But it’s the programming of the main synths that really slays me. Not only does the extrovert pitch-sliding of the riff’s parallel ninths create a fantastic hook in its own right (it somehow reminds me of Led Zep’s ‘Dazed & Confused’), but the sound and line are both varied throughout the track. No creative synth line seems complete without a bit of squidgy filtering, and that’s one ingredient that’s used extensively throughout (the high-pass-filtered fill at 0:38 is great, for instance), but there’s more to enjoy in terms of differences in the layering of the sounds and the occasional effect spin — such as the delay tail just before the first chorus at 0:51. My favourite part of it, though, is the way that the pitch-glide doesn’t always just connect the riff notes, but occasionally heads off in the opposite direction first — for example, at the end of the first and third bars of the four-bar riff (at 1:01, say) where the pitch shoots momentarily skywards right at the end of the bar, before plummeting down to its true low-pitched destination on the following downbeat.
On top of that, this track should surely have walked away with some kind of Brit Award for ‘Most Barking-mad Breaks In A Chart Single’. Exhibit A: the ludicrously brilliant royal fanfare at 1:27; Exhibit B: a full 15 seconds of Enya impersonation at 2:06. Ladies and gentlemen, I rest my case.
Mixing Secrets for the Small Studio
A complete mixing method based around the techniques of the world's most famous producers.