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Rob Ae

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Everything posted by Rob Ae

  1. some of the music they had on around us had some bearing on things. after touring the US in the first tour, pretty much lost my job on returning cos i used up all my allowed holidays, then got offered a week in moscow, so from that point on i had little choice but to try to keep it up.
  2. i had a guy round fixing my boiler a couple of years ago when i was doing tac lacora so i played him that cos he was asking he just said 'who listens to this then? loads of guys sitting in their houses smoking weed?' and i went 'yeah, pretty much' So you worked on tac lacora for several years? Impressive. Do you always take time to get a distant view on tracks before you know what you did there and release them or do you just work on them very long? that really varies from track to track. some get turned over in an afternoon, others are built on ideas that took years to facilitate i had a guy round fixing my boiler a couple of years ago when i was doing tac lacora so i played him that cos he was asking he just said 'who listens to this then? loads of guys sitting in their houses smoking weed?' and i went 'yeah, pretty much' So you worked on tac lacora for several years? Impressive. Do you always take time to get a distant view on tracks before you know what you did there and release them or do you just work on them very long? that really varies from track to track. some get turned over in an afternoon, others are built on ideas that took years to facilitate hahah we're about to phase each other out!
  3. yeah it was fun tempered with a carnage kind of angle. just being there is enough, detroit's reach has been deep for us… like going to the centre of the universe in a way. Thanks Rob, Going back to your time in Detroit. Did you rub elbows with any of the Belleville Three? Was Derrick May like, Awww my GOD! it's the Autechre! You guys comb my hair back with AwEsomEnEss!!!? or were you guys like Derrick May, OMG! Noooo Waaayyyyy!!!? knuckle bumps. Thanks in advance no we didn't meet any of them, but we got Juan to play with us in japan some time after that. which was stupidly hard - cos even though we hung out a fair bit, i remembered all the things i wanted to pester him with, as i landed at heathrow.
  4. yeah sometimes its like that for outside radio programmers, we get quite busy with requests when we announce a new record. In the lead up to Draft being released you did a mix for Radio 3: Mixing it and a mix for Mary Anne Hobbs. The Radio 3 mix was full of bombastic dance beats which almost left the presenters speechless, while the Radio 1 mix was more cultured/refined. It was almost as if the two CD's had got mixed up in the mail and went to different areas in the BBC. I thought that was a nice touch :-D yeah the mixing it mix was super condensed to like 15min
  5. a while, some of the back end was built before the track became what it was in the end. also timeline in this context isn't accurate because we had a few tracks on the go simultaneously, so divided by them, dunno. hahah
  6. dunno if it would be fair to call it autechre, sometimes we have impersonated each others' styles in a track in any absence, but i doubt it would be fun to do it post lossage.
  7. yeah it was fun tempered with a carnage kind of angle. just being there is enough, detroit's reach has been deep for us… like going to the centre of the universe in a way.
  8. yeah sometimes its like that for outside radio programmers, we get quite busy with requests when we announce a new record.
  9. super linear stuff works well i like basic channel, chain reaction, acid tracks (actual acid tracks not people making techno songs on a 303) yeah roland kayn - tarego II - is a good one for rotating perspectives
  10. don't really do time off after a records' finished, cos of mastering and product design and so on, but certainly a switch from doing the compiling type procedures to something more omni directional mbe i suppose if it was manageable for warp to repress old LPs without going under, they'd be the guys to do it at some point.
  11. yeah we tend to know them inside out, if we've both had a hand in the tracks - it sinks right in, but we get to hear each others tracks as more end user sometimes….but with a highly unusual degree of exposure
  12. it changes, prob my most awesome fave is very often : Jaquarius - Love Is Happiness(Acid Rain) 1988 - YouTube what!? one cover? right now as yr asking : Unsane. the one with the track : Bath on it does todd terry count, not acid, but house, such a prolific house producer u mean like 'sharp as a knife', brandon cooke 12" - club records?, ones my proper first 1210mkII the others a bit newer.
  13. it changes, prob my most awesome fave is very often : Jaquarius - Love Is Happiness(Acid Rain) 1988 - YouTube what!? one cover? right now as yr asking : Unsane. the one with the track : Bath on it
  14. yeah nothing specific visually, its usually too wild or turbulent to be literal. yeah things change mostly down to adding more experiences on top of experiences. disembarking off a cliff edge but horizontally is a recurring good one.
  15. not really too attached to statements about contemporary artists, i mean not to miss the point of the q much, but if people have more options, i expect more outcomes, dunno. yeah we have a handful of modulars, real and unreal, bought and made. yeah we visit Italy almost every time. we've had lots of support from italian people thanks! thank you for replying. concerning modulars, how much do you use them in the studio? because it happens to hear some sounds in your record that make me think: "that awesome sound... must be a modular!" good, that suggests its deep - which is nice because i have a tendency to feel that modulars give deeper results - and the studio right now is all maxmsp. for other older tracks - that depends on which tracks your thinking of like tapr in Draft 7.30, the texture in the background sounds a lot like a modular patch. could it be? to me most of the texture here appears in the foreground.
  16. shit i need to insure my ribs, this is the sonic equivalent to the bull wallet versions
  17. yeah this throughput was useful defo, but hard to answer definitively cos live sets were very often a separate setup cos we ether a) not like to 'do' studio tracks in live context. like whip out bass cadet on request. b) couldn't do it with the gear we wanted to jam onstage with. c) or other. but after each tour we'd come back to reset, untitled/elektrons et al - like sean said earlier were easy to get out the box after moving house/studio…. so it was a starting point to mess with what was in there. then moving on from hardware live setup, had the effect like in reverse. theres been a strong sense of contribution from previous live set to the following album, but not always in literal use of gear terms. sometimes just a reaction to it. not sure if that is clear tho'
  18. i think its been the same situation since presets were put there. we have though there are plenty of arguments to the contrary - like we grew up listening to music with hundreds of tracks illustrating variations on say how a DMX or an 808 through a studio desk can turn out, i think custom is better overall, cos its more you. but only if thats the point. Heater
  19. chuckshene btw none of our gear has ever been named afaik, this isn't something we do to ourselves.
  20. this was partly covered in an earlier post, its quite a long track, hard to know which bits you mean really.
  21. 1 not telling 2 no 3 sorry? Jacobean from Mask 500: http://www.discogs.com/Various-MASK-500/release/19800 now u have me playing the Dranes back to back really loud.
  22. no, it makes it more enjoyable. no sorry didn't have that one
  23. ok if u can squint hard enough to verify, cos i can only make out horizontal controls there, and our granulab is all vertical, memory is patchy here so might be another app. also i can sort of make out a waveform across the top. ah yeah course. doh edit yeah they filmed us playing back files in wavelab. but the tracks were granulab jams iirc
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