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article from Eheads Online : The Official
Eraserheads Website > www.eheadsonline.com (August 2001)
production notes by Marcus Adoro
carbonara a la marc
ULTRASOUND
- that mooing sound is the theremin followed by buddy noises on one of the
guitars, theres the bleeps courtesy of ely, the band comes in. We havent used
much feedback in this album in fact we tracked only 2 (palamig)
at medyo gusto ko pa but i didnt know which song to put feedback and or weird
noises on so i made it a point to some on this one. The next day i had 5 guitars
3 amps 1 mini amp 1 mini theremin which i picked up in japan, arranged in
semi circle on the the floor in one corner of the Tracks studio 1 live room
and all the fx available that day-ser robin baptised this the guitar altar,
i dont know why, you sed goodbye. raymund was missing that day. we made some
noises tracked it and it was used as intro and outro as well.
Anyway, (this song is in key OD as most of the songs in this album are)
Ely introes with the original riff, then i come in after the 8th count. It
was the boogie guitar thru rp7s wah. the lines in the verses i just made up
in the studio i had the repeating figure in the choruses rehearsed the night
before (it did not cut thru until after the adlib. i let ely mix this). i
already liked elys ad lib (panned right in the mix) but he asked me to make
one and i pretended i had one just to impress sancho who was there. all i
knew was the first note. i had it in 2nd take but i dont know how i did it.
ely said it was good and so it was. bong commented it sounded african.
MASKARA
- (Am) i was determined to play this song backwards so i learned it by reversing
the track in soundforge sonic foundry.com it was disorienting at first but
fun and cool. playing it at home and performing it at the studio was 2 different
things entirely because i had all my analog fx lined up and i had all this
super hero fx in mind (its loudest during the breakdown...) which changes
from verse to verse that made me chacha the whole time. i had gotten pretty
much used to the song played backwards ive forgotten about the engineer and
how hard it was for him to mark the spots with the reel playing backwards.
after 3 hours angee decided to quit on it and passed the session to buboy
rescheduled some weeks later. the backwards guitar is a yamaha studio lord
dropped A tuning. I also used a Takamine 12string ecoustic electric (courtesy
of pinwhill's lagoon naa nung ikaw ay marating kowoh) which i put thru elys
1680 for distortion. we tracked this much much later (i had my own 12string
then)
HOW
FAR WILL YOU GO
- (D) it has this descending intro and i had abbas chiquitita intro in mind
. I used elys Fender Strat and doubled it with an acoustic which was tuned
not dropped, down to D ( had to play the song in E). That picked guitars right
after the reggaeish part is Ely and me playing together. i like the mix. theres
also this keyboard sounding guitar doing pop-paaa during the verses. the strat
thru the rp7. We had chinese food thAt night.
WALA
- this is from a demo i made during the Natin99 sessions which had only the
first and second verse. di daw bagay sa natin theme...This song was originally
written to gradually speed up at the end (which was the main reason why its
so slow!) but Raymund thought it was too long...its only 9 mins. I used a
Takamine 6 strings and double tracked it. Raymund played some cool reverby
guitars here the one in the narration. Buddy and Elys mysteriously got erased
during mixdown.
HULA
- It took me a long time to figure out what to do with this song coz its sounds
as if its already done (raymund put some reverby guitars here very early in
the recording), the bass notes are busy as well as most of the guitars. I
remembered George Harrisons Bangladesh Concert Which I had in vcd. The show
was opened by sitarist Ravi Shankar and his gang and what caught my attention
was this girl plucking an upright 4stringed instrument all throughout the
jam, and if I was right she was not fingering the frets at all just repeating
the drone/plucked pattern. I open tuned my jagstang to D(D-A-D-A-A-D) and
tweaked the eq in the rp7. I strummed it in between raymunds notes which was
very tricky since i dont see a logical pattern and he insist otherwise. I
had to map in my notebook when his notes comes in. this is edited and it only
comes during the second verse but it is there on the quieter parts of the
song. too bad it was buried in the mix but youll hear it if you play it louder,
i had the mix all visuallized in my head and the final mix could have been
better if i wasnt late that night. wasnt too happy with the final edit. the
acoustic guitar shouldn't be in the right channel whatever! where my guitar
is (since they share almost the same freq) and raymunds guitar shouldnt have
been panning (maybe its just me getting too anal)...angees touch was ok though.
i doubled the melody in the middle chorus (inukit) using the second and third
string which were tuned A-A.
PALAMIG
- i remembered we made a demo of this in san dimas california in russels house.
pre glugglugglug pre hehe. we recorded in a walkman and tracked the guitars
bass and vocals in my notebook. good thing raymund got the sonic foundry installer.
during the intros and the choruses i used the yamaha sl tuned to open A, put
it thru a wah, split the signal from wahc to stereo, the left signal passing
thru a bad ass phaser then to buddys bass amp, the right channel thru a delay
to my 22watts still no 1 million notes per second pathfinder vox. i was determined
to use the whammy bar in this song to complement with the phaser to achieve
that giniginaw/malakas na hangin effect. I doubled tracked it and was panned
hard. ngiiii!!!. in the verses i just let the guitar feedback to edit later,
i fooled depressing around with the whammy and feedback during the adlib.
ely liked the feedback so did raymund but he thought the whammy going against
the meloody. whatever. In the verses i used again the split stereo guitars
now going thru a delay-rp7for stereo,panning and delay, then the left to a
fhaser right to an envelop filter or vise versa. the guitar lines during the
was just sumthing to fill the spaces but it trails off like a didgeridoo or
a synth so it was cool. the chorus lines was sumthing i sure did steal from
whom i still cant figure...tin tintinin tin tintintin. maybe its a line from
pula which i stole elsewhwere. i had sumthing tracked as an adlib but they
did not put in the final mix ok na daw yun feedback(ha?).
OUT
OF SIGHT
-i was thinking of classic 4 on da floorrock arrangement because of the structure
but they had blur in mind. it turned out to be an fx galore. i was late during
the guitar and much was already laid down so i just put some with delays and
a tremole and that keyboard sounding guitar na tunog goldie daw.
PAINT
STRIPPER
- another one of those with The Cure painted all over, so the challenge was
how to do the opposite. The original intro was played by ely then i had this
delay/phaser/wha that goes tuwooottuwooottingalingaling . In the choruses
i used dropped A yamaha sl that went thru Raymons pod and i doubled this using
a wah wah. I used the epiphone v which only had two strings (second and third
tuned both in A the one slightly out of tune) that time sixteen notes nyee
counter melody nyeeh!! in the intro and verses. Theres lots of delay part
and a one take sancho and me freakout/delay/wah tweaking. Can you hear the
how far descendin theme somewhere?
PLAYGROUND
- they just showed snippets of the movie...not flash! but... on tv i think
this is what inspired the guitar parts. I was also listening to madonnas cd
music which had lots of analog fx going. theres also this clean strat repeating
the snare and doubling the melody throughout. i love the groovy. sabi ni bong
mapapasayaw ka kahit bingi ka. Elys guitar sounds so much like its a syth
or sumthing
AMNESIA
- If there was gothic surf then this is it. I had big waves in mind and some
surferdude surfing his life out while I was doing thee guitars. dont ask me
why cause i havent tried it yet. Lots of reverb and chorus and delay. Elys
guitars were mostly digital processed and were recorded separately at home
in his homestudio, I doubled the choruses with a paper thin sounding guiatr
on a flanger.
PULA
- 12 stringsfest for me. I borrowed Pinwheels Takamine on the first days of
the recording and played the parts with buddy doing acoustic rythm. The adlib
was done with a 6-string semiacoustic Takamine which I borrowed from Sanchos
arsenal. I had to retake all the 12 strings during on the later part of the
recording I bought me a 12 string then cause ive fallen in love with the sound.
The music was old but the melody i just stiched together in my new pad one
day because i was missing an old friend. The Em-FM7 i stole from Yanos Mercy.
The original version was much longer and i had lots of arguments with Raymund
with the time signatures. hehe. I did not want to let go of the adlib (5 (plus
half an and-this delays the downbeat for one and unit.damn! somebody with
a calculator notate)-4-5 (plus half and)4-5-5-2-2-2 yata . Pink Floyd Nick
Drake edie Brickell Flaming Lips (Jesus Song #666) Yano Yoko Ono and and popong
country. Go figure. Ray edited and i reedited it until weve agreed. I hope
we pull this off live one day. Daaaaw.
OUTSIDE
- I love the song.This space for self promotion. pls do not read. I love the
song.This space for self promotion. pls do not read.
I love the song.This space for self promotion. pls do not read.I love the
song.This space for self promotion. pls do not read.I love the song.This space
for self promotion. pls do not read. This space is love this self promotion.
pls read on.I love the song.This space for self promotion. pls do not red.I
love the song.This space for self promotion. pls do not read.I love the song.This
space for self p omotion. pot no pls do read.I love the song.This space for
selfpromotion.pls to dot red pls.I love the song.Pls space for self promotion.
pls do not read. I love the song.This space for self promotion. pls do not
read. I love the song.This space for self promotion. pls do not read.
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