They jumble '70s disco, jazz fusion, progressive music and Tangerine Dream electronica with a side order of pop- and Broadway-manufactured cheese. It was right there in the title of their undercooked 2005 studio album, "Human After All," and it underpins their soundtrack for the 2010 sequel to a pioneering piece of sci-fi cinema, "Tron: Legacy." With "Random Access Memories," they immerse themselves in a time when the technology had not outrun the humanity, when the nexus of machines, studio craft and pop culture was still under construction. In many ways, that moment was a turning point for live electronic music in America, to the point where it's now a major industry.Īnd yet, an ongoing theme in the duo's music has been the struggle to find the soul amid the technology. They invested the past with a futuristic glow – a feeling that took physical dimension when they staged their appearance at the Coachella festival in 2006 from inside a neon, three-dimensional pyramid. “I brought the Apollo with my UAD plug-ins, my laptop, and all of my files, so if there was anything I needed to tweak, I was ready.But Daft Punk's feel-good hooks and the warmth underlying their machine-driven creations were undeniable. Others I’ll use once in a while, but those are the ones I go to all the time. Then there’s the Precision Limiter and the De-Esser, both of which I use a lot. They have the same character, but the plug-in sounds good while the console sounded kind of hash-y. The UAD plug-ins sound a lot cleaner than the original hardware did. I use the Harrison 32C/SE Channel EQ when I’m in a nostalgic mood. It just sounds like you recorded something in a room before you processed it. It gives a nice, natural early reflection sound, especially if you use reverb on top of it, so it doesn’t sound like there’s this gap between the sound and the reverb. That one’s brand new, so I haven’t used it extensively yet, but I really like it. I also use the 1176 and LA-2A plug-ins, and I’ve played a bit with the Ocean Way Dynamic Room Modeling Plug-In on a couple of projects. I have a real one of those, and the physical and digital versions are very close when it comes to sound. I use the EMT 140 and EMT 250 reverb plug-ins a lot, and also the Manley Massive Passive EQ Plug-In. Here’s what Guzauski had to say about reimagining disco circa 2013, using but not overusing Universal Audio tools, and blending disparate sonic elements into a single, sublime mix. The result has caught the ears of fans and critics alike, with Random Access Memories earning four-star ratings from Rolling Stone and The Guardian. His latest hit - the chart-topping Random Access Memories by French electronic wizards Daft Punk.Ĭonstructed in multiple studios across multiple countries, the unapologetically disco-flavored Random Access Memories melds acoustic live-band performances with vivid electronic elements, creating a result that somehow manages to feel both retro and futuristic, otherworldly and organic. Since then, he’s crafted recordings for artists like Michael Jackson, Mariah Carey, Eric Clapton, and Barbara Streisand. In the ’80s, his credit list grew to include the likes of Burt Bacharach, Madonna, Johnny Mathis, Quincy Jones, and Cher. Guzauski’s career began in earnest when he teamed up with Chuck Mangione in the mid 1970s, moving to Los Angeles to engineer for the composer. The Grammy-winner is in fact one of the most skilled and accomplished engineers the industry has ever seen. Mick Guzauski may laughingly refer to himself as an “old fart” in the music world, but don’t let his humility fool you.
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