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About djimbe

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  1. In AAA, there was this exchange re: mastering: Q: Do you master your own albums? If not, have you ever been disappointed in the mix? A: Sean "no and anyone who thinks that's a viable option doesn't really know what mastering means. we do the mix ourselves (mixing != mastering)" Nevertheless, I don't think that during this thread, anyone has been able to point to a reliable source that says anyone mastered NTS digital, right? Or if they did, who it was? Speculation by myself: I also think it's possible Autechre may view NTS differently than past albums to the extent they'd think the digital version might not need mastering. We expect NTS is more a product of AE's Song Machine, or doohickey or whatever you want to call it, than any previous release. And I think the more the AI is controlling the mix, and micro-controlling bits of the mix, the more consistent the mix is going to be in certain ways. Mastering is a stage for all of – preparing material so it presents well across all manner of playback devices, tonal and dynamic tweaking within tracks, and tonal balancing across tracks. Mastering to different mediums can involve additional or alternate passes requiring special knowledge of those mediums (as in how Noel Summerville handles AE's material going to vinyl.) But re: tonal balance across tracks... if your musical mixes are being made consistent not only within tracks but across them at the source level – which is the way I figure the Song Machine must probably lean – the need to master those mixes to match different parts of them and even them out starts to recede. Because the AI can do a lot to make sure things land within certain acceptable ranges, or don't clash, in context. Parts are more pre-matched. So, maybe NTS was mastered not by AE and we just don't know who did it. Or it was Noel. But also, maybe the way AE and the Song Machine are working at the moment reduce the need to be mastered in the first place, at least within the digital realm. PS - Do we know who mastered Elseq? Or if it was? Or is that all unknown, too? -Wade
  2. Hehehe. That's what I was thinking as I went to bed after my quickie master. Thanks Amni and all the other folks.
  3. Thanks. The version I uploaded on YouTube is slightly mastered. Just subtle EQ to tame the bass and compression to make it louder, also slight stereo enhancement but not much. But I'm sure there is a lot more that can be done. Really interested in how you do it, maybe you can give some details on what exactly you did Here's my first attempt (as a 320 mp3, 173mb): https://www.dropbox.com/s/05vofxwgpixv619/AE-21JuneMelbourne-djimbe-v1.zip?dl=0 There's a lot more (and more careful and time-consuming) work I'd ideally do. darreichungsform, to make this version I - EQ'd the top up a lot - Rolled off the absolute bottom of the sub - Reduced the overwhelmingness of the bass, both with a reverb reduction tool and two degrees of stereo narrowing - Raised the quietest passages a couple of db - Multiband compression to control/move bass and tame some of the highs - A small air band boost (because the source is pretty airless) - A spot of limiting, mostly to catch an extreme equipment bump/squeal near the end After all that it's darker and narrower than your Youtube mix, which sounds pretty good overall! I've got a more defined bass, but maybe I need more air back less mid. The tonal balance ain't perfect. Anyway, that's for a possible V2.
  4. I'm rendering my V1 master of this right now. I would call it a good start. Obviously I've done this quickly and that is so people can have something pretty good to listen to. If I or others find this lacking, I can return for my V2 later. And/or the more famous can have their goes ;) However I think you'll be surprised by how good this is already compared to the source. Thanks for the source, without which we'd have nothing. Once this has rendered I will upload and share a link.
  5. You recorded in 32 bit float? Yowza! Sorry; I mean I should just be saying thanks. 24 bit is certainly enough for a through-the-air recording of this type. I'm certainly interested in trying. Someone may beat me to it or do a better job. But also, they may not! I now do some mastering for Clan Analogue releases, except my own. Just a couple of quick questions that can make life easier in advance. Where were you standing at this gig? e.g. to one side, centred, front/back? And, did you move around much or not at all? (edit - that is, if you were holding the recorder. Maybe you put it on a surface or something.) Cheers
  6. Re: a Sydney bootleg. I very very very vaguely thought about it, but no, I just wanted to concentrate on the music.
  7. I appreciated the 930 start for my stamina and ear freshness, though I only just got there in time (was expecting midnight!). I enjoyed it, especially the time vortexy quality of being in the dark and the music never breaking. There was some tense stuff in the middle that was my favourite part. I liked that more than the slamming in this particular set. There was a wonderful sound that was almost like a shepherd tone variation (sort of swirling through frequencies) that broke into some slamming stuff soon after that. In terms of recognising sounds, I reckon I heard some of the splashy synths from the early parts of, I think it was NTS1. Otherwise a lot of tinkling, plinking, and those kind of groaning physical model / string sounds that I've loved since the Oversteps tour. Relative to the 2010 show in the same venue, this was very subtle. Last time the volume was pulverising and lifting off your clothes. This time I reckon the volume was lower, and also with the quieter, more delicate nature of most of the set, it was definitely a different experience. If people were talking, you really needed them to shut up just to hear the tinkly details. People were packed in but there was rarely any movement where I was at the back. In a way, this made for a physically uncomfortable situation. The music rarely broke into loosening up material that might have unlocked people, so it was pretty muscularly painful standing without being able to move for 70 minutes. This isn't really a criticism of the set itself, but the nature of the way Autechre's being listened to in this venue. Honestly, I would've been happier listening to this one seated. The bass might have been too consistently present to actually much of an actual pulse, even when things got bangier. There were not many young uns there! It mostly looked like a 30+ crowd. Me and my mate I went with are just over 40. It's nice to hear some people who presumably never heard Autechre before coming out pissed off. I heard one guy: 'What a fucking toss, there's no way they should be charging $XX for that'. In the end, what I like most is that I've seen Autechre twice and it's been two very different shows. Even though it was the same venue, I felt like I was in a different venue.
  8. djimbe

    Osla for n

    Back around the time the EP was released and I was listening to it through headphones one day, that was when I noticed what the first post of this 9-pages-now topic half-mentions: >> I also sort of have this feeling that it's a skeletal version of parts of M39 Diffain, with the tonality somewhat taken away but the pacing and timbral changes kept More specifically, what I hear is that the coughs of Osla are playing the melody that loops through the last third of of M39 Diffain. The melody that's first heard completely and in the clear at 3:49. The cough's rhythm is a bit different, but progression and repetition are basically the same. I was about to say that the interval distance is no longer a whole tone, but you know what? I listened to it again and it is a whole tone. The same tone! Buried in each cough is the same tone (from Diffain), in the same key to boot. Once I'd heard this, I couldn't help but feel "super comfortable" or something each time the EP went from Diffain to the next track. I mean, how many Autechre tracks, on a recording, hand the same melody from the end of one track to the start of the next? It's one of those things I can't unhear. Re: the whole EP, the track I've traditionally least liked was the last one, just because I'm not mad about the zippy space-worlds sound.
  9. today I've heard this live twice. As far as I am concerned, there is no more pertinent place than this for post your music, aeriae: it is among the most pregnant of Autechre's things feelings for a while. There are really many nuances that lead to them, but there is also a personal component that makes this live something precious. Thanks very much AE35unit.
  10. Right, I finally learned how to embed a Soundcloud like people have been doing here for 7 years. https://soundcloud.com/aeriae/de-1
  11. I haven't linked to music of mine (without a topic asking for music) in the Autechre forum for years, as I usually feel spammy if I do. I normally mention it in EKT. However I played a set in Melbourne recently where I surprised myself, given how quickly I put it together. So I've released it. And I think there's a respectable chance that if you who like Autechre, you'll like this. It's 28 minutes, 140 BPM+. I can't link a Bandcamp player directly last time I checked, so here's the page, which has a player on it. Cheers, https://aeriae.bandcamp.com/album/de
  12. Australian label Clan Analogue have released Peril Triage, my new 7-track EP as Aeriae. The 7 tracks flow without gaps as the material originally came from my live set, but this is not a live recording. If pressed, most would say it's IDM. I'd have put a Bandcamp player here if I could, but those still aren't working on WATMM, so instead you can click here to go to the EP's Bandcamp page. I enjoy hearing listener reactions. Cheers, ( 1. Firmament 05:07 2. Charnel 05:01 3. Ceanic 04:59 4. Resolver 07:18 5. Valified 07:12 6. Where All Past Burdens No Longer Shall Be Worn 07:24 7. Haliday 06:05 )
  13. Some thoughts on some of the tracks: Altibbound - This is kind of like Altibzz if it were in a scalding arctic wind. The synth used has similar qualities to the original, but with a harsh-sounding tail. I find it loud, anti-relaxing and unreassuring in the way the original is quiet, relaxing and reassuring. C on C - Yes, this took me awhile to recognise too, but actually the plucked string sounds you've used are of a kind with a lot of Oversteps. Pretty cool when it gets busy towards the end. But I admit I was really pining for the key change parts :) Perlence - Well he got the chords right. But my taste is for covers where someone tries to use the instrument (like this piano) to at least touch all the parts of the original. I'd rather the guy had been wacking away at the low notes in an attempt to recreate all the bubbling and rumbling. Andover - .. It's been so long since I listened to Tri, I didn't recognise this 'til I broke out the original track. (I know my own contribution to this thread was from Tri, but it's something I did 9 years ago.) excellent! i like aeriae, aMay is deep. Thanks much! My next Aeriae release is an EP on Clan Analogue later this year based on my live sets from my last album.
  14. Here's my 2008 sequenced steel guitar (basically played in on a MIDI keyboard) cover of Dael: https://wadeclarke.bandcamp.com/track/dael-cover
  15. I have an Aeriae EP coming out on Clan Analogue this year (Peril Triage) but in the meantime I unearthed a 30 minute room recording of a June 2012 set rehearsal (!) that I like a lot and so decided to release. It's on Soundcloud in whole and on Bandcamp in split track form. To my knowledge, room recordings of live electronic music sets aren't generally A Big Thing, though they're a big thing amongst Autechre fans. That's how I got interested in them. I meant to record a soundboard of rehearsals on an H4N but hit the wrong button and so recorded through the mic instead. The mic hadn't been set up for a live recording or pointed at anything in particular, but it must have been vaguely centred. The result was decent off the bat, and after boosting the mids and highs I was relatively amazed by the atmosphere of it. It starts with an atmos and beats intro, then broken downtempo that builds over 10 minutes (Hedra, my fave) then continues with something that gets really keyboard stabby (Coldre), then something fast and easily the least tight and most chaotic performance (this was a rehearsal) and studded with vox samples of Hayley Foster, then from Chaingang (track name Ex Ex) and finally a racing version of Ai No Kuni (Ai No), with Swan Lake in it. My rig at the time was based on Moldover's original Controllersim video: - Macbook Pro - Ableton Live - Reaktor - M-Audio Keystation 49: Live keyboard parts - Novation Remote SL - - Drumpads: Jump edits - Touchpad: Stutter edits - Joystick: Timeshift - White keys: Scratch up/down, buzz, jump edit, reverse, 8 track gates - Black keys: Sample launchers - Mixer tracks: Drum, Melody, Vox, FX 1, FX 2, FX 3, Live keyboard, Master - 1 custom FX smart knob per track, 2 on master
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