(224 replies, posted in Software & Plug-ins)

Here's a mirror

I need to go over this thread anyways and clean up the first post.. maybe this weekend.

My last.fm sez:

Aesop Rock
Stars of the Lid
Boards of Canada
aivi & surasshu
Aphex Twin
NASA Voyager Recordings

The aivi & surasshu album is amazing, everyone should pick that up.
The Voyager recordings are great ambient, but ~8 hours of EM drone might be an acquired taste. tongue



About Aron's (Failotron / Kanagawa) recording & production process, I remember him saying:

"I recorded with a reverb I decided I wasn't satisfied with. So I rented a church."


I like this. Using environment to soften the sound is a nice idea, even if you can't afford to rent a church smile

Subway Sonicbeat wrote:

And what about AKIRA? Guess I'm diverging to another sci-fi field now.

Yeah, the 'post-apocalyptic' and 'fucked up future' stuff overlaps to a degree. Movies in vein of The Road (empty landscapes, survival) are rare. Good movies are even rarer.

Edit: Anyone seen Stalker (1979)? Any good? (I liked the original Solaris.)

Jellica wrote:

le cite des enfants perdu
12 monkeys

these are cheesy but fun

tank girl
logans run
judge dredd
mad max

there are lots of much nicer novels and comic books though

i hope you have played the old fallout games smile

Seconded on all counts, especially City of Lost Children, and I'll add Waterworld to the cheesy ones.
If you want really trashy, The Omega Man or Six String Samurai.

Oh yeah, Escape from New York.

Postman, but only if you're stoned.

A boy and his dog is wacky, but fun.

Children of Men was a bit meh. Good camera though.

28 Days Later if you don't mind zombies.28 Weeks was bad, I thought.

I didn't make it through The Quiet Earth, should probably try again some time.

If you're fine with anime, Ergo Proxy was ok.
Kino no Tabi, if you don't mind a slow pace.
Yokohama Kaidashi Kikou has a very different feeling to most post-apo stuff, humanity kinda fades out silently.
Hmm... Nausicaä? Nah, doesn't count I guess.

This russian site has a rather impressive record of releases:

I hate that there need to be rules for what I consider basic human decency. But there probably was a reason, sadly.


(224 replies, posted in Software & Plug-ins)



(14 replies, posted in Nintendo Consoles)

FIR: http://en.wikipedia.org/wiki/Finite_impulse_response
DOCS: http://emureview.ztnet.com/developerscorner/

This techy and tedious to filter out the info, though. I've had ok results by using a simple delay, short delay time, medium feedback, steep fall-off, pingpong stereo.

eme7h wrote:
Wizwars wrote:


My EP is called ketamine for a reason.

Honestly, most stuff I wrote on drugs is shit. I loose the control over composition and instrument, as well as objectivity about what sounds good and what doesn't. There hasn't been a drug yet that was able to pull me out of a creative slump either.

Well, I guess caffeine and nicotine work to keep me going, but that's more physical.

this place can be so frustrating sometimes.

you can't see my frustrated face right now, but it's looking really frustrated.

I wrote a somewhat longer post with communityblahblah, but I'll just say that the OP posted a few tools for everyone's repository to use, which I think is a fine idea.

danimal cannon wrote:

Holy fuck what a pretentious over-writer.  Barely readable.  TLDR = presets are influencing the way modern music is made.  Get good at your instrument before buying a new one.  I know this is pretty crazy coming from a prog musician, but there's beauty in brevity.

lol, I guess he really wanted to drive the point home.

Btw, I think that chipmusicians tend to be already a few layers closer to their hardware, in part because tracker interfaces are a lot less abstract in regards to the actual sound generation than staff or a piano roll. Also, the limited environment encourages exploration a lot.

Jellica wrote:

mmm i dont know if everyone made music according to these rules, music would be really fucking boring.

Ja of course, but if everyone made music like RDJ, Aphex Twin would be boring (assuming you refer to the OP). What was listed are fairly standard tricks, which I thought makes a nice reference for beginners- seeing that threads on compositional techniques here are rare as hell and get shouted down with GWAH TEMPLATE JUST MAKE MUSIC fairly often. Also, it doesn't hurt to be reminded of the basics from time to time.

4mat wrote:

What I'm saying is, the decisions of the coder of the driver also partly influences the music written with it.  Do you see?  But when the coder IS the musician you have another layer into how the music is played back, beyond using the command set that is supplied in the editor.

Reminds me of one of my fav 'pusher quotes. I've flung this around before, but it's good, so I'll just do it again.

squarepusher wrote:

I hold the view that the influence of the structural aspect of music making is in general underestimated. By structural aspect, I refer to the machinery of music making eg: accoustic and electric instruments, computers, electronic processing devices etc. Use of a musical machine is obviously accompanied by some level of insight into its construction, operation and capabilities. It is common for a musician to have an awareness of harmonic and stylistic rules which may be observed or otherwise. It seems less common to be critically aware of the structural limitations. This structural limitation is inevitable; an analogy might be to try to talk without the use of a mouth.

This point has a particular pertinence in our present era where so many pre- fabricated electronic devices populate the landscape of contemporary music making. These devices generate ouput according to input combined with mathematically defined rules of transformation, implemented electronically. These rules thus have a direct effect on any musical activity mediated by a given machine. Of course, this is why the machine is employed - to modify sound, generate sound etc. Yet this triviality seems somewhat more significant if one considers that the manufacturers of electronic instruments are thus having a considerable influence on modern music. Indirectly, software programmers and hardware designers are taking part.

A naive notion of creativity seems compromised if we consider that a given musical piece was at least partially dictated by the tools of its realisation. Although I emphasise that never can a musician escape the use of some sort of musical tool, there is nevertheless a choice which is always made, unwittingly or otherwise. We can choose whether to understand what rules the tool imposes on our work, or we can disregard them and leave the manufacturers as "sleeping partners".

I suggest we can enhance creative potential by a critical awareness of the modes of operation of these tools. Thus, I urge an unmasking of these black boxes of the contemporary musical landscape. Circuit bending can be one way - analysing and modifying electronic circuitry. Another is to understand the ways in which musical data is encoded and modified by currently ubiquitous digital means. In addition, various software platforms now exist which, with varying levels of flexibilty, allow users to generate their own instruments.

The modern musician is subject to a barrage of persuasion from manufacturers of music technology. The general implication is that buying new tools leads to being able to make new and exciting music. While it is true that certain degrees of freedom are added by new equipment, it is not the case that this entails wholesale musical innovation. What seems more likely is that new cliches are generated by users unanalytically being forced into certain actions by the achitecture of the machine. For me it is parallel, if not synonymous with a dogmatic consumer mentality that seems to hold that our lives are always improved by possessions.

Imagine the conception of structural rules to do with electric guitars before and after Jimi Hendrix. An instrument is always open to re-definition. Thus I encourage anybody remotely interested in making music to boldly investigate exactly what the rules are to which you, as a modern musician, are subject. Only thus can you have a hope in bending and ultimately rewriting them.

That's one of the reasons why I'm so fond of experimenting with creating (soft)synths. ExploreExploreExplore.

Yeah but they don't show up outside the profile. smile



I don't know why I'm writing this actually, I don't even care that much.

I think the main idea of those threads is to 'see and be seen' or something. Maybe profile pages are 'too far away' (which they are not, but)?

I don't like signatures but I could live with links at the end of a post hidden behind some icons.