is Becks eighth studio album. How does it compare to its predecessors?
King: Yes. The creative process in making the new album was very similar to the making of Odelay. It was about Mike, Beck and myself in a room, having fun, coming up with ideas, then embellishing and finishing them. But the major difference is that for Odelay, we used Studio Vision software and Digidesign hardware with a 2-channel interface, so we could only record or play back one or two tracks of live audio at the same time. I had to take everything that we did and convert it into samples that could then be played back with the SampleCell card and make MIDI notes that corresponded with wherever I wanted the samples to happen. But for the new album, we had many inputs and outputs and as many tracks as we wanted. We don’t use a sampler anymore because there are so many tracks. And so we got to layer more vocals and instruments, using multiple mics on instruments, which we couldn’t do before.
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- Why did you decide to work with Rob Schnapf (Beck / Elliott Smith producer) on this album?
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