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Post by robreich on Oct 24, 2020 14:38:11 GMT
Some of the smaller touches that I really like on TSR:
The UFO flying away sound on Edge of the World when EB sings "The second time I was abducted."
The whispered "secret" on Secret Road.
David Lucas on cowbell on Fight.
Kasim's background vocals on Return of St. Cecilia. Fit the song perfectly.
The "Feelings, feelings..." line on Train True. Not sure what it means but I love it.
Rob
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Post by marty on Oct 24, 2020 15:22:56 GMT
The break in Nightmare Epiphany, “Then Dahlia woke...”
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Post by The Ocean on Oct 24, 2020 18:00:24 GMT
The swirling synths on Box in my Head and Secret Road.
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Post by The Ocean on Oct 24, 2020 18:27:46 GMT
I just realized, those swirling sounds are not the same, but they remind me a bit of the synth sounds on Sole Survivor from FOUO.
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druid
Junior Member
Posts: 93
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Post by druid on Oct 24, 2020 20:19:16 GMT
Little details is what makes BOC so interesting and listenable!!
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Post by eastmark on Oct 24, 2020 22:14:44 GMT
All these are another reason this is the best Heavy Rock band in music history.
I hoped for a good album. Expectations exceeded.
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Post by ilovethenight on Oct 25, 2020 4:19:24 GMT
There's kinda funny moment during Secret Road at 4:27 in the song (right after solo starts) where I hear a sound which makes me think it's my girlfriend asking me something and I keep looking back like "huh?" but of course, there's nobody there. I basically wear open back studio headphones Audio Technica ATH-R70x which are quite accurate while listening to music. There seems to be some sort of a human sounding sound at 4:27 that keeps tricking me.
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Post by zenman on Oct 25, 2020 5:16:53 GMT
There's kinda funny moment during Secret Road at 4:27 in the song (right after solo starts) where I hear a sound which makes me think it's my girlfriend asking me something and I keep looking back like "huh?" but of course, there's nobody there. I basically wear open back studio headphones Audio Technica ATH-R70x which are quite accurate while listening to music. There seems to be some sort of a human sounding sound at 4:27 that keeps tricking me. Nice phones! I had my first chance to do some critical listening (Grado 300s and McCormack headphone amp) to TSR straight through. I didn't want to break the mood to keep detailed notes, but I did notice, like others here, interesting little details that enhance the listening experience. There were a couple of occasions where I thought I was hearing auto-tune (can't be!?) but it must be something else/similar like sci-fi sound effects. Could it be something like what was noted above in Secret Road? I'll listen again tomorrow. |
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Post by Buck on Oct 25, 2020 5:30:59 GMT
There's a couple of subtle things in Secret Road. One is a brief noise in the guitar track on the left channel in the second verse. Right after I say "If God had a heart that touched.."
During the basic track recording, there was a momentary noise from the output jack of the Cheeseburger and the guitar cord. I could have re-recorded it, or digitally edited it to remove the noise. But while finishing the tracks, I started wanting to hear it. So it stayed in. Now I listen for it every time I play the song.
Also, besides the synths that appear twice in the song, there's a vocal "ah" chorale swell that happens first in the third verse after "ate their fill" and again during Richie's outro solo. Originally the plan was to fade the song on Richie's solo, but it's so good we decided to play it out to the end of the band's basic take.
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Post by zenman on Oct 25, 2020 5:38:17 GMT
Hah! That's kind of cool, leaving in a Blue Oyster clam to keep the human touch. If it was a bit of a buzzing noise, I bet that's what I thought sounded like auto-tune.
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Post by The Ocean on Oct 25, 2020 6:48:41 GMT
Originally the plan was to fade the song on Richie's solo, but it's so good we decided to play it out to the end of the band's basic take. Glad it went that way, same with Nightmare Epiphany. Makes me think of the story of my favorite Rolling Stones song, Can't You Hear Me Knocking, where instead of stopping like in the original demos and takes, I believe it was Mick Taylor and one of the session players kept screwing around, so Keith and Charlie got back into the groove when the realized what was happening, and the put together one hell of an outro jam. You can't argue with inspiration when it hits. |
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Post by zenman on Oct 25, 2020 14:50:35 GMT
Originally the plan was to fade the song on Richie's solo, but it's so good we decided to play it out to the end of the band's basic take. Glad it went that way, same with Nightmare Epiphany. Makes me think of the story of my favorite Rolling Stones song, Can't You Hear Me Knocking, where instead of stopping like in the original demos and takes, I believe it was Mick Taylor and one of the session players kept screwing around, so Keith and Charlie got back into the groove when the realized what was happening, and the put together one hell of an outro jam. You can't argue with inspiration when it hits. The interplay between Buck and Richie on Epiphany is stellar. Good story about the Stones' Knocking (one of my favourite Stones' song as well. Gimme Shelter holds top spot.) The session player was likely Bobby Keys, who just recently passed. |
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Post by The Ocean on Oct 26, 2020 18:58:51 GMT
The background vocal singing "endless night" during one of the later choruses.
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Post by Buck on Oct 26, 2020 21:44:21 GMT
The background vocal singing "endless night" during one of the later choruses. When I heard Richie's demo of "Tainted" that was one of my favorite elements of his arrangement. I demanded to sing on it for the record. |
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Post by The Ocean on Oct 30, 2020 23:48:59 GMT
The keys during the verses of Florida Man have a quality to them that reminds me of the keys in ME 262
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