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AAA - Ask Autechre Anything - Sean and Rob on WATMM!

Joyrex

By Joyrex
in Autechre

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Sean Ae
Sean Ae

yeah music = speech - text   at least roughly - i reckon it's a kind of super-developed version of the pitch and intonation parts of speech (the aural bit that doesn't contain textual info)

Sean Ae
Sean Ae

can't rem if there were any recordings i think not actually   guess you had to be there   cichlisuite was done in 97 (i think it was 97 anyway), after the tour we did with edgar   yeah we have

Sean Ae
Sean Ae

no it was the residual ram contents of an ensoniq eps, revealed by making the loop length too small on an unrelated sample (an ensoniq glitch we exploited a few times) those samples hadn't been loade

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baph Grand Master

baph

Posted
Posted (edited)

 

 

2gsg3dv.jpg

 

again

can you explain this one jules?

 

looks like it says "the end"..?

 

 

pretty sure it says thank you in exai typography

Edited by baph
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jules Grand Master

jules

Posted
Posted

i dont like the color, it looks like when you highlight text/pictures, my brain is telling me to click away from it to unhighlight it.

don't you freeze in headlights?

 

what are you referring to?

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kcinsu Grand Master

kcinsu

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Posted

Kcinsu, mcbpete and a few others I think you were interested in their response to the physical modeling question. apparently they answered it but i never saw it and the answer is brilliant (but still oblique)

 

 

 

lot of loaded questions here tbh but i'll say this

we've been blagging sounds for years, way way before we heard anyone using the term physical modelling

even just using a 202 you can make really mad 'bonk' sounds by tuning the resonance and using the res env a certain way (think of voodoo ray by gerald)

 

not implying we were the first at all obviously, wendy carlos and tomita were running rings round anything we did before we even knew what music was

but like, there are literally tons of ways you can make fake things out of other things. this idea that physmod is only a few techniques is a bit of a new thing really. but i guess describing those things an non-linear processes is a bit much for some people

 

you can make a wide array of vowel sounds using a combination of pwm and fm, but it's only considered formant synthesis is you're using a collection of bpf's

 

the actual list of techniques that you're supposed to learn is weirdly limited and doesn't really cover what's possible. in a lot of ways things were more interesting before it all got formalised

that's why wendy carlos and tomita are so good, cos they didn't have that list of techniques getting in the way, they found most of it thru trial and error

i like that response a lot

Thank you, I missed that response.

 

To Sean and Rob: I cannot thank you enough for doing this.

 

To Joyrex: ditto!

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Plarkreluke Banloboh Mentor

Plarkreluke Banloboh

Posted
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Hi!

 

almost 150 pages and still no love for..

 

Qebrus

 

or

 

Valance Drakes

 

Q: any thoughts on Bitwig?

hahah yeah these SC spams go straight into reading list, so all is not lost
Holy shit.. Rob if you haven't checked Qebrus and Valance Drakes out yet, you're in for a treat!

 

Thanks Ae for this AAA, truly mindblaeing.

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awepittance Grand Master

awepittance

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Posted

i didn't catch his answer to the soundboard question

 

we were discussing this recently (milking it for all it's worth)

the main barrier is the sheer amount of it we would have to go through, it's a few months work i reckon, if it was going to be comprehensive (and that's hard cos the archive is WELL patchy)

and we were debating what we'd actually do with it as well

ie. whether it's better to stitch the best bits of different gigs together (like a lot of 70s/80s live albums did) or to release them slightly edited (george lucas), or to touch them up here and there sonically, or leave them totally untouched

it's our style to release them untouched really - but they would sound a bit weak if we left them 100% intact cos they were mixed for a live rig, and what sounds good mixed in a venue can sound terrible as a 2 track master played at home (a bit better really loud on cans but never quite right)

the fact that we would prob end up messing with the sound sets off my autism and makes me want to make other changes

i'd say that while he was still non committal in his response, this is a very hopeful statement. Just the fact that they've even discussed how to approach a project like this gets me all giddy

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