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About djimbe

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  1. A few days after my first listen and neutral/lukewarm response, I'm now finding Sign easy to listen to as a coherent whole in one go. Jumping around and using my concentration more like a laser is normally how I interpret new Autechre stuff, especially in the NTS/AE Live inundation period. But for this one, sitting back and taking it in more passively is working for me. So I agree with people who've been saying: it's certainly an easier listen than usual. In that sense I'm interpreting it more the way I more often interpret other kinds of music.
  2. I sat and listened through it for the first time on my big hi-fi today. There is enormous bass on some tracks that just holds. I mean frequencies start up and they barely stop or ebb, and the whole room has pressure. Initial reaction is that I'm lukewarm overall because the tracks seem really static to me. They begin, and sometimes there's not even a section B they change to before the end. They're often doing largely the same thing after seven minutes, then they just stop. I know Autechre are all about repetition, but I guess if I compare this to either the middle period that some descri
  3. 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 d
  4. Hehehe. That's what I was thinking as I went to bed after my quickie master. Thanks Amni and all the other folks.
  5. 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 lo
  6. 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.
  7. 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 i
  8. Re: a Sydney bootleg. I very very very vaguely thought about it, but no, I just wanted to concentrate on the music.
  9. 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
  10. 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 diffe
  11. 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.
  12. Right, I finally learned how to embed a Soundcloud like people have been doing here for 7 years. https://soundcloud.com/aeriae/de-1
  13. 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
  14. 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 Wor
  15. 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 cho
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