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(idm) Re: idm V1 #527

2 messages · 2 participants · spans 5 days · search this subject
1996-05-31 12:50(idm) Re: idm V1 #527
1996-06-05 11:24graham.booth (idm) Re: idm V1 #527
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1996-05-31 12:50Peter.Chang@nottingham.ac.ukOn Thu, 30 May 1996 Tom Churchill wrote on ishii: > Adam Huffman <adam@pc061126.shef.ac.uk
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Fri, 31 May 1996 13:50:47 +0100 (BST)
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(idm) Re: idm V1 #527
permalink · <Pine.LNX.3.93.960531132740.106A-100000@petpcyc.thmech.nottingham.ac.uk>
On Thu, 30 May 1996 Tom Churchill wrote on ishii:
quoted 9 lines Adam Huffman <adam@pc061126.shef.ac.uk> wrote...> Adam Huffman <adam@pc061126.shef.ac.uk> wrote... > >With all this vide-oh talk, perhaps I can remind our European listeners > >that a friend of mine programmes the MTV Chill-Out Zone now and then, and > >would be v. keen to receive IDM-ish ideas. > > Ken Ishii's 'Extra' video!! I still haven't seen it. And more X-Mix > stuff - the videos may be boring colour-cycling fractals, but it's the > only time you're ever going to see UR or Planetary Assualt Systems on > TV...
I saw KI at the last London megadog in the Brixton Academy along with Children of the Bong (last live pa), Lionrock, Hardfloor, Spring Heel Jack & System 7 - what a lineup. Ken Ishii played a cracking set based around his Jelly Tones lp. He had a couple of video screens on either side of his kit of who knows what (I'm no spotter). Whilst he played the screens showed some haunting and scary manga. It was a loop about 1-2 minutes long with ghosts, a little kid and the character from the cover of Jelly Tones on some futuristic bike. This slowly changed and got wierder (or was it me). His set was a bit erratic but brilliant. The rhythm loops seem to have an extra beat which puts you off. He would start a sequence on one side of console and move to jab buttons on the other and back and fore like so. He was concentrating all the time, bobbing his bobbled hat (Kangol?) up and down. At the end after a short encore, he smiled almost shyly and waved and went off. That and the rest of the sets, apart from SHJ & Lionrock who didn't impress me, were absolutely cracking. Best night in London! Now if only I can find his Flare and Sublime releases on CD in the UK... Peter
1996-06-05 11:24graham.booth> > From: acowper@dvcorp.co.uk (Andrew Cowper) > Date: Thu, 30 May 1996 14:16:47 +0100 > S
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Wed, 5 Jun 1996 12:24:49 +0100 (BST)
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(idm) Re: idm V1 #527
permalink · <Pine.SUN.3.91.960605121016.1616E-100000@scot1>
quoted 12 lines From: acowper@dvcorp.co.uk (Andrew Cowper)> > From: acowper@dvcorp.co.uk (Andrew Cowper) > Date: Thu, 30 May 1996 14:16:47 +0100 > Subject: (idm) Amen breaks and Stuff. > > Tom Churchill <tom@chrchfam.demon.co.uk> reckons... > > > It also appears in the original form on NWA's 'Straight Outta > >Compton' and the original is taken from the b-side of 'Amen, Brother' by > >the Winstons. You'll recognise it instantly as soon as you figure out > >which one it is - it's *the* most used break in jungle. Now you've just > >got to spot the 'helicopter' and 'apache' breaks...
Is helicopter the one with the high pitched voice in it, as (over) used by T-Power, etc, etc. I've heard the apache one (on J Majik/Infra Reds 'Apache' and elsewhere). A difficult one to describe though. No real distinguishing features like Amen & thehighpichedvoiceone.
quoted 5 lines All this talk of classic breaks has got me thinking...> All this talk of classic breaks has got me thinking... > Does anyone ever make their own breaks using single shot sounds > out of a drum machine? Me and a mate sometimes get together and make tunes, > and we had a go at some jungle but the beats ended up sounding > pretty poor and repetitive.
Yeah. The thing you've got to remember is that no matter how good your programming skills are, its the SOUND that matters. Thats why the amen and other breaks are used so much because they have a sound which cuts through real well. Theres been a lot of talk about this on the 'breaks' list, but to be honest I don't think there is much point trying to start from scratch with one shot samples, its missing the original point of jungle. Its fun to try and do if you haven't got/can't afford (like me!) a decent sampler, but I don't think it will ever really happen. The music is all aobut the sound and dynamics you get when you speed up and cut up samples.
quoted 5 lines I reckon to get anything like> I reckon to get anything like > the complexity of the breaks in say a Photek tune out of single > shot samples would take forever. So do any obsessives actually do > this, or do they all work by sampling and rearranging existing breaks? > Anyone know/got any thoughts?
Well I know Photek says hes stopped using other peoples breaks and now makes his own, but as far as I can tell from Hidden Camera, he's still cutting them up in the sampler even if he made them on his own equipment, and they're certainly not one shit samples. Gotta go... but wait... Likemind
quoted 1 line :: lm-003 Absolute Top; 4 tracks: Tura (=Plaid), B12, Stasis and Nuron> :: lm-003 Absolute Top; 4 tracks: Tura (=Plaid), B12, Stasis and Nuron
Yes! A nice one. That exclusive Plaid/Black Dog track sure is good. B12 track is 'The Silicon Garden' as feature on Time Tourist. Not sure if its the same version though. Can't wait for the new Black Dog LP! Woof!