![The Who "Baby O'Riley" The Who "Baby O'Riley" image](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwffhzNcjV1xv-2jVgj2Fca89EaV3VavuXxYVm3LkGEDxi2MQWLjKz1Ltbpm19HMbWOMOxscR3wIgb85zF_uPFvwuCQJ3munwT3NsbhSLxYHao_-xYJklpY0UIS0Nt2yXSL0wHOMqRC1EH/s200/The+Who+Baba+O%2527Riley.jpg)
That's why today's isolated track is so cool. It strips away the arpeggiated synthesizer and, in some parts, the piano, to give you a clear listen as to what's going on deep inside the mix. Here are some things to listen for:
1. The reverb on the vocal is pretty short, unlike many Who mixes. It's also delayed so the vocal stands out a bit more.
2. The drums are in stereo, but have an unusual balance, with the snare and most of the kit leaning right and the ride and a crash leaning left. On the tom fill at 1:33 you can hear the rack tom on the left as well. Keith Moon also rarely plays the hat during the song, instead bashing the cymbals throughout, something that a producer would no doubt change today.
3. The big guitar power chords in the verse (0:51) are doubled and maybe even tripled, which you don't notice in the full mix.
4. The outro starting at 3:11 sounds much different without the violin. You definitely get to appreciate Moon's prowess with his dynamics and machine gun snare roll.
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