hear hear - too much pro tools, over-production, or over-mastering. That's why I keep buying Detroit, cause the producers remember to keep the grime in there. I heard stories about people asking Ron Murphy to blend in tape noise from a seperate channel so it can ''sound like Jeff Mills'' - how lame is that?
> > ----- Original Message ----- > From: <[EMAIL PROTECTED]> > To: "James Bucknell" <[EMAIL PROTECTED]> > Cc: "313 Detroit" <313@hyperreal.org>; "Cyclone Wehner" > <[EMAIL PROTECTED]> > Sent: Monday, February 03, 2003 3:14 AM > Subject: Re: (313) Suburban Knight > > > > Gotta agree with you both - it's getting hard to find new releases that > don't sound super slick - techno, house, what have you. Especially anything > tagged tech-house. Blech. I like to hear some intrinsic errors in the music > - it makes it sound like someone is actually behind the work. There are > countless tunes out there that sound so "professional" yet they lack any > sense of a heartbeat. Take just about anything off the Wiggle label, for > example. Everything is too clean and smooth - they compensate with a "phat" > bassline but the real funk is missing. Give me some ruff cut samples ala > Todd Edwards/Todd Terry any old day. > > MEK > > > > > James Bucknell > <[EMAIL PROTECTED] To: Cyclone Wehner > <[EMAIL PROTECTED]>, 313 Detroit <313@hyperreal.org> > com.au> cc: > Subject: Re: (313) Suburban > Knight > 02/03/03 11:20 PM > > > > > > > > i've always loved house and techno for their minimalism--a few bits of > roland equipment and a four track reel to reel. > > > i find most contemporary tracks to be as overproduced as any bit of prog. > house/trance. it's a challenge to spend any money when i go record > shopping. > > instead, i've taken to re-editing older tracks and saving my money for > final > scratch. > james > > > > > >> Wibo Lammert: > >>> As to the Mastering: Those first 2 transmats of his sounds like sh*t. > That > >>> Dark Energy doublepack sounds a whole lot better. > >> > >> Gotta disagree wth u for the first time old bean (let's not make a habit > of > >> this ;-) - My opinion is that 'Art of Stalking' along with many other > >> seminal Detroit techno (which implies a particular period) benefitted, > >> purposefully or not, from the ironic lack of the latest technology at > all > >> points of the production process. Those trax sound grimy, glitchy, > scratchy > >> and minimal, sometimes even the sequencing is a bit suspect. But somehow > (I > >> admit, I'm not sure how) often, all those elements came together to form > an > >> unmistable kind of human touch which proved there really was a ghost in > the > >> machine (called soul.) > >> k > > > > > > > > >
