IDM Mailing Archive

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

I haven't heard of "Footwork"... is this a new genre of music or something? The tracks you linked to sound interesting to say the least. Find it also curious that Jlin works at a steel mill in Gary, Indiana... Not much music prides itself on coming from Indiana On Mon, Mar 23, 2015 at 11:29 AM, kent williams <chaircrusher@gmail.com> wrote:

quoted 5 lines I'm surprised footwork/juke hasn't been a bigger thing on the IDM list.

> 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 >

Shamone motherfucker! Sorry, couldn't help myself!

quoted 12 lines On 23 Mar 2015, at 15:51, David Bohan <madvlad00@gmail.com> wrote:

> On 23 Mar 2015, at 15:51, David Bohan <madvlad00@gmail.com> wrote: > > I haven't heard of "Footwork"... is this a new genre of music or something? > > The tracks you linked to sound interesting to say the least. Find it also curious that Jlin works at a steel mill in Gary, Indiana... Not much music prides itself on coming from Indiana > > >> On Mon, Mar 23, 2015 at 11:29 AM, kent williams <chaircrusher@gmail.com> wrote: >> 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 >

Ah yes, Footwork. The genre that sounds like some kid forgot to add a snare to his half-assed Fruity Loops rap instrumental. Yay world! On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> wrote:

quoted 17 lines I haven't heard of "Footwork"... is this a new genre of music or something?

> I haven't heard of "Footwork"... is this a new genre of music or something? > > The tracks you linked to sound interesting to say the least. Find it also > curious that Jlin works at a steel mill in Gary, Indiana... Not much music > prides itself on coming from Indiana > > > On Mon, Mar 23, 2015 at 11:29 AM, kent williams <chaircrusher@gmail.com> > wrote: > >> 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 >> > >

-- 22tape/jared dunne listen <http://22tape.com>

Jared, stop being ignorant. On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote:

quoted 29 lines Ah yes, Footwork. The genre that sounds like some kid forgot to add a

> Ah yes, Footwork. The genre that sounds like some kid forgot to add a > snare to his half-assed Fruity Loops rap instrumental. Yay world! > > On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> wrote: > >> I haven't heard of "Footwork"... is this a new genre of music or >> something? >> >> The tracks you linked to sound interesting to say the least. Find it also >> curious that Jlin works at a steel mill in Gary, Indiana... Not much music >> prides itself on coming from Indiana >> >> >> On Mon, Mar 23, 2015 at 11:29 AM, kent williams <chaircrusher@gmail.com> >> wrote: >> >>> 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 >>> >> >> > > > -- > 22tape/jared dunne > listen <http://22tape.com> >

Ignorant or silly? Either way, I can't help myself, Kent! Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a bit unfinished to me. But if peeps want to call it minimal, so be it! On Mon, Mar 23, 2015 at 12:18 PM, kent williams <chaircrusher@gmail.com> wrote:

quoted 35 lines Jared, stop being ignorant.

> Jared, stop being ignorant. > > On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote: > >> Ah yes, Footwork. The genre that sounds like some kid forgot to add a >> snare to his half-assed Fruity Loops rap instrumental. Yay world! >> >> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >> wrote: >> >>> I haven't heard of "Footwork"... is this a new genre of music or >>> something? >>> >>> The tracks you linked to sound interesting to say the least. Find it >>> also curious that Jlin works at a steel mill in Gary, Indiana... Not much >>> music prides itself on coming from Indiana >>> >>> >>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> 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 >>>> >>> >>> >> >> >> -- >> 22tape/jared dunne >> listen <http://22tape.com> >> >

-- 22tape/jared dunne listen <http://22tape.com>

Kent, Why does Jared have to be ignorant to not like Footwork? It seems like Jared just thinks this kind of music does not require much effort or much of it is the same. I listened to the compilation album "Bangs & Works Vol. 1" and have found his sentiment to be true for most of the tracks on that release, with some exceptions of course. Now Jlin's release here is much more experimental and fresh sounding than the long tracks of TV show themes spread out over lazy beats. On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote:

quoted 48 lines Ignorant or silly? Either way, I can't help myself, Kent! Honestly,

> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, > Jlin's stuff isn't that bad. But for some reason it all sounds a bit > unfinished to me. But if peeps want to call it minimal, so be it! > > On Mon, Mar 23, 2015 at 12:18 PM, kent williams <chaircrusher@gmail.com> > wrote: > >> Jared, stop being ignorant. >> >> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote: >> >>> Ah yes, Footwork. The genre that sounds like some kid forgot to add a >>> snare to his half-assed Fruity Loops rap instrumental. Yay world! >>> >>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>> wrote: >>> >>>> I haven't heard of "Footwork"... is this a new genre of music or >>>> something? >>>> >>>> The tracks you linked to sound interesting to say the least. Find it >>>> also curious that Jlin works at a steel mill in Gary, Indiana... Not much >>>> music prides itself on coming from Indiana >>>> >>>> >>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams <chaircrusher@gmail.com >>>> > wrote: >>>> >>>>> 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 >>>>> >>>> >>>> >>> >>> >>> -- >>> 22tape/jared dunne >>> listen <http://22tape.com> >>> >> > > > -- > 22tape/jared dunne > listen <http://22tape.com> >

Ha! Lazy beats? You sure you weren't listening to techno? On 3/24/2015 4:26 AM, David Bohan wrote:

quoted 71 lines Kent,

> Kent, > > Why does Jared have to be ignorant to not like Footwork? It seems like > Jared just thinks this kind of music does not require much effort or > much of it is the same. > > I listened to the compilation album "Bangs & Works Vol. 1" and have > found his sentiment to be true for most of the tracks on that release, > with some exceptions of course. > > Now Jlin's release here is much more experimental and fresh sounding > than the long tracks of TV show themes spread out over lazy beats. > > On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com > <mailto:22tape@gmail.com>> wrote: > > Ignorant or silly? Either way, I can't help myself, Kent! > Honestly, Jlin's stuff isn't that bad. But for some reason it all > sounds a bit unfinished to me. But if peeps want to call it > minimal, so be it! > > On Mon, Mar 23, 2015 at 12:18 PM, kent williams > <chaircrusher@gmail.com <mailto:chaircrusher@gmail.com>> wrote: > > Jared, stop being ignorant. > > On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com > <mailto:22tape@gmail.com>> wrote: > > Ah yes, Footwork. The genre that sounds like some kid > forgot to add a snare to his half-assed Fruity Loops rap > instrumental. Yay world! > > On Mon, Mar 23, 2015 at 10:51 AM, David Bohan > <madvlad00@gmail.com <mailto:madvlad00@gmail.com>> wrote: > > I haven't heard of "Footwork"... is this a new genre of > music or something? > > The tracks you linked to sound interesting to say the > least. Find it also curious that Jlin works at a steel > mill in Gary, Indiana... Not much music prides itself on > coming from Indiana > > > On Mon, Mar 23, 2015 at 11:29 AM, kent williams > <chaircrusher@gmail.com <mailto:chaircrusher@gmail.com>> > wrote: > > 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 > > > > > > -- > 22tape/jared dunne > listen <http://22tape.com> > > > > > -- > 22tape/jared dunne > listen <http://22tape.com> > >

-- Sham Beam

Every genre defines conventions. Every genre, furthermore demands a different sort of listening if you're going to understand and enjoy it. To say "The genre that sounds like some kid forgot to add a snare to his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical culture based on a very shallow listening experience, and no understanding of the culture in which it grew up. Juke/Footwork music is very much the product of kids with cracked copies of Fruity Loops; they work with the tools they have. The motivation was to make music whose purpose is to accompany footwork dancing, which is competetive, athletic and intense. The idea is to have the freshest, trickiest rhythm, often played back on shitty boomboxes or Frankenstein sound systems.. Footwork, like Jit in Detroit, is both dance and stylized warfare; it sublimates the violence and frustration of life in "Chiraq." It is something positive in an environment where people are confronted daily with unrelenting negative things. There's a billion footwork tracks and thousands of people making it. Inevitably most of it is not very good, but like any other genre, when it's good it's great. It's OK not to like musical styles. I bet you're not so hot on bluegrass music as well. But like my grandmother always told me about cream corn, "it's better to say you don't care for it than say you hate it." On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> wrote:

quoted 65 lines Kent,

> Kent, > > Why does Jared have to be ignorant to not like Footwork? It seems like > Jared just thinks this kind of music does not require much effort or much > of it is the same. > > I listened to the compilation album "Bangs & Works Vol. 1" and have found > his sentiment to be true for most of the tracks on that release, with some > exceptions of course. > > Now Jlin's release here is much more experimental and fresh sounding than > the long tracks of TV show themes spread out over lazy beats. > > On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote: > >> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, >> Jlin's stuff isn't that bad. But for some reason it all sounds a bit >> unfinished to me. But if peeps want to call it minimal, so be it! >> >> On Mon, Mar 23, 2015 at 12:18 PM, kent williams <chaircrusher@gmail.com> >> wrote: >> >>> Jared, stop being ignorant. >>> >>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote: >>> >>>> Ah yes, Footwork. The genre that sounds like some kid forgot to add a >>>> snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>> >>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>>> wrote: >>>> >>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>> something? >>>>> >>>>> The tracks you linked to sound interesting to say the least. Find it >>>>> also curious that Jlin works at a steel mill in Gary, Indiana... Not much >>>>> music prides itself on coming from Indiana >>>>> >>>>> >>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>> chaircrusher@gmail.com> wrote: >>>>> >>>>>> 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 >>>>>> >>>>> >>>>> >>>> >>>> >>>> -- >>>> 22tape/jared dunne >>>> listen <http://22tape.com> >>>> >>> >> >> >> -- >> 22tape/jared dunne >> listen <http://22tape.com> >> > >

Well said Kent. http://en.wikipedia.org/wiki/Sturgeon%27s_law On Tue, Mar 24, 2015 at 11:38 AM, kent williams <chaircrusher@gmail.com> wrote:

quoted 92 lines Every genre defines conventions. Every genre, furthermore demands a

> Every genre defines conventions. Every genre, furthermore demands a > different sort of listening if you're going to understand and enjoy it. To > say "The genre that sounds like some kid forgot to add a snare to his > half-assed Fruity Loops rap instrumental" is to dismiss a whole musical > culture based on a very shallow listening experience, and no understanding > of the culture in which it grew up. > > Juke/Footwork music is very much the product of kids with cracked copies > of Fruity Loops; they work with the tools they have. The motivation was to > make music whose purpose is to accompany footwork dancing, which is > competetive, athletic and intense. The idea is to have the freshest, > trickiest rhythm, often played back on shitty boomboxes or Frankenstein > sound systems.. Footwork, like Jit in Detroit, is both dance and stylized > warfare; it sublimates the violence and frustration of life in "Chiraq." > It is something positive in an environment where people are confronted > daily with unrelenting negative things. > > There's a billion footwork tracks and thousands of people making it. > Inevitably most of it is not very good, but like any other genre, when it's > good it's great. > > It's OK not to like musical styles. I bet you're not so hot on bluegrass > music as well. But like my grandmother always told me about cream corn, > "it's better to say you don't care for it than say you hate it." > > On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> wrote: > >> Kent, >> >> Why does Jared have to be ignorant to not like Footwork? It seems like >> Jared just thinks this kind of music does not require much effort or much >> of it is the same. >> >> I listened to the compilation album "Bangs & Works Vol. 1" and have found >> his sentiment to be true for most of the tracks on that release, with some >> exceptions of course. >> >> Now Jlin's release here is much more experimental and fresh sounding than >> the long tracks of TV show themes spread out over lazy beats. >> >> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote: >> >>> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, >>> Jlin's stuff isn't that bad. But for some reason it all sounds a bit >>> unfinished to me. But if peeps want to call it minimal, so be it! >>> >>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> Jared, stop being ignorant. >>>> >>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote: >>>> >>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to add a >>>>> snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>> >>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>>>> wrote: >>>>> >>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>> something? >>>>>> >>>>>> The tracks you linked to sound interesting to say the least. Find it >>>>>> also curious that Jlin works at a steel mill in Gary, Indiana... Not much >>>>>> music prides itself on coming from Indiana >>>>>> >>>>>> >>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> 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 >>>>>>> >>>>>> >>>>>> >>>>> >>>>> >>>>> -- >>>>> 22tape/jared dunne >>>>> listen <http://22tape.com> >>>>> >>>> >>> >>> >>> -- >>> 22tape/jared dunne >>> listen <http://22tape.com> >>> >> >>

what about post-uk-swampcore-terror-step? Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 11:14 AM, Connor Higgins <connor1higgins@gmail.com> wrote:

quoted 99 lines Well said Kent.

> Well said Kent. > http://en.wikipedia.org/wiki/Sturgeon%27s_law > > On Tue, Mar 24, 2015 at 11:38 AM, kent williams <chaircrusher@gmail.com> > wrote: > >> Every genre defines conventions. Every genre, furthermore demands a >> different sort of listening if you're going to understand and enjoy it. To >> say "The genre that sounds like some kid forgot to add a snare to his >> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >> culture based on a very shallow listening experience, and no understanding >> of the culture in which it grew up. >> >> Juke/Footwork music is very much the product of kids with cracked copies >> of Fruity Loops; they work with the tools they have. The motivation was to >> make music whose purpose is to accompany footwork dancing, which is >> competetive, athletic and intense. The idea is to have the freshest, >> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >> warfare; it sublimates the violence and frustration of life in "Chiraq." >> It is something positive in an environment where people are confronted >> daily with unrelenting negative things. >> >> There's a billion footwork tracks and thousands of people making it. >> Inevitably most of it is not very good, but like any other genre, when it's >> good it's great. >> >> It's OK not to like musical styles. I bet you're not so hot on bluegrass >> music as well. But like my grandmother always told me about cream corn, >> "it's better to say you don't care for it than say you hate it." >> >> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> wrote: >> >>> Kent, >>> >>> Why does Jared have to be ignorant to not like Footwork? It seems like >>> Jared just thinks this kind of music does not require much effort or much >>> of it is the same. >>> >>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>> found his sentiment to be true for most of the tracks on that release, with >>> some exceptions of course. >>> >>> Now Jlin's release here is much more experimental and fresh sounding >>> than the long tracks of TV show themes spread out over lazy beats. >>> >>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote: >>> >>>> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, >>>> Jlin's stuff isn't that bad. But for some reason it all sounds a bit >>>> unfinished to me. But if peeps want to call it minimal, so be it! >>>> >>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams <chaircrusher@gmail.com >>>> > wrote: >>>> >>>>> Jared, stop being ignorant. >>>>> >>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote: >>>>> >>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to add >>>>>> a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>> >>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>> something? >>>>>>> >>>>>>> The tracks you linked to sound interesting to say the least. Find it >>>>>>> also curious that Jlin works at a steel mill in Gary, Indiana... Not much >>>>>>> music prides itself on coming from Indiana >>>>>>> >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>> chaircrusher@gmail.com> wrote: >>>>>>> >>>>>>>> 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 >>>>>>>> >>>>>>> >>>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> 22tape/jared dunne >>>>>> listen <http://22tape.com> >>>>>> >>>>> >>>> >>>> >>>> -- >>>> 22tape/jared dunne >>>> listen <http://22tape.com> >>>> >>> >>> >

"To say "The genre that sounds like some kid forgot to add a snare to his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical culture based on a very shallow listening experience, and no understanding of the culture in which it grew up." Careful, silly-pants Kent, you're walking the ignorant line yourself, and sounding like an academic from the burbs who's just trying to relate. You don't know me or where I'm from. If I'm from the same musical culture and the same socio-economic background as most peeps who make Footwork, am I still ignorant and shallow? Am I allowed to have an opinion then? Good, because I am. And most Footwork sucks. And I don't have to put "IMO" because I am the one saying it, and it's obviously my opinion. I much prefer Bluegrass. Now, hugs all around! On Tue, Mar 24, 2015 at 10:38 AM, kent williams <chaircrusher@gmail.com> wrote:

quoted 92 lines Every genre defines conventions. Every genre, furthermore demands a

> Every genre defines conventions. Every genre, furthermore demands a > different sort of listening if you're going to understand and enjoy it. To > say "The genre that sounds like some kid forgot to add a snare to his > half-assed Fruity Loops rap instrumental" is to dismiss a whole musical > culture based on a very shallow listening experience, and no understanding > of the culture in which it grew up. > > Juke/Footwork music is very much the product of kids with cracked copies > of Fruity Loops; they work with the tools they have. The motivation was to > make music whose purpose is to accompany footwork dancing, which is > competetive, athletic and intense. The idea is to have the freshest, > trickiest rhythm, often played back on shitty boomboxes or Frankenstein > sound systems.. Footwork, like Jit in Detroit, is both dance and stylized > warfare; it sublimates the violence and frustration of life in "Chiraq." > It is something positive in an environment where people are confronted > daily with unrelenting negative things. > > There's a billion footwork tracks and thousands of people making it. > Inevitably most of it is not very good, but like any other genre, when it's > good it's great. > > It's OK not to like musical styles. I bet you're not so hot on bluegrass > music as well. But like my grandmother always told me about cream corn, > "it's better to say you don't care for it than say you hate it." > > On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> wrote: > >> Kent, >> >> Why does Jared have to be ignorant to not like Footwork? It seems like >> Jared just thinks this kind of music does not require much effort or much >> of it is the same. >> >> I listened to the compilation album "Bangs & Works Vol. 1" and have found >> his sentiment to be true for most of the tracks on that release, with some >> exceptions of course. >> >> Now Jlin's release here is much more experimental and fresh sounding than >> the long tracks of TV show themes spread out over lazy beats. >> >> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote: >> >>> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, >>> Jlin's stuff isn't that bad. But for some reason it all sounds a bit >>> unfinished to me. But if peeps want to call it minimal, so be it! >>> >>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> Jared, stop being ignorant. >>>> >>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote: >>>> >>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to add a >>>>> snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>> >>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>>>> wrote: >>>>> >>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>> something? >>>>>> >>>>>> The tracks you linked to sound interesting to say the least. Find it >>>>>> also curious that Jlin works at a steel mill in Gary, Indiana... Not much >>>>>> music prides itself on coming from Indiana >>>>>> >>>>>> >>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> 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 >>>>>>> >>>>>> >>>>>> >>>>> >>>>> >>>>> -- >>>>> 22tape/jared dunne >>>>> listen <http://22tape.com> >>>>> >>>> >>> >>> >>> -- >>> 22tape/jared dunne >>> listen <http://22tape.com> >>> >> >>

-- 22tape/jared dunne listen <http://22tape.com>

Who are you and where are you from? If you were African-American and lived in Chicago, you might not like Footwork either, but I doubt you'd belittle the entire genre. You're allowed your opinion, but your reaction rubbed me the wrong way; you made it sound like the people making that music were getting away with something. I don't live in Chicago but I go their a fair amount and know the music scene there fairly well; the one thing I know is that it's serious, and highly competitive. No one gets away with making mediocre music; any Footwork tracks you're likely to hear released on e.g. Planet Mu is not going to be half-assed. You may not like it, it may not speak to your condition, but to criticize it that way makes me think you're just hearing it, not listening to it. And you're under no obligation to like it or listen to it. There's too much music and life's too short to listen to things you don't enjoy. On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote:

quoted 117 lines "To say "The genre that sounds like some kid forgot to add a snare to his

> "To say "The genre that sounds like some kid forgot to add a snare to his > half-assed Fruity Loops rap instrumental" is to dismiss a whole musical > culture based on a very shallow listening experience, and no understanding > of the culture in which it grew up." > > Careful, silly-pants Kent, you're walking the ignorant line yourself, and > sounding like an academic from the burbs who's just trying to relate. You > don't know me or where I'm from. If I'm from the same musical culture and > the same socio-economic background as most peeps who make Footwork, am I > still ignorant and shallow? Am I allowed to have an opinion then? Good, > because I am. And most Footwork sucks. And I don't have to put "IMO" > because I am the one saying it, and it's obviously my opinion. I much > prefer Bluegrass. > > Now, hugs all around! > > On Tue, Mar 24, 2015 at 10:38 AM, kent williams <chaircrusher@gmail.com> > wrote: > >> Every genre defines conventions. Every genre, furthermore demands a >> different sort of listening if you're going to understand and enjoy it. To >> say "The genre that sounds like some kid forgot to add a snare to his >> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >> culture based on a very shallow listening experience, and no understanding >> of the culture in which it grew up. >> >> Juke/Footwork music is very much the product of kids with cracked copies >> of Fruity Loops; they work with the tools they have. The motivation was to >> make music whose purpose is to accompany footwork dancing, which is >> competetive, athletic and intense. The idea is to have the freshest, >> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >> warfare; it sublimates the violence and frustration of life in "Chiraq." >> It is something positive in an environment where people are confronted >> daily with unrelenting negative things. >> >> There's a billion footwork tracks and thousands of people making it. >> Inevitably most of it is not very good, but like any other genre, when it's >> good it's great. >> >> It's OK not to like musical styles. I bet you're not so hot on bluegrass >> music as well. But like my grandmother always told me about cream corn, >> "it's better to say you don't care for it than say you hate it." >> >> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> wrote: >> >>> Kent, >>> >>> Why does Jared have to be ignorant to not like Footwork? It seems like >>> Jared just thinks this kind of music does not require much effort or much >>> of it is the same. >>> >>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>> found his sentiment to be true for most of the tracks on that release, with >>> some exceptions of course. >>> >>> Now Jlin's release here is much more experimental and fresh sounding >>> than the long tracks of TV show themes spread out over lazy beats. >>> >>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote: >>> >>>> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, >>>> Jlin's stuff isn't that bad. But for some reason it all sounds a bit >>>> unfinished to me. But if peeps want to call it minimal, so be it! >>>> >>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams <chaircrusher@gmail.com >>>> > wrote: >>>> >>>>> Jared, stop being ignorant. >>>>> >>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> wrote: >>>>> >>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to add >>>>>> a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>> >>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>> something? >>>>>>> >>>>>>> The tracks you linked to sound interesting to say the least. Find it >>>>>>> also curious that Jlin works at a steel mill in Gary, Indiana... Not much >>>>>>> music prides itself on coming from Indiana >>>>>>> >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>> chaircrusher@gmail.com> wrote: >>>>>>> >>>>>>>> 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 >>>>>>>> >>>>>>> >>>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> 22tape/jared dunne >>>>>> listen <http://22tape.com> >>>>>> >>>>> >>>> >>>> >>>> -- >>>> 22tape/jared dunne >>>> listen <http://22tape.com> >>>> >>> >>> > > > -- > 22tape/jared dunne > listen <http://22tape.com> >

disclaimer: don't get too pissed off, i am trolling to some degree here :) just tried to listen to jlin's dark energy and gave up .... here are some tips for footwork producers: 1. even your MPC has velocity control, that means that individual hits/notes/etc can actually be at different volumes from one another 2. the MPC can actually play samples at different pitches, in fact, you can create what are called 'melodies' consisting of two or more notes at different frequencies 3. for many decades now, devices known as 'effects' have been made available, many of which are built into your MPC -- for fun, trying applying an 'effect' to one of the sounds in your 'song' -- the results can be fascinating and are very popular in most every genre. 4. drum sounds -- did you know? you can load different drum sounds into your MPC. that's right, now, not every song has to use the same hi-hat, snare, and bassdrum, on every single one of your albums, for your entire career. 5. did you know? you can change the parameters of sounds on the MPC, using parameters like attack, decay, sustain and release, to alter your sounds 6. you can load more than 9 samples into your MPC. i know, it's confusing, because there are only 9 buttons, but, my understanding is that these buttons can actually be assigned to different sounds, and over the course of several albums, you could use different sounds on EVERY ALBUM or even every song i realize im not from the same background as people producing footwork, but i am 100% confident that a manual is provided for the MPC series Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> wrote:

quoted 139 lines Who are you and where are you from? If you were African-American and

> Who are you and where are you from? If you were African-American and > lived in Chicago, you might not like Footwork either, but I doubt you'd > belittle the entire genre. You're allowed your opinion, but your reaction > rubbed me the wrong way; you made it sound like the people making that > music were getting away with something. > > I don't live in Chicago but I go their a fair amount and know the music > scene there fairly well; the one thing I know is that it's serious, and > highly competitive. No one gets away with making mediocre music; any > Footwork tracks you're likely to hear released on e.g. Planet Mu is not > going to be half-assed. You may not like it, it may not speak to your > condition, but to criticize it that way makes me think you're just hearing > it, not listening to it. > > And you're under no obligation to like it or listen to it. There's too > much music and life's too short to listen to things you don't enjoy. > > On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: > >> "To say "The genre that sounds like some kid forgot to add a snare to his >> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >> culture based on a very shallow listening experience, and no understanding >> of the culture in which it grew up." >> >> Careful, silly-pants Kent, you're walking the ignorant line yourself, and >> sounding like an academic from the burbs who's just trying to relate. You >> don't know me or where I'm from. If I'm from the same musical culture and >> the same socio-economic background as most peeps who make Footwork, am I >> still ignorant and shallow? Am I allowed to have an opinion then? Good, >> because I am. And most Footwork sucks. And I don't have to put "IMO" >> because I am the one saying it, and it's obviously my opinion. I much >> prefer Bluegrass. >> >> Now, hugs all around! >> >> On Tue, Mar 24, 2015 at 10:38 AM, kent williams <chaircrusher@gmail.com> >> wrote: >> >>> Every genre defines conventions. Every genre, furthermore demands a >>> different sort of listening if you're going to understand and enjoy it. To >>> say "The genre that sounds like some kid forgot to add a snare to his >>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>> culture based on a very shallow listening experience, and no understanding >>> of the culture in which it grew up. >>> >>> Juke/Footwork music is very much the product of kids with cracked copies >>> of Fruity Loops; they work with the tools they have. The motivation was to >>> make music whose purpose is to accompany footwork dancing, which is >>> competetive, athletic and intense. The idea is to have the freshest, >>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>> It is something positive in an environment where people are confronted >>> daily with unrelenting negative things. >>> >>> There's a billion footwork tracks and thousands of people making it. >>> Inevitably most of it is not very good, but like any other genre, when it's >>> good it's great. >>> >>> It's OK not to like musical styles. I bet you're not so hot on bluegrass >>> music as well. But like my grandmother always told me about cream corn, >>> "it's better to say you don't care for it than say you hate it." >>> >>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>> wrote: >>> >>>> Kent, >>>> >>>> Why does Jared have to be ignorant to not like Footwork? It seems like >>>> Jared just thinks this kind of music does not require much effort or much >>>> of it is the same. >>>> >>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>> found his sentiment to be true for most of the tracks on that release, with >>>> some exceptions of course. >>>> >>>> Now Jlin's release here is much more experimental and fresh sounding >>>> than the long tracks of TV show themes spread out over lazy beats. >>>> >>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote: >>>> >>>>> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, >>>>> Jlin's stuff isn't that bad. But for some reason it all sounds a bit >>>>> unfinished to me. But if peeps want to call it minimal, so be it! >>>>> >>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>> chaircrusher@gmail.com> wrote: >>>>> >>>>>> Jared, stop being ignorant. >>>>>> >>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to add >>>>>>> a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>>> something? >>>>>>>> >>>>>>>> The tracks you linked to sound interesting to say the least. Find >>>>>>>> it also curious that Jlin works at a steel mill in Gary, Indiana... Not >>>>>>>> much music prides itself on coming from Indiana >>>>>>>> >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>> >>>>>>>>> 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 >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>> >>>>>>> >>>>>>> -- >>>>>>> 22tape/jared dunne >>>>>>> listen <http://22tape.com> >>>>>>> >>>>>> >>>>> >>>>> >>>>> -- >>>>> 22tape/jared dunne >>>>> listen <http://22tape.com> >>>>> >>>> >>>> >> >> >> -- >> 22tape/jared dunne >> listen <http://22tape.com> >> >

Problem is that you'll always encounter some more knowledgeable people than you are... On Fri, May 8, 2015 at 8:12 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 160 lines disclaimer: don't get too pissed off, i am trolling to some degree here :)

> disclaimer: don't get too pissed off, i am trolling to some degree here :) > > just tried to listen to jlin's dark energy and gave up .... here are some > tips for footwork producers: > > 1. even your MPC has velocity control, that means that individual > hits/notes/etc can actually be at different volumes from one another > 2. the MPC can actually play samples at different pitches, in fact, you > can create what are called 'melodies' consisting of two or more notes at > different frequencies > 3. for many decades now, devices known as 'effects' have been made > available, many of which are built into your MPC -- for fun, trying > applying an 'effect' to one of the sounds in your 'song' -- the results can > be fascinating and are very popular in most every genre. > 4. drum sounds -- did you know? you can load different drum sounds into > your MPC. that's right, now, not every song has to use the same hi-hat, > snare, and bassdrum, on every single one of your albums, for your entire > career. > 5. did you know? you can change the parameters of sounds on the MPC, > using parameters like attack, decay, sustain and release, to alter your > sounds > 6. you can load more than 9 samples into your MPC. i know, it's > confusing, because there are only 9 buttons, but, my understanding is that > these buttons can actually be assigned to different sounds, and over the > course of several albums, you could use different sounds on EVERY ALBUM or > even every song > > i realize im not from the same background as people producing footwork, > but i am 100% confident that a manual is provided for the MPC series > > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> > wrote: > >> Who are you and where are you from? If you were African-American and >> lived in Chicago, you might not like Footwork either, but I doubt you'd >> belittle the entire genre. You're allowed your opinion, but your reaction >> rubbed me the wrong way; you made it sound like the people making that >> music were getting away with something. >> >> I don't live in Chicago but I go their a fair amount and know the music >> scene there fairly well; the one thing I know is that it's serious, and >> highly competitive. No one gets away with making mediocre music; any >> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >> going to be half-assed. You may not like it, it may not speak to your >> condition, but to criticize it that way makes me think you're just hearing >> it, not listening to it. >> >> And you're under no obligation to like it or listen to it. There's too >> much music and life's too short to listen to things you don't enjoy. >> >> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >> >>> "To say "The genre that sounds like some kid forgot to add a snare to >>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>> culture based on a very shallow listening experience, and no understanding >>> of the culture in which it grew up." >>> >>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>> and sounding like an academic from the burbs who's just trying to relate. >>> You don't know me or where I'm from. If I'm from the same musical culture >>> and the same socio-economic background as most peeps who make Footwork, am >>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>> because I am the one saying it, and it's obviously my opinion. I much >>> prefer Bluegrass. >>> >>> Now, hugs all around! >>> >>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> Every genre defines conventions. Every genre, furthermore demands a >>>> different sort of listening if you're going to understand and enjoy it. To >>>> say "The genre that sounds like some kid forgot to add a snare to his >>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>> culture based on a very shallow listening experience, and no understanding >>>> of the culture in which it grew up. >>>> >>>> Juke/Footwork music is very much the product of kids with cracked >>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>> was to make music whose purpose is to accompany footwork dancing, which is >>>> competetive, athletic and intense. The idea is to have the freshest, >>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>> It is something positive in an environment where people are confronted >>>> daily with unrelenting negative things. >>>> >>>> There's a billion footwork tracks and thousands of people making it. >>>> Inevitably most of it is not very good, but like any other genre, when it's >>>> good it's great. >>>> >>>> It's OK not to like musical styles. I bet you're not so hot on >>>> bluegrass music as well. But like my grandmother always told me about cream >>>> corn, "it's better to say you don't care for it than say you hate it." >>>> >>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>> wrote: >>>> >>>>> Kent, >>>>> >>>>> Why does Jared have to be ignorant to not like Footwork? It seems like >>>>> Jared just thinks this kind of music does not require much effort or much >>>>> of it is the same. >>>>> >>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>> found his sentiment to be true for most of the tracks on that release, with >>>>> some exceptions of course. >>>>> >>>>> Now Jlin's release here is much more experimental and fresh sounding >>>>> than the long tracks of TV show themes spread out over lazy beats. >>>>> >>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> wrote: >>>>> >>>>>> Ignorant or silly? Either way, I can't help myself, Kent! Honestly, >>>>>> Jlin's stuff isn't that bad. But for some reason it all sounds a bit >>>>>> unfinished to me. But if peeps want to call it minimal, so be it! >>>>>> >>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> Jared, stop being ignorant. >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>>>> something? >>>>>>>>> >>>>>>>>> The tracks you linked to sound interesting to say the least. Find >>>>>>>>> it also curious that Jlin works at a steel mill in Gary, Indiana... Not >>>>>>>>> much music prides itself on coming from Indiana >>>>>>>>> >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>> >>>>>>>>>> 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 >>>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> -- >>>>>>>> >>>>>>>

http://www.akaipro.de/sites/default/files/downloads/MpcManual.1.3.pdf Clint Anderson Systems Engineer On Sat, May 9, 2015 at 4:28 AM, Laurent Knauth <laurent.knauth@gmail.com> wrote:

quoted 167 lines Problem is that you'll always encounter some more knowledgeable people

> Problem is that you'll always encounter some more knowledgeable people > than you are... > > > On Fri, May 8, 2015 at 8:12 PM, Clint Anderson <clinta@gmail.com> wrote: > >> disclaimer: don't get too pissed off, i am trolling to some degree here :) >> >> just tried to listen to jlin's dark energy and gave up .... here are some >> tips for footwork producers: >> >> 1. even your MPC has velocity control, that means that individual >> hits/notes/etc can actually be at different volumes from one another >> 2. the MPC can actually play samples at different pitches, in fact, you >> can create what are called 'melodies' consisting of two or more notes at >> different frequencies >> 3. for many decades now, devices known as 'effects' have been made >> available, many of which are built into your MPC -- for fun, trying >> applying an 'effect' to one of the sounds in your 'song' -- the results can >> be fascinating and are very popular in most every genre. >> 4. drum sounds -- did you know? you can load different drum sounds into >> your MPC. that's right, now, not every song has to use the same hi-hat, >> snare, and bassdrum, on every single one of your albums, for your entire >> career. >> 5. did you know? you can change the parameters of sounds on the MPC, >> using parameters like attack, decay, sustain and release, to alter your >> sounds >> 6. you can load more than 9 samples into your MPC. i know, it's >> confusing, because there are only 9 buttons, but, my understanding is that >> these buttons can actually be assigned to different sounds, and over the >> course of several albums, you could use different sounds on EVERY ALBUM or >> even every song >> >> i realize im not from the same background as people producing footwork, >> but i am 100% confident that a manual is provided for the MPC series >> >> >> >> Clint Anderson >> Systems Engineer >> >> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >> wrote: >> >>> Who are you and where are you from? If you were African-American and >>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>> belittle the entire genre. You're allowed your opinion, but your reaction >>> rubbed me the wrong way; you made it sound like the people making that >>> music were getting away with something. >>> >>> I don't live in Chicago but I go their a fair amount and know the music >>> scene there fairly well; the one thing I know is that it's serious, and >>> highly competitive. No one gets away with making mediocre music; any >>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>> going to be half-assed. You may not like it, it may not speak to your >>> condition, but to criticize it that way makes me think you're just hearing >>> it, not listening to it. >>> >>> And you're under no obligation to like it or listen to it. There's too >>> much music and life's too short to listen to things you don't enjoy. >>> >>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>> >>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>> culture based on a very shallow listening experience, and no understanding >>>> of the culture in which it grew up." >>>> >>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>> and sounding like an academic from the burbs who's just trying to relate. >>>> You don't know me or where I'm from. If I'm from the same musical culture >>>> and the same socio-economic background as most peeps who make Footwork, am >>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>> because I am the one saying it, and it's obviously my opinion. I much >>>> prefer Bluegrass. >>>> >>>> Now, hugs all around! >>>> >>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams <chaircrusher@gmail.com >>>> > wrote: >>>> >>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>> different sort of listening if you're going to understand and enjoy it. To >>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>> culture based on a very shallow listening experience, and no understanding >>>>> of the culture in which it grew up. >>>>> >>>>> Juke/Footwork music is very much the product of kids with cracked >>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>> It is something positive in an environment where people are confronted >>>>> daily with unrelenting negative things. >>>>> >>>>> There's a billion footwork tracks and thousands of people making it. >>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>> good it's great. >>>>> >>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>> >>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>> wrote: >>>>> >>>>>> Kent, >>>>>> >>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>> much of it is the same. >>>>>> >>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>> some exceptions of course. >>>>>> >>>>>> Now Jlin's release here is much more experimental and fresh sounding >>>>>> than the long tracks of TV show themes spread out over lazy beats. >>>>>> >>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>> chaircrusher@gmail.com> wrote: >>>>>>> >>>>>>>> Jared, stop being ignorant. >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com >>>>>>>>> > wrote: >>>>>>>>> >>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>>>>> something? >>>>>>>>>> >>>>>>>>>> The tracks you linked to sound interesting to say the least. Find >>>>>>>>>> it also curious that Jlin works at a steel mill in Gary, Indiana... Not >>>>>>>>>> much music prides itself on coming from Indiana >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>> >>>>>>>>>>> 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 >>>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> -- >>>>>>>>> >>>>>>>>

http://en.wikipedia.org/wiki/The_Art_of_Fugue On Sat, May 9, 2015 at 7:31 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 172 lines > http://www.akaipro.de/sites/default/files/downloads/MpcManual.1.3.pdf > > Clint Anderson > Systems Engineer > > On Sat, May 9, 2015 at 4:28 AM, Laurent Knauth <laurent.knauth@gmail.com> > wrote: > >> Problem is that you'll always encounter some more knowledgeable people >> than you are... >> >> >> On Fri, May 8, 2015 at 8:12 PM, Clint Anderson <clinta@gmail.com> wrote: >> >>> disclaimer: don't get too pissed off, i am trolling to some degree here >>> :) >>> >>> just tried to listen to jlin's dark energy and gave up .... here are >>> some tips for footwork producers: >>> >>> 1. even your MPC has velocity control, that means that individual >>> hits/notes/etc can actually be at different volumes from one another >>> 2. the MPC can actually play samples at different pitches, in fact, you >>> can create what are called 'melodies' consisting of two or more notes at >>> different frequencies >>> 3. for many decades now, devices known as 'effects' have been made >>> available, many of which are built into your MPC -- for fun, trying >>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>> be fascinating and are very popular in most every genre. >>> 4. drum sounds -- did you know? you can load different drum sounds into >>> your MPC. that's right, now, not every song has to use the same hi-hat, >>> snare, and bassdrum, on every single one of your albums, for your entire >>> career. >>> 5. did you know? you can change the parameters of sounds on the MPC, >>> using parameters like attack, decay, sustain and release, to alter your >>> sounds >>> 6. you can load more than 9 samples into your MPC. i know, it's >>> confusing, because there are only 9 buttons, but, my understanding is that >>> these buttons can actually be assigned to different sounds, and over the >>> course of several albums, you could use different sounds on EVERY ALBUM or >>> even every song >>> >>> i realize im not from the same background as people producing footwork, >>> but i am 100% confident that a manual is provided for the MPC series >>> >>> >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> Who are you and where are you from? If you were African-American and >>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>> rubbed me the wrong way; you made it sound like the people making that >>>> music were getting away with something. >>>> >>>> I don't live in Chicago but I go their a fair amount and know the music >>>> scene there fairly well; the one thing I know is that it's serious, and >>>> highly competitive. No one gets away with making mediocre music; any >>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>> going to be half-assed. You may not like it, it may not speak to your >>>> condition, but to criticize it that way makes me think you're just hearing >>>> it, not listening to it. >>>> >>>> And you're under no obligation to like it or listen to it. There's too >>>> much music and life's too short to listen to things you don't enjoy. >>>> >>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>>> >>>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>> culture based on a very shallow listening experience, and no understanding >>>>> of the culture in which it grew up." >>>>> >>>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>>> and sounding like an academic from the burbs who's just trying to relate. >>>>> You don't know me or where I'm from. If I'm from the same musical culture >>>>> and the same socio-economic background as most peeps who make Footwork, am >>>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>>> because I am the one saying it, and it's obviously my opinion. I much >>>>> prefer Bluegrass. >>>>> >>>>> Now, hugs all around! >>>>> >>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>> chaircrusher@gmail.com> wrote: >>>>> >>>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>>> different sort of listening if you're going to understand and enjoy it. To >>>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>> culture based on a very shallow listening experience, and no understanding >>>>>> of the culture in which it grew up. >>>>>> >>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>> It is something positive in an environment where people are confronted >>>>>> daily with unrelenting negative things. >>>>>> >>>>>> There's a billion footwork tracks and thousands of people making it. >>>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>>> good it's great. >>>>>> >>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>> >>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> Kent, >>>>>>> >>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>> much of it is the same. >>>>>>> >>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>>> some exceptions of course. >>>>>>> >>>>>>> Now Jlin's release here is much more experimental and fresh sounding >>>>>>> than the long tracks of TV show themes spread out over lazy beats. >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>> >>>>>>>>> Jared, stop being ignorant. >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>> wrote: >>>>>>>>> >>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>> >>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>>>>>> something? >>>>>>>>>>> >>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> 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 >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>

my point is just that yes there are always going to be people better than you but that said, that just means you have to try even harder, or at least try bach was so talented that he had to do things like that to probably even challenge himself a little but anyone can download a pdf and learn about how to make their trap/footwork song better Clint Anderson Systems Engineer On Sat, May 9, 2015 at 12:41 PM, Laurent Knauth <laurent.knauth@gmail.com> wrote:

quoted 177 lines > http://en.wikipedia.org/wiki/The_Art_of_Fugue > > > On Sat, May 9, 2015 at 7:31 PM, Clint Anderson <clinta@gmail.com> wrote: > >> http://www.akaipro.de/sites/default/files/downloads/MpcManual.1.3.pdf >> >> Clint Anderson >> Systems Engineer >> >> On Sat, May 9, 2015 at 4:28 AM, Laurent Knauth <laurent.knauth@gmail.com> >> wrote: >> >>> Problem is that you'll always encounter some more knowledgeable people >>> than you are... >>> >>> >>> On Fri, May 8, 2015 at 8:12 PM, Clint Anderson <clinta@gmail.com> wrote: >>> >>>> disclaimer: don't get too pissed off, i am trolling to some degree here >>>> :) >>>> >>>> just tried to listen to jlin's dark energy and gave up .... here are >>>> some tips for footwork producers: >>>> >>>> 1. even your MPC has velocity control, that means that individual >>>> hits/notes/etc can actually be at different volumes from one another >>>> 2. the MPC can actually play samples at different pitches, in fact, you >>>> can create what are called 'melodies' consisting of two or more notes at >>>> different frequencies >>>> 3. for many decades now, devices known as 'effects' have been made >>>> available, many of which are built into your MPC -- for fun, trying >>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>> be fascinating and are very popular in most every genre. >>>> 4. drum sounds -- did you know? you can load different drum sounds >>>> into your MPC. that's right, now, not every song has to use the same >>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>> entire career. >>>> 5. did you know? you can change the parameters of sounds on the MPC, >>>> using parameters like attack, decay, sustain and release, to alter your >>>> sounds >>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>> confusing, because there are only 9 buttons, but, my understanding is that >>>> these buttons can actually be assigned to different sounds, and over the >>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>> even every song >>>> >>>> i realize im not from the same background as people producing footwork, >>>> but i am 100% confident that a manual is provided for the MPC series >>>> >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >>>> wrote: >>>> >>>>> Who are you and where are you from? If you were African-American and >>>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>> rubbed me the wrong way; you made it sound like the people making that >>>>> music were getting away with something. >>>>> >>>>> I don't live in Chicago but I go their a fair amount and know the >>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>> and highly competitive. No one gets away with making mediocre music; any >>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>> going to be half-assed. You may not like it, it may not speak to your >>>>> condition, but to criticize it that way makes me think you're just hearing >>>>> it, not listening to it. >>>>> >>>>> And you're under no obligation to like it or listen to it. There's too >>>>> much music and life's too short to listen to things you don't enjoy. >>>>> >>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>>>> >>>>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>> culture based on a very shallow listening experience, and no understanding >>>>>> of the culture in which it grew up." >>>>>> >>>>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>>>> and sounding like an academic from the burbs who's just trying to relate. >>>>>> You don't know me or where I'm from. If I'm from the same musical culture >>>>>> and the same socio-economic background as most peeps who make Footwork, am >>>>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>>>> because I am the one saying it, and it's obviously my opinion. I much >>>>>> prefer Bluegrass. >>>>>> >>>>>> Now, hugs all around! >>>>>> >>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>>>> different sort of listening if you're going to understand and enjoy it. To >>>>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>>> culture based on a very shallow listening experience, and no understanding >>>>>>> of the culture in which it grew up. >>>>>>> >>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>> It is something positive in an environment where people are confronted >>>>>>> daily with unrelenting negative things. >>>>>>> >>>>>>> There's a billion footwork tracks and thousands of people making it. >>>>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>>>> good it's great. >>>>>>> >>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> Kent, >>>>>>>> >>>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>>> much of it is the same. >>>>>>>> >>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>>>> some exceptions of course. >>>>>>>> >>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>> >>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>> wrote: >>>>>>>>>> >>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music >>>>>>>>>>>> or something? >>>>>>>>>>>> >>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> 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 >>>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>

As spotted by Matthieu Debliqui's moniker, today's music is full-on subjectivity. From then, why should one use MIDI CC such as velocity — which he, besides, does (to my ears at least) — or whatever soundsets if he won't want to ? Not that i like Jlin's stuff : i actually couldn't feel farther from most of this mailing-list prescriptions but — sorry for crawler-sounding — i generally try to (but unfortunately not always succeed) stick to the « *if-you-don't-have-anything-nice-to-say,-don't-say-anything-at-all*»-saying. On Sat, May 9, 2015 at 7:48 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 196 lines my point is just that yes there are always going to be people better than

> my point is just that yes there are always going to be people better than > you > but that said, that just means you have to try even harder, or at least try > bach was so talented that he had to do things like that to probably even > challenge himself a little > but anyone can download a pdf and learn about how to make their > trap/footwork song better > > > Clint Anderson > Systems Engineer > > On Sat, May 9, 2015 at 12:41 PM, Laurent Knauth <laurent.knauth@gmail.com> > wrote: > >> http://en.wikipedia.org/wiki/The_Art_of_Fugue >> >> >> On Sat, May 9, 2015 at 7:31 PM, Clint Anderson <clinta@gmail.com> wrote: >> >>> http://www.akaipro.de/sites/default/files/downloads/MpcManual.1.3.pdf >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Sat, May 9, 2015 at 4:28 AM, Laurent Knauth <laurent.knauth@gmail.com >>> > wrote: >>> >>>> Problem is that you'll always encounter some more knowledgeable people >>>> than you are... >>>> >>>> >>>> On Fri, May 8, 2015 at 8:12 PM, Clint Anderson <clinta@gmail.com> >>>> wrote: >>>> >>>>> disclaimer: don't get too pissed off, i am trolling to some degree >>>>> here :) >>>>> >>>>> just tried to listen to jlin's dark energy and gave up .... here are >>>>> some tips for footwork producers: >>>>> >>>>> 1. even your MPC has velocity control, that means that individual >>>>> hits/notes/etc can actually be at different volumes from one another >>>>> 2. the MPC can actually play samples at different pitches, in fact, >>>>> you can create what are called 'melodies' consisting of two or more notes >>>>> at different frequencies >>>>> 3. for many decades now, devices known as 'effects' have been made >>>>> available, many of which are built into your MPC -- for fun, trying >>>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>>> be fascinating and are very popular in most every genre. >>>>> 4. drum sounds -- did you know? you can load different drum sounds >>>>> into your MPC. that's right, now, not every song has to use the same >>>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>>> entire career. >>>>> 5. did you know? you can change the parameters of sounds on the MPC, >>>>> using parameters like attack, decay, sustain and release, to alter your >>>>> sounds >>>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>>> confusing, because there are only 9 buttons, but, my understanding is that >>>>> these buttons can actually be assigned to different sounds, and over the >>>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>>> even every song >>>>> >>>>> i realize im not from the same background as people producing >>>>> footwork, but i am 100% confident that a manual is provided for the MPC >>>>> series >>>>> >>>>> >>>>> >>>>> Clint Anderson >>>>> Systems Engineer >>>>> >>>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com >>>>> > wrote: >>>>> >>>>>> Who are you and where are you from? If you were African-American and >>>>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>>> rubbed me the wrong way; you made it sound like the people making that >>>>>> music were getting away with something. >>>>>> >>>>>> I don't live in Chicago but I go their a fair amount and know the >>>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>>> and highly competitive. No one gets away with making mediocre music; any >>>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>>> going to be half-assed. You may not like it, it may not speak to your >>>>>> condition, but to criticize it that way makes me think you're just hearing >>>>>> it, not listening to it. >>>>>> >>>>>> And you're under no obligation to like it or listen to it. There's >>>>>> too much music and life's too short to listen to things you don't enjoy. >>>>>> >>>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> "To say "The genre that sounds like some kid forgot to add a snare >>>>>>> to his half-assed Fruity Loops rap instrumental" is to dismiss a whole >>>>>>> musical culture based on a very shallow listening experience, and no >>>>>>> understanding of the culture in which it grew up." >>>>>>> >>>>>>> Careful, silly-pants Kent, you're walking the ignorant line >>>>>>> yourself, and sounding like an academic from the burbs who's just trying to >>>>>>> relate. You don't know me or where I'm from. If I'm from the same musical >>>>>>> culture and the same socio-economic background as most peeps who make >>>>>>> Footwork, am I still ignorant and shallow? Am I allowed to have an opinion >>>>>>> then? Good, because I am. And most Footwork sucks. And I don't have to >>>>>>> put "IMO" because I am the one saying it, and it's obviously my opinion. I >>>>>>> much prefer Bluegrass. >>>>>>> >>>>>>> Now, hugs all around! >>>>>>> >>>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>>> chaircrusher@gmail.com> wrote: >>>>>>> >>>>>>>> Every genre defines conventions. Every genre, furthermore demands >>>>>>>> a different sort of listening if you're going to understand and enjoy it. >>>>>>>> To say "The genre that sounds like some kid forgot to add a snare to his >>>>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>>>> culture based on a very shallow listening experience, and no understanding >>>>>>>> of the culture in which it grew up. >>>>>>>> >>>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>>> It is something positive in an environment where people are confronted >>>>>>>> daily with unrelenting negative things. >>>>>>>> >>>>>>>> There's a billion footwork tracks and thousands of people making >>>>>>>> it. Inevitably most of it is not very good, but like any other genre, when >>>>>>>> it's good it's great. >>>>>>>> >>>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> Kent, >>>>>>>>> >>>>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>>>> much of it is the same. >>>>>>>>> >>>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and >>>>>>>>> have found his sentiment to be true for most of the tracks on that release, >>>>>>>>> with some exceptions of course. >>>>>>>>> >>>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>>> wrote: >>>>>>>>> >>>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>> >>>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>>> wrote: >>>>>>>>>>> >>>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music >>>>>>>>>>>>> or something? >>>>>>>>>>>>> >>>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>>> >>>>>>>>>>>>>> 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 >>>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>> >

It's not about musical talent. It's about hustle. Yes there's no doubt that hustling is a talent. Unfortunately, many hustlers aren't musically talented. And while I agree with "if you don't have anything nice to say, don't say anything at all", I also believe that if we truly care about something (in this case it's music), at some point we have to stand up and speak. Or, we can just be content with being content, and cower in the corner our whole life, being afraid of offending someone, and wondering why things aren't changing. Besides, the people that are most easily offended are those who are acting offended on someone's else's behalf, not because they feel as though they've been insulted themselves. So many false martyrs. Especially with the internet. :) On Sat, May 9, 2015 at 2:20 PM, Laurent Knauth <laurent.knauth@gmail.com> wrote:

quoted 214 lines As spotted by Matthieu Debliqui's moniker, today's music is full-on

> As spotted by Matthieu Debliqui's moniker, today's music is full-on > subjectivity. > > From then, why should one use MIDI CC such as velocity -- which he, > besides, does (to my ears at least) -- or whatever soundsets if he won't > want to ? > > Not that i like Jlin's stuff : i actually couldn't feel farther from most > of this mailing-list prescriptions but -- sorry for crawler-sounding -- i > generally try to (but unfortunately not always succeed) stick to the << > *if-you-don't-have-anything-nice-to-say,-don't-say-anything-at-all* > >>-saying. > > > On Sat, May 9, 2015 at 7:48 PM, Clint Anderson <clinta@gmail.com> wrote: > >> my point is just that yes there are always going to be people better than >> you >> but that said, that just means you have to try even harder, or at least >> try >> bach was so talented that he had to do things like that to probably even >> challenge himself a little >> but anyone can download a pdf and learn about how to make their >> trap/footwork song better >> >> >> Clint Anderson >> Systems Engineer >> >> On Sat, May 9, 2015 at 12:41 PM, Laurent Knauth <laurent.knauth@gmail.com >> > wrote: >> >>> http://en.wikipedia.org/wiki/The_Art_of_Fugue >>> >>> >>> On Sat, May 9, 2015 at 7:31 PM, Clint Anderson <clinta@gmail.com> wrote: >>> >>>> http://www.akaipro.de/sites/default/files/downloads/MpcManual.1.3.pdf >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Sat, May 9, 2015 at 4:28 AM, Laurent Knauth < >>>> laurent.knauth@gmail.com> wrote: >>>> >>>>> Problem is that you'll always encounter some more knowledgeable people >>>>> than you are... >>>>> >>>>> >>>>> On Fri, May 8, 2015 at 8:12 PM, Clint Anderson <clinta@gmail.com> >>>>> wrote: >>>>> >>>>>> disclaimer: don't get too pissed off, i am trolling to some degree >>>>>> here :) >>>>>> >>>>>> just tried to listen to jlin's dark energy and gave up .... here are >>>>>> some tips for footwork producers: >>>>>> >>>>>> 1. even your MPC has velocity control, that means that individual >>>>>> hits/notes/etc can actually be at different volumes from one another >>>>>> 2. the MPC can actually play samples at different pitches, in fact, >>>>>> you can create what are called 'melodies' consisting of two or more notes >>>>>> at different frequencies >>>>>> 3. for many decades now, devices known as 'effects' have been made >>>>>> available, many of which are built into your MPC -- for fun, trying >>>>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>>>> be fascinating and are very popular in most every genre. >>>>>> 4. drum sounds -- did you know? you can load different drum sounds >>>>>> into your MPC. that's right, now, not every song has to use the same >>>>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>>>> entire career. >>>>>> 5. did you know? you can change the parameters of sounds on the MPC, >>>>>> using parameters like attack, decay, sustain and release, to alter your >>>>>> sounds >>>>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>>>> confusing, because there are only 9 buttons, but, my understanding is that >>>>>> these buttons can actually be assigned to different sounds, and over the >>>>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>>>> even every song >>>>>> >>>>>> i realize im not from the same background as people producing >>>>>> footwork, but i am 100% confident that a manual is provided for the MPC >>>>>> series >>>>>> >>>>>> >>>>>> >>>>>> Clint Anderson >>>>>> Systems Engineer >>>>>> >>>>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> Who are you and where are you from? If you were African-American >>>>>>> and lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>>>> rubbed me the wrong way; you made it sound like the people making that >>>>>>> music were getting away with something. >>>>>>> >>>>>>> I don't live in Chicago but I go their a fair amount and know the >>>>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>>>> and highly competitive. No one gets away with making mediocre music; any >>>>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>>>> going to be half-assed. You may not like it, it may not speak to your >>>>>>> condition, but to criticize it that way makes me think you're just hearing >>>>>>> it, not listening to it. >>>>>>> >>>>>>> And you're under no obligation to like it or listen to it. There's >>>>>>> too much music and life's too short to listen to things you don't enjoy. >>>>>>> >>>>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> "To say "The genre that sounds like some kid forgot to add a snare >>>>>>>> to his half-assed Fruity Loops rap instrumental" is to dismiss a whole >>>>>>>> musical culture based on a very shallow listening experience, and no >>>>>>>> understanding of the culture in which it grew up." >>>>>>>> >>>>>>>> Careful, silly-pants Kent, you're walking the ignorant line >>>>>>>> yourself, and sounding like an academic from the burbs who's just trying to >>>>>>>> relate. You don't know me or where I'm from. If I'm from the same musical >>>>>>>> culture and the same socio-economic background as most peeps who make >>>>>>>> Footwork, am I still ignorant and shallow? Am I allowed to have an opinion >>>>>>>> then? Good, because I am. And most Footwork sucks. And I don't have to >>>>>>>> put "IMO" because I am the one saying it, and it's obviously my opinion. I >>>>>>>> much prefer Bluegrass. >>>>>>>> >>>>>>>> Now, hugs all around! >>>>>>>> >>>>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>> >>>>>>>>> Every genre defines conventions. Every genre, furthermore demands >>>>>>>>> a different sort of listening if you're going to understand and enjoy it. >>>>>>>>> To say "The genre that sounds like some kid forgot to add a snare to his >>>>>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>>>>> culture based on a very shallow listening experience, and no understanding >>>>>>>>> of the culture in which it grew up. >>>>>>>>> >>>>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>>>> It is something positive in an environment where people are confronted >>>>>>>>> daily with unrelenting negative things. >>>>>>>>> >>>>>>>>> There's a billion footwork tracks and thousands of people making >>>>>>>>> it. Inevitably most of it is not very good, but like any other genre, when >>>>>>>>> it's good it's great. >>>>>>>>> >>>>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>>>> wrote: >>>>>>>>> >>>>>>>>>> Kent, >>>>>>>>>> >>>>>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>>>>> much of it is the same. >>>>>>>>>> >>>>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and >>>>>>>>>> have found his sentiment to be true for most of the tracks on that release, >>>>>>>>>> with some exceptions of course. >>>>>>>>>> >>>>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>>>> wrote: >>>>>>>>>> >>>>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>>>> wrote: >>>>>>>>>>>> >>>>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot >>>>>>>>>>>>> to add a snare to his half-assed Fruity Loops rap instrumental. Yay >>>>>>>>>>>>> world! >>>>>>>>>>>>> >>>>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>>>> >>>>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music >>>>>>>>>>>>>> or something? >>>>>>>>>>>>>> >>>>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>>>> >>>>>>>>>>>>>>> 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 >>>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>> >>

-- 22tape/jared dunne listen <http://22tape.com>

I mostly agree with you and Clint actually, but *Pimps-pushers-prostitutes* *** playing such a big part (and name) in «electronic music», i'd rather chase the sun. It's not about the nice guy playing political correctness then, it's about protecting yourself against a war you cannot win. Eventually, *Hustlers *is the only «electronic music documentary» that will never hit the streets. Well, it already exists in various flavors, but it's named otherwise. *** : *https://www.youtube.com/watch?v=6yIZu6CNVl8 <https://www.youtube.com/watch?v=6yIZu6CNVl8>* On Sun, May 10, 2015 at 12:57 AM, Jared Dunne <22tape@gmail.com> wrote:

quoted 236 lines It's not about musical talent. It's about hustle. Yes there's no doubt

> It's not about musical talent. It's about hustle. Yes there's no doubt > that hustling is a talent. Unfortunately, many hustlers aren't musically > talented. And while I agree with "if you don't have anything nice to say, > don't say anything at all", I also believe that if we truly care about > something (in this case it's music), at some point we have to stand up and > speak. Or, we can just be content with being content, and cower in the > corner our whole life, being afraid of offending someone, and wondering why > things aren't changing. Besides, the people that are most easily offended > are those who are acting offended on someone's else's behalf, not because > they feel as though they've been insulted themselves. So many false > martyrs. Especially with the internet. :) > > On Sat, May 9, 2015 at 2:20 PM, Laurent Knauth <laurent.knauth@gmail.com> > wrote: > >> As spotted by Matthieu Debliqui's moniker, today's music is full-on >> subjectivity. >> >> From then, why should one use MIDI CC such as velocity — which he, >> besides, does (to my ears at least) — or whatever soundsets if he won't >> want to ? >> >> Not that i like Jlin's stuff : i actually couldn't feel farther from most >> of this mailing-list prescriptions but — sorry for crawler-sounding — i >> generally try to (but unfortunately not always succeed) stick to the « >> *if-you-don't-have-anything-nice-to-say,-don't-say-anything-at-all* >> »-saying. >> >> >> On Sat, May 9, 2015 at 7:48 PM, Clint Anderson <clinta@gmail.com> wrote: >> >>> my point is just that yes there are always going to be people better >>> than you >>> but that said, that just means you have to try even harder, or at least >>> try >>> bach was so talented that he had to do things like that to probably even >>> challenge himself a little >>> but anyone can download a pdf and learn about how to make their >>> trap/footwork song better >>> >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Sat, May 9, 2015 at 12:41 PM, Laurent Knauth < >>> laurent.knauth@gmail.com> wrote: >>> >>>> http://en.wikipedia.org/wiki/The_Art_of_Fugue >>>> >>>> >>>> On Sat, May 9, 2015 at 7:31 PM, Clint Anderson <clinta@gmail.com> >>>> wrote: >>>> >>>>> http://www.akaipro.de/sites/default/files/downloads/MpcManual.1.3.pdf >>>>> >>>>> Clint Anderson >>>>> Systems Engineer >>>>> >>>>> On Sat, May 9, 2015 at 4:28 AM, Laurent Knauth < >>>>> laurent.knauth@gmail.com> wrote: >>>>> >>>>>> Problem is that you'll always encounter some more knowledgeable >>>>>> people than you are... >>>>>> >>>>>> >>>>>> On Fri, May 8, 2015 at 8:12 PM, Clint Anderson <clinta@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> disclaimer: don't get too pissed off, i am trolling to some degree >>>>>>> here :) >>>>>>> >>>>>>> just tried to listen to jlin's dark energy and gave up .... here are >>>>>>> some tips for footwork producers: >>>>>>> >>>>>>> 1. even your MPC has velocity control, that means that individual >>>>>>> hits/notes/etc can actually be at different volumes from one another >>>>>>> 2. the MPC can actually play samples at different pitches, in fact, >>>>>>> you can create what are called 'melodies' consisting of two or more notes >>>>>>> at different frequencies >>>>>>> 3. for many decades now, devices known as 'effects' have been made >>>>>>> available, many of which are built into your MPC -- for fun, trying >>>>>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>>>>> be fascinating and are very popular in most every genre. >>>>>>> 4. drum sounds -- did you know? you can load different drum sounds >>>>>>> into your MPC. that's right, now, not every song has to use the same >>>>>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>>>>> entire career. >>>>>>> 5. did you know? you can change the parameters of sounds on the >>>>>>> MPC, using parameters like attack, decay, sustain and release, to alter >>>>>>> your sounds >>>>>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>>>>> confusing, because there are only 9 buttons, but, my understanding is that >>>>>>> these buttons can actually be assigned to different sounds, and over the >>>>>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>>>>> even every song >>>>>>> >>>>>>> i realize im not from the same background as people producing >>>>>>> footwork, but i am 100% confident that a manual is provided for the MPC >>>>>>> series >>>>>>> >>>>>>> >>>>>>> >>>>>>> Clint Anderson >>>>>>> Systems Engineer >>>>>>> >>>>>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams < >>>>>>> chaircrusher@gmail.com> wrote: >>>>>>> >>>>>>>> Who are you and where are you from? If you were African-American >>>>>>>> and lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>>>>> rubbed me the wrong way; you made it sound like the people making that >>>>>>>> music were getting away with something. >>>>>>>> >>>>>>>> I don't live in Chicago but I go their a fair amount and know the >>>>>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>>>>> and highly competitive. No one gets away with making mediocre music; any >>>>>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>>>>> going to be half-assed. You may not like it, it may not speak to your >>>>>>>> condition, but to criticize it that way makes me think you're just hearing >>>>>>>> it, not listening to it. >>>>>>>> >>>>>>>> And you're under no obligation to like it or listen to it. There's >>>>>>>> too much music and life's too short to listen to things you don't enjoy. >>>>>>>> >>>>>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> "To say "The genre that sounds like some kid forgot to add a snare >>>>>>>>> to his half-assed Fruity Loops rap instrumental" is to dismiss a whole >>>>>>>>> musical culture based on a very shallow listening experience, and no >>>>>>>>> understanding of the culture in which it grew up." >>>>>>>>> >>>>>>>>> Careful, silly-pants Kent, you're walking the ignorant line >>>>>>>>> yourself, and sounding like an academic from the burbs who's just trying to >>>>>>>>> relate. You don't know me or where I'm from. If I'm from the same musical >>>>>>>>> culture and the same socio-economic background as most peeps who make >>>>>>>>> Footwork, am I still ignorant and shallow? Am I allowed to have an opinion >>>>>>>>> then? Good, because I am. And most Footwork sucks. And I don't have to >>>>>>>>> put "IMO" because I am the one saying it, and it's obviously my opinion. I >>>>>>>>> much prefer Bluegrass. >>>>>>>>> >>>>>>>>> Now, hugs all around! >>>>>>>>> >>>>>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>> >>>>>>>>>> Every genre defines conventions. Every genre, furthermore >>>>>>>>>> demands a different sort of listening if you're going to understand and >>>>>>>>>> enjoy it. To say "The genre that sounds like some kid forgot to add a snare >>>>>>>>>> to his half-assed Fruity Loops rap instrumental" is to dismiss a whole >>>>>>>>>> musical culture based on a very shallow listening experience, and no >>>>>>>>>> understanding of the culture in which it grew up. >>>>>>>>>> >>>>>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>>>>> It is something positive in an environment where people are confronted >>>>>>>>>> daily with unrelenting negative things. >>>>>>>>>> >>>>>>>>>> There's a billion footwork tracks and thousands of people making >>>>>>>>>> it. Inevitably most of it is not very good, but like any other genre, when >>>>>>>>>> it's good it's great. >>>>>>>>>> >>>>>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>>>>> wrote: >>>>>>>>>> >>>>>>>>>>> Kent, >>>>>>>>>>> >>>>>>>>>>> Why does Jared have to be ignorant to not like Footwork? It >>>>>>>>>>> seems like Jared just thinks this kind of music does not require much >>>>>>>>>>> effort or much of it is the same. >>>>>>>>>>> >>>>>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and >>>>>>>>>>> have found his sentiment to be true for most of the tracks on that release, >>>>>>>>>>> with some exceptions of course. >>>>>>>>>>> >>>>>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>>>>> wrote: >>>>>>>>>>> >>>>>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>>>>> >>>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>>>>> wrote: >>>>>>>>>>>>> >>>>>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot >>>>>>>>>>>>>> to add a snare to his half-assed Fruity Loops rap instrumental. Yay >>>>>>>>>>>>>> world! >>>>>>>>>>>>>> >>>>>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>>>>> >>>>>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of >>>>>>>>>>>>>>> music or something? >>>>>>>>>>>>>>> >>>>>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>>>>> >>>>>>>>>>>>>>> >>>>>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>>>>> >>>>>>>>>>>>>>>> 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 >>>>>>>>>>>>>>>> >>>>>>>>>>>>>>> >>>>>>>>>>>>>>> >>>>>>>>>>>>>> >>> > > > -- > 22tape/jared dunne > listen <http://22tape.com> >

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

Link? On Tue, Mar 24, 2015 at 12:21 PM, CRAIG SIMPSON <craignorms@hotmail.com> wrote:

quoted 27 lines This is pis* weak. Hes making music that sounds like its all been sampled

> 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: > > 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 > >

I'm guessing he means this one: https://soundcloud.com/warp-records/squarepusher-stor-eiglass I quite like it. On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown <c.byersbrown@gmail.com

quoted 1 line wrote:

> wrote:

quoted 33 lines Link?

> Link? > > On Tue, Mar 24, 2015 at 12:21 PM, 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: >> > 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 >> >> >

wow, that's truly shit :) On 24 March 2015 at 13:21, Alan Lucas <alucas@gmail.com> wrote:

quoted 44 lines I'm guessing he means this one:

> I'm guessing he means this one: > > https://soundcloud.com/warp-records/squarepusher-stor-eiglass > > I quite like it. > > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown < > c.byersbrown@gmail.com> wrote: > >> Link? >> >> On Tue, Mar 24, 2015 at 12:21 PM, 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: >>> > 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 >>> >>> >> >

-- _____________________________________________ Sent from my Sinclair ZX Spectrum 48K _____________________________________________ noise I make: http://www.soundcloud.com/pushkin http://www.last.fm/music/Pushkin noise I like: http://www.last.fm/user/zombiefly sites I run: http://www.ctran.co.uk http://o-fu-online.net -------------------------------

you honestly think thats up to his standards? he's making music that compliments his pyrotechnic liveshows in the same way movies have explosions that compliment the 3d. Its fine in that context but for me he has been on a rapid decline since ultravisior. From: alucas@gmail.com Date: Tue, 24 Mar 2015 09:21:08 -0400 Subject: Re: New Squarepusher track To: c.byersbrown@gmail.com CC: craignorms@hotmail.com; idm@hyperreal.org I'm guessing he means this one: https://soundcloud.com/warp-records/squarepusher-stor-eiglass I quite like it. On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown <c.byersbrown@gmail.com> wrote: Link? On Tue, Mar 24, 2015 at 12:21 PM, 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

lovely bit of europop imho 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>:

quoted 57 lines you honestly think thats up to his standards? he's making music that

> you honestly think thats up to his standards? he's making music that > compliments his pyrotechnic liveshows in the same way movies have explosions > that compliment the 3d. Its fine in that context but for me he has been on a > rapid decline since ultravisior. > > ________________________________ > From: alucas@gmail.com > Date: Tue, 24 Mar 2015 09:21:08 -0400 > Subject: Re: New Squarepusher track > To: c.byersbrown@gmail.com > CC: craignorms@hotmail.com; idm@hyperreal.org > > > I'm guessing he means this one: > > https://soundcloud.com/warp-records/squarepusher-stor-eiglass > > I quite like it. > > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown > <c.byersbrown@gmail.com> wrote: > > Link? > > On Tue, Mar 24, 2015 at 12:21 PM, 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: >> 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 > > > >

For whatever reason, Jenkinson seems to be moving his percussive elements out of the spotlight in his recordings. I've noticed fewer layers where his drums are concerned. They've been noticeably cleaner, the samples less varied, and the glitch FX less present. When I first heard Ufabulum, I was a bit disappointed. The compositions sounded almost like what I wanted/expected, but there was something missing. Then I saw Squarepusher perform that album live, and everything came together. It was the perfect cavalcade of glitched-out, blissful craziness that I expected. What was different? What did he add to the equation that was missing on the album itself? Turns out, it was Jenkinson, sweeping filters, retriggering samples, crushing bits, and just generally fucking shit up. (in a good way) What is missing, I think, from his recent tracks, is this element of live-ness. To quote Wikipedia quoting him discussing Ufabulum: *"It's music which is generated purely from programming...there's nothing in it which is live, really at all."* Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way that I find their music most palatable on albums like "Alive," perhaps Jenkinson's recent work is designed to be performed. Until there's Tom smashing away on his FSU programs, disassembling and reassembling the music according to his whims, it's slightly undercooked. This weird, floppy, slightly moist IDM pizza is okay; certainly enjoyable, but I miss the old, crispy, thin crust version. Or maybe drill 'n' bass is just dead. Who knows? On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com> wrote:

quoted 64 lines lovely bit of europop imho

> lovely bit of europop imho > > 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>: > > you honestly think thats up to his standards? he's making music that > > compliments his pyrotechnic liveshows in the same way movies have > explosions > > that compliment the 3d. Its fine in that context but for me he has been > on a > > rapid decline since ultravisior. > > > > ________________________________ > > From: alucas@gmail.com > > Date: Tue, 24 Mar 2015 09:21:08 -0400 > > Subject: Re: New Squarepusher track > > To: c.byersbrown@gmail.com > > CC: craignorms@hotmail.com; idm@hyperreal.org > > > > > > I'm guessing he means this one: > > > > https://soundcloud.com/warp-records/squarepusher-stor-eiglass > > > > I quite like it. > > > > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown > > <c.byersbrown@gmail.com> wrote: > > > > Link? > > > > On Tue, Mar 24, 2015 at 12:21 PM, 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: > >> 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 > > > > > > > > >

isnt this a song by The Cure?  On Tuesday, March 24, 2015 8:12 AM, Eric Fairbanks <eric.p.fairbanks@gmail.com> wrote: For whatever reason, Jenkinson seems to be moving his percussive elements out of the spotlight in his recordings. I've noticed fewer layers where his drums are concerned. They've been noticeably cleaner, the samples less varied, and the glitch FX less present. When I first heard Ufabulum, I was a bit disappointed. The compositions sounded almost like what I wanted/expected, but there was something missing. Then I saw Squarepusher perform that album live, and everything came together. It was the perfect cavalcade of glitched-out, blissful craziness that I expected. What was different? What did he add to the equation that was missing on the album itself? Turns out, it was Jenkinson, sweeping filters, retriggering samples, crushing bits, and just generally fucking shit up. (in a good way) What is missing, I think, from his recent tracks, is this element of live-ness. To quote Wikipedia quoting him discussing Ufabulum: "It's music which is generated purely from programming...there's nothing in it which is live, really at all." Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way that I find their music most palatable on albums like "Alive," perhaps Jenkinson's recent work is designed to be performed. Until there's Tom smashing away on his FSU programs, disassembling and reassembling the music according to his whims, it's slightly undercooked. This weird, floppy, slightly moist IDM pizza is okay; certainly enjoyable, but I miss the old, crispy, thin crust version. Or maybe drill 'n' bass is just dead. Who knows? On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com> wrote: lovely bit of europop imho 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>:

quoted 57 lines you honestly think thats up to his standards? he's making music that

> you honestly think thats up to his standards? he's making music that > compliments his pyrotechnic liveshows in the same way movies have explosions > that compliment the 3d. Its fine in that context but for me he has been on a > rapid decline since ultravisior. > > ________________________________ > From: alucas@gmail.com > Date: Tue, 24 Mar 2015 09:21:08 -0400 > Subject: Re: New Squarepusher track > To: c.byersbrown@gmail.com > CC: craignorms@hotmail.com; idm@hyperreal.org > > > I'm guessing he means this one: > > https://soundcloud.com/warp-records/squarepusher-stor-eiglass > > I quite like it. > > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown > <c.byersbrown@gmail.com> wrote: > > Link? > > On Tue, Mar 24, 2015 at 12:21 PM, 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: >> 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 > > > >

I completely agree, undercooked is a great word for how I feel about his output at the moment. It seems very basic(on the surface,) and somewhat timid. Ufabulum live is so much better because he adds more complexity to the tracks. The album on its own doesn't match up and I'd imagine that's how it will be with damogen furies. From: eric.p.fairbanks@gmail.com Date: Tue, 24 Mar 2015 15:12:12 +0000 Subject: Re: New Squarepusher track To: danstowell+idm@gmail.com; idm@hyperreal.org For whatever reason, Jenkinson seems to be moving his percussive elements out of the spotlight in his recordings. I've noticed fewer layers where his drums are concerned. They've been noticeably cleaner, the samples less varied, and the glitch FX less present. When I first heard Ufabulum, I was a bit disappointed. The compositions sounded almost like what I wanted/expected, but there was something missing. Then I saw Squarepusher perform that album live, and everything came together. It was the perfect cavalcade of glitched-out, blissful craziness that I expected. What was different? What did he add to the equation that was missing on the album itself? Turns out, it was Jenkinson, sweeping filters, retriggering samples, crushing bits, and just generally fucking shit up. (in a good way) What is missing, I think, from his recent tracks, is this element of live-ness. To quote Wikipedia quoting him discussing Ufabulum: "It's music which is generated purely from programming...there's nothing in it which is live, really at all." Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way that I find their music most palatable on albums like "Alive," perhaps Jenkinson's recent work is designed to be performed. Until there's Tom smashing away on his FSU programs, disassembling and reassembling the music according to his whims, it's slightly undercooked. This weird, floppy, slightly moist IDM pizza is okay; certainly enjoyable, but I miss the old, crispy, thin crust version. Or maybe drill 'n' bass is just dead. Who knows? On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com> wrote: lovely bit of europop imho 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>:

quoted 1 line you honestly think thats up to his standards? he's making music that

> you honestly think thats up to his standards? he's making music that

quoted 1 line compliments his pyrotechnic liveshows in the same way movies have explosions

> compliments his pyrotechnic liveshows in the same way movies have explosions

quoted 1 line that compliment the 3d. Its fine in that context but for me he has been on a

> that compliment the 3d. Its fine in that context but for me he has been on a

quoted 1 line rapid decline since ultravisior.

> rapid decline since ultravisior.

quoted 1 line

>

quoted 1 line ________________________________

> ________________________________

quoted 1 line From: alucas@gmail.com

> From: alucas@gmail.com

quoted 1 line Date: Tue, 24 Mar 2015 09:21:08 -0400

> Date: Tue, 24 Mar 2015 09:21:08 -0400

quoted 1 line Subject: Re: New Squarepusher track

> Subject: Re: New Squarepusher track

quoted 1 line To: c.byersbrown@gmail.com

> To: c.byersbrown@gmail.com

quoted 1 line CC: craignorms@hotmail.com; idm@hyperreal.org

> CC: craignorms@hotmail.com; idm@hyperreal.org

quoted 1 line

>

quoted 1 line

>

quoted 1 line I'm guessing he means this one:

> I'm guessing he means this one:

quoted 1 line

>

quoted 1 line > https://soundcloud.com/warp-records/squarepusher-stor-eiglass

quoted 1 line

>

quoted 1 line I quite like it.

> I quite like it.

quoted 1 line

>

quoted 1 line On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown

> On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown

quoted 1 line <c.byersbrown@gmail.com> wrote:

> <c.byersbrown@gmail.com> wrote:

quoted 1 line

>

quoted 1 line Link?

> Link?

quoted 1 line

>

quoted 1 line On Tue, Mar 24, 2015 at 12:21 PM, CRAIG SIMPSON <craignorms@hotmail.com>

> On Tue, Mar 24, 2015 at 12:21 PM, CRAIG SIMPSON <craignorms@hotmail.com>

quoted 1 line wrote:

> wrote:

quoted 1 line

>

quoted 1 line This is pis* weak. Hes making music that sounds like its all been sampled

> This is pis* weak. Hes making music that sounds like its all been sampled

quoted 1 line from an arcade or funfair. Hes given up on the amen break. It's a tragedy.

> from an arcade or funfair. Hes given up on the amen break. It's a tragedy.

quoted 1 line

>

quoted 1 line Date: Mon, 23 Mar 2015 22:06:04 -0700

> Date: Mon, 23 Mar 2015 22:06:04 -0700

quoted 1 line From: gwrenchxx@sbcglobal.net

> From: gwrenchxx@sbcglobal.net

quoted 1 line To: idm@hyperreal.org

> To: idm@hyperreal.org

quoted 1 line Subject: Fwd: Re: Jlin album out.

> Subject: Fwd: Re: Jlin album out.

quoted 1 line

>

quoted 1 line

>

quoted 1 line

>

quoted 1 line

>

quoted 1 line

>

quoted 1 line --Forwarded Message Attachment--

> --Forwarded Message Attachment--

quoted 1 line Date: Mon, 23 Mar 2015 21:58:47 -0700

> Date: Mon, 23 Mar 2015 21:58:47 -0700

quoted 1 line From: gwrenchxx@sbcglobal.net

> From: gwrenchxx@sbcglobal.net

quoted 1 line To: 313@hyperreal.org

> To: 313@hyperreal.org

quoted 1 line Subject: Re: Jlin album out.

> Subject: Re: Jlin album out.

quoted 1 line

>

quoted 1 line I've had to review a 12" or two for the radio station where I DJ, and

> I've had to review a 12" or two for the radio station where I DJ, and

quoted 1 line I've never heard anything that appealed to me in the least.

> I've never heard anything that appealed to me in the least.

quoted 1 line

>

quoted 1 line kent williams wrote:

> kent williams wrote:

quoted 1 line 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

quoted 1 line list. This new record on Planet Mu is revelatory.

>> list. This new record on Planet Mu is revelatory.

quoted 1 line

>>

quoted 1 line

>> http://www.planet.mu/discography/ZIQ356

quoted 1 line

>

quoted 1 line

>

quoted 1 line

>

quoted 1 line

>

"The cure cover" has been a running joke on facebook threads since these new tracks leaked on bbc radio some time ago. On the EP that came with ufabulum he covers "my Sharona" if you remember. I'm nervous about ordering the new release on vinyl but in retrospect I'd have been happy paying for the last one on vinyl as opposed to cd. Although it took me awhile to warm up to that release. Party on. On Tuesday, March 24, 2015, CRAIG SIMPSON <craignorms@hotmail.com> wrote:

quoted 126 lines I completely agree, undercooked is a great word for how I feel about his

> I completely agree, undercooked is a great word for how I feel about his > output at the moment. It seems very basic(on the surface,) and somewhat > timid. Ufabulum live is so much better because he adds more complexity to > the tracks. The album on its own doesn't match up and I'd imagine that's > how it will be with damogen furies. > > ------------------------------ > From: eric.p.fairbanks@gmail.com > <javascript:_e(%7B%7D,'cvml','eric.p.fairbanks@gmail.com');> > Date: Tue, 24 Mar 2015 15:12:12 +0000 > Subject: Re: New Squarepusher track > To: danstowell+idm@gmail.com > <javascript:_e(%7B%7D,'cvml','danstowell%2Bidm@gmail.com');>; > idm@hyperreal.org <javascript:_e(%7B%7D,'cvml','idm@hyperreal.org');> > > For whatever reason, Jenkinson seems to be moving his percussive elements > out of the spotlight in his recordings. I've noticed fewer layers where his > drums are concerned. They've been noticeably cleaner, the samples less > varied, and the glitch FX less present. > > When I first heard Ufabulum, I was a bit disappointed. The compositions > sounded almost like what I wanted/expected, but there was something missing. > > Then I saw Squarepusher perform that album live, and everything came > together. It was the perfect cavalcade of glitched-out, blissful craziness > that I expected. What was different? What did he add to the equation that > was missing on the album itself? > > Turns out, it was Jenkinson, sweeping filters, retriggering samples, > crushing bits, and just generally fucking shit up. (in a good way) What is > missing, I think, from his recent tracks, is this element of live-ness. To > quote Wikipedia quoting him discussing Ufabulum: > > *"It's music which is generated purely from programming...there's nothing > in it which is live, really at all."* > > Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way > that I find their music most palatable on albums like "Alive," perhaps > Jenkinson's recent work is designed to be performed. Until there's Tom > smashing away on his FSU programs, disassembling and reassembling the music > according to his whims, it's slightly undercooked. > > This weird, floppy, slightly moist IDM pizza is okay; certainly enjoyable, > but I miss the old, crispy, thin crust version. > > Or maybe drill 'n' bass is just dead. Who knows? > > On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com > <javascript:_e(%7B%7D,'cvml','danstowell%2Bidm@gmail.com');>> wrote: > > lovely bit of europop imho > > 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com > <javascript:_e(%7B%7D,'cvml','craignorms@hotmail.com');>>: > > you honestly think thats up to his standards? he's making music that > > compliments his pyrotechnic liveshows in the same way movies have > explosions > > that compliment the 3d. Its fine in that context but for me he has been > on a > > rapid decline since ultravisior. > > > > ________________________________ > > From: alucas@gmail.com > <javascript:_e(%7B%7D,'cvml','alucas@gmail.com');> > > Date: Tue, 24 Mar 2015 09:21:08 -0400 > > Subject: Re: New Squarepusher track > > To: c.byersbrown@gmail.com > <javascript:_e(%7B%7D,'cvml','c.byersbrown@gmail.com');> > > CC: craignorms@hotmail.com > <javascript:_e(%7B%7D,'cvml','craignorms@hotmail.com');>; > idm@hyperreal.org <javascript:_e(%7B%7D,'cvml','idm@hyperreal.org');> > > > > > > I'm guessing he means this one: > > > > https://soundcloud.com/warp-records/squarepusher-stor-eiglass > > > > I quite like it. > > > > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown > > <c.byersbrown@gmail.com > <javascript:_e(%7B%7D,'cvml','c.byersbrown@gmail.com');>> wrote: > > > > Link? > > > > On Tue, Mar 24, 2015 at 12:21 PM, CRAIG SIMPSON <craignorms@hotmail.com > <javascript:_e(%7B%7D,'cvml','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 > <javascript:_e(%7B%7D,'cvml','gwrenchxx@sbcglobal.net');> > > To: idm@hyperreal.org > <javascript:_e(%7B%7D,'cvml','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 > <javascript:_e(%7B%7D,'cvml','gwrenchxx@sbcglobal.net');> > > To: 313@hyperreal.org > <javascript:_e(%7B%7D,'cvml','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: > >> 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 > > > > > > > > > >

does anyone ever feel like squarepusher became a musician/boffin type character after he settled into his Warp career? an artisté, a skilled musician. but that the havoc somehow vanished. i keep wondering if he'd somehow come back if he went back to psychedelix. On 24 March 2015 at 17:47, CRAIG SIMPSON <craignorms@hotmail.com> wrote:

quoted 112 lines I completely agree, undercooked is a great word for how I feel about his

> I completely agree, undercooked is a great word for how I feel about his > output at the moment. It seems very basic(on the surface,) and somewhat > timid. Ufabulum live is so much better because he adds more complexity to > the tracks. The album on its own doesn't match up and I'd imagine that's > how it will be with damogen furies. > > ------------------------------ > From: eric.p.fairbanks@gmail.com > Date: Tue, 24 Mar 2015 15:12:12 +0000 > Subject: Re: New Squarepusher track > To: danstowell+idm@gmail.com; idm@hyperreal.org > > > For whatever reason, Jenkinson seems to be moving his percussive elements > out of the spotlight in his recordings. I've noticed fewer layers where his > drums are concerned. They've been noticeably cleaner, the samples less > varied, and the glitch FX less present. > > When I first heard Ufabulum, I was a bit disappointed. The compositions > sounded almost like what I wanted/expected, but there was something missing. > > Then I saw Squarepusher perform that album live, and everything came > together. It was the perfect cavalcade of glitched-out, blissful craziness > that I expected. What was different? What did he add to the equation that > was missing on the album itself? > > Turns out, it was Jenkinson, sweeping filters, retriggering samples, > crushing bits, and just generally fucking shit up. (in a good way) What is > missing, I think, from his recent tracks, is this element of live-ness. To > quote Wikipedia quoting him discussing Ufabulum: > > *"It's music which is generated purely from programming...there's nothing > in it which is live, really at all."* > > Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way > that I find their music most palatable on albums like "Alive," perhaps > Jenkinson's recent work is designed to be performed. Until there's Tom > smashing away on his FSU programs, disassembling and reassembling the music > according to his whims, it's slightly undercooked. > > This weird, floppy, slightly moist IDM pizza is okay; certainly enjoyable, > but I miss the old, crispy, thin crust version. > > Or maybe drill 'n' bass is just dead. Who knows? > > On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com> wrote: > > lovely bit of europop imho > > 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>: > > you honestly think thats up to his standards? he's making music that > > compliments his pyrotechnic liveshows in the same way movies have > explosions > > that compliment the 3d. Its fine in that context but for me he has been > on a > > rapid decline since ultravisior. > > > > ________________________________ > > From: alucas@gmail.com > > Date: Tue, 24 Mar 2015 09:21:08 -0400 > > Subject: Re: New Squarepusher track > > To: c.byersbrown@gmail.com > > CC: craignorms@hotmail.com; idm@hyperreal.org > > > > > > I'm guessing he means this one: > > > > https://soundcloud.com/warp-records/squarepusher-stor-eiglass > > > > I quite like it. > > > > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown > > <c.byersbrown@gmail.com> wrote: > > > > Link? > > > > On Tue, Mar 24, 2015 at 12:21 PM, 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: > >> 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 > > > > > > > > > >

-- --- http://twitter.com/esaruoho http://lackluster.bandcamp.com

Just scrollin' back, 2012 Ufabulum 2010 Shobaleader one, 2008 Just A Souvenir 2006 Hello Everything 2004 Ultravisitor 2002 Do You Know Squarepusher.. should someone force him to wait 3-4 years between albums or wot On 24 March 2015 at 17:47, CRAIG SIMPSON <craignorms@hotmail.com> wrote:

quoted 112 lines I completely agree, undercooked is a great word for how I feel about his

> I completely agree, undercooked is a great word for how I feel about his > output at the moment. It seems very basic(on the surface,) and somewhat > timid. Ufabulum live is so much better because he adds more complexity to > the tracks. The album on its own doesn't match up and I'd imagine that's > how it will be with damogen furies. > > ------------------------------ > From: eric.p.fairbanks@gmail.com > Date: Tue, 24 Mar 2015 15:12:12 +0000 > Subject: Re: New Squarepusher track > To: danstowell+idm@gmail.com; idm@hyperreal.org > > > For whatever reason, Jenkinson seems to be moving his percussive elements > out of the spotlight in his recordings. I've noticed fewer layers where his > drums are concerned. They've been noticeably cleaner, the samples less > varied, and the glitch FX less present. > > When I first heard Ufabulum, I was a bit disappointed. The compositions > sounded almost like what I wanted/expected, but there was something missing. > > Then I saw Squarepusher perform that album live, and everything came > together. It was the perfect cavalcade of glitched-out, blissful craziness > that I expected. What was different? What did he add to the equation that > was missing on the album itself? > > Turns out, it was Jenkinson, sweeping filters, retriggering samples, > crushing bits, and just generally fucking shit up. (in a good way) What is > missing, I think, from his recent tracks, is this element of live-ness. To > quote Wikipedia quoting him discussing Ufabulum: > > *"It's music which is generated purely from programming...there's nothing > in it which is live, really at all."* > > Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way > that I find their music most palatable on albums like "Alive," perhaps > Jenkinson's recent work is designed to be performed. Until there's Tom > smashing away on his FSU programs, disassembling and reassembling the music > according to his whims, it's slightly undercooked. > > This weird, floppy, slightly moist IDM pizza is okay; certainly enjoyable, > but I miss the old, crispy, thin crust version. > > Or maybe drill 'n' bass is just dead. Who knows? > > On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com> wrote: > > lovely bit of europop imho > > 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>: > > you honestly think thats up to his standards? he's making music that > > compliments his pyrotechnic liveshows in the same way movies have > explosions > > that compliment the 3d. Its fine in that context but for me he has been > on a > > rapid decline since ultravisior. > > > > ________________________________ > > From: alucas@gmail.com > > Date: Tue, 24 Mar 2015 09:21:08 -0400 > > Subject: Re: New Squarepusher track > > To: c.byersbrown@gmail.com > > CC: craignorms@hotmail.com; idm@hyperreal.org > > > > > > I'm guessing he means this one: > > > > https://soundcloud.com/warp-records/squarepusher-stor-eiglass > > > > I quite like it. > > > > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown > > <c.byersbrown@gmail.com> wrote: > > > > Link? > > > > On Tue, Mar 24, 2015 at 12:21 PM, 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: > >> 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 > > > > > > > > > >

-- --- http://twitter.com/esaruoho http://lackluster.bandcamp.com

i dunno i havent MINDED most of his stuff since do you know, ultravisitor in particular is great but then hello everything, souvenir, modern bass, etc, im not going to call crap but they just ... whatever chaotic naughty arrogant narcissistic spark was in the first few albums and EPs just seemed to not be there, i think that esa is onto something there Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 1:24 PM, Esa Ruoho <esaruoho@gmail.com> wrote:

quoted 130 lines Just scrollin' back, 2012 Ufabulum 2010 Shobaleader one, 2008 Just A

> Just scrollin' back, 2012 Ufabulum 2010 Shobaleader one, 2008 Just A > Souvenir 2006 Hello Everything 2004 Ultravisitor 2002 Do You Know > Squarepusher.. should someone force him to wait 3-4 years between albums or > wot > > > On 24 March 2015 at 17:47, CRAIG SIMPSON <craignorms@hotmail.com> wrote: > >> I completely agree, undercooked is a great word for how I feel about his >> output at the moment. It seems very basic(on the surface,) and somewhat >> timid. Ufabulum live is so much better because he adds more complexity to >> the tracks. The album on its own doesn't match up and I'd imagine that's >> how it will be with damogen furies. >> >> ------------------------------ >> From: eric.p.fairbanks@gmail.com >> Date: Tue, 24 Mar 2015 15:12:12 +0000 >> Subject: Re: New Squarepusher track >> To: danstowell+idm@gmail.com; idm@hyperreal.org >> >> >> For whatever reason, Jenkinson seems to be moving his percussive elements >> out of the spotlight in his recordings. I've noticed fewer layers where his >> drums are concerned. They've been noticeably cleaner, the samples less >> varied, and the glitch FX less present. >> >> When I first heard Ufabulum, I was a bit disappointed. The compositions >> sounded almost like what I wanted/expected, but there was something missing. >> >> Then I saw Squarepusher perform that album live, and everything came >> together. It was the perfect cavalcade of glitched-out, blissful craziness >> that I expected. What was different? What did he add to the equation that >> was missing on the album itself? >> >> Turns out, it was Jenkinson, sweeping filters, retriggering samples, >> crushing bits, and just generally fucking shit up. (in a good way) What is >> missing, I think, from his recent tracks, is this element of live-ness. To >> quote Wikipedia quoting him discussing Ufabulum: >> >> *"It's music which is generated purely from programming...there's nothing >> in it which is live, really at all."* >> >> Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way >> that I find their music most palatable on albums like "Alive," perhaps >> Jenkinson's recent work is designed to be performed. Until there's Tom >> smashing away on his FSU programs, disassembling and reassembling the music >> according to his whims, it's slightly undercooked. >> >> This weird, floppy, slightly moist IDM pizza is okay; certainly >> enjoyable, but I miss the old, crispy, thin crust version. >> >> Or maybe drill 'n' bass is just dead. Who knows? >> >> On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com> wrote: >> >> lovely bit of europop imho >> >> 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>: >> > you honestly think thats up to his standards? he's making music that >> > compliments his pyrotechnic liveshows in the same way movies have >> explosions >> > that compliment the 3d. Its fine in that context but for me he has been >> on a >> > rapid decline since ultravisior. >> > >> > ________________________________ >> > From: alucas@gmail.com >> > Date: Tue, 24 Mar 2015 09:21:08 -0400 >> > Subject: Re: New Squarepusher track >> > To: c.byersbrown@gmail.com >> > CC: craignorms@hotmail.com; idm@hyperreal.org >> > >> > >> > I'm guessing he means this one: >> > >> > https://soundcloud.com/warp-records/squarepusher-stor-eiglass >> > >> > I quite like it. >> > >> > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown >> > <c.byersbrown@gmail.com> wrote: >> > >> > Link? >> > >> > On Tue, Mar 24, 2015 at 12:21 PM, 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: >> >> 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 >> > >> > >> > >> > >> >> > > > -- > > --- > http://twitter.com/esaruoho > http://lackluster.bandcamp.com >

https://www.youtube.com/watch?v=vqV5FO46o4c you know it's gonna be corn starch after about 10 seconds in to the video. and then it's corn starch. .. i guess what's next for tom jenkinson is to go and do this: http://nigelstanford.com/Cymatics/ except hopefully with better music. but will it rank amongst his most influential and most inspired work? it's hard to conceive that squarepusher wouldn't do a better job of it than nigel stanford. euyckh On 24 March 2015 at 20:26, Clint Anderson <clinta@gmail.com> wrote:

quoted 144 lines i dunno i havent MINDED most of his stuff since do you know, ultravisitor

> i dunno i havent MINDED most of his stuff since do you know, ultravisitor > in particular is great but then hello everything, souvenir, modern bass, > etc, im not going to call crap but they just ... whatever chaotic naughty > arrogant narcissistic spark was in the first few albums and EPs just seemed > to not be there, i think that esa is onto something there > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 1:24 PM, Esa Ruoho <esaruoho@gmail.com> wrote: > >> Just scrollin' back, 2012 Ufabulum 2010 Shobaleader one, 2008 Just A >> Souvenir 2006 Hello Everything 2004 Ultravisitor 2002 Do You Know >> Squarepusher.. should someone force him to wait 3-4 years between albums or >> wot >> >> >> On 24 March 2015 at 17:47, CRAIG SIMPSON <craignorms@hotmail.com> wrote: >> >>> I completely agree, undercooked is a great word for how I feel about >>> his output at the moment. It seems very basic(on the surface,) and somewhat >>> timid. Ufabulum live is so much better because he adds more complexity to >>> the tracks. The album on its own doesn't match up and I'd imagine that's >>> how it will be with damogen furies. >>> >>> ------------------------------ >>> From: eric.p.fairbanks@gmail.com >>> Date: Tue, 24 Mar 2015 15:12:12 +0000 >>> Subject: Re: New Squarepusher track >>> To: danstowell+idm@gmail.com; idm@hyperreal.org >>> >>> >>> For whatever reason, Jenkinson seems to be moving his percussive >>> elements out of the spotlight in his recordings. I've noticed fewer layers >>> where his drums are concerned. They've been noticeably cleaner, the samples >>> less varied, and the glitch FX less present. >>> >>> When I first heard Ufabulum, I was a bit disappointed. The compositions >>> sounded almost like what I wanted/expected, but there was something missing. >>> >>> Then I saw Squarepusher perform that album live, and everything came >>> together. It was the perfect cavalcade of glitched-out, blissful craziness >>> that I expected. What was different? What did he add to the equation that >>> was missing on the album itself? >>> >>> Turns out, it was Jenkinson, sweeping filters, retriggering samples, >>> crushing bits, and just generally fucking shit up. (in a good way) What is >>> missing, I think, from his recent tracks, is this element of live-ness. To >>> quote Wikipedia quoting him discussing Ufabulum: >>> >>> *"It's music which is generated purely from programming...there's >>> nothing in it which is live, really at all."* >>> >>> Perhaps the Daft-Punk-looking welding helmet was an omen. In the same >>> way that I find their music most palatable on albums like "Alive," perhaps >>> Jenkinson's recent work is designed to be performed. Until there's Tom >>> smashing away on his FSU programs, disassembling and reassembling the music >>> according to his whims, it's slightly undercooked. >>> >>> This weird, floppy, slightly moist IDM pizza is okay; certainly >>> enjoyable, but I miss the old, crispy, thin crust version. >>> >>> Or maybe drill 'n' bass is just dead. Who knows? >>> >>> On Tue, Mar 24, 2015 at 9:45 AM Dan S <danstowell+idm@gmail.com> wrote: >>> >>> lovely bit of europop imho >>> >>> 2015-03-24 13:35 GMT+00:00 CRAIG SIMPSON <craignorms@hotmail.com>: >>> > you honestly think thats up to his standards? he's making music that >>> > compliments his pyrotechnic liveshows in the same way movies have >>> explosions >>> > that compliment the 3d. Its fine in that context but for me he has >>> been on a >>> > rapid decline since ultravisior. >>> > >>> > ________________________________ >>> > From: alucas@gmail.com >>> > Date: Tue, 24 Mar 2015 09:21:08 -0400 >>> > Subject: Re: New Squarepusher track >>> > To: c.byersbrown@gmail.com >>> > CC: craignorms@hotmail.com; idm@hyperreal.org >>> > >>> > >>> > I'm guessing he means this one: >>> > >>> > https://soundcloud.com/warp-records/squarepusher-stor-eiglass >>> > >>> > I quite like it. >>> > >>> > On Tue, Mar 24, 2015 at 9:19 AM, Charles Byers-Brown >>> > <c.byersbrown@gmail.com> wrote: >>> > >>> > Link? >>> > >>> > On Tue, Mar 24, 2015 at 12:21 PM, 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: >>> >> 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 >>> > >>> > >>> > >>> > >>> >>> >> >> >> -- >> >> --- >> http://twitter.com/esaruoho >> http://lackluster.bandcamp.com >> > >

-- --- http://twitter.com/esaruoho http://lackluster.bandcamp.com

what happened to him :( best synthpop song 2015 On 3/24/2015 2:34 PM, Esa Ruoho wrote:

quoted 11 lines > https://www.youtube.com/watch?v=vqV5FO46o4c > you know it's gonna be corn starch after about 10 seconds in to the video. > and then it's corn starch. > .. > i guess what's next for tom jenkinson is to go and do this: > http://nigelstanford.com/Cymatics/ > > except hopefully with better music. but will it rank amongst his most > influential and most inspired work? > it's hard to conceive that squarepusher wouldn't do a better job of it > than nigel stanford. euyckh

I think Squarepusher needs to put out a live album. As Eric mentions above, a lot of his work seems catered to his shows. Nothing necessarily wrong with that. On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> wrote:

quoted 21 lines what happened to him :(

> what happened to him :( > > best synthpop song 2015 > > > On 3/24/2015 2:34 PM, Esa Ruoho wrote: > >> https://www.youtube.com/watch?v=vqV5FO46o4c >> you know it's gonna be corn starch after about 10 seconds in to the video. >> and then it's corn starch. >> .. >> i guess what's next for tom jenkinson is to go and do this: >> http://nigelstanford.com/Cymatics/ >> >> except hopefully with better music. but will it rank amongst his most >> influential and most inspired work? >> it's hard to conceive that squarepusher wouldn't do a better job of it >> than nigel stanford. euyckh >> > >

the big 'brag' about this album is that it was supposedly 'recorded in one take' Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins <connor1higgins@gmail.com> wrote:

quoted 29 lines I think Squarepusher needs to put out a live album. As Eric mentions

> I think Squarepusher needs to put out a live album. As Eric mentions > above, a lot of his work seems catered to his shows. Nothing necessarily > wrong with that. > > On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> wrote: > >> what happened to him :( >> >> best synthpop song 2015 >> >> >> On 3/24/2015 2:34 PM, Esa Ruoho wrote: >> >>> https://www.youtube.com/watch?v=vqV5FO46o4c >>> you know it's gonna be corn starch after about 10 seconds in to the >>> video. >>> and then it's corn starch. >>> .. >>> i guess what's next for tom jenkinson is to go and do this: >>> http://nigelstanford.com/Cymatics/ >>> >>> except hopefully with better music. but will it rank amongst his most >>> influential and most inspired work? >>> it's hard to conceive that squarepusher wouldn't do a better job of it >>> than nigel stanford. euyckh >>> >> >> >

are there any squarepusher live gigs where he doesn't just play mp3s off his album and slap his bass around to them? Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 4:20 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 40 lines the big 'brag' about this album is that it was supposedly 'recorded in one

> the big 'brag' about this album is that it was supposedly 'recorded in one > take' > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins <connor1higgins@gmail.com> > wrote: > >> I think Squarepusher needs to put out a live album. As Eric mentions >> above, a lot of his work seems catered to his shows. Nothing necessarily >> wrong with that. >> >> On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> wrote: >> >>> what happened to him :( >>> >>> best synthpop song 2015 >>> >>> >>> On 3/24/2015 2:34 PM, Esa Ruoho wrote: >>> >>>> https://www.youtube.com/watch?v=vqV5FO46o4c >>>> you know it's gonna be corn starch after about 10 seconds in to the >>>> video. >>>> and then it's corn starch. >>>> .. >>>> i guess what's next for tom jenkinson is to go and do this: >>>> http://nigelstanford.com/Cymatics/ >>>> >>>> except hopefully with better music. but will it rank amongst his most >>>> influential and most inspired work? >>>> it's hard to conceive that squarepusher wouldn't do a better job of it >>>> than nigel stanford. euyckh >>>> >>> >>> >> >

Once upon a time... https://www.youtube.com/watch?v=xUoY2lRdUHo On Tue, Mar 24, 2015 at 5:38 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 50 lines are there any squarepusher live gigs where he doesn't just play mp3s off

> are there any squarepusher live gigs where he doesn't just play mp3s off > his album and slap his bass around to them? > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:20 PM, Clint Anderson <clinta@gmail.com> wrote: > >> the big 'brag' about this album is that it was supposedly 'recorded in >> one take' >> >> >> Clint Anderson >> Systems Engineer >> >> On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins <connor1higgins@gmail.com >> > wrote: >> >>> I think Squarepusher needs to put out a live album. As Eric mentions >>> above, a lot of his work seems catered to his shows. Nothing necessarily >>> wrong with that. >>> >>> On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> wrote: >>> >>>> what happened to him :( >>>> >>>> best synthpop song 2015 >>>> >>>> >>>> On 3/24/2015 2:34 PM, Esa Ruoho wrote: >>>> >>>>> https://www.youtube.com/watch?v=vqV5FO46o4c >>>>> you know it's gonna be corn starch after about 10 seconds in to the >>>>> video. >>>>> and then it's corn starch. >>>>> .. >>>>> i guess what's next for tom jenkinson is to go and do this: >>>>> http://nigelstanford.com/Cymatics/ >>>>> >>>>> except hopefully with better music. but will it rank amongst his most >>>>> influential and most inspired work? >>>>> it's hard to conceive that squarepusher wouldn't do a better job of it >>>>> than nigel stanford. euyckh >>>>> >>>> >>>> >>> >> >

i dunno why but tom reminds me of tom green sometimes Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 4:48 PM, Connor Higgins <connor1higgins@gmail.com> wrote:

quoted 55 lines Once upon a time... > Once upon a time... https://www.youtube.com/watch?v=xUoY2lRdUHo > > On Tue, Mar 24, 2015 at 5:38 PM, Clint Anderson <clinta@gmail.com> wrote: > >> are there any squarepusher live gigs where he doesn't just play mp3s off >> his album and slap his bass around to them? >> >> >> Clint Anderson >> Systems Engineer >> >> On Tue, Mar 24, 2015 at 4:20 PM, Clint Anderson <clinta@gmail.com> wrote: >> >>> the big 'brag' about this album is that it was supposedly 'recorded in >>> one take' >>> >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins < >>> connor1higgins@gmail.com> wrote: >>> >>>> I think Squarepusher needs to put out a live album. As Eric mentions >>>> above, a lot of his work seems catered to his shows. Nothing necessarily >>>> wrong with that. >>>> >>>> On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> wrote: >>>> >>>>> what happened to him :( >>>>> >>>>> best synthpop song 2015 >>>>> >>>>> >>>>> On 3/24/2015 2:34 PM, Esa Ruoho wrote: >>>>> >>>>>> https://www.youtube.com/watch?v=vqV5FO46o4c >>>>>> you know it's gonna be corn starch after about 10 seconds in to the >>>>>> video. >>>>>> and then it's corn starch. >>>>>> .. >>>>>> i guess what's next for tom jenkinson is to go and do this: >>>>>> http://nigelstanford.com/Cymatics/ >>>>>> >>>>>> except hopefully with better music. but will it rank amongst his most >>>>>> influential and most inspired work? >>>>>> it's hard to conceive that squarepusher wouldn't do a better job of >>>>>> it than nigel stanford. euyckh >>>>>> >>>>> >>>>> >>>> >>> >> >

check out this live squarepusher https://www.youtube.com/watch?v=8ZYrutVyZ-A Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 4:55 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 67 lines i dunno why but tom reminds me of tom green sometimes

> i dunno why but tom reminds me of tom green sometimes > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:48 PM, Connor Higgins <connor1higgins@gmail.com> > wrote: > >> Once upon a time... https://www.youtube.com/watch?v=xUoY2lRdUHo >> >> On Tue, Mar 24, 2015 at 5:38 PM, Clint Anderson <clinta@gmail.com> wrote: >> >>> are there any squarepusher live gigs where he doesn't just play mp3s off >>> his album and slap his bass around to them? >>> >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Tue, Mar 24, 2015 at 4:20 PM, Clint Anderson <clinta@gmail.com> >>> wrote: >>> >>>> the big 'brag' about this album is that it was supposedly 'recorded in >>>> one take' >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins < >>>> connor1higgins@gmail.com> wrote: >>>> >>>>> I think Squarepusher needs to put out a live album. As Eric mentions >>>>> above, a lot of his work seems catered to his shows. Nothing necessarily >>>>> wrong with that. >>>>> >>>>> On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> >>>>> wrote: >>>>> >>>>>> what happened to him :( >>>>>> >>>>>> best synthpop song 2015 >>>>>> >>>>>> >>>>>> On 3/24/2015 2:34 PM, Esa Ruoho wrote: >>>>>> >>>>>>> https://www.youtube.com/watch?v=vqV5FO46o4c >>>>>>> you know it's gonna be corn starch after about 10 seconds in to the >>>>>>> video. >>>>>>> and then it's corn starch. >>>>>>> .. >>>>>>> i guess what's next for tom jenkinson is to go and do this: >>>>>>> http://nigelstanford.com/Cymatics/ >>>>>>> >>>>>>> except hopefully with better music. but will it rank amongst his >>>>>>> most influential and most inspired work? >>>>>>> it's hard to conceive that squarepusher wouldn't do a better job of >>>>>>> it than nigel stanford. euyckh >>>>>>> >>>>>> >>>>>> >>>>> >>>> >>> >> >

Haha, the resemblance is uncanny. I think it might just run in the Jenkinson family. On Tue, Mar 24, 2015 at 5:57 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 79 lines check out this live squarepusher

> check out this live squarepusher > > https://www.youtube.com/watch?v=8ZYrutVyZ-A > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:55 PM, Clint Anderson <clinta@gmail.com> wrote: > >> i dunno why but tom reminds me of tom green sometimes >> >> >> Clint Anderson >> Systems Engineer >> >> On Tue, Mar 24, 2015 at 4:48 PM, Connor Higgins <connor1higgins@gmail.com >> > wrote: >> >>> Once upon a time... https://www.youtube.com/watch?v=xUoY2lRdUHo >>> >>> On Tue, Mar 24, 2015 at 5:38 PM, Clint Anderson <clinta@gmail.com> >>> wrote: >>> >>>> are there any squarepusher live gigs where he doesn't just play mp3s >>>> off his album and slap his bass around to them? >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Tue, Mar 24, 2015 at 4:20 PM, Clint Anderson <clinta@gmail.com> >>>> wrote: >>>> >>>>> the big 'brag' about this album is that it was supposedly 'recorded in >>>>> one take' >>>>> >>>>> >>>>> Clint Anderson >>>>> Systems Engineer >>>>> >>>>> On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins < >>>>> connor1higgins@gmail.com> wrote: >>>>> >>>>>> I think Squarepusher needs to put out a live album. As Eric mentions >>>>>> above, a lot of his work seems catered to his shows. Nothing necessarily >>>>>> wrong with that. >>>>>> >>>>>> On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> what happened to him :( >>>>>>> >>>>>>> best synthpop song 2015 >>>>>>> >>>>>>> >>>>>>> On 3/24/2015 2:34 PM, Esa Ruoho wrote: >>>>>>> >>>>>>>> https://www.youtube.com/watch?v=vqV5FO46o4c >>>>>>>> you know it's gonna be corn starch after about 10 seconds in to the >>>>>>>> video. >>>>>>>> and then it's corn starch. >>>>>>>> .. >>>>>>>> i guess what's next for tom jenkinson is to go and do this: >>>>>>>> http://nigelstanford.com/Cymatics/ >>>>>>>> >>>>>>>> except hopefully with better music. but will it rank amongst his >>>>>>>> most influential and most inspired work? >>>>>>>> it's hard to conceive that squarepusher wouldn't do a better job of >>>>>>>> it than nigel stanford. euyckh >>>>>>>> >>>>>>> >>>>>>> >>>>>> >>>>> >>>> >>> >> >

before clicking that I was praying with all my soul it would be that exact clip On 3/24/2015 5:57 PM, Clint Anderson wrote:

quoted 85 lines check out this live squarepusher

> check out this live squarepusher > > https://www.youtube.com/watch?v=8ZYrutVyZ-A > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:55 PM, Clint Anderson <clinta@gmail.com > <mailto:clinta@gmail.com>> wrote: > > i dunno why but tom reminds me of tom green sometimes > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:48 PM, Connor Higgins > <connor1higgins@gmail.com <mailto:connor1higgins@gmail.com>> wrote: > > Once upon a time... https://www.youtube.com/watch?v=xUoY2lRdUHo > > On Tue, Mar 24, 2015 at 5:38 PM, Clint Anderson > <clinta@gmail.com <mailto:clinta@gmail.com>> wrote: > > are there any squarepusher live gigs where he doesn't just > play mp3s off his album and slap his bass around to them? > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:20 PM, Clint Anderson > <clinta@gmail.com <mailto:clinta@gmail.com>> wrote: > > the big 'brag' about this album is that it was > supposedly 'recorded in one take' > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins > <connor1higgins@gmail.com > <mailto:connor1higgins@gmail.com>> wrote: > > I think Squarepusher needs to put out a live > album. As Eric mentions above, a lot of his work > seems catered to his shows. Nothing necessarily > wrong with that. > > On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands > <fohdeesha@gmail.com <mailto:fohdeesha@gmail.com>> > wrote: > > what happened to him :( > > best synthpop song 2015 > > > On 3/24/2015 2:34 PM, Esa Ruoho wrote: > > https://www.youtube.com/watch?v=vqV5FO46o4c > you know it's gonna be corn starch after > about 10 seconds in to the video. > and then it's corn starch. > .. > i guess what's next for tom jenkinson is > to go and do this: > http://nigelstanford.com/Cymatics/ > > except hopefully with better music. but > will it rank amongst his most influential > and most inspired work? > it's hard to conceive that squarepusher > wouldn't do a better job of it than nigel > stanford. euyckh > > > > > > > >

-- Jon Sands Fohdeesha Media http://fohdeesha.com/

http://thequietus.com/articles/17497-squarepusher-interview interview interview interview fanboiz Clint Anderson Systems Engineer On Tue, Mar 24, 2015 at 5:18 PM, Jon Sands <fohdeesha@gmail.com> wrote:

quoted 92 lines before clicking that I was praying with all my soul it would be that

> before clicking that I was praying with all my soul it would be that > exact clip > > > > On 3/24/2015 5:57 PM, Clint Anderson wrote: > > check out this live squarepusher > > https://www.youtube.com/watch?v=8ZYrutVyZ-A > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:55 PM, Clint Anderson <clinta@gmail.com> wrote: > >> i dunno why but tom reminds me of tom green sometimes >> >> >> Clint Anderson >> Systems Engineer >> >> On Tue, Mar 24, 2015 at 4:48 PM, Connor Higgins <connor1higgins@gmail.com >> > wrote: >> >>> Once upon a time... https://www.youtube.com/watch?v=xUoY2lRdUHo >>> >>> On Tue, Mar 24, 2015 at 5:38 PM, Clint Anderson <clinta@gmail.com> >>> wrote: >>> >>>> are there any squarepusher live gigs where he doesn't just play mp3s >>>> off his album and slap his bass around to them? >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Tue, Mar 24, 2015 at 4:20 PM, Clint Anderson <clinta@gmail.com> >>>> wrote: >>>> >>>>> the big 'brag' about this album is that it was supposedly 'recorded in >>>>> one take' >>>>> >>>>> >>>>> Clint Anderson >>>>> Systems Engineer >>>>> >>>>> On Tue, Mar 24, 2015 at 4:08 PM, Connor Higgins < >>>>> connor1higgins@gmail.com> wrote: >>>>> >>>>>> I think Squarepusher needs to put out a live album. As Eric mentions >>>>>> above, a lot of his work seems catered to his shows. Nothing necessarily >>>>>> wrong with that. >>>>>> >>>>>> On Tue, Mar 24, 2015 at 3:35 PM, Jon Sands <fohdeesha@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> what happened to him :( >>>>>>> >>>>>>> best synthpop song 2015 >>>>>>> >>>>>>> >>>>>>> On 3/24/2015 2:34 PM, Esa Ruoho wrote: >>>>>>> >>>>>>>> https://www.youtube.com/watch?v=vqV5FO46o4c >>>>>>>> you know it's gonna be corn starch after about 10 seconds in to the >>>>>>>> video. >>>>>>>> and then it's corn starch. >>>>>>>> .. >>>>>>>> i guess what's next for tom jenkinson is to go and do this: >>>>>>>> http://nigelstanford.com/Cymatics/ >>>>>>>> >>>>>>>> except hopefully with better music. but will it rank amongst his >>>>>>>> most influential and most inspired work? >>>>>>>> it's hard to conceive that squarepusher wouldn't do a better job of >>>>>>>> it than nigel stanford. euyckh >>>>>>>> >>>>>>> >>>>>>> >>>>>> >>>>> >>>> >>> >> > > > -- > Jon Sands > Fohdeesha Mediahttp://fohdeesha.com/ > >

Esa, FSU meaning "fuck shit up." It's a colloquialism I probably adopted back when I was active on IDMforums. It was used to describe programs/plugins similar to DBlue's Glitch. Audio-manglers. Also, I somehow was under the impression that Hello Everything predated Ultravisitor. When you lay it all out like that, it does look like a steady descent into whatever you want to call what he's currently doing. I don't dislike it, but it's not what I'm looking for when I'm rummaging through my music library for some Squarepusher. Given the content of that interview, I guess that's the point? But what I would give for a few more tracks like The Exploding Psychology... On Tue, Mar 24, 2015 at 3:35 PM Jon Sands <fohdeesha@gmail.com> wrote:

quoted 19 lines what happened to him :(

> what happened to him :( > > best synthpop song 2015 > > On 3/24/2015 2:34 PM, Esa Ruoho wrote: > > https://www.youtube.com/watch?v=vqV5FO46o4c > > you know it's gonna be corn starch after about 10 seconds in to the > video. > > and then it's corn starch. > > .. > > i guess what's next for tom jenkinson is to go and do this: > > http://nigelstanford.com/Cymatics/ > > > > except hopefully with better music. but will it rank amongst his most > > influential and most inspired work? > > it's hard to conceive that squarepusher wouldn't do a better job of it > > than nigel stanford. euyckh > >

Hi Eric, what's "FSU programs"? :) On 24 March 2015 at 17:12, Eric Fairbanks <eric.p.fairbanks@gmail.com> wrote:

quoted 6 lines Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way

> Perhaps the Daft-Punk-looking welding helmet was an omen. In the same way > that I find their music most palatable on albums like "Alive," perhaps > Jenkinson's recent work is designed to be performed. Until there's Tom > smashing away on his FSU programs, disassembling and reassembling the music > according to his whims, it's slightly undercooked. >

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:

quoted 27 lines This is pis* weak. Hes making music that sounds like its all been sampled

> 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: > > 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 > >

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:

quoted 50 lines I'm not sure I'd call it piss-weak. Not sure if I like it yet, but I

> 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: >> > 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 >> >>

you just eyeball where the amplitude dips are and cut there or even just cut ever 1/8th or 1/4th :) Clint Anderson Systems Engineer On Wed, Mar 25, 2015 at 3:44 PM, Eric Fairbanks <eric.p.fairbanks@gmail.com> wrote:

quoted 66 lines Kent, that's nuts. I can't imagine working with sampled breaks in an audio

> 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: >>> > 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 >>> >>>

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:

quoted 66 lines Kent, that's nuts. I can't imagine working with sampled breaks in an audio

> 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: >>> > 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 >>> >>>

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:

quoted 78 lines I did it kind of as a dare for myself. I was working in Acid Pro, and I

> 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: >>>> > 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 >>>> >>>>

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:

quoted 85 lines Ah man, Acid Pro. That's exactly what I was picturing. I've heard of

> 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: >>>>> > 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 >>>>> >>>>>

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:

quoted 101 lines Before Acid Pro, I did a whole bunch of tracks in Sound Forge. I'd figure

> 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: >>>>>> > 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 >>>>>> >>>>>>

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:

quoted 113 lines This track was made entirely in Sound Forge

> 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: >>>>>>> > 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 >>>>>>> >>>>>>>

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:

quoted 121 lines Oh man, those stutter-rolls. That's friggin' impressive. They sound so

> 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: >>>>>>>> > 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 >>>>>>>> >>>>>>>>

also one thing i do with beats sometimes in cubase is take a beat, and then do the cubase process->plugin on it, bring up dblue glitch and see where in the glitch 'sequencer' my loop lands, then set it to just crush or just reverse or just slowdown, etc, and apply that just to that one measure or a couple of beats in the loop. Clint Anderson Systems Engineer On Wed, Mar 25, 2015 at 6:16 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 136 lines heh in the .mod days ppl would use mod2wav to make patterns from their

> 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: >>>>>>>>> > 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 >>>>>>>>> >>>>>>>>> >

Haha, nice! That was actually the feature that sold me on Renoise. It's "render selection to instrument" shortcut really appealed to me, since I could mangle a breakbeat, sample that, mess with that sample, resample that, rinse, repeat. 7-8 years ago I made a track like that, sampling and resampling the amen break: http://ericfairbanks.org/osHIpFG1F88s.mp3 I kinda miss resampling the amen into oblivion. Would feel a bit masturbatory since I haven't been releasing anything these days [years] though. I'd kinda like to hear the result of something like Glitch feeding back on itself until entropy fully sets in; maybe that's something to do. On Wed, Mar 25, 2015 at 7:18 PM Clint Anderson <clinta@gmail.com> wrote:

quoted 149 lines also one thing i do with beats sometimes in cubase is take a beat, and

> also one thing i do with beats sometimes in cubase is take a beat, and > then do the cubase process->plugin on it, bring up dblue glitch and see > where in the glitch 'sequencer' my loop lands, then set it to just crush or > just reverse or just slowdown, etc, and apply that just to that one measure > or a couple of beats in the loop. > > > Clint Anderson > Systems Engineer > > On Wed, Mar 25, 2015 at 6:16 PM, 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: >>>>>>>>>> > 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 >>>>>>>>>> >>>>>>>>>> >> >

i really enjoy music for robots tho, bought that my impression of it was it was as if he weirdly jumped back to hard normal daddy era, and i really love the thorough complexity of the tracks where he goes out of his way to showcase how impossibly those robots can play its a nice mental workout and just the right number of tracks Clint Anderson Systems Engineer On Wed, Mar 25, 2015 at 7:21 PM, Eric Fairbanks <eric.p.fairbanks@gmail.com> wrote:

quoted 164 lines Haha, nice! That was actually the feature that sold me on Renoise. It's

> Haha, nice! That was actually the feature that sold me on Renoise. It's > "render selection to instrument" shortcut really appealed to me, since I > could mangle a breakbeat, sample that, mess with that sample, resample > that, rinse, repeat. > > 7-8 years ago I made a track like that, sampling and resampling the amen > break: http://ericfairbanks.org/osHIpFG1F88s.mp3 > > I kinda miss resampling the amen into oblivion. Would feel a bit > masturbatory since I haven't been releasing anything these days [years] > though. I'd kinda like to hear the result of something like Glitch feeding > back on itself until entropy fully sets in; maybe that's something to do. > > On Wed, Mar 25, 2015 at 7:18 PM Clint Anderson <clinta@gmail.com> wrote: > >> also one thing i do with beats sometimes in cubase is take a beat, and >> then do the cubase process->plugin on it, bring up dblue glitch and see >> where in the glitch 'sequencer' my loop lands, then set it to just crush or >> just reverse or just slowdown, etc, and apply that just to that one measure >> or a couple of beats in the loop. >> >> >> Clint Anderson >> Systems Engineer >> >> On Wed, Mar 25, 2015 at 6:16 PM, 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: >>>>>>>>>>> > 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 >>>>>>>>>>> >>>>>>>>>>> >>> >>

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:

quoted 136 lines heh in the .mod days ppl would use mod2wav to make patterns from their

> 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: >>>>>>>>> > 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 >>>>>>>>> >>>>>>>>> >

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:

quoted 144 lines Back in the Protracker days, i once recorded the Amiga channels onto

> 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: >>>>>>>>>> > 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 >>>>>>>>>> >>>>>>>>>> >>

I think [OPINION]. On Thu, Mar 26, 2015 at 11:33 AM, David Bohan <madvlad00@gmail.com> wrote:

quoted 151 lines What's wrong with you all? This track is proper ace.

> 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: >>>>>>>>>>> > 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 >>>>>>>>>>> >>>>>>>>>>> >>> >

I think [ACTUAL REAL AND TRUE AND INARGUABLE FACT]. On Thu, Mar 26, 2015 at 3:06 PM, Connor Higgins <connor1higgins@gmail.com> wrote:

quoted 156 lines I think [OPINION].

> 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: >>>>>>>>>>>> > 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 >>>>>>>>>>>> >>>>>>>>>>>> >>>> >> >

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

Yer havin a laugh mate. Its absolute muck. But because he's Squarepusher he can get away with it. Date: Thu, 26 Mar 2015 11:33:13 -0400 Subject: Re: New Squarepusher track From: madvlad00@gmail.com To: laurent.knauth@gmail.com CC: clinta@gmail.com; eric.p.fairbanks@gmail.com; chaircrusher@gmail.com; idm@hyperreal.org 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

I'll say this though, I listened to the track three times in the last week or so, and today, for no reason whatsoever, the melody got stuck in my hed. i didn't like it, but what can i do. On 26 March 2015 at 23:55, CRAIG SIMPSON <craignorms@hotmail.com> wrote:

quoted 160 lines Yer havin a laugh mate. Its absolute muck. But because he's Squarepusher

> Yer havin a laugh mate. Its absolute muck. But because he's Squarepusher > he can get away with it. > > ------------------------------ > Date: Thu, 26 Mar 2015 11:33:13 -0400 > Subject: Re: New Squarepusher track > From: madvlad00@gmail.com > To: laurent.knauth@gmail.com > CC: clinta@gmail.com; eric.p.fairbanks@gmail.com; chaircrusher@gmail.com; > idm@hyperreal.org > > > 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: > > 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 > > > >

-- --- http://twitter.com/esaruoho http://lackluster.bandcamp.com

You all secretly like it ;) On Thu, Mar 26, 2015 at 10:36 PM, Esa Ruoho <esaruoho@gmail.com> wrote:

quoted 175 lines I'll say this though, I listened to the track three times in the last week

> I'll say this though, I listened to the track three times in the last week > or so, and today, for no reason whatsoever, the melody got stuck in my hed. > i didn't like it, but what can i do. > > On 26 March 2015 at 23:55, CRAIG SIMPSON <craignorms@hotmail.com> wrote: > >> Yer havin a laugh mate. Its absolute muck. But because he's Squarepusher >> he can get away with it. >> >> ------------------------------ >> Date: Thu, 26 Mar 2015 11:33:13 -0400 >> Subject: Re: New Squarepusher track >> From: madvlad00@gmail.com >> To: laurent.knauth@gmail.com >> CC: clinta@gmail.com; eric.p.fairbanks@gmail.com; chaircrusher@gmail.com; >> idm@hyperreal.org >> >> >> 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: >> > 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 >> >> >> >> > > > -- > > --- > http://twitter.com/esaruoho > http://lackluster.bandcamp.com >

yes i also like the melody to the cure's "it's friday im in love" very catchy https://www.youtube.com/watch?v=3GpBiTjmIpQ squarepusher/zmachiines - dissolver Clint Anderson Systems Engineer On Thu, Mar 26, 2015 at 5:58 PM, Charles Byers-Brown <c.byersbrown@gmail.com

quoted 1 line wrote:

> wrote:

quoted 183 lines You all secretly like it ;)

> You all secretly like it ;) > > On Thu, Mar 26, 2015 at 10:36 PM, Esa Ruoho <esaruoho@gmail.com> wrote: > >> I'll say this though, I listened to the track three times in the last >> week or so, and today, for no reason whatsoever, the melody got stuck in my >> hed. >> i didn't like it, but what can i do. >> >> On 26 March 2015 at 23:55, CRAIG SIMPSON <craignorms@hotmail.com> wrote: >> >>> Yer havin a laugh mate. Its absolute muck. But because he's Squarepusher >>> he can get away with it. >>> >>> ------------------------------ >>> Date: Thu, 26 Mar 2015 11:33:13 -0400 >>> Subject: Re: New Squarepusher track >>> From: madvlad00@gmail.com >>> To: laurent.knauth@gmail.com >>> CC: clinta@gmail.com; eric.p.fairbanks@gmail.com; chaircrusher@gmail.com; >>> idm@hyperreal.org >>> >>> >>> 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: >>> > 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 >>> >>> >>> >>> >> >> >> -- >> >> --- >> http://twitter.com/esaruoho >> http://lackluster.bandcamp.com >> > >

imho i think that its a nice mix of bleep with 4 step contemporary jazz? great drumming, not my choice of other sounds though. his palette has never been my cup of tea.... On Fri, Mar 27, 2015 at 12:15 AM, Clint Anderson <clinta@gmail.com> wrote:

quoted 197 lines yes i also like the melody to the cure's "it's friday im in love"

> yes i also like the melody to the cure's "it's friday im in love" > very catchy > > https://www.youtube.com/watch?v=3GpBiTjmIpQ > squarepusher/zmachiines - dissolver > > > Clint Anderson > Systems Engineer > > On Thu, Mar 26, 2015 at 5:58 PM, Charles Byers-Brown < > c.byersbrown@gmail.com> wrote: > >> You all secretly like it ;) >> >> On Thu, Mar 26, 2015 at 10:36 PM, Esa Ruoho <esaruoho@gmail.com> wrote: >> >>> I'll say this though, I listened to the track three times in the last >>> week or so, and today, for no reason whatsoever, the melody got stuck in my >>> hed. >>> i didn't like it, but what can i do. >>> >>> On 26 March 2015 at 23:55, CRAIG SIMPSON <craignorms@hotmail.com> wrote: >>> >>>> Yer havin a laugh mate. Its absolute muck. But because he's >>>> Squarepusher he can get away with it. >>>> >>>> ------------------------------ >>>> Date: Thu, 26 Mar 2015 11:33:13 -0400 >>>> Subject: Re: New Squarepusher track >>>> From: madvlad00@gmail.com >>>> To: laurent.knauth@gmail.com >>>> CC: clinta@gmail.com; eric.p.fairbanks@gmail.com; >>>> chaircrusher@gmail.com; idm@hyperreal.org >>>> >>>> >>>> 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: >>>> > 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 >>>> >>>> >>>> >>>> >>> >>> >>> -- >>> >>> --- >>> http://twitter.com/esaruoho >>> http://lackluster.bandcamp.com >>> >> >> >

i dont think its so much a matter of 'liking' it as its really easy to press the same button several times Clint Anderson Systems Engineer On Fri, May 8, 2015 at 3:44 PM, kent williams <chaircrusher@gmail.com> wrote:

quoted 187 lines I think that there's a lot of subtlety in Jlins beats and song structures;

> I think that there's a lot of subtlety in Jlins beats and song structures; > but she does like that machine-gun repeat thing. You can make fun of > superficial traits of her music, or meet her halfway and listen for what's > interesting in it. Or not; plenty of other music for you to listen to. > > > On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com> wrote: > >> disclaimer: don't get too pissed off, i am trolling to some degree here :) >> >> just tried to listen to jlin's dark energy and gave up .... here are some >> tips for footwork producers: >> >> 1. even your MPC has velocity control, that means that individual >> hits/notes/etc can actually be at different volumes from one another >> 2. the MPC can actually play samples at different pitches, in fact, you >> can create what are called 'melodies' consisting of two or more notes at >> different frequencies >> 3. for many decades now, devices known as 'effects' have been made >> available, many of which are built into your MPC -- for fun, trying >> applying an 'effect' to one of the sounds in your 'song' -- the results can >> be fascinating and are very popular in most every genre. >> 4. drum sounds -- did you know? you can load different drum sounds into >> your MPC. that's right, now, not every song has to use the same hi-hat, >> snare, and bassdrum, on every single one of your albums, for your entire >> career. >> 5. did you know? you can change the parameters of sounds on the MPC, >> using parameters like attack, decay, sustain and release, to alter your >> sounds >> 6. you can load more than 9 samples into your MPC. i know, it's >> confusing, because there are only 9 buttons, but, my understanding is that >> these buttons can actually be assigned to different sounds, and over the >> course of several albums, you could use different sounds on EVERY ALBUM or >> even every song >> >> i realize im not from the same background as people producing footwork, >> but i am 100% confident that a manual is provided for the MPC series >> >> >> >> Clint Anderson >> Systems Engineer >> >> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >> wrote: >> >>> Who are you and where are you from? If you were African-American and >>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>> belittle the entire genre. You're allowed your opinion, but your reaction >>> rubbed me the wrong way; you made it sound like the people making that >>> music were getting away with something. >>> >>> I don't live in Chicago but I go their a fair amount and know the music >>> scene there fairly well; the one thing I know is that it's serious, and >>> highly competitive. No one gets away with making mediocre music; any >>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>> going to be half-assed. You may not like it, it may not speak to your >>> condition, but to criticize it that way makes me think you're just hearing >>> it, not listening to it. >>> >>> And you're under no obligation to like it or listen to it. There's too >>> much music and life's too short to listen to things you don't enjoy. >>> >>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>> >>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>> culture based on a very shallow listening experience, and no understanding >>>> of the culture in which it grew up." >>>> >>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>> and sounding like an academic from the burbs who's just trying to relate. >>>> You don't know me or where I'm from. If I'm from the same musical culture >>>> and the same socio-economic background as most peeps who make Footwork, am >>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>> because I am the one saying it, and it's obviously my opinion. I much >>>> prefer Bluegrass. >>>> >>>> Now, hugs all around! >>>> >>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams <chaircrusher@gmail.com >>>> > wrote: >>>> >>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>> different sort of listening if you're going to understand and enjoy it. To >>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>> culture based on a very shallow listening experience, and no understanding >>>>> of the culture in which it grew up. >>>>> >>>>> Juke/Footwork music is very much the product of kids with cracked >>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>> It is something positive in an environment where people are confronted >>>>> daily with unrelenting negative things. >>>>> >>>>> There's a billion footwork tracks and thousands of people making it. >>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>> good it's great. >>>>> >>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>> >>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>> wrote: >>>>> >>>>>> Kent, >>>>>> >>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>> much of it is the same. >>>>>> >>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>> some exceptions of course. >>>>>> >>>>>> Now Jlin's release here is much more experimental and fresh sounding >>>>>> than the long tracks of TV show themes spread out over lazy beats. >>>>>> >>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>> chaircrusher@gmail.com> wrote: >>>>>>> >>>>>>>> Jared, stop being ignorant. >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan <madvlad00@gmail.com >>>>>>>>> > wrote: >>>>>>>>> >>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>>>>> something? >>>>>>>>>> >>>>>>>>>> The tracks you linked to sound interesting to say the least. Find >>>>>>>>>> it also curious that Jlin works at a steel mill in Gary, Indiana... Not >>>>>>>>>> much music prides itself on coming from Indiana >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>> >>>>>>>>>>> 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 >>>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> -- >>>>>>>>> 22tape/jared dunne >>>>>>>>> listen <http://22tape.com> >>>>>>>>> >>>>>>>> >>>>>>> >>>>>>> >>>>>>> -- >>>>>>> 22tape/jared dunne >>>>>>> listen <http://22tape.com> >>>>>>> >>>>>> >>>>>> >>>> >>>> >>>> -- >>>> 22tape/jared dunne >>>> listen <http://22tape.com> >>>> >>> >>

did you listen to it on weed tho On Fri, May 8, 2015 at 4:50 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 200 lines i dont think its so much a matter of 'liking' it as its really easy to

> i dont think its so much a matter of 'liking' it as its really easy to > press the same button several times > > > Clint Anderson > Systems Engineer > > On Fri, May 8, 2015 at 3:44 PM, kent williams <chaircrusher@gmail.com> > wrote: > >> I think that there's a lot of subtlety in Jlins beats and song >> structures; but she does like that machine-gun repeat thing. You can make >> fun of superficial traits of her music, or meet her halfway and listen for >> what's interesting in it. Or not; plenty of other music for you to listen >> to. >> >> >> On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com> wrote: >> >>> disclaimer: don't get too pissed off, i am trolling to some degree here >>> :) >>> >>> just tried to listen to jlin's dark energy and gave up .... here are >>> some tips for footwork producers: >>> >>> 1. even your MPC has velocity control, that means that individual >>> hits/notes/etc can actually be at different volumes from one another >>> 2. the MPC can actually play samples at different pitches, in fact, you >>> can create what are called 'melodies' consisting of two or more notes at >>> different frequencies >>> 3. for many decades now, devices known as 'effects' have been made >>> available, many of which are built into your MPC -- for fun, trying >>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>> be fascinating and are very popular in most every genre. >>> 4. drum sounds -- did you know? you can load different drum sounds into >>> your MPC. that's right, now, not every song has to use the same hi-hat, >>> snare, and bassdrum, on every single one of your albums, for your entire >>> career. >>> 5. did you know? you can change the parameters of sounds on the MPC, >>> using parameters like attack, decay, sustain and release, to alter your >>> sounds >>> 6. you can load more than 9 samples into your MPC. i know, it's >>> confusing, because there are only 9 buttons, but, my understanding is that >>> these buttons can actually be assigned to different sounds, and over the >>> course of several albums, you could use different sounds on EVERY ALBUM or >>> even every song >>> >>> i realize im not from the same background as people producing footwork, >>> but i am 100% confident that a manual is provided for the MPC series >>> >>> >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> Who are you and where are you from? If you were African-American and >>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>> rubbed me the wrong way; you made it sound like the people making that >>>> music were getting away with something. >>>> >>>> I don't live in Chicago but I go their a fair amount and know the music >>>> scene there fairly well; the one thing I know is that it's serious, and >>>> highly competitive. No one gets away with making mediocre music; any >>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>> going to be half-assed. You may not like it, it may not speak to your >>>> condition, but to criticize it that way makes me think you're just hearing >>>> it, not listening to it. >>>> >>>> And you're under no obligation to like it or listen to it. There's too >>>> much music and life's too short to listen to things you don't enjoy. >>>> >>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>>> >>>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>> culture based on a very shallow listening experience, and no understanding >>>>> of the culture in which it grew up." >>>>> >>>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>>> and sounding like an academic from the burbs who's just trying to relate. >>>>> You don't know me or where I'm from. If I'm from the same musical culture >>>>> and the same socio-economic background as most peeps who make Footwork, am >>>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>>> because I am the one saying it, and it's obviously my opinion. I much >>>>> prefer Bluegrass. >>>>> >>>>> Now, hugs all around! >>>>> >>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>> chaircrusher@gmail.com> wrote: >>>>> >>>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>>> different sort of listening if you're going to understand and enjoy it. To >>>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>> culture based on a very shallow listening experience, and no understanding >>>>>> of the culture in which it grew up. >>>>>> >>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>> It is something positive in an environment where people are confronted >>>>>> daily with unrelenting negative things. >>>>>> >>>>>> There's a billion footwork tracks and thousands of people making it. >>>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>>> good it's great. >>>>>> >>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>> >>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> Kent, >>>>>>> >>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>> much of it is the same. >>>>>>> >>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>>> some exceptions of course. >>>>>>> >>>>>>> Now Jlin's release here is much more experimental and fresh sounding >>>>>>> than the long tracks of TV show themes spread out over lazy beats. >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>> >>>>>>>>> Jared, stop being ignorant. >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>> wrote: >>>>>>>>> >>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>> >>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>>>>>> something? >>>>>>>>>>> >>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> 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 >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> -- >>>>>>>>>> 22tape/jared dunne >>>>>>>>>> listen <http://22tape.com> >>>>>>>>>> >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> -- >>>>>>>> 22tape/jared dunne >>>>>>>> listen <http://22tape.com> >>>>>>>> >>>>>>> >>>>>>> >>>>> >>>>> >>>>> -- >>>>> 22tape/jared dunne >>>>> listen <http://22tape.com> >>>>> >>>> >>> >

i thought it was footwork but it was just a cd of snare rush's with a skip on it Clint Anderson Systems Engineer On Fri, May 8, 2015 at 4:06 PM, Rjyan Kidwell <cexwell@gmail.com> wrote:

quoted 205 lines did you listen to it on weed tho

> did you listen to it on weed tho > > On Fri, May 8, 2015 at 4:50 PM, Clint Anderson <clinta@gmail.com> wrote: > >> i dont think its so much a matter of 'liking' it as its really easy to >> press the same button several times >> >> >> Clint Anderson >> Systems Engineer >> >> On Fri, May 8, 2015 at 3:44 PM, kent williams <chaircrusher@gmail.com> >> wrote: >> >>> I think that there's a lot of subtlety in Jlins beats and song >>> structures; but she does like that machine-gun repeat thing. You can make >>> fun of superficial traits of her music, or meet her halfway and listen for >>> what's interesting in it. Or not; plenty of other music for you to listen >>> to. >>> >>> >>> On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com> wrote: >>> >>>> disclaimer: don't get too pissed off, i am trolling to some degree here >>>> :) >>>> >>>> just tried to listen to jlin's dark energy and gave up .... here are >>>> some tips for footwork producers: >>>> >>>> 1. even your MPC has velocity control, that means that individual >>>> hits/notes/etc can actually be at different volumes from one another >>>> 2. the MPC can actually play samples at different pitches, in fact, you >>>> can create what are called 'melodies' consisting of two or more notes at >>>> different frequencies >>>> 3. for many decades now, devices known as 'effects' have been made >>>> available, many of which are built into your MPC -- for fun, trying >>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>> be fascinating and are very popular in most every genre. >>>> 4. drum sounds -- did you know? you can load different drum sounds >>>> into your MPC. that's right, now, not every song has to use the same >>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>> entire career. >>>> 5. did you know? you can change the parameters of sounds on the MPC, >>>> using parameters like attack, decay, sustain and release, to alter your >>>> sounds >>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>> confusing, because there are only 9 buttons, but, my understanding is that >>>> these buttons can actually be assigned to different sounds, and over the >>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>> even every song >>>> >>>> i realize im not from the same background as people producing footwork, >>>> but i am 100% confident that a manual is provided for the MPC series >>>> >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >>>> wrote: >>>> >>>>> Who are you and where are you from? If you were African-American and >>>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>> rubbed me the wrong way; you made it sound like the people making that >>>>> music were getting away with something. >>>>> >>>>> I don't live in Chicago but I go their a fair amount and know the >>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>> and highly competitive. No one gets away with making mediocre music; any >>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>> going to be half-assed. You may not like it, it may not speak to your >>>>> condition, but to criticize it that way makes me think you're just hearing >>>>> it, not listening to it. >>>>> >>>>> And you're under no obligation to like it or listen to it. There's too >>>>> much music and life's too short to listen to things you don't enjoy. >>>>> >>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>>>> >>>>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>> culture based on a very shallow listening experience, and no understanding >>>>>> of the culture in which it grew up." >>>>>> >>>>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>>>> and sounding like an academic from the burbs who's just trying to relate. >>>>>> You don't know me or where I'm from. If I'm from the same musical culture >>>>>> and the same socio-economic background as most peeps who make Footwork, am >>>>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>>>> because I am the one saying it, and it's obviously my opinion. I much >>>>>> prefer Bluegrass. >>>>>> >>>>>> Now, hugs all around! >>>>>> >>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>>>> different sort of listening if you're going to understand and enjoy it. To >>>>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>>> culture based on a very shallow listening experience, and no understanding >>>>>>> of the culture in which it grew up. >>>>>>> >>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>> It is something positive in an environment where people are confronted >>>>>>> daily with unrelenting negative things. >>>>>>> >>>>>>> There's a billion footwork tracks and thousands of people making it. >>>>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>>>> good it's great. >>>>>>> >>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> Kent, >>>>>>>> >>>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>>> much of it is the same. >>>>>>>> >>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>>>> some exceptions of course. >>>>>>>> >>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>> >>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>> wrote: >>>>>>>>>> >>>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music >>>>>>>>>>>> or something? >>>>>>>>>>>> >>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> 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 >>>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> -- >>>>>>>>>>> 22tape/jared dunne >>>>>>>>>>> listen <http://22tape.com> >>>>>>>>>>> >>>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> -- >>>>>>>>> 22tape/jared dunne >>>>>>>>> listen <http://22tape.com> >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> 22tape/jared dunne >>>>>> listen <http://22tape.com> >>>>>> >>>>> >>>> >> >

I love Footloose. On May 8, 2015 3:10 PM, "Clint Anderson" <clinta@gmail.com> wrote:

quoted 218 lines i thought it was footwork but it was just a cd of snare rush's with a skip

> i thought it was footwork but it was just a cd of snare rush's with a skip > on it > > > Clint Anderson > Systems Engineer > > On Fri, May 8, 2015 at 4:06 PM, Rjyan Kidwell <cexwell@gmail.com> wrote: > >> did you listen to it on weed tho >> >> On Fri, May 8, 2015 at 4:50 PM, Clint Anderson <clinta@gmail.com> wrote: >> >>> i dont think its so much a matter of 'liking' it as its really easy to >>> press the same button several times >>> >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Fri, May 8, 2015 at 3:44 PM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> I think that there's a lot of subtlety in Jlins beats and song >>>> structures; but she does like that machine-gun repeat thing. You can make >>>> fun of superficial traits of her music, or meet her halfway and listen for >>>> what's interesting in it. Or not; plenty of other music for you to listen >>>> to. >>>> >>>> >>>> On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com> wrote: >>>> >>>>> disclaimer: don't get too pissed off, i am trolling to some degree >>>>> here :) >>>>> >>>>> just tried to listen to jlin's dark energy and gave up .... here are >>>>> some tips for footwork producers: >>>>> >>>>> 1. even your MPC has velocity control, that means that individual >>>>> hits/notes/etc can actually be at different volumes from one another >>>>> 2. the MPC can actually play samples at different pitches, in fact, >>>>> you can create what are called 'melodies' consisting of two or more notes >>>>> at different frequencies >>>>> 3. for many decades now, devices known as 'effects' have been made >>>>> available, many of which are built into your MPC -- for fun, trying >>>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>>> be fascinating and are very popular in most every genre. >>>>> 4. drum sounds -- did you know? you can load different drum sounds >>>>> into your MPC. that's right, now, not every song has to use the same >>>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>>> entire career. >>>>> 5. did you know? you can change the parameters of sounds on the MPC, >>>>> using parameters like attack, decay, sustain and release, to alter your >>>>> sounds >>>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>>> confusing, because there are only 9 buttons, but, my understanding is that >>>>> these buttons can actually be assigned to different sounds, and over the >>>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>>> even every song >>>>> >>>>> i realize im not from the same background as people producing >>>>> footwork, but i am 100% confident that a manual is provided for the MPC >>>>> series >>>>> >>>>> >>>>> >>>>> Clint Anderson >>>>> Systems Engineer >>>>> >>>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com >>>>> > wrote: >>>>> >>>>>> Who are you and where are you from? If you were African-American and >>>>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>>> rubbed me the wrong way; you made it sound like the people making that >>>>>> music were getting away with something. >>>>>> >>>>>> I don't live in Chicago but I go their a fair amount and know the >>>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>>> and highly competitive. No one gets away with making mediocre music; any >>>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>>> going to be half-assed. You may not like it, it may not speak to your >>>>>> condition, but to criticize it that way makes me think you're just hearing >>>>>> it, not listening to it. >>>>>> >>>>>> And you're under no obligation to like it or listen to it. There's >>>>>> too much music and life's too short to listen to things you don't enjoy. >>>>>> >>>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> "To say "The genre that sounds like some kid forgot to add a snare >>>>>>> to his half-assed Fruity Loops rap instrumental" is to dismiss a whole >>>>>>> musical culture based on a very shallow listening experience, and no >>>>>>> understanding of the culture in which it grew up." >>>>>>> >>>>>>> Careful, silly-pants Kent, you're walking the ignorant line >>>>>>> yourself, and sounding like an academic from the burbs who's just trying to >>>>>>> relate. You don't know me or where I'm from. If I'm from the same musical >>>>>>> culture and the same socio-economic background as most peeps who make >>>>>>> Footwork, am I still ignorant and shallow? Am I allowed to have an opinion >>>>>>> then? Good, because I am. And most Footwork sucks. And I don't have to >>>>>>> put "IMO" because I am the one saying it, and it's obviously my opinion. I >>>>>>> much prefer Bluegrass. >>>>>>> >>>>>>> Now, hugs all around! >>>>>>> >>>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>>> chaircrusher@gmail.com> wrote: >>>>>>> >>>>>>>> Every genre defines conventions. Every genre, furthermore demands >>>>>>>> a different sort of listening if you're going to understand and enjoy it. >>>>>>>> To say "The genre that sounds like some kid forgot to add a snare to his >>>>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>>>> culture based on a very shallow listening experience, and no understanding >>>>>>>> of the culture in which it grew up. >>>>>>>> >>>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>>> It is something positive in an environment where people are confronted >>>>>>>> daily with unrelenting negative things. >>>>>>>> >>>>>>>> There's a billion footwork tracks and thousands of people making >>>>>>>> it. Inevitably most of it is not very good, but like any other genre, when >>>>>>>> it's good it's great. >>>>>>>> >>>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> Kent, >>>>>>>>> >>>>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>>>> much of it is the same. >>>>>>>>> >>>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and >>>>>>>>> have found his sentiment to be true for most of the tracks on that release, >>>>>>>>> with some exceptions of course. >>>>>>>>> >>>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>>> wrote: >>>>>>>>> >>>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>> >>>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>>> wrote: >>>>>>>>>>> >>>>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot >>>>>>>>>>>> to add a snare to his half-assed Fruity Loops rap instrumental. Yay >>>>>>>>>>>> world! >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music >>>>>>>>>>>>> or something? >>>>>>>>>>>>> >>>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>>> >>>>>>>>>>>>>> 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 >>>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> -- >>>>>>>>>>>> 22tape/jared dunne >>>>>>>>>>>> listen <http://22tape.com> >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> -- >>>>>>>>>> 22tape/jared dunne >>>>>>>>>> listen <http://22tape.com> >>>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>> >>>>>>> >>>>>>> -- >>>>>>> 22tape/jared dunne >>>>>>> listen <http://22tape.com> >>>>>>> >>>>>> >>>>> >>> >> >

The Following just got cancelled maybe Kevin Bacon will resurrect Footloose Clint Anderson Systems Engineer On Fri, May 8, 2015 at 4:20 PM, Jared Dunne <22tape@gmail.com> wrote:

quoted 222 lines I love Footloose.

> I love Footloose. > On May 8, 2015 3:10 PM, "Clint Anderson" <clinta@gmail.com> wrote: > >> i thought it was footwork but it was just a cd of snare rush's with a >> skip on it >> >> >> Clint Anderson >> Systems Engineer >> >> On Fri, May 8, 2015 at 4:06 PM, Rjyan Kidwell <cexwell@gmail.com> wrote: >> >>> did you listen to it on weed tho >>> >>> On Fri, May 8, 2015 at 4:50 PM, Clint Anderson <clinta@gmail.com> wrote: >>> >>>> i dont think its so much a matter of 'liking' it as its really easy to >>>> press the same button several times >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Fri, May 8, 2015 at 3:44 PM, kent williams <chaircrusher@gmail.com> >>>> wrote: >>>> >>>>> I think that there's a lot of subtlety in Jlins beats and song >>>>> structures; but she does like that machine-gun repeat thing. You can make >>>>> fun of superficial traits of her music, or meet her halfway and listen for >>>>> what's interesting in it. Or not; plenty of other music for you to listen >>>>> to. >>>>> >>>>> >>>>> On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com> >>>>> wrote: >>>>> >>>>>> disclaimer: don't get too pissed off, i am trolling to some degree >>>>>> here :) >>>>>> >>>>>> just tried to listen to jlin's dark energy and gave up .... here are >>>>>> some tips for footwork producers: >>>>>> >>>>>> 1. even your MPC has velocity control, that means that individual >>>>>> hits/notes/etc can actually be at different volumes from one another >>>>>> 2. the MPC can actually play samples at different pitches, in fact, >>>>>> you can create what are called 'melodies' consisting of two or more notes >>>>>> at different frequencies >>>>>> 3. for many decades now, devices known as 'effects' have been made >>>>>> available, many of which are built into your MPC -- for fun, trying >>>>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>>>> be fascinating and are very popular in most every genre. >>>>>> 4. drum sounds -- did you know? you can load different drum sounds >>>>>> into your MPC. that's right, now, not every song has to use the same >>>>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>>>> entire career. >>>>>> 5. did you know? you can change the parameters of sounds on the MPC, >>>>>> using parameters like attack, decay, sustain and release, to alter your >>>>>> sounds >>>>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>>>> confusing, because there are only 9 buttons, but, my understanding is that >>>>>> these buttons can actually be assigned to different sounds, and over the >>>>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>>>> even every song >>>>>> >>>>>> i realize im not from the same background as people producing >>>>>> footwork, but i am 100% confident that a manual is provided for the MPC >>>>>> series >>>>>> >>>>>> >>>>>> >>>>>> Clint Anderson >>>>>> Systems Engineer >>>>>> >>>>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> Who are you and where are you from? If you were African-American >>>>>>> and lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>>>> rubbed me the wrong way; you made it sound like the people making that >>>>>>> music were getting away with something. >>>>>>> >>>>>>> I don't live in Chicago but I go their a fair amount and know the >>>>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>>>> and highly competitive. No one gets away with making mediocre music; any >>>>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>>>> going to be half-assed. You may not like it, it may not speak to your >>>>>>> condition, but to criticize it that way makes me think you're just hearing >>>>>>> it, not listening to it. >>>>>>> >>>>>>> And you're under no obligation to like it or listen to it. There's >>>>>>> too much music and life's too short to listen to things you don't enjoy. >>>>>>> >>>>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> "To say "The genre that sounds like some kid forgot to add a snare >>>>>>>> to his half-assed Fruity Loops rap instrumental" is to dismiss a whole >>>>>>>> musical culture based on a very shallow listening experience, and no >>>>>>>> understanding of the culture in which it grew up." >>>>>>>> >>>>>>>> Careful, silly-pants Kent, you're walking the ignorant line >>>>>>>> yourself, and sounding like an academic from the burbs who's just trying to >>>>>>>> relate. You don't know me or where I'm from. If I'm from the same musical >>>>>>>> culture and the same socio-economic background as most peeps who make >>>>>>>> Footwork, am I still ignorant and shallow? Am I allowed to have an opinion >>>>>>>> then? Good, because I am. And most Footwork sucks. And I don't have to >>>>>>>> put "IMO" because I am the one saying it, and it's obviously my opinion. I >>>>>>>> much prefer Bluegrass. >>>>>>>> >>>>>>>> Now, hugs all around! >>>>>>>> >>>>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>> >>>>>>>>> Every genre defines conventions. Every genre, furthermore demands >>>>>>>>> a different sort of listening if you're going to understand and enjoy it. >>>>>>>>> To say "The genre that sounds like some kid forgot to add a snare to his >>>>>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>>>>> culture based on a very shallow listening experience, and no understanding >>>>>>>>> of the culture in which it grew up. >>>>>>>>> >>>>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>>>> It is something positive in an environment where people are confronted >>>>>>>>> daily with unrelenting negative things. >>>>>>>>> >>>>>>>>> There's a billion footwork tracks and thousands of people making >>>>>>>>> it. Inevitably most of it is not very good, but like any other genre, when >>>>>>>>> it's good it's great. >>>>>>>>> >>>>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>>>> wrote: >>>>>>>>> >>>>>>>>>> Kent, >>>>>>>>>> >>>>>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>>>>> much of it is the same. >>>>>>>>>> >>>>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and >>>>>>>>>> have found his sentiment to be true for most of the tracks on that release, >>>>>>>>>> with some exceptions of course. >>>>>>>>>> >>>>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>>>> wrote: >>>>>>>>>> >>>>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>>>> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot >>>>>>>>>>>>> to add a snare to his half-assed Fruity Loops rap instrumental. Yay >>>>>>>>>>>>> world! >>>>>>>>>>>>> >>>>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>>>> >>>>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music >>>>>>>>>>>>>> or something? >>>>>>>>>>>>>> >>>>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>>>> >>>>>>>>>>>>>>> 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 >>>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> >>>>>>>>>>>>> -- >>>>>>>>>>>>> 22tape/jared dunne >>>>>>>>>>>>> listen <http://22tape.com> >>>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> -- >>>>>>>>>>> 22tape/jared dunne >>>>>>>>>>> listen <http://22tape.com> >>>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> -- >>>>>>>> 22tape/jared dunne >>>>>>>> listen <http://22tape.com> >>>>>>>> >>>>>>> >>>>>> >>>> >>> >>

im not a big fan of footwork at all... (i thought Bangs & Works was absolutely terrible....) i dont like people RP Boo or Rashad etc etc - ie mainstream footwork.... i do however like some of the underground stuff... some House of Black Lanterns tunes, some Moresounds tunes, Coleco etc etc - but anyway, genrla feeling on it is that it is shit quality, boomy music that lacks the finesse of our own uptempo genres - double time, half time southern rap beats in effect but... it is awesome live! i dont think you can appreciate it properly until you have danced to it on a BIG soundsystem//// It all gels and works live... saw Teklife at a festival (like 11 of em on stage) and it was MINT.... On Fri, May 8, 2015 at 9:50 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 200 lines i dont think its so much a matter of 'liking' it as its really easy to

> i dont think its so much a matter of 'liking' it as its really easy to > press the same button several times > > > Clint Anderson > Systems Engineer > > On Fri, May 8, 2015 at 3:44 PM, kent williams <chaircrusher@gmail.com> > wrote: > >> I think that there's a lot of subtlety in Jlins beats and song >> structures; but she does like that machine-gun repeat thing. You can make >> fun of superficial traits of her music, or meet her halfway and listen for >> what's interesting in it. Or not; plenty of other music for you to listen >> to. >> >> >> On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com> wrote: >> >>> disclaimer: don't get too pissed off, i am trolling to some degree here >>> :) >>> >>> just tried to listen to jlin's dark energy and gave up .... here are >>> some tips for footwork producers: >>> >>> 1. even your MPC has velocity control, that means that individual >>> hits/notes/etc can actually be at different volumes from one another >>> 2. the MPC can actually play samples at different pitches, in fact, you >>> can create what are called 'melodies' consisting of two or more notes at >>> different frequencies >>> 3. for many decades now, devices known as 'effects' have been made >>> available, many of which are built into your MPC -- for fun, trying >>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>> be fascinating and are very popular in most every genre. >>> 4. drum sounds -- did you know? you can load different drum sounds into >>> your MPC. that's right, now, not every song has to use the same hi-hat, >>> snare, and bassdrum, on every single one of your albums, for your entire >>> career. >>> 5. did you know? you can change the parameters of sounds on the MPC, >>> using parameters like attack, decay, sustain and release, to alter your >>> sounds >>> 6. you can load more than 9 samples into your MPC. i know, it's >>> confusing, because there are only 9 buttons, but, my understanding is that >>> these buttons can actually be assigned to different sounds, and over the >>> course of several albums, you could use different sounds on EVERY ALBUM or >>> even every song >>> >>> i realize im not from the same background as people producing footwork, >>> but i am 100% confident that a manual is provided for the MPC series >>> >>> >>> >>> Clint Anderson >>> Systems Engineer >>> >>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >>> wrote: >>> >>>> Who are you and where are you from? If you were African-American and >>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>> rubbed me the wrong way; you made it sound like the people making that >>>> music were getting away with something. >>>> >>>> I don't live in Chicago but I go their a fair amount and know the music >>>> scene there fairly well; the one thing I know is that it's serious, and >>>> highly competitive. No one gets away with making mediocre music; any >>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>> going to be half-assed. You may not like it, it may not speak to your >>>> condition, but to criticize it that way makes me think you're just hearing >>>> it, not listening to it. >>>> >>>> And you're under no obligation to like it or listen to it. There's too >>>> much music and life's too short to listen to things you don't enjoy. >>>> >>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>>> >>>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>> culture based on a very shallow listening experience, and no understanding >>>>> of the culture in which it grew up." >>>>> >>>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>>> and sounding like an academic from the burbs who's just trying to relate. >>>>> You don't know me or where I'm from. If I'm from the same musical culture >>>>> and the same socio-economic background as most peeps who make Footwork, am >>>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>>> because I am the one saying it, and it's obviously my opinion. I much >>>>> prefer Bluegrass. >>>>> >>>>> Now, hugs all around! >>>>> >>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>> chaircrusher@gmail.com> wrote: >>>>> >>>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>>> different sort of listening if you're going to understand and enjoy it. To >>>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>> culture based on a very shallow listening experience, and no understanding >>>>>> of the culture in which it grew up. >>>>>> >>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>> It is something positive in an environment where people are confronted >>>>>> daily with unrelenting negative things. >>>>>> >>>>>> There's a billion footwork tracks and thousands of people making it. >>>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>>> good it's great. >>>>>> >>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>> >>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>> wrote: >>>>>> >>>>>>> Kent, >>>>>>> >>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>> much of it is the same. >>>>>>> >>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>>> some exceptions of course. >>>>>>> >>>>>>> Now Jlin's release here is much more experimental and fresh sounding >>>>>>> than the long tracks of TV show themes spread out over lazy beats. >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>> >>>>>>>>> Jared, stop being ignorant. >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>> wrote: >>>>>>>>> >>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>> >>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music or >>>>>>>>>>> something? >>>>>>>>>>> >>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> 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 >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> -- >>>>>>>>>> 22tape/jared dunne >>>>>>>>>> listen <http://22tape.com> >>>>>>>>>> >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> -- >>>>>>>> 22tape/jared dunne >>>>>>>> listen <http://22tape.com> >>>>>>>> >>>>>>> >>>>>>> >>>>> >>>>> >>>>> -- >>>>> 22tape/jared dunne >>>>> listen <http://22tape.com> >>>>> >>>> >>> >

-- PR man...Music Scribe 07972 509 878 Skype: Al.NCHKennedy

maybe footwork based on arpeggios and samples about alien overlords psyfoot Clint Anderson Systems Engineer On Mon, May 11, 2015 at 5:40 AM, Al Kennedy CMPR <agjkennedy@gmail.com> wrote:

quoted 223 lines im not a big fan of footwork at all... (i thought Bangs & Works was

> im not a big fan of footwork at all... (i thought Bangs & Works was > absolutely terrible....) i dont like people RP Boo or Rashad etc etc - ie > mainstream footwork.... i do however like some of the underground stuff... > some House of Black Lanterns tunes, some Moresounds tunes, Coleco etc etc - > but anyway, genrla feeling on it is that it is shit quality, boomy music > that lacks the finesse of our own uptempo genres - double time, half time > southern rap beats in effect > > but... it is awesome live! i dont think you can appreciate it properly > until you have danced to it on a BIG soundsystem//// It all gels and works > live... saw Teklife at a festival (like 11 of em on stage) and it was > MINT.... > > On Fri, May 8, 2015 at 9:50 PM, Clint Anderson <clinta@gmail.com> wrote: > >> i dont think its so much a matter of 'liking' it as its really easy to >> press the same button several times >> >> >> Clint Anderson >> Systems Engineer >> >> On Fri, May 8, 2015 at 3:44 PM, kent williams <chaircrusher@gmail.com> >> wrote: >> >>> I think that there's a lot of subtlety in Jlins beats and song >>> structures; but she does like that machine-gun repeat thing. You can make >>> fun of superficial traits of her music, or meet her halfway and listen for >>> what's interesting in it. Or not; plenty of other music for you to listen >>> to. >>> >>> >>> On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com> wrote: >>> >>>> disclaimer: don't get too pissed off, i am trolling to some degree here >>>> :) >>>> >>>> just tried to listen to jlin's dark energy and gave up .... here are >>>> some tips for footwork producers: >>>> >>>> 1. even your MPC has velocity control, that means that individual >>>> hits/notes/etc can actually be at different volumes from one another >>>> 2. the MPC can actually play samples at different pitches, in fact, you >>>> can create what are called 'melodies' consisting of two or more notes at >>>> different frequencies >>>> 3. for many decades now, devices known as 'effects' have been made >>>> available, many of which are built into your MPC -- for fun, trying >>>> applying an 'effect' to one of the sounds in your 'song' -- the results can >>>> be fascinating and are very popular in most every genre. >>>> 4. drum sounds -- did you know? you can load different drum sounds >>>> into your MPC. that's right, now, not every song has to use the same >>>> hi-hat, snare, and bassdrum, on every single one of your albums, for your >>>> entire career. >>>> 5. did you know? you can change the parameters of sounds on the MPC, >>>> using parameters like attack, decay, sustain and release, to alter your >>>> sounds >>>> 6. you can load more than 9 samples into your MPC. i know, it's >>>> confusing, because there are only 9 buttons, but, my understanding is that >>>> these buttons can actually be assigned to different sounds, and over the >>>> course of several albums, you could use different sounds on EVERY ALBUM or >>>> even every song >>>> >>>> i realize im not from the same background as people producing footwork, >>>> but i am 100% confident that a manual is provided for the MPC series >>>> >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Tue, Mar 24, 2015 at 4:36 PM, kent williams <chaircrusher@gmail.com> >>>> wrote: >>>> >>>>> Who are you and where are you from? If you were African-American and >>>>> lived in Chicago, you might not like Footwork either, but I doubt you'd >>>>> belittle the entire genre. You're allowed your opinion, but your reaction >>>>> rubbed me the wrong way; you made it sound like the people making that >>>>> music were getting away with something. >>>>> >>>>> I don't live in Chicago but I go their a fair amount and know the >>>>> music scene there fairly well; the one thing I know is that it's serious, >>>>> and highly competitive. No one gets away with making mediocre music; any >>>>> Footwork tracks you're likely to hear released on e.g. Planet Mu is not >>>>> going to be half-assed. You may not like it, it may not speak to your >>>>> condition, but to criticize it that way makes me think you're just hearing >>>>> it, not listening to it. >>>>> >>>>> And you're under no obligation to like it or listen to it. There's too >>>>> much music and life's too short to listen to things you don't enjoy. >>>>> >>>>> On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne <22tape@gmail.com> wrote: >>>>> >>>>>> "To say "The genre that sounds like some kid forgot to add a snare to >>>>>> his half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>> culture based on a very shallow listening experience, and no understanding >>>>>> of the culture in which it grew up." >>>>>> >>>>>> Careful, silly-pants Kent, you're walking the ignorant line yourself, >>>>>> and sounding like an academic from the burbs who's just trying to relate. >>>>>> You don't know me or where I'm from. If I'm from the same musical culture >>>>>> and the same socio-economic background as most peeps who make Footwork, am >>>>>> I still ignorant and shallow? Am I allowed to have an opinion then? Good, >>>>>> because I am. And most Footwork sucks. And I don't have to put "IMO" >>>>>> because I am the one saying it, and it's obviously my opinion. I much >>>>>> prefer Bluegrass. >>>>>> >>>>>> Now, hugs all around! >>>>>> >>>>>> On Tue, Mar 24, 2015 at 10:38 AM, kent williams < >>>>>> chaircrusher@gmail.com> wrote: >>>>>> >>>>>>> Every genre defines conventions. Every genre, furthermore demands a >>>>>>> different sort of listening if you're going to understand and enjoy it. To >>>>>>> say "The genre that sounds like some kid forgot to add a snare to his >>>>>>> half-assed Fruity Loops rap instrumental" is to dismiss a whole musical >>>>>>> culture based on a very shallow listening experience, and no understanding >>>>>>> of the culture in which it grew up. >>>>>>> >>>>>>> Juke/Footwork music is very much the product of kids with cracked >>>>>>> copies of Fruity Loops; they work with the tools they have. The motivation >>>>>>> was to make music whose purpose is to accompany footwork dancing, which is >>>>>>> competetive, athletic and intense. The idea is to have the freshest, >>>>>>> trickiest rhythm, often played back on shitty boomboxes or Frankenstein >>>>>>> sound systems.. Footwork, like Jit in Detroit, is both dance and stylized >>>>>>> warfare; it sublimates the violence and frustration of life in "Chiraq." >>>>>>> It is something positive in an environment where people are confronted >>>>>>> daily with unrelenting negative things. >>>>>>> >>>>>>> There's a billion footwork tracks and thousands of people making it. >>>>>>> Inevitably most of it is not very good, but like any other genre, when it's >>>>>>> good it's great. >>>>>>> >>>>>>> It's OK not to like musical styles. I bet you're not so hot on >>>>>>> bluegrass music as well. But like my grandmother always told me about cream >>>>>>> corn, "it's better to say you don't care for it than say you hate it." >>>>>>> >>>>>>> On Mon, Mar 23, 2015 at 12:26 PM David Bohan <madvlad00@gmail.com> >>>>>>> wrote: >>>>>>> >>>>>>>> Kent, >>>>>>>> >>>>>>>> Why does Jared have to be ignorant to not like Footwork? It seems >>>>>>>> like Jared just thinks this kind of music does not require much effort or >>>>>>>> much of it is the same. >>>>>>>> >>>>>>>> I listened to the compilation album "Bangs & Works Vol. 1" and have >>>>>>>> found his sentiment to be true for most of the tracks on that release, with >>>>>>>> some exceptions of course. >>>>>>>> >>>>>>>> Now Jlin's release here is much more experimental and fresh >>>>>>>> sounding than the long tracks of TV show themes spread out over lazy beats. >>>>>>>> >>>>>>>> On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne <22tape@gmail.com> >>>>>>>> wrote: >>>>>>>> >>>>>>>>> Ignorant or silly? Either way, I can't help myself, Kent! >>>>>>>>> Honestly, Jlin's stuff isn't that bad. But for some reason it all sounds a >>>>>>>>> bit unfinished to me. But if peeps want to call it minimal, so be it! >>>>>>>>> >>>>>>>>> On Mon, Mar 23, 2015 at 12:18 PM, kent williams < >>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>> >>>>>>>>>> Jared, stop being ignorant. >>>>>>>>>> >>>>>>>>>> On Mon, Mar 23, 2015 at 11:04 AM Jared Dunne <22tape@gmail.com> >>>>>>>>>> wrote: >>>>>>>>>> >>>>>>>>>>> Ah yes, Footwork. The genre that sounds like some kid forgot to >>>>>>>>>>> add a snare to his half-assed Fruity Loops rap instrumental. Yay world! >>>>>>>>>>> >>>>>>>>>>> On Mon, Mar 23, 2015 at 10:51 AM, David Bohan < >>>>>>>>>>> madvlad00@gmail.com> wrote: >>>>>>>>>>> >>>>>>>>>>>> I haven't heard of "Footwork"... is this a new genre of music >>>>>>>>>>>> or something? >>>>>>>>>>>> >>>>>>>>>>>> The tracks you linked to sound interesting to say the least. >>>>>>>>>>>> Find it also curious that Jlin works at a steel mill in Gary, Indiana... >>>>>>>>>>>> Not much music prides itself on coming from Indiana >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> On Mon, Mar 23, 2015 at 11:29 AM, kent williams < >>>>>>>>>>>> chaircrusher@gmail.com> wrote: >>>>>>>>>>>> >>>>>>>>>>>>> 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 >>>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> -- >>>>>>>>>>> 22tape/jared dunne >>>>>>>>>>> listen <http://22tape.com> >>>>>>>>>>> >>>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> -- >>>>>>>>> 22tape/jared dunne >>>>>>>>> listen <http://22tape.com> >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> 22tape/jared dunne >>>>>> listen <http://22tape.com> >>>>>> >>>>> >>>> >> > > > -- > PR man...Music Scribe > > 07972 509 878 > Skype: Al.NCHKennedy >

Haven't heard any footwork out yet but I'm digging this Chrissy Murderbot Boiler Room Los Angeles DJ Set https://www.youtube.com/watch?v=5Qbd79cQWQg On 5/11/2015 8:40 PM, Al Kennedy CMPR wrote:

quoted 277 lines im not a big fan of footwork at all... (i thought Bangs & Works was

> im not a big fan of footwork at all... (i thought Bangs & Works was > absolutely terrible....) i dont like people RP Boo or Rashad etc etc - > ie mainstream footwork.... i do however like some of the underground > stuff... some House of Black Lanterns tunes, some Moresounds tunes, > Coleco etc etc - but anyway, genrla feeling on it is that it is shit > quality, boomy music that lacks the finesse of our own uptempo genres - > double time, half time southern rap beats in effect > > but... it is awesome live! i dont think you can appreciate it properly > until you have danced to it on a BIG soundsystem//// It all gels and > works live... saw Teklife at a festival (like 11 of em on stage) and it > was MINT.... > > On Fri, May 8, 2015 at 9:50 PM, Clint Anderson <clinta@gmail.com > <mailto:clinta@gmail.com>> wrote: > > i dont think its so much a matter of 'liking' it as its really easy > to press the same button several times > > > Clint Anderson > Systems Engineer > > On Fri, May 8, 2015 at 3:44 PM, kent williams > <chaircrusher@gmail.com <mailto:chaircrusher@gmail.com>> wrote: > > I think that there's a lot of subtlety in Jlins beats and song > structures; but she does like that machine-gun repeat thing. > You can make fun of superficial traits of her music, or meet > her halfway and listen for what's interesting in it. Or not; > plenty of other music for you to listen to. > > > On Fri, May 8, 2015 at 1:12 PM Clint Anderson <clinta@gmail.com > <mailto:clinta@gmail.com>> wrote: > > disclaimer: don't get too pissed off, i am trolling to some > degree here :) > > just tried to listen to jlin's dark energy and gave up .... > here are some tips for footwork producers: > > 1. even your MPC has velocity control, that means that > individual hits/notes/etc can actually be at different > volumes from one another > 2. the MPC can actually play samples at different pitches, > in fact, you can create what are called 'melodies' > consisting of two or more notes at different frequencies > 3. for many decades now, devices known as 'effects' have > been made available, many of which are built into your MPC > -- for fun, trying applying an 'effect' to one of the sounds > in your 'song' -- the results can be fascinating and are > very popular in most every genre. > 4. drum sounds -- did you know? you can load different drum > sounds into your MPC. that's right, now, not every song has > to use the same hi-hat, snare, and bassdrum, on every single > one of your albums, for your entire career. > 5. did you know? you can change the parameters of sounds on > the MPC, using parameters like attack, decay, sustain and > release, to alter your sounds > 6. you can load more than 9 samples into your MPC. i know, > it's confusing, because there are only 9 buttons, but, my > understanding is that these buttons can actually be assigned > to different sounds, and over the course of several albums, > you could use different sounds on EVERY ALBUM or even every song > > i realize im not from the same background as people > producing footwork, but i am 100% confident that a manual is > provided for the MPC series > > > > Clint Anderson > Systems Engineer > > On Tue, Mar 24, 2015 at 4:36 PM, kent williams > <chaircrusher@gmail.com <mailto:chaircrusher@gmail.com>> wrote: > > Who are you and where are you from? If you were > African-American and lived in Chicago, you might not > like Footwork either, but I doubt you'd belittle the > entire genre. You're allowed your opinion, but your > reaction rubbed me the wrong way; you made it sound like > the people making that music were getting away with > something. > > I don't live in Chicago but I go their a fair amount and > know the music scene there fairly well; the one thing I > know is that it's serious, and highly competitive. No > one gets away with making mediocre music; any Footwork > tracks you're likely to hear released on e.g. Planet Mu > is not going to be half-assed. You may not like it, it > may not speak to your condition, but to criticize it > that way makes me think you're just hearing it, not > listening to it. > > And you're under no obligation to like it or listen to > it. There's too much music and life's too short to > listen to things you don't enjoy. > > On Tue, Mar 24, 2015 at 12:41 PM Jared Dunne > <22tape@gmail.com <mailto:22tape@gmail.com>> wrote: > > "To say "The genre that sounds like some kid forgot > to add a snare to his half-assed Fruity Loops rap > instrumental" is to dismiss a whole musical culture > based on a very shallow listening experience, and no > understanding of the culture in which it grew up." > > Careful, silly-pants Kent, you're walking the > ignorant line yourself, and sounding like an > academic from the burbs who's just trying to > relate. You don't know me or where I'm from. If > I'm from the same musical culture and the same > socio-economic background as most peeps who make > Footwork, am I still ignorant and shallow? Am I > allowed to have an opinion then? Good, because I > am. And most Footwork sucks. And I don't have to > put "IMO" because I am the one saying it, and it's > obviously my opinion. I much prefer Bluegrass. > > Now, hugs all around! > > On Tue, Mar 24, 2015 at 10:38 AM, kent williams > <chaircrusher@gmail.com > <mailto:chaircrusher@gmail.com>> wrote: > > Every genre defines conventions. Every genre, > furthermore demands a different sort of > listening if you're going to understand and > enjoy it. To say "The genre that sounds like > some kid forgot to add a snare to his half-assed > Fruity Loops rap instrumental" is to dismiss a > whole musical culture based on a very shallow > listening experience, and no understanding of > the culture in which it grew up. > > Juke/Footwork music is very much the product of > kids with cracked copies of Fruity Loops; they > work with the tools they have. The motivation > was to make music whose purpose is to accompany > footwork dancing, which is competetive, athletic > and intense. The idea is to have the freshest, > trickiest rhythm, often played back on shitty > boomboxes or Frankenstein sound systems.. > Footwork, like Jit in Detroit, is both dance and > stylized warfare; it sublimates the violence and > frustration of life in "Chiraq." It is > something positive in an environment where > people are confronted daily with unrelenting > negative things. > > There's a billion footwork tracks and thousands > of people making it. Inevitably most of it is > not very good, but like any other genre, when > it's good it's great. > > It's OK not to like musical styles. I bet you're > not so hot on bluegrass music as well. But like > my grandmother always told me about cream corn, > "it's better to say you don't care for it than > say you hate it." > > On Mon, Mar 23, 2015 at 12:26 PM David Bohan > <madvlad00@gmail.com > <mailto:madvlad00@gmail.com>> wrote: > > Kent, > > Why does Jared have to be ignorant to not > like Footwork? It seems like Jared just > thinks this kind of music does not require > much effort or much of it is the same. > > I listened to the compilation album "Bangs & > Works Vol. 1" and have found his sentiment > to be true for most of the tracks on that > release, with some exceptions of course. > > Now Jlin's release here is much more > experimental and fresh sounding than the > long tracks of TV show themes spread out > over lazy beats. > > On Mon, Mar 23, 2015 at 1:23 PM, Jared Dunne > <22tape@gmail.com <mailto:22tape@gmail.com>> > wrote: > > Ignorant or silly? Either way, I can't > help myself, Kent! Honestly, Jlin's > stuff isn't that bad. But for some > reason it all sounds a bit unfinished to > me. But if peeps want to call it > minimal, so be it! > > On Mon, Mar 23, 2015 at 12:18 PM, kent > williams <chaircrusher@gmail.com > <mailto:chaircrusher@gmail.com>> wrote: > > Jared, stop being ignorant. > > On Mon, Mar 23, 2015 at 11:04 AM > Jared Dunne <22tape@gmail.com > <mailto:22tape@gmail.com>> wrote: > > Ah yes, Footwork. The genre > that sounds like some kid forgot > to add a snare to his half-assed > Fruity Loops rap instrumental. > Yay world! > > On Mon, Mar 23, 2015 at 10:51 > AM, David Bohan > <madvlad00@gmail.com > <mailto:madvlad00@gmail.com>> wrote: > > I haven't heard of > "Footwork"... is this a new > genre of music or something? > > The tracks you linked to > sound interesting to say the > least. Find it also curious > that Jlin works at a steel > mill in Gary, Indiana... Not > much music prides itself on > coming from Indiana > > > On Mon, Mar 23, 2015 at > 11:29 AM, kent williams > <chaircrusher@gmail.com > <mailto:chaircrusher@gmail.com>> > wrote: > > 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 > > > > > > -- > 22tape/jared dunne > listen <http://22tape.com> > > > > > -- > 22tape/jared dunne > listen <http://22tape.com> > > > > > > -- > 22tape/jared dunne > listen <http://22tape.com> > > > > > > > -- > PR man...Music Scribe > > 07972 509 878 > Skype: Al.NCHKennedy

-- Sham Beam

also: kent basically dismisses psytrance as an entire genre, i happen to enjoy some psytrance. i also enjoy some footwork. i could make a joke about psytrance like, hey psytrance guys, did you know you can actually enter individual notes and an arpeggiator isnt the only way to control a synthesizer. or like, its a good thing there were so many years of x-files so psytrance will have enough samples to sustain another 10 years its not a condemnation of the genre saying the music is all garbage, its like how i love rap but there is socially concious rap about how its lame to pose as a gangster, and then there is gangster rap dj rashad, for example, clearly not only read his AKAI manual but probably saw it whenever he closed his eyes. Clint Anderson Systems Engineer

in fact, i was going to find it and link it here but i cant find it anywhere the late Juan Antonio Arguelles Rius (aka arguru) had this program he had written where he took a bunch of his softsynths and effects and whatnot from psycle and threw them into this 'psytrance generator' app where you could click different buttons and it would make like random psytrance basslines (doo doot doo doot doo doot) and over filtered random arpeggiated leads, etc, and just generate endless streams of fairly convincing psytrance music. if anyone remembers this program i would love to find it again Clint Anderson Systems Engineer On Sun, May 10, 2015 at 11:16 AM, Clint Anderson <clinta@gmail.com> wrote:

quoted 18 lines also: kent basically dismisses psytrance as an entire genre, i happen to

> also: kent basically dismisses psytrance as an entire genre, i happen to > enjoy some psytrance. i also enjoy some footwork. > i could make a joke about psytrance like, hey psytrance guys, did you know > you can actually enter individual notes and an arpeggiator isnt the only > way to control a synthesizer. > or like, its a good thing there were so many years of x-files so psytrance > will have enough samples to sustain another 10 years > its not a condemnation of the genre saying the music is all garbage, its > like how i love rap but there is socially concious rap about how its lame > to pose as a gangster, and then there is gangster rap > dj rashad, for example, clearly not only read his AKAI manual but probably > saw it whenever he closed his eyes. > > Clint Anderson > Systems Engineer > > >

*@ Clint :* the software you're looking for seems available out there for instance — it's called Saiko : http://www.oocities.org/zorki6/ Back in the days, i've been endlessly bitchin' about Psytrance myself ; but for some obscure reasons — i.e. nostalgia i guess —, i find myself kind of enjoying it nowadays. *@ Jared :* i think we quite have the same definition of hustlers but i don't want to delve into details. Likewise, i also understand your frustrations regarding music you can't think well of — the thing is : are you really that sure that it's just as easy as you think (i mean how can you make sure that you're not missing something) ? If so, then i urge you to look somewhere else so you can level up instead of getting down. Last, i don't eat bacon since i'm veggy, but on a daily basis i enjoy Feta made from sheep's milk and honey made from hard working bees. Good evening everyone. On Sun, May 10, 2015 at 7:38 PM, Jared Dunne <22tape@gmail.com> wrote:

quoted 98 lines I hear you, Laurent. Just to be clear though-- when I mention "hustling",

> I hear you, Laurent. Just to be clear though-- when I mention "hustling", > I'm talking about the talent/drive to promote our own music to the point > where we can, at the very least, consistently book shows, not the > pimps/players/prostitute definition of a hustler. I've gone to countless > shows at respectable venues where the house is packed, but the music is > mediocre at best. Still, I have to give props to that musician for having > enough hustle to book that show and fill the house, that's not easy. > Period. > > And I'll be the first to admit that I often fight that inner-pretentious > and judgmental prick who is quick to judge the quality of someone's music. > But who am I to tell someone that their music sucks. If they enjoy making > it, and they're moved by it, what a wonderful thing. There are worse > things you could be doing with your time. > > My point in relation to the popularity of Footwork as a genre-- As > musicians, I think we have a hard time enjoying music that we feel is sooo > easy to make. It's difficult to have perspective, and to walk the line of > respecting or disrespecting music that doesn't have much thought, effort or > sincerity. But it's amazing what a little drinking and dancing can do to > that judgmental side of myself-- just feel it and stop thinking so much you > dumbass! I think that all music has its place. > > I get what you're saying, Laurent, about protecting yourself against a war > you cannot win. But for me and my holier than thou side of myself, it's > about enjoying the beautiful struggle and its deeper meaning, despite the > fact of knowing it's a fight that cannot be won. > > And I also like bacon made from pigs who are raised by people named > Kevin. > > > > On Sun, May 10, 2015 at 3:25 AM, Laurent Knauth <laurent.knauth@gmail.com> > wrote: > >> I mostly agree with you and Clint actually, but >> *Pimps-pushers-prostitutes**** playing such a big part (and name) in >> «electronic music», i'd rather chase the sun. >> >> It's not about the nice guy playing political correctness then, it's >> about protecting yourself against a war you cannot win. >> >> Eventually, *Hustlers *is the only «electronic music documentary» that >> will never hit the streets. >> Well, it already exists in various flavors, but it's named otherwise. >> >> *** : *https://www.youtube.com/watch?v=6yIZu6CNVl8 >> <https://www.youtube.com/watch?v=6yIZu6CNVl8>* >> >> On Sun, May 10, 2015 at 12:57 AM, Jared Dunne <22tape@gmail.com> wrote: >> >>> It's not about musical talent. It's about hustle. Yes there's no doubt >>> that hustling is a talent. Unfortunately, many hustlers aren't musically >>> talented. And while I agree with "if you don't have anything nice to say, >>> don't say anything at all", I also believe that if we truly care about >>> something (in this case it's music), at some point we have to stand up and >>> speak. Or, we can just be content with being content, and cower in the >>> corner our whole life, being afraid of offending someone, and wondering why >>> things aren't changing. Besides, the people that are most easily offended >>> are those who are acting offended on someone's else's behalf, not because >>> they feel as though they've been insulted themselves. So many false >>> martyrs. Especially with the internet. :) >>> >>> On Sat, May 9, 2015 at 2:20 PM, Laurent Knauth <laurent.knauth@gmail.com >>> > wrote: >>> >>>> As spotted by Matthieu Debliqui's moniker, today's music is full-on >>>> subjectivity. >>>> >>>> From then, why should one use MIDI CC such as velocity — which he, >>>> besides, does (to my ears at least) — or whatever soundsets if he won't >>>> want to ? >>>> >>>> Not that i like Jlin's stuff : i actually couldn't feel farther from >>>> most of this mailing-list prescriptions but — sorry for crawler-sounding — >>>> i generally try to (but unfortunately not always succeed) stick to the « >>>> *if-you-don't-have-anything-nice-to-say,-don't-say-anything-at-all* >>>> »-saying. >>>> >>>> >>>> On Sat, May 9, 2015 at 7:48 PM, Clint Anderson <clinta@gmail.com> >>>> wrote: >>>> >>>>> my point is just that yes there are always going to be people better >>>>> than you >>>>> but that said, that just means you have to try even harder, or at >>>>> least try >>>>> bach was so talented that he had to do things like that to probably >>>>> even challenge himself a little >>>>> but anyone can download a pdf and learn about how to make their >>>>> trap/footwork song better >>>>> >>>>> >>>>> Clint Anderson >>>>> Systems Engineer >>>>> >>>>>

no its not fair to pile it on jlin, jlin is, among other footwork producers, one of the better ones, shes not doing anything other than conforming to a style like 1000s of psytrance, drum and bass, and hardcore producers before her, and she probably isn't even concious of it, because shes just making music which to her fits in perfectly with what everyone else around her is doing, i assume. what will be interesting is to see if footwork influences and touches other genres the way drum and bass and jungle influenced people like squarepusher and aphex