but maybe it can also be done using a tomato in a closet. Yes i was referring to the trx-clap from the elektron machinedrum, which is the source of this sound. this was actually discussed in the forum, kind of a single percussion hit reaching back to Quaristice: 3:59 there is a single 'knock' sound which sounds pretty much like a snare sound in the Perlences, most notably in Perlence Subrange 3, which very much sounds like it's the TRX clap from the Machinedrum. Re quadrange, we'd been wanting to do something with variant mixes for a while, in some part due to having a wealth of Eps and extra B sides from artists like Depeche Mode in the past - some of their deepest tracks were unique alternative mixes nothing like the singles or LP versions, and they came across as more intense or over produced even, it was a really nice way to feel what they were doing behind the usual framework they set out in the mainstream….like a real treat.Īpologies if it seems OCD or pointless coming back to this, but most of my dev revolves around Elektron gear so it's simply a topic that interests me more than just tangentially. Do you also see that period as sort of unique, and is there any backstory to it, apart from just trying to capture a live feel? The Quaristice era seemed unique in your catalog, both because of the shorter more eclectic tracks, but also because you released both Quadrange and Versions, something you hadn't done so explicitly before (in terms of "alternate takes"). Would also be curious to know what electronic artists you listen to these days (I think the rap question was already covered)
It's said you were involved with getting Boards of Canada noticed and on Skam, now that your cohort of artists have matured, do you still take an active interest in upcoming electronic artists and scenes? (don't make music myself just curious). The fact that we would prob end up messing with the sound sets off my autism and makes me want to make other changesĪlso there is a bit of a source consistency issue, as in the gigs that were recorded were prob not the best examples of any given set (it was always venues doing the recording, we would just be given a DAT at the end), and a lot of the best captures were actually by fans, so we'd have to try tracking people down to get WAVs of stuff we only currently have as MPEG or whatever It's our style to release them untouched really - but they would sound a bit weak if we left them 100% intact cos they were mixed for a live rig, and what sounds good mixed in a venue can sound terrible as a 2 track master played at home (a bit better really loud on cans but never quite right) whether it's better to stitch the best bits of different gigs together (like a lot of 70s/80s live albums did) or to release them slightly edited (george lucas), or to touch them up here and there sonically, or leave them totally untouched
#Frequency spectrum beatunes archive
The main barrier is the sheer amount of it we would have to go through, it's a few months work i reckon, if it was going to be comprehensive (and that's hard cos the archive is WELL patchy)Īnd we were debating what we'd actually do with it as well
We were discussing this recently (milking it for all it's worth) Are there any plans to release a compilation of soundboard recordings? I would pay handsomely for such a thing.
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