On Sun, 10 Sep 1995, Michael Upton wrote:
quoted 3 lines On Sat, 9 Sep 1995, For Our Stenographer wrote:> On Sat, 9 Sep 1995, For Our Stenographer wrote:
>
> I'd dispute that rhythm is part of the timbre of the music. To use the
[chop]
quoted 2 lines timbre was described as a part of the make up of an individual sound, so> timbre was described as a part of the make up of an individual sound, so
> what rhythm you put individual sounds into is something else.
When rhythm is constructed out of chunks of samples that have a filter
sweep over them, I call that "an individual sound", even if is does
contain a little suggestion of bass drum here at snare hit there... they
are portions of rhythms fed through machines in such a way that they are
using synthesis filters/envelopes over the whole chunk... they treat the
sample as a synthesist has traditionally treated a pure
saw/triangle/sine/square wave.
quoted 4 lines I've also played around on a sampler which basically used all the> I've also played around on a sampler which basically used all the
> functions of FM synthesis, but on a sample rather than a generated tone.
> Listening to 'Garbage' particularly makes me think that Autechre have
> access to that kind of thing, as well as synths.
The Casio FZ-1 lets you combine additive, simple Fourier-style and
sample/wave synthesis with your samples, plus it gives you basic resonant
filters (digital tho') over samples and 8stage envelopes. Sorry for the
gear talk... :-\
quoted 1 line Anyway, I swore to myself I'd avoid gear discussions... :/> Anyway, I swore to myself I'd avoid gear discussions... :/
yeah, sorry y'all, i think I'm done there...
quoted 3 lines Autechre tends to repeat patterns over 16 bars and make a series of basic> > Autechre tends to repeat patterns over 16 bars and make a series of basic
> > chord progressions across them, and often on the '1' of each bar (listen
> > to the pads), so there is 4/4 and 3-8 chords under there...quoted 3 lines I don't get this at all. Do you mean they have bars of normal time with> I don't get this at all. Do you mean they have bars of normal time with
> triplet quavers or something? Or does "3-8" mean "between 3 and 8" - as
> in that's how many chords Autechre fit across 16 bars.
Yes, they may progress through several different chords, say as pads in
the background, though this is more evident on things like Black Dog
(early) or Aphex Tit.
quoted 3 lines a) There are riffs/rhythms/whatever that repeat every 3 beats, and others> a) There are riffs/rhythms/whatever that repeat every 3 beats, and others
> that repeat every four beats, but in the same tempo, so they'd be back in
> sync every 6 bars.
That as well as actual triplets of half and whole notes *over* regular
16th and 24th notes... this is pretty common across IDM music, in fact,
that's kind of what makes it IDM partially... IMHO
quoted 3 lines b) They have riffs in 4/4 and 3/4 simultaneously, where the 3/4 rhythm is> b) They have riffs in 4/4 and 3/4 simultaneously, where the 3/4 rhythm is
> slower than the 4/4 one, so they each fit the same bar space. Like really
> slow triplets in 4/4, I guess.
yeah, another way of saying the bit above it...
quoted 2 lines Of course option c) is I have no idea what anyone's going on about, and> Of course option c) is I have no idea what anyone's going on about, and
> my explanations are more confusing than what I started with. :)
It seems like you *do* understand what I'm trying to talk about.
Personally, I find this stuff fascinating: certainly has more
compositional future than traditional popular music (ie.'rock')
IMO...machines make these kinds of exploration possible... I am presently
enjoying an endless complex dialogue between the products of IDM
programmers (Aural Exp, Black Dog,Autechre, Tournesol) and my mental
comprehension of 'music'.
David Chandler - chandler@nethost.multnomah.lib.or.us (503)301-3011
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