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Max Martin Keyboard Synthesizers
Old 16th November 2005
  #1
Gear interested
 

Thread Starter
Max Martin

Hi guys! I am new in this forum but i really love it!

My question:
Anyone got an idea how Max Martin is working on production?
From where does he get his drum samples.
How does he record the drums on e.g. Kelly Clarkson songs / what gear?
What does he use to record guitars?
All that stuff...you know.

Every information is helpful to me!

thanks!
Old 16th November 2005
  #2
Hats off to Max - he's ridiculous. Crazy fat recordings! Killer loops, vocal, bass and guitar sounds and arrangements Go Max
Old 16th November 2005
  #3
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Thread Starter
I know! That's why i wish to know he he does it.
I already checked out some stuff of how he is working. Spoke to some former Cheiron guys about it. They were really helpful! Cool guys.
Old 16th November 2005
  #4
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The MPCist's Avatar
 

What studio does he work out of? I remember that he's in Sweden.... Would be interesting to know more about him since his pop productions are pretty slick.
Old 16th November 2005
  #5
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Thread Starter
He works in a Studio in Stockholm called "Maratone". It's really great equipped but nevertheless i think it's not only the mixing that creates his sound. I think he spends a lot of time on shaping sounds.
I read in some threads here that there were people working with people who worked with with Max Martin :-) Maybe they got some infos.

PS: his website: www.maratone.se
Old 16th November 2005
  #6
Gear Head
 

I am always fascinated by the fact how he went from zero knowledge (his own statement) about writing, producing, mixing etc. to master class in just 2-3 years (1994-1996). It's even more fascinating when compared to legions of wannabe-producers worldwide that go nowhere for years.

And his mentor, Dag Volle aka Denniz Pop also came from DJ backgrounds - thus they both didn't knew much about production/songwriting stuff.

One of the reasons for such success of Swedish producers is knowledge spread (they interchange info and practices freely), but above mentioned is still mistery to me. Is it share talent only?
Old 16th November 2005
  #7
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Thread Starter
It's working your ass off too :-)
Old 16th November 2005
  #8
Quote:
Originally Posted by dagg
I am always fascinated by the fact how he went from zero knowledge (his own statement) about writing, producing, mixing etc. to master class in just 2-3 years (1994-1996). It's even more fascinating when compared to legions of wannabe-producers worldwide that go nowhere for years.

And his mentor, Dag Volle aka Denniz Pop also came from DJ backgrounds - thus they both didn't knew much about production/songwriting stuff.

One of the reasons for such success of Swedish producers is knowledge spread (they interchange info and practices freely), but above mentioned is still mistery to me. Is it share talent only?
Yes, as was just mentioned - LOTS OF HARD WORK. Look at the guys catalog.

Dude, Max was a seriously talented musician and guitar player before he started all this stuff - this was not the case of someone SUDDENLY becoming a great musician. Unfortunately, it usually doesn't work like that. As far as pop music goes, his tracks are some of the best ever, IMHO.
Old 16th November 2005
  #9
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Thread Starter
Max was a drummer first and played in a band called it's alive. I talked to a guy named Per who was playing in the same band. He is working at Max's studio now.
Max Martin is really amazing. He somehow get's his shot everytime he does a new type of music. Like Kelly Clarkson now. Completely different to Britney and still something new and fresh sounding.
Old 17th November 2005
  #10
If you check the credits you'll see that Max has a lot of great partners. So in addition to all the skill he has, he clearly knows how to work as a team creating a wider range of strengths and possible filling in some weakness gaps.

As far as sounds and recording techniques, I know some of the NYC people he works with and in probably most cases, they provide the sounds that they program. The same will happen with tracking.

I think the answer is that it's differnt in every case and that when he gets great results is from hard work and a commitment to excellence.


Someone sut broght me the Kelley Clarkson CD as drum sound reference. My take on what he was hearing was actually an arrangement reference. I thought the sum of the parts was well done, but the acoustic drums didn't sound great to me.

So for sonics, also look at the arrangement. What sounds an instrument are doubling the same part and what things are not overlapping. Also listen for how many ideas are going on at once and how they're mixed. The percussion and drums loops amy be pretty active, but the activit will probably not in the forefront and that beyond that, there will robably be lots of little ideas in series rather than silumtaneously. The arrangement will affect the sonics and the mix.
Old 17th November 2005
  #11
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shack jonz's Avatar
 

Quote:
Originally Posted by Mike Caffrey
The arrangement will affect the sonics and the mix.
I think this is too often over looked. Good point.
Old 17th November 2005
  #12
Gear nut
 

Swedes always seem to have a really great ear for a good pop hook.
Old 17th November 2005
  #13
Gear maniac
 

I also have always like max's work... I think his biggest strength IS working with multiple partners... his two Kelly tracks are done with the same dude, bringing in some of that rock edge maybe... any way you slice it though, he has been in the middle of so many great songs and productions that I truely believe his skills are not only technical but social...

r.
Old 17th November 2005
  #14
Gear Head
 

I wonder how Max and many others in Stockholm manage to compose that much catchy melodies (more than others). What is their secret? It surely goes behind pure talent.

Because I do not believe they are statistically that more talented than people in London, NYC, or Miami for example. I mean, guys at ex-Cheiron were in their twenties when they released all those worldwide hits. How come that guys in NYC for example (or elsewhere) aren't that capable at such young ages (and they have both equipment and knowledge).
Old 17th November 2005
  #15
Let's not forget Rami, he co-produced and co-mixed many of the big "Max Martin" hits. Martin, while coming from a rock background, is actual the poppier of the two, Rami adds a bit of the rough edge.

You'll be quite surprised how many sounds and keyboards are pretty standard stuff, just perfectly arranged and excellent mixed. Lots of recognizable standard stuff from various sample cd's and quite a few stock sounds from JV-1080, WaveStation, etc.

Also they sometimes mix at ear-deafening volumes on their Snake speakers, not standard practice :-)

So most of the magic comes from excellent catchy song-writing combined with a nice groove and perfect arrangements. Oh, and a super mix with some extreme attention to detail. I know they once mixed on a track for a month, argh.

One of my favourite Max Martin/Rami productions is "Don't Want You Back" with Backstreet Boys.
Old 17th November 2005
  #16
Quote:
Originally Posted by Lagerfeldt
Let's not forget Rami, he co-produced and co-mixed many of the big "Max Martin" hits. Martin, while coming from a rock background, is actual the poppier of the two, Rami adds a bit of the rough edge.

You'll be quite surprised how many sounds and keyboards are pretty standard stuff, just perfectly arranged and excellent mixed. Lots of recognizable standard stuff from various sample cd's and quite a few stock sounds from JV-1080, WaveStation, etc.

Also they sometimes mix at ear-deafening volumes on their Snake speakers, not standard practice :-)

So most of the magic comes from excellent catchy song-writing combined with a nice groove and perfect arrangements. Oh, and a super mix with some extreme attention to detail. I know they once mixed on a track for a month, argh.

One of my favourite Max Martin/Rami productions is "Don't Want You Back" with Backstreet Boys.
That track is KILLER. Backstreet is quoted as that being their favorite and most under appreciated track. SLAMMING track!! Beautiful harmonic minor vocal arranegements and really lush vocal arrangements, serious vocal performances, and a GREAT rhythm section feel. Go Max & Rami
Old 11th January 2007
  #17
Lives for gear
 

Lets bump this thread... Max Martin deserves major respect and credit. Any dude on here, no matter if you do Metal or Country, should study Max's ****. I dont like Britney or Backstreet Boys (probably like most guys on here), but from a production point of view nobody can touch him, and his songs/arrangements/productions should be studied and thaught in any music/engineering school (Berklee, SAE, etc). He's the most talented producer since Quincy Jones!

And like everyone else I am interested in what/who/how/etc... What stuff does Max use, how does he write, etc.. etc.. Any info is appreciated.

I can only provide ya'll with a link to a superb fansite which has quite some great articles and general info about Max and his crew

--> http://www.maxmartinfansite.com/

Also I may want to add. Max's secret seems to be that he spends A LOT of time on his songs. He only produces very few artists, compared to other producers, but the ones he works with end up selling a ****load of records. ALWAYS. I mean.. he spends what.. 1 week to 1 month on just mixing a song? INSANE!
Old 11th January 2007
  #18
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If you look at any swedish band that's made it big internationally, they all have awesome melodies and hooks. I don't care for some of those bands but I gotta admit, they know how to write a good pop tune. Music that doesn't have a great melody usually doesn't "make it" here. Like electronic stuff that's more rhythm based. When I lived in England, I noticed that that stuff goes down a lot better there for some reason. Ask any Swede and they will tell you that what makes a good song is a good melody.

Plus, don't underestimate the weather factor. Seriously, why do you think we have both great producers AND (for example) the Counterstrike world champs? Not really much to do 8 months a year but to sit indoors and work on your ****... Better to be creative than to jump off a roof. Yngwie Malmsteen spent his entire youth locked in a room practicing guitar.... We all find creative ways to waste our lives I guess.

ABBA
Cardigans
Roxette
Ace of Base
The Ark
Soundtrack of our Lives
etc. etc...

All super melodic.

My fav. bands from my own country are Refused and Meshuggah so I'm obviously leaning towards the "harder" side of things. heh
Old 11th January 2007
  #19
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C Heat's Avatar
 

Ageed.

Any info appreciated.

I'd like to add that the song is still king.

Always will be.

Max and crew know that.

The devil is in the detail, and these guys must seriously use a microscope across every single aspect of the process: writing, arranging, sound design, mxing etc. etc.

I'm guessing Max and crew write one to get one (song) as opposed to writing 20 to get one. I may be completely wrong though. Just a hunch.

And the point was made that they pull in other people when necessary. This is a trait of all successful people. Delegating.
Old 11th January 2007
  #20
Lives for gear
 

Quote:
Originally Posted by C Heat View Post
I'm guessing Max and crew write one to get one (song) as opposed to writing 20 to get one. I may be completely wrong though. Just a hunch.
No I think you're right... and this is how songwriting should be in my book. You instantly hear, at least I do, when starting to write a song whether or not it even has the potential to be any good. And if it has no potential.. why bother?! At least thats how I look at songwriting. And the few songs you DO work on, you make them as strong as possible, and work on them for weeks or months!

I read interviews with A&R people and they're like.. "As an artist, you should write 1 song a week, that way you wont have to worry about your material when it comes to your second album". Riiiiiiiiiiiiiight. Only problem is that most sophomore records suck major ass. Cause its all rush, rush... the bands comes off the tour, goes on vacation for 1 week and then straight into the studio. This was exactly (1:1) the case with Crossfade, in case you know them. Their debut was decent, and the sophomore garbage. They just didnt have enough time to make it work.

Maroon5 on the other hand will release a great sophomore.. I am 100% sure. Just like Gavin DeGraw. These artists are signed to J-Records, and Clive Davis understands that a sophomore record needs just as much time as a debut. I mean... Maroon5's debut was released in '02... and Gavin's in '03! 5 and 4 years ago...!!!!!!!! Most majors will have a band release 3-4 records in that time period. And then they wonder why these record doesnt do well..... it's insane.
Old 11th January 2007
  #21
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Quote:
Originally Posted by petsematary View Post
Plus, don't underestimate the weather factor. Seriously, why do you think we have both great producers AND (for example) the Counterstrike world champs? Not really much to do 8 months a year but to sit indoors and work on your ****... Better to be creative than to jump off a roof. Yngwie Malmsteen spent his entire youth locked in a room practicing guitar.... We all find creative ways to waste our lives I guess.
Spot on.. and I am sure you arent being sarcastic here. I mean look at Max Martin, as already mentioned in this thread, he went from zero knowledge to mastery in production & mixing in about 2-3 years. Sure, he already was a gifted musician and had a great mentor in Denniz Pop, who probably taught him all of the ins and outs. But Max must've spent at least 12 hours, 6 days a week, just producing and mixing in order to get to such a high level in such a short time frame. And it's astounding how none of them (whether Denniz, nor Max) had any formal education. Denniz started out as a DJ and is pretty much self-taught.
Old 11th January 2007
  #22
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mr jkn's Avatar
Ooh the swedish weather.. 4 - 7 hours daylight in the winter.

I also do believe that the succesfull outcome of swedish songwriting lies within the strive after the "perfect" melody. You must be able to hum along to the song after just one listen!

I also think it has evolved from three other factors:

1. Many swedes started to "imitate" british and american rock/pop really early on. We had great swedish popbands in the early sixties, that sounded like the Beatles or the Shadows. We have grown up to be "imitators".

2. The social welfare system with high income taxes! For long every kid at age 10 and upwards in Sweden, were offered music lessons.

3. The many, and relatively cheap rehearsal rooms, also funded by taxes.

...adding to the list of succesfull swedish music exports (with emphasis on strong melodic driven ones):

The Sounds
In Flames
The dudes making "toxic" for Britney
The Knife
Dungen
Shout out louds!
Wannadies

I feel like a patriot!
Old 11th January 2007
  #23
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petsematary's Avatar
 

4-7 hours!? That's luxury. We get 3-4 here....
Old 11th January 2007
  #24
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Quote:
Originally Posted by lyricstree View Post
Hi guys! I am new in this forum but i really love it!

My question:
Anyone got an idea how Max Martin is working on production?
From where does he get his drum samples.
How does he record the drums on e.g. Kelly Clarkson songs / what gear?
What does he use to record guitars?
All that stuff...you know.

Every information is helpful to me!

thanks!
Max Martin records ANALOG now.. he sold his digital console sometime after starting his new studio Maratone. ---> http://www.maratone.se/

Guitars... Max plays himself, and also records guitars along with Dr. Luke who works with him these days on a lot of projects. I dont think they ever hire studio musicians. They also seem to work a lot with virtual drums and bass. Just listen to "Since You've been gone", that Kelly Clarkson song... sounds like most of it has been done ITB. Wouldnt surprise me if they use AmpFarm a lot for guitars.
Old 11th January 2007
  #25
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Ruudman's Avatar
 

Quote:
Originally Posted by petsematary View Post
4-7 hours!? That's luxury. We get 3-4 here....
3-4?

Luxury

I thought I knew what sunshine was until my father's maglite accidently went dead on us.
I think I was about 10 years at the time



heh


ruudman
Old 11th January 2007
  #26
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gainreduction's Avatar
 

Quote:
Originally Posted by quietdrive View Post
I dont think they ever hire studio musicians.
Wrong.

Quote:
Originally Posted by quietdrive View Post
They also seem to work a lot with virtual drums and bass.
Wrong again.

Quote:
Originally Posted by quietdrive View Post
Just listen to "Since You've been gone", that Kelly Clarkson song... sounds like most of it has been done ITB.
...and again.

Quote:
Originally Posted by quietdrive View Post
Wouldnt surprise me if they use AmpFarm a lot for guitars.
...and probably again.


Old 11th January 2007
  #27
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Quote:
Originally Posted by gainreduction View Post
Wrong.



Wrong again.



...and again.



...and probably again.


Wow... a smart ass huh? Max Martin does use virtual drums. Addictive Drums from XNL Audio.

Keeping that in mind.. you dont seem to know crap about how Max Martin works, so just keep your mouth shut and dont spam the thread. fuuck
Old 11th January 2007
  #28
Quote:
Originally Posted by gainreduction View Post
Wrong.



Wrong again.



...and again.



...and probably again.


heh heh heh heh heh
Old 11th January 2007
  #29
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gainreduction's Avatar
 

I know because I employ some of the same musicians as he works with.

The drums on the Kelly K tracks are live and recorded at decibel studios in Stockholm.

I'm outta this thread now...
Old 11th January 2007
  #30
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Quote:
Originally Posted by gainreduction View Post
I know because I know and employ some of the same musicians he works with.

The drums on the Kelly K tracks are live and recorded at decibel studios in Stockholm.

I'm outta this thread now...
Well... at least the first verse is NOT a REAL drumkit. Any moron can hear that its not real.
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