YOU'RE GOING PLATINUM WITH THISpixelbox wrote:No, YOO are the KID!
No, YOU!
No, YOU!
Nuh-uh. URE TEH KID!
NAW JOO!!! KID!
ad infinitum, ad naseum
next post, please.
biznissthefool wrote:YOU'RE GOING PLATINUM WITH THISpixelbox wrote:No, YOO are the KID!
No, YOU!
No, YOU!
Nuh-uh. URE TEH KID!
NAW JOO!!! KID!
ad infinitum, ad naseum
next post, please.
wow. I just tried to sing it man its just... amazing
It isn't over-compressed. It's sonically fucked. That's nothing specific to Timbathief - but rather that mastering engineers have to eat. In order to eat they're forced to compromise their, and the artists, work. Typically at the artists request.leisuremuffin wrote:Timbaland's stuff is no more overcompressed than any current electronic dance music. Now, to a lot of people's taste, that stuff is over compressed.
And that's because he ain't mixing them. Wake up and read the credits - he ain't doin jack mixing wise other than showin' up. In fact I'd wager one of his dollars earned from stealing others work, and then essentially saying he has a right to do so, that he'd have trouble getting a proper stereo image at the mix position with a head that big. Christ there's still even people out there that think Oakenfold's a producer when his lackey does all the real workTimbaland's tracks are absolutely stellar from a mixing perspective,
While all you said MIGHT be true:Nod wrote: In fact I'd wager one of his dollars earned from stealing others work, and then essentially saying he has a right to do so, that he'd have trouble getting a proper stereo image at the mix position with a head that big. Christ there's still even people out there that think Oakenfold's a producer when his lackey does all the real work
Actually, neither do I. It's a quote from some poster on the forums here that must have been high as fuck. I'm too stupid to have grabbed his forum name.Lazos wrote:Pixelbox, I don't understand your sig. Please explain it to me.(Sorry to threadjack, people)
Okay, really . . . fuck trance, tarnce or whatever the hell people like to call it, now carry on . . .
I remember back in like 96 or 97 when I first hear the Timbaland and Magoo track Luv2luvu it sounded completely different from anything else out there at the time, synth lines, syncopation, wasn't based on some old blue note stuff. Shit was so hot. Still love 95% of Timbaland productions, he makes the artists around him better. Whatever happened to Magoo? He had a nasaly q-tip thing going for him.leisuremuffin wrote: Before timbaland, the vast majority of hip hop and rnb production was entirely sample loop based.
I think I did write in some thread that i don't have preferred genres. In the start of this thread, maybe. Funny though, we have exactly the same viewpoint on it and yet still got in a discussion about itI just get upset when people dismiss whole genres of music. it's something that sparks a knee jerk reaction in me. I truly believe that it's in any musician/producer/engineer/writer's best interest to check out everything that is out there with an open mind.
Bang on the spot. there isn't much interest left for the music. More for the faces. And RnB is a really really bad example, where the biggest stars are all frauds (nearly. i don't blame everybody there, again!)but yeah, i agree with you on the whole faces in front of the music thing. What it really is is the entertainment industry killing the music industry. There isn't really much interest left in the world for plain old music.
Alright, thats another point. No matter if he stole some sounds or not, or if he got 10 producers sitting beside him and only doing a little work, he is still known as a producer to the people. And he brought producers in the front. Sadly, there was too much sale in his music and it all went really commercialized. But the two things can't coexist (the only way he wouldn't get commercialized was if nobody liked what he did)i get a bit upset when cats shit on timbo, because i'm just so happy that he brought the kind of music that i've been involved in and love so much more into focus in the mainstream.
Depends a bit on how long it stays in focus. I mean, POP definition is moving. This year its RnB, maybe in 5 years its rock again, or something 3rd even.Shit, it might even end up getting one of us a gig making Rnb or hip hop tracks.
Its not overcompressed for the use there, no, but for listening at the radio.It's for dance parties and to be played over big club systems with huge sub-woofers. It's not freakin opera. it's either on or off. What i mean is that as material, there isn't really any dynamic range built into the compositions to begin with.
Nod wrote:And that's because he ain't mixing them. Wake up and read the credits - he ain't doin jack mixing wise other than showin' up. In fact I'd wager one of his dollars earned from stealing others work, and then essentially saying he has a right to do so, that he'd have trouble getting a proper stereo image at the mix position with a head that big. Christ there's still even people out there that think Oakenfold's a producer when his lackey does all the real workTimbaland's tracks are absolutely stellar from a mixing perspective,
No. The last part sentence absolute fact I assure you - whilst the former is an humorous assumption based on known facts and credit liststhefool wrote:While all you said MIGHT be true:Nod wrote: In fact I'd wager one of his dollars earned from stealing others work, and then essentially saying he has a right to do so, that he'd have trouble getting a proper stereo image at the mix position with a head that big. Christ there's still even people out there that think Oakenfold's a producer when his lackey does all the real work
C.S. wrote:I remember back in like 96 or 97 when I first hear the Timbaland and Magoo track Luv2luvu it sounded completely different from anything else out there at the time, synth lines, syncopation, wasn't based on some old blue note stuff. Shit was so hot. Still love 95% of Timbaland productions, he makes the artists around him better. Whatever happened to Magoo? He had a nasaly q-tip thing going for him.leisuremuffin wrote: Before timbaland, the vast majority of hip hop and rnb production was entirely sample loop based.
oh not doubting the last heheNod wrote:No. The last part sentence absolute fact I assure you - whilst the former is an humorous assumption based on known facts and credit liststhefool wrote:While all you said MIGHT be true:Nod wrote: In fact I'd wager one of his dollars earned from stealing others work, and then essentially saying he has a right to do so, that he'd have trouble getting a proper stereo image at the mix position with a head that big. Christ there's still even people out there that think Oakenfold's a producer when his lackey does all the real work
That's a reasonable point - on the basis that he is the one doing it. Sadly I can't make that assumption and would only believe it if the process was captured on unedited film. In much the same way I don't assume that someone can genuinely sing note perfect just because it happens to be on a record. The old adage of knowing 'too much' about music to really enjoy it may well be applicable - the other side of that is that your appreciation for genuine magic is all the more potent.leisuremuffin wrote:Sure, your right, he doesn't mix all of those records. Probably has very little to do with tracking vocals too. But i'll bet that not much of the drum and key parts that he writes gets changed at all. And the stuff he writes is really good. There's a difference between that and sombody like sasha putting his face on a track that he barely touched at all.
Why exactly do you think TL is somehow responsible for this? In my view it's another example of the application of cheap consumer music technology versus much stricter sampling laws (hence no more 'real' PE records). If you think he's really done something worthwhile I can certainly respect your views LM quite simply because they certainly come over as far better constructed than any of his I've heardas far as stealing other peoples work, he's one of the people who steered the entire genre away from a style of production that was built on nothing but stealing other peoples work. He deserves some credt for that. And like i said, it's his influence that has opened up that whole market for people like us to work in if we choose to.