I’m pleased to announce my first original production in three years!
If you’re a real fan, throw us a couple bucks here:
(and thanks to everyone who’s bought it thus far; seriously: thank you)
Or listen to it on Apple Music? We get paid a bit for that:
(There used to be some YouTube videos of this I was linking to but looks like they all got taken down.)
Writing and execution
I’ve been wanting to work with Nadine for a long time. Seems like this highly talented singer has worked with damn near everyone in Toronto except the Northern Lord of the Deep?!?! Hahah. I’m playing; we’re good friends going back years.
I had the production on the song specifically for her done for some time, but I was blocked on the lyrics. So this song is unique in it’s my first original that I actually co-wrote with the vocalist! Quite pleased with the results; we stuck to the “book” motif consistently without, I think, stretching it too far just to stay in theme.
Nadine insisted we record this in a real studio, which normally–at least when it comes to house music–I’m against, since the profit margin on these releases is so low. What I didn’t realize was how much cheaper studio time’s gotten over the years, and how much just being in the studio environment adds to the vibe and emotions of everyone involved, resulting in a much better vocal delivery and heightened creativity to develop things (such as vocal harmonies and maybe even new lyrics) on the fly.
This particular production was composed in Reason and finished in Logic. I used Reason for the drums (Kong), the two Rhodes’ (Radical Keys), the piano (Radical Piano), the quasi-vocal pad (Predator), the bassline (Antidote), the secondary synth-horn (PX7), and the secondary pads (Parsec).
Rounding out the production with outboard gear, the synth-flute was provided by a Moog Little Phatty, the arpeggiator pattern played on an Arturia Minibrute, and the main silky, smarmy, synth-horn type thing (that follows Nadine’s melody on the pre-choruses) brought to you by the Novation Bass Station II.
All the stems were bounced out of Reason and imported into Logic so I could use my Universal Audio plugins to finish up the mix, sweetening it and warming it up a bit with some Neve EQ and Ampex tape action.
Working with Harley & Muscle again
It was nice to work with the label I started on again. We haven’t done records together in years! They were supportive of the project, gave good feedback, and didn’t waste any time getting the record out to the people.