ascdi

We need some more juicy Rephlex collection pics in this thread.

Yeah, very much hoping Level 9 tracks come out in a widespread release in the future.

The PROest thing in this photo is the marshmallow dream bar in the lower middle. TRUE PROs know that for pro-level beats one must abstain from gluten

Just bought a FLAC of “The War” by O(+> (actually I think it’s offically “by” the NPG) on Tidal for 3 dollars. It’s a 26 minute track so that’s cool w/ me. Awful website, usability-wise, though

Aw man, it was totally worth it to make it all the way to the end of this thread.

That's great! Checking out your soundcloud now. =) edit: squelchy acidy stuff. i like I second that emotion, and third it...really liking this stuff

Hi Coil thread. I know ABOSULTELYEY NOZING about Coil but I like reissues and I’m aware how highly the band is rated by you all as well as ae, etc. so I picked up the remastered [ ?? ] new [ ? ] version of “Panic” at the store the other day. Based purely on what artwork I liked among the various records available on the shelf. Reading now, probably not the most recommended place to get into the band but it’s pretty cool! Very much looking forward to getting into some more stuff soon. OMG HI

Man, I never got to hear C, D, and E because I was too miserly to splash out for the deluxe pile of a million different physical media. I figured for sure they’ve eventually get bandcamped! Perhaps there is still hope? I do think wistfully of this release now and then…

Funny, I just picked this up as well. Love Bob. However, this may be his most out-of-tune album, and the drum sounds are not mixed to my liking.

I find the implosion distortion section of Drum Light to be a bit much in headphones. But thanks for reminding me to revisit this album soon!

@Bob Dob: good point on the 48 being a whole multiple! Will investigate. Most of my Colundi listening is via iTunes, where I have the full-quality files saved in Apple Lossless format. Sometimes I remember to crank the sample rate up on my audio interface, other times not. But it’s nice to not have to make a bunch of copies of the files just to downsample them.

Congrats. You are a brave man. Actually my question was more technical in nature. Maybe I wasn’t clear enough. These are 192kHz 24bit files. I only have one device which will play files of that resolution at full resolution, and it’s not really rigged up for home listening. So, I’ve been trying to figure out a good workflow to convert these files into versions that will easily play on iTunes / my iPhone / etc. Maybe this is stupid, but I want to make sure the process I use doesn’t fuck up the files in any way. The main problem as I see it is that you really want to guard against clipping when downsampling, but most tools don’t easily let you downsample and clip guard a group of files together in that process. For example, if track 1 needs to be normalized to -0.6 db to not clip when going to 44.1kHz, and track 2 does not need to be downsampled, you risk a clicking noise at the boundary between track 1 and 2 if there are any sounds going over the boundary between the two tracks. Some scripting could probably save me here, but I haven’t had the time to put anything together, although SoX seems like a great, robust tool.

I haven’t kept pace at all with the Colundi releases because I can’t figure out a good way to listen to them. Do you guys actually download these from BC and listen at full resolution, or do you just stream?

I agree. He's been around a while and is consistantly putting out amazing music. If anyone deserves to be added, Aleksi does. yeah, there was a danger of it all being a bit samey (but still awesome and very well produced). I love the direction this is heading in Heck, Colundi alone needs its own subforum. This is so much deep music to digest! It’s gonna take me years to understand it all!

I've been thinking this lately too

Ohhh yeah, major 2 Remixes vibes on this one. Awesome

Aw, I didn’t think the videos were that bad. They are kinda nice, actually. I like how the numbers have their own internal rhythm and flicker and kind of ‘talk’ back and forth to each other in the way that they move. I totally would have believed it was a real quick CC teaser for something. EDIT: Been away a bit and am catching up via YouTube. Is diskhat [hipHop mix] by Richard? I thought it was a fan-made remix.

well you've said in a much more polite and eloquent way than I was ever able to. I'll try to dial down the offputting pen and teller bullshit vibes and try your approach more often. My theory is that around 2001 technically speaking a lot of people would have been able to (if they had the chops) recreate something like Go Plastic entirely in a Daw, but nobody else did. The KFW interview i think reveals actually the opposite of what maybe people gleaned from it originally, I get the sense that KFW doesn't even really believe him fully but he only pushes back a little bit making Tom admit an eventide is a computer. If that one amazing 'kid 606' song really is mostly KFW, he was literally one of the only people besides Aphex and Tom who actually could pull off a similar sound at the same time period (and for the last 13~ years I thought that song was kid606 the whole time!) Kid606 had some pretty good rollin break programming going on circa the Kill Sound Before Sound Kills You era. I saw him live around then and he basically played a super loud continuous hi-tech jungle set. It was great. But yeah, the story of who Vatstep DSP is `by' is a weird one. Anyway, do you really think Go Plastic is a huge technical accomplishment? I don't really see it that way. I think there are plenty of producers who can program really great flowing breaks, but the Go Plastic innovation is how the arrangements take everything over the top in a completely insane way. Like, any jungle producer with chops could have decided to put together a fragmented, paranoid, insane-sounding album like Go Plastic, but none did. And especially none did in the trademark Squarepusher aggro/cheeky/menacing/hardcore way like TJ did. But that to me is more of a musical accomplishment than a technical one. I guess maybe I agree with you: everybody had the ingredients for Go Plastic on hand. I actually don't think the ingredients are really that complex, it's all in the execution.

LOL Is it possible the only point that Tom was making was that there are no computer sound sources (softsynths, soft samplers, soft sequencers) on Go Plastic? Not necessarily that it had never TOUCHED a computer? I mean, to a certain mind-set, “I didn’t use a computer” could mean that, right? I mean the latest James Taylor album probably didn’t involve James operating Nuendo, but I bet it was recorded to a computer as a DAW. I dunno, I think there’s a sneaky thread here of TJ being very cagey about his working process from many years back. I mean, I understand the quotes about Selection 16 and whatnot, but it’s not as if “oh, some of it was a bass pickup” actually EXPLAINS how fucking wild that album/era is. Same with the fact that Shobaleader One was a “band”, Ultravisitor was “partially recorded live”, and all that stuff. If you think about it, there is a theme here of the Squarepusher working method being a bit opaque and perhaps occasionally something of a disinformation campaign. Anyway, it’s interesting.

WHIZZ FIZZ

sample's from 'the exorcist iii', and is that a random facebook message sound at 1:20? hmm Colundi 9 limited edition condoms confirmed

LOL at “This track’s going out for the mud”

:O

Long play mode! Brilliant! EDIT: that’s gotta be it

Bit rate and sample rate aren’t the same thing. My understanding is that mp3 encoders running at a lower bit rate will lowpass audio prior to encoding to improve the quality of the encoding, but this doesn’t mean that all audio that has been lowpassed is “proof” of a particular bitrate. It’s a correlation-does-not-imply-causation kind of situation. Please feel free to correct me, anyone, if you know different.