is it true Go Plastic by Squarepusher featured no computer wizardry?

By all means, keep on! The snippets you're posting are crazy interesting. Any interview in particular you'd recommend?

  On 4/28/2015 at 9:11 PM, weakmassive said:

In the other interview posted on xltronic he touches on how it's hard to share patches for the Orville/DSP4000 and that "ones who can afford it have no interest in using it as a synthesizer".

 

Edit - I just thought that last bit was interesting... not saying that because he could afford an DSP4000 he had the upperhand. I agree that it was about the execution and his creativity. I remember when Go Plastic came out.... nothing else compared to it besides Windowlicker.

Is that the one w/ KFW posted earlier as a Youtube clip, or something else?

I was always curious about the Eventides' [re]synthesis capability but not enough to bite the bullet and drop the coin on one, and haven't encountered any in the wild to sully with my fingerprints.

  weakmassive said:

Eventide Orville Harmonizer (2)

Using two Orvilles is one very pragmatic way of eliminating the time it takes to switch programs, which is John Ehrlichman's main objection to the no PC claim.

  On 4/29/2015 at 6:56 AM, psn said:

 

  weakmassive said:

Eventide Orville Harmonizer (2)

Using two Orvilles is one very pragmatic way of eliminating the time it takes to switch programs, which is John Ehrlichman's main objection to the no PC claim.

That and, you know, resampling - the S6000 has pretty decent memory capacity, right? That could take care of the slicing/edits too.

it could but it would take so much more time then stitching together on a daw and really for not really any reason at all. thats awesome if he did all that the way he describes though. Keep in mind though thats the 2002 kit list when he also was already using a PC to compose. What was his kit list for go plastic?

It would but he's consistently made pretty idiosyncratic choices that seem to be grounded more in "vibe" than logic. Also, did the S6000 have velocity to sample start mapping? That could save a lot of manual sample mapping, especially with evenly spread time intervals (i.e. "sample chains" in Octatrack speak).

could be, i mean all this stuff is technically possible depending on what equipment he used. I still don't know what eventide box he used on go plastic, he could have easily just said as much in the KFW interview but seemed a tad cagey about it (which is understandable but also is part of the reason continue to question his statements about process, kind of a continuing theme in the squarepusher legacy so to speak)

i put my eclipse to the test, couldn't handle the amount of data going to it (10 minutes before it crashed) even 2 eclipses wouldn't be able to do what's happening on go plastic. so someone should try recreating the concept with more advanced eventide machines. I

Reading through this thread I can't help but wonder does Tom use a fleshlight or his hand?

Analog or Digital

  On 4/29/2015 at 7:32 AM, John Ehrlichman said:

I still don't know what eventide box he used on go plastic, he could have easily just said as much in the KFW interview but seemed a tad cagey about it

  On 4/29/2015 at 7:32 AM, John Ehrlichman said:

he could have easily just said as much in the KFW interview but seemed a tad cagey about it

I didn't get that vibe from him, I felt like he was pretty enthusiastic and KFW was the one who was a little colder and slightly more distant in that interview. They were both kind of talking over each other too, moreso KFW though. Could have just been phone delay, as especially since it was a pre-Skype international call.

  On 4/29/2015 at 7:22 AM, John Ehrlichman said:

What was his kit list for go plastic?

I think so. The interview that's from is from that era and that's what they focus on in the interview. The 2 Orville boxes listed might be a mistake.... I also thought he had both a Orville and a DSP4000.

Here's that interview...also contains short interviews with Broadcast, Plaid and Clark

https://www.dropbox.com/s/48n288zfq4hiuga/Brave%20New%20World.pdf?dl=0

I think it's safe to say he DID use a computer on Go Plastic..its in the gearlist and he talks about using Reaktor in that interview on Xltronic and he obviously used the Orville editor. But whether he did do audio editing is the question. Unless he's TOTALLY fibbing big time about this, I doubt he was doing extensive like... Telefone Tel Aviv style audio choppery.

But at the same time I do think he still likes to be a bit cagey about his process... like in that recent interview ABOUT his software, there's no mention of Reaktor (or Eventide)..... whhhatt.

http://www.digitaltrends.com/music/squarepusher-interview-the-software-behind-damogen-furies/

well, I guess I was right in hearing Zappa in some of his new work...

what I really don't get is how anyone actually writes anything using the QY700, if the interface is anything like the QY70, it has to be one of the least user friendly sequencers I've ever tried to use, and I'm a tracker user!

I am aware of this. Is it actually any less difficult to program than the QY70 though?

I have both a QY70 and a QY700 and I will tell you the 700 is totally easier to work with. The back lit screen the big buttons its basically everything you ever wanted the QY70 to be. That being said the song structure system is similar.

My first "electronic music" attempt was done on a QY20, btw. So I totally get that feeling

When I look back at all the programming I did on the QY-20 (editing stutters and notes in between on drums and instruments, trying to replicate some atomheart sounds back in 96... with built in GM sounds :D ) I wonder how could have I done that? I spent hours on the thing to get the sequences I wanted, but I reckon that once you get the grasp of it, it was fairly quick. I imagine that the QY700, given it's big buttons and screen, could even be faster than what I was used to... not strange that he sticks to it, I can relate.

  On 4/29/2015 at 5:46 AM, StephenG said:

By all means, keep on! The snippets you're posting are crazy interesting. Any interview in particular you'd recommend?

https://www.dropbox.com/s/lwlwujxfcgrkj15/FutureMusic_Squarepusher_2009.pdf?dl=0

  On 4/30/2015 at 3:08 PM, pierlu said:

My first "electronic music" attempt was done on a QY20, btw. So I totally get that feeling

When I look back at all the programming I did on the QY-20 (editing stutters and notes in between on drums and instruments, trying to replicate some atomheart sounds back in 96... with built in GM sounds :D ) I wonder how could have I done that? I spent hours on the thing to get the sequences I wanted, but I reckon that once you get the grasp of it, it was fairly quick. I imagine that the QY700, given it's big buttons and screen, could even be faster than what I was used to... not strange that he sticks to it, I can relate.

True, I guess it was silly for me to post that because I have heard some amazing stuff done with it. That said though, I spent quite a while trying to learn the QY70 and only got a basic 4/4 techno pattern out of it before giving up and using it only as a sound module.

I love the language of this. I've only a basic understanding of gear but I find reading threads like this and the syrobonkers interviews very soothing for some reason.

  On 4/29/2015 at 4:57 PM, weakmassive said:

 

I think it's safe to say he DID use a computer on Go Plastic..its in the gearlist and he talks about using Reaktor in that interview on Xltronic and he obviously used the Orville editor.

Reaktor comes into play on Do You Know Squarepusher? and carries on in into the rest of his work. Go Plastic was before that.

in circles we go

Great thread apart from the cuntiness

so fresh even today

nothing getting close

yes this album needs more love.......... he did well with the UV followup but what a special release by TJ. Nothing comes close to the madness and his live sets at the time are astounding with lovely subtle tweaks and TJ clearly having a blast 

yes this album needs more love.......... he did well with the UV followup but what a special release by TJ. Nothing comes close to the madness and his live sets at the time are astounding with lovely subtle tweaks and TJ clearly having a blast