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Of course, all of us here know how the 10cc song was built- but here's more for study


Bookumdano2

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Don't need to retell the story since we all know it, but this examination of the multitracks has some cool new insights on making "I'm Not In Love"...

 

The isolations of various sections are cool... check out Cathy the secretary voice and the music box towards the end (that windup music box is just about the coolest thing ever)...... and the alternate lyrics that were zapped out to just a single set of piano notes ...

 

 

If I ever get more time in a day, I may set up the same type of ahhs loops on a daw so that I can play the single notes into chords with automation on the console for this same effect.

 

I don't think you can really do it as well with a sampler and faders... but the 10cc effect is one I'd like to "overuse" on some of my own stuff.

 

By the way... I dunno if this clip has been posted before. Probably has. The 10cc song comes up in some sort of conversation every six months or so anyway.

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Wild... fascinating.... to think they did this all "manually". I never realized that the overall backup was essentially one chord. Funny how all these tricks presage digital sampling.... experiments like this almost "will" digitalization into existence.

 

This said, AM and FM radio played the living {censored} outta this song back in 1975... and I really got tired of it (at the time).

 

 

The SPINAL TAP movies satirize English rockstars who have outlandish, seemingly self-indulgent creative ideas... But "I'm Not In Love" is an example where this adventurousness yielded fruit.

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I remember that when the song came out, I initially thought it was a chord ripoff of Ace's "How Long" which had been so HUGE earilier in the summer. But the vocal thing was so interesting and back then, there was NO information on how the song was built. I don't think R-E-P magazine even covered the how-to back then.

 

I also really like the sections of the multitracks where the bass guitar does a fast slide and choke on several notes. Just a hint of bass added here and there.

 

Sonics also show interesting things to me.... the "oooh, you'll wait a long time for me.." isolations seem to really kick in the compressor. Not subtle either. The tracks have a sort of lo-fi sonic landscape that are completely opposite of the way many track now. And these were tracked on state of the art stuff then .... the stuff everyone drools over now.

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