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6 minutes ago, darreichungsform said:

Some of the noises I believed to be background ambience are actually part of the set

Same here. Quite surprised about these "silent moments" between massive chords on 45 min mark in Helsinki set. There's literal silence, no background stuff sometimes. Haven't heard pauses in ae music

Edited by adm1n
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18 minutes ago, adm1n said:

Same here. Quite surprised about these "silent moments" between massive chords on 45 min mark in Helsinki set. There's literal silence, no background stuff sometimes. Haven't heard pauses in ae music

I already commented on the other thread about this, the chord progression sounds clean, dry and almost tinny compared to how it sounded like in situ in Helsinki. There's more meat on them bones on the surprisingly high quality bootleg recording of the gig - but of course nothing compares to having been there.

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The new batch has the album name 'AE_LIVE 2016/2018'. It make more sense to me (cause I love to organise) to name the AE_LIVE batch 'AE_LIVE 2014/2015'. Even for older live recordings/bootlegs/soundboards it seems logical to me to add the year (like..AE_LIVE 2008, AE_LIVE 1995/1996, Etc.). And of course for future AE_LIVE releases.

>Example

 

 

Edited by Zantman
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@Zantman

Beautiful example!

1 minute ago, misuta Go said:

can anyone explain the lack of bass in the recordings? i mean, i was there, the bass was huuuuge, it shuttered your chest.

and yet it's almost absent from the recordings...

Different kind of mixing/mastering for domestic use? Makes sense to me

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26 minutes ago, misuta Go said:

can anyone explain the lack of bass in the recordings? i mean, i was there, the bass was huuuuge, it shuttered your chest.

and yet it's almost absent from the recordings...

yeah. buy a bigger set. and pump up the volume.

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28 minutes ago, misuta Go said:

can anyone explain the lack of bass in the recordings? i mean, i was there, the bass was huuuuge, it shuttered your chest.

and yet it's almost absent from the recordings...

the mix for the live show is per venue so what came out of their computers may have had less bass but the venue produced bass via the sounds system. i'm guessing massive subs have something to do w/it. 

anyway.. so the recording may be more "flat" sounding but if played back in the venue it'd sound big bass etc. 

i listened to some on my studio set up which has a subwoofer and there's bass there. it's just pretty low. so average home speakers aren't going to reproduce it from the recordings since they probably roll off at 55 or 60hz or something unsatisfying. 

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9 minutes ago, ignatius said:

the mix for the live show is per venue so what came out of their computers may have had less bass but the venue produced bass via the sounds system. i'm guessing massive subs have something to do w/it. 

anyway.. so the recording may be more "flat" sounding but if played back in the venue it'd sound big bass etc. 

i listened to some on my studio set up which has a subwoofer and there's bass there. it's just pretty low. so average home speakers aren't going to reproduce it from the recordings since they probably roll off at 55 or 60hz or something unsatisfying. 

makes sense. thank you...

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Aye, whatever system you have is going to be nothing like the sound system at a live venue.  One of these days I want to hear Confield on a club PA system, as that's one Ae release where the low end is conspicuously absent... and probably the biggest gear shift stylistically.  That album really broke down all walls.  I've wondered for a while if they just mixed it on a system with huge subs, and if so whether they regretted that decision.  It does lessen the impact greatly on a less souped up system.

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the impression I have is that, currently, the situation is this: the albums (elseq - nts) are a collection of sketches, certainly edited and enjoyable, but the work done, the aim, is what we listen live.

Dublin was an overwhelming experience yesterday. I am almost afraid now to listen to it soberly.

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The chord progression of the cut-up-organ-chords track (you know the one) remind me of Leterel a lot !!! (Leterel reconstructed by bots on a distant planet, but Leterel still)

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Melb 54-56 has a lovely bit of buried lush.

always laugh at the innocent enchanted forest a few minutes before the Dracula organ stomp. Lambs to the slaughter, so foreboding.

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Yeah, really nice to hear clarity in the low-end for these. Very nuanced, subtle, ethereal sets. Enjoying the fuck out of these. Not sure on a favorite yet: Zagreb early contender.

 

Also, going into full obnoxious audiophile mode today:

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so far im preferring 2018 sets for one reason> the thumpy drum track (a k a ~34m in zagreb, but its in all the 2016 sets, comes in on top of the descending chord melody) is not my favorite.. its almost has a bro-step vibe.  they toned it down significantly in the 2018 sets, for the better.

Edited by markedone
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1 hour ago, markedone said:

so far im preferring 2018 sets for one reason> the thumpy drum track (a k a ~34m in zagreb, but its in all the 2016 sets, comes in on top of the descending chord melody) is not my favorite.. its almost has a bro-step vibe.  they toned it down significantly in the 2018 sets, for the better.

yea that part is absolutely maniacal in the Dublin set. Sinister panic attack vibes before it dissolves itself. Blissful. 

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Yeah I'm currently listening to Dublin, it feels way more cohesive to me than Melbourne so far...

Column Thirteen was one of my favorite tracks from the NTS Sessions and I'm so happy with those live takes :music:

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