#Synthspotting feature #133: Max Corbacho Interview

Read the interview in the original link: https://www.facebook.com/synthspotting/posts/1370074073438897

What synthesizers did you use on ‘A Connection To The Wonder’?

My gear used during the production of ‘A Connection To The Wonder’ was as follows:
Sequential / Oberheim OB6
Sequential / Oberheim OB6 Desktop Module
Studiologic SL88 controller
Yorick Tech Low-Frequency Expander
KORG Triton
Korg Triton Extreme + Moss (Z1) Board Synth
Access Virus TI
BOSS DD-20 Digital Delay
Lexicon Pro PCM-80 reverb
Eventide Audio Eclipse
Soundcraft Mixers MFXi mixer
Steinberg Wavelab audio editor
JBL lsr305 studio monitors
Dali Suite 2.8 floor standing speakers

What is your current favourite hardware and/or software synth and why?

“Currently my two Sequential OB6s are the basis of my sound, along with the Eventide and Lexicon processors.”

Tell us a little about your production technique used on ‘A Connection To The Wonder’

“I have several ways of working but can all be summed up by the following: I use the sequencer of my Korg Triton Extreme to MIDI record everything I play, improvised or not. This sequencer records all the synths in the studio, and everything is played back there and played live through my Soundcraft console to be sent as a stereo track through the main outs to my DAW.”
“Normally my tracks come out of the outputs of my mixer already finished. I sometimes add some extra audio tracks in my DAW, ACID PRO 10. This isn’t always the case; it depends on the piece I’m working on.”
“I usually work on each piece of the album for several weeks, living with it, listening to it, even sleeping with that piece, and little by little I am finding the path that the music naturally suggests for me to add or change what is appropriate at each moment. This is my favorite moment in the making of my albums, listening to the piece for a long time and seeing where it takes me.”
“Once I have all the pieces of the album created, I work on the creation of the album itself within ACID PRO 10.”
“Normally I present several many pieces within the audio sequencer, I choose which ones are the most appropriate for the album and their order within the same.”
“Once I have finished this phase, I proceed to the mastering of each piece of the album. Sometimes I send the album to another mastering engineer for mastering, but most of the time, the mastering is so delicate for me that it becomes one more phase in the production of the album that I want to control and do it for myself.”

Tell us a bit about ‘A Connection To The Wonder’

“I will refer here to the two works you ask me about, the album ‘A Connection to the Wonder’ and the piece I created for Gemstones II, ‘Merging Into the Night’.”
“For ‘Merging Into the Night’ a chord progression was created on my two OB6’s. I usually play them at the same time through a Studiologic 88-key controller. I got this controller two years ago so I could access all my synths at the same time. With it I can create splits and divided zones throughout the 88 keys that allow me great sound creativity. The OB6 can be connected in a poly chain to get the 12 voices, but this forces me to sound the same patch in both. Playing them through my external 88-key controller in split mode I can play them both at the same time but each with a different sound, which can create intricate sonic labyrinths that carefully processed in my Eventide Eclipse and Lexicon PCM80 become magical soundscapes.”
“The techniques used throughout the album ‘A Connection to the Wonder’ do not differ in the basics from what was previously exposed. I’ve been working on those three tracks that make up the album for the last two years. Although, not only in these tracks, since I usually work on several projects at the same time.”
“My studio setup allows me to switch from one track to another with ease.”
“The first track is made up of two parts, the first created with the two OB6s and the 88-key controller playing live, plus various internal layers of the Korg Triton and the Virus Ti. There are also some faint brushstrokes coming from the Korg Triton Extreme’s internal Korg Z1 Synthesizer Moss Board.”
“A lot of my signature sounds come from the Korg Z1, which was then passed to the internal board in the Korg Triton Extreme, the Moss Board. All this then passed through the Lexicon PCM80 and Eventide Eclipse processors.”
“In the second part of the first track I used the two OB6s with two slow arpeggios, developing slowly and accompanied by the Virus Ti pads and Korg Tritons.”
“The second track ‘This Space is Being Created’ is based on a drone patch on my Access Virus Ti. Contrary to what many people believe, this is not a synth just for Techno, it also has a great palette for ambient music thanks to its powerful modulation matrix. All this sound in the background is generated in the two OB6 creating a sound mattress.”
“The last track follows the same classic setup I mentioned earlier, the two OB6s played through the SL88 key controller. One of the two OB6s uses a distinctive filter sweep patch that permeates the entire sound and gives the piece its character.”
“Little by little some more layers of the Tritons and Virus Ti are added very slowly, creating a fabric that changes almost imperceptibly. Little by little I am altering the levels of each track until I reach the end where only the two OB6s sound alone again for closing the track in a final fade out.”

Find out more about Max Corabcho

Website: https://maxcorbacho.com/
Bandcamp: https://maxcorbacho.bandcamp.com/
Twitter: https://twitter.com/maxcorbacho
Youtube: https://www.youtube.com/channel/UCw-xvSQ3xP8Z1OepLZzqo2A

Features planned for 2022 and beyond include Lisa Bella Donna, Rodrigo Passannanti, A Flock Of Seagulls, Time Traveler, Darrell Fitton (Bola), Craig Padilla and Marvin Allen, part 4 of the Michel Geiss feature series, Joe Grandberg ‘Voice of the Cylon Pt.2 and much more…
Stay safe folks, like this page, follow and watch this space 😉

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