ArtificialDisco

Karlheinz Stockhausen is someone I think I need to get into eventually, just to have like a passing knowledge of what he was about. But then, I mean, I just can't deal with this. I just start picturing a bunch of megalomanic Germans drawing diagrams and making music that sounds like a bunch of plonks: But on the subject people from the classical world interacting with Aphex Twin, Philip Glass did a collaboration with him that was both interesting and more sympathetic. Glass even did an orchestration of Icct Hedral:

A classical composer with an odd taste in breakfast.

Just try listening to some completely left-field music. Get into jazz or listen to some early 20th century classical composer that one else is checking out. It can be your secret! There is like a whole world of music out there that's available to you that Aphex Twin hasn't touched. He himself has dabbled with minimalism and odd modern composers like Penderecki, so he's also got some outside elements to his advantage (which proves the effectiveness of this method), but he isn't even close to having done "everything" within the larger scope of Music, with a capital M. Generally I have this peculiar idea that if you want to be original within a genre of music, you should really listen to everything else. Listening to something different can also be pretty exciting, it opens up possibilities you wouldn't have dreamt up otherwise.

I don't get him or why he's famous. I mean, here is his review of Hot Rats by Frank Zappa: Not only is it unfair, it's also lazy. Hot Rats is a pretty influential album, and if you wanted to actually know anything about it you'd leave that review with nothing. Only "Robert Christgau doesn't like it". No analysis on why or what it is or what it's supposedly missing. Personally I've always kind of liked the Allmusic reviews. I don't always agree with them, but in most cases it's clear that the reviewer has put in the work to properly review it, and maybe have something actual to say about it. If you want something entertaining though, I'd recommend this guy, because he's hilarious. https://www.somethingawful.com/your-band-sucks/mars-volta-amputecture/ He's probably not being entirely serious, of course, but what are music reviews even for, if not to entertain me? And provide me something to do with my eyes while listening to something in the background?

Thanks a lot! That's also a good suggestion, I might take a look at that bass. I'm using a Moog bass that has a nice sounding growl to it, whereas I guess most of the original drum'n'bass guys where using 808's or some more sine sounds basses, with that super low BWOOOM. But of course there are plugins that can help beef it up. ? I feel like I've been hogging this thread a bit now, so if I do any more changes I'll just silently update my soundcloud.

I put the drums up by 6dB. Also did a lowpass, but I'm not even sure if that matters. It definitely sounds more exciting, and the arrangement is still clear, i.e. the drums don't seem to get in the way of anything.

Interesting points. I guess I was kind of writing a jazz tune with drum'n'bass backing, haha. I could take a swing at this later. It's easy enough to bring the drums up and maybe the EQ could be as simple as high-passing the synths. I'll give it a try at least.

I made this attempt at breakbeat chopping. Kind of a jazzy thing with a wistful melody on top.

But if you modulate the amount of feedback, that would act as a cut-off filter, right? Isn't that half the battle?

I tried my hand at covering Curtains from the SAW II album

That looks incredibly nice and easy to use. Also happy to see them go with ADSR envelopes instead of that R1-R2-R3-R4-L1-L2-L3-L4 thing that no one really understands. I'm guessing this is only available in Reason and not as a general VST? Also at 6:36: Seriously, call Kenny Loggins 'cause you're in the danger zone!

Every time I open Dexed I just keep recreating the Danger Zone bass for some reason. It's like a curse.

I downloaded it from the world3.tk website and have been idling though it thoughout the day. It's really nice and chill, and I've usually been looking forward to the next song. Maybe the amount of distortion gets a little overbearing sometimes, or maybe that's part of the style and I'm not used to it. Anyway, congrats on a great album! On the subject of being 30: Turning 30 is way worse than being 30. After you cross the threshold, it's just... meh. It's the same. I felt older at 29 then at 31, actually - it's the last digits that gets you. My two cents anyway.

Yeah, I get that. I guess it's kind of dear to me because it was my first synth. But even then I'd had it laying around for a long time before I figured out what the big knobs even do.

No love for the MicroKorg? :)

My first post on this site, so I guess this serves as an introduction. Hey everyone! I've been working on these tracks for the last few months: https://soundcloud.com/artificial-disco Everything under Digital Desperation is supposed to be finished. "How Do I Turn This Off?" could probably do with some more mixing.