Puresque’s motto is ‘analogue music for analogue people’. A maxim made real by the guys’ warm sounds and the recent Leitmotiv LP sampler, which, supported by prominent technoarti around the world, rolled out as a stunning slab of wax (complete with hand-stamped sleeve art).
Although relatively new as a partnership, apparently meeting just a couple of years back when Michael initially sought some production support from Paul, between them the guys have a rich musical history.
Michael has been spinning since his school days, while Paul’s own productions span two decades. Now, having been embraced by techno institution Tresor, they are not only part of the release roster but also regular performers at the club.
So let’s move along Down the Production Hole as we serve up the words of Tresor’s new blood with an old school analogue feel – welcoming Puresque!
First can you tell us something about your frames of reference / what you think makes for a high quality electronic sound recording?
We’re totally up for a deep club sound, something that must not be obvious on a first listen, but gets its moment when you play it on a good club p.a.
What’s your current music production set-up like?
We started to produce our album with a typical computer based set-up, which is used in our current days. But we quickly figured out that it was impossible to get the sound quality we had in mind for our production.
So, for the Leitmotiv album production, we chose a unique analogue set-up to create our own Puresque signature... The heart of our set-up was Paul’s old analogue Tac Amek mixing console combined with outboard equipment and synthesisers.
We think it’s important to be able to identify an artist by their sound. Furthermore, we started to experiment with unusual wire connections on the mixing desk… For the sequencing we used Logic, as it was much better sounding than the ones we had previously tried.
Admittedly, in comparison to other programs, Logic sometimes is tough on the automation stuff and the workflow, but the sound results make it really worthwhile. We used a lot of different speakers to check our final mixes. Finally, we had the chance to try our tracks out during our extended sets, which was very helpful to us to feel their relation between studio and club.
Within that set-up what is/are your most essential tool/s of the trade?
Definitely the old Yamaha DMP7 mixing console with its internal effects, especially the short reflection space reverb effects with their reversed function are very unique. But it’s hard to pick a favorite, as also the Ibanez UE400 gave us weird flanging distortion effects on some of our tracks.
Can you reveal a secret about your production technique/s?
‘Power has nothing to do with volume. Power is a matter of intensity’ – Charly Antolini
Do you have a general top tip for budding producers?
Probably start investing in analogue gear from the very start. It’s nearly the only way to get YOUR own signature and a unique sound. It will be much easier if that’s what you are after.
Don’t listen to what some of your heroes might say these days. Always remember that these guys started with analogue as well and already had their signature figured out before the digital gear had reached the market. In our opinion it’s very necessary to deal with haptic analogue gear to learn the handcraft of music.
Finally, what’s your take on the future of electronic music production?
Well, it’s hard to say. If you look at today’s trend, there’s still hope that it will get back more to the tangible mediums again, which is also very important for the value of music in general.
There’s probably no better way than spending an afternoon in a record store, listening to the news, some classics, and discussing things with other people, having a beer, etc. That still has something to do with value or interpersonal dealings – two things music definitely should stand for, simply to respect and enjoy the music!
By the way, this is the final instalment of Down the Production Hole to take this six-question format, so thanks to all who have taken part and to readers of this series. Following a short break, DTPH will be back with a slightly different take on music production tips.