![]() ![]() 'In the Air Tonight' was just a drum machine pattern that I took off that CR78 drum machine. Said Collins: "I got back to find that I had a lot of time on my hands because the family wasn't there, I rang up and said, 'Can I have my drum machine?' because I had to start writing some of this music that was inside me.įace Value was all written over a period of a year-and-a-half, and some songs were written overnight. In an interview with Mix magazine, Collins explained that he wrote this song after returning from a tour. Even before the explosion of toms later on in the track, the rhythm brings a sense of expectation, as understatement goes it’s simply brilliant. The simple rhythm sits perfectly under the guitar and keyboard parts, helping to drive along the haunting soundscape. The machine was then effected using slapback and a plate. ![]() This included muting the snare and programming a new kick part. Collins created the pattern by modifying the Disco 2 preset. Often used an example of gated drums, this seminal Collins track, is driven along by the simple Roland CR78 drum pattern. There’s nothing remarkable about the drum groove, however it does the job of keeping the song bouncing along. Given the simplicity of the drum part it has a strong groove to it as the almost comical snare drops hard on 2 and 4. After the drums were laid down, they recorded the bass with Ball’s Korg and then the piano sound from a New England Digital Synclavier.” In retrospect, Thorne acknowledges that this pop-synth track made with just two guys and mostly sampled sounds was pretty cutting-edge for the time. “Paul Hardiman, the engineer, simply EQ’d them so the kick had more low end on it and the snare was brought up in the midrange, which was just for our convenience in mixing so we didn’t have to fiddle around with EQ the whole time. “It was a little box with one output, and we recorded down to two tracks: kick and snare,” he explains. The drum machine they brought in was broken, so Thorne borrowed a Roland from singer Kit Hain, with whom he was also working at the time. “In Studio Two at Central London’s Advision-with a 32-channel Quad Eight console and an MCI 24-track tape machine-Thorne set up with engineer Paul Hardiman to record the drums first. Speaking to Mix Magazine in 2019, Mike Thorne talks about working on the track: The actual machine used on this track is not entirely clear, although some suggest it was a Roland CR68, forerunner to the CR78, complimented by a Synare, an early drum synth. British band Soft Cell took the 1964 Gloria Jones track and breathed new life into it during the synth pop revolution in the 1980s.
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