This came up on my suggestion. I have not checked it out but did he succeed?

mostly, but the gated pads are the main attraction of the track and not re-created. He cites eccentricity in their workflow making it unlikely to fully duplicate given the amount of permutations of effect processing, idk it could be possible eventually given some luck by someone. I lost interest about half way but its still a cool video, ive seen some of his stuff in the past, he does good work.

makes me want to sample some stuff but my production boner is dead.

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Its a great video made with clearly visible love and appreciation for the music.

Papua New Guinea is probably one of the most universally loved electronic tracks of all time. I made this statement up, but I really dont think I've ever come across somebody who didnt like it.

Watching this video made me think about how the track was originally made. Like how much of the outcome was intentional and how much was the result of just fcking around in the studio, twiddling knobs and playing with different samples until it all came together as a "happy accident" ? Im leaning towards the latter and to my mind it doesn't take anything away from the "genius moment" that made this track. It does however make the reverse engineering recreation efforts a bit funny. It's like trying to reverse engineer Doc Brown's time machine, which was the result of a inspirational moment of madness.

I must emphasize again, that the track is still ingenious regardless how it came about.

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quote:

Originally posted by djthunderbird It does however make the reverse engineering recreation efforts a bit funny. It's like trying to reverse engineer Doc Brown's time machine, which was the result of a inspirational moment of madness.

That's what's so impressive about these "recreating classics" videos for me. Especially some of the ones where the original track uses samples twisted beyond all recognition. A guy called Jim Pavloff recreated Smack My Bitch Up in Ableton years and years ago on YouTube and it absolutely blew my mind at the time. In particular, things like the little slice of guitar noise from Bulls On Parade being chopped and filtered into a completely different sound. In the studio it was probably just Liam Howlett playing around until he got something that sounded good. To figure it out in reverse is very clever, though. These videos also make you realise just how much attention to detail goes into creating these classic records.

By the way, here is the Sound On Sound article on Papua New Guinea which Gyu references in the video. The FSOL were notoriously reticent in interviews, with Brian Dougans barely saying a word and Gaz Cobain tending to spout stoned mysticism at great, obtuse length, but this interview is one of the only times I've heard them both talk quite openly about how they work in the studio:

https://www.soundonsound.com/techni...apua-new-guinea

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> DI.FM 26th Anniversary Guest Mix [Progressive House]
> Live @ Dance:Love:Hub London, 11.10.2025
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have nothing to add really but youtube threw me this remix today, I enjoyed.

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im sorry for my posts, they comprise mostly of drunken stupor