"Banks Vaults - The Albums 1979 - 1995": 'In Conversation With Tony Banks' - WATCH ALL VIDEOS

Tony racconta i segreti del making of dei suoi album da solista nella video-serie ‘In Conversation With Tony Banks’.

A box set by Tony Banks entitled “Banks Vaults – The Albums 1979 – 1995”. BUY HERE on AMAZON.

‘In Conversation With Tony Banks’ are the video series which sees Tony and producer/engineer Nick Davis telling the story of the making of Tony’s solo albums, as well as explaining the use of various techniques, sound effects and the equipment and instruments used via multi-track demonstrations at the studio at Fisher Lane Farm:

Tony and Nick Davis demonstrate the use of the Polymoog effect which was used on ‘From The Undertow’ from the A Curious Feeling album:

Tony talk about the pros of being able to revisit ‘A Curious Feeling’ and re-mix and enhance parts to achieve more of the sound he originally was looking for:

Tony and Nick demonstrate how the advent of a new keyboard at the time – the ARP Quadra – in conjunction with the Vocoder, allowed Tony to experiment with sound and vocal effects on the song ‘This Is Love’ from The Fugitive:

Tony explains his concerns over possible ‘identity issues’ on his solo work, and his subsequent decision to take on the duty of lead vocals on ‘The Fugitive’:

Tony talks about his experience joining forces with Toyah, Jim Diamond and Fish on the ‘Soundtracks’ album:

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Tony & Nick talk about using drum machines and CASIO harmonizers and demonstrating their use on the instrumental track ‘Charm’:

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Tony Banks and Producer/Engineer Nick Davis dissect the multi-tracks for ‘Redwing’ in order to demonstrate the use of the Emulator in conjunction with a wine glass to produce a wind-instrument like sound sample on ‘Redwing’ – plus how the Synclavier produced the particular synth sound on this track:

Onto ‘Bankstatement’ now, and Tony explains how he made use of samples on the track ‘Big Man’, and how an Emulator sample can be used to replicate the sound of a picking guitar in the absence of a guitarist:

Tony explains how he came to work with Nick Davis, how Nick often stopped him from going ‘a chord too far’, and how they engineered an artificial brass band sound on ‘The Final Curtain’ from the Still album:

Tony recounts how he approached Nik Kershaw for vocal duties on ‘Still’ as well as Nik’s then drummer on ‘The Works’ album Vinnie Colaiuta, plus getting Fish involved once again amongst other vocalists:

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Tony tells us all about teaming up with Wang Chung The Band vocalist Jack Hues for this project:

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Tony and Nick demonstrate how Tony used the ‘dotted quaver rhythm’ effect on the single ‘Only Seventeen’ from the Strictly. Inc album to create a ‘scampering’ sound:

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The use of the piano was a very important part of the template of ‘An Island In The Darkness’, forming the backbone of the orchestration of the piece. Here, Tony & Nick demonstrate how this provided the undercurrent to the 17-minute-long piece:

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Tony reflects on the difference in commercial success between putting a song he writes on a Genesis record, or putting it on a solo record:

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Tony recounts a time working on the Quicksilver soundtrack when one US film director didn’t particularly ‘get’ the sound he was going for, and discusses how ‘The Wicked Lady’ album came about:

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Tony’s take on the various factors and ingredients which can bring about success:

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Tony Banks, as he reflects on all his work – including that of Genesis – and has no regrets:

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Producer & Engineer Nick Davis explains how he approaches re-mixing a piece of music which people are already familiar with in today’s clip from The Farm: