TwiddleBot

nah, it's all in good fun.

I should do that next time I play a live set. Tape down all the black notes and start and end with a D. Behold, instant dorian! The scale of choice for every budding IDM artist

their own fake it's possible, full time musicians of course they're going to have oodles of unreleased material and experiments. bonus material from autechre, i highly doubt it, we can't even get them to release the freekin Quaristice soundboard

they should sell it at the tour, that would be sweetness.

somebody needs to figure out a special mission, operation soundboard 2010

they should release some patches and sound design libraries, like richard devine. that guy is set for life now agreed about some of the synth sounds.. direct use of fm synthesis bell patches.. well that is pushing it a tad in this day and age, lol. still i keep coming back for more.

when you write algorithmic music, you design the algorithms, listen to their results, use this feedback process to modify the algorithms, etc. and you select the final results you are going to use. it's still composing in a way, just a different way of going about it. so yes, deliberate is the correct word, deliberate choice. i imagine they're interested in it for the same reason a lot of us are.. ever changing patches and beats, great for live electronic shows that are never exactly the same twice.

treale is definitely the keeper for me as well. the crackly electric synth== it's funny, i played this album for a friend yesterday and right after we popped on quaristice, and suddenly quaristice sounded comparatively flat and muffled. there's a nice sheen to this album and a sense of depth that i haven't heard in their mixes in like a decade i think i like this one as much as quaristice. for quaristice it was the first ~40mins or so of the album that really did it for me, then it tapered off (at home the first lp gets played a lot, the second, not as much). except with this album the listening curve is more spread out. anyway i'm going to put this away for a bit now because there are particular aspects of this album sonically that i'm liking, aspects i find rather curious as well, and i want to wait till the final version is in my hands to find out if having a proper .wav file or lp changes these things

are autechre making a zen buddhist enso reference with their cover? that was the first thing that came to mind when i saw it, probably because i used to study japanese lol

agreed, now that i'm finished it, a lot of the melodic work is signature ae.. sounding aleatoric/based on probability tables. a lot of the percussion and synth is quite similar to that of previous albums, particularly lp5, heard snippets of percussion reminiscent of quaristice at various points too makes sense to me, if it isn't autechre it's a brilliant fake :D the eq curve and compression seems a bit funky and a few times i could swear to god i heard vinyl static pops in the quiet parts (vinyl promo, or digital glitch of some kind?) anyway i'm looking forward to hearing it in better quality.

hmm.. first listen. all of the signature autechre sounds are there. this is a direct throwback to LP5, similar percussive sounds and instrument modeling (lotsa fm synthesis). lots of aleatoric-sounding melodic work as well. the crossfades are hardly convincing though, other than the fades from tracks 1-3 they're just the tail ends of the fadeouts of each tracks slightly crossfaded with the next. anyway i'll know for sure when oversteps hits my turntable in a few weeks :) finding a good portion of this album quite enjoyable anyway, some for sure is a bit on the cheezy side, somebody said summer, that's exactly what this album feels like!

how do you get dial the journal out of that i wonder. my nihongo is a bit rusty but all the japanese reads is domestic bonus track. it's not even a title. well i'm sure somebody pointed this out in that other thread, wherever it is

same, those soundboard recordings are still probably my favorite recent autechre material. alas, no soundboard for the quaristice tour. friends who aren't even into the album or really into autechre were utterly blown away and left with their jaws on the floor by that set. it amazes me autechre refuses to release their most innovative material. just my opinion, for whatever it's not worth, anyway ;)

Yeah, I really wasn'tinto any of the first 'leak' I heard. I think I found the second 'leak' you're talking about a few days ago and some of it I'm quite liking

Wouldn't it also sound better as DVD Audio usually uses sampling rates higher than CD? Like 48 or 96.. ? Even in my home studio I can tell the difference between some 44.1 and some 48 or 96Khz recordings. There's a clarity and warmth present you just don't get at CD quality. Which is strange, because technically you shouldnt be able to hear that high.. (for sure maybe it has to do with the aliasing filter). Anyway especially if you start using transient sounds or very crisp, complex textures (like cymbals/snares) it usually becomes quite apparent. The sheen is gone at 44.1 On the flip side it could also have to do with whatever sampling/bit rate the recording was originally mastered in, and the quality of the conversion process down to CD.. I can hear the difference when I downsample my own projects to 44.1, and I'm not sure if it is because 44.1 just doesn't sound as good, or my converters suck, or both.

fuck all of that, I got my oversteps custom transcribed note-for-note to this format using a special note-midi converter. it also beats anything aphex twin has ever done hands down any day. nannou my ass.

Met him briefly once or twice, he probably wouldn't even remember me. If you like his stuff, hope you get a chance to hear it 'live' someday, a good chunk of it (as far as I know) is made for 16 channels and when put on cd is then mixed down into stereo. have been to a couple of his shows, quite enjoyed them, they sounded great! I heard that that label is pretty much only putting out DVDs now.. no more CDs from them.

I've heard that phrase before from students and composers.. almost sounds like you've gone through the drill and lived to tell the tale!

Thank you for an intelligent response :) That probably explains it, as that is the circles I usually move in (being a musician myself) and the mastering rooms+mastering engineers I've gotten to hang out with are dedicated to that kind of music.. being in Montreal I'm in the middle of the acousmatic scene, folks like francis dhomont and robert normandeau, who are all about setting up big multichannel systems in spaces and using a great deal of dynamic range. Anyway, hence when opting for the 24-bit I'm hoping the new album takes advantage of the increased dynamic range. And of course you're totally right, for most compressed music the extra bits would make little discernible difference if any. OK back to impatiently waiting for the new album :)

you can sure tell who failed their recording 101 classes. i mean, this shit is pretty basic ;) those who don't have studio monitors and a decent room don't need the 24-bit version. those who do have the gear and can tell the difference are going to enjoy the 24-bit version all the more. :)

There's some confusion here methinks. Simply put, the -frequency rate- in KHz determines how high the frequencies go. 44Khz CD .wave file==frequencies up to 22Khz, but of course the filters will be rolling those top frequencies off. 96KHz records frequencies up to -Bit rate- determines how loud and quiet the sounds can be and how much detail is in the dynamic range. With 16-bit, you have 65536 quantized steps from silent to maximum volume. With 24 bit, you have millions of steps from quiet to max. Hence one should always record in 24-bit. As soon as you start adjusting volumes/levels in the mix, or have quieter sounds you want to bring out, you'll be SO glad you had all that extra information at your disposal. Double or quadruple the volume of a sound, suddenly you have huge quantized gaps in the dynamic range of the sound. The hydrogenaudio tests above are hardly convincing--firstly they are on home user equipment. There is no 16 vs 24 bit test in that link. Having spent a chunk of my life around audio professionals, I assure you, a trained ear, in a decent room, on decent gear, will be able to tell 16-bit from 24-bit. 16-bit has nowhere near the noise floor or dynamic range of 24-bit. And no, you wan't be able to tell the difference on a pair of Ipod headphones. Try an isolated room with a pair of dynaudio air 25's and yes, you probably would.

I wonder. Being the audiophile I am I opted for the 24-bit version. I'm hoping it takes advantage of the dynamic range of 24-bit (eg uses less compression/has more depth or something). Quaristice would probably have benefited from that as well, it has a lot of super quiet and subtle things in the mixes.

^very cool to see someone else mention this. Long before I got into Autechre, that was one of my favorite electronic albums. Especially the last two parts as well. I love parallel suns, and oddly enough despite all the headphone listens I gave this album it wasn't until I picked up the LP that I heard all the subtleties in the background.