Lay-Far - Inside The Track 'New Day, New Light'
With ‘Lay-Far’s’ latest release ‘New Day, New Light’ via Lazy Days Recordings high on both the Deep House Top 10 & Traxsource Top 10 We sat down with him to get an indepth look ‘Inside The Track’ and more with this Exclusive interview.
1) Congratulations on your new release. How is it being received in your sets? & How are other club DJs responding to the release?
Thank you! I was so happy to get great feedback and support from the likes of Karizma, Kev Beadle, Roberto Rodriguez, Pezzner, Art Of Tones, Satoshi Tomiie, Nacho Marco, Shur-I-Kan, Giom, Mark Farina just to name a few.
2) Tell us more about the track. What was the main inspiration behind it and what prompted the musical direction on this?
One day I was listening to a track by a seminal jazz-funk group from 70-s, produced by a couple of my favourite music producers ever and I heard a little section in the middle which seamed very sweet. You know that moment when you realise – this is it. So I sampled it on the spot, re-chopped the sample (rather than simply looping) it and made it my own. So the main riff consists of that sample with a low pass filter work adding some action and Waves Rbass plugin to boost the bottom end. Using Ableton Live’s sampler, Kontakt 5 Electric Piano and Session Strings I added complimentary chords, but rather then leaving them crisp and clean I decided to make them sound as if they were ripped from an old record themselves – so I recorded them on a badly worn out normal bias cassette, using my Technics RS-BX701 Cassette Deck, and then feedback into Ableton Live. In the result I had all that wow, flutter, hiss and frequency dropouts needed – organic! I should say in this track I paid a lot of attention to the texture in general. So there is some “background noise work” going on, which adds to the groove and the overall feel of the track. Using my MicroKorg XL’s vocoder I laid some fuzzy vocal chords building up within the track and sounding quite Boards Of Canada – like if isolated. Then using a dialogue from one of my favourite British sitcoms, chopping it up in small bits and then automating them in a session view to play randomly, I came up with percussive speech lines – appearing closer to the second half of the track. There are also episodic textural contributions courtesy of Moog Prodigy and Boss Re-20 Space Echo pedal. The beat is a mixture of live programming, drum-machine step-programming, the use of re-chopped percussion samples and field recordings.
3) Production wise, what is it about the track that makes it work?
Well, producing “New Day, New Light” I was trying to get myself outside the comfort zone – basically trying things and new ways of approaching production – but essentially going with the flow – using the bits of kit I had around a bit differently, like in case with the vocoder – just using the air movements as a source of the sound, and developing parts on top of each other. Starting with the chords, developing the melodic parts and laying down the rhythm section that was complementary – and the whole thing worked eventually. It should if you get in the groove! As it usually happens with some of your best tracks the basis was laid pretty quickly and effortlessly.
4) What is the one machine, program, sound, drum machine, technique that characterizes your sound?
There is a combination of techniques and methods I use coupled with hardware and software I have currently. At the moment I’m extensively using the native sampler and drum rack in Ableton Live coupled with my Sp-404 SX sampler, which go hand in hand with my record collection and other sample sources I have access to. I’m also using a lot of Mood Prodigy, MicroKorg Xl synths, Tascam DR-40 Recorder, KP3, Roland Re-20 and other guitar pedals just to name a few. As for the VSTs I prefer NI Kontakt products, Rob Papen synths, IK Multimedia T-Racks and some nice Wave Plugins, including Kramer MPX.
5) What is the one piece of kit that you simply cannot do without?
It’s my head! )) The equipment can vary – it’s your vision that stays.
6) Any advice for your fans on how to make it in todayís fast paced game?
I guess many of you are reading this to learn some sort of a miracle production method. Well there is none, really. Just go out there and make the music you really feel with whatever you have at hand. You should realise that with a basic DAW you already have everything needed to produce some great tunes. In the end of the day it doesn’t matter what you use – it’s how you use it! Remember the “10000 hour rule” and work as much as you can even though you may have all these tracks sitting there unsigned at the moment with little sign of appreciation coming your way – once you get gradually recognised the labels will be desperate to get those bits from you (provided they are really good). Don’t hesitate to experiment and come up with your own techniques that will make you stand apart, but know and respect your roots. Just BYRSLF and be stubborn!