The verse’s falling bass glissando (first heard at 0:25-0:30) is another cracking production hook, spanning the wide interval of a tenth and drawn out just a touch longer than you’d expect, while the rising step-wise movement of the unison string stabs generates similar musical momentum over a four-bar stretch in the chorus (eg. The high-feedback backing-vocal treatments at 1:33, 2:20, 2:30 are equally ear-catching, so it’s no surprise that spot-delay fan Josh Gudwin’s credited with the mix engineering - he’s previously revealed in interview that he likes to set up a variety of effect spins on separate tracks within his DAW project, so that he can easily apply them to any given piece of audio just by dragging clips, without having to faff around with automation data. It’s the details of the programming and mixing that really elevate this production for me, starting right at the outset with that beautifully leisurely 3/8-note ping-pong vocal-delay spin, its echoes becoming increasingly filter-mangled as they regenerate. It’s a welcome reminder that the sound-design subtleties that are crucial to the appeal of modern EDM won’t really make an impact on the listener unless you feature each sound at centre stage for at least a brief moment. Not only does this allow a second build-up (making good use of that duller verse-section kick drum again) to intensify the full-texture hook-section repeat eight bars later, but it also shines a light on a subsidiary part within the arrangement, alerting us to the details of its unusual envelope-modulated character that weren’t apparent before we had the opportunity to study it in close-up. What also struck me about this arrangement was how well the final extended hook section upsets the expectation that the drums will return at 2:36, instead pushing up the envelope-processed piano riff right into your face. If you phase-cancel the two sections against each other, it seems pretty clear that we’re not hearing a different sample here, so either a low-pass filter has been opened up for the hook sections or (I suspect) a second percussive sample, rich in 1-4 kHz attack energy, has been layered with the kick to enhance its upper-spectrum cut-through. When the main hook section arrives at 1:17, though, you can clearly hear how the ‘point’ of the kick drum becomes much better defined in the high frequencies, adding a more assertive feel to the groove. The sound lacks no low end, but also has plenty of low mid-range warmth to bring it out on small systems, and the hint of hi-hat hovering over each hit lends it a little ‘air’ without overly hardening the edges of the rhythmic events. The kick-drum you hear in the latter stages of the first verse (from 0:29) works very nicely within that arrangement context, lending more rhythmic impetus without subverting the contemplative mood of the vocal performance at the point.
This production offers a clear example of how the sound of a kick drum can be adjusted in response to the changing needs of an EDM arrangement. 1, 2015.Brush up on your listening skills, as we deconstruct some tracks from a production and arrangement perspective. This section does not apply to any incidental interference arising from lawful activity by public or private land users or to landowners or operators interfering with hunters on land owned or operated by that individual. Except for department personnel, the individual setting the trap or snare, or that individual's agent, another individual may not remove or tamper with a trap or snare legally set to take fur-bearing animals or unprotected wild animals or remove the fur-bearing animal or unprotected wild animal from a trap or snare. The individual may not use an aerial vehicle that does not carry a human operator on public or private land to intentionally interfere with the lawful taking of wildlife by another individual or intentionally harass, drive, or disturb any wildlife for the purpose of disrupting a lawful hunt. This section does not apply to any incidental interference arising from lawful activity by public or private land users or to landowners or operators interfering with hunters on land owned or operated by that individual.Īn individual may not intentionally interfere with the lawful taking of wildlife on public or private land by another or intentionally harass, drive, or disturb any wildlife on public or private land for the purpose of disrupting a lawful hunt. Also, no person may remove with or tamper with a legally set trap. Under the law, no person may intentionally interfere with the lawful taking of wildlife on public or private land by another or intentionally harass, drive, or disturb any wildlife on public or private land for the purpose of disrupting a lawful hunt. This law reflects North Dakota's hunter harassment provision.
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