luka
Well-known member
well i think youre wrong
Digital Music as CGI
- Thread starter luka
- Start date
There was actually a lot of (microhouse they called it) which basically prefigured the trends that both Sophie and Arca were operating in.
Sounds whizzing across the stereo spectrum, Autechre's glitch classic confield album directly retooled for the house dancefloor.
This mix is probably the apex of its sound, i keep calling it tiki taka after the Spanish style of football but it's actually Taka Taka.
luka
Well-known member
good example, same as the one i started the thread with where the hook doesnt work by dint of its hookiness but by the strange high definition pseudo-physicality of its sound
WashYourHands
Cat Malogen
Iron Man arranging sound waves
wild greens
Well-known member
There is a danger in making assumptions about the concepts and ideas of music via youtube alone- this will strip the lower frequencies from a tune like Sea Moss and allow them to feel akin to others because the reduction in context. Club music in any form is function and this would create a very different experience at 2 in the morning on a good system in the dark, sub bass rattling etc.
I reckon the CGI comparison works in a way- but not the way you mean- as a lot of the housupa releases are theoretically a simulacrum of amapiano tunes or whatever. The Scotti Dee bass sound(s) are really more UK interpretations of the log drum bass that they use so much.
Ultimately though it's just a lot easier to make a tune now. These DAWs have progressed to a point that if you're using up to date technology then it's hard to find grit or grain in the track unless it's artificially created
So, really, it's the gloss that's now authentic
I reckon the CGI comparison works in a way- but not the way you mean- as a lot of the housupa releases are theoretically a simulacrum of amapiano tunes or whatever. The Scotti Dee bass sound(s) are really more UK interpretations of the log drum bass that they use so much.
Ultimately though it's just a lot easier to make a tune now. These DAWs have progressed to a point that if you're using up to date technology then it's hard to find grit or grain in the track unless it's artificially created
So, really, it's the gloss that's now authentic
wektor
Well-known member
does the current way you experience sound not imply synesthesia?
if you're not looking at (or watching a recording of) someone playing an instrument, something making the sound, the sound you hear becomes acousmatic, as you don't see what's causing it. afaik the brain quickly tries to make up something on the spot.
of course, it's easier to make out what you're hearing if you ie. modify the playback speed of a tape recording.
the well known sound becomes it's warped, version scaled up or down. It sounds bigger if you slow it down (bigger objects resonate with lower frequencies) and vice versa if you speed it up (smaller objects resonate with higher frequencies).
Obviously in case of dealing with more complex manipulations or purely synthesised, digitally processed sound the results are much harder to categorize by our brains, since how are you supposed to categorize something that sounds like a cat purring but it's very large and made of thick rubber? ever seen something like that?
I think it actually could push creative cgi forward quite a bit if we were to visualize sounds we're quite used to in music.
ie. if you just modeled it after the timbre and so on, which is a possibility, since it's possible to do in reverse with human voice.
I think music visuals also do lack massively in that area.
Also, Ash Koosha is p cool when it comes to those audiovisual things, sound design wise, as above, objekt and mesh come to mind
if you're not looking at (or watching a recording of) someone playing an instrument, something making the sound, the sound you hear becomes acousmatic, as you don't see what's causing it. afaik the brain quickly tries to make up something on the spot.
of course, it's easier to make out what you're hearing if you ie. modify the playback speed of a tape recording.
the well known sound becomes it's warped, version scaled up or down. It sounds bigger if you slow it down (bigger objects resonate with lower frequencies) and vice versa if you speed it up (smaller objects resonate with higher frequencies).
Obviously in case of dealing with more complex manipulations or purely synthesised, digitally processed sound the results are much harder to categorize by our brains, since how are you supposed to categorize something that sounds like a cat purring but it's very large and made of thick rubber? ever seen something like that?
I think it actually could push creative cgi forward quite a bit if we were to visualize sounds we're quite used to in music.
ie. if you just modeled it after the timbre and so on, which is a possibility, since it's possible to do in reverse with human voice.
I think music visuals also do lack massively in that area.
Also, Ash Koosha is p cool when it comes to those audiovisual things, sound design wise, as above, objekt and mesh come to mind
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wektor
Well-known member
also that is a very fair point, among the people I know (some who claim to be into boo hoo genres such as harsh noise, industrial gaba, generally sounds overdriven to hell and back) still feel extremely put off by pure sine tones.
so you're having a wank over how supposedly heavy this terrorcore record is, but you cannot handle a little bit of the cute japanese lady jamming on a sampler?
ok mate
pure and digital is the new heavy
version
Well-known member
Corpsey
bandz ahoy
I was citing this to try and annoy luka (that's my motivation for doing most things), but a lot of the music that I've encountered which goes for this ultra-designed and spacious sound is very 'post-grime' and either consciously or unconsciously influenced by Wiley.
luka
Well-known member
dont understand what youre trying to say here