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Portishead's long–awaited third album has been one of the artistic highlights of 2008. The band's unique blend of lo–fi and hi–fi, vintage and modern is reflected in their unique approach to recording. Photo: Peter ForrestPortishead's third studio album may have taken a little time to arrive — over 10 years had elapsed after their eponymous second — but for a good chunk of the record–buying public, the wait was hugely worthwhile. Beth Gibbons and Geoff Barrow started the band in the early '90s as a two–piece, but quickly brought in long–time muso Adrian Utley as co–producer, musician and arranger, and eventually he became a permanent part of the band. He is now the closest thing Portishead have to a public voice, and also loves performing live ('For me, it's joyous to play live, because I've spent most of my life doing it, from when I was 17, playing in Country & Western bands or whatever.'

Geoff would probably rather avoid it if at all possible, and Beth is ambivalent, hating the idea but then usually being inspired by actually doing it. Introduction To Nanotechnology Poole Pdf Free here. Resident Evil Revelations Trainer Download Free. Each of the three members has a studio in Bristol, and material is swapped between them, talked about, reworked, talked about some more, and then often enough put aside for a few years.

Logic, Pro Tools and perhaps surprisingly, IZ's Radar hard disk recorder are the main recording tools and means of sharing tracks. Beth Gibbons' studio is in her home, and centres around a beautiful vintage Trident desk, with a setup Adrian calls 'succinct and powerful'. Geoff Barrow's State of Art is a partly commercial studio which he liked so much he became co–owner of it. A lot of Dummy and practically all of the second album were recorded there, and he also uses it to record sessions for his record label.

The rare vintage outboard in Utley's studio includes, clockwise from top left: Astronic A1671 graphic EQ, Neumann WE95 EQs, Pye stereo compressor and Vortexion Type 5 mixer — signed by Tom Jones!Adrian Utley's studio, meanwhile, has an enviable outlook at the top of a five–storey Georgian townhouse perched a couple of hundred feet above the centre of Bristol. The attic space has been converted into a drum room, with angled walls producing a nice acoustic thanks to there being hardly any parallel surfaces. Unlike most booths, which are generally claustrophobic affairs, there is a huge amount of light, and, on the other side of the stairwell, a balcony with a stupendous view of the city and the hills beyond. Adrian can point out interesting features of the skyline, such as the remains of an ancient hill fort, a great gig venue, or the areas where various other Bristol musicians live or have studios. The drum room is used for immediacy's sake to record Geoff's playing, which can then be replaced if necessary at State of Art; it can serve as a guitar booth as well, and houses a superb collection of Tibetan singing bowls, ready for a future project now that the majority of the Portishead work is over for the time being.