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Navaru wrote:The vinyl pop in 1969 starting at 0:40, its on the last part of the 16th note on the 4th beat. Sets up the next measure perfectly, and piercings straight through everything in the song, like right between the eyes.
ParticleGhost wrote:In Audiotrack 12A from R35TT there's a hihat pattern very low in the mix in the right channel
Scories wrote:2:55 (in loop) = Friendly Stranger's crackling sound
Scories wrote:2:55 (in loop) = Friendly Stranger's crackling sound
mechanismj wrote:How did they filter out the timpani?
Juggle wrote:On Melissa Juice I believe they used their cassette recorder's high/low EQ and volume sliders to give the effect that the track comes in one ear and out the other. It was pretty standard for mid-range 4 track recorders of the era to feature simple high and low EQ controls. The bass sounds stereo, while the lead and drums sound mono, panned almost hard left. The left track fades out around 10 seconds sooner than the right. Those are my thoughts anyways.
Valotonin wrote:Akin to the stereo guitar at the end of '84 Pontiac Dream, which was likely written as one and then skillfully split into two so that the left and right guitar tracks could intertwine and finish each other's phrases.
ravedamage wrote:Could Tunng have been sampled/manipulated by BoC or is it just a coincidence? Thought it interesting anyway, am sure this idiocy will be shot down in flames...2004 seems too recent for them to get their sample on![]()
IronMark wrote:4:27 in Amo Bishop Roden, listen to that bass stab and tell me they didn't make a mistake there and decide to leave it in. It's a dissonant clang and not one of BOC's deliberate ones. Just noticed it today.
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