Ice Rink

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rubberdingyrapids

Well-known member
tinchy has that tone. that completely, almost deathly impassive, dont care about anything-not-even-vocalling-this-track tone about it, but kanos one is like everything good about old kano, like hes a boxer and runner all at once.
 
C

CrowleyHead

Well-known member
Baby Tinchy doesn't have that, also that Kano "HEART AND SOUL!" exclamation is the most baffling bit of fake content ever. Kano does not have a soul, or a heart, he functions on castor oil and has the passion in his life of a cardboard box left in a back alley caked in milk because someone from a fast-food place mishandled a vat on the way to the stormdrain.
 
Benny Bunter

Benny Bunter

Well-known member
riko>dizzee>kano>wiley>sharky major>the rest on this riddim iyam

the instrumental provided the perfect soundtrack to my 11 month old rolling around and clambering over the sofa in a comedy fashion this morning, funnily enough
 
M

mistersloane

heavy heavy monster sound
Benny B said:
riko>dizzee>kano>wiley>sharky major>the rest on this riddim iyam

the instrumental provided the perfect soundtrack to my 11 month old rolling around and clambering over the sofa in a comedy fashion this morning, funnily enough
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sharky was so sick
 
john eden

john eden

male pale and stale
I agree about Tinchy I think. It's all so good though - one of those tracks where you hear the first few microseconds and start beaming.

Kind of amazed there haven't been more dodgy knock offs of the riddim besides the one by our own Grievous Angel. :p
 
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mistersloane

heavy heavy monster sound
john eden said:
I agree about Tinchy I think. It's all so good though - one of those tracks where you hear the first few microseconds and start beaming.

Kind of amazed there haven't been more dodgy knock offs of the riddim besides the one by our own Grievous Angel. :p
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Have there been other instances where a single sound (i.e. one single sample) as created as much...instajoy, John? With Ice Rink I'm thinking specifically of the crash sound (snare plus something, or snare plus effect, or whatever it was) that comes in when the MCs drop. I love the idea that one single noise can just make people go urrgh.
 
john eden

john eden

male pale and stale
mistersloane said:
Have there been other instances where a single sound (i.e. one single sample) as created as much...instajoy, John? With Ice Rink I'm thinking specifically of the crash sound (snare plus something, or snare plus effect, or whatever it was) that comes in when the MCs drop. I love the idea that one single noise can just make people go urrgh.
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That's a great question! And I don't know - I guess there are lots of examples of bits of songs doing that, or the amen break. But a single sound? Not so sure... :cool:
 
droid

droid

Well-known member
Mentasm/Hoover and Reese.

The Power Station's gated 80's snare.

Daddy of them all has to be the 808 sub.
 
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mistersloane

heavy heavy monster sound
droid said:
Mentasm/Hoover and Reese.

The Power Station's gated 80's snare.

Daddy of them all has to be the 808 sub.
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Yeah LFO was the one I was thinking of. Good call on the other ones. I can't think of the sound you mean with TPS but I kinda know. And don't wanna look it up : it's too early in the morning here for the 1980s.
 
droid

droid

Well-known member
mistersloane said:
Yeah LFO was the one I was thinking of. Good call on the other ones. I can't think of the sound you mean with TPS but I kinda know. And don't wanna look it up : it's too early in the morning here for the 1980s.
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Engineers were always trying to better record the “snap” of a snare drum being hit. It’s an endless task, as a recording never quite captures the exact sound when heard live. Attempts at miking the snare in a reverb-heavy room like the Power Station wound up with the mike also picking up all of the echoes of the snare hit, and so muddying/dissipating its power. Power Station and Townhouse engineers hit upon the same solution: place a close mike (to capture the actual hit) and then a pair of stereo “ambiance” mikes above the kit, the latter using high compression and equipped with noise gates (so the mikes would capture the reverb of a stick hitting the snare for a half second or so, then snap off). This way engineers could get the hard “snap” of the hit with a dose of explosive reverb, yet without any secondary echoes.

So the snare hit became abstracted—it became a block of pure force, as precise and as alien-sounding as a drum machine but with more power. This sort of inhuman precision, an acoustic instrument turned into a synthetic giant of itself...
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mistersloane

heavy heavy monster sound
Ah yes, that one, thanks droid. I think I'd argue that although the sound was instrinsic to their brand, it wasn't specifically that sound that made people spaz to their music (i.e, with let's dance, it's definitely the bassline. With that Phil track, it has always been the drum fill, but then it's the chorus too)
 
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