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Guest CBrown

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  Bob Dylan said:
puck There's a clear version of it with almost no other noise at 0:35 in the track.

 

 

Anyway, yeah the clap hands, fingersnaps, the transformed voices, they are everywhere in Richard's music. It's a great key to his success imho. There's at least 3-4 of them just in 54 Cymru. There's a soft puck per example between almost every percussion hit during the first 15 seconds of the track. There's a "weeeeeeeee" voice at 15 seconds, then a second later some sort of "tee!". Both are recurrent throughout the track. Or at 0:51 there's his voice going "whoooooohooohoo".

 

There's so many possibilities with recording your voice doing a sound, you can modulate them at great lenght, it's easy to do articulation like portamento or glissando. You can create electronic sounds then record them as you immitate them with your voice. Richard does all that :)

 

I at first thought I heard puck. But then I assumed he fucked with the sample to make the beginning more percussive.

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Guest Vegeta897
  Dale said:
i love the mental bit that kicks in at 4.50 onwards, i love turning that bit up when im on the bus with my mp3 player :) people look at me strangely :angry:

Hell yes :D

 

I once read that it was "seamlessly switching sounds during a sequence" or something like that.

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  • 2 weeks later...
Guest splagawaga

i dunno if any1 already spotted this but the 'humanoid' sample on 54 cymru is also in a luke vibert track.

 

just looking up the track name now.

 

'yoseph' on yoseph... :)

 

the sample says, "humanoid... intruder" or something similar.

 

go go trivia.

Edited by splagawaga
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  • 1 month later...

Unless the T is enhanced with lotsa bass and has the same typical attack/delay of the phonetics of the letter P, it's puck.

 

 

p.s. : "I WANT SEX"

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