Happy Friday everyone. Hope you've all had a great and successful week. Today, we present to you another installment of our on going 'How It Was Made' series, where your favorite producers give you the inside scoop on how they make their magic. Today's guest, Louis Futon, has just released his brand new album 'Way Back When' today, and to celebrate, we caught up with him to see exactly what went into the making of his latest work. As always, below you'll find pictures and descriptions of the tools he used to create his album.
Words by Louis Futon
I started making this project two years ago after I went through an extreme growth and self-realization period in my life. Music stopped being fun and I didn't know where to take my sound, but after I rediscovered the part of me that fell in love with music in the first place, I knew I needed to make an album. I wanted to paint a sonic landscape that takes you through a journey and uses the style and skill set of each collaborator to paint a unique picture with every song. I hope you have as much fun listening to this project as I had when making it!
Here's where all the magic happens. Everything from percussion to vocals was recorded on the Neumann TLM 103 microphone. I wrote and recorded all piano and VST parts on the Komplete Kontrol s61 (old model). All drums were done on the Maschine MK3 through Ableton. All of the recordings were done on the Apollo Twin interface, and the majority of the recording was done in this studio (which also happens to be my bedroom)! The most important part about this setup, though, is the natural lighting that comes through the window. The sun is the key to my creativity.
I started producing using the Maschine beat pads and software and it has now become vital to my workflow. I rarely quantize anything, and that's how I'm able to write grooves with such a distinct pocket.
All the guitar was recorded on my American Fender Strat, sometimes running through guitar rig and sometimes through my Fender Princeton Chorus Amp. All Bass was recorded on my Squire J Bass. With the proper plugins, it's easy to make anything sound expensive.
I bought the Korg Minilogue a while back, and it soon became a staple of my creative process. It's one of the most simple synths to use around, and I find it's easy to get a great sound within seconds of tweaking.
I couldn't talk about how I made this album without including this awkward selfie of one of my best friends, and trumpet player who recorded on all the tracks with trumpet on this project. While I can't tell you what kind/model of trumpet he has, I CAN tell you that the way he blows into that thing is special. The trumpet is a very important part of this project and a recurring theme throughout. Ariel Shrumpet is his name, and he's single (to all the ladies out there).
I've been able to really dial in my workflow lately with this setup, but ultimately it doesn't matter what kind of gear or what environment you're in. I'm constantly writing down ideas in my phone on the Maschine app and transferring them over to my laptop or making beats in the car. Music is supposed to be fun, and making that realization again is what drove this whole project.
Stream Louis Futon's new album below, and grab it here.