AE_2022－

“I like those gonk bits”

brussels ends right where lyon starts. you could practically splice the two together

  On 11/6/2024 at 2:39 AM, mushroom said:

brussels ends right where lyon starts. you could practically splice the two together

That was my impression of Oslo into Stockholm, too 

holy fuck, 

Fuck these are so good, goddamn!

Noticing lots of familiar bits, going all the way back to exai - not just the obvious Flep elements in the "B" set but some other stuff... Have been listening on the go, so not able to give timestamps yet. But definitely heard the spl9 instrument a few times... Also, I'm getting major feed1 vibes from one section in the later sets. There will be so much to discover in these. Very pleased, thx ae 

holy motherfuckin fuck,

this is absolute

edging by reading everyone talk about how amazing Lyon is while purposely not listening to it until I've fully indulged my obsession with the C sets

Listened to Lisbon, Lyon and currently Paris. Seriously.....who needs albums when shit is this good? It's....it's.....just too good. Nobody can touch the boys in any way. Completely unique. 

(Is it weird that since NTS. came out, I barely listen to any other artist?)

  On 11/6/2024 at 2:33 AM, baph said:

“I like those gonk bits”

13+ hours of gonk bits. 

Those drum stick sounding clicks at around the 40-50 minute mark in the C sets, I wonder if that's physical modelling of some sort, or samples?  It always stands out as feeling like something from the real world breaking through the alien verbs and synth sounds.

  On 11/4/2024 at 7:57 PM, thejewk said:

Yup and I'm probably going to chop the sets up in Audacity along those lines in the coming weeks so I can do a little bit of comparative listening, and then have a go at assembling a 'super set'.  I really like the fan edits that the lady on Reddit has done for each of the live set batches, but I find them a little bit maximalist in approach, and they tend to turn what is 5-10 minute section in a set into a 20-30 minute amalgamation.

If I do, and don't lose my mind in the process, I'll post the results here someplace.

yeah i realized recently thats what has been done to those tracks, and probably a reason i dont like those compilations - the tracks are way too long which was never even intended. it'd be amazing if someone went with a more album-like approach (ha ha)

  On 11/6/2024 at 10:39 AM, natios said:

yeah i realized recently thats what has been done to those tracks, and probably a reason i dont like those compilations - the tracks are way too long which was never even intended. it'd be amazing if someone went with a more album-like approach (ha ha)

I've actually finished assembling a first go of just stitching together Melbourne, Venice, Barcelona and Lyon into one seamless set.  About 4 hours 11 minutes long.  Every 'song' is split up using the track divisions on the aepages site, and I've done my best to track a logical start and end point based on the first entry of a new sound or drum transient.

The real work is now to split every other version in the same way and do a one by one comparison, which will take months to do properly.  Not sure I've got the patience for that, so we'll see.

Unfortunately, these live mixes make me realize that I’m not as big of a fan as I thought I would be. Most of it sounds like a muffled and muddied mess, to be honest, and there’s really no reason to release 12 variations of basically the same thing. Also, something seems to be off in the mix (almost no bass for instance), but I don't have the proper technical knowhow to describe what's going on..

Alas, I miss the album format!

  On 11/6/2024 at 1:12 PM, HenkMul said:

Unfortunately, these live mixes make me realize that I’m not as big of a fan as I thought I would be. Most of it sounds like a muffled and muddied mess, to be honest, and there’s really no reason to release 12 variations of basically the same thing. Also, something seems to be off in the mix (almost no bass for instance), but I don't have the proper technical knowhow to describe what's going on..

Alas, I miss the album format!

I'm curious what music has a lot of bass for you. These sets are loaded with subbass heavy bass patches IMO.. The kick is thumping away as well. Really puts my speakers to the test which I love. Listened to it on headphones too, both a pair of Sennheiser 650s and over-ear airpods.. Mui bien in my book. Analord would be my go to mixing boner for reference

  On 11/6/2024 at 1:41 PM, chronical said:

I'm curious what music has a lot of bass for you. These sets are loaded with subbass heavy bass patches IMO.. The kick is thumping away as well. Really puts my speakers to the test which I love. Listened to it on headphones too, both a pair of Sennheiser 650s and over-ear airpods.. Mui bien in my book. Analord would be my go to mixing boner for reference

My go-to for comparison has always been Benga's 26 Basslines. There's a difference between day and night. The AE live FLAC files sound as if I'm in some sort of underwater world, hence, the muddied feel.

For reference, I'm using EarSonics S-EMB6 in-ear and simple JBLTune 770's over-ear headphones.

It's probably a matter of needs: personally I don't ask for anything better than to immerse myself in the autechre swamp 

Well for large stretches over the whole batch of material there are periods where there is nothing I would consider a traditional bass line, but there is almost always some sort of bass element that is reactive and playing with a low drum, frequently swelling in and out and playing with reverb.  And it's often pretty massive and impactful if your gear can reproduce it.  It definitely can create 'mud' if we're talking in traditional EDM production terms.  As a concrete example, in Venice from the 38 minute mark for about 7 minutes or so, the bass is massive and hits fucking hard, but would probably be lost on something without good sub bass extension.

But in the last decade or so, Autechre have been playing with the interaction of sound bodies against and along with one another as much as they have beats and bass.  At times the interactions create an initially confusing sound that can shift quickly from one thing to another.  I needs close listening, and certainly won't be for everyone.

As for the comment about why would they release 12 versions of the same thing, why would you buy 12 versions of the same thing if you aren't into exploring that sort of release?  It's like complaining that the 1200 page novel you bought is long.  

  On 11/6/2024 at 2:49 PM, thejewk said:

Well for large stretches over the whole batch of material there are periods where there is nothing I would consider a traditional bass line, but there is almost always some sort of bass element that is reactive and playing with a low drum, frequently swelling in and out and playing with reverb.  And it's often pretty massive and impactful if your gear can reproduce it.  It definitely can create 'mud' if we're talking in traditional EDM production terms.  As a concrete example, in Venice from the 38 minute mark for about 7 minutes or so, the bass is massive and hits fucking hard, but would probably be lost on something without good sub bass extension.

But in the last decade or so, Autechre have been playing with the interaction of sound bodies against and along with one another as much as they have beats and bass.  At times the interactions create an initially confusing sound that can shift quickly from one thing to another.  I needs close listening, and certainly won't be for everyone.

As for the comment about why would they release 12 versions of the same thing, why would you buy 12 versions of the same thing if you aren't into exploring that sort of release?  It's like complaining that the 1200 page novel you bought is long.  

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Then I definitely need some new equipment (although I was always under the impression that the EarSonics were doing their work so to speak), because I find the 38 minute mark extremely underwhelming. 

As to why I buy 12 versions of the same thing? I'm a fan of their music, a completist and an avid supporter of Rob & Sean. They are perhaps the most creative musical duo walking around right now, so that's almost a rhetorical question. But I do expect a bit more variation, or a more curated approach. These monoliths are hard to chew on as such.

  On 11/6/2024 at 3:02 PM, HenkMul said:

Then I definitely need some new equipment (although I was always under the impression that the EarSonics were doing their work so to speak), because I find the 38 minute mark extremely underwhelming. 

As to why I buy 12 versions of the same thing? I'm a fan of their music, a completist and an avid supporter of Rob & Sean. They are perhaps the most creative musical duo walking around right now, so that's almost a rhetorical question. But I do expect a bit more variation, or a more curated approach. These monoliths are hard to chew on as such.

I've just gone and listened to the Benga track you talk about, and yeah Autechre are not dealing in that sort of bass.  If you're expecting that kind of round throb, they're not doing that.  It's not the mix, it's the music.  I mean, sure they could EQ it it push the bass frequencies up, but it's an artistic choice not a mastering error.  

The bass I'm talking about in the Venice show is impactful in its own way totally unlike the Benga track.  On my Neumann NDH30 cans I can feel the impact of the air with the bass line even at relatively low volumes, especially at the 42 minute mark, but it's a controlled percussive poke against the activity in the upper mids and treble regions, not a big bass line thing comparable to dubby stuff. 

As to the latter point, I don't know what to tell you.  They released the 14-15 sets, what is, 28 of the same set with small variations in the last half to third?  Then they released the OneSix sets which were the same set with minor variations for 5 sets, and 2 that were quite different. 

Then they released 7 sets last year, 6 were the same set with small variations, and one standout different set.  By this point, if you don't know what the format of their live releases is, I don't know what to tell you.

Absolutely loving the double bass sections!! I'm having an easier time with these sets than with the last batch. Just going through these chronologically. So nice to hear Dublin again. Wearing my Exai shirt today. The sets are making me an even bigger Ae enjoyer. Seriously considering moving to Aeaea.

https://en.wikipedia.org/wiki/Aeaea

I've still not listened to the Dublin one.  I'll add it to play next.

This has probably been answered already somewhere, but what is the origin of that "It's time to chaaange" sample that they're cutting up during the scratching bit? I think I heard it once somewhere in one of their marathon mixes. The sample can be heard very prominently in the Ancienne Belgique set.

It is a bliss. And what a sound quality!

Thank you @Sean Ae&@Rob Ae

  On 11/6/2024 at 5:47 PM, AnwarAutokino said:

This has probably been answered already somewhere, but what is the origin of that "It's time to chaaange" sample that they're cutting up during the scratching bit? I think I heard it once somewhere in one of their marathon mixes. The sample can be heard very prominently in the Ancienne Belgique set.

fuuk ya i think i kno which one you mean, doesn't that one also feature like kids and gargling lol? liek "arrrrrholy"... will consult archives.

  On 11/6/2024 at 5:47 PM, AnwarAutokino said:

This has probably been answered already somewhere, but what is the origin of that "It's time to chaaange" sample that they're cutting up during the scratching bit? I think I heard it once somewhere in one of their marathon mixes. The sample can be heard very prominently in the Ancienne Belgique set.

Henrrryyyyy......