Ingwe
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Everything posted by Ingwe
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and most of the gear used on the track didn't exist in 1985
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i'm sure he could sell something other than live tracks (like remastered sc trax or mfm?)
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i can see modal 10 also, it's also a saw2 track
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Well, things get shifted, delayed, etc. Big gears turn slowly! LOL, such a specific date - we'll see, but I suspect we'll see MFM in some form or another in 2016. yeah, that date is a saturday so it's not for real
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iirc there weren't any computers involved with mfm always got the impression that's why mfm (and ab5) never got released. at that time they probably seemed a bit old hat once the PC got involved and HAB was released. I think you might be right - MFM/ABB5 were probably the last of the pure hardware stuff he worked on before HAB/RDJA... he was using computers (atari) to sequence the tracks since the very early 90s, and was doing some basic digital editing of trax by i care... so computers would still be involved in mfm. rdj album used the computer a bit more, but still had hardware synths/samplers. druqks was the first real computer album where the trax were all made in trackers in the computer.
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glad to hear it doesn't seem to be a botch job like the previous coil remasters.
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betamax...in the early 80s there was a sony system which allowed you to record stereo digital audio to the tapes, and they were used for final masters in studios. timecode on the tapes would allow for digital "stems" to be put on different tapes and combined/edited in a studio later. this would be their earliest stuff...scatology etc would love to hear that if it exists for sure.
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the cds are compilations of single/ep tracks and unreleased demos and tracks. they are supposedly remastered from original dats, digital video tapes, and cassettes. a lot of the original sources for the artwork were apparently lost. here's a link to the tracklistings: http://www.discogs.com/label/910477-Threshold-Archives and cover art: http://thresholdarchives.tumblr.com/post/129947499507 it does seem like these are cd-only which is lame, zero reason to buy physical if there isn't even special packaging/booklets/etc
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you should read philip k dick's "time out of joint" if you haven't yet.
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john's ex-partner died this year as well. tps is def. selling off a lot of personal possessions of theirs, but wouldn't have any right to authorize a release he wasn't involved in. agree that hyde/mcdowell are prob not authorizing these releases - just straight up bootleg imo.
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i would bet it's 100% unofficial - just a nice-looking bootleg. prob just recorded the cd to cassette - a bit pointless as anyone with a tape deck can do the same. i suppose drew mcdowall could have authorized this or be getting royalties from it as the only surviving member but i really doubt it.
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some of them, yes, especially the vocals. but the drums, piano, and some other bits are too long. also he listed multichannel audio recording interfaces on the gear list for those tracks, and no hardware sequencer. too long? what's the sample length of a hardware sampler these days, I can't imagine that would be problem. also, it's not possible to tell just from listening what length the samples are. He never denied using multi-channel recording, just computer edits. yeah i suppose he might have 15 mins of sampling time in a maxed out asr10, but would be hard to keep a several-minute piano or robot drum track in perfect time. anyway, for the live performances (vocals and zither) he would have had to record them into the computer to keep them in sync with the music. i suppose he could have sampled these bits out of the computer into a sampler but seems a bit pointless if it's already in sync and ready to go. i imagine face culler is right that he was referring to the most recent tracks with the "all live" comment, these first couple tunes are older and not fresh in memory.
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some of them, yes, especially the vocals. but the drums, piano, and some other bits are too long. also he listed multichannel audio recording interfaces on the gear list for those tracks, and no hardware sequencer.
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xmas evet10 or minipops as a 'live' track doesn't seem believable to me, but all the others do. yeah both of those would have to be at least partially multitracked into the computer - acoustic instruments on xmas eve (robot drums, zither, udu) vocals on both songs, disklavier on both songs. synths might have been live along with multitracked elements tho,
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Oneohtrix Point Never - Garden of Delete
Ingwe replied to canzoniere vaticano's topic in New & Upcoming Releases
This was reveal by Jasondonvervan that really got me into his music. https://www.youtube.com/watch?v=Iu90lpTh814 Also, as a vaporwave fan his eccojams release is a classic. the orchestra sample at the top of the PE track is a stock sample from either emulator or fairlight catalog iirc. it's in a few other songs also. don't think opn is using the exact sample but could be he stretched it and put some verb on it. -
sounds cool, seems like a synthesis technique well worth further exploration
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Also... http://www.junodownload.com/plus/2015/08/21/drew-mcdowall-to-release-album/
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don't forget Further Back and Faster - a bit of acid 808 and 101 squelch in there. also First Dark Ride...?
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a lot of audio effects in software are done with allpass filters, including modulation effects and reverb. it's not exactly the same as altering phase via delay, but can have a similar end result. every kind of filter will shift the phase of a signal in some way (all analog eq and most digital eq will cause phase shift as well) i don't know if allpass filters are used in fm synth design tho.
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if recording through a non-oversampling converter at 44.1k, the signal has to be lowpassed at 20-22k to prevent aliasing. A LPF at this frequency will cause audible phase problems and/or audible high-end rolloff, which is why recording at 44.1/48 sounds worse than 88.2/96 on a non-oversampling (older) converter. by oversampling, the lpf can be set at a higher frequency where its artifacts are inaudible. but for plug-ins it's a different issue. saturation and other modeling algorithms can create harmonics that go above the nyquist point and cause aliasing. by oversampling, the plugin designer can avoid having to lpf the audio (causing artifacts) or leaving the aliasing audible. the actual amount of oversampling would depend on the specific design of the plugin, so it might need to be 2x or 4x or more to avoid aliasing.
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might be difficult to dig them up if they only exist on a 90s-era computer or hard drive.
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could have been cooler - why not add the filter from the cs to the fm one? also sliders could have been cool - even some of the toy psr yamahas from the 80s had slider-controlled simplified fm, which was pretty cool. also, who is going to buy an organ or piano w 3 octaves of mini keys? you can't even play a doors cover on it. but yeah, perhaps there is a higher-end product planned using these technologies.
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chrysalis is his publisher. publishing deals cover all music written by one person, unlike labels where you can release things on different labels. they do handle the music licensing, both trying to get his work in films/commercials and negotiating with ppl who want to use his music. also dealing with all the people who sample afx tracks, making sure that richard gets credit and his cut of the publishing royalties. bmi is the performance rights society that keeps track of what films/tv shows use his music and funneling the appropriate royalty to chrysalis, who then give richard his cut (prob half). chrysalis was prob pissed about the release of these tracks because if they were used in a tv commercial, they (and richard) would not be able to get paid because the songs were not yet registered.
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any coil fan in or near nyc should check out live shows by drew mcdowall (ex-coil) if you get the chance. his show in brooklyn this saturday was great, and he apparently has an lp coming out next month. you can hear a live set of his on a wfmu radio broadcast here: http://www.wfmu.org/flashplayer.php?version=2&show=60997&archive=130444 it's an hour in, but there is lots of other great music to listen to on the show. i remember it, but can't remember what interview it was. perhaps around the time of the elph or time machines release?
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also parking lot / pink floyd/ other old tracks with obvious samples should prob be excluded since they can't be legally released. gerald/vibert remixes might be out depending on whether whatever label releases this in the end wants to deal with paying the proper publishing to the original writers. (if it's warp then i'm sure they would handle it)
