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neurone

Knob Twiddlers
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Everything posted by neurone

  1. yeah. accurate...up to the typography matching the albums era. ...actually I'm even thinking it could be legit... anyway, I'm discovering remixes I didn't have a clue about. that's cool.
  2. https://www.youtube.com/channel/UC2-LDT8J14PR2kSRIZLDWiA
  3. Poborsk has put out some stuff on his bandcamp last month, originally released on Tsuku Boshi, as well as new stuff released today under his "Bill Vortex" moniker - all very nice stuff - https://poborsk.bandcamp.com/album/droid-topiary-frame https://poborsk.bandcamp.com/album/droid-topiary-frame-vol-2-3 https://poborsk.bandcamp.com/album/r-o-s ... and also more other stuff. https://poborsk.bandcamp.com/album/world-of-sine-extended https://poborsk.bandcamp.com/album/radioactive-summer etc.
  4. oh , crazy. well, now that I think of it, a few days ago, I was talking with a guy who runs a small metal label and he was saying he's having issues with huge delay for his ongoing vinyl releases project.
  5. @Acrelidhello, I've been listening to "rochdale canal walkout" quite a few times this year. "exymena" & "manglade" are some fav tracks. I hope I will take time to listen to all these other stuff.
  6. pretty much yeah. but, he will always be around in our minds an souls ! R.I.P. mr the upsetter ♥️
  7. neurone

    Dub

    ⬆️ woah ! exellent
  8. oooh yeah !, straight ahead : turning volume up, laying down and listening (remembering I was lucky having them live in hometown back in the early 2000's, the line up was ace : Kit Clayton + Pole + Phoenecia.)
  9. neurone

    Dub

    @droid thanks for spotting this up. did'nt know about this . yeah I'm a total fan of adrian sherwood.since a long time. very peculiar sound, he broughts out a special touch in uk's (even worldwide) dub scene, I think. especially some of his "on-u sound" label stuff, including dub syndicate and african head charge. @cern if you want to dig some very special 80's u.k. dub stuff,(-edit, this next track I post is from '93) this is worth checked out a listen !
  10. same here. but might be too much money for Polytix 's budget. or as one said, look for second hand. heard friends happy with the mac M1 also.
  11. neurone

    Dub

    (one of my top five favourite band of all times all genres)
  12. neurone

    Dub

    oh fuck yeah , The DUB Topic !!!! (of course there is one on watmm, me cunt, I just didn't search for it so far) I'm gonna spend the next days listening to all of your posts ( and will probably discovers great tunes) I will contribute with some stuff I love to death since I'm a kid I'm a dubhead
  13. It's as good as Carney Impost., wich is ace. keep on going !
  14. woah nice ! but who is that crazy to make a wobbly pile of 12 on a chair (wich probably have wobbly wheels) ha
  15. watched this last night and liked It. https://en.wikipedia.org/wiki/BPM_(Beats_per_Minute) It's about a.i.d.s in the french gay circle, and how they tried to struggle with the political /social issues around it . and about some struggling with pharmaceutical industries. (nothing to do with music, despite the title, as one could think first time)
  16. yeah this ! a nice weird altrenative trip to paris. but it's physically challenging if you wanna push a bit deep into it. about Paris in general : alongside some guys up there, I would say, yes paris is peculiar, not very friendly, even haughty, costy... I won't leave in here, but, for someone who came in there from other place (either foreigners or french) there's a lot to do and see in there. but,(say, for muzic and pzrties) you have to know where the sweet spots are. (that's what you ask for I guess ) unfortunately for you I don't live in paris and did'nt have been there since years, so I can't give you some good tips right now. I hope you will enjoy your trip in france , would it be in paris or in the "province" Yep that's it. above all : If you're in Paris for some reason, get the best out of it. If you have to choose a place in france for holydays, choose somewhere else i.m.o. ....edit : well eh , or go to paris, idk.... I'm not leaving my city very often so what do I know 😉
  17. ah well yeah this music is associated with my very first spliff tripping, so now that I think of it, there is maybe a link haha ..... err, when you say 'childhood me was told", did you mean your parents told you "this is real music" or was it you smoking tripping and thinink it's real music ? ( a good thing whatever the awnser 😉
  18. Are there any other fans of "African Head Charge" here , wattmers ? (On-U Sound label / Adrian Sherwood side-project) I had totally felt in love with this when I was 16 year old, and I still listen to this with equal pleasure nowadays ( 25years after !) so above of its time, so unique, so damn good. like Autechre would be to me. always been thinking about starting a topic about it, so here I go now.
  19. ...focusing on loudness , to devellop the subject, I bring you this quote from the TT-DR project creators : Founder and conceptual father Friedemann Tischmeyer on the functions and aims of the Foundation: "We believe that music – as an artistic means of expression – should transmit emotions. Nowadays, this is possible only to a limited degree because dynamics — a fundamental part of expressivity — are often missing. On a subconscious level, emotions are expressed by musicians emphasized with a feeling of urgency or insistence. Modern mainstream music sounds like a flatly pressed board being rammed through loudspeakers and uses the greatest possible amount of intrusiveness just as advertising does – as a means of constantly trying to get the listener's attention. In this way, a fundamental aspect of music is lost. Countless consumers who are old enough to remember more dynamic music are not even aware of what is wrong with releases nowadays. The experience of buying music has become frustrating. Who wants to spend money for music that just beats your ears? This process of over-compressing music has been occurring in such a gradual, insidious way that many industry professionals are unable to draw clear boundaries between music that is over-compressed and music that is not. One thing is for sure: when we turn music off because it is getting on our nerves, then it is probably because of a lack of dynamics. Unfortunately, strongly compressed music is also an unpleasant way of generating aggression. We who create music have a certain responsibility with regards to the rest of society." How did this phenomenon happen? "The arrival of digital technology has made it technically possible for this process, thereby answering the commercial need of simply wanting to be heard. The principle is: 'Whoever shouts the loudest will be heard.' For labels and radio stations, loudness is the most important criterion in music. And that is where our work begins: We aim to provide qualified information so that people understand that loudness is not a measure of quality in music! There is a great lack of information in this area which has taken on huge proportions: most young people have never heard truly dynamic music played over a good-sounding hi-fi system. I believe that some of them would be so emotionally overwhelmed that they would cry with joy when hearing truly dynamic music under such conditions." What made you begin this wide-reaching initiative? "As a mastering engineer I stand right in the crossfire between the detail-work of trying to obtain the best possible sound and the commercial pressures of my customers. Even when a customer knows that the sound suffers when dynamic range is further decreased, they accept this for fear of not being heard. This makes all my efforts involving working on fine nuances of sound practically obsolete. The only choice we are given is to make the loudest possible master with the least amount of sound-quality damage. Of course, that is not a satisfying way of working – all of the leading mastering engineers in the world agree here." "We therefore believe that our standard will increase the value of music. It is too simplistic to make the MP3 format out to be the scapegoat with regards to the current market situation in the entire music industry. The truth is more complex. The loss of emotional value in music is also a big part of this. We believe that our standard will strengthen the entire music industry. As soon as good-sounding music is once again purchased, musicians and all the creative people involved in making and producing music will profit."
  20. @Nil yeah good recomendations about mastering , I would advise the same (not being a professional mastering engineeer but your talk make sense to me) about loudness war : yeah also tired of trying to push it hard so that it don't seem weak for the listeners in a random playlist of their own) but I've made my path in thinking, people who are not dumb (say, not deaf) would think about just raise thier listening volume up if they need to get more volume from a song they like. I mean, what's the point mastering hard / limiting hard, and then so that everybody won't turn up their system more than 20% of max volume because otherwise it's too loud when listening.... tha'ts what headroom is for , is'nt it well, ok, i'm old school, now with most of people listening on phones (edit : i mean smartphones, or portable usb speakers), with no much output power, wou might need to smash it hard so it gets a bit of something... but I let it to the listeners, if you want some quality and high volume you just need a decent sound system (at least a pair of speakers, not a phone or laptop speakers) in a way, that's an industrial / commercial disease, so to say... also it reminds me of this interesting "labelling" project about loudness in music, https://www.kvraudio.com/product/tt-dynamic-range-meter-by-pleasurize-music-foundation I used to use this as a reference. like, education of listeners is the key to proper sounding musical outputs 2nd edit : not going to say "everyone spend a lot of money on speakers and amp and so on.... "we don't need lots of money to this: just listen on a pair of speakers or a dedicated headphone, even cheap ones. we don't need trying to master on the hardest rms as we can. if someone like your music, he / she will love it however the rms level is, he / she would just pull the volume up. if he / she don't like it, he won't like it more with more rms level, they would just skip the track so... loudness war has sto stop, everyone should be able to choose their own listening loudness, I mean. ha ha ha I might sound so "old-school-wisdom-talker" haha ... but still, that's the whole point, I know most of you here will understand 😉 3rd edit : also i don't mean mastering is useless. adapted mastering is usefull to get a decent listen on various output device, and to bring glue / shine on your products. but the process of mastering have to be ... mastered.
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