I think, therefore I am...subject to judgement and criticisms, by which no man should abide.
Date: Thu, 26 Mar 2015 15:06:32 -0400
Subject: Re: New Squarepusher track
From: connor1higgins@gmail.com
To: madvlad00@gmail.com
CC: laurent.knauth@gmail.com; clinta@gmail.com; eric.p.fairbanks@gmail.com; chaircrusher@gmail.com; idm@hyperreal.org
I think [OPINION].
On Thu, Mar 26, 2015 at 11:33 AM, David Bohan <madvlad00@gmail.com> wrote:
What's wrong with you all? This track is proper ace.
On Thu, Mar 26, 2015 at 8:26 AM, Laurent Knauth <laurent.knauth@gmail.com> wrote:
Back in the Protracker days, i once recorded the Amiga channels onto cassette and resampled the track this way.
Quite blurry, RAM-hog (4 bars) and slightly unsync'ed.
On Thu, Mar 26, 2015 at 12:16 AM, Clint Anderson <clinta@gmail.com> wrote:
heh in the .mod days ppl would use mod2wav to make patterns from their .mod files into wav files, the idea being that since you only had 4 tracks if you could write a 4 track beat and mix it down to 1 wav file you could free up 3 channels</mod-nerd>
Clint Anderson
Systems Engineer
On Wed, Mar 25, 2015 at 6:10 PM, Eric Fairbanks <eric.p.fairbanks@gmail.com> wrote:
Oh man, those stutter-rolls. That's friggin' impressive. They sound so smooth, and the volume envelopes are perfect.
Must've taken a hellovalot of time. :P
On Wed, Mar 25, 2015 at 6:05 PM kent williams <chaircrusher@gmail.com> wrote:
This track was made entirely in Sound Forge
http://www.cornwarning.com/chaircrusher/SoFarSoSo/02%20Morton%27s%20Shadow.mp3
This was from this album
http://music.cornwarning.com/2009/01/31/so-far-so-so-retrospective-1995-2005/
On Wed, Mar 25, 2015 at 5:02 PM kent williams <chaircrusher@gmail.com> wrote:
Before Acid Pro, I did a whole bunch of tracks in Sound Forge. I'd figure out the number of samples in a 4-beat measures, create that much silence, and turn on the selection grid in Sound Forge so I could see where the beats were, and paste/mix samples in. Once I had some basic patterns and sounds, I'd make copies and fuck them up, and string them out and paste-mix other loops into the master mix.
I'm really comfortable working directly with waveforms. It's a lot easier these days with other tools, but I liked that method better than the other options of the time, which were trackers.
Though I did do trackers to generate loops that I'd arrange in Acid.
On Wed, Mar 25, 2015 at 4:16 PM Eric Fairbanks <eric.p.fairbanks@gmail.com> wrote:
Ah man, Acid Pro. That's exactly what I was picturing. I've heard of musicians who work like that, but it sounds like a nightmare. Might as well compose music in a video editor at that point IMO.
On Wed, Mar 25, 2015 at 5:09 PM kent williams <chaircrusher@gmail.com> wrote:
I did it kind of as a dare for myself. I was working in Acid Pro, and I cut the break into chunks, and then looped a bar or two bars, and copy/paste bits into the loop until it feels full. Then move on to the next measure.
It wasn't hard, but it made me hate those particular sounds by the time I was done.
On Wed, Mar 25, 2015 at 3:44 PM Eric Fairbanks <eric.p.fairbanks@gmail.com> wrote:
Kent, that's nuts. I can't imagine working with sampled breaks in an audio editor. (well, I suppose I can, but it sounds like a serious headache) My recent jam has been writing LUA scripts that generate/transform patterns in Renoise that re-arrange cut up breakbeats. Editing and manipulating breaks and sequences in a tracker at 180+ BPM 8/16LPB is work enough. Cutting up breaks in an audio editor represents a level of long-term focus and dedication that I'm unfamiliar with.
Totally hypothetical, but if Jenkinson handed me a spec for some beatmangling software, I'd happily implement it in return for some spastic Squarepusher-brand breakcore. >.>
On Wed, Mar 25, 2015 at 4:24 PM kent williams <chaircrusher@gmail.com> wrote:
I'm not sure I'd call it piss-weak. Not sure if I like it yet, but I enjoy the melodic content. It sounds like he's using the Eventide effects rack as a synthesizer again -- that buzzy foreground sound, which comes from playing bass through it.
Closest contemporary comparison is the PC Music stuff, which is manically shiny in a similar way.
You can't fault him for trying to do something that sounds different.
As regards the Amen break, I did a track years ago that involved loading the Amen break as a sample, and then cutting and arranging it so every bar was different, across 5 minutes. As you can imagine this amounted to about 8 hours of painstaking zoomed-in editing.
Ever since doing that, I'm allergic to the Amen. I don't mind if people use it in their tracks, but if I load it a sampler and start messing with it, I start feeling sad and wishing it would go away.
On Tue, Mar 24, 2015 at 7:21 AM CRAIG SIMPSON <craignorms@hotmail.com> wrote:
This is pis* weak. Hes making music that sounds like its all been sampled from an arcade or funfair. Hes given up on the amen break. It's a tragedy.
Date: Mon, 23 Mar 2015 22:06:04 -0700
From: gwrenchxx@sbcglobal.net
To: idm@hyperreal.org
Subject: Fwd: Re: Jlin album out.
--Forwarded Message Attachment--
Date: Mon, 23 Mar 2015 21:58:47 -0700
From: gwrenchxx@sbcglobal.net
To: 313@hyperreal.org
Subject: Re: Jlin album out.
I've had to review a 12" or two for the radio station where I DJ, and
I've never heard anything that appealed to me in the least.
kent williams wrote:
quoted 4 lines I'm surprised footwork/juke hasn't been a bigger thing on the IDM
> I'm surprised footwork/juke hasn't been a bigger thing on the IDM
> list. This new record on Planet Mu is revelatory.
>
> http://www.planet.mu/discography/ZIQ356