____twoism

In Audiotrack 12A from R35TT there's a hihat pattern very low in the mix in the right channel

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.

There's no polyphony in nlogax at all, the entire track's synth sounds could have been made exclusively using their SH-101.

In Aquarius version 3 there is a quiet but audible section of the percussion that sounds akin to Frank Zappa's famous use of the bicycle as an instrument. Hot Rats.

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.

What a nice second post. The vinyl crackle becomes part of the percussion as I suspect was intended.

ParticleGhost wrote:In Audiotrack 12A from R35TT there's a hihat pattern very low in the mix in the right channel

That is certainly an obscure one that I likely wouldn't have noticed for years. Nice find.

If I understood synths better I could reply to Juggle's post as well.
I am sure you are right, though.

Scories wrote:2:55 (in loop) = Friendly Stranger's crackling sound

That's crazy. I think you may be right.

Scories wrote:2:55 (in loop) = Friendly Stranger's crackling sound

How did they filter out the timpani?

mechanismj wrote: How did they filter out the timpani?

That is why I think I didn't initially take notice. Listening back, though, it is remarkably similar. A high pass filter could have been applied as the one in the track sounds similar but heavily EQed by comparison. It could just be a coincidence, though.

Just a neat discovery from casual listening: the drums in Audiotrack B07 @ 1:13 in are the same as the ones that come in around 3:31 in Basefree, but heavily filtered

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.

This was posted somewhere I’m sure, but the same scream that you hear in the right channel super softly throughout 1969 is used in XYZ me thinks.

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.

I am not sure exactly how they did it, but manipulation of EQ sounds likely, so nice find. I am wondering how one can differentiate between the Hi and Lo EQ of a particular type of unit and the rather more advanced EQ settings they would have had on their mixerboard, though.

It sounds like some synth notes are panned right and some left whilst having their own reverb in the stereo field as well. It could be via two tracks disguised as one which is something BOC have done in other tracks to give it a three dimensional feel without a more cheesy stereo wave going on, but it also sounds as though there is EQ heavily at work in making it shift from right to left as you stated.

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. It is one guitar piece but two tracks that... (interrupt is the wrong word as it is complementary). It occured to me how long that would have taken to record as it is counter intuitive to stop at random intervals whilst recording only to fill them in during the following recording.

So this track was just playing and my wife asked me if it had ever been sampled...


I knew it used samples but couldnae remember what they were...did a quick search to see what samples are in A Tale From Black and whether anyone had sampled the track itself.

As I did so, my wife replicated her version of what she thought she'd heard that had been sampled and it was pretty much the riff from Chromakey Dreamcoat. Have just played Tale From Black and Chromakey back to back, it feels odd I never noticed the similarity in those guitar sounds before.

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

PS Mother's Daughter is a fantastic LP, if you haven't heard it already

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.

It's weird, to me it always felt like two different lines 'speaking' to eachother, but your thinking is cool af.

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

Sweet track. I think it sounds similar, maybe even inspired by it (though they were recorded very close in time, and the guitar is a central part of Chromakey; it's hard for me to think the track was finished in just a couple of months). but I don't think it's identical nor a direct sample.

I’ve always thought the voice at 3:52 in Music Is Math says “(a) perfect circle.”

theconiferoust wrote:I’ve always thought the voice at 3:52 in Music Is Math says “(a) perfect circle.”

This makes perfect sense!

And I always thought the siinging part was something like this: "The whole, world, the whole wide world."
The earth is not a perfect circle. But the concepts of 'maths' + 'whole world' + 'perfect circle' altogether would relate pretty well to the 'geo' theme of the album.

The Way You Show uses the same drum loop as A07.

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.

Nah the bass note sounds fine, to me it sounds like there is a hit with reverb on it behind each bass note and the tuning of the verb just matches the second bass note slightly better than the first.

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.

In the world of BoC, there are no mistakes, just happy accidents.

The main thing I have noticed after years of listening is that it is all still so darn good!