When was Cichlisuite made? Do you have mutant sound thigs? If so; Does it happen in between the transitions of release material? I mean, tracks mixing gear and techniques used in Tri Repetae and Chiastic Slide, for example. Hey guys, ever consider doing something acoustic, with non electronic instruments? Have you already started work on a potential new release? I'm curious to know how much planning is involved when you're in the earliest stages of producing a record?
Do you still think that same affirmation, or do you now feel that, seeing 80's and 90's revivals and people getting samples from old songs and imitating previous styles, music is becoming "lazier", repeating or lacking originality? Did you guys ever record anything with the late Peter christopherson and jhon balance of coil? Am I mistaken? Other times they seem more carefully chosen or tongue-in-cheek eg. Are they always carefully chosen?
Are any of them more personal? I seem to recall around the time of Confield there was talk about how you had moved to London? Something that also comes to mind is in a more recent interview I think rob mentioned listening to Oversteps repeatedly during train commutes sorry if I'm mangling this, again memory is a bit fuzzy.
Do you just find yourselves making music wherever whenever, or are there any places you like to go to for inspiration? I think one or both of you may now have families, do you find it hard to manage family time vs.
It genuinely freaked me out at first as if my machine had been infected with AE! Was this a tDR or Warp marketing idea or something you guys initiated? Quaristice especially had some sweet stuff, like notwo and altibzz. Quite good.
Autechre is the most amazing music ever on a psychedelic drug like mushrooms, did you guys ever experiment with it and if yes have drugs influenced the music of autechre?? Do either of you consider yourselves political or socially active? Can you think of any other legendary musicians in the 'genre' that are long overdue for a new release that you'd quite like to hear new music from?
Sorry if this has already been asked, but who influences you this week? What do you think of the whole all-of-our-communications-are-being-surveiled-by-the-US-government-under-the-guise-of-anti-terrorism thing? Can you clarify when the Japan earthquake track was made? Was it an older track dusted off, or something created fairly close to the time of the quake? How do you create your sounds? Do you create them completely in your minds or do you discover them tweaking the knobs? A lot of artist turn "mellow" with the years, going into dad-rock and stuff like that.
Others create their best work as they age architects, classical music composers, etc Autechre Post by perky » Thu Apr 16, pm Anybody here knows what modular gear they have? Post by panda30y » Thu Apr 16, pm I saw them perform live a few years ago right after Untilted came out. I was lucky enough to be right in front of them, and they only had 3 or 4 pieces of equipment from what I can remember. I was directly in front of Sean Booth I believe and he was only using a monomachine and machinedrum.
I noticed Rob Brown was using an mpc i believe and possibly something else like a nord modular. I saw them a few years earlier as well after they released Confield, and they were using a bit more gear then. Laptops and a Nord Lead 2 were all that I can specifically remember as I was about 16 then and didn't know my gear quite as well I like to think I do now.
But from what I understand the last album Quaristice was mostly Elektron Machinedrum and Monomachine. Post by perky » Thu Apr 16, pm I saw that liveset too panda30y, in Berlin It was the best music i have ever heard!
They used MachineDrum and MonoMachine there too, yea basically the same setup they use now. I just kinda wondered what modular stuff they have in their studio, if any. Re: Autechre Post by ignatius » Thu Apr 16, pm perky wrote: Anybody here knows what modular gear they have?
There is a lot of Elektron stuff in there, but apparently there's also quite a lot of old school stuff. For example, the drums on Tankakern are TR Re: Autechre Post by perky » Sat Apr 18, pm Exactly I was just wondering if anyone had like a paparazi photo from their studio lying around LOL i wonder how much a picture like that would be studied over and over again ignatius wrote: perky wrote: Anybody here knows what modular gear they have?
Post by astroschnautzer » Sat Apr 18, pm I remember reading an interview of them in the late nineties where they said they would never choose an digital oscillator over an analog, then a couple of years later they make almost everything digital, weird But the fact that it's coming out of a computer, as they perceive it, somehow seems to make it different.
For me it's just messing around with a lot of analogue sequencers and drum machines. It's like saying, 'I want this to go from this beat to that beat over this amount of time, with this curve, which is shaped according to this equation. You can then build a patch to do the transform, and you do it by ear with a fader. We may have one fader that determines how often a snare does a little roll or skip, and another thing that listens and says 'If that snare plays that roll three times, then I'll do this.
How we play the system dictates how the system responds. Of course, even with Autechre's wide-ranging tastes, some pieces of kit are favoured over others, or have a more central function. The Shure Auxpander is "basically a 8x8 patchbay with knobs instead of patches," says Booth, "so you can decide how much signal goes into each one. It works kind of like a mixing desk. We use that a lot. Together with the Mackies we're pretty limitless. Stuff can go back in and back out as many times as we want it to.
They say that the Mackies are a workhorse, but I've had two break on me. But I really like how quiet they are and how much they cost. Otherwise the amount of money we'd spend on an analogue mixer would probably be what the whole studio costs. In addition to their computer equipment, Autechre have dozens of hardware synths, drum machines and effects. It's just there, it's part of what we do, like the , the Roland SH2, or Korg MS10 and MS20, real cheap basic techno stuff from the time we were into acid house and dirty sounds.
We also still have a lot of Roland gear and pedals and stuff. We even have a few Doepfer modules, the German stuff. I like to be surprised by equipment, and a lot of Yamaha gear still surprises me, especially the old stuff with the bad aliasing. The FS1R is a pretty mean thing. The version 2 software has rhythm patches, so you can have eight sounds playing at a time on each of the four channels.
It means that you can constantly have 32 sounds sitting there, which is nice for gear that size. We still use it live quite a lot because you can do a lot of rhythmic stuff with it. We also collect weird, rare outboard effects. But these are hyper-private. There are things with pure character, stuff that's vintage. We have some real gems, like a lot of early Boss rack units with beautiful-sounding chips in them.
You can get really musical with them, actually involving synth patches. Have a few of them and a patchbay and a potentiometer and a bit of EQ, and you can make album after album. You don't need computers or drum machines, that's what we learned. We mess around with electronics, and have loads of broken half-bits of gear lying around.
I learned some things at college and can use a soldering iron. In similar DIY fashion, Booth suggests that the way they use their equipment depends on the way they connect things. That's mostly what we're doing: putting the studio together in a certain way for each track, and I guess that when we saw Max and later MSP it was exciting.
It mirrored the way we used to think about stuff. It was all about connectivity, very much like working with electronics, the same basic principle. We found it really easy to get our heads around. I don't have favourites, and I don't want habits either," utters Booth. But as always, some things are more equal than others, and Max appears to have been the most influential piece of software in Autechre's collection, ever since they acquired it in It was almost exactly what we needed.
We initially got it for making MIDI applications, and it was a way for us to make sequences in which we could manipulate and generate data on the fly.
We could do any combination of things. For instance, if we wanted to have a snare sound late, and the bass note as well, we could have the tracks sync'ed and variables sent across. Before then we had to do this manually, but with Max we could connect things in a very literal way.
This made it a lot easier to work with drum machines. You could now jam with them during a live set, and get a pattern to slide the timing. We began using Max for live work, and then ended up using it in the studio. Most of Confield came out of experiments with Max that weren't really applicable in a club environment. Given all the different pieces of equipment that Autechre work with, one wonders how they draw everything together.
According to Booth, the band works predominantly in Search icon An illustration of a magnifying glass. User icon An illustration of a person's head and chest. Sign up Log in. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book.
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