squarepusher Dat Squarepusher sound in Greenways Trajectory

What is really happening before the drop? I mean it doesnt really sound like anything you could do without tweaking anything specific.

I need help to identify what technichally is happening right before the fucking massive drop. When i get fucking stoned i kinda follow it, but i have no terms to use, so the unknown details just bounces around in my dirty mind.

Ive heard this sound before in Autechre - MCR Quarter, and Richard Devine - RSL-Com.

I think it got connection to FM and maby something with oversampling, later im not sure.

ANY help would be appreciated greatly!

http://youtu.be/jmLG88cu7Iw?t=4m30s

Granular

(also, if it's a question about Ae, the answer 90% of the time is "granular")

  On 1/9/2013 at 9:47 PM, LimpyLoo said:

Granular

 

 

(also, if it's a question about Ae, the answer 90% of the time is "granular")

Except in this case it's not, it's buffer override: You can reproduce the effect with the free VST 'dfx buffer override' - http://destroyfx.smartelectronix.com/

You'll also notice he uses it a heck of a lot on the Ultravisitor album

pown?

  On 1/10/2013 at 3:03 PM, mcbpete said:

  On 1/9/2013 at 9:47 PM, LimpyLoo said:

Granular

 

 

(also, if it's a question about Ae, the answer 90% of the time is "granular")

Except in this case it's not, it's buffer override: You can reproduce the effect with the free VST 'dfx buffer override' - http://destroyfx.smartelectronix.com/

 

You'll also notice he uses it a heck of a lot on the Ultravisitor album

Anytime you take a short little sample (milleseconds long) and repeat it over and over, then that is the essence of granular, bro.

that reminds me I have some Squarepusher footage from the Warehouse Project with some close in shots of tweakage I'll have to put up

  On 1/10/2013 at 9:48 PM, LimpyLoo said:

Anytime you take a short little sample (milleseconds long) and repeat it over and over, then that is the essence of granular, bro.

Semantically yes I agree, but that's analogous to saying that reverb is spectral manipulation - whilst that too is true but if someone asks how you make a sound like it's in a room you wouldn't say "just use a Fourier transformation over a time constant" you'd say 'bung a reverb on it' - likewise the man asked how to make the buzzing sound and I didn't say 'run it through a granular synthesiser but make the granule equal or less to the buffer size and hold the granule and slowly move it over time', just whack it though the buffer override effect.

In my eyes (ears?) granular synthesis is more about the passage/direction/order of particles of sound over time, whereas buffer override is about freezing those particles

(I've been out all night on a leaving do so this might not make sense - but hell I'm posting it anyway)

  On 1/11/2013 at 1:31 AM, mcbpete said:

  On 1/10/2013 at 9:48 PM, LimpyLoo said:

Anytime you take a short little sample (milleseconds long) and repeat it over and over, then that is the essence of granular, bro.

Semantically yes I agree, but that's analogous to saying that reverb is spectral manipulation - whilst that too is true but if someone asks how you make a sound like it's in a room you wouldn't say "just use a Fourier transformation over a time constant" you'd say 'bung a reverb on it' - likewise the man asked how to make the buzzing sound and I didn't say 'run it through a granular synthesiser but make the granule equal or less to the buffer size and hold the granule and slowly move it over time', just whack it though the buffer override effect.

 

In my eyes (ears?) granular synthesis is more about the passage/direction/order of particles of sound over time, whereas buffer override is about freezing those particles

 

(I've been out all night on a leaving do so this might not make sense - but hell I'm posting it anyway)

Yeah I was just saying it doesn't really matter through what means TJ achieved it (it doesn't matter if he did it manually on a keyboard sampler or ran it through a buffer override vst etc), it's still the same thing.

Like "Gantz Graf," it doesn't really matter what gear Ae used (if I had to guess I'd say some HW sampler keyboard workstation like an Ensoniq or what have you), what matters is that at the heart of it there's a miniscule loop being played back at varying speeds.

  On 1/11/2013 at 1:31 AM, mcbpete said:

  On 1/10/2013 at 9:48 PM, LimpyLoo said:

Anytime you take a short little sample (milleseconds long) and repeat it over and over, then that is the essence of granular, bro.

Semantically yes I agree, but that's analogous to saying that reverb is spectral manipulation - whilst that too is true but if someone asks how you make a sound like it's in a room you wouldn't say "just use a Fourier transformation over a time constant" you'd say 'bung a reverb on it' - likewise the man asked how to make the buzzing sound and I didn't say 'run it through a granular synthesiser but make the granule equal or less to the buffer size and hold the granule and slowly move it over time', just whack it though the buffer override effect.

 

In my eyes (ears?) granular synthesis is more about the passage/direction/order of particles of sound over time, whereas buffer override is about freezing those particles

 

(I've been out all night on a leaving do so this might not make sense - but hell I'm posting it anyway)

I think it’s overly reductive to say that re-triggering a sample really fast IS granular synthesis. I feel like that term arose later to describe a slightly different technique more related to the “synthesis” part of the equation—ie. using the technique for more disparate sounds than just buzzing noises, etc, by being more careful about your grain windowing and whatever. I mean for Squarepusher you could go back to Big Loada or before and that’s just retriggering a hardware sampler while possibly modulating some stuff. I guess you could argue it was a kind of “proto” granular synthesis technique to do that, but I don’t really see the point of making that distinction.

So, granular synthesis is kind of a later superset of what you’re talking about, and you could use “granular” tools in a kind of unsubtle way to recreate the effect, but you can also use granular synthesis to like, morph your breakbeat into a soft pad sound. That’s the SYNTHESIS part of it, in my opinion.

Good thing I didn't once say the word 'synthesis' innit?

All three of you just admit that you're trying to get over on me with semantics.

  On 1/11/2013 at 2:28 AM, LimpyLoo said:

Good thing I didn't once say the word 'synthesis' innit?

Then what were you referring to, if not synthesis?

  On 1/11/2013 at 12:42 AM, soundwave said:

that reminds me I have some Squarepusher footage from the Warehouse Project with some close in shots of tweakage I'll have to put up

Please yes

  On 1/11/2013 at 7:05 AM, Braintree said:

  On 1/11/2013 at 2:28 AM, LimpyLoo said:

Good thing I didn't once say the word 'synthesis' innit?

 

Then what were you referring to, if not synthesis?

It was a joke.

But I think it's silly that people are trying to call me out on semantics when all along (including in the Ae thread) I've referred to tiny little millisecond-long loops as "granular" because it's the only shorthand word I can think of that I can say and everyone will know exactly what I'm referring to (but then later point out that it's not technically granular synthesis per se by the strict definition).

This should have been the first reply:

Granular synthesis you say?

anyone got a mac? im curious what curtis roads' EmissionControl is like

http://clang.mat.ucsb.edu/software.html

  On 1/11/2013 at 6:14 PM, vasio said:

This should have been the first reply:

All I can hear is a 220bpm breakbeat to his schmawsome granular mouth synth.

I want to see him get shitfaced drunk. I bet he's a wreck, but not depressingly so.

Happily tweaking his Kenton Control Freak @3:03:

The interesting part about GP is how much of it is the human interaction between standard DSP effects. Yeah, it's granular and yeah it's BOs and such, but it's the fact that each and every part is hand meddled with live that makes it so original, not just a plain stretch or slowdown, but a live manipulated stretch and slowdown so nothing sounds the same twice, even though the whole album is basically made out of the same set of algorithms.

  On 1/13/2013 at 2:45 AM, psn said:

Happily tweaking his Kenton Control Freak @3:03:

 

that... that was great.