Rob Ae
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Everything posted by Rob Ae
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isn't there a Mac MAME of it somewhere no? another world was ace too, flashback's incredible tho. defender was sonic as fuck at the time and the way everything would glide around zaxxon and some of the other weird titles for coleco-vision! obv many atarii (sic) enjoyed playing 'time splitters' (1) w/sean in his custom arenas.
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i'd say its a bit early to tell, i wouldn't say anyway - whats the point, but in the past we've been quite 'over' the prev lp, partly cos it was 2-3 years of making pieces that at the time have no collective power in a way that then gets sort of configured as one whole move. once its handed to warp, another 3-6 months to get it out. so by then we're already moving on.
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yeah Vangelis had the perfect touch at times. i don't think we ever get directly influenced to ape something but i fully share these aesthetics. growing up with bladerunner on one hand, yet chariots of fire, both major mainstream, but only really blown away by the former.
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not easy to dive in to these kinds of questions, but most of history appears to be more treacherous to survive than now so i'd rather choose a place than a time. stood next to a creaking glacier, to see if i can tell its moving
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yeah sorry i saw it and wanted to answer but sometimes the best response isn't the immediate one, cos i know what i mean, but it may not articulate to be worthwhile. noel summerville,he's the only guy that could actually cut draft 7.30 to vinyl (yeah think thats the right lp). we weren't happy with the first few test presses we got from another plant, so we got warp to throw the premasters to all the cutting rooms they trusted. noels' TP was spot on given that Draft was heavy on the really quick transients, wooden mids, tight and and rubbery bass - hard to commit to vinyl and get it loud without limited to mush - and keep all the air in the tracks. since that we went in there every time, sit with him talk about our thing. he gets it, suggests often simple transparent approaches he'd like to try, explaining why, and the outcomes etc. we get into it and its done. Interesting. Thank you very much. So if you disregard vinyl mastering for this question would his impact on the final sound be also as significant? I mean, there is really a thin line between what needs actual mastering (not just check of an engineer if the record sounds good) and what not. So I always wondered if there were times when he, for example, gave you an advice on how to mix something problematic in you tracks properly to simply make it sound better (to underline the emotions in the track, make it bigger or whatever) or if he really fixed some track that you two were not capable of pushing the right way. Sometimes a master sounds almost identically to a final mix but sometimes there is a big difference that makes a real impact on the track. So were there any situations like this? we learn from their actions of tempering a final mix for cd/dig/vinyl, and work to get the differences minimised for next time, but usually they really don't want to tread all over our thing. but they're really important to us when were at that stage. mastering engineers - or good ones - are pretty good at quickly spotting a situation that can cause problems, they do it all day everyday loads of styles come their way so they have a great non-interfereing overseer role. as long as they don't go trying to make 'creative decisions'. yes theres been plenty of situations where its been done right and wrong, luckily were using noel and so far he's been great.
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yeah its sick really, ppl have always been knocking out stuff that gets redone again and again without knowledge of prior attempts, in this case Delia was from a time when recorders were suddenly on hand for proof
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where would u put burial in the above categories? Those categories were a bit rubbish, sorry. I'd put Burial in the second one. I guess I'm interested in what you two think of stuff like his that's made completely from samples, using a computer, but still arranged by hand (and not necessarily sequenced according to some complex metre and tempo structure). Are you drawn towards listening to stuff that has machine precision as a major part of its identity, or do you also appreciate stuff like his that has a more heavily human character? disclaimer: I realise this question is a bit stupid and you can draw the line on human intervention/decision making in different places, but I suppose that's what I'd love to hear your thoughts on. yeah i've got a fair bit of Burial. i used to catch stu allan's hip hop radio shows and house shows, in-between these slots he'd play2 hrs of soul (was the original slot b4 the others came about), i was one of the few kids i knew that could get into it. the britsh stuff was even better than the US, so to me what Burial does is a continuation of that, very UK take on that dripping wet emotional R&B. i would argue perhaps its not so much by hand, i like the roughness and sometimes unpredictable mixing, but i def hear a strong if somewhat elliptical swing. i get tired of the zippo snares sometimes heheh
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Woah, really? Any track in particular? Severd heads era 83-86 http://youtu.be/E--oGXcC79Q check 3 mins and Dead Eyes open. yeah thats totally fly. reminds me of a lighter keith leblanc, and Propaganda in production terms, quite Trevor Horn.
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yeah it was a while ago we said that, partly due to preferring our studio to anywhere else to work. a friend in miami once gave us a Roland PMA5 - maphive6.1 was all this. Then the travelling to shows after oversteps tour i used Sunvox a lot on iPhone. so anywhere i could get headphones on was good. the thing is with being out of the studio, if u hear something amazing u want to use, its usually too elusive cos mics aren't getting it down like our ears/brain, so it won't transfer imo. so reduce it to something u can capture 'as is' that works.
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shit yeah pce freeze does, wasn't intentional, Breathing in Fumes is one of DMs most amazing. the other references, i've not really heard any songs by.
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got burnout until next time..
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with jams, on a good part find a kind of holding pattern which the others can come in on, then they do the same, and u come in with mods to your thing etc etc…after a while if its all going well things can get risky and more interesting as u know what is likely to work well. its ok if u have enough time to space it out and keep good bits to trim back down, or trash the stuff thats not working. if u mean real jamming like all at once then u need to get a quicker feel for things. i mean me n sean have been jamming since day one so we can fit quite well. the unwieldy bits are usually the fresh ones.
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no not tried it, my initial disappointment with mpc1k vanished when i got JJOS as it dealt with most post Ensoniq issues, by the time octatrack got out, we were heavily software only. i might mess with one given the time - have to get one first tho'
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no we like knowing just for ourselves, when its all over someone can cut us up for science then and only then all will be revealed.
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i'd say human, triumph over alien scum. yeah big fans of carpenter yeah big feedback fans, haven't used audiomulch u mean which track of ours did we last scratch on or which track ever did we last scratch on? not sure if i should say - we can both scratch
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ok cool. quaristice or untitled? ;)
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where would u put burial in the above categories?
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yeah sorry i saw it and wanted to answer but sometimes the best response isn't the immediate one, cos i know what i mean, but it may not articulate to be worthwhile. noel summerville,he's the only guy that could actually cut draft 7.30 to vinyl (yeah think thats the right lp). we weren't happy with the first few test presses we got from another plant, so we got warp to throw the premasters to all the cutting rooms they trusted. noels' TP was spot on given that Draft was heavy on the really quick transients, wooden mids, tight and and rubbery bass - hard to commit to vinyl and get it loud without limited to mush - and keep all the air in the tracks. since that we went in there every time, sit with him talk about our thing. he gets it, suggests often simple transparent approaches he'd like to try, explaining why, and the outcomes etc. we get into it and its done.
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Not sure if youre after something more obscure, but an all time mind blower for me as a schoolkid quite new to more grown up hiphop electro. the bit that rolls in from 3'04" is one of my favourite moments in popular electronic music. esp. as a similar passage had occurred once already (2'20") but with less added sorry this megathread killed my browser for a sec, missed out the link
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i've seen mentions of how those two titles are sharing some meaning but they're not. tracks like bronchus's are from an imaginary series, we add to when they sound like from the same cannon - in our way of thinking about them, or used to be, thats a kind of habit thats not happened in a while.
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i dunno, i mean even when we first started doing tracks being new to working with each other, we hadn't really learned anything by then, we'd do bits of tunes separately and they turn out to be in key with each other - or if not - something that really worked in interesting ways harmonically.
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dope, i didn't spot that 16yrs old! i'll rewatch it
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sorry no that was a three point misunderstanding, i don't know any. i said to a journo recently something about caspar Brotzmann, and i think the Skype went weird
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i once had grilled green chilli peppers with a fried egg, and sea salt crystals. at a smart joint, and was like, hey this is posh truckers food. is she into truckers?
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since we got access to DAT then CDR then AIFF / ways to record long pieces, programmed or jamming, weve been doing stuff along these lines quite a lot.
