In his new television documentary, producer and musician Mark Ronson uses autotunes on John Lennon’s old songs with the help of Sean Lennon.
Sean Lennon is on the synthesizer and, at the suggestion of bandmate Paul McCartney, fine-tunes his late father’s vocals through autotune.
“I didn’t expect to be able to play apples on drums,” says Sean Lennon.
“And I never thought of doing a jazzy autotune.”
It’s not a fever dream. This is episode 1 of Mark Ronson’s new documentary series “Watch the Sound”.
Behind Amy Winehouse, the six-part program features uptown funk, his own hit with DJ to musician and producer Ronson, Lady Gaga, and Bruno Mars, from sampling to synthesizers, drum machines, and more. Examine specific musical innovations and techniques up to autotune. , Reverb to distortion.
Musicians (from Dave Grohl to Gary Numan, Charli XCX to Beastie Boys) and episode experts (including Roger Linn, who invented the Lynn drum machine) Ronson Rope.
They all end up with new songs created using the theme tools-the EP will be released this Friday as the program drops on Apple TV +.
Paul McCartney-Ronson has participated in the production of his album New-Guest several times, from DJing at the wedding to an episode of Autotune.
The Beatles have revealed that they have no objection to using Autotune in the studio to fine-tune their vocals. If John Lennon was nearby today, he would work on a technology that could slightly modify the vocals. Cher’s Believe or rapper T-Pain to the extreme intentional robot level.
“Paul said he would use Autotune because John liked to play with his own voice,” Ronson told Binji.
“Then Sean Lennon explained it further.” My dad hated the way he could hear his voice, so he was always coming up with tricks to change it. So we decided to play with old John’s vocals, Sean thought it was feasible that his dad might have been playing with it. What Paul McCartney said urged us to follow that experimental path. “
One of the most connected men in contemporary music, Ronson is a close friend of Sean Lennon.
Sound director Morgan Neville (20 feet from stardom, road runner-new Anthony Bourdain’s doco) claims that Ronson uses that connection to capture Sean in the camera and update his father’s song “Hold On.” Look at what you did.
“It was great to be in the room and see Sean jamming essentially with his dad.”
McCartney also details how to create a drum loop with The Beatles’ groundbreaking Tomorrow Never Knows in 1966 and use a prototype Moog synthesizer with Maxwell’s Silver Hammer.
“The Beatles are so worshiped and studied that I think I’ve heard all the possible anecdotes from Paul McCartney,” says Ronson.
“But what they were doing with technology was at the forefront, and they were always driving it. Tomorrow Never Knows-that’s the beginning of drum sampling and loops. And it’s like The Chemical Brothers. Sounds like. “
An episode exploring the history of sampling reveals that Ronson owns his first hit, Ooh Wee’s “minus 25 percent” in 2003.
The track samples strings from Boney M’s Sunny and drum breaks from Dennis Coffey’s Scorpio.
Naive Ronson didn’t understand how music publishing works.
“I tried two things and thought it was hip-hop. At Paul’s Boutique, the Beastie Boys sampled 12 songs in one song.
“But I sampled one of the most famous jazz songs to date. Some wanted 100% of royalties, but the cost of a drum break was 25%, so Yes, I found that I own minus 25% of the song.
“I had to go back to Ghostface Killah and Nate Dogg who appeared in this song and say,’Sorry, no one is getting paid for this song,’ so they said,’Another. You should pay us from the song. ” .. So you start taking pieces from other songs on the record to make it all work.It’s a crazy nightmare, but it’s worth it
“Kanye West was so famous for sampling that he always said that no song was worth it. It would be worth it if we could improve the song with iconic samples. Yes. You may never have made money from Ooo Wee, but the song put me on the map a bit. That’s why I met Lily Allen and Amy Winehouse. All of them After all, it’s worth it. “
Ronson’s musical tastes are refreshing and wide-ranging. At home, he sampled with roots Questlove, early hip-hop with DJ Premier as a rock riff with Queens of the Stone Age’s Josh Homme (his favorite band), and his beloved early synthesizer work. Are discussing. Duran Duran.
Watch the Sound Ronson enters the studio with Duran’s Nick Rhodes. He shows how he created the “symbolic” synthesizer riff behind the classic 1982 Save a Prayer.
“Seeing how Nick Rhodes created it and playing with its modulation wheel was like looking inside a watch or magic tricks.”
Ronson launched the podcast The Fader Uncovered, interviewing everyone from Talking Heads’ David Byrne to Tame Impala’s Kevin Parker, and asking questions on Watch the Sound.
“When I started music, I wasn’t a guitar or piano genius. I knew I liked music, so I wanted to be as close to music as possible,” Ronson said. increase.
“I did an internship at Rolling Stone when I was a kid playing in a high school band. I wrote in a school paper because it was the only way my mom could go to a live show. I always know how I am. I was trying to figure out if I would interrupt the music.
“When asked if I can make music myself or enjoy music for the rest of my life, it’s a difficult decision because I don’t know which one to choose. Doing this is definitely a creative part of my brain. It stimulates. “
“When I talk to someone like David Byrne, I don’t think I’m on the same level as David Byrne and I’m not going there. I’ll talk about the process. He’s David Byrne, he’s here. The fact that I’m also making music means I can be involved in some great things, but really I think he’s all these incredible Talking Heads records and American Utopia. I’m there to find out how I made it. Bring my question and come there and forget to ask something, it sometimes gets a little nervous. But I really do it Enjoyed it.”
He’s still working on new music-he’s writing something unfinished for Duran Duran’s new album Future Past, and working on a follow-up to the acclaimed Late Night Feelings in 2019.
He also produces a new Lizzo album (“I didn’t think she was so great musically”) and his discovery, King Princess.
The sound also shows his unusual footage of recording Back to Black with Amy Winehouse in a studio in New York. The late singer is capturing her vocals in a mattress-covered temporary booth.
The singer, who died 10 years ago last week, still keeps Ronson Beam thinking about their efficient studio work.
“I met her. She came to my studio on Tuesday at 5 pm. By the next day, I wrote Back to Black. She was walking down the street on the third day, I told an anecdote that turned into rehabilitation.
“I might have spent seven days in the studio, but I wish I had three months longer. I had a lot of fun in the studio with her, so I had more memories.
“We spent a lot of time together after the record was completed, which was a very short time we spent making the record.”
From Friday, watch the Sound With Mark Ronson stream on Apple TV + and stream the soundtrack EP on Apple Music on the same day.
Why Mark Ronson decided to Auto-Tune John Lennon’s vocals Source link Why Mark Ronson decided to Auto-Tune John Lennon’s vocals