On EP mastering

[Lane Visitor]

So ON EP is easily in my top 5 favorite Aphex releases. Gorgeous aquatic machinery drilling and grinding beneath beautiful and mysterious melodies from beyond the oceans of distant planets.

 

I purchased the CD version off Discogs a bit ago, as all I used to own were shitty mp3s of it from the Napster/Kazaa days. Sorry Richard.

 

What's odd is when I put the CD into my car stereo, I noticed that the high hats and treble were very prominent. And I do realize that shitty mp3s cut out highs, but that's not what I thought was odd. I also have the 51/13 Singles Collection on CD which I've owned for a long time, so that's actually my frame of reference for the On track.

 

The 51/13 version of On is mastered quite differently than the maxi-single version, am I wrong? I almost couldn't listen to the original version as the hhs were grating in my ear, though both times I listened, were after heavy cardio sessions, so I wonder if my ears were more sensitive or something at the time. When I immediately put on 51/13, it was like ahhhh we're ok now ears.

 

I'm assuming the EP CD version - which was the original - was intended to be slightly abrasive in the high-end for mindfuckery experimental Aphex reasons ala Ventolin, or is it just this catalog #'s re-mastering, oooor is it just my ears adjusting to the non-compilation version?

[Jamesqdot]

So ON EP is easily in my top 5 favorite Aphex releases. Gorgeous aquatic machinery drilling and grinding beneath beautiful and mysterious melodies from beyond the oceans of distant planets.

 

I purchased the CD version off Discogs a bit ago, as all I used to own were shitty mp3s of it from the Napster/Kazaa days. Sorry Richard.

 

What's odd is when I put the CD into my car stereo, I noticed that the high hats and treble were very prominent. And I do realize that shitty mp3s cut out highs, but that's not what I thought was odd. I also have the 51/13 Singles Collection on CD which I've owned for a long time, so that's actually my frame of reference for the On track.

 

The 51/13 version of On is mastered quite differently than the maxi-single version, am I wrong? I almost couldn't listen to the original version as the hhs were grating in my ear, though both times I listened, were after heavy cardio sessions, so I wonder if my ears were more sensitive or something at the time. When I immediately put on 51/13, it was like ahhhh we're ok now ears.

 

I'm assuming the EP CD version - which was the original - was intended to be slightly abrasive in the high-end for mindfuckery experimental Aphex reasons ala Ventolin, or is it just this catalog #'s re-mastering, oooor is it just my ears adjusting to the non-compilation version?

 

It's most likely the mastering. You find this a lot with old versus newer CD mastering. Before vinyl really took off again as a format you'd see a lot of "remastered" CD reissues coming out, and they frequently sacrificed a lot of the top end for boosted bass, but what you actually get is brick-walling and significantly reduced dynamic range.

 

With a decent player/output, I've found that the older CD's range from at the very least more well-rounded all the way up to just flat-out better than more recent remastered ones.

 

It's a hangover from the loudness wars.

 

Anyway, the vinyl mastering is similar in terms of the top end for 'On'.

[Lane Visitor]

 

So ON EP is easily in my top 5 favorite Aphex releases. Gorgeous aquatic machinery drilling and grinding beneath beautiful and mysterious melodies from beyond the oceans of distant planets.

 

I purchased the CD version off Discogs a bit ago, as all I used to own were shitty mp3s of it from the Napster/Kazaa days. Sorry Richard.

 

What's odd is when I put the CD into my car stereo, I noticed that the high hats and treble were very prominent. And I do realize that shitty mp3s cut out highs, but that's not what I thought was odd. I also have the 51/13 Singles Collection on CD which I've owned for a long time, so that's actually my frame of reference for the On track.

 

The 51/13 version of On is mastered quite differently than the maxi-single version, am I wrong? I almost couldn't listen to the original version as the hhs were grating in my ear, though both times I listened, were after heavy cardio sessions, so I wonder if my ears were more sensitive or something at the time. When I immediately put on 51/13, it was like ahhhh we're ok now ears.

 

I'm assuming the EP CD version - which was the original - was intended to be slightly abrasive in the high-end for mindfuckery experimental Aphex reasons ala Ventolin, or is it just this catalog #'s re-mastering, oooor is it just my ears adjusting to the non-compilation version?

It's most likely the mastering. You find this a lot with old versus newer CD mastering. Before vinyl really took off again as a format you'd see a lot of "remastered" CD reissues coming out, and they frequently sacrificed a lot of the top end for boosted bass, but what you actually get is brick-walling and significantly reduced dynamic range.

 

With a decent player/output, I've found that the older CD's range from at the very least more well-rounded all the way up to just flat-out better than more recent remastered ones.

 

It's a hangover from the loudness wars.

 

Anyway, the vinyl mastering is similar in terms of the top end for 'On'.

Interesting, yeah that was my hunch- that On EP had intended to be really zingy in the top end, almost shrill to give off that harsh industrial vibe, while the remasters (like On track in 51/13) were toned down a bit in the highs for more of an accessible listen.

 

Can't wait to eventually grab a vinyl version of it, even if it's mastered the same.

[Dragon]

as i remember, the On EP was different in the US - it just has On, 73-Yips, Xepha and the Reload mix (and leaves out the other mixes and D-Scape original). but most importantly, the US masters of those tracks are different, and they have fades at the end instead of ending as they should.

 

if you have the 51/13 Singles Collection, then you'll have heard the US versions of On and 73-Yips. moreover, if you tried to download any of the On tracks from p2p networks, you'll have found the US edits were overwhelmingly more common because the US single was uploaded first, and then it became one of the more popular releases and the same mp3s were getting shared etc.

 

you've made me nostalgic - the On EP might've been the first thing i ever downloaded from p2p, wayyyyy back in the day. now i have the double gatefold vinyl, and it remains one of my favourite releases :)

[killabyte11]

Also one of my favorites.  The whole period between that and ICBYD and a few others that are in that vein is my favorite period of Aphex Twin.  I got the On CD in the mid 90's and it's just so characteristic of that time.  Every time I hear his work from that period I'm instantly transported back to memories of the time.  Such a magical, other worldly sound. 

A few years ago I bought the vinyl as well which is really nice because it's pressed at 45rpm which equals higher quality...it sounds exquisite.

 

  To address your original question...I've never noticed any difference between the versions and I have the 51/13 CD.  I'll have to go back compare.  I think the highs in tracks like 73 yips are supposed to be sharp, They're designed to slice your head off.  That and similar sounding Start As You Mean To Go On are among my very favorite Aphex tunes.

The vinyl probably softens the highs a little since it rolls off at a certain frequency not nearly as high as CD. 

[Dragon]

Start as you mean to go on is probably my most-played track, by aphex or any other artist! i'm one of those lucky people who heard 73-yips BEFORE icbyd, so i had time to appreciate those fucking strobe lightning flashes beforehand - then out of nowhere your house vanishes and you're flying through an oriental cosmos.

 

Start as you mean to hear the EP :)

[Time Tourist]

Start as you mean to go on is one of my favourites too. Icbyd is just so great, more so after the store extras. Ventolin is the only track that i skip mostly, too hard on my ears.

[ZoeB]

Huh, I tend to skip about half of ICBYD, but the other half's now one of my favourite albums.  And thanks to the last re-release, it's album length for me again.

[killabyte11]

Huh, I tend to skip about half of ICBYD, but the other half's now one of my favourite albums.  And thanks to the last re-release, it's album length for me again.

Yeah you and most of this forum, Then why bother even commenting here at all?  Super fucking annoying.  I think it's his greatest work.  His most accomplished album...one I've been listening to since it's release and never tire of.  Most of everything he's released after this album is of very little interest to me and far less original as I see most of it as basically RDJ doing his best impression of Squarepusher.  ICBYD is a perfect album, 11 out of 10.  If I do occasionally skip a track it would be Alberto Balsalm....ironically the only track on the album that most people on this forum like. 

[Rotwang]

Then why bother even commenting here at all? Super fucking annoying.

post ur tunes

[Uros]

 

Huh, I tend to skip about half of ICBYD, but the other half's now one of my favourite albums.  And thanks to the last re-release, it's album length for me again.

Yeah you and most of this forum, Then why bother even commenting here at all?  Super fucking annoying.  I think it's his greatest work.  His most accomplished album...one I've been listening to since it's release and never tire of.  Most of everything he's released after this album is of very little interest to me and far less original as I see most of it as basically RDJ doing his best impression of Squarepusher.  ICBYD is a perfect album, 11 out of 10.  If I do occasionally skip a track it would be Alberto Balsalm....ironically the only track on the album that most people on this forum like. 

 

Wow, such positive and warm vibes here. Who are these "most of this forum"? We must have read totally different threads since I honestly don't remember seeing much hate against ICBYD, hardly any. True, people generally are more fond of SAW II or RDJ LP from the said period and they tend to get more recognition but it's hardly a straight proof they hated ICBYD.

 

Personally it goes to my top 3 aphex albums (could be in top 3 of any albums under afx monikers). It makes a cool pair with ABB5, I try to play them together whenever I have enough time to spin both. My only complaint about the album is that it should have Rough Beat Tune included in its tracklist. Would flow so great with Acrid Avid Jam Shred, Start As You Mean To Go On and Mookid (omfg the melody that comes in at 0:49 mark, one of my favorite moments on the album).

 

And yes, Mookid>>>>Alberto Balsalm, discuss.

 

Sorry Lane, didn't bring much light to On EP mastering.

[ZoeB]

 

Huh, I tend to skip about half of ICBYD, but the other half's now one of my favourite albums.  And thanks to the last re-release, it's album length for me again.

Yeah you and most of this forum, Then why bother even commenting here at all?  Super fucking annoying.  I think it's his greatest work.  His most accomplished album...one I've been listening to since it's release and never tire of.  Most of everything he's released after this album is of very little interest to me and far less original as I see most of it as basically RDJ doing his best impression of Squarepusher.  ICBYD is a perfect album, 11 out of 10.  If I do occasionally skip a track it would be Alberto Balsalm....ironically the only track on the album that most people on this forum like. 

 

I didn't mean to imply that I think your opinion's bad at all.  I just think it's interesting (and good!) how different people like different things, to the extent that on a forum of rabid Aphex Twin fans, we can have such a different preference for bits of this album.  I didn't even realise most of the forum agreed with me on this one, I'm quite out of touch...  Anyway, when it comes to the parts of the album that I like, I agree they're now amongst my favourite work of his.  (I realise I'm later than most here coming to this opinion.)  It's just the right balance between outsider art and knowing a little theory.  Custom analogue patches unlike those anyone else makes, orchestral sounds, nice melodies...  On paper, the same combination as the Inception soundtrack, but they couldn't be more different.  Where that's powerful and professional, this is messy and fun and idiosyncratic, even playful.

 

Here, have an analysis of the opener, see if that cheers you up:

 

[Joyrex]

 

Huh, I tend to skip about half of ICBYD, but the other half's now one of my favourite albums.  And thanks to the last re-release, it's album length for me again.

Yeah you and most of this forum, Then why bother even commenting here at all?  Super fucking annoying.  I think it's his greatest work.  His most accomplished album...one I've been listening to since it's release and never tire of.  Most of everything he's released after this album is of very little interest to me and far less original as I see most of it as basically RDJ doing his best impression of Squarepusher.  ICBYD is a perfect album, 11 out of 10.  If I do occasionally skip a track it would be Alberto Balsalm....ironically the only track on the album that most people on this forum like. 

 

Hang on - that's Zoe's opinion, just like you thinking ICBYD is his greatest work is YOUR opinion - don't slag someone off for expressing their thoughts or opinions, no matter if you agree with them or not.

[Suction Records]

Back to the original topic, I was thinking to myself as I first read this, that I never noticed the On CD mastering to be particularly bright. But then I read further and now it makes sense - I have the US pressing.

 

I get the impression that AFX likes very bright mastering, probably requests it. I like bright mastering too, but IMO sometimes it's taken too far on AFX releases. The worst example for me is 26 Mixes For Cash... it surpasses bright, into brittle territory. I'm often bummed that I sold my Nav Katze remix CD before realizing that those remixes are practically ruined on 26 Mixes by the harsh brittleness of the mastering.

[joshuatxuk]

 

 

Huh, I tend to skip about half of ICBYD, but the other half's now one of my favourite albums.  And thanks to the last re-release, it's album length for me again.

Yeah you and most of this forum, Then why bother even commenting here at all?  Super fucking annoying.  I think it's his greatest work.  His most accomplished album...one I've been listening to since it's release and never tire of.  Most of everything he's released after this album is of very little interest to me and far less original as I see most of it as basically RDJ doing his best impression of Squarepusher.  ICBYD is a perfect album, 11 out of 10.  If I do occasionally skip a track it would be Alberto Balsalm....ironically the only track on the album that most people on this forum like. 

 

Hang on - that's Zoe's opinion, just like you thinking ICBYD is his greatest work is YOUR opinion - don't slag someone off for expressing their thoughts or opinions, no matter if you agree with them or not.

 

 

Also FYI ZoeB has written some incredibly insightful posts about RDJ's production methods, musiciology, studio setups, etc.

 

Haven't seen some shade thrown like this since the old Awepittance vs [insert someone else here] days.

[BaggerMcGuirk]

 

 

Huh, I tend to skip about half of ICBYD, but the other half's now one of my favourite albums.  And thanks to the last re-release, it's album length for me again.

Yeah you and most of this forum, Then why bother even commenting here at all?  Super fucking annoying.  I think it's his greatest work.  His most accomplished album...one I've been listening to since it's release and never tire of.  Most of everything he's released after this album is of very little interest to me and far less original as I see most of it as basically RDJ doing his best impression of Squarepusher.  ICBYD is a perfect album, 11 out of 10.  If I do occasionally skip a track it would be Alberto Balsalm....ironically the only track on the album that most people on this forum like. 

 

I didn't mean to imply that I think your opinion's bad at all.  I just think it's interesting (and good!) how different people like different things, to the extent that on a forum of rabid Aphex Twin fans, we can have such a different preference for bits of this album.  I didn't even realise most of the forum agreed with me on this one, I'm quite out of touch...  Anyway, when it comes to the parts of the album that I like, I agree they're now amongst my favourite work of his.  (I realise I'm later than most here coming to this opinion.)  It's just the right balance between outsider art and knowing a little theory.  Custom analogue patches unlike those anyone else makes, orchestral sounds, nice melodies...  On paper, the same combination as the Inception soundtrack, but they couldn't be more different.  Where that's powerful and professional, this is messy and fun and idiosyncratic, even playful.

 

Here, have an analysis of the opener, see if that cheers you up:

 

 

 

I really like this.  Have you got more of these?  I'd love to see a breakdown of other tracks.

[Dragon]

Back to the original topic, I was thinking to myself as I first read this, that I never noticed the On CD mastering to be particularly bright. But then I read further and now it makes sense - I have the US pressing.

 

I get the impression that AFX likes very bright mastering, probably requests it. I like bright mastering too, but IMO sometimes it's taken too far on AFX releases. The worst example for me is 26 Mixes For Cash... it surpasses bright, into brittle territory. I'm often bummed that I sold my Nav Katze remix CD before realizing that those remixes are practically ruined on 26 Mixes by the harsh brittleness of the mastering.

26 Mixes was one of the worst mastering jobs ever... many of the tracks come from lossy sources, some even have the stereo channels flipped for no apparent reason. not to mention the number of tracks that were edited down to fit the comp on 2xCD.

 

interesting: back in the day, it appears there was a second version of this album (or a rip from another source) running on p2p networks. it had much, much lower audio quality and seemed to be over-amplified. three tracks in particular stuck around for a long time - the bad copies of 'zeroes and ones', 'the beauty of being numb' and 'une femme nest pas' kept getting mistaken for the originals, i guess because of the sonically overbearing nature of those tracks. so you could never find decent copies of those, only the shrill high-amplitude versions.

 

give me a dodgy-looking tracklist for analord 11 any day :S

[Ivan Ooze]

i'm probably gonna be on killabyte11's death list but i skip some ICBYD tracks aswell even if it's one of my favorite albums

 

don't slag someone off for expressing their thoughts or opinions, no matter if you agree with them or not.

 

unless you talk shit about my fav albums

*come on you slags*

[ZoeB]

 

I really like this.  Have you got more of these?  I'd love to see a breakdown of other tracks.

 

 

Thanks!  In general?  Yeah, a few:

 

• Aphex Twin: Acrid Avid Jam Shred
• Aphex Twin: Carn Marth
• Autechre: Bike
• Autechre: Eggshell
• Ceephax Acid Crew: Life Funk
• Fatboy Slim: Praise You
• Pete Namlook and Ludwig Rehberg: Angel Circle
• Plastikman: Ask Yourself

[Suction Records]

 

Back to the original topic, I was thinking to myself as I first read this, that I never noticed the On CD mastering to be particularly bright. But then I read further and now it makes sense - I have the US pressing.

 

I get the impression that AFX likes very bright mastering, probably requests it. I like bright mastering too, but IMO sometimes it's taken too far on AFX releases. The worst example for me is 26 Mixes For Cash... it surpasses bright, into brittle territory. I'm often bummed that I sold my Nav Katze remix CD before realizing that those remixes are practically ruined on 26 Mixes by the harsh brittleness of the mastering.

26 Mixes was one of the worst mastering jobs ever... many of the tracks come from lossy sources, some even have the stereo channels flipped for no apparent reason. not to mention the number of tracks that were edited down to fit the comp on 2xCD.

 

interesting: back in the day, it appears there was a second version of this album (or a rip from another source) running on p2p networks. it had much, much lower audio quality and seemed to be over-amplified. three tracks in particular stuck around for a long time - the bad copies of 'zeroes and ones', 'the beauty of being numb' and 'une femme nest pas' kept getting mistaken for the originals, i guess because of the sonically overbearing nature of those tracks. so you could never find decent copies of those, only the shrill high-amplitude versions.

 

give me a dodgy-looking tracklist for analord 11 any day :S

 

 

RE: lossy sources, editing down track lengths etc... I wouldn't put these kinds of issues into the category of "mastering"

 

Are your observations based on the CD, or strictly on pirated versions? I would need to listen again, but I don't recall any of "lossy" sounding tracks or inconsistency between tracks. My recollection is that the whole thing (all tracks on both CDs) were mastered in an extremely bright/shrill way, in comparison to the original released versions of the remixes (of which I have many on CD). Of course, RDJ would have no control over the way his remixes for other artists were mastered, but I'm sure he would have had input, or at least approval, into how it was all mastered on 26 Mixes For Cash.... The mastering on that 2CD is really brutal. I'm imagining that the UK pressing of On (based on the OP's description) is probably similar sounding.

[Lane Visitor]

I actually have heard other examples of this extra bright/harsh/shrill effect in other parts of his catalogue too.

 

First there's the obvious Ventolin which is definitely meant to be abrasive. Also, if you've ever noticed, Donkey Rhubarb's metallic bubble sounds that make up the track's main percussion have a very piercing effect in the top end. I usually end up having to listen to that one quietly as the sound is mixed quite prominently. To be honest though, this is an example of something I wouldn't want to have any other way, as I percieve it as part of Richard's bag of mental tricks, kind of like pleasure and pain for your ears--beautiful swirling ambient passages and playfulness beneath a bed of nails for percussive sounds. The effect is some sort of musical s&m, self flagellation for the eardrums... All in the name of art. As much as it bothers me, I love it.

 

Still not sure if On, on the other hand, is purposely intended to be harsh as that may be more of a mastering oversight--though I'd find it hard to believe that Richard wouldn't have total quality control over the mastering for each pressing that goes out. I guess this one could have been a label/distributor power play thing and he may have been so busy touring or in the studio that he may have not even heard the final UK masters until they arrived, who knows. Then again, could have been intentional to create a little ear pressure, unease to juxtapose against the utter beauty and tranquility of the music. It's kind of a beautiful thing that we may never know either.

[killabyte11]

OK perhaps I went a little overboard.  However I feel very strongly about this particular era of Aphex Twin.  I also find it amusing that after years of tracks like 73 yips and Start As You Mean To Go On being favorites of mine, those are the tracks that RDJ himself plays the most in his early sets.  I think he even played 73 yips in one of his new sets if I'm not mistaken.  Also worth mentioning that there are more versions/pressing etc...of ICBYD than any other Aphex Twin release.

Along with the On ep I put certain other tracks from the period under the umbrella of that sound including the "remix" of Curve's Falling Free,  the remix of Meat Beats..Mindstream and a few others that can be found on 26 mixes for cash.

I also put Selected Ambient Works II in this category since it's very much the same sound palette.  I see ICBYD basically as SAWII with beats.  Perfect mix of organic and synthetic, hard edged and melodic, heavy yet very dreamlike.

This is the period I've always been most obsessed with and the rest of his early material comes in a close second.

 

For the first 4 years or so of Aphex Twin releases he was almost seen as a messianic figure among many people, something of a prodigy or genius.  By the mid 90's he had built an identity of basically there was Aphex Twin and then there was everybody else in the electronic music scene.  His style was so distinctive that It was almost unfathomable that he would influenced by anyone else....and that's why I've always found it pretty disappointing that he would be influenced by someone like Squarepusher who I personally never liked and don't put anywhere near the same sphere as RDJ. 

 

I just see a lot of his later period as being more centered around the novelty of "look how complex I can be" but the music doesn't elicit nearly the same vibe or dream like qualities as the earlier stuff because there's never time to really immerse yourself in the sound environment as it's always zipping away in another direction.  RDJ was a master of creating simple, minimal yet powerful pieces of music, something that to me is infinitely more challenging and more interesting than creating complexity.  But I can see why the younger generations of fans are into that sound, to them music is more like video games and any kind of novelty really impresses them.  Each new release has to be "something they've never heard before" rather than just good music that sparks your imagination, takes you on a journey or inspires you in some way.  Also people like everything smooth, slick, mellow, soft and cute or silly now. Hence why most contemporary music is the extremely watered down, safe, inoffensive, bland, throw away garbage.

I personally like a bit of intensity in my music.  Something with some fire to it.

[Boxus]

*masturbates onto keyboard*

 

*clicks 'post'*

 

*congratulates self*

[Suction Records]

OK perhaps I went a little overboard.  However I feel very strongly about this particular era of Aphex Twin.  I also find it amusing that after years of tracks like 73 yips and Start As You Mean To Go On being favorites of mine, those are the tracks that RDJ himself plays the most in his early sets.  I think he even played 73 yips in one of his new sets if I'm not mistaken.  Also worth mentioning that there are more versions/pressing etc...of ICBYD than any other Aphex Twin release.

Along with the On ep I put certain other tracks from the period under the umbrella of that sound including the "remix" of Curve's Falling Free,  the remix of Meat Beats..Mindstream and a few others that can be found on 26 mixes for cash.

I also put Selected Ambient Works II in this category since it's very much the same sound palette.  I see ICBYD basically as SAWII with beats.  Perfect mix of organic and synthetic, hard edged and melodic, heavy yet very dreamlike.

This is the period I've always been most obsessed with and the rest of his early material comes in a close second.

 

For the first 4 years or so of Aphex Twin releases he was almost seen as a messianic figure among many people, something of a prodigy or genius.  By the mid 90's he had built an identity of basically there was Aphex Twin and then there was everybody else in the electronic music scene.  His style was so distinctive that It was almost unfathomable that he would influenced by anyone else....and that's why I've always found it pretty disappointing that he would be influenced by someone like Squarepusher who I personally never liked and don't put anywhere near the same sphere as RDJ. 

 

I just see a lot of his later period as being more centered around the novelty of "look how complex I can be" but the music doesn't elicit nearly the same vibe or dream like qualities as the earlier stuff because there's never time to really immerse yourself in the sound environment as it's always zipping away in another direction.  RDJ was a master of creating simple, minimal yet powerful pieces of music, something that to me is infinitely more challenging and more interesting than creating complexity.  But I can see why the younger generations of fans are into that sound, to them music is more like video games and any kind of novelty really impresses them.  Each new release has to be "something they've never heard before" rather than just good music that sparks your imagination, takes you on a journey or inspires you in some way. 

 

 

Other than removing your last three sentences from what you wrote, as they seemed to me to be an unrelated side-rant, let me just say: you're not alone. I feel exactly the same way. ICBYD is also my favourite Aphex release, and that whole 93-95 era is absolutely his most original and striking body of work. I liked Feed Me Weird Things when it came out, and even the early Aphex drill n bass tracks blew me away at the time, but the novelty wears off, and that Squarepusher drill influence just never seems to go away - it keeps getting more and more extreme. To me most of that stuff sounds like nothing more than exercises in ADD show-offery.

 

If you haven't checked out the RX-101 releases that I've been putting out on my label over the past couple of years, you should. It sounds exactly like early-mid-90s era AFX/Rephlex, to a T.

[KovalainenFanBoy]

christ this is the electronic music equivalent of 50 yeard olds who think rock died with Led Zeppelin and Pink Floyd