fold4,wrap5 - how it's done DISCUSSION/ARGUMENTS THREAD

nice find sweepstakes, it makes more sense than if it referred to the slowdown trick because the number 5 doesn't seem to have anything to do with that.

  On 1/21/2008 at 7:54 AM, modey said:

 

QUOTE (Rook @ Jan 21 2008, 06:06 AM) <{POST_SNAPBACK}>

I dunno, all the drum sounds on LP5 sound like software and computer sequencing.

 

yeah, i thought so too. it has a lot of fft/spectral stuff.. i'd love to know how exactly they did the end of "vose in" though, i read somewhere that it was mostly tape effects.

 

I think the end of vose is all about using delay and maybe a little time stretch(varying play speed, can be considered as tape effects) with editing, it can be easily done using the boss rsd 10 they used, with another signal modulating the delay time, feedback and pitch. They did this in Pen Expers too, but they probably record the delay signal separately and re-arranged them in DAW. Same in the Dropp and some other tracks. They are the master of using and editing delay.

Yeah, I pretty much learned all I know about live delay tweaking from Autechre, ever since I realised that the crazy glitching in Gantz Graf is essentially just super precisely automated digital delay.

  On 11/8/2014 at 6:41 AM, zleep said:

 

  On 1/21/2008 at 7:54 AM, modey said:

 

QUOTE (Rook @ Jan 21 2008, 06:06 AM) <{POST_SNAPBACK}>

I dunno, all the drum sounds on LP5 sound like software and computer sequencing.

 

yeah, i thought so too. it has a lot of fft/spectral stuff.. i'd love to know how exactly they did the end of "vose in" though, i read somewhere that it was mostly tape effects.

 

 

I think the end of vose is all about using delay and maybe a little time stretch(varying play speed, can be considered as tape effects) with editing, it can be easily done using the boss rsd 10 they used, with another signal modulating the delay time, feedback and pitch. They did this in Pen Expers too, but they probably record the delay signal separately and re-arranged them in DAW. Same in the Dropp and some other tracks. They are the master of using and editing delay.

 

I think they said in an interview (might've even been the AAA thread) that the end of Vose In was all SoundEdit 16 or whatever that offline thing they used a lot for remixes during that time was. Although you're right that you could do this kind of thing by simply modulating delay times - I remember doing similar things when I got my first decent desktop in like 2000/2001, just drawing delay time envelopes for mda DubDelay in Audiomulch. Not the FFT stuff though of course.

  On 11/8/2014 at 12:24 PM, modey said:

Yeah, I pretty much learned all I know about live delay tweaking from Autechre, ever since I realised that the crazy glitching in Gantz Graf is essentially just super precisely automated digital delay.

Totally, I was farting around in Max yesterday and was thinking about this again. They seem to be playing with both smooth automation/modulation curves (0:55) and more abrupt, stepped changes that stretch out the delay line without changing pitch (1:02). I think the majority of this track is based on delay and/or a sample buffer played in a delay-like way. They said somewhere that this was made around the time of EP7 and also that this was around the time they got into Max so I would hazard a guess that this was a fairly early Max delay workout. I love this stuff, I just can't get enough modulated delay!

  On 11/8/2014 at 6:10 PM, sweepstakes said:

 

  On 11/8/2014 at 6:41 AM, zleep said:

 

  On 1/21/2008 at 7:54 AM, modey said:

 

QUOTE (Rook @ Jan 21 2008, 06:06 AM) <{POST_SNAPBACK}>

I dunno, all the drum sounds on LP5 sound like software and computer sequencing.

 

yeah, i thought so too. it has a lot of fft/spectral stuff.. i'd love to know how exactly they did the end of "vose in" though, i read somewhere that it was mostly tape effects.

 

 

I think the end of vose is all about using delay and maybe a little time stretch(varying play speed, can be considered as tape effects) with editing, it can be easily done using the boss rsd 10 they used, with another signal modulating the delay time, feedback and pitch. They did this in Pen Expers too, but they probably record the delay signal separately and re-arranged them in DAW. Same in the Dropp and some other tracks. They are the master of using and editing delay.

 

I think they said in an interview (might've even been the AAA thread) that the end of Vose In was all SoundEdit 16 or whatever that offline thing they used a lot for remixes during that time was. Although you're right that you could do this kind of thing by simply modulating delay times - I remember doing similar things when I got my first decent desktop in like 2000/2001, just drawing delay time envelopes for mda DubDelay in Audiomulch. Not the FFT stuff though of course.

 

  On 11/8/2014 at 12:24 PM, modey said:

Yeah, I pretty much learned all I know about live delay tweaking from Autechre, ever since I realised that the crazy glitching in Gantz Graf is essentially just super precisely automated digital delay.

Totally, I was farting around in Max yesterday and was thinking about this again. They seem to be playing with both smooth automation/modulation curves (0:55) and more abrupt, stepped changes that stretch out the delay line without changing pitch (1:02). I think the majority of this track is based on delay and/or a sample buffer played in a delay-like way. They said somewhere that this was made around the time of EP7 and also that this was around the time they got into Max so I would hazard a guess that this was a fairly early Max delay workout. I love this stuff, I just can't get enough modulated delay!

 

  On 11/8/2014 at 12:24 PM, modey said:

Yeah, I pretty much learned all I know about live delay tweaking from Autechre, ever since I realised that the crazy glitching in Gantz Graf is essentially just super precisely automated digital delay.

interesting, I always think that Gantz Graf is made using kyma or retriggering sample from different start point, I tried to use delay but never got the fast roll effect in good quality, and if you listen to the actual beat they used (not the retriggering stuff) carefully, you will find that they are not in the normal sample quality, so I guess they transfer the sound to spectrum and use the fft stuff, they should have kyma around at that time. Max can also do that easily.

Regarding gantz graf i always thought it is just hardcore loop points modulation trickery on asr10, not comb/delay stuff. Though i don't know asr10 specs properly.

I think some of it could be loop point modulation. One thing that makes me think it is Max - and even there it could be loop point modulation as much as delay modulation - is that there's a buzz at a certain frequency throughout the track, and that seems to be the same frequency I get when I send a bunch of triggers/messages (as opposed to signals) to change parameters as quickly as possible, at least with my settings.

Also, Max has separate objects for writing and reading a delay line and changing the delay time of the latter can sound a lot like delay line modulation because it's basically the same principle.

Of course Autechre are deft enough to do this kind of thing just to throw off the hounds so you could be right :)