On Tue, 16 Nov 1999, Simon Walley wrote:
quoted 7 lines And what Giles says above is pretty true IMO - it seems to be how much> And what Giles says above is pretty true IMO - it seems to be how much
> (the clever tricks) you can cram into a track rather than rather
> playing with the space around the sounds.
>
> Maybe thats down to the ease nowadays with which kids can use and
> employ different plug-ins and muck around with them - previously it
> kind of depended on how many separate bits of kit an artist had.
I have a question and I'm not sure if it's a technical (gear) one or a
musical one. I've noticed something about quite a few (IDM) releases I've
picked up recently, something that makes me sad. Why doesn't anyone write
basslines anymore? Is it the software people are using? I hear all
manner of high-end trickery, tweaked, endlessly manipulated sounds,
mangled breaks, and nothing at all of any substance happening below the
midrange.
The frequencies that move people's guts , the very frequencies that
suggest sex, are missing. What's up with that? Is it because the PC
speakers people are composing for don't have any low frequency response?
Here's a cute trick you can try at home. Play Warp 10+2 and 10+3
back to back. Sweet Exorcist's "Clonk's Coming" or all that
trebly filter nonsense on 10+3 CD2? I know which way I'd vote...
-d.w.
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