aisatsana

Big news of the day: according to his fans, Aphex Twin can't play the piano so he has to program it.

  On 9/23/2014 at 6:37 PM, Timothy Forward said:

 

There's one bit of post production on the last note I think - a single bass note added underneath

 

why would you think this, as it sounds totally natural. isn't it a simple chord?

the first time i heard the recorded version, I immediately thought about this track, and it was the birds singing that made this click, they sound like the chirping sounds at the beginning of bjork's track and the chord is the same, it's a maj7 chord

https://www.youtube.com/watch?v=tE11_5Spq1I

I wonder if his wife loves this track by bjork.

Btw, I was driving with my scooter to work the other day while listening to syro on headphones. when this came in, I suddendly realized how frantic everything around me was. It makes a perfect ending for the album.

  On 10/1/2014 at 10:54 AM, Chesney said:

Far too simple a piece and it does not get the emotions going.

fail.

  On 10/1/2014 at 10:54 AM, Chesney said:

The album ends before this starts for me. It has it's place somewhere for sure but it's a skipper. Far too simple a piece and it does not get the emotions going. Obviously it does not matter what I think, it means enough for him to stick it on there so there it goes.

I agree though. I would have prefered the track maybe elswhere in the track list but I also find the piano track boring and bland BUT beautiful. Its a nice track but I would have hoped for something deeper; the song sounds as if its deep but its not really going deep.

I used to listen to a lot of john cage piano work and I do think aisatsana really steal too much idea from john cage. Its too much like dream-john cage imo. It uses the same time and space to create the emotion, but I dont know, it do work, but not completely.

one russian wife is okay, two russian wives is a fetish

is it happy or sad?

Sappy.

The gear graphic looks like he used the "EMS 2000 Vocoder" on this, any ideas how or why? I can't hear it.

  On 10/1/2014 at 11:20 AM, Brian Dance said:

 

  On 9/23/2014 at 7:05 PM, Timothy Forward said:

 

  On 9/23/2014 at 6:53 PM, MassfreeKid said:

 

  On 9/23/2014 at 6:37 PM, Timothy Forward said:

 

  On 9/23/2014 at 6:20 PM, MassfreeKid said:

I think it was played by him, not programmed, but I could be wrong. I also pictured him playing ouside, or in a room with a huge open window. Some of the piano notes are almost hesitant, the performance has a live feeling and you can hear his feet on the piano pedals. But who knows with this guy? Hehe.

 

Played live not programmed, recorded in one take. It's actually possible to do believe it or not. People have been doing it for centuries Couple of different mics set up on and/or inside the piano and one near an open door to the garden or possibly even out in the garden. There's one bit of post production on the last note I think - a single bass note added underneath

 

 

We are two, then. I don't know why some people think it's programmed?

 

 

I don't know either dude. I get the impression some people on here seem to think all his piano stuff is programmed but it's not. Some of Drukqs is but not all I don't think. There are some piano pieces on there that sound really mechanical and odd but others (Avril included) have too much legato and feeling behind the notes to be mechanical. The Barbican performance was live too afaik - he played the swinging piano remotely via midi keyboard.

 

It's programmed.

 

Barbican was a midi clip triggered from Live, it was accidentally set to loop so it briefly started again at the end of the performance.

 

You can't hear any feet on the pedals but you do hear them move, that's because they're controlled by midi and close/contact mic'd.

 

from what I hear, it really sounds like he played the studio version. there are a couple chopped off notes here and there, hesitant is the perfect word, massfreekid

I don´t know about recording it in just one take, but that's just me doubting his abilities so, who knows. surely most experienced pianists would think its ridicolously "easy", but most of them could hardly write something so beautiful, ever.

my point is , that is just fucking gorgeous, aisatsana.

the name of the track has like different latin words inside it that mean like healing spirit or something like that. i think the track is meant to heal you in some way

  On 10/4/2014 at 12:49 AM, murphythecat8 said:

 

  On 10/1/2014 at 10:54 AM, Chesney said:

The album ends before this starts for me. It has it's place somewhere for sure but it's a skipper. Far too simple a piece and it does not get the emotions going. Obviously it does not matter what I think, it means enough for him to stick it on there so there it goes.

I agree though. I would have prefered the track maybe elswhere in the track list but I also find the piano track boring and bland BUT beautiful. Its a nice track but I would have hoped for something deeper; the song sounds as if its deep but its not really going deep.

 

I used to listen to a lot of john cage piano work and I do think aisatsana really steal too much idea from john cage. Its too much like dream-john cage imo. It uses the same time and space to create the emotion, but I dont know, it do work, but not completely.

 

You cannot see with your head in your hand. Wake up and smell real life, get out of your Chartreuse funk and have some breakfast. Maybe lime marmelade, in fact no, wrong colour. Open you curtians and realise someone kicked off your wing mirror, surely that's something to get passionate about. See the young mums allowing their toddlers to drink Relentless. Go out, shout at them, tell them how bad they are being. Skip work, go to the pub, smoke your E cig like a dependant weak cumbucket. Answer the phone to your boss and not sound convincing enough to get away with skiving as he/she heard the clack of pool balls. get the sack. Go home, don't tell the missus as she will flip out like she did when she saw the phone bill after the short porn line addiction you had. Keep up the charade that everything is normal for weeks until she catches you at home because she came home in her dinner hour to be fucked by a work colleage. Snap and beat the work colleage to a pulp. Get arrested, get charged with GBH but later manslaughter because he later died of complications in hospital. Go to prison, get shafted by bonnie prince Julien, the hardest, most frightening queen bee in the joint. Become his new girlfriend and live out the next 8 years like a 6 foot tube with raw mince hanging out of both ends...

In fact, best you stay in Watmm world and just visit pornhub when it's quiet in here, maybe safer.

  On 10/6/2014 at 10:46 PM, rekosn said:

 

  On 10/1/2014 at 11:20 AM, Brian Dance said:

 

  On 9/23/2014 at 7:05 PM, Timothy Forward said:

 

  On 9/23/2014 at 6:53 PM, MassfreeKid said:

 

  On 9/23/2014 at 6:37 PM, Timothy Forward said:

 

  On 9/23/2014 at 6:20 PM, MassfreeKid said:

I think it was played by him, not programmed, but I could be wrong. I also pictured him playing ouside, or in a room with a huge open window. Some of the piano notes are almost hesitant, the performance has a live feeling and you can hear his feet on the piano pedals. But who knows with this guy? Hehe.

 

Played live not programmed, recorded in one take. It's actually possible to do believe it or not. People have been doing it for centuries Couple of different mics set up on and/or inside the piano and one near an open door to the garden or possibly even out in the garden. There's one bit of post production on the last note I think - a single bass note added underneath

 

 

We are two, then. I don't know why some people think it's programmed?

 

 

I don't know either dude. I get the impression some people on here seem to think all his piano stuff is programmed but it's not. Some of Drukqs is but not all I don't think. There are some piano pieces on there that sound really mechanical and odd but others (Avril included) have too much legato and feeling behind the notes to be mechanical. The Barbican performance was live too afaik - he played the swinging piano remotely via midi keyboard.

 

It's programmed.

 

Barbican was a midi clip triggered from Live, it was accidentally set to loop so it briefly started again at the end of the performance.

 

You can't hear any feet on the pedals but you do hear them move, that's because they're controlled by midi and close/contact mic'd.

 

from what I hear, it really sounds like he played the studio version. there are a couple chopped off notes here and there, hesitant is the perfect word, massfreekid

I don´t know about recording it in just one take, but that's just me doubting his abilities so, who knows. surely most experienced pianists would think its ridicolously "easy", but most of them could hardly write something so beautiful, ever.

my point is , that is just fucking gorgeous, aisatsana.

 

I just lined the Syro version and the Barbican version up in Reaper, and while the Barbican version is slightly slower, it's definitely from the same sequence file, and the timing is super precise. I can't imagine he would have wanted to play it perfectly to a metronome exactly the way it was played at the Barbican gig for the album. It's still a lovely piece, but let's be real here.

Here's a sample, just because if I posted the full track it'll probably be deleted. Barbican recording in the left channel, album version in the right.

aisatsana comparison.mp3Fetching info...

someone can send me by PM a sheet music of aisatsana, please? I've lost one found here & didn't find it in this forum finally... oh why? deleted?

  On 10/1/2014 at 11:27 AM, Chesney said:

Yeah, programmed as is the piano in Xmas becuase of the pitched to same note sample.

how do you know the whole of XMAS_EVET10 is not pitched in accordance with the original piano tuning?