Pablo Bo­li­var

Computer Music - - Contents -

The deep and melodic Span­ish DJ/pro­ducer likes to keep it retro

ABLE­TON LIVE “Many years ago, I started with Cubase and then moved to Logic, but as soon as I used Able­ton, I knew it was my se­quencer. It makes work­ing with au­dio so easy. It has the perfect tools to record and stretch and warp… su­per, su­per fast. I still mix in Logic, but all the hard work and the writ­ing gets done in Able­ton.” ARTURIA MINI V “I’ve al­ways used hard­ware syn­the­sis­ers and I still have a lot of them in the stu­dio. But if you record au­dio and then want to change some­thing, it’s a prob­lem. So, I have de­cided to make all my basslines with the Mini V. It’s so close to the real thing, and mak­ing changes only takes a few sec­onds. The Arturia V-Col­lec­tion is my favourite set of plug­ins.” NA­TIVE IN­STRU­MENTS MONARK “This is an­other ex­cel­lent ‘ana­logue’ plugin. Very strong and very raw, which is al­ways the most dif­fi­cult trick for a dig­i­tal syn­the­siser. They usu­ally sound too… dig­i­tal; too clean. Even with­out any ef­fects, Monark is full of mu­si­cal en­ergy. It is alive, but it is also feels like a clas­sic. Per­son­ally, I’m not a fan of all those crazy EDM sounds.” MAX FOR LIVE MAG­NETIC DE­LAY “Sorry if I keep talk­ing about ‘ana­logue’ sound – but that’s what I like to hear in the stu­dio! With de­lays, I’m al­ways look­ing for some­thing that will re­mind me of a great dub track from the 1970s. Waves H-De­lay is OK, but the king for me is Mag­netic. And you don’t need to be a su­per-en­gi­neer to make it work – even with ran­dom set­tings, you can eas­ily get those warm tape de­lays.”

With lead lines, we all like to find some­thing a lit­tle bit dif­fer­ent”

MAX FOR LIVE MONO SE­QUENCER “With lead lines, we all like to find some­thing a lit­tle bit dif­fer­ent. My favourite lead synth is the Arturia Prophet, but then I con­nect it with the Max Mono Se­quencer. Yes, it’s only a mono se­quencer, but you can cus­tomise ev­ery­thing – pitch, oc­tave, ve­loc­ity. Set ev­ery­thing to ran­dom and you have a fan­tas­tic lead line that you would never have com­posed in your head!”

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