretty close to it. It was great being able to work with her producer Joel so closely. JM: My role is to basically to take the songs from the record into a live scenario and to make any idea she wants to do live possible. MT: What is your role in the Lorde set-up? MT: So when did you get in to the technology side of music? I went to Jazz school after high school but decided that I didn’t want to do three years of playing jazz – everyone there ended up doing the cruise ship circuit which wasn’t really what I wanted to do. I used to listen to the Siamese Dream album religiously and knew every fill on the record – I used to sit in my room and pretend I was playing that to a big crowd. Jimmy Chamberlain the drummer from the Smashing Pumpkins was my hero. My friends listened to a lot of Metal but my Dad used to take me to all the jazz shows that would come to town. I ended up playing in so many different kinds of bands growing up. When my Mum moved here to New Zealand from Singapore the only job she could get was teaching drums after school at the primary school I went to, so I used to just go along to that and joined in. My mum used to conduct orchestras in Singapore and my Dad used to play in a jazz band.
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