The production of A+E – Cobra.

To celebrate the release of Cobra on Monday the 8th June through all major digital distributors, I was going to let you in on the creative process, which was quite complex.

Let me say you never quite know how a tune will turn out when you first start out. One of the common questions Adrian and I both ask each other is, “What do you want to go for?”. This can be a vital question to start off with. Previously we have made Nu-Disco, Progressive, Deep House and New Age Deep Techno (WTF is that?). Most of the times we have gone with that and captured a sound that we wanted. I cannot remember us going for a particular sound but due to the success of our previously signed track Mica, we decided a deeper, darker track would suffice.

A+E in the Studio

A+E in the Studio

I own a virus C and I remember us getting that out. We wanted an Andrew Bayer like pad which was gated rhythmically so we looked for that. In the virus you have to record the parts in when you get a good sound. We were off and running.

We also decided that the bass was to come from the virus as well. I remember us making a simple sine patch, however it sounded nice and deep.

We got together in the morning and whilst we had these parts we did not know where it would go. We needed a kick. This was where the frustrating part came in. We sat there (or Adrian did for a lot of it) and seemed to sample every kick I had. There was a lot to get through . However i guess considering it is the most consistent part you hear through electronic music, it was important. I admit i had to take regular rests, giving my ears a break from the heavy pounding, but Adrian soldiered on. It was worth it.

I remember Brett and Steve coming around in the afternoon. We didn’t have much of an arrangement but had the foundation of a track.

I had met Steve at a meet up and we had only been acquainted a number of times. He let me know he had a world class sax player he knew called Brett who would be interested in collaborating on a track. Steve brought his drum kit and Steve his sax.

We didn’t have a plan but some of the best projects have come from pure moments of inspiration. This was one time.

I remember before showing them the techno groove which later became the track, when they walked in I kind of looked at them and thought, right-o, live drummer and saxophone, lets try and make something jazzy. We mucked around for awhile but were getting nowhere. Then Brett asked us to show him the groove we were working on in the morning and that’s when the jam kind of began. I’ve also always wanted to make a sinister/dark techno track with sax on it and it dawned on me that this would be the perfect opportunity. I remember showing Brett the track Marc Romboy – Elif (https://www.youtube.com/watch?v=AO9AKgSdIhs) for inspiration and Cobra become based loosely on this, the idea of having only two chords changing and this dark kind of vibe/groovy with a jamming/always changing sax line on the top.

As with all world class performers, he adapted to the new situation as he was not used to recording with dance music. It was essentially a big 3 hour jam. The easy part for us was the recording, the hard part was to organise the parts into a song.

We found one part that Brett played and looped it, in essence making it a trill that is really distinctive throughout the track.

It was a long day but productive, and we were all happy. But there was still a lot of work to be done. A lot of takes to sort through. And an arrangement still to be made.

Credit to Adrian he took the parts and waded through them, at a considerable time expense. But in the end it was worth it. The arrangement took its place from there.

The song was about 85% complete so and I was very pleased with it. Adrian went on tweaking of all the different saxophone takes to make it all sound like one take and not have volumes jumping everywhere. So i started looking for labels for the track. I had previously sent tracks to Suffused Music who promised they would sign a track from me when it fitted into their deeper sound. This was the track they would want.

The signing of contracts took a couple of weeks, sorting through fine details. I remember signing my digital copy from a foyer of a hotel in Saigon, Vietnam.

The two remixes were of excellent quality from the Magnetic Brothers and Tommy Oskari, and whilst one or two more did not come through, it did not matter. Suffused Music had dome an excellent job on getting a good quality EP together.

The song has already been represented on Frisky Radio (https://soundcloud.com/suffusedmusic/frisky-suffused-diary-050-4-year-suffused) and Proton Radio (https://soundcloud.com/suffusedmusic/over-the-moon-010-proton) as promotion and we hope for added support on it’s full release.

Some of the comments so far:

Darin Epsilon (Perspectives):”Original and Magnetic Brothers remix for me”
Ricky Ryan: “thanks. quality productions. cheers”

Peace,
Elton.

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