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Autechre - SYptixed


cear
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I played the Bleep10 comp yesterday, and when this track appears it pretty much blows all the other tracks away. Such a unique sound. This tune has got my Autechre embers glowing hard again.

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  • 1 month later...

if you're saying that it's too loud/compressed i agree but it's ae to be blamed not a mastering engineer. after examining individual peaks i'm 97,4% sure it was done during the mix stage

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Not only limited but not peaking any where close to the digital max, which might be so they are the same relative loudness to the rest of the tracks, but still kinda weird??

 

I've looked at a lot of ae waveforms in my day and none of them look even close to that limited. For some reason I doubt that would limit their mix that much.

 

if you're saying that it's too loud/compressed i agree but it's ae to be blamed not a mastering engineer. after examining individual peaks i'm 97,4% sure it was done during the mix stage

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It could be the fact that physical modeling requires some kind of limiting or clipping. It could also be that rapid panning voice with a high amplitude.

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It could be the fact that physical modeling requires some kind of limiting or clipping. It could also be that rapid panning voice with a high amplitude.

It's the drum section when the kick, erm, kicks in at 1:28 that's causing it. Dunno, might be a deliberate creative decision from Ae to make that 'pumping' sound using side-compression from that drum
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Basically just read this http://en.wikipedia.org/wiki/Loudness_war.

 

In this case, see how the wave form looks like someone took some scissors and chopped off the top and bottom? That is no bueno. But it is all compounded by the fact that there was no make-up gain added after the brutal scissor trimming, which is something I have never seen before.

 

No artists who has any idea what they are doing would limit their music to that extent because once that is applied that mastering engineer's abilities to work with the track are greatly reduced. I have looked at most ae songs as wave forms and not a single one has been limited to that extent (not even close), even ones that have audible compression pumping in them. 99% of their output has been mastered by Noel Summerville who has a very light touch, in this case a different dude mastered it.

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this proves that this track is a troll.

Do you know, I was thinking that. Would love it if it was Sean and Rob's subtle dig at the obscene brickwalling of virtually every artist on their label nowadays !
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Guest WNS000

Basically just read this http://en.wikipedia.org/wiki/Loudness_war.

 

In this case, see how the wave form looks like someone took some scissors and chopped off the top and bottom? That is no bueno. But it is all compounded by the fact that there was no make-up gain added after the brutal scissor trimming, which is something I have never seen before.

 

No artists who has any idea what they are doing would limit their music to that extent because once that is applied that mastering engineer's abilities to work with the track are greatly reduced. I have looked at most ae songs as wave forms and not a single one has been limited to that extent (not even close), even ones that have audible compression pumping in them. 99% of their output has been mastered by Noel Summerville who has a very light touch, in this case a different dude mastered it.

 

This is a complete bullshit. I hate these "universal" statements. There are absolutely no rules whatsoever in the experimental music. Even over-limited sound has its place in the music. BoC are abusing limiters all the time. It absolutely does not matter what the waveform shows if the mix sounds good.

 

When I started producing myself, I was all about this shit of not over-compressing peaks, not doing this and not doing that and it completely limited me in my creativity and in the quality of my production. After those years I have learned not to care about what the others engineers say because only small portion of them has any interest and experience with experimental music (and practically no experience with your own music). Most of the guidelines for using limiters and compressors (and mixing and mastering in general) are based on conventional-music practices (rock, pop, jazz, classical etc.) and therefore cannot be applied in their entirety without thinking about them first so that you respect the context of what you are trying to do with YOUR music.

 

One of the typical myth examples: "don't use limiters during the mixing stage" - But what are you going to do if your compressor isn't fast enough for the artificial, super-sharp-transient sounds you have just created? What are you going to do, if you want to push your sharp sounds really far to the background without using reverbs or delays? What are you going to do, if the "wrong" usage of an XYZ tool creates something that sounds amazing?

 

Ae has been always abusing compressors and limiters beyond limits (Pen Expers anyone?) so this visual information from that stupid waveform tells us exactly nothing about why it has been limited like that and what was the artist's intention.

 

Listen to the sound and don't examine values and graphs that tells you nothing without a proper context.

 

Moreover, many peaks cannot be heard at all even if they look big in a picture.

 

Conclusion: We don't know who mastered the track and why he did what he did. We also don't know if it wasn't Autechre themselves who did that.

Edited by Jev
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I'm against the grain of the opinion on this one - to me it isn't really up to the standard of Exai and L-Event. It feels as if it is building up to something but never gets there. It's just one track off a compilation though so..

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Guest WNS000

I'm against the grain of the opinion on this one - to me it isn't really up to the standard of Exai and L-Event. It feels as if it is building up to something but never gets there. It's just one track off a compilation though so..

I agreee with you. It has a catchy idea but the track does not have enough depth and longevity.

Edited by Jev
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It sounds like a closer to me... I wonder if the next album is gonna have the same style. This track to me sounds halfway between oversteps and exai but off into some weird direction. I hope they don't become so emotional again like they were with Oversteps. I personally would prefer if they went back to simplicity a bit. A mix between Exai and Untilted would be perfect to me.

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I'm against the grain of the opinion on this one - to me it isn't really up to the standard of Exai and L-Event. It feels as if it is building up to something but never gets there. It's just one track off a compilation though so..

I agreee with you. It has a catchy idea but the track does not have enough depth and longevity.

 

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