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SmackSmash

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Everything posted by SmackSmash

  1. If the issue is that people don't value the tracks enough, couldn't he just put them up on bandcamp or something?
  2. Acid Organ, Organ, and Bob Morgan are still there. That's all the organs I think. EDIT: Too slow.
  3. What does Dolby C remind me of? I swear there's another track in the dump that uses that exact same synth sound...
  4. All this talk of it being over... he's just preparing for Friday!
  5. Ah, false alarm then, carry on. Still gonna grab the tracks anyway though as I'm digging them.
  6. Not sure if it's been mentioned so forgive me if this has already come up, but I noticed that the user48736353001 account is now following https://soundcloud.com/somadril which has some pretty sick tracks going on. On the fence as to whether it's Aphex at the moment as the style is a bit different... what do you reckon? Possible second account?
  7. Definite some r8 on there. Korg Minipops of course. Looking at the gear list we've also got some modded 606, and probably a couple of lesser known drum machines tucked away in there, but I'm not well versed enough to spot them. I think there's probably a fair few hits he's made himself from various synths (kicks especially) as well as acoustic samples he's recorded. After all, if you had a drum robot in your house, why wouldn't you use it?
  8. Every time I put it on it seems like a completely new album. There's so much to take in on some tracks that I only seem to remember tiny little bits each time. Syro u473t8+e might be the best sounding track I've ever heard.
  9. I feel like he's been incredibly brave using so many raw synth sounds together with so little processing. Most producers would instinctively push things back in the mix with reverb and stuff, but on Syro they're all right at the front jostling for position, and it all works so well!
  10. It absolutely, 100% has leaked. You'll all see very soon.
  11. I thought that straight away too. Sounds like he's taken the same approach with this one using a similar beat and vocal samples.
  12. I love this track, and I think that's why I care enough to say this. It's a bit like this; you can love your wife but still think she could lose a couple of pounds. Of course you're never meant to actually say that
  13. Now to the real question: what is your setup? What do you listen to this album with? This determines a huge portion of what you wrote. So far I've tried it on a bunch of things: Adam A7's, Sennheiser HD650's, car stereo, a mates' expensive setup (not sure what it is, but I've had some amazing listening experiences on it. Listened to Burial and The Microphones in the same session and it was awesome), Sennheiser in-ear headphones, and a couple of Logitech PC speaker setups. Not the highest end gear list I know, but the same issues were apparent on every bit of gear so I don't think that's it. I'd be very surprised if it sounded better on anything else. Before everyone gangs up on me I want you to know that I'm totally nitpicking here. All of this stuff is subjective so I really hope this can remain a discussion and not turn in to a flaming match.
  14. I think people are only showing the waveform because it backs up what we've heard in the track. This was my experience (probably similar to some others here): I listened to it when it premiered on Radio 1, and recorded it too. I thought it sounded kinda overcompressed but I figured that it was just the transmission (radio is notorious for this kind of stuff). I went back to my recording, saw the clipping (limiting, maximising, whatever... it was audible) and figured that I'd recorded at too high a level. I waited for it to come on again on Radio 6 and ended up with the same results. "Oh well, that's radio I guess". Then I saw that bleep had released it I was really excited to hear it in it's proper, shimmering, full, beautiful Tuss-like glory. I grabbed the 24bit wav and was disappointed to find out that it sounded just the same. Now of course it's nothing major: it's not had the shit smashed out of it or anything, but compared to what I was expecting it really didn't sound that good. It doesn't hinder my enjoyment of the track, but I thought it was weird considering that what we've had from him in the past decade or so has been so clean and, dare I say, 'perfect'. When I saw so many people on here talking about how incredible it sounds I just felt like I had to give an opinion on this. It's all subjective anyway, but after hearing the live version so many times I was really looking forward to hearing that bass pulse ripple around my room and fill the air with crystal clear definition, and this version just didn't quite hit the spot. Anyway, I think the vinyl version will be much better so I'm looking forward to that even more now. INB4 "expectations", "audio snob", "RDJ knows better than you" - I'm starting to remember why I don't post here too often.
  15. I don't really understand the praise for Minipops' sound. You could hear immediately that it's overcompressed with the scratchy high end on the shakers, and the first time I put it on the distortion in the first bassline really struck me. There are some really cringeworthy moments at points where there are too many elements stacked together and everything gets muddy and distorted for a moment. Initially I thought it was just me so I checked the waveforms and there's clipping all over the place. It sounds like the track's really been pushed to it's limit. Still love the track but someone fucked up the mastering IMHO.
  16. If people start posting comments like this on youtube (from Squidge In The Fridge vid): Then, yes. bonus from 101 Rainbows Ambient Mix vid: What's wrong with that? People can't have opinions now?
  17. This has surpassed my expectations by miles, absolutely loving it. Couldn't help but load up the sequence from 101 Rainbows into my 101. Couldn't quite get the sound right but it's fun to mess around with. Have a listen if you like.
  18. On the Kickstarter page it says he's in Houston, Texas which is 6 hours behind Britain at the moment. It's 7:10 am there now so it hopefully won't be long until we hear something...
  19. I don't think that leaking is so bad. By the time the files are available it will (most likely) be impossible to buy them any more, so Aphex and the charity will have as much money as they're ever going to get from this. If the spread of the files afterwards can generate a little renewed interest in RDJ's music then I can only see that as a good thing in this case. It's a win-win-win situation.
  20. I think it's safe to assume that this will leak sooner or later. Hopefully it will take a few days so the LP still feels somewhat exclusive, at least for a while.
  21. LimpyLoo! :D Much like missingsense, the DR-202 was the first semi-professional music making hardware I got. It was kinda fun to sample it into Impulse Tracker. I made a song a looong time ago called IF YOU PEEK ME, I'LL POKE YOU, which used the DR-202 for the sine wave sub-bass and breakbeat (sampled as single hits), plus an Amiga for the vocals. It was also quite fun noodling around with a rhythm on the DR-202 through a guitar pedal, recording a few minutes' worth of that to MiniDisc (no lossless DAT for me!), then feeding that into Cool Edit '95, making a few loops, and building tracks around them in Impulse Tracker. I made a track called Increase the Cutoff that way which I was quite proud of at the time. Then I somehow managed to get an SH-101 second hand from the same shop, dirt cheap, which was much better for sampling single notes into Impulse Tracker. :D That was a great way to make music, right there. I mean, if your main tool is a sampler and sequencer all in one, sampling romplers is a bit pointless compared to sampling a monosynth and household objects. I'm not really sure what I was thinking with the DR-202, considering my setup. On my 4th cup of coffee at work, writing some code for google analytics and I must say I'm loving that funky little tune.
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