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Flying Lotus - Cosmogramma

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awepittance Grand Master

awepittance

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using side chaining definitely gives one the illusion that a bass drum is hitting harder. It's not 'heavy' compression that Mr oizo uses its just he does it so beautifully that it just ends up being the perfect amount of smash

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Guest Blanket Fort Collapse

Guest Blanket Fort Collapse

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well its not an illusion the way I'm referring to BD side chain compressing the rest of the mix separately of the bass drum and leaving room for the bass drum to not be compressed so hard. Obviously you know the more something is compressed it might get louder but it wont punch as much really. I dunno mixing/mastering is definitely a fine art I'm just starting to begin to figure out after years of clueless trail and error operations

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o00o Grand Master

o00o

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using side chaining definitely gives one the illusion that a bass drum is hitting harder. It's not 'heavy' compression that Mr oizo uses its just he does it so beautifully that it just ends up being the perfect amount of smash

 

yeah mr oizo started a whole genre based on compression lol

 

I assume the difference is that he is more the rock producer kind of guy when it comes to distortion while the other add it more randomly

 

for me the prodigy kind of established it out of a rock context back then but oizo took it to a new level

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Guest Lube Saibot

Guest Lube Saibot

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there are still some pretty heavy conventional (side chaining up the ass, wonky arpegios but at a minimum) trappings

 

GAAH. I don't mean to act all riled up and with my panties in a knot, but GAAAAAAH dude. GAAAH. Side chaining may have become this ubiquitous thing in electronic music nowadays but to nitpick on that at this point is like saying "Myeah, pshhh, EQing is so conventional." Some use it sparingly, some obviously, but since it's become facile and available to the non-outboard users it's joined the "basic" arsenal of all producers, alongside standard compression and EQ and stereo imaging and shaping and time-based processing. In this instance, you may call "basic" "conventional", i call it "fundamental".

 

Wonky arpeggios? Really? I mean come on man... Come on. From what I've ascertained from posts of yours I'm starting to think of you as quite grumpy. Not BoxingDay-grumpy, but quite the cynical and jaded grump. I don't think "wonky arpeggios" (whatever those fucking are, i just hear neo-prog and funk and jazz and soul noodling, which i believe has its place

in history beyond the qualification of "trappings") have become as ubiquitous or facile or cloned as hoovers and 303s and rave piano and other former cliches that indeed could be put down as "trappings" (although, again, it takes a degree of cynicism).

 

When you decide to be a refractory cunt, you can deconstruct and dismiss everything. Look at that fucking Roger Ebert fail in the "videogames aren't art thread". Look at Pitchfork. When you decide you like something so much that everything that considerably strays from that is intrinsically fallible i think you begin to miss the point of music, or art in general. Pitchfork are cunts, are wrong, but they show that, as wrong as it may be, you can deconstruct and look down on even the pantheon of this very forum.

 

Loudness Wars-wise, i gotta say... fuck. I mean, if generally the Ed Banger people and Jackson and Clark and good grime stuff and VSnares and stuff along these lines have not shown that, with TLC, loudness is creative in itself, then i dunno what ever will. This super-squashing, IMHO, leads to a grit and crunchiness that adds unequaled depth to music with zero damage to other qualities one might look for in their music (except dynamism i guess, lol), when done right. Done wrong, it guess it does suck, yeah, but the only stuff i can think of (that I've heard) where it's done wrong and excessively is Bloody Beetroots stuff and Clark's Volcan Veins.

 

Drum punch-wise, i think Noisia are unequaled. Mr Oizo uses it creatively and is very cool about it, but considering immediate physical response to drums, Noisia really take the cake. Maybe Danger too. And Loops Haunt.

 

I have to mention that i haven't listened to Cosmogramma in full yet. So take everything said above with a grain of shit in my mouth.

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Guest kelvanE

Guest kelvanE

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Just put in my pre-order! I went with the CD. Stoked about that print too! I'm still holding out on hearing this until it's in my hands.

same. i mean, you gotta now. it's only two weeks...

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jules Grand Master

jules

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Just put in my pre-order! I went with the CD. Stoked about that print too! I'm still holding out on hearing this until it's in my hands.

same. i mean, you gotta now. it's only two weeks...

 

yep!

 

anyone else going to tune in for the radio show? less than an hour....

 

 

here's the link again just in case

 

 

http://flying-lotus.com/radio

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sysyphus Proficient

sysyphus

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ya, i'll be tuning in for sure. i posted a new thread for the live show in the root of music discussion, however that place is dead as shit. i guess i'll just delete and post here.

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awepittance Grand Master

awepittance

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there are still some pretty heavy conventional (side chaining up the ass, wonky arpegios but at a minimum) trappings

 

GAAH. I don't mean to act all riled up and with my panties in a knot, but GAAAAAAH dude. GAAAH. Side chaining may have become this ubiquitous thing in electronic music nowadays but to nitpick on that at this point is like saying "Myeah, pshhh, EQing is so conventional." Some use it sparingly, some obviously, but since it's become facile and available to the non-outboard users it's joined the "basic" arsenal of all producers, alongside standard compression and EQ and stereo imaging and shaping and time-based processing. In this instance, you may call "basic" "conventional", i call it "fundamental".

 

Wonky arpeggios? Really? I mean come on man... Come on. From what I've ascertained from posts of yours I'm starting to think of you as quite grumpy. Not BoxingDay-grumpy, but quite the cynical and jaded grump. I don't think "wonky arpeggios" (whatever those fucking are, i just hear neo-prog and funk and jazz and soul noodling, which i believe has its place

in history beyond the qualification of "trappings") have become as ubiquitous or facile or cloned as hoovers and 303s and rave piano and other former cliches that indeed could be put down as "trappings" (although, again, it takes a degree of cynicism).

 

have you heard a lot of wonky? there are paint by numbers formulas now in this genre just like there was when drum and bass took shape or when dubstep was around for a few years. Sorry that you perceive me this out as being grumpy. as far as the genre is concerned Flying Lotus to me is definitely the most creative one that i've heard (but just like some of the great drum and bass artists around 1994-5 used a little too much amen break in retrospect)

i point out side chaining because it's not simply used in the same way as someone Eqing something. Sidechain compression in music like Flying Lotus is used as a non transparent effect, something to drive the same for an extreme 'pumping and breathing' sensation. Using side chaining this way is NOT ubiquitous in electronic music, but it is in modern hip hop. Is that what you meant? I mean side chaining in general is used in probably most loud music, its a helpful technique to move competing bass tones out of the way. But im not referring to the general old studio engineers use of a sidechain compressor, im referring to when it's causing a layer to be ducked so hard its become it's own rhythm.

For me it's the equivalent of running your entire mixdown through a heavy flanger and then having someone argue ' that's fundamental, just like EQ' I can guarantee you that in 10 years time, this sound will be looked back on as kind of passe because so many people were doing it at the same time.

If you don't believe me that's your opinion, but please don't try to deduce my criticisms to some sort of 'haterdom'. I went to an audio school so i focus on the way people mix stuff, probably too much. simple as that

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Guest Glass Plate

Guest Glass Plate

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Warp Records is not a main stay of wonky, Fly Lo did not invent anything.

I still have not heard this album.

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awepittance Grand Master

awepittance

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this i know, i just think Flying lotus is one of the more interesting people making it (and i didnt think this after Los Angeles mind you, only Cosmogramma convinced me of this). I don't know if Dr. Strangeloop can be considered in the same genre but i also love his stuff and think he's pretty innovative.

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Guest GrandPopPoplock

Guest GrandPopPoplock

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Ehhhh...I might listen . I treat upcoming albums I want to hear, like upcoming movies I want to see ( NO SPOILERS ) I want almost everything on the album to be as new as possible . Sure, I'll listen to a single to get the vibe of the album, but...that's it . I don't listen to leaks and sometimes samples either .

 

I just don't want to get the album in the mail and be like, ''Damn...I've heard all these tracks''

 

So...I might listen.

 

 

 

Hell , I can't hear shit anyway . I guess Flylo is remixing 4′33″Kanyexploitable-1.png

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Mr12000 Veteran

Mr12000

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Dude is still getting high, the real shit will be here soon! I'm also waiting for the CD, but this is a live set presented by the artist officially before the official CD release, and I'm ok listening to something like that! Plus fucking Ras G, Daedelus, Gaslamp Killer +

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