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And then I added trap hats, because it’s 2020, you gotta have trap hats ! The hats are from Kontakt – that’s kind of what I use for all my sampling needs. I was listening to a lot of Backstreet Boys and N*Sync at the time and I wanted them to have that really crunchy, squishy ’90s Max Martin sound. I added this drum beat using the Beat Em Down preset in Kontakt. I mic’ed the guitars totally dry, without any effects, and they sounded super box-y and horrible so I added harmonic distortion, EQ and a bunch of parallel processing (compression, spreader) then sent to a nice hall reverb. I layered the loop with this other acoustic guitar in Nashville tuning - which is just the top 12 strings of an acoustic - and it sounds super thin and shimmery, which gives it an even more Cocteau Twins vibe. I wanted to try to make it into a super poppy song too. When you loop something, there can be this little gap in the audio that gives it a weird kind of jolt, it’s very subtle and subconscious but it jerks your attention back to “This is repeating right now” because all the overtones and harmonics get cut off in a bizarre way. This song started with this really standard acoustic guitar melody that I looped. Orchin has also been cool enough to give us the stems for the track “dRiVe.” Try your own remix & make sure you tag us in it!
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Read on to find out more about how Orchin combines acoustic and digital sounds, his insane parallel compression chains and some killer tips for getting big pop vocals and drums. In a recent episode of Real Talk, Jeremy walked us through the stems of his recent release “dRiVe,” a track whose centerpiece is a MIDI guitar line played with Komplete’s MIKRO PRISM, as well as percussion from Kontakt’s Beat Em Down kit and several doses of RAUM reverb. People associate sounds with instruments and instruments with certain sounds, so there’s a lot of room to just fuck with people and I like playing on these weird auditory hallucinations you can create.” I love creating sounds on the computer that sound like a real guitar, but they aren’t. I’ve been trying to approach it like, ‘What if this guitar is like the oscillator of a synthesizer?’ And then my options for processing it are what’s on the face of a synthesizer – filters and LFOs and whatnot. “For all the newer stuff, I’ve been approaching it from an electronic production standpoint first, making loops and working off those or pulling up a random drum plugin in ProTools, hitting the MIDI keyboard and then quantizing stuff to see if anything cool and random happens. “For my last album, I’d just write the whole song on guitar and go record it,” he explains of his songwriting shift. It’s just about embracing the tools in front of you – you don’t need to do what other people did. Cook just did an interview where he talks about laptops as the new folk instrument and that’s so on-point for right now. “I definitely spent a lot of time when I was younger trolling through gear blogs and being like ‘What effect are they using?!’ but weren’t on gear blogs looking for the right pedal! They just picked up whatever the new cheap thing at their corner-store guitar shop was. “I think that influences my music making a lot because I always love things that are floating and in that weird ethereal space – very emotional and out-of-body almost.” Achieving this elusively sublime sound used to mean studying what pedals were used by fuzz-rock greats like Cocteau Twins, My Bloody Valentine, or Jesus & Mary Chain, but these days Orchin’s approach is much more digital and unorthodox.
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“Living in LA, I do a lot of driving, and that’s where I listen to music most of the time,” Jeremy explains.
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With his solo project Orchin, he dabbles in euphoric influences from ’90s Eurodance and trance, emo sensibilities, and PC Music-style avant-pop, which you can hear on his 2019 record Serene (Terrible Records), which The Fader called “a heady, compulsively listenable Frankenstein’s monster of an album.”
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But lately the L.A.-based producer has been finding new ways to marry his shoegaze chops with some of the weirder things that computer software can do. Jeremy McLennan has toured all over the world as a guitarist and drummer in bands like Tamaryn, Hatchie, and Launder.