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 Now online (1)dariusgriffin ...and 302 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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I was bored and so I took the Keys Magazine 10/2001 to tipp of the amazing Squarepusher Interview. It took me about 2 hours but now - 5 A4 Pages are digitized :) I must say that the interview is in GERMAN LANGUAGE. Of course I could translate it but i`m tired from tipping now ;) I`m sure there`s someone out there who can better translate then me and is willing to do it. So here you go: "http://members.chello.at/sepixnet/squarepusher, keys interview.doc" Have Phun PS: Phobiazero or somebody else, if you want put it up on this site or another so everybody can read it =) |
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thanks.............. |
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send it to him @: phobiazero@aphextwin.nu |
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done :) |
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hahahaha "I'm afraid I wasn't able to deliver your message to the following addresses. This is a permanent error; I've given up. Sorry it didn't work out. but_sender_was_rejected./Remote_host_said:_550_5.0.0_We_don 't_accept_mail_from_spammers/" |
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? |
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it didn`t work ;) |
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hmm, nobody interessted ? |
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sepix.... give me that interview....yer website is down! |
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I renamed the file so that the Link works better, it has been cut of because of the spaces. http://members.chello.at/sepixnet/squarepusher.doc or http://members.chello.at/sepixnet/squarepusher.txt key: if you want i can send it to you per mail also, but you have to remember that this interview is in german ;) |
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ups, the second link should be http://members.chello.at/sepixnet/squarepusher.htm |
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is there any program that could translate this?! cause i saw some pretty interesting terms hidden in this german interview. looks a good read! |
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german - english.... die = the ?! getting there.... :S |
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http://world.altavista.com/sites/auen/pos/babelfish/trns this does a decent job on translating web pages.. |
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Reading these machine-translated pages is always a bit of a head-fuck. |
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i`m sorry i`m not able to translate for you guys. i`m too lazy and it`s quite difficult ... |
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The 27jaehrige Tom Jenkinson published its first Longplayer on Rephlex labels of its friend Richard D James, many also as Aphex twin admits. Already this first album carried its unmistakable handwriting: Drum n Bass mixes with progressive fusion jazz elements and strange sound experiments. Were the predecessor albums Budakhan Mindphone and Music is Rotted one note, still clearly the planet earth zuzordnen, then that appeared new Album Go plastic structurally and klanglich unerhoehrt differently. Some places of the album arouse the impression, as if the Sampler would be the stairway down-pleases and as if would have in addition someone still another staff mixer put into the left ear. To such passages the klangbild changes aprupt, but nevertheless plausibly, back into more arranged structures. jazzige elements become of complex Drum n bass Rythmen flowed around, in order to disappear briefly on it in a noise thunderstorm of the digitally completely divided instruments again. Go plastic is on case of each a program-technical masterpiece and above all a klangliches experience that special kind. We have the rare opportunity gotten with Squarepusher alias Tom Jenkinson over music, equipment and the spirit in to speak and before the machine KEY: The predecessor albums to Go plastic sounded all together very warm and similar. Some of the pieces, about Coopers World, are from the Feeling even so convincingly that one for mine could, her is of genuine jazz a Combo brought in . The new album however has completely different character: digitally, coolly, by machine, very precisely and quantized. How did it come to this radical conversion? TOM JENKINSON: That probably is because of my new studio and the conversion of the function due to it. Forwards about one and a half years I decided to arrange my studio of reason on new and a complete new start to make. I before nearly outer finally devices in the studio, modified by me, because it me had bored has, me with the interfaces the other people designed to have to slam shut. |
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The straight devices from the time between Center of the 80's and in the middle of the 90's have so unbelievably bad control surfaces and to give hardly the possibility to leave given paths. When I still also similar to equipment worked, there was no equipment in the studio at that I would not have changed something. Only it is to be turned with digital devices much more with difficulty there somewhat to, it is to also still function. KEY: But nevertheless probably a Atari or a like for the Sequencer? TOM JENKINSON: No, I have exclusive with a BossDR-660 of a Fostex 8-Spur, a Octave Cat Synthesizer (reproduction of the ARP Odyssey), one Sampler and a channel desk of sprit produces 12. KEY: One cannot present that nearly, the Rythmen and arrangements is in such a manner complex. TOM JENKINSON: Yes, but that is brought in and in the infinite one above the other all more or less live gebounced . Up to Go plastic I had still not once notion of MIDI. I knew only that that something with notes too do has. Afterwards dies me like a long learning phase forwards, by which I had to fight out myself simply, to come in music and technically there where I today am. Toward end of this phase I have me then also now and then a MAC lent by a friend, in order to be able to cut at least two trace masters. In addition, that was on a very low level, since I worked with the sound Edit software. As the MAC then again with mine Friend was, I a similar 2-Spur-Maschine bought. That may sound itself now a little moved, but I wanted simply from reason on to learn, as one cuts and goes best with an analog volume. One gets in better feeling and there is nevertheless a much larger satisfaction, since one works with material that one touches can. Although it is terribly heavy at first. one confounds the chips, or cuts too early and must then begin completely from the front again. If one looks over its Sampler Tellerrand, one in addition a notion get of it, how the means the available affect production and naturally also the composition. |
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For me this physical beginning, feeling the music, is very important. I play also bass on my pieces, that also a very physical instrument is, one feels the deep tones more than that one her hoehrt. KEY: How did it come to it which you your studio completely transformed? TOM JENKINSON: A daily had I simply the nose full and said myself: Thus, now I become a correctly geilen Computers buy and the whole expensive hard being OD FR stuff. I took, now everything out of my old equipment it will look time, what one can employ with the new stuff of everything. KEY: The earlier albums had a higher content of melodischen structures, whereas Go plastic very abstractly works. Out your view is a development or a reduction? TOM JENKINSON: Klanglich may appear reduced it, from Kompositori seen is it on case of each one Advancement, since I had to make universe the pieces before, in order to be able to make this music now. The structures and sounds did not develop from a mood, but from a development itself over a long Period extended. I have learned with my old to work limited equipment. The new devices give me the possibility of penetrating into other klangliche dimensions. naturally affects itself also Melodik and structure out. KEY: what uses you now in your new studio? TOM JENKINSON: The first software with which I argued correctly was reactor of native of instrument. That is my absolute favourite program. After I had seized the resolution to develop my studio again was that first hardware devices that I, the FS1R von Yamaha bought. geiles equipment, really, but those Control surface and the MIDI implementation is the absolute horror, like with most Japanese devices. There has I meant, now tinker myself I a FM_Synthesizer, with which I have direct access to all parameters and all operators so to interconnect knows, as I want it and perhaps still another filter behind it-switch. There me reactor came as called. Although I must say that me the surfaces with reactor of the provided Instruments also straight do not assure |
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The beautiful at reactor is that it is to be served so simply. The difficult it is to arrange the surface and controllability in such a way that one can work meaningfully thereby. With one well conceived surface should one the sound apart with eight Fadern or buttons, completely take and again to build up can. So far one had to always subordinate oneself to the prompting of equipment. With reactor can You the equipment of your function adapt and if then yet it does not please you build for you one that you pleases. That is my opinion the revolutionary according to to it. KEY: The FM-similar sounds on Go plastic, as to briefly gelooptes SAM-polarize sound are also from reactor? TOM JENKINSON: Partly, partly. I have still another Eventide DSP 4000 and a Eventide Orville. Very expensively, but which for Machines! The lion's share of the Verfremdungen and the really ill things, which one can hear on Go plastic, are with the DSP 4000 or the Orville developed. In addition, it is exactly the same here as with the other devices: For the sound, which I want to make, the Presets and programs are simply suitable. I have simply no interest at the best 3D resound. That is honestly said schnurz beep all the same to me. I want to compose music. Therefore please me Effects, in a musical context used themselves leave much better. The quality is then real secondarily. Only no effects which one overall on the sound draufklatscht, so that it sounds nobler or better. The effect is to actually affect and change the musical idea, as for instance with rythmischen Multitap Delays and one kriegt with the Eventides very well. The mad to DIN gladly is that one the algorithms and programs very well at the equipment to edit can do. one needs thus no PC or MAC editor. In addition, with the expensive Eventide There are devices some nose. Probably still none was noticeable, because everything only the Presets or given Algorithms use. I called also with Eventide, in order to weight me, but somehow me there none wanted believe. For Go p |
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phew!....a few more |
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I'll translate it later today properly if anyone wants. |
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hey - i followed the linkand now i have a word document lying down my screen, but i cannot open the bastard - soooo, could you please mail it? (i´m german ;)) mail addy above (why do i tell you this, tz ... :)) |
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For Go plastic I built myself as the first with the Orville a Synthesizer. A quantity of the FM sound are actually produced by it. I built myself a completely special FM additive Synthesizer there. The sad it is that one can the programs with nobody exchange because hardly a Orville or DSP 4000 possesses. And those, the one to afford can have no interest in it it as Synthesizer to use. KEY: How may one imagine this kind Synthesizer? TOM JENKINSON: On the Orville I built a Synthesizer, for that its signal flow and partly also the modules permanently changes, dependent on logic circuits, levels or sources of modulation. For example the sounds are, those like a mixture between Delay and extremely adjusted Timestretching sound themselves over a peak Detector circuit realized. As soon as a loop falls below a certain threshold value, the last segment of the loop becomes in such a way for a long time repeats, until the threshold value is again exceeded. The length of the segment becomes over an averaging between drop in level per time and source of modulation determines. That could be done now too far, the algorithms and Logic components to describe however that can one everything on the album hear. KEY: Which sequencer did you use on Go plastic? TOM JENKINSON: I used a QY700 von Yamaha. Years ago I tried times Cubase out, but that has me not at all assured. I like rather the numeric pattern oriented beginning of step Sequencern. With the QY700 are I like it actually only Edit lists, that dearest. I am however straight thereby me mean own Sequencer too tinker. That is for me naturally still the best solution. I think, the step Sequencer or also Tracker programs much better for electronic music are suitable, than the established Sequencer, itself to traditional volume machines concept orient. In reactor I have already step Sequencer, Sampler and mad Circuits combines, only there rather fast the processor resources go out. But for the moment am I fill contently. KEY: Why uses you so gladly FM-similar sounds. TOM JEN |
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i think my translation wouldn`t have been much better *g* |
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FUCKING HELL!!!.....WHY DID I START THIS?? TOM JENKINSON: Partly, partly. I have still another Eventide DSP 4000 and a Eventide Orville. Very expensively, but which for Machines! The lion's share of the Verfremdungen and the really ill things, which one can hear on Go plastic, are with the DSP 4000 or the Orville developed. In addition, it is exactly the same here as with the other devices: For the sound, which I want to make, the Presets and programs are simply suitable. I have simply no interest at the best 3D resound. That is honestly said schnurz beep all the same to me. I want to compose music. Therefore please me Effects, in a musical context used themselves leave much better. The quality is then real secondarily. Only no effects which one overall on the sound draufklatscht, so that it sounds nobler or better. The effect is to actually affect and change the musical idea, as for instance with rythmischen Multitap Delays and one kriegt with the Eventides very well. The mad to DIN gladly is that one the algorithms and programs very well at the equipment to edit can do. one needs thus no PC or MAC editor. In addition, with the expensive Eventide There are devices some nose. Probably still none was noticeable, because everything only the Presets or given Algorithms use. I called also with Eventide, in order to weight me, but somehow me there none wanted believe. For Go plastic I built myself as the first with the Orville a Synthesizer. A quantity of the FM sound are actually produced by it. I built myself a completely special FM additive Synthesizer there. The sad it is that one can the programs with nobody exchange because hardly a Orville or DSP 4000 possesses. And those, the one to afford can have no interest in it it as Synthesizer to use. KEY: How may one imagine this kind Synthesizer? TOM JENKINSON: On the Orville I built a Synthesizer, for that its signal flow and partly also the modules permanently changes, dependent on logic circuits, levels or sources of modulation. For example the sounds are, |
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.AHH JAYZUS someone else finish this off!!!..i'm outta here!!!!!... |
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sepix - would you :D??? |
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"Einige Stellen des Albums erwecken den Eindruck, als wäre der Sampler das Treppenhaus hinuntergefallen" EVERYONE says that about afx, sqpr and venetian snares. It means: "Some parts of the album give the impression that a sampler is falling down a flight of stairs." |
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i tipped it yesterday. my fingers still hurt ;) |
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The link is dead. Would you please share it again? |
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