Funky worm photosounder5/27/2023 ![]() The song’s venom was directed at Eazy‑E, starting with a skit preceding the video, in which Eazy is portrayed by comedian AJ Johnson as a locs-clad, Jheri-curled Uncle Tom being sold a load of BS from Heller, played by portly Interscope executive Steve Berman. It was also the perfect, terrifying sound for Chronic diss track Fuck wit Dre Day (And Everybody’s Celebratin’). Photograph: Keystone Pictures USA / Alamy/Alamy It’s melodic, it’s somewhat terrifying, it instantly makes your ears prick up. It’s that enchanting, high-pitched whine that is the signature sound of The Chronic. He again used the Moog to create both a chunky bass effect using different settings and the “funky worm” squeal. More than ever, Dre was finding inspiration in Parliament-Funkadelic. “You would mark the tape with a grease pencil and then use a razor blade,” remembered Chris “The Glove” Taylor, an engineer and musician on the album. Yet it was still the pre-digital era, and so they edited on analog tapes, literally cutting them by hand. “It was like the Starship Enterprise,” producer Rhythm D, who worked with Death Row for a time, told me. After a fire there, the rest was made at Solar’s Galaxy studios, where he made use of a state-of-the-art SSL console, a huge, futuristic mixing board with pre-programmable “flying faders” capable of automatically adjusting itself to your preferred settings. Dre recorded the first half of his solo debut The Chronic (which came out near the end of 1992) at his Calabasas house, in a bedroom he’d converted into a studio. In the studio, Dre was hoping to capture the magic of Parliament-Funkadelic member Bernie Worrell’s eerie, melodic keyboard sounds, and so he had engineer Colin Wolfe go out and buy a Moog.įollowing the album Dre left NWA and its label Ruthless Records, owing to a money dispute with Eazy-E, who owned the label, and NWA’s manager, Jerry Heller. Always into Something is a slow-building sonic masterpiece, kicking off with a spoken word MC Ren introduction and a quick Dre verse before unveiling the alien-sounding, high-pitched synthesizer sound, similar to the “funky worm”. Whereas their previous album Straight Outta Compton was all over the place sonically, Efil is mostly unified in its doomsday grooves. Efil4zaggin marks a great leap forward in Dr Dre’s production skills. If all u get is a buzz sound when u first upload the sound image from photo shop to photo sounder does it mean that i erased to much of the wave lines?Īlso when i turn on the lossless mode on photo sounder the sound that comes out is a short buzz sound.The sound was next heard on NWA’s second full-length album, 1991’s Efil4zaggin (Niggaz 4 Life spelled backward), the first gangsta rap album to hit No1. Uncle Fil : There it is 12:12 PM Anonymous said. Just stunning 2:57 PM Michel Rouzic said. Yeah looks like a revolution in dealing with samples Would you mind putting up the isoloated funkyworm sample for download? would be appreciated. this would have came in handy back in the days of westcoast G-Funk. I think I'm ready to buy it after 2 days of non stop trying it out. Jay Ru : yes, I'm working on it, it will be a matter of a few months at worst (you never know with software development). Is this going to be available for mac? Ma10:14 PM Michel Rouzic said. Very nice work man Ma1:02 PM Jay Ru said. ![]() Definitely a trend setting technique being pioneered here my friend. To do that, normally load the image in lossless mode in Photosounder with the original sound as a basis, save the resulting sound, then open the very same sound file again, reopen the image, and save the sound. Note that when you're done, you might want to double-pass the processing to obtain a result more faithful to the actual image you obtained. ![]() The rest of the work consisted in cleaning and fixing the image, using my best Photoshopping skills. I also had things that didn't belong, mainly pieces of voice I mistook as belonging to my instrument. The fact that I used an MP3 as a basis only made matters worse. With the example I chose I had entire missing areas matching to where the snare drums used to be, burying the overtones of the instrument of interest into noise, making them disappear. We now only have the bits we previously erased, and we can see what has to be done. Once inverted, you need a value of 2.0 in Levels' gamma, on both layers, then choose the Difference blending mode, flatten the image, invert again, apply a gamma of 0.5. Which is why it's best to invert the pictures so that their background turns to white before doing such corrections. However beware, Photoshop's Levels makes dark pixels darker than they should be when you increase the gamma, which has disastrous effects on pictures as dark as what we have here. Back in Photoshop, I pasted the new image on top of the original one, switched to 16-bit mode for precision, corrected the gamma for both of them so they match to 1:1.
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