borderpolice said:yes, i have been pondering this myself. there may be a different aesthetic at work. but other HipHop/RnB sounds much more "glossy" in terms of production. if you listen to records where not all tracks are timbaland, like aaliyah's selftitled last, you hear that it doesn't quite sound like a timbaland production in terms of finishing. i'd really like to know the rationale behind this part of the timba sound.
hint said:This is definitely a big part of it.
I also think he's very good at leaving a space in the mix to let the voice dominate, whereas a lot of other r'n'b production is all about slamming everything together and leaving no gaps.
His drum sounds are usually either deep and muffled or pitched up and bright... very rarely occupying that more traditional Primo-style middleground of "Boom Bap" drums. This leaves a big hole in the upper midrange for the vocals and synths / whatever.
Yeah but the question is what the shit sounds like prior to being mastered, what he's doing to the sound....right?gek-opel said:One thing tho- I doubt Timba does his own mastering. Almost no one does. Would he even get final say on how hard-compressed a finished master was on a major label pop project? I doubt it.
baboon2004 said:Sorry to deviate for a sec, but am I completely weird in not getting the new Timberlake at all? It sounds oddly formulaic and, well, too linear... And kinda much more like a Neptunes beat than Timbaland (if I'd had to guess with no prior knowledge).
Whereas I thought 'Maneater' was contender for single of the year.
Jesus, I am weird.
mistersloane said:There's the interview in Scratch mag with him I think in which he talks about not being bothered about the mistakes and going with the feel of the work, keeping the sound of static and hum from the leads, that sort of thing...he's described as being the opposite of Dr Dre which regard to polish on his work. I THINK it's that article, give me a year and I'll dig it out...
borderpolice said:it's interesting to hear this. i also always thought of timbo and dre occupying opposite pole of t he spectrum, with the latter doing the polishing of (fairly minimal) classical pop productions, while the former just knocks together a million little ideas with little regard to conventional sonic coherency, and overall gloss.
i also do wonder how much of the stuff attributed to dre is done by himself. he would probably have a million soundboys working for him, trying to become the next big shot. tim's sound seems more coherent, in its incoherency.
mistersloane said:In that Scratch interview, Timb also talks about listening to nothing but big band music, the marching drums, which is a great tip.
gek-opel said:Whose going to replace Timba/Neptunes tho? Are there already the candidates waiting in the wings? I'm sure there are accomplished producers, but are they not working within the bounds of the aesthetic mapped out by Timba?
mistersloane said:There's the interview in Scratch mag with him I think in which he talks about not being bothered about the mistakes and going with the feel of the work, keeping the sound of static and hum from the leads, that sort of thing...he's described as being the opposite of Dr Dre which regard to polish on his work.
Blackdown said:i love this dichotomy. producers spend days cleaning things up only to rough them back up later ... its a constant battle between different types of cleanlyness and dirt.
gek-opel said:Whose going to replace Timba/Neptunes tho? Are there already the candidates waiting in the wings? I'm sure there are accomplished producers, but are they not working within the bounds of the aesthetic mapped out by Timba?
stelfox said:Rick Rock - by far the most interesting producer around right now