REX THE DOG REVEAL DETAILS OF THE PRODUCTION PROCESS
The approach was to produce music as soon as possible. So fast that no time was to consider whether it was good or bad. So we started with a set of ideas for three days, and then after three weeks of development work “Sicko” was one of the first signs of this procedure.
What tools did you use and how the track was finalized?
We used a Roland TB-303, which runs through a modular filter, which we have created. If you set it in a really ideal point and a TB-303 loops through, then it quacks like a robot. The drums come from the TR-707 and TR-606 drum machines. They have been modified so that they can sound pretty cool. The drums were synchronized with the TB-303 and all housed in a start-up, however, so they have received their own means of Hall EQ with separate entrances. Then we added a kind of “Steve Poindexter computer Madness Reef” and a spacey voice crying every time “Communicate” when the drums come in again. These pieces were not working, so they were finally removed. The middle part – Interlude – is a Juno 2 pad and a tiny bit of Poindexter Bleep, but passed through an analog delay. We have built this delay from a kit, it does things that sound like R2D2.
Do you have any advice to producers who like to play live?
We see “live performances” as an extension of DJing. This involves giving to showcase all that we believe that is exciting and emotional. It’s great to have the mixing and loop technology from the studio: Voice superimpose to steal beats from different plates and make them part of your toolbox. Ableton Live is well suited for it. You can always experiment, think, for example, while playing, “Oh, this might sound like the Jimmy Edgar Bassline, well in Ghostbusters, with hand-claps of Rick Astley.”