Although Lemon Jelly are currently on a happy hiatus, founding member Nick Franglen is a busy man. ‘Creativity is all I’m interested in,’ says the electronica pioneer. ‘I hate repeating myself, so I’m constantly challenging myself into innovation. I like being out on a limb – that’s where the exciting things happen.’
Franglen has an impressive CV, having provided keyboard and beats programming for Björk, Hole, Primal Scream, Pulp, and Blur. In addition to the Lemon Jelly output, he has produced albums for John Cale and Badly Drawn Boy, and remixed Mark Mothersbaugh (Devo), the Pet Shop Boys, and Coldcut. He has written and produced tracks with artists as diverse as William Shatner and John Paul Jones, and regularly plays live with John Cale.
As musical director of the Nico tribute show, he has also worked with Mark Linkous, Mark Lanegan, Kim Gordon, Mercury Rev, Yeasayer,and many others. Reflecting his unquenchable thirst for the novel and creative, Franglen has performed and recorded electronic gigs down mines, on submarines, and in abandoned government test facilities. As a composer, he has worked on films with Ralph Fiennes, written the music for BBC-TV series, and composed commercials for BMW, Cadillac, Ford, Coca-Cola, Caesar’s Palace, Nordstrom, and many others. ‘I like to keep busy,’ he repeats...
‘Lemon Jelly’s style is electronic music that doesn’t sound particularly electronic,’ says Franglen. ‘We’d pull together sounds from a wide range of genres to see what would happen when we mixed them up. They could be sampled or played – it really didn’t matter where they came from – the more diverse the better.’
Franglen’s current mission is a solo album that will be released under his own name: ‘I’ve been developing this material over the past couple of years,’ he says. ‘It’s quite complicated stuff, both conceptually and sonically, and I’m enjoying the challenge.’
He is making regular use of Metric Halo’s ChannelStrip plug-in in the development of the new material: ‘I was with ChannelStrip from the very beginning – I had the original version,’ he said. ‘It was the EQ that first got me. It could do things that no other EQ could do, and that remains the case today.
‘For a while, I was really interested in mixing very different samples from very different sources, it could be jazz with punk with something orchestral, whatever. I had to capture the essence of a source and still preserve audio clarity when it was mixed with something else, and Metric Halo ChannelStrip let me do that without having the composition turn to mush.
‘Basically, ChannelStrip’s Q is precise and perfect. I can nail a filter or EQ band to within a few Hertz, enhance the fundamentals and then cut out everything that doesn’t matter while preserving the sample’s character and life. That’s a critical part of what I do and it’s my secret for maintaining audio clarity even when I have a lot of different sources all playing at once. And shortly thereafter I learned the value of ChannelStrip’s dynamics section. It’s so versatile. I use it all the time in combination with the ChannelStrip gate to bring looped drums to life.’
For work on his solo album, Franglen is using Metric Halo’s Production Bundle of plug-ins, which includes all of Metric Halo’s plug-ins – ChannelStrip 3, Character, HaloVerb, Multiband Dynamics, Precision DeEsser, Transient Control and Multiband Expander.
‘I’ve found that says. ‘The effect is subtle, but undeniable. The reverb is also fabulous. It has a huge range of sounds, and the smoothness of the tail is beautiful and transparent. It just disappears into the background. When I apply it to individual instruments, it gives them their own space and surrounds them with warmth without ever overpowering them.’
His new sessions use Metric Halo plug-ins on nearly every channel, with many of those channels bursting with multiple Metric Halo plug-ins.
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