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u b k · 19th February 2006

it's funny to me, because the drum sound on that tune is one of those illusions that works so well in context, but fails completely on its own.

first, those drums are not THAT hammered, there's still a decent transient in there. second, there's all that room, which may be jane seymour's ballroom but for the life of me it sounds like a lex thru a gate.

listen close to the end, there's maybe one or two bars where the drums are nearly naked and the squealy delay is spiraling down around them... they don't sound so good on their own.

so i tell you this: it is THE MIX AROUND THE DRUMS, and the arrangement it conveys, that makes them sound so huge. because if i actually focus in on just the drums, they don't sound nearly as big to me. this record was the first to really teach me that lesson, context is everything.

my crazy .02, fwiw.

gregoire
del ubik

19th February 2006	#24
u b k Gear Guru Joined: Oct 2004 Location: The Land of Sunshine Posts: 11,287	it's funny to me, because the drum sound on that tune is one of those illusions that works so well in context, but fails completely on its own. first, those drums are not THAT hammered, there's still a decent transient in there. second, there's all that room, which may be jane seymour's ballroom but for the life of me it sounds like a lex thru a gate. listen close to the end, there's maybe one or two bars where the drums are nearly naked and the squealy delay is spiraling down around them... they don't sound so good on their own. so i tell you this: it is THE MIX AROUND THE DRUMS, and the arrangement it conveys, that makes them sound so huge. because if i actually focus in on just the drums, they don't sound nearly as big to me. this record was the first to really teach me that lesson, context is everything. my crazy .02, fwiw. gregoire del ubik