The Black Magic Boman EP

Second sequence

At around 1:15, a second synth sequence begins to merge with the bass sequence, its regular time signature intertwining with the first sequence’s 7/4 feel to create a continuously evolving pattern that changes further still as the filter opens and the notes get brighter, longer and more distorted. Initially just looping the first bar of the sequence, copious and varying amounts of delay are added, together with much envelope and filter twiddling.

The part ultimately turn into an almost-solo between 3:00 and 3:40. Here’s what it’s playing when it eventually opens out:

Klinsmann Seq 2

Drum track

The drum track in ‘Klinsmann’ is fairly minimal for the most part, never amounting to more than three elements running simultaneously. Pinned down by that solid 4/4 kick drum throughout, other vintage drum machine hits take centre stage as the track progresses. These include a scattering of heavily-delayed fingersnaps that come from the background to the vocal sample, appearing only during the vocal sections, on the 3rd beat of each bar.

Other elements that occur at different points throughout the track include 909 hats, which chime in with a busy, open 1/8th-note pattern from 1:58 until 3:10, and again at 4:14 onwards as shown below:

Klinsmann Drums

These are paired with closed hi-hats on the offbeats in between that serve to shut off the open notes so that, whenever a closed hat is omitted every so often, the open cymbal rings out unchecked, creating a cool variation in the rhythm.

As a variation to the pattern, a double clap strike also pops up occasionally, debuting at 1:25, on the beats shown above. In a classic electro style, these have a prominent stereo delay applied (1/8th note on the left channel, dotted 1/8th note on the right) with a high feedback setting.

Add in some VCS3-style, analogue bubbling transition effects, whistles and white noise swooshes to punctuate the borders between sections, and you have yourself a standout piece of what Boman describes, with tongue firmly in cheek, as ’emo house’.

If you enjoyed this tutorial you might find our book ‘The Secrets of Dance Music Production’ a helpful resource for similar tutorials.

1st October, 2015


  • great stuff love it

  • can you also breakdown how they are using a presumably uncleared recognizable sample from a huge artist and selling it?

  • Why do you presume the sample is uncleared?


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