Sean Ae
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Everything posted by Sean Ae
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not for ages think the last thing i really liked that could really be described as academic was a horacio vaggionne thing in like 2003 but i can't even rem the name of it was on GRM anyway Ah ok...i can't find any myself either... i thought it was me. Thnx! IMO the biggest mistake of the academic world in what they do is degrading music to the level of scientific thought (as 'knowledge' in the narrow sense - just what’s measurable is valid, being method or cognition). I understand that they are pushing some ideas and methods but also refuse to understand how human beings and music work on non-intellectual levels. I don't think things gonna change any time soon regarding this. yeah it's ironic that most of the best composers in that area were actually blagging it a fair bit (parmegiani comes to mind) and were really doing their own thing, but had to present it as though it were a lot more conceptually simple in order to get it listened to or funded i mean these places are basically ruled by stuffy old men with huge egos, it's not so much about the academia itself more about the way people inhabit these kinds of institutions imo
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this has been discussed a few times if we can get it so the mix sounds decent enough in both contexts then yeah i reckon we might give it a go sometime the last tour we recorded everything as a kind of feasibility test and we liked the results Mint. Perhaps have a unique download code on the ticket stub / purchase link or something. I expect people purchased tickets for that fundraiser gig a few years back just so they could get hold of your exclusive download track from warp lol. Glad you liked the results - next tour please! Question.. If you recorded your Peel sessions at home, did you ever get to meet John? I still miss his unique radio voice and music content, the BBC (imo) has not been the same since his departure. I like to think that if he were still with us, he would be owning 6music these days. Do you have any stories of JP that you can share with us? A true legend. i only met him once, really briefly on the south bank the day after we played at his meltdown (that's the name of a festival, he didn't actually have some kind of meltdown)
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yeah i think the screen gets in the way the sequencers that we build ourselves don't have much visual feedback at all, fwiw So you have made your sequencers and mapped it to midi controllers and control it hands on? I mean I don't mind screen that much, the mouse is the problem most of the time when composing. I mind screen when mixing, so I turn it off often when making judgement but can't do completely without it - and closing my eyes does not work for me because I feel like I am concentrating too much and lot of other thoughts comes almost instantly :-) well kind of yeah, our own seqs have varying degrees of control, and we sometimes use midi input to alter params (the seq is doing the actual pattern gen but might have some variables) the mixing aspect is entirely controllable usually, altho it can be automated only time i use a screen really is to check things like position or whether a param is on that i'm not on the right page for with my interface, or when i'm editing, which is later and obv requires a screen I see. So you use something similar like Mackie Control Universal Pro for mixing? I am thinking about such interface for mixing but I can't really imagine controlling EQ and compression with it if resolution of knobs (or steps) isn't good and flexible enough. And neither I want to use hardware processors for this as I see them as a pain to use with 40 + tracks. nah i'm using a kenton killamix mini atm i only have 8 channels running usually but i also have a bcr2000 here for bigger tasks Hm, that leads me to a possibility I am not very economic with my projects' housekeeping (track count, number of FX etc.). So you are completely able to do EQ and compression stuff with killamix? Is it sending midi or something with better resolution? Or are you doing just rough adjustments to processors and then do more polishing with mouse? I am sorry if I am asking something really boring and basic. yeah the killamix is just for setting things quickly, we have finer control on screen - and internally (there's a fair degree of self-management going on using conditionals)
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this has been discussed a few times if we can get it so the mix sounds decent enough in both contexts then yeah i reckon we might give it a go sometime the last tour we recorded everything as a kind of feasibility test and we liked the results
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i like all methods tbh, but pads and max are two fave opposite approaches i also like using trackers, when u get into a groove with them it's dead fast i like the fact that there are tons of tiny companies making modules but i wonder how much of the trend is fuelled by lazy thinkers who would rather go shopping than actually have to make anything
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yeah i think the screen gets in the way the sequencers that we build ourselves don't have much visual feedback at all, fwiw So you have made your sequencers and mapped it to midi controllers and control it hands on? I mean I don't mind screen that much, the mouse is the problem most of the time when composing. I mind screen when mixing, so I turn it off often when making judgement but can't do completely without it - and closing my eyes does not work for me because I feel like I am concentrating too much and lot of other thoughts comes almost instantly :-) well kind of yeah, our own seqs have varying degrees of control, and we sometimes use midi input to alter params (the seq is doing the actual pattern gen but might have some variables) the mixing aspect is entirely controllable usually, altho it can be automated only time i use a screen really is to check things like position or whether a param is on that i'm not on the right page for with my interface, or when i'm editing, which is later and obv requires a screen I see. So you use something similar like Mackie Control Universal Pro for mixing? I am thinking about such interface for mixing but I can't really imagine controlling EQ and compression with it if resolution of knobs (or steps) isn't good and flexible enough. And neither I want to use hardware processors for this as I see them as a pain to use with 40 + tracks. nah i'm using a kenton killamix mini atm i only have 8 channels running usually but i also have a bcr2000 here for bigger tasks not for ages think the last thing i really liked that could really be described as academic was a horacio vaggionne thing in like 2003 but i can't even rem the name of it was on GRM anyway
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i dunno i mean panasonic are really diff people to us, and they had a bit more distance to contend with than we do plus the internet wasn't as fast back then
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nah that gig went p well, it was the night before that went totally weird yeah i mean i'm not dying to go back there, we had a bit of a rough time, rich and mark p both got brutal food poisoning and bruce had a gun pointed at him and we don't have any distribution there or anything i thought prometheus was alright really even tho there were some well stupid bits
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an easy one, then i guess i should have a go actually, fuck it syllable fail. not if ur from manchester
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ok so i'm from the uk and we don't have graders here, how old is that? also i assume by public school you mean a school for the public (cos that's not what that means here) About 11 or 12 years old. Public, as in freely available school for students of any socioeconomic status. I'm sure you've grown up in some sort of oppressive system/era...how did you cope as an 11 year old? tbh i kind of lost faith in school around that age, i rem my science teacher saying that atoms were the smallest thing and i was going what about protons neutrons and electrons and he said 'ah i don't need to teach you about them' and i said 'well i could do your job then' that's the same age when i really got into music, it kind of filled the void for me having mates asking me for mixtapes so i just kind of went with that nah they've been in a box since the quaristice gigs apologies if it seems OCD or pointless coming back to this, but most of my dev revolves around Elektron gear so it's simply a topic that interests me more than just tangentially... in Fleure @ ca. 3:59 there is a single 'knock' sound which sounds pretty much like a snare sound in the Perlences, most notably in Perlence Subrange 3, which very much sounds like it's the TRX clap from the Machinedrum. this was actually discussed in the forum, kind of a single percussion hit reaching back to Quaristice: is this intentional? is it the TRX clap? is the hit in Fleure sampled from earlier material then, or a different sound source which just sounds like it by chance? the clap: no its not anything elektron, its a sound taken from a recording using JJOS on MPC1K to smash another custom sound around. then smashed around on an MPC1K using JJOS. lol yeah it is u melon
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yeah i think the screen gets in the way the sequencers that we build ourselves don't have much visual feedback at all, fwiw So you have made your sequencers and mapped it to midi controllers and control it hands on? I mean I don't mind screen that much, the mouse is the problem most of the time when composing. I mind screen when mixing, so I turn it off often when making judgement but can't do completely without it - and closing my eyes does not work for me because I feel like I am concentrating too much and lot of other thoughts comes almost instantly :-) well kind of yeah, our own seqs have varying degrees of control, and we sometimes use midi input to alter params (the seq is doing the actual pattern gen but might have some variables) the mixing aspect is entirely controllable usually, altho it can be automated only time i use a screen really is to check things like position or whether a param is on that i'm not on the right page for with my interface, or when i'm editing, which is later and obv requires a screen
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nah they've been in a box since the quaristice gigs apologies if it seems OCD or pointless coming back to this, but most of my dev revolves around Elektron gear so it's simply a topic that interests me more than just tangentially... in Fleure @ ca. 3:59 there is a single 'knock' sound which sounds pretty much like a snare sound in the Perlences, most notably in Perlence Subrange 3, which very much sounds like it's the TRX clap from the Machinedrum. this was actually discussed in the forum, kind of a single percussion hit reaching back to Quaristice: is this intentional? is it the TRX clap? is the hit in Fleure sampled from earlier material then, or a different sound source which just sounds like it by chance? the clap: the sound in perlence is the trx clap but fluere is all msp 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. tempest oh and centipede which they used to have at middleton baths and i used to absolutely cane
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yeah i think the screen gets in the way the sequencers that we build ourselves don't have much visual feedback at all, fwiw
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yeah absolutely, it's one of the perks of being able to change things on the fly it's almost the point tbh which is partly why a crowd of non-dancing americans holding phones in the air can be a bit boring for us wait you're genuinely asking? not sure if i should even answer
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ok so i'm from the uk and we don't have graders here, how old is that? also i assume by public school you mean a school for the public (cos that's not what that means here)
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nah we never asked him to do that he just gets chuffed sometimes and has to post something it's no big deal really, altho it can make it tricky to surprise people with something so it does affect announcement/strategy sometimes ian's a bit naughty tho, you can't control him really
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not really a big role but i'm interested in how stuff works i dunno os veix 3 or something
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it changes, prob my most awesome fave is very often : Jaquarius - Love Is Happiness(Acid Rain) 1988 - YouTube Just thought I'd chip in and say thank you for playing that track in the last radio session you did. I heard it a single time, live on the radio, over 25 years ago and always wondered what it was. I bought every single Phuture/Pierre record in the hope of finding it, convinced it was by them. Not having a recording of it, I couldn't play it to anyone, and had to try to describe it in words - cloudy, sleazy, convoluted chicago acid, etc - didn't get very far with that.. As soon as it started up on your broadcast I couldn't believe that I would remember it so well after all that time (and that it was so great, of course) Shame it's so bloody expensive, lol. Erm, question.. Do you have a few words to say about 808 State, and what kind of impression they made on you in those early days? As a manchester teenager at that time following Chicago/Detroit music, 808 were largely responsible for shaping my musical language, and when Warp got into gear, it was just a logical progression. Oh, and could you please name my SK-5? :-) martin price sold me that jaquarius record, i used to go in there after college and bug him for the weirdest acid tracks, he was really chuffed when that came in, he was like 'here, listen to THIS' 808 state were a huge influence, particularly newbuild/deepville/loungejays - and the first gerald album 90 and ex el got a lot of plays as well. the r8 use on 90 was a big influence your sk-5 is now called melon yeah like dutch motorways or something, but the scenery changes abruptly like playing out run or something neat as fuck but scary and fast
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no idea tbh, we started out with hardly any gear at all, and workflow is a kind of boring thing to me tbh, once i have a workflow sorted i can't help fucking it up
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yeah it's pretty cool but it's nothing compared to the antikythera mechanism aw u registered just to post that how cute
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yeah i'd love this, maybe he would use more than one chord
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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? his goal really is to try to get it so the vinyl sounds the same as what we gave him but we worked with other engineers who like to get busy messing with stuff (pretty much all of them tbh, noel was the first one we met who had that opposite approach of trying to keep things intact) nah i'm just a professional wild shroom buyer i can sue if it goes wrong not heard much villalobos i'm sure graham would be chuffed to read that haha i reckon 808 state are tons better but what do i know
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in the air tonight is a brilliant track why does it get so much shit, everything about it's ace, even the weird as fuck lyrics and shit man it was made in 1980 that's pretty amazing to me from a production/style point of view yeah 1
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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? ah brill i've got green chillies that's brekky sorted then
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yeah a fair bit but not loads there's so much happening out there tho, esp in the computer/tech domain and the politics/pseudoskepticism in the science press gets a bit much sometimes
