A Quote by King Tuff
I love the sound of '70s glam records. I love that snare sound. The recordings I like, it's all based on if the snare sounds good. The drums have to sound great.
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Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
Neil Young, who isn't really evident when you listen to my music, is probably my favorite of the legends, besides Dylan. They're all a huge influence on me. For me, just following rock history and watching Darkness On the Edge of Town and realizing that's it's okay to be obsessed with a snare sound because Bruce Springsteen was obsessed with a snare sound.
We love a good, hyped sound, but when it starts to sound insincere, that's when I lose interest. I hope that our music, even if it sounds polished, doesn't sound insincere.
Since I first fell in love with choral music when I was 18 and began composing at 21, I've been listening to these recordings of British choirs. I just fell in love with that sound - that pure, clean, pristine sound - and I think it's probably been the biggest influence on my sound.
The three great elemental sounds in nature are the sound of rain, the sound of wind in a primeval wood, and the sound of outer ocean on a beach.
There's definitely that tribal Africana thing going on in my sound. It's that marching band, second-line music, that Creole-influence in the kick, and the snare that drives everything for me. I think it's really what's separated my sound from a lot of the R&B and pop music out there.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
I love listening to old records. Stuff from the '70s, even disco and funk records and a lot of early rock albums - what's great about those recordings is that you can actually hear the true tones of the drums themselves.
Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.
I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff.
I never want to go back and remix old records, either. If a record sounds shitty, that's just the sound it has. I just take it as part of the music. Some of my favorite bands - their old records sound terrible. But that's just part of the sound. If they were perfect, I'd probably hate them. Same thing with movies.
I'm always moving forward creatively and don't like stalling, trying to find the perfect snare drum sound.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
It's certainly no coincidence that big bands became the entertainment of the army in WWI and WWII, and that jazz drumming style is very military influenced. The snare drum comes from the military and becomes the core kind of sound of jazz drums.
What sounds good on the radio is really loud kick drums and loud snare drums, when everything's bombastic and in your face. It's the equivalent of a houseguest who screams all the time.
A great drum record has to sound good; in fact, it should sound special. It should capture the richness and the actual tones of the drums themselves, regardless of who is playing.
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