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ascdi

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  1. Quote

    Audio available in hi-res, 96 kHz/32 Bit.

    lol 

    Don’t know why this topic has compelled me to post, but imo although dude is definitely a musical genius, I don’t personally think that genius extends to the depth or quality of his conceptual gags. They’ve always seemed pretty surface to me. But hopefully there is something here and it’s not, as was mentioned above, just edge lord shit.

  2. Listened twice so far, I completely agree. To me track 2 feels like a bit of a bblr coda, then in a room is the clear kitchen sink blow your face off track. Like you said, loads of detail and stuff happening. 
     

    and the parallax mix is much more of a tracky track to close. Def feels like basically a single thematically to me, in terms of there being 2 sort of contrasting flavors represented. 
     

    I’ll eat my hat if there isn’t more coming tbh. But this is great.

    • Like 4
  3. People of watmm, assuming no one else has posted this yet somewhere, it is my distinct pleasure and honor to notify you that the afx store downloads appear to be LIVE circa NOW

     

    get thee to the internet ? 

    • Burger 3
  4. 5 hours ago, logboy said:

    can anyone find a central idea as devastating as 'stone in focus' in his work? i think it's so well judged.

    taking control ?

  5. Here are the two audio files the app fetches at startup. Some folks posted elsewhere a photo of the actual box, which you can use to fool the app into showing the experience. I believe these files are designed to seamlessly loop and then swap to the slightly louder one once it detects you are actually in the box. P lush

    outsidz.flac
    insidz.flac

    • Like 5
  6. The thing that got me back into making music, besides the pandemic, was picking up the two Behringer acid boxes clones (the 606 and 303 clones). They are super fun, sound amazing, are really stupid, and you can legitimately record an acid track from beginning to end in only slightly longer than the actual runtime of the track using them.

    The other thing I realized is that, at least for me personally, although it is somewhat disappointing to have nowhere near the free time to write and perfect the next drill n bass masterpiece or whatever, it is _almost as fun_ to just record down some jams. I really enjoy just stacking up a little audio journal of a bunch of jams. This pleases me.

    I don’t know why! I experimented with uploading some, it didn’t really do much for me to do so. I send some to friends sometimes. I dunno. The funnest part is just… having them? Listening back to them sometimes?

    I got a decent Zoom recorder so I can push record, record whatever I’ve got that seems interesting, and then when it’s done, I just turn off the lights and go to bed. Later I take the files off the SD card in batches and clean them up or whatever. 

    I sort of agree with the sentiment earlier in the thread that the days of writing an electronic album in your bedroom and then having that mean anything to you in terms of a career, or for it to even result in significant acclaim such that your life may change in any way, are mostly over. But I actually sort of think of that as a good thing. A lot of the unhealthy ways that musicians relate to their music (for example, obsessively wanting to perfect it) are in my opinion essentially because we’ve been trained for so long to think of music as a product that must be packaged up to _compete in a marketplace_. 

    If we’re not competing for ears or dollars anymore then what does it matter if the build up of my intro is more finely tuned than the build up of your intro? What if a song “goes on too long” if you’re not trying to sell it to anyone? Or if “acid is played out”? Or any of the typical measurements of a track? My tune isn’t “mastered well” enough or whatever? Well like… mastered for whom? And why? TO WHAT END??

    I guess this might sound silly but I think once you stop thinking of songs as products to be sold you sort of have to start questioning everything about what seemed to be the practice of even being a musician, at least from before. Better to just zone out and… EXPLORE THE SPACE??

    • Like 9
    • Thanks 1
  7. On 2/8/2022 at 9:46 AM, joshuatxuk said:

    with a few exceptions - I think it still depends

    it's not so much what you sample or even how you sample but what you do with it and why you decided to sample in the first place, context and execution is everything. there are breakbeats I've heard 1000x over that still catch me off guard if flipped the right way, there's eccojam style and chopped n screwed tracks I've heard that are technically simple AF yet still more engrossing than some technically very complex well-made non-sampled music.

    I have no personal insight in this on the other side, just as a listener, but I would say it really gets down to whether I think the artist met enough criteria for me to respect and appreciate the decision to use a sample 

    that might seem arbitrary AF but it's all subjective, if a track doesn't work without a sample that could be legally and/or ethnically a headache you might want to re-evaluate it, likewise if a strong track is enhanced by a fairly safe sample it wouldn't hurt to sprinkle it in

    whatever you do don't feel obligated one way or the other, make sure YOU want to use it

    Oh, completely agreed, my list was just having some fun. LOL how did I become the bad guy in this thread, hahaha

    • Haha 2
  8. Great idea for a thread! Here are some random thoughts (just my opinion)

    1. don’t sample artists in your same genre (agreed)

    2. don’t sample things that are already sampled

    3. don’t sample lossy sources

    4. don’t sample SEX SOUNDS. Way worse than blade runner samples, y’all. SO MANY electronic tracks ruined by sexy lady sounds. Ugh

    5. don’t sample rappers rapping more than a few words

    6. don’t sample other people’s versions of breaks

    7. don’t sample other people’s 303 linez

    8. DO sample the 808 state loon sound

    9. DO sample the hoover bass sound

    10. DON’T sample reggae (hot take here)

    11. DON’T sample the door opening sound from Doom (distracting, makes me think I am playing Doom)

    12. DON’T sample Autechre or Boards of Canada. Just don’t do it

    13. DON’T put an annoying sample in your tracks just so people know it’s you (looking at you Terror Danjah)

    14. DON’T sample video games (looking at you Burial)

     

    EDIT: oh yeah 15. DON’T SAMPLE VINYL CRACKLE. WE GET IT

    • Like 2
    • Thanks 1
    • Haha 1
    • Facepalm 1
  9. Killer idea for a thread. It would be this

    Knowing the backstory might help. Pasted from BC:

    Quote

    Wolastoqiyik Lintuwakonawa is the debut album by Canadian composer and tenor, Jeremy Dutcher – which involves post-classical rearrangement of his Wolastoq First Nation traditional music. Granted access to the Canadian Museum of History, Jeremy discovered wax cylinders from 1907 of his ancestors singing forgotten songs and stories that had been taken from the Wolastoqiyik Nation generations ago. The album is Jeremy’s contribution to his heritage and community in attempts to revitalize the Wolastoq language to the world, which has less than 100 speakers alive today. This collection of ground breaking post-classical arrangements is truly one of a kind and recalls the mood of Rufus Wainwright's operatic performance or the haunting pop of Anthony & The Johnsons. 

     

    • Like 3
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