Iāve been lacking Shpongle recently. This is great.
This song at least, has sort of aā¦ more-listenable-Mr. Bungle vibe that Iām enjoying
So tough
I desperately need to understand how she made the low end sound so wide on this without buggering up the phase correlation
Iām pretty sure producers are way more afraid of phasing than they should be. Back in the 60s people didnāt give a shit about cancellation and loved studio tricks, so you can hear these wide-panned double tracked basses that sound incredible, and nowadays thatās wrong. Soundcloud teenagers have been working on fatness perception technology for the last ten years. Ponyboy sounds its doing the same trick people are using every time thereās an !!unusually fat!! bass part i.e. distorted mid segments that sound bigger than normal bass, plus heavy delay, leaving the sub alone.
Itās cool as hell to see a pop act sincerely doing the āIām using ableton liveās vocoder to make evil alien rockā glorpy complex techno that Oneohtrix Point Never was imagining with Garden of Delete. Sure, itās petty songs about boring sex but with a fresher sound tying things I Iike into a more salable, commercialized package without the emotional mystery and resonanceā¦ okay I just talked myself out of liking Sophie.
You canāt dance to OPN tho
In any event multiband delay is a thing Iām going to fuck around with more now apparently
Maybe you canāt!
Admittedly lots just make me want to bob around and weep
Yeah I shouldāve mentioned, that phrase will get you the vsts you want, maybe even āmultiband distortionā. I think the essence of what youāre hearing in the Sophie track is the very cool bitey distortion, which I canāt place, and itās particularly giving you ānext levelā feeling because the āpony. boy.ā vocal sets you up for a pop beat which rarely if ever have such cool distortion, and then what you get is only recognizably pop in its fundamental rhythm. Then you immediately hear the industrial sounding elephant trunk alarms taking the place of snares, also unusual, and if youāre watching the video the āIām a pop videoā girls dancing interrupted by āIām an industrial pop videoā camera shaking with the kicks adds a ton of effect. Now the question is howād she get those kicks. The answer is USUALLY ALWAYS lots and lots of layering, and the trackās structure demonstrates an inventive facility with layering, so i bet itās just that, a combo. You can hear she did a reverb on just the high parts and basically blew something out into a square wave and then made it less prominent so itās not just a full-on gabber kick to the face.