Chords for Lyle Mays - Behind the Scenes

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_ _ _ So we'll start with acoustic. _
When I first got the call to do this, it was one of the easiest decisions I've ever had to make because I'm a big fan.
[C] _ _ _ [D] _ _
I was struck with _ a feeling of _ [G] _ _ instrument-ness.
[D] It's never dull or [E] boring or predictable or dead.
_ After the last [Ab] session we did, some of [Bb] the comments were, because we had gotten the intonation perfect,
_ _ that was the only thing that didn't sound right.
I was saving that question when you beat me to it.
So we put a little bit [A] of_
So that's the human element.
Yeah, [G] put a little bit of random_
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_ _ [G] _ [Gb] I don't know the math, I don't know how many sheer, [Db] you know, the sheer number of samples that went into this, but it pays [E] off.
_ _ _ There's something weird about getting all that sound without having to squeeze.
It's karmically very wrong.
_ Prior to today, [D] I don't _ [Bb] think I've ever [G] felt this [D] free _ playing an [B] instrument that was [Em] sample-based.
_ [Bm] That in itself is really _ cool. _ _ _ _
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So yeah, some fun stuff. _ _ _ _ _
_ That's ridiculous.
So all day today, the things we were doing were completely improvised.
And it was just keyboards and drums, so there was no [F] _ need to rein it in, we just went [Cm] anywhere. _ _ _ _ _ _
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[Fm] _ _ _ [E] _ _ [Db] _ _ _
[G] _ _ _ _ _ [Dm] The simplest thing, [E] like multiple keystrokes, it would respond in a way that I'm used to hearing acoustic instruments respond,
[Db] with the subtle changes from _ _ _ millisecond to millisecond that [D] happen. _ _ _ _ _
[Em] _ _ _ _ [Db] _ _ [Dm] _ _
_ _ _ [G] _ _ _ _ [Dm] _
_ [C] _ _ _ _ First piece was _ acoustic piano with layered _ omnisphere sounds, was a live MIDI piano.
The second thing, we approached it like doing a piece in the studio, and we used a sequencer for basically a click track.
So _ Alex did one of his patented world-class shaker virtuoso blow-your-mind things to [G] make a bed for everything. _ _ _
_ _ _ _ Anything [Am] goes with that, it's just grooving off the bat.
We did a pass of colors with sound effects and [Eb] gestures.
All _ _ _ [Bb] _ _ _ _
_ _ _ _ _ _ _ [Gm]
day today, we had something on the [D] piano that was going through [G] some multi-layered omnisphere stuff.
The next thing was a more interactive _ _ thing with bass and drums.
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_ _ [Bm] _ Alex is one of the few musicians on the planet that is that versatile,
that can just go anywhere, turn on a dime, take it to a new place, respond to what you play,
but make it feel like it flowed from what came before.
He's like the perfect drummer for this.
This place is awesome! _ _ _ _ _ _
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_ _ _ _ The _ fretless seemed to _ [E] suggest [A] just a duet of just [D] that [Am] fretless. _ _ _ _ _ _
_ [G] _ _ _ _ _ _ [Em] _
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_ _ [E] _ _ _ _ [C] _ _
_ _ _ _ [D] _ _ Created its own [F] world, which was a [C] very interesting [E] experience. _
I'm trying to remember the [Cm] last time I was just content to play a synth sound for [F] _ _
my part of the thing.
[Gb] I'm [Ab] usually _ [Bb]
drawn to add [Gm] some piano or some other [Ab] element. _
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All through [Fm] the day, it seems like whatever _ came up, it [D] was just no problem to do. _
[Bb] The _ [F] _ _ _ _ [G] _
_ _ _ _ [Ebm] _ [F] _ _ _
_ _ [E] _ _ [A] _ _ [Dm] _ _
_ [Cm] _ _ [Ab] _ fact [Bb] that Trillian is so well [Abm] integrated with Omnisphere [Gb] is really a plus in my mind.
This just [Gbm] takes it to a new level.
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_ _ _ _ _ _ [E] I'm a [Bm] big fan of this movement, [Gm] or whatever you want to call this company.
There's _ [E] an aesthetic [B] and a set of standards that's very old school.
I [Bm] would maybe say European [Gb] craftsmanship, old world [G] _ attention to [E] detail.
[Dm] Every little [Gb] aspect of it [Bm] seems to be done for a reason, and that impresses [B] me.
_ [Dm] So [G] this was a very [Bm] charming day.
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