It was a contrived conceit though. Carefully calibrated imperfection. Like Pole with his broken drum machine.
What strikes me about the drums on it is they're designed to sound somewhat mechanical.
No, I don't think he was lying at all. Im saying it was an aesthetic choice. Those deliberately inserted layers of hiss and surface noise.
One thing I love about jungle is that sense of barely controlled chaos you sometimes get, as if the amens are rabid dogs that are being just about reigned in by the creator's hand.
So was he just lying in those interviews?
it's why i wish ufo would clang a bit when he plays on rinse.
Yeah, well put. its precisely this that makes it so compelling. There's so much wild animal energy contained in the timbres, timing and texture of that amen loop.
Even the ninja grade chop masters with their lazer precision slicing skills, photek et al, were harnessing it. Different levels of containment, but always that tension.
Yeah I think Photek did squeeze the life out of it, ultimately (his Studio 2 stuff was great). Never really liked ni ten ichi ryu etc. was far too clinical for me.
He was using it back in the 90s!!
You make your loops, calculate lengths and then paste em together, build them up piece by piece. Every thing has to be EQ'd and levelled first of course. We thought he was insane at the time, but... he made it work, and Burial's stuff has all the hallmarks of the same process.
My mate, Deasy is incredibly talented. He mainly made hip hop influenced stuff, veering off into more abstract material when the mood took him. Check out the crazy amount of detail in this tune. All sound forge start to finish:
When we pressed this to vinyl we had a problem with bass and we had to go back and find the original bass samples, invert the phase, reduce volume and then paste them back into the final track to reduce the bass levels...