Various Artists - EDM B2

  On 7/26/2013 at 11:46 PM, Ascdi said:

I think it was intended to be fucking material

Don't blame this thread on me lol

wouldn't it be great if the one who shall not be named was using dblue glitch just to throw people off the scent?

that's genius, and therefore i wouldnt put it past 'im.

the analord himself did an almost sartirical sounding quick bit crush effect that sounded like a straight up preset on Korg kaoass pad on one of the digital only analord bonus tracks

in the maze park

usually presets are made with the effort to make a bad sounding machine sound its absolute best. but of course context is everything, but avoiding using something that sounds like a preset seems like a waste of time. i mean, when you pluck a guitar string, what is that without all the twangy wangy finger bends? sometimes the presets sound good cause they were made by people that could be afx's masters and mentors... check the 808 for example. blah blah blah i know nothing.

A guitar is a preset, so is a violin. Some people can make nice music with these tools, some can't, no matter the equipment.

I like the third track.

hkb solo at1'55'' is out of this world

Bach

Finally arrived from Norman Records this week!

Heidi wins this round - best two tracks by far. Don't like the two JK orchestra sample tracks - not a big fan of heavy orchestra sample use so I guess it just aesthetically turns me off from the get go.

I thought I had this series figured out:

* All tracks by JK except

* Alain Kepler, who is probably JK

* Heidi Lord, JK's wife

But these new tracks sound way different and more JK-ish than the last round so now I'm doubting whether any of these tracks are not JK. Mysteries! But holy fuck are they good. My only complaint is that the glitching on the master bus sounds a bit bad, like the vinyl stops in Lo Pan. Other than that, fucking beastly!

Some of the tracks overstay their welcome, like Compo Mendes could half as long and still get the point across.

I swear I can hear the vocoder in GM saying something like "I am Jodey Kendrick, .. ... .." the Kendrick is real clear, or I'm hearing things, or I have Kendrick fever from all this mystery.

Edit: nevermind about the GM voice

Can't wait for C2 - fire up the CD presses!

C2 better have that 'White Lion' track off YT. please JK

Watmm, making sure money actually goes to Rephlex headquarters since 1999.

  Quote

 

XXX, making sure money actually goes to Rephlex headquarters since July 1998.

fixt

I think the FM-y synth bass used on Heidi Kann Brauchen is the same one on 3aremaster and I'm Unemployed. Possibly a TX81Zk, as hinted at by the last track?

Are ye crazy man!!? HAVE A LISTEN TO THESE and compare:

  Quote

These filters are legendary, and rightly so. Calibrated in "Harmonic Numbers" relative to the fundamental frequency, and with independently variable resonance (or 'Q') ranging from 0.5 to 15, there is nothing else that sounds like a GX1 filter. Yamaha never published a dB/octave figure for it, and some writers have suggested that Yamaha's CS- and GX-series filters only offered 6dB/octave cutoff rates. This must be wrong: you can not have a resonant 1-pole filter, and it's extremely unlikely that anybody would design a 2-pole filter with only 6dB/octave cutoff in the audio range. Most likely, all the GX1 and classic CS filters have a 12dB/octave slope, like those in Yamaha's earlier SY1 and SY2 monosynths and later CS-series instruments. The only published information, buried very deep within the service manual, is that all the filters have a frequency response of 25Hz to "10 octaves up" (over 25kHz). This is a fantastic range, and no doubt one of the characteristics that contributes to the GX1's phenomenally 'open' sound. OK, so a Q of 15 is not high enough to induce self-oscillation, but there is enough resonance to alter sounds dramatically and make them cut through any mix.

  Quote

Diode-ring Sallen-Key filter, with a voltage-controlled impedance cell to adjust resonance....the diode cell response introduces a large amount of intermodulation distortion at high resonance levels, which is what gives the filter a distinct character. As with most Yamaha filter designs, these do not self-oscillate at high Q, although with some tweaking they can be made to squeal rather "grungily."

I remember reading somewhere that the filters were designed not to self-oscillate so that people trying the synths out in a show room wouldn't be frightened and put off by any sudden loud bursts.

use your ears

s,vpps <typing with ears

  On 8/13/2013 at 3:56 AM, wabby said:

Are ye crazy man!!? HAVE A LISTEN TO THESE and compare:

 

 

 

 

  Quote

These filters are legendary, and rightly so. Calibrated in "Harmonic Numbers" relative to the fundamental frequency, and with independently variable resonance (or 'Q') ranging from 0.5 to 15, there is nothing else that sounds like a GX1 filter. Yamaha never published a dB/octave figure for it, and some writers have suggested that Yamaha's CS- and GX-series filters only offered 6dB/octave cutoff rates. This must be wrong: you can not have a resonant 1-pole filter, and it's extremely unlikely that anybody would design a 2-pole filter with only 6dB/octave cutoff in the audio range. Most likely, all the GX1 and classic CS filters have a 12dB/octave slope, like those in Yamaha's earlier SY1 and SY2 monosynths and later CS-series instruments. The only published information, buried very deep within the service manual, is that all the filters have a frequency response of 25Hz to "10 octaves up" (over 25kHz). This is a fantastic range, and no doubt one of the characteristics that contributes to the GX1's phenomenally 'open' sound. OK, so a Q of 15 is not high enough to induce self-oscillation, but there is enough resonance to alter sounds dramatically and make them cut through any mix.

 

 

 

  Quote

Diode-ring Sallen-Key filter, with a voltage-controlled impedance cell to adjust resonance....the diode cell response introduces a large amount of intermodulation distortion at high resonance levels, which is what gives the filter a distinct character. As with most Yamaha filter designs, these do not self-oscillate at high Q, although with some tweaking they can be made to squeal rather "grungily."

 

 

I remember reading somewhere that the filters were designed not to self-oscillate so that people trying the synths out in a show room wouldn't be frightened and put off by any sudden loud bursts.

 

 

Are you saying the basslines on the JK tracks could not be replicated by anything but a GX-1? I don't think that's true at all. In fact, you could even get pretty close with Logic's built-in physical modeling vst Sculpture. They sound very FM-y to me. In fact I thought they were a softsynth for quite some time due to their character.

Also, they don't sound anythink Metz, or anything Aphex has every done to me. Aphex has historically done pure, highly resonant, woody basslines - not this FM sounding grungy stuff.

I could imagine GX-1 solo being described as "grungy" but it sounds nothing like a Compo Mendez bass.

Actually it seems like outrageous madness to suggest that these are GX-1!

Spunk Monkey, have you taken out a mortgage on the house to buy Richard's GX-1???

Don't worry about it.. :/

i am going to do a ton of coke and stay up all night analyzing these idm songs for GX-1 content

It's the only way.

some are probably rdj, some are probably jk, some are probably rdj with jk, some are probably jk maybe with input from his wife, maybe his wife even made a couple

if any of the tracks are rdj they are ones he deemed not worthy enough to put on his aphex twin album that he will eventually release but obviously good enough to share with us

they are obviously toying with us with this alias bollocks, either way we get a lot of cool tracks no matter who made them.

In other words, jk = just kidding