A Quote by Goldie

Timeless' dealt with the integrity of what drum'n'bass was about, but 'Saturnz Return' was the mischievous kid in me doing something completely the opposite. — © Goldie
Timeless' dealt with the integrity of what drum'n'bass was about, but 'Saturnz Return' was the mischievous kid in me doing something completely the opposite.
In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.
I don't know about timeless. I actually think most of what I do is completely modern, but universally modern. Who decides what timeless even means? Are the things that we consider timeless now going to, in fact, be considered timeless in 300 years? Probably not.
Saturnz Return' proves how important the mother issue was for me in my life.
I love the percussion. It's a right brain, left brain thing. There are different beats, but cooperating together. It's your whole body doing it, you're doing the snare drum and the high top with your hands and the bass drum with your foot. You're this whole motion machine.
I hadn't had that much time practicing behind the drum kit. I've spent an inordinate amount of time listening to and programming drum parts, but it's completely different. One of the beautiful things about using a sampler is since you are so detached from traditional technique, you're forced to have a macro perspective of the project. With an instrument, it's the opposite. With drums specifically, there's nothing that provides more instant gratification and nothing that's funner to play.
Something worth doing might take a while, so really flesh out the potential of the business and be honest about whether it's worth doing. If it's not a $100 million company in five years, maybe it'll take 10 or 15 years. If you're doing something that has a universal, timeless need, then you need to think of the company in a timeless way.
When Mr. Ludwig invented the bass-drum pedal, that's what made the drum set possible.
it is not that religion is merely useless, it is mischievous. It is mischievous by its idle terrors; it is mischievous by its false morality; it is mischievous by its hypocrisy; by its fanaticism; by its dogmatism; by its threats; by its hopes; by its promises.
I often use a return channel to get some shape out of the bass. It's a good way to split the frequencies of the bass so that the sub bass is clean and in mono and the higher end of the bass sound can be filtered off - have it on an audio channel and that's where you can use effects.
Saturnz Return' was very up close and personal, which scared people off.
My dad was a kind of semiprofessional Dixieland-type drummer, and I learned the drums from him. When I was about twelve, we bought our first Ludwig drum set from a pawnshop - a marching-band bass drum, great big tom-toms, and big, deep snare drums.
Yeah, my drum programming especially is based on my knowledge of playing a drum kit. For the bass too, definitely. It was the first thing that I translated any sort of ideas through. It must have shaped it somehow.
The only time I can ever remember Steven crying over any of it was after my treatment, when I tried to use my foot on his bass drum pedal, and we realized I could never play a drum set.
Stay true to your integrity, and if you're doing something that you feel like doesn't represent your integrity, speak up. You have to say that. If you're doing something that doesn't make you feel good, you probably shouldn't be doing it.
Boy you got my heartbeat runnin away Beatin like a drum & it's comin your way Cant you hear that Boom badoom boom boom badoom boom bass He got that super bass Boom badoom boom boom badoom boom bass Yeah that's that super bass
More traditional guitar, bass, drums - it's not something completely natural to me. It's, in a way, exotic.
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