Guy Sigsworths Magic Loop: Producing Alison Moyet

By Soniccouture  |  05.07.2013

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A few years ago (checks email : 2010, in fact), Madonna/Bjørk/Frou Frou/everyone producer Guy Sigsworth got in touch to tell us how useful he finds a certain loop from our Tremors collection :

 

From: Guy Sigsworth <guysigsworth@notgivinghisemailaway.com>

Date: Sun, 19 Sep 2010 18:54:38 +0100
To: james thompson <jim@sc.com>
Subject: Hi from Guy

Hey James. I’m sure you’ll remember this loop from your “Tremors”
collection: 140-shambiling-hats

I put it into a track I was writing. Then I played it to Alison Moyet, and now it’s in one of her songs; then I played it to a new artist, Cass Lowe, and it’s in one of his songs too. It’s going viral!

So funny. It sounds so simple – like it’s just filtered white noise – but it’s got this peculiar character. I guess it’s really easy to fit behind just about anything and get an instant feeling of atmosphere. It’s like the modern, digital version of stylus surface noise. I may start trying to program my own versions of it, just for variety’s sake.

Well, as you may know, the album, The Minutes was recently released on Cooking Vinyl, and it was great to finally hear the track in question, Remind Yourself :

Guy also tells us that the harpsichord type sound in the song intro is in fact Soniccouture’s Plucked Piano instrument from Xtended Piano :

“It’s the thing most people think is a harpsichord, playing right across the song. It’s most audible above the fray towards the end of the track. Actually, the French harpsichord gets used quite a lot – often in places where people might not realise. It’s doubling all the big synth riffs in “Apple Kisses”, for instance. I often use Pianoteq’s harpsichords too, but they only do a single stop sound. If I want that big sound, of the 8′ and 4′ coupled together, the SC French harpsichord is the one. It’s huge.”

Guy is a long time Soniccouture user and supporter – in fact he was one of the people who first suggested we create an Ondes Martenot instrument, which we eventually did. He told us :

“I REALLY LIKE the SC instrument libraries because:

1. They’re really interesting, unusual colours. You keep finding exotic instruments and unfamiliar timbres which have been largely overlooked by other sample library makers.

2. You put them together into sensible, practical programmes; so you can just sit and compose with them; at a keyboard, and in C major if necessary. Obviously there’s a place for great atonal noise collections too. But when I buy an SC instrument, I’m not worried it won’t be able to adapt to play something tonal, melodic or chordal in an existing song arrangement, if that’s what I need it to do. Of course it’s more fun to compose something new, specifically for the SC sounds. But sometimes it has to fit into an existing project. And that’s never a problem.

2. They’re in tune. Nothing makes me more angry than buying an expensive sample library only to discover it’s going to sound terrible if you MIDI it up with, say, an FM8 playing at A440 in equal temperament. I never understand library makers who excuse bad intonation or a non-440 pitch centre on the basis that it’s more “real” or “vibey”. It’s really easy to make a 440 ET instrument play at 415 in Pythagorean using the Kontakt factory scripts. It’s a nightmare trying to do this in reverse, especially when you’re on a deadline to finish a song.

3. They’re reasonably consistent across the instrument. I don’t expect a sample collection to have the unwavering timbral uniformity of a digital synth. But it’s also annoying to find, say, all the middle c samples sounding kind of dead and broken. I’ve never had to adjust the key splits on any SC instrument. I can’t say that for other libraries I’ve bought.

By the way. I LOVE your Kontakt script collection. On “A Place To Stay” there’s an organ sample being detuned using that script of yours (can’t remember the name) that does Penderecki-style slow glissandos. I think you should make another script collection!”

And the magic noise loop ? It lives on :

” I’ve used that Tremors top loop again on a piece for Eric Whitacre’s Virtual Choir which is coming out this month. It’s only in the quiet bits. You can hear it clearly in the long form version, but it’s largely left out of the “radio edit” I’m afraid. It’ll be on the internet soon.”