Digital Music as CGI

[thirdform]

so we are approaching that time of going back to guitar music huh?
seems like we are on the track with lots of so called alternative electronic music producers starting songwriting projects, which has been a trend for a while now

yes but kill alternative rock/alternative pop as well! go full Bo Diddley rhythm guitar.

 

[thirdform]

some of his tunes do have a nice sturdy sound design to them, I like his catchier breakbeat tunes but the ones that are supposed to freak out the dancefloor or whatever come nowhere close to the shock of flashcore quality

I'm guessing this is a try to bite on a little bit of acid flavour?
it's kind of interesting how dissonant it is, even in the lows, yet it does bounce

Yeah, it's just too clean.

 

[wektor]

yes but kill alternative rock/alternative pop as well! go full Bo Diddley rhythm guitar.

I only know of Bo Diddley because of Henry Flynt.

Anprim trend is a thing among the youths, so I do say it is the high time for anprim influenced music.

 

[wektor]

Yeah, it's just too clean.

well what else would you expect from the digital?
how can grit be approached these days?
we're not in clicks n cuts era anymore and I suppose we are not yet far enough in time to be nostalgic about the sonic byproducts and flaws of the digital

 

[version]

he does sound like he is a graphic designer making music.
but cannot blame him, half of the hackney scene that makes nu-nu breaks sounds like that too

"Background" vs "foreground" is one of several visual analogies Whipple uses during our conversation. Having studied in the Design and Technology department at New York's New School, he describes himself as "raster" not "vector"—meaning he prefers to work with the grain of pre-existing sounds rather than generating his own—and discusses his musical inspiration in terms of "mood boards..."

 

[wektor]

"Background" vs "foreground" is one of several visual analogies Whipple uses during our conversation. Having studied in the Design and Technology department at New York's New School, he describes himself as "raster" not "vector"—meaning he prefers to work with the grain of pre-existing sounds rather than generating his own—and discusses his musical inspiration in terms of "mood boards..."

clearly of lower quality

 

[linebaugh]

well what else would you expect from the digital?
how can grit be approached these days?
we're not in clicks n cuts era anymore and I suppose we are not yet far enough in time to be nostalgic about the sonic byproducts and flaws of the digital

I used to use a demo version of pre sonus that had very clunky and squashed sounds and effects, presumably to encourage you to buy the full package.

 

[woops]

i'm guessing this is called holy water cos it's got that top end sound that is a bit like water trickling lol

lol

 

[woops]

this sounds exactly like me fucking about

 

[woops]

when i put this on, i thought, getting there. at least there's an effort to make a tune. but it doesn't develop and bears an uncanny likeness to the sound of someone yawning.

 

[woops]

an acousmatic polish classic
what kind of slinkies are these you reckon?

this may not be the most, shall we say, nuanced recording ever made but it's better than all 3 actress tracks put together.

 

[woops]

i'm glad i've listened to this once cos now i never have to listen to it again. it might have been better not to listen to it in the first place, though. leaves me gagging for some nice keyboard brass

 

[woops]

it's flawless and clever but it leaves me cold, like the song was written for some other kind of person and then the video was fitted to it using a set of reference points i don't like, but i can admire the artistry

 

[luka]

id listen to a woops meets wektor album

 

[woops]

this gives me the same feeling. the time medium itself has slowed down

i especially like the grotesque percussion right at the end. but yeah i think i have a new favourite miles track

 

[woops]

id listen to a woops meets wektor album

i'm here, i'm ready, i have a wicked home recording studio

 

[luka]

hector the vector, the human sine wave.

 

[woops]

there's an interview with Thomas Bangalter where he talks about how if there were two songs that were just a kick and a hi-hat for four minutes, you would still have one you would prefer based on tone and timbre

back at school my mate was saying (paraphrase) that if he tapped both feet or whatever similarly indistinct noises he'd still pick up on the kick/snare differential. i knew what he meant. very wide paraphrase that

 

[luka]

some music bores were saying the same thing on twitter recently

 

[woops]

always loved this one, the joy of monotony and repetition

is this what's known as a "dj tool"?