Ahh, at least I got it made.
Okay, I just start off talking a bit, everybody's welcome to interfere.
There are some things I noticed that *might* make the typical Prodigy sound. You all know what I'm talking about, and if not, your subconsciousness must have got it then.
There is a typical way of doing the final touch to a track in Prodigyworld, it's hard to define what, but every album has that certain sound. Sure, all the album sounds different to each other, but within that record everyting is tight.
One thing that is very common on the FOTL are the high 3khz levels. There are even people who don't like Prodigy just because of the aggressive medium range frequencies (well, most of them are engineers).
Then again, ususally songs in the electronic-area are cutted
very harshly at about 35-45hz. Everything that reaches deeper near bottom end steals dynamic and headroom, buuuut... Not so with Prodge! Obviously not trying to produce the phattest dancefloor-killers, the low end in Prodge-tracks finishes at sometimes 20hz (Diesel Power, if I remember right), which massively reduces the overall 'energy'. Very strange if you ask me, cause they now need to reduce dynamic to get a higher overall level again. And you all know, if you write music yourself, that music that gets published (by a record company) never ever is 'pure'.
The material is always re-engineered and mastered.
You would shit yourself, if you would hear Prodigy-music unmastered, it would maybe even sound awful.
Anyway, what I'm trying to say is, that because of the highered overall level and the aggressive medium-range frequencies every track is unique, bassy and very very urrrr...
straight. Small, you know.
Take a good Jazz record for example, if you heard Prodigy all your life long, you'll fall of your chair because of the high dynamic. You will hear stereo-effects you never even thought of.
No kidding, Prodigy is very mainstreamy when it's about producing. It kicks, alright, but it's very boring to hear all day, because of the missing tricks and secrets in the songs.
I'm sure most Prodge-listeners won't mind, but I would like a more 'deeper' record very well.
Anyway, I'll try to go short till here, there are more things which make the sound unique.
As some of you might know, Liam is using this old SE-70, which distortions the signal when the reverb is overloaded.
Well, if you know that gear, you will notice that in fact EVERY distortion is made with this, at least on FOTL and MFTJG.
He must have loads of them.
As it should be done: Every Bassdrum is mono and centered but not every snaredrum is mono (well, centered never as well), you can hear that on Climbatize. Okay, it might be an open hihat-sound from a synth lying over it, I'm not sure, since I got the same hihat here on my Virus.
Well, I must go to work now, maybe I'll write more about it (if there's still someone awake out there...) cause there's more about Liams & Neills trixx.
Seeya,
Ekko
Okay, I just start off talking a bit, everybody's welcome to interfere.
There are some things I noticed that *might* make the typical Prodigy sound. You all know what I'm talking about, and if not, your subconsciousness must have got it then.
There is a typical way of doing the final touch to a track in Prodigyworld, it's hard to define what, but every album has that certain sound. Sure, all the album sounds different to each other, but within that record everyting is tight.
One thing that is very common on the FOTL are the high 3khz levels. There are even people who don't like Prodigy just because of the aggressive medium range frequencies (well, most of them are engineers).
Then again, ususally songs in the electronic-area are cutted
very harshly at about 35-45hz. Everything that reaches deeper near bottom end steals dynamic and headroom, buuuut... Not so with Prodge! Obviously not trying to produce the phattest dancefloor-killers, the low end in Prodge-tracks finishes at sometimes 20hz (Diesel Power, if I remember right), which massively reduces the overall 'energy'. Very strange if you ask me, cause they now need to reduce dynamic to get a higher overall level again. And you all know, if you write music yourself, that music that gets published (by a record company) never ever is 'pure'.
The material is always re-engineered and mastered.
You would shit yourself, if you would hear Prodigy-music unmastered, it would maybe even sound awful.
Anyway, what I'm trying to say is, that because of the highered overall level and the aggressive medium-range frequencies every track is unique, bassy and very very urrrr...
straight. Small, you know.
Take a good Jazz record for example, if you heard Prodigy all your life long, you'll fall of your chair because of the high dynamic. You will hear stereo-effects you never even thought of.
No kidding, Prodigy is very mainstreamy when it's about producing. It kicks, alright, but it's very boring to hear all day, because of the missing tricks and secrets in the songs.
I'm sure most Prodge-listeners won't mind, but I would like a more 'deeper' record very well.
Anyway, I'll try to go short till here, there are more things which make the sound unique.
As some of you might know, Liam is using this old SE-70, which distortions the signal when the reverb is overloaded.
Well, if you know that gear, you will notice that in fact EVERY distortion is made with this, at least on FOTL and MFTJG.
He must have loads of them.
As it should be done: Every Bassdrum is mono and centered but not every snaredrum is mono (well, centered never as well), you can hear that on Climbatize. Okay, it might be an open hihat-sound from a synth lying over it, I'm not sure, since I got the same hihat here on my Virus.
Well, I must go to work now, maybe I'll write more about it (if there's still someone awake out there...) cause there's more about Liams & Neills trixx.
Seeya,
Ekko
