It would take nearly two years for work on the album to be completed. The diverse possibilities of a DAW was alluring, and Cubase was the perfect fit for what Howlett was doing at the time. Prior to this Howlett had solely used the W-30 for everything, including track mixing and sequencing, but he was starting to see the limitations of doing everything with hardware. The album’s mixing was done entirely with Steinberg’s Cubase on an Apple Power Mac, then in its infancy.
The E-mu SP1200 drum machine was the brawn behind the breakbeat in Firestarter Man, I just had to learn that keyboard inside and out.” Also, during the making of the album, Howlett would acquire an Akai S3200 and a CD300 I stayed in every day with the headphones on learning how the thing worked. Howlett would later recall his obsession with Roland’s powerful workstation by saying, “I got the W-30 and, you know, for about four months I didn’t go out. Most of the ideas that became the The Fat Of The Land’s tracks would be envisioned with just the W-30. Howlett’s main instrument for songwriting and idea generation during this period was the Roland W-30 Sampler Workstation, although initially Liam ignored the all-in-one sampling capabilities and focused on using the W-30 as a MIDI programmer and keyboard. However, he’d usually begin by kicking together some loops and samples – primarily obscure soul and funk rhythm sections which he’d extract from the original vinyl and then twist and sonically contort in a number of bizarre ways – before turning to his own instruments, creating something interesting and seeing how it could relate to the samples. Howlett – still only 24 years old at the time – had a range of creative approaches to music making. The Prodigy attempted to distance themselves from this by releasing their barnstorming second album Music For The Jilted Generation, which pushed Howlett’s more polished sonic creations in new challenging directions and featured a more dynamic use of samples stemming from a range of sources. This would eventually lead him to meet Keith Flint and Leeroy Thornhill, who originally joined the outfit as live dancers and frontmen while Howlett focused on the music-making.Įxperience was a shaky debut album which saw their initial edgy blend of ironic samples and pulse-pounding beats dubbed ‘kiddie rave’. Produced and Mixed By Liam Howlett Recorded At Earthbound CentralĬentered around the experimental sampling and synthesiser-heavy musical creations of Liam Howlett, The Prodigy – (named after the Moog Prodigy that he used frequently when writing his early songs) was born when the young Howlett developed an interest in the then increasingly popular rave scene.
#The prodigy music serial#
The Tracks 1: Smack My Bitch Up 2: Breathe 3: Diesel Power 4: Funky Shit 5: Serial Thrilla 6: Mindfields 7: Narayan 8: Firestarter 9: Climbatize 10: Fuel My Fire
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