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 Now online (1)belb ...and 83 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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also, here we are again: blue monday, the emperor's nude semiquaver |
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mindblowing |
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is that the end of windowlicker? no, it's a pair of nascent teenagers mashing a midi through pirated software and then accidentally rinsing it further with more software -- fraps. likes to lag more than bandycam. who am i to disagree? when i needed this sort of tool i went right for fraps, but i did that because it's what ken silverman suggested. |
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so, yeah. black midi is its own whole movement. the files are floating around; have been floating around. loads of people run red zone or apple through some virtual piano and upload it to youtube; eventually a pair of kids hit the sweet spot entirely by accident. blow the mind of a jaded 30yo and sell him on the idea that there may still be things left to do. if that's not current times, i don't know what is |
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"yeah, kids these days are pretty riced out, i reckon." an english chap posted that on the yugo forums. it's somewhere between delightful and overwhelming to see what had been my private file of nonsense for ages begin to percolate out and ripple back at me. didn't aphex say something like, "yeah, people started making VSTs to do the things i did, then i downloaded those VSTs and used 'em; a weird feedback loop." i'm thing of dFx buffer override there. where'd that come from? timestretch on the Akai S100? i think. the cloud is for more than serving up shitty portal sites. it is a living and thoughtful echo chamber and i love the shit out of it, even if i don't quite have its attention like teh afx. |
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aphex speaking like rza i reckon i dont know what this is worth for, i guess it your representation of music |
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its never a matter or what has been done and whats not, the matter is what did you do or didn't |
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the structure of scientific revolutions by thomas kuhn. paradigm shift. applicable to art farts without the dismal seriousness of academics. 4'33 was a paradigm shift. so is youtube. if something you do catches on and percolates, it's like a futuristic quantum computer that tries out countless possibilities all at once... except it's human, too, with personal preferences. these prefs will not necessarily align with yours. people misinterpret what you meant and come back with riffs based on those misinterpretations, or even flat-out negate you. then everyone votes with the roman emperor icons and you don't even have to spend much time sorting through the results for the winners. how would you even build that from scratch? you could spend ages interviewing people and sorting through resumes until you have a gymnasium full of people that are interested in your stuff, but it's not like you can screen them for being full of ideas and angles you haven't thought of. you haven't thought of them, so you can't screen for 'em |
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they wrong about ether and they never saw ethernet coming. |
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bob metcalfe invented ethernet, and when he did, i'm pretty darn sure he had a hell of a beard. it's a logical assumption, given that he had a hell of a beard twenty years later in cringley's nerds point release on PBS. maybe, though, it's very slow. he was clean-shaven when he invented ethernet, and by the time he sold 3com, he had a goatee, etc next, here is (which i did not invent) and (which i did [but no that is not me in the video{H264 @ 5k <90mb>}]). thank you for reading my reply to myself tangenting to nearby words. the internet is p. dope. the sp303 sux. burial drives a geo metro with flame decals. correct me if i'm wrong, here i have burial's "untrue" as well as burial's "burial." i don't remember either, really, except that i had a reaction that wasn't particularly good. no hate; i didn't find it annoying or bothersome... but the yawn it generated made the milky way look like a morsel of breakfast cereal. i probably won't change my mind, but it's been years. it's worth another yawn just to be sure. p.s. if you want minimal that's not terrible (and, in fact, blows "quite good" out of the water) try jelly tones by ken ishii. p.p.s. that ellen 'n' appart album is completely unrelated, but fantastisch |
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which yawns harder, untrue or burial? it wasn't clear i was asking that. if one's a yawn i won't listen to the other on faith; don't blow your shot here lads |
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i also could be confusing bob metcalfe with one of the guys. i am reasonably certain he wasn't with japanese telecom, in any case. or maybe the guy i'm thinking was actually monolith, pretending to be gerald donald. again. then travelling back in time; pretending to be gerald donald pretending to be bob metcalfe. i felt compelled to add this because accuracy matters to me, somewhat. |
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go listen to breakcore |
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breakorpereal moats for wekford, with a bit of brown sugar and salt to aspiration. that's breakcore. your post? not one of the two burial albums i have. it suits; i'm too well-rested to yawn. try to have your decision back by this evening, please |
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also, is the sort of thing that makes me glad i traded the mouse for more faders than i could handle. mostly, i feel like i have a sense of rhythm and timing that i didn't have before. i've always had a knack for layering, but now i feel them sliding and drifting much more crisply. things like everyone's windshield wipers drifting in and out of sync. somewhere along the line i began factoring things like that into my driving, and i'm making decisions about whether or not to run a yellow light based on the position of the song, my knowledge of the light's timing, the feel of the car motion when viewed with soft eyes, and yes, i can be coasting through the intersection precisely at the moment when the wipers are most synced. this is just casual amusement for me. if i'm tired or having a conversation these things fade off, but when i'm driving for fun, they all come out to play. sort of a notion that all of life is DJing, beatmatching. years of fighting with old skool hardware and my own weaknesses has been rewarded with an ability to rapidly hone in on all these little trickles of rhythmic data and synthesize them into something to amuse myself. i kind of regret those QSI albums i made, but most of the rest i'm glad i did |
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lol. youre not content with the posts you do here, you link posts on your forum. i cant keep track, man try untrue for driving and keep burial for the coldest weather |
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ive read the post on the other forum, you have interesting stories, but i get 40/60% of what youre saying |
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youre actually sounding funny. have you learnt to write from w M w a bit? |
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darn it. while driving means i have to copy it over to my phone. this is getting complicated... but i've made such a thing of it that i can't bail out now. |
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i decided i was posting too much of it here and that branch of it felt like a good moment to take it back over there. then i realized that was a functional example of the nonsense i was talking up over here, so i was all "this is over there" and the rest of it was an xlt post that still would have shown up without that link or the story of absurd noise stick. may as well connect it into my nonsense modular |
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yes, try to get into the record |
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i owned both burial and untrue on cd, they sounded different than the mp3, i remember i was saying that on here |
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i dont have any cd left. all destroyed. |
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back on tangent: raymond scott pointed out that anytime you listen to a record there is a long and esoteric signal chain that alters it slightly, depending on the listener's particular apparatus. 4'33 wasn't meant as some contrarian gimmick, even it's that what it was to many. it was more a cleverly made point about ambient sounds. a layer on top of scott's apparati. today, it's pretty hard to find silence. your average doctor's office is still pretty brian eno ambient, but times square is busier than a venetian snares track. phones, bluetooth speakers, viral videos, apple watches. a train compartment today sounds like times square did twenty years ago. mumbling podcasts, viral videos with explosions, and of course, everything that was there before... chatter and farts and squeaks. i figure people have become remarkably adept at surfing through all this noise. it's pretty much a survival skill, at this point. it is more complex than simply tuning everything out (which is dead simple; use earplugs). the key is separating what you want from what you don't... and being able to do this quickly, for a dozen things every second. you're subconsciously keeping running talleys on loads of different things. it's not easy... it's a learned skill. always within human capability, but never this reliably omnipresent. this changes a lot of things in culture. music has gone michael bay. people expect and want more events. deliberate flooding, sensory overload is no longer overwhelming, it's exciting. everyone everywhere is doing things like driving, smoking, listening to music, and surfing the web, all at the same time. without breaking a sweat. anyone who wants to function has to be good at it. anyone who wants to be interesting must be a master at it. |
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whats 4'33? |
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i wanted to ask you before |
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im reading the italian page |
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so you have the mind of the composer, the things that generate the sounds, the things that record the sounds, the things that play back the sounds, and then the ambient sounds on top of the sounds. the layer on top of this is attention management. formerly invisible, now a new playground. is this what i was getting at? perhaps. i'm not sure |
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functional example: squarepusher's "coathangar" has a moment that's precisely a match for what bleep does or did when your thirty-second preview is over. it's a rapid fade, and distinct enough to constitue a sort of signature. if you're listening raptly, whiching the seconds tick by in winamp, it's amusing, sure. but if you're surfing the web and listening to the album in the background, it has the potential to pull the rug out from under you; snap your attention back to the music under false pretenses. it is definitely one of SP's more clever moments. |
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im playing it now |
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i propose a composition called 4'33"1, in which the audience is instructed to begin using their mobile phones however they so please. candy girls are deployed after a few minutes and begin to ask people if they want to buy candy. a few minutes later they're asking everyone a second time, then a third. a cell jammer is switched on and there's minor chaos as 2/3 of everyone loses their current thread and says no to the candy girl for the fifth time. then the pink floyd airplane from their live performance of "on the run" flies over the audience and explodes. later, the computers get hacked and the personal information of everyone who attended gets uploaded to the internet. in future performances, video of previous performances is blasted onto the walls with projectors and into the air with loudspeakers. two dozen parrots, all unique, are released and fly around. a man gets on the megaphone and starts demanding to know who released the parrots, these are not part of the performance and please collect your parrots immediately i would absolutely love that. i would. but i suppose it's all been done already, by andy kaufman |
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did you see pink floyd live? |
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4'33"1 ends with the cops showing up, and it's not clear if they're the real cops or part of the plan. obviously, they're the real cops, and they're showing up because of the small riot going on -- that's the final movement, things getting so out of hand that the riot police show up and unwittingly become part of the performance. also part of the performance are the dozen or two people so sucked into their mobile phones so thoroughly that they miss the whole thing right up to being clubbed with a baton. |
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where we can see/hear that? |
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oh thats your invention, sorry i missed the 1 |
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so, i am afraid my reaction to "untrue" was of my original reaction: this sounds like DJ Shadow trying to an Avicii track, and it's really not working for me. every song goes like this: hip hop beat and drifty vocal sample. ok, not bad. a minute later not much has changed and i'm waiting to be hit up with something, anything. nah. i began losing patience and skipping tracks. then i got to "In Mcdonalds" and i was like... are you shitting me? this better be good. like, an accidentally recorded argument, cash register noises -- anything, please. but, no. it's a hip hop beat with a drifty vocal sample. at that point i skipped the rest of the album... except for a bit of "untrue." i thought: oh, alright, it's the title track. perhaps this is the thing mohamed meant to sent me. it was a hip hop beat with a drifty vocal sample |
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there's a thought i've passed by a few times. enough of a tingle on the notion geiger that i'll let it out: i hope mohamed isn't the burial guy. that would be super-awkard |
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i wish i was the burial guy |
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its a beat, but not a hip hop beat. more likely an UK beat |
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more likely A do wit wat you have |
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wat i got |
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that reminds me, i still need to delete this album from my phone. it's only got 16gig unoe |
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so youre another one of those artist bragging about their music while throwing shit on another ones? seen on xltronic. |
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seen all of them vaporizing, too |
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i don't just get on a soapbox and complain. i wait until someone posts an xltronic thread about something i have complaints about. then i post them all. then i move on to other threads for a bit... then, yes, you've replied to my replies and pretty soon i'm having a conniption over "in mcdonalds" because some guy on the internet didn't understand how anyone could hate a sampler. like, genuine resentment |
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how is gear shonked? |
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hate a sampler? |
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oooh i get it now. you hatze the sampler and i couldnt get it. ok. |
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Burial's sample choices are perfick, can tell he's just going for stuff that is in his favourite games, tunes and films, and even if you can't immediately identify the source that is gonna resonate with a lot of ppl who are in the same lifestyle + thnk the same way. Plus his tunes are good. |
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