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T3551ER

Knob Twiddlers
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About T3551ER

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  1. Searched this thread just to see if anyone else had an opinion on this. Impulse bought it over the weekend: Stuff to get out of the way (caveats/technical stuffs/etc.) Not like Force Unleashed, as that's much more a hack-n-slash god mode jedi experience and this is a much more souls style of combat or, perhaps, the Arkham Batman games. I'm playing on Jedi Master and routinely getting my ass handed to me - partly because I insist on trying to play it like FU and not focusing enough on parrying, dodging, and timing. I'm ok with it though, because it's not ultra punishing, and when I successfully ping back a laser beam or defeat a group of storm troopers, it feels earned. You can always switch down the difficulty - which widens the timing for parrying, enemy aggressiveness, etc. This has all been said before in reviews but a very metroid-esque set up of labyrinthine levels, the meditating (campfires) restore health etc. at price of enemies respawning (more Souls-stuff). If you die, lose XP and unspent skill points, and have to find enemy that killed you and hit them to regain. Sets up an interesting if painfully OCD triggering rush to find the dude who kicked your ass, and then have it repeatedly kicked another 24 times. Again, not deal breakers, because you don't, like, lose EVERYTHING when you die and, again, one could (theoretically) just shift down the difficulty to "story mode" and just walk through an encounter. Will say the load times are horrible. . . I mean, talking like a full minute or something to reload after dying sometimes. . . though, falling to your death/dying in environmental shits is almost instant. I don't know why. It's the one thing I really have a hard time with (given I have, like 25 minutes a day to game, spending 5 of those reloading is shitty). Some of the platforming stuff is tougher than it should be (I mean, controls aren't precise enough in some very specific circumstances leading to frustration). Visuals on character models during cut scenes are lol AF on the Xbox One-S. Impressions Quit a lot to love here, particularly in the early goings of the game. People have complained about the protagonist being somewhat flat, but I don't really feel that way at all, particularly given the back story of the character it makes sense that he's reticent. I actually feel like some solid dialogue and character building, in a genre that doesn't always do a good (or even decent) job of it. I had concerns I was going to hate the "droid companion" but they nailed the "droids are basically dogs" feel with BB1, and he is 100% a helpful companion/good addition and not a detriment. The environments (on the three planets I've encountered) are gorgeous, with a real sense of scale, with changeability across the different planets. I mean, I spent some time last night on a cliff overlooking a massive oceanic just. . ..looking at it. Playing on the S so HDR is on, and I suspect that adds to the cinematic sense. I actually have had several moments where I was reminded of, of all things, Shadow of the Colossus. Which I never thought I'd write about a Star Wars game, but there you go. A similar sense of wandering large landscape, places that have, perhaps, been abandoned and/or are alien and ancient. Pastoral mixed with magic mixed with man-made structures. Very cool shit. And, of course, it's Star Wars. And, so far, a very well realized Star Wars playground. The sounds, visuals, etc. are on point, and expound on what's familiar in interesting ways. So glad that they went the route they did with the combat - although Force Unleashed was a lot of fun, there is something about the heft and weight of the combat here that is ultra-rewarding. Minor technical quibbles aside, so far, it's awesome. Only lament I don't have more time to game, as trying to play this in 15 minute bursts isn't really (IMHOP) the best way to do it. You really need to spend like an hour sort of marinating in it (I think) to enjoy it, particularly when you factor in the potential for dying a fair amount (and the god awful load times).
  2. yeah, yowsas this is really good. . . somehow both old and new, both precise and organic. . . probably the most I've connected w/ [ ] < in a while, and it's only been a few listens in. . . can't wait for the lossless files. . .
  3. ONE.LINE - The T3 Review Somewhere in the far reaches of some parallel reality (one perhaps a little more sophisticated yet a little more grimy than our own), a new hip-hop King has been crowned in United Conglomerate of Pangea, his coronation soundtracked by the one, the only, Lord Melted. On a day whose sky is a purple haze of shimmering opals, at an event where the imbibing of psychedelic mushrooms is mandatory, One.Line sits as the perfect, throbbing, mutating, head-nod complement to the festivities. Starting with the instantly enthralling Nrohlfkik, One.Line instantly grabs you by the throat, jerks you forward, and demands you bob your fucking head to the beat. It's probably that sudden insistence levied upon your spine that caused the melody and all sounds to periodically (and appropriately eponymously) melt for a moment, before they spring back into focus, then cascade, whirr, fizzle, and spin off in multitudinous directions, dancing ever at the edge of chaos, though never falling forwards into an unrecoverable stupor (which you might not avoid if you imbibe this whole album in one sitting). This sense of roiling, chaotic turmoil is, at times, reminiscent of the ocean: sometimes calm, sometimes a raging torrent, with an ever present, underpinning susurra of the waves. Steadfastly seated in the center of this oceanic melange of sounds is the lighthouse of hip-hop rhythms, beats, and disjointed samples (such as the track Nolikes, which the T3, contrarily, likes very much, very much indeed). They serve to ground, reassure, periodically disappear, become obscured by the ocean surrounding them, only to shine through once again in a blinding display of neck-smashing head noddery (see around 4:50 in Z3R01n for reference). Every track here has hidden depths to explore, with multiple layers weaving in and out, organizing, disorganizing, dying and being reborn in some strange, organic dance of life. Like navigating the endless layers of the Mandelbrot set, the spiderweb of sounds remains ever enchanting, eerie, complex, and beautiful. Many of these tracks are 5-7 minutes excursions, with a briefer, and well placed tracks that feel like interludes between some of these longer treks (EscRmx and Alt_Badcases). The album ends like a nuclear reactor spinning a stuttered and shaky, reverberating end, like the last sounds of a robot dying of cardiac arrest. When listened on a loop, the last track seamlessless (however unintentionally) fits with the first track as the end/beginning of a cycle. Maybe this is the the sound that an android's lifecycle would make, if it had a soul. Alas, we have come to the end. And, in the end, everything must die, even the King. In accordance with the great rules of the Pangean court, let us remember our Ruler with the music that so moved him, and we, his subjects. Wiping our tears away, we raise our lossless music players to the sky, hit repeat, recall his coronation and cry to the heavens: "The King is dead! . . . .Now shake your fucking asses!"
  4. ^^ legend Watched Joker over the weekend, it was not exactly what I was expecting (in a good way). Phoenix was phenomenal, very much enjoyed the ambiguity of an unreliable narrator. Not sure why all the hate, it was exactly what is set out to be: an interesting character study, well acted, placing the framework of the comics in a much more real (if still slightly comic book-y) setting. Won't watch it again (why subject yourself to the horrors of this film when the real world already has it in spades?), but glad I watched it once.
  5. ergle. I think I've swung through 17 pendulum swings, the 5 stages of grief, the heroes journey, a miltonian jaunt through hell with this one (that's hyperbole, I've not really listened to it more than a few times, but have listened carefully, and had lots of thoughts about it). Part of what makes this hard is, as people have noted: when someone makes what appears to be a concerted effort to make people think they might be Aphex/Squarepusher, etc. it sets up a whole load of presets in my mind (some of them good: like being willing to give music more of a chance because I have so often been rewarded with these artists by doing so. Some of them not so good: me wondering if maybe I'm liking this because I think it's someone but not because I really like it? Also, expecting a certain level of quality from these particular folks - something that has gotten in the way in the past with some of [ ] stuffs that I should have just enjoyed). It's weird. I feel like we're (me at any rate, but I think a fair amount of people here too) always going on about how we'd like to hear Squarepusher return to the Venus 17-ish era. Then you hear a track like Reward which is, essentially, a Venus 17ish era squarepusher track and, for me, I'm both enjoying it, judging whether or not it's as good as I want it to be, whether or not this person is/is not Squarepusher/and trying to figure out how they are doing this. It makes for an uncomfortable listening experience. In the end, though, that's all my attachments, unfortunately stoked by the promotion for this (which, can I really fault someone making what is, in a way, an album tailored to the proclivities of WATMM? I mean, fuck, the guy's name is RTR. . . .) Here's my gut take: The beat programming here is phenomenal on several tracks, and I'd pay money to have tutorial on how they were made*. It's the sort of drum programming I've always aspired to but never been able to figure out and, if I had made this, I would be extremely proud of it. The production quality is tops, and reflects someone who is highly familiar with their gear/programs, and how to get what they want out of it (no mean feat, particularly when what you want to get out of it is so specific in the way it's mangled). If I can divest myself of any expectations of who made this, I find many parts that I truly enjoy. The aforementioned Reward, Untitled 21, MFSIYFF are lovely tracks, Untilien is some great Go Plastic era [ ] < sounding stuff. I'm glad that I bought this, and absolutely would pay money for it again (if only to encourage the artist to make more music). There are some other parts, including whole songs (e.g., Firevolt) that I did not enjoy, and probably never will. I feel like this album would have been better as an EP, or having let some tracks cook for a little longer (Aurevoir for example). I fear that, in three weeks, much less a year from now, I won't remember any of these tracks. I don't know if that's because of lack of dedication on my part to them, or because there is something missing. It's probably going to be a mix, but I'm not sure the ratio. If the latter, it may be melody - I honestly can't, having just listened to it, call back any melody line to my mind. A stark contrast to almost any Aphex song, which somehow embeds itself in your brain almost immediately. I hope this person continues to make more music, but I hope that the next thing is NOT more like this (which is ironic, as I feel like I'm always bitching about wanting more Braindance stuffs) but something that spins off in a completely diff direction. *I'm not joking btw. RTR if you're reading this set up a patreon account and I'm in...
  6. Thnx to all! @TubularCorporation - yah, ok, that makes sense. There is something here that def feels diff than the traditional 303 sound and that's prob it (or at least a part) - will experiment w/ this when I have some time Apologies for black hole like density - is there a particular parameter you'd tie to key tracking? I'm guessing the filter cutoff, but not sure. Appreciate all the replies here, btw - very helpful to get some insight into this process! Edit: @BCM Yeah, like doing the same with beats - slow down the BPM and tap in something I'm happy with and then speed things up. Pro-tip for Renoise users: Typically, new note action is set to cut the prior sound whenever a new note is played, which gave me lots of headaches for years when trying to slow down a track, tap in a beat, and then speed things up. The resulting sound would be extremely staccato (in a not intended way). The solution was to change the new note action to "continue" which continues to play the sound even when another note is inputted.
  7. Curious to see if any of you lot have thoughts about how to get this sort of bass sound (it's that liquidy 303ish hyperspeed bass that shows up in a lot of braindance-y tracks) - shamelessly recreating someone else's thread from another forum here which sparked my interest but I'm not sure actually answered the question (or maybe it did!):
  8. Legit question: Why the fuck is it that random people with a decently beefy PC and some slick prog skills (eg Cntrl Shift Face) can seemingly throw together a deepfake that looks, like, 99% legit in a few weeks but somehow young Luke and Leia and resurrected Tarkin look like absolute ass in the official movies w/ a billion $ budget and the most advanced technological equipment that exists?
  9. oof . . . yeah. Back in the 00's, was certain that the world was going to end (interesting to read back on the post 09/11 and Bush era sentiments and remember how that felt), but that can't hold a candle to what feels like a real and terrifying swing towards fascism. It's like I'm now living inside a Radiohead song instead of just angsting out to it. 10's were overall good - got a wife, got a baby, divested myself of a lot of old, negative habits and attachments, found a spiritual path, found Renoise, made some good career moves, got a lot more tattoos than I ever expected to. I will say, though, that it felt like 10's were a huge struggle, and every year seemed to end with me saying "thank fucking god THAT year's over." Like every year shed a skin on the chrysalis, but I felt every single one as it was peeling off. So, to the 10's: thank fucking god THAT decade is over To the 20's: Let us roll all our strength and all / Our sweetness up into one ball, / And tear our pleasures with rough strife / Through the iron gates of life
  10. NP! Do a search on the elektron forums for "megabreak" and it'll give you some ideas on how to use that aspect of the prog. I've been obsessively watching tutorials for this thing - here's a quick one that gives you something interesting to play with (a sort of granular playback thing using retrig and playback position):
  11. lol I'm probably going to be really in the minority here but here goes anyway (EP 9 Spoiler Free Review):
  12. Ta m8 🙂 Yeah, so, part of the plan is to do just that - send via audio interface out and capture live samples. Right now, just spending some time wrapping my head around the workflow of the device. Part of that work is dumping a metric ass ton of samples I have onto the CF card and fucking around with that... which is such a pleasure. Waiting for appropriate patch cables for routing audio and such to arrive. . . It's a very flexible machine innit? I actually have been considering how I'd like to use it - one thing I'm going to do is take some old tracks and bounce audio of individual tracks down to samples, and then remix in the machine. . . another is to slave it to renoise via midi and use it as a performance device for various sounds in to add to existing tracks (maybe even do live remixing). Possibilities seem endless... Anyway, extremely satisfied with it - takes me back to early days working w/ a Boss sampler and the joys of working within the limits of a "box" - something that seems to encourage experimentation and "play" (at least for me) - though, this particular box seems like it can do almost anything w/ exception of, maybe, extensive synthesis + polyphony per track. . .
  13. Thnx to all in this thread for posting thoughts, ideas, etc. Snagged a MKII, arrived this past weekend, spent the last couple of days working through the basics. . . very glad I took the time before it arrived to dig deep into some tutorial videos. For future buyers/users, the videos here are an excellent introduction to the machine - they want you to pay for the course, but you can watch up to 5 videos a day for free - I basically took the last few weeks and just watched a few a day and made some notes. Guy breaks things down in a very straightforward way - plus sounds kind of like Neil DeGrasse Tyson which is an another bonus. Another cool thing (I don't think I saw anyone post this before): https://ticticelectro.com/2017/08/26/octachainer-v1-3/ This is a prog that allows you take files and then create "chains" - i.e., you could do things like put all the samples for a 808 into the prog, and it will spit out a file that is one wav that is slice mapped to each sound with .ot file included. Don't forget the megabreak option 😉
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