luka

Well-known member
me and mvuent were trying maybe not very successfully to describe it as it applied to electroacoustic music a while back
 

mvuent

Void Dweller
me and mvuent were trying maybe not very successfully to describe it as it applied to electroacoustic music a while back
:mad:

what's interesting to me about the audio animation of newer dance music and hip hop in particular is how there's been this sort of unspoken arms race towards more solid, satisfyingly compressed sounds. stuff made with drum samples in a DAW 10-15 years ago often sounds annoyingly thin compared to stuff from the past few years; the evolution has been very dramatic.

this musical value sort falls between the cracks of normal spoken values: it's not about having more intricate production like IDM, and music that's perfected mastered in a traditional sense (e.g. steely dan) also totally lacks this hyperreal punchiness. it's not even about playing with space like in grm stuff. it perhaps has more to do with those vids of "oddly satisfying" sounds or even asmr than any of that.
 

version

Well-known member
 

mvuent

Void Dweller
what's interesting to me about the audio animation of newer dance music and hip hop in particular is how there's been this sort of unspoken arms race towards more solid, satisfyingly compressed sounds.
the problem is that this possibly comes at the expense of fluidity / malleability. if you spent all your time getting the compression and layer of the kick and bass right, you're probably to end up with something pretty simple and restrained with it. whereas if you already have a break and think it basically sounds good enough, you can focus more energy on fucking with the basic pattern.
 

version

Well-known member
Those David Attenborough documentaries are in some ways high-minded but the main point of them is to really flex the power of UHD cameras.
Those generic clips for testing monitors. They can literally just point the camera at a lizard sat on a tree and its skin looks so amazing you're riveted.

 

wektor

Well-known member
the problem is that this possibly comes at the expense of fluidity / malleability. if you spent all your time getting the compression and layer of the kick and bass right, you're probably to end up with something pretty simple and restrained with it. whereas if you already have a break and think it basically sounds good enough, you can focus more energy on fucking with the basic pattern.
guess that's where (european) hardcore came from, man this kick sounds masssive, why would the tune need anything else?
still awaiting for purely kickdrum 4/4 based music that would only change the timbre of the kick slightly every 16 bars
no obnoxious fx
 

Corpsey

bandz ahoy
I experienced this when I got binoculars at Christmas. It magnifies surfaces so much that you see things more vividly than you could usually. But at the same time the effect is weirdly flattening.
 
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