AAA - Ask Autechre Anything - Sean and Rob on WATMM!

  On 11/3/2013 at 1:30 AM, rd1994 said:

was the way of doing flutter a one-off experiment or ever thought of doing something like that again? Also, would you mind and sharing a bit o the process with flutter IT IS a complicated track to begin with...we DO know what its purpose was...still...nothing more

it's just a roland r8 doing the patterns and drum sounds, quadraverb doing the delay and reverb, sampler on melodic duties, all written on pads

  On 11/3/2013 at 1:45 AM, rd1994 said:

do you think using real instruments would work on an autechre track?

why do you think that some people perceive your music as noise (to quote someone, "are your speakers broken?") but others find it incredibly beautiful and emotionally stirring? this also goes for experimental electronic music in general.

  On 11/3/2013 at 1:32 AM, AdieuErsatzEnnui said:

You may have answered this before, but of what gear does your home listening environment consist? Have you put a lot of time and effort into creating an optimal listening area?

 

oh, and thanks for answer my earlier question.

nah i listen to stuff all over the place

but in the studio i'm still using dynaudio bm-15a's, set up pretty nicely but not too bothered about reflections, loads of gear in here

  On 11/3/2013 at 1:32 AM, Zeffolia said:

did rdj really go into your studio and take your sample tapes and mix them up or something and you got mad lol

sounds like chinese whispers

  On 11/3/2013 at 2:24 AM, Sean Ae said:

 

  On 11/3/2013 at 1:24 AM, rd1994 said:

anyone you still want to collaborate with or remix?

 

yeah, DM

You mean Depeche Mode?

how much stuff in autechre is about mocking ...what I mean by that is autechre has always been about anonymity...and also having strange tracktiles...it almost seems as if you name tracks simply because of the fact that you have to do so...am I just incredibly spaced out or is any kind of truth in that?

Do you remember asking me "watmm? What's watmm?" When we did a phoner interview in 2008 just before Quaristice release. And here we are now... :) you also personally made my day back at the time by stating that you'd listened to some of our old tunes - Rubens 'bank holiday'. Pure magic. We talked about Ruth from Krush who worked for Sound control in Sheffield... I was interviewing you for sound controls mag at the time. Anyway... Latest EP is your most polished since Envane or Anvil Vapre. Top marks for still slinging massive left hooks.

  On 11/3/2013 at 1:35 AM, modey said:

sorry if this has already been asked (still reading the thread but wanted to get this question out!)..

 

Can you shed some light on the composition process for Oversteps? It almost seems as though the main melodies/chord progressions were composed traditionally with a generative process used to add flourishes to the existing melodic content—is there any truth behind this? It's also quite a strange album in your discography since it doesn't seem to share a similarity to anything before or after (besides Move of Ten, but I consider that and Oversteps to be a package deal); are there any plans to re-visit this sound or build upon it?

most of it's markov chain stuff done in max, with conditionals forcing scales and harmonies

we still have those sequencers but we developed them a fair amount since, they're not as trad as they were then

  On 11/3/2013 at 2:32 AM, Jev said:

 

  On 11/3/2013 at 2:24 AM, Sean Ae said:

 

  On 11/3/2013 at 1:24 AM, rd1994 said:

anyone you still want to collaborate with or remix?

 

yeah, DM

 

You mean Depeche Mode?

 

Clearly he's referring to deadmau5

Are you guys aware of the bike/stoya effect you have created on watmm's chatmm?

If not, it means you guys are probably wondering why the thread is tagged such. Would you guys care if I explain the tale?

how is it that you've never produced someone's rap albuM?

you've heard the wutechre mix, right?

come on ae, it has to be done!

(which rapper would u like to work with if given the opportunity? past or present )

Hi Guys

1. How does it feel knowing that your music is being played by people/fans all over the world in so many different scenarios/settings?

I remember hearing your music being played on a ghetto blaster by some woman. I was riding the Sakura Jima ferry to attend a wedding that was being hosted on the island. It was 35 degrees and I was sweating my ass of in my suit, all of a sudden I hear this insanely loud music coming from the other end of the deck, and I realized it was one of your tracks. It was so inappropriately loud and awesome at the same time. This smoking hot girl was playing your music and she didn't give a fuck what anything thought about it. It was an unforgettable moment. I realized how cool it must be to make music with that kind of reach or impact on people.

Thanks

Adam

If you don't live near each other, do you only see each other when you go on tour? If so are you ever surprised how skinny/fat/old the other has gotten?

(disregard if you video chat)

  On 11/3/2013 at 2:41 AM, Sean Ae said:

 

  On 11/3/2013 at 1:35 AM, modey said:

sorry if this has already been asked (still reading the thread but wanted to get this question out!)..

 

Can you shed some light on the composition process for Oversteps? It almost seems as though the main melodies/chord progressions were composed traditionally with a generative process used to add flourishes to the existing melodic content—is there any truth behind this? It's also quite a strange album in your discography since it doesn't seem to share a similarity to anything before or after (besides Move of Ten, but I consider that and Oversteps to be a package deal); are there any plans to re-visit this sound or build upon it?

 

most of it's markov chain stuff done in max, with conditionals forcing scales and harmonies

 

we still have those sequencers but we developed them a fair amount since, they're not as trad as they were then

 

Geek alert

:-D

how did you teach yourself? did you read up on computer programming? dsp reading? have you ever read old books like the allan strange synthesis book, did you have to re-learn Maths to develop your custom patches? Stuff like your aleatoric sound, did you just do it trial and error? Did you have to educate yourself in any specific way to build your sequencers?

How do you personally view Quaristice? For me, it marked an end to a period that started around Confield where sound design was a much more critical element of your released output. Oversteps marked a transition to more mature review of previous ingredients. Sonically familiar but novel style and still hitting the nail right on the head, despite passing of more time. Do you recognise the so-called periods of work or fans appreciation of a given release?

Something is telling me that Sean will have to call for Rob to answer the rest of the questions. Hard work :-))))

They taught themselves with tape deck edititing

as a listener/fan of your music, i've found that your music changes how it sounds and opens itself up the more you listen to it. even with confield or draft, released 10+ years ago, i can listen to these albums and still notice something new or different despite it being my billionth or so listen. like an effect or synth somewhere in the mix will come upfront and play with the rhythms and sounds and entirely change how i listen + appreciate the song.

you mentioned earlier that you still sometimes listen to your earlier albums. and i'm wondering if your perception of your own music changes much after the album has been released.

or if being involved in the creative process has more or less set in stone what the songs sound like to you?

also, is there anything in particular you would like to ask watmm?

(also, thank you for coming to australia and playing an amazing show from your oversteps set, and thank you for doing this ask autechre anything!)

Hello Ae,

I was wondering if you have a piece of hardware (instrument/effect, not computer) which you rely on and use frequently as a 'go to', due to the character/magic it brings.

Also wondering what your worst hardware disaster was - as in, spilling orange juice on a computer type of disaster.

Cheers

  On 11/3/2013 at 2:35 AM, Ism said:

Do you remember asking me "watmm? What's watmm?" When we did a phoner interview in 2008 just before Quaristice release. And here we are now... :) you also personally made my day back at the time by stating that you'd listened to some of our old tunes - Rubens 'bank holiday'. Pure magic. We talked about Ruth from Krush who worked for Sound control in Sheffield... I was interviewing you for sound controls mag at the time. Anyway... Latest EP is your most polished since Envane or Anvil Vapre. Top marks for still slinging massive left hooks.

Pipe down child. you're getting very excited. You left here for too long to make amends.

Jump off the bandwagon.

do you still think UFOs are real?, ever had a sighting/close encounter?

I felt a solid Miami bass/electro vibe in some of your earlier albums/eps. Any truth in that?

Sorry dad. Can I please come home?

Any healthy living tips for those of us who, like you guys (I imagine), are stuck either by choice or necessity inside in front of a computer or LCD screen for long periods of time working? Get up often, take breaks, get some sun, etc?

Is there an Ae workout plan or diet regimen you’d recommend? I am actually not joking, btw. Personally I’ve been experimenting lately with a mostly gluten-free diet, which is a pain but seems to be treating me much better.