Chords for In The Studio with Moby - A Case For Shame
Tempo:
70.45 bpm
Chords used:
Bb
Dbm
E
Gb
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hi, I'm Obi.
Welcome to my studio.
And the song I'd like to talk about today, [N] at present,
I don't know the name of it.
The name of the file is Love Tears, but I don't think that
will be the name of the song once it's released.
It's a song that I've done with my friend
Cold Specs, who's an amazing, amazing singer, signed to Mute Records.
And the song started
with drums.
So, I mean, her Cold Specs vocals are amazing, selfishly, subjectively, I think
the music is good.
But I wanted to talk about the drums, because they started really, really
small and thin, and they kept getting bigger and bigger.
And then there's one little bit
of simple studio trickery that I used to make the drums sound even, hopefully more gigantic
and expansive.
So, not to in any way ignore the vocals or the music, but we're just going
to talk about the drums behind this song with Cold Specs.
And I don't know the name of the
song, because I'm ignorant.
And as I've said over and over again, I only give songs their
final name right before the record's released.
So that's why I'm just as, I'm more confused
than you are.
So here are the drums.
It started off with actually just this simple little
tom-tom part.
So that was the start of the song.
Because I collect drum machines, and
that's from one of the greatest drum machines ever made, the Roland CR-78.
And I love, we'll
arrogantly, presumptuously believe that I have the world's largest collection of analog
drum machines.
Maybe someone can prove me wrong, and I would happily accept that challenge.
So, back to the CR-78 [Bb] tom-tom.
[E] Nice and simple.
And then I added the kick drum, [Gb] which is not
from the CR-78.
And it became a snare drum.
And so I ended up with this nice, simple little
drum part.
[C]
And then I programmed in a bunch of other drums to sort of like just fill it
out more.
Because as the song came together, as Cold Speck did her vocals and the music
developed, the drums sounded [Bb] just too thin.
So I added this programmed part.
Which I spelled.
Sort of filled it out more.
And then I added another programmed part.
So this is what I
had up until we started mixing the song.
[N] And I thought that was nice.
But I really,
the song has this sort of like expansive, beautiful quality to it.
At least I think
it has an expansive, beautiful quality to it.
And so I wanted the drums to have a more
expansive, beautiful quality to them as well.
So I took that last programmed part, and here's
the studio trick.
So if there are any producers out there, you probably already know this,
but I'll tell you anyway.
Take, whether it's a drum loop or a snare, and you put it to
reverb.
That's the obvious part.
But then, take the reverb and send it to really intense
compression.
Because what the compression then does, is the reverb hits the compression,
and the compression brings up the end of the reverb.
You know, if the reverb normally would
tail off and get quiet, the compression actually brings it up, and you end up with this sort
of like big, sometimes almost too expansive quality.
So there are a lot of records you
wouldn't want to do that with, but with this one, I felt like sending snare to reverb,
and then send the reverb to really intense compression.
You ended up with, so once again,
so here's just the regular programmed drums.
[Bb]
And [B] here's with the programmed snare going
to reverb.
[Ab]
And as I said, not just going to reverb, but reverb into really, really tight
compression.
[N] So that's how this song that I don't know the name of, that I did with
Cold Specs, how it started with this tiny little CR-78 tom, added a few little programmed
elements that were very simple, added more programmed elements, more programmed elements,
and then took the final programmed snare and sent it to reverb and then compression, and
ended up with this big, what I hope is like a big, nice expansive drum sound that sort
of matches the expansive quality of the song.
[Dbm]
Okay, that's it for this one.
Thanks.
[Fm]
Welcome to my studio.
And the song I'd like to talk about today, [N] at present,
I don't know the name of it.
The name of the file is Love Tears, but I don't think that
will be the name of the song once it's released.
It's a song that I've done with my friend
Cold Specs, who's an amazing, amazing singer, signed to Mute Records.
And the song started
with drums.
So, I mean, her Cold Specs vocals are amazing, selfishly, subjectively, I think
the music is good.
But I wanted to talk about the drums, because they started really, really
small and thin, and they kept getting bigger and bigger.
And then there's one little bit
of simple studio trickery that I used to make the drums sound even, hopefully more gigantic
and expansive.
So, not to in any way ignore the vocals or the music, but we're just going
to talk about the drums behind this song with Cold Specs.
And I don't know the name of the
song, because I'm ignorant.
And as I've said over and over again, I only give songs their
final name right before the record's released.
So that's why I'm just as, I'm more confused
than you are.
So here are the drums.
It started off with actually just this simple little
tom-tom part.
So that was the start of the song.
Because I collect drum machines, and
that's from one of the greatest drum machines ever made, the Roland CR-78.
And I love, we'll
arrogantly, presumptuously believe that I have the world's largest collection of analog
drum machines.
Maybe someone can prove me wrong, and I would happily accept that challenge.
So, back to the CR-78 [Bb] tom-tom.
[E] Nice and simple.
And then I added the kick drum, [Gb] which is not
from the CR-78.
And it became a snare drum.
And so I ended up with this nice, simple little
drum part.
[C]
And then I programmed in a bunch of other drums to sort of like just fill it
out more.
Because as the song came together, as Cold Speck did her vocals and the music
developed, the drums sounded [Bb] just too thin.
So I added this programmed part.
Which I spelled.
Sort of filled it out more.
And then I added another programmed part.
So this is what I
had up until we started mixing the song.
[N] And I thought that was nice.
But I really,
the song has this sort of like expansive, beautiful quality to it.
At least I think
it has an expansive, beautiful quality to it.
And so I wanted the drums to have a more
expansive, beautiful quality to them as well.
So I took that last programmed part, and here's
the studio trick.
So if there are any producers out there, you probably already know this,
but I'll tell you anyway.
Take, whether it's a drum loop or a snare, and you put it to
reverb.
That's the obvious part.
But then, take the reverb and send it to really intense
compression.
Because what the compression then does, is the reverb hits the compression,
and the compression brings up the end of the reverb.
You know, if the reverb normally would
tail off and get quiet, the compression actually brings it up, and you end up with this sort
of like big, sometimes almost too expansive quality.
So there are a lot of records you
wouldn't want to do that with, but with this one, I felt like sending snare to reverb,
and then send the reverb to really intense compression.
You ended up with, so once again,
so here's just the regular programmed drums.
[Bb]
And [B] here's with the programmed snare going
to reverb.
[Ab]
And as I said, not just going to reverb, but reverb into really, really tight
compression.
[N] So that's how this song that I don't know the name of, that I did with
Cold Specs, how it started with this tiny little CR-78 tom, added a few little programmed
elements that were very simple, added more programmed elements, more programmed elements,
and then took the final programmed snare and sent it to reverb and then compression, and
ended up with this big, what I hope is like a big, nice expansive drum sound that sort
of matches the expansive quality of the song.
[Dbm]
Okay, that's it for this one.
Thanks.
[Fm]
Key:
Bb
Dbm
E
Gb
C
Bb
Dbm
E
_ _ _ Hi, I'm Obi.
Welcome to my studio.
And the song I'd like to talk about today, [N] at present,
I don't know the name of it.
The name of the file is Love Tears, but I don't think that
will be the name of the song once it's released.
It's a song that I've done with my friend
Cold Specs, who's an amazing, amazing singer, signed to Mute Records.
And the song started
with drums.
So, I mean, her Cold Specs vocals are amazing, _ selfishly, subjectively, I think
the music is good.
But I wanted to talk about the drums, because they started really, really
small and thin, and they kept getting bigger and bigger.
And then there's one little bit
of simple studio trickery that I used to make the drums sound even, hopefully more gigantic
and expansive.
So, not to in any way ignore the vocals or the music, but we're just going
to talk about the drums behind this song with Cold Specs.
And I don't know the name of the
song, because I'm ignorant.
And as I've said over and over again, I only give songs their
final name right before the record's released.
So that's why I'm just as, I'm more confused
than you are.
So here are the drums.
It started off with actually just this simple little
tom-tom part.
_ So _ _ that was the start of the song.
Because I collect drum machines, and
that's from one of the greatest drum machines ever made, the Roland CR-78.
And I love, _ _ _ _ _ we'll
arrogantly, presumptuously believe that I have the world's largest collection of analog
drum machines.
Maybe someone can prove me wrong, and I would happily accept that challenge.
So, back to the CR-78 [Bb] tom-tom. _ _
[E] Nice and simple.
And then I added the kick drum, _ [Gb] which is not
from the CR-78.
And it became a snare drum. _ _ _
_ _ _ And so I ended up with this nice, simple little
drum part. _
_ _ _ _ _ [C] _ _ _
_ And then I programmed in a bunch of other drums to sort of like just fill it
out more.
Because as the song came together, as Cold Speck did her vocals and the music
developed, the drums sounded [Bb] just too thin.
So I added this programmed part. _ _ _ _ _
_ _ _ _ Which I spelled.
Sort of filled it out more.
And then I added another programmed part.
So this is what I
had up until we started mixing the song. _ _ _ _
_ _ _ _ [N] And I thought that was nice.
But I really,
the song has this sort of like expansive, beautiful quality to it.
At least I think
it has an expansive, beautiful quality to it.
And so I wanted the drums to have a more
expansive, beautiful quality to them as well.
So I took that last programmed part, and here's
the studio trick.
So if there are any producers out there, you probably already know this,
but I'll tell you anyway.
Take, whether it's a drum loop or a snare, and you put it to
reverb.
That's the obvious part.
But then, take the reverb and send it to really intense
compression.
Because what the compression then does, is the reverb hits the compression,
and the compression brings up the end of the reverb.
You know, if the reverb normally would
tail off and get quiet, the compression actually brings it up, and you end up with this sort
of like big, sometimes almost too expansive quality.
So there are a lot of records you
wouldn't want to do that with, but with this one, I felt like sending snare to reverb,
and then send the reverb to really intense compression.
You ended up with, so once again,
so here's just the regular programmed drums.
[Bb] _ _ _ _ _ _ _
And _ _ [B] here's with the programmed snare going
to reverb.
_ _ [Ab] _
And as I said, not just going to reverb, but reverb into really, really tight
compression. _ _ _
_ _ _ _ _ _ _ _
[N] _ _ _ _ So that's how this song that I don't know the name of, that I did with
Cold Specs, how it started with this tiny little CR-78 tom, added a few little programmed
elements that were very simple, added more programmed elements, more programmed elements,
and then took the final programmed snare and sent it to reverb and then compression, and
ended up with this big, what I hope is like a big, nice expansive drum sound that sort
of matches the expansive quality of the song.
[Dbm]
Okay, that's it for this one.
Thanks.
_ _ [Fm] _ _ _
Welcome to my studio.
And the song I'd like to talk about today, [N] at present,
I don't know the name of it.
The name of the file is Love Tears, but I don't think that
will be the name of the song once it's released.
It's a song that I've done with my friend
Cold Specs, who's an amazing, amazing singer, signed to Mute Records.
And the song started
with drums.
So, I mean, her Cold Specs vocals are amazing, _ selfishly, subjectively, I think
the music is good.
But I wanted to talk about the drums, because they started really, really
small and thin, and they kept getting bigger and bigger.
And then there's one little bit
of simple studio trickery that I used to make the drums sound even, hopefully more gigantic
and expansive.
So, not to in any way ignore the vocals or the music, but we're just going
to talk about the drums behind this song with Cold Specs.
And I don't know the name of the
song, because I'm ignorant.
And as I've said over and over again, I only give songs their
final name right before the record's released.
So that's why I'm just as, I'm more confused
than you are.
So here are the drums.
It started off with actually just this simple little
tom-tom part.
_ So _ _ that was the start of the song.
Because I collect drum machines, and
that's from one of the greatest drum machines ever made, the Roland CR-78.
And I love, _ _ _ _ _ we'll
arrogantly, presumptuously believe that I have the world's largest collection of analog
drum machines.
Maybe someone can prove me wrong, and I would happily accept that challenge.
So, back to the CR-78 [Bb] tom-tom. _ _
[E] Nice and simple.
And then I added the kick drum, _ [Gb] which is not
from the CR-78.
And it became a snare drum. _ _ _
_ _ _ And so I ended up with this nice, simple little
drum part. _
_ _ _ _ _ [C] _ _ _
_ And then I programmed in a bunch of other drums to sort of like just fill it
out more.
Because as the song came together, as Cold Speck did her vocals and the music
developed, the drums sounded [Bb] just too thin.
So I added this programmed part. _ _ _ _ _
_ _ _ _ Which I spelled.
Sort of filled it out more.
And then I added another programmed part.
So this is what I
had up until we started mixing the song. _ _ _ _
_ _ _ _ [N] And I thought that was nice.
But I really,
the song has this sort of like expansive, beautiful quality to it.
At least I think
it has an expansive, beautiful quality to it.
And so I wanted the drums to have a more
expansive, beautiful quality to them as well.
So I took that last programmed part, and here's
the studio trick.
So if there are any producers out there, you probably already know this,
but I'll tell you anyway.
Take, whether it's a drum loop or a snare, and you put it to
reverb.
That's the obvious part.
But then, take the reverb and send it to really intense
compression.
Because what the compression then does, is the reverb hits the compression,
and the compression brings up the end of the reverb.
You know, if the reverb normally would
tail off and get quiet, the compression actually brings it up, and you end up with this sort
of like big, sometimes almost too expansive quality.
So there are a lot of records you
wouldn't want to do that with, but with this one, I felt like sending snare to reverb,
and then send the reverb to really intense compression.
You ended up with, so once again,
so here's just the regular programmed drums.
[Bb] _ _ _ _ _ _ _
And _ _ [B] here's with the programmed snare going
to reverb.
_ _ [Ab] _
And as I said, not just going to reverb, but reverb into really, really tight
compression. _ _ _
_ _ _ _ _ _ _ _
[N] _ _ _ _ So that's how this song that I don't know the name of, that I did with
Cold Specs, how it started with this tiny little CR-78 tom, added a few little programmed
elements that were very simple, added more programmed elements, more programmed elements,
and then took the final programmed snare and sent it to reverb and then compression, and
ended up with this big, what I hope is like a big, nice expansive drum sound that sort
of matches the expansive quality of the song.
[Dbm]
Okay, that's it for this one.
Thanks.
_ _ [Fm] _ _ _