Osla for n

sounds like something really awesome to put together in Reaktor or similar. I really should learn how to make stuff with it.

someone made a pretty decent ring/mod and filter based off the shepard tone. I'll post it here if i get a chance.
If i were to take a guess, it sounds like they are running white noise through some kind of automated sherpard tone low-pass or notch filter (same as a light phaser basically)

building some kind of LFO array based off the shepard tone and painstakingly building a 4x filter array to go along with it seems like an unnecessary amount of work to achieve an effect that's already pretty easily achievable. I'll try some experiments with this reaktor patch and post it here if it sounds anything like the sound in this song.

Edited November 17, 2013 by John Ehrlichman

  On 11/13/2013 at 2:32 AM, hecanjog said:

Not knocking the rest of L-event, but I found this one the most rhythmically interesting of the four. The whole EP is in 4/4 (which is rad!) but this one doesn't resolve to 4/4 until the halfway point & I think works really well especially in the context of the EP.

 

It's the beginning of the second act, right? Our heroes are becoming mired in a troubling situation until - ah 4 again!

 

Most all Ae is in 4/4. Though the beats are so displaced in the first half that it's hard to say for certain, I'd almost guarantee that the entirety of Osla for n is in 4/4.

"runrepik," "Dropp," and "Netlon Sentinel" are also in 7/4.

I guess I'm dumb but why is it that just because the high hats that run through the background are in 4/4 does it mean the whole track is in 4/4

 

Why can't the coughing rhythm be in 7/8 or 5/9 or whatever the fuck it is in.... And then you just have two

Competing rhythms playing on top of each other?

 

Edit: just for the first half of the song. After the halfway point I buy that everything is in 4/4

Edited November 18, 2013 by fizzkinz

  On 11/18/2013 at 2:55 AM, Tom Servo said:

"runrepik," "Dropp," and "Netlon Sentinel" are also in 7/4.

 

i haven't tried to figure out runrepik but i'm sure you're right on that. the others are correct (i think Dropp is 7 or something else odd for sure, it's been a while i can't remember 100%). Cichli is in 5/4. the delayed bit at the very very end (the last 15 seconds or so) of Second Peng is in 3/4. Drane (and possible Drane2 though i can't imagine counting it) is in 5/4. chenc9 is 3/4. parts of Sublimit are in 3/4 if i remember correctly. 777 is in 7/4, and Fold4, Wrap5 is in something strange (there was a thread about it....) I think one of the tracks on Cichlisuite is in 5/4 or something odd, can't remember which at the moment.

 

Those are most of the examples...but there are a few i'm leaving out for sure and a few (like Bine, some ambient stuff on Quaristice...) that we may never know (or may be not set into a specific time sig.). But given how many tracks they've released, the odd time-sig tracks are still definitely a small minority.

 

  On 11/18/2013 at 3:08 AM, fizzkinz said:

I guess I'm dumb but why is it that just because the high hats that run through the background are in 4/4 does it mean the whole track is in 4/4

 

Why can't the coughing rhythm be in 7/8 or 5/9 or whatever the fuck it is in.... And then you just have two

Competing rhythms playing on top of each other?

 

Edit: just for the first half of the song. After the halfway point I buy that everything is in 4/4

 

That's certainly possible, yeah. I just doubt that it's very likely.

netlon sentinel is definitely 4/4

 

 

and runrepik is a 4/4 beat (total rigid footwork!), but the bassline seems to repeat every 5 beats, I think.

 

 

also, re: osla for n being in a different time signature, the coughing rhythm actually repeats in time with a 4/4 signature (even at the beginning) so kinda makes sense that the whole track would be in 4/4

Edited November 18, 2013 by modey

  On 11/18/2013 at 3:08 AM, fizzkinz said:

Why can't the coughing rhythm be in 7/8 or 5/9 or whatever the fuck it is in.... And then you just have two

Competing rhythms playing on top of each other?

yeah, this is known as polymeter; it still has a 'master' time signature though. Meshuggah often play on this.

  On 11/18/2013 at 7:43 AM, modey said:

netlon sentinel is definitely 4/4

 

 

and runrepik is a 4/4 beat (total rigid footwork!), but the bassline seems to repeat every 5 beats, I think.

 

 

"Netlon Sentinel" is in 7. Follow the bass drum. It's a measure of 4, then a measure of 3/4.

 

I went back and listened to "runrepik," and we're both right. It starts and ends in 7, but the breakdown in the middle warps it into 4/4 for a bit.

 

That's what leads me to wonder about "Osla." It does drag itself kicking and screaming into 4/4 at the midpoint.

 

(Thanks for the heads-up on "Drane." I never actually noticed that. "Drane2" is in 4/4.)

  On 11/18/2013 at 8:15 PM, Tom Servo said:

 

  On 11/18/2013 at 7:43 AM, modey said:

netlon sentinel is definitely 4/4

 

 

and runrepik is a 4/4 beat (total rigid footwork!), but the bassline seems to repeat every 5 beats, I think.

 

 

I went back and listened to "runrepik," and we're both right. It starts and ends in 7, but the breakdown in the middle warps it into 4/4 for a bit.

runrepik is in 4 the entire time. So its netlon. They're both really obvious. Just what do you think time signatures are?

  On 11/19/2013 at 12:42 AM, Joseph said:

runrepik is in 4 the entire time. So its netlon. They're both really obvious. Just what do you think time signatures are?

If you count out to 28 beats, they might line up, but the individual measures are 7/4. If you want to further reduce it, count them out as a bar of 4/4 followed by a bar of 3/4. Give them another listen and you'll see what I mean.

 

Time signatures are numerical representations of meter.

  On 11/19/2013 at 12:42 AM, Joseph said:

 

  On 11/18/2013 at 8:15 PM, Tom Servo said:

 

  On 11/18/2013 at 7:43 AM, modey said:

netlon sentinel is definitely 4/4

 

 

and runrepik is a 4/4 beat (total rigid footwork!), but the bassline seems to repeat every 5 beats, I think.

 

 

I went back and listened to "runrepik," and we're both right. It starts and ends in 7, but the breakdown in the middle warps it into 4/4 for a bit.

runrepik is in 4 the entire time. So its netlon. They're both really obvious. Just what do you think time signatures are?

 

 

A p-p-prog... computer program in which V-v... in which Venetian Snares make his music?

  On 11/19/2013 at 12:54 AM, Tom Servo said:

 

  On 11/19/2013 at 12:42 AM, Joseph said:

runrepik is in 4 the entire time. So its netlon. They're both really obvious. Just what do you think time signatures are?

If you count out to 28 beats, they might line up, but the individual measures are 7/4. If you want to further reduce it, count them out as a bar of 4/4 followed by a bar of 3/4. Give them another listen and you'll see what I mean.

I listened again and I just see that I'm still right. You can very easily count in 4, and it's the only natural way, there's no natural steady way to count in 7s.

 

I.e., at the beginning of runrepik, if you consider breaking each measure into a grid of 16th notes, then you have the drum hits as follows;

 

#--# --#- #--# ##--

 

repeated. It's slightly wonky/swung, but that's the rhythm.

Edited November 19, 2013 by Joseph

Joseph knows the score. Netlon Sentinel isn't obviously 4/4 at first, but when the beat comes in after the breakdown it's pretty tight. And I really don't know how anyone could hear runrepik's rigid beat in anything other than 4/4?

Just chopped up Netlon in Audacity and it seems to be in 4/4. That main drum beat during the 'verses' is off-feeling enough to where it never settles into a groove that comes across as 4/4.

 

runrepik is trickier. Technically it's 4/4, but the placement of the first two 'hits' (bass drum, snare) are timed so that at full speed one can easily count it 1 2 3 4 5 and it loops nearly (or perhaps absolutely) perfectly. When you slow down the track though you can easily hear that it's in 4/4, and the placement of accentuated hits is what skews the full speed 'feel' of the track. The odd bassline and melodies that crop up later in the track just add to the confusion, in my opinion.

That's it. Pistols at dawn. We'll settle this on the field of honor, gentlemen.

 

In Netlon, if I follow the bass drum, you get this: 1 2 3 4 5 6 7. I can't really hear 4/4, even in a heavily syncopated way.

 

runrepik...yeah. I can see where it's a loping 4, and that makes it sound different for me. It can be counted out in fast 7, and it lines up that way for me as well.

There's no way runrepik is not 4/4 ????

The last I'll say about this is:

 

Run a 160bpm metronome from the very first bassdrum of Netlon Sentinel and you'll see that the first and last snare hits of the bar sync up to quarter notes. The rest of the beat is pretty loose though.

 

Runrepik is 164bpm and again, when a metronome is added, the beats sync up perfectly with the clicks.

 

Don't make me post an audio/Buzz file and wait until the next AAA to be proven right

 

 

edit: I mean shit, there's even a straight 4/4 hihat pattern in the middle of Netlon Sentinel!

Edited November 19, 2013 by modey

Runrepik was discussed in the Exai thread back in May:

http://forum.watmm.com/topic/75767-old-autechre-album-announced-exai-warp234/page-333

 

Here's what I said about it then, I still stand behind this:

 

  On 5/7/2013 at 1:54 PM, psn said:

It's a polymeter pattern - the drums are in 4/4 meter and the bass is in 5/8 meter (at least from the start and for a while). The patterns align every 40 (or is it 20?) quarter notes.

 

Check the explanation and the "Beat Preserving Polymeter 4/4 with 5/8" video here:

http://en.wikipedia.org/wiki/Meter_(music)#Polymeter

Yeah, I'm willing to accept that the bass has some polymeter stuff going on but man that beat is like the most on-the-grid thing Ae have done in years!

  On 11/9/2013 at 3:06 AM, bitroast said:

was discussing l-event with modey the first day it came out, and one thing we both really agreed on was the songs seem to be backwards

 

This was what I thought part of the concept might be for Osla for n upon first listening. It begins in a collapsed chaotic state and becomes more orderly as it grows. It didn't have the immediate gratification for me that the first two tracks did, but it kept my curiosity piqued to see how it unfolded. I just finished listening to L-event a second time, and I found myself fascinated by the ambient details in the background on this track. That combined with those huge scattered beats created a unique listening experience, and when the groove kicked in it was like the ieces of a puzzle coming together. Probably the highlight of my second listen, low point of my first (though still really enjoyed it). I'm surprised newbound isn't getting more love --that synth progression is very emotionally stirring to me, and the beats are so... 3 dimensional. That seems to be the theme of the EP, and what makes these tracks so cohesive together. They're really playing around with the stereo field to create a sense of 3 dimensionality, a direction that's become very apparent from Oversteps onward. On L-event it is at its most exaggerated. I wonder if they will take a drastic new sonic turn now that they've explored that aspect so thoroughly, much like Untilted marked the apex of the extremely complex beat programming stuff that really took shape on Confield. I can't really imagine them taking that particular aesthetic much further, so it makes sense that they switched gears with Quaristice. I wouldn't be surprised if the next release marks a similar turning point.

good points. Arguably Confield was their last 'Quaristice' in terms of marking a distinct turning point in their sound. I'm curious too what the next leap will be. Oversteps is a weird one to me because it has a drastically more digital and clean sound than Move of Ten, Quaristice or Exai, compositionally it shares more similarities to those three. At this point though I think it's safe to say the future sound of them will be pretty unpredictable. They already said that L-event were basically tracks that didn't make it onto Exai, so in reality we have no idea what the next sound will be. (sorry if this post seems self contradictory)

Edited November 20, 2013 by John Ehrlichman

i'm guessing the exai tour material will at least unfurl part of that mystery?

part of me doesn't want them to tour because I don't want Sean going deaf lol

the barking cough reminds me of bits of coil - careful what you wish for

 

Edited November 24, 2013 by Polymershapes