aepages - User contributions [en]

FutureMusic Interview, 2008

2025-08-01T18:41:52Z

Roxwize: shit lol

Below is a transcript from a FutureMusic interview given to Autechre near the release of [[Quaristice]]. Scans provided by https://autechre.neocities.org/en/interviews/interview41.

==Transcript==

Autechre need no introduction to any follower of electronic music. Suitably homed by frequency-friendly Warp Records, Autechre — Sean Booth and Rob Brown — have taken the synthetic form and filtered it off in myriad new directions, earning them critical plaudits and devoted fans such as Radiohead's Thom Yorke and the godlike genius that is Chris Morris.

From their late '80s Rochdale roots as aspiring Hip Hop enthusiasts messing around with mix tapes and a Roland MC-202, through a succession of ground-breaking albums and frenetic live sets, Autechre have consistently come up with the electronic goods while defying categorisation. Rather than rest on their laurels, their new album, ''Quaristice'', sees Rob and Sean no less keen to explore electronic music's further reaches. With tracks such as the metallically beautiful ''Simmm'', the 606-rhythmic ''Tankakern'' and the bit-crushed Hip Hop of ''fwze'', Autechre show they've lost none of their edge.

Having had the pleasure of interviewing Autechre some years back for the release of seventh album ''Draft7.30'', the opportunity was grasped to talk to the duo on the eve of ''Quaristice''’s release. Thankfully, Autechre have lost none of the enthusiastic fanaticism for technology I recall from our first encounter, effortlessly segueing between generative software, circuit-bent hardware and extolling the virtues of Larry David's ''Curb Your Enthusiasm''. Rob and Sean share a passion for electronics and the continuing possibilities of electronic music — a fact that probably isn't lost on the software and hardware companies whose products Autechre use and who, one suspects, listen intently to the feedback Autechre invariably give them on how best to enhance their wares.

With that in mind, I endeavoured to find out more about the inner machinations of Autechre, their current stance on software versus hardware, and where music-making technology is going...

'''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?'''

'''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' So we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface."

'''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."

'''And where did you go with it from there?'''

'''SB:''' "It lent itself towards production as we were really trying to get it right at the time. A lot of the arrangements and how the sounds changed were off the cuff so that part of it was being considered a lot less, whereas the actual sounds and how it was all produced had the most conscious thought put into it. So I suppose, consciously, we've probably become a little better at the production, which has meant we can relax a bit more. There's bits where we've been running it and I've changed a sequence, and rather than thinking that it's maybe ruined a particular take we'd just let it carry on. So when you hear big changes in a track, that tends to be where there was a big chunk missing."

'''Did working that way leave you with a logistical nightmare, having so much music from the jams?'''

'''RB:''' "Kind of — just the sheer amount of projects."

'''SB:''' "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."

'''RB:''' "You can have takes for each track as well. You can run the thing you're working on, stop and save, go to a new take and it doesn’t delete anything. Everything can also be orientated in a way that’s native — like the live set’s good for us using the equipment because we've done it hundreds of times, sometimes back-to-back, day after day. Then there might be some big one-off festival where one of us might've had a month to prepare some new ideas then just go with it on the night."

'''Is that the trusty old TR-606 Drumatix dusted down for an appearance on the track ''Tankakern''?'''

'''RB:''' "As with every album, a facet of the older stuff perhaps comes alive again. We originally bought our 606 off a local Hip Hop guy for £50 and we thought he couldn't program it as it was in really weird time signatures and rubbish 11-step rhythms. We were really dissing him for ages until we realised that's what happens to the 606s if you take the batteries out of them for too long. We used to see the 606 as a baby-cousin to the TR808 as we'd always seen Mantronix going on about his 808, but all we could ever get was a 606 and the only record I had with a 606 on it was The Gap Band... I wanted to be a bit more Hip Hop than that!"

'''SB:''' “They actually sound the same kind of metallic/plastic that they look. I like how solid they are and they distort nicer than some other drum machines."

'''What hardware have you been using for live sets?'''

'''SB:''' "Obviously we cut down the equipment we take out for the live sets so there’s the Elektron SPS-1, Elektron SFX-60, Nord G2. an Akai MPC1000 and a Mackie mixer."

'''RB:''' "Usually we specify that we want a Mackie Onyx because that's what we've got ourselves. We take our own DI and our own dbx 1066 and there's as WaveIdea Bitstream 3x controller."

'''Does the Akai MPC betray that underneath the glitches you're still Hip Hoppers at heart?'''

'''RB:''' [laughs] "I never had an MPC. We had a Roland R-8, which was a sort of undergraduate to the MPC world. Mark Broom had the first MPC I ever laid my hands on and it was perfect for him, a House producer doing MPC tracks. But at the same time I think Akai have always had an over-simplistic approach. Yeah, it might be a de facto 16-bit recording quality, and the bigger ones are 96kHz sampling rate..."

'''SB:''' "The MPC1000 runs the JJ OS doesn't it?"

'''RB:''' "Yeah, there's a Japanese kid who makes the OS for the MPC2500 and the 1000, which massively modifies it. It's like when you've got a bit of equipment that's the runt of the family. With a big corporation like Akai they'll make the middle one pretty good, the big one too big but well spec'd, and make the smaller ones a nipped-up version of all the others. Basically, this guy JJ has blown that wide open by getting to the CPU and into the OS and he's made it work just how you'd really want it to work.

"When I bought the MPC I was really depressed. I thought 'okay, it's simple and it's the interface I wanted, but it gives me all these MIDI channels and all these Mute capabilities and live stuff I can do.' Even though it might feel like a playback device, JJ made it a performance machine again. He put a few MIDI roll editors into it, a controller, and vector programmability into some of the controls. It's still restrictive but there are some gains from that. All he's done is make the interface a bit harder to read."

'''SB:''' "The best thing would be to have a Kurzweil board in an MPC unit. The quick interface and the fact the keys are all laid out for you on the MPCs makes you do different kinds of edits. Obviously we grew up with the Roland R-8, which was a big part of our studio for ages. It had 16 pads so the idea of having one drum and pitching it around the interface was [???] natural for us. In fact, when I first got an MPC I remember thinking it was just like an R-S — or rather, what you'd like to be able to do with an R-S. To me they're both still great machines even though they're not offering anything particularly ground-breaking."

'''We seem to be coming back to 'hands on' with hardware controllers from 'hands off' with software.'''

'''RB:''' "The choice of hardware is becoming ridiculous now. In the 1990s you could get a Penny and Giles 16-fader unit for £4,000, then you had your Peavey 16x with only a couple of things in between. Now you have the BitStream, which is solid as a rock yet it's got some ridiculous software programming where you can program everything to SysEx level. So now, even at entry level, people can download some Mackie emulation templates and they're away. Then you have the nutters who are writing these huge strings for their SysEx."

'''SB:''' "You could use it to control all the parameters of a jumbo jet with the amount of SysEx programming it has! I wouldn't say I like hardware more than software as we still do a lot on computer and, by their nature, computers are multi-purpose — that's the point of software. Using a hardware machine I'm still using software, it's just that it's been designed to work optimally with that machine."

'''So have Autechre moved on from software?'''

'''SB:''' "Well, the last album was made using a lot of hardware but we were using it in a very 'softwarey' kind of way. We'd set up multiple hardware sequencers but once it was set up for us to program it was just a matter of pressing 'Play' and making sure that the MIDI sequencing was synced then recording it into Digital Performer. So it was like a base-system of hardware..."

'''RB:''' "But the computer was still in the hub of it all."

'''SB:''' "As I said earlier, with this album we did these long jams and had a horrendous amount of stuff recorded but the computers enabled it to be really quick editing it all down. If we had to use tape to do the same album I wouldn't be quite so chuffed! So I can't sit here and say that hardware's brilliant and software's not. Fair enough we weren't using the computer or anything exotic other than the editing but it enabled that so well, and a lot of people take that for granted. If there was a hardware machine that enabled us to do the kind of editing we do on software then I'd probably go for that, as it would involve more buttons and less mouse."

'''So some kind of intermediate interface twixt mouse and button is required?'''

'''RB:''' "There was one point in the late '90s where we thought it was all going to come together when Wacom brought out their Cintiq touch-monitor devices. That was suddenly your hardware box."

'''SB:''' "Surely Apple are going to release a giant iPhone with a touch-screen for doing music? If they got that together all the others would die immediately."

'''The way you explore and use your equipment reminds me of that Brian Eno quote where he asserts that a high percentage of DX7 synths had never even been programmed.'''

'''SB:''' [laughs] "Yeah, but you can understand why, as it must've filled people with dread who were come away from analogue synths at the time. A lot of kids now would probably get their heads around it a lot quicker as most have done at least some IT training. In its time it was quite prohibitive though, and that was the test of whether someone was a good programmer, if they could program a DX."

'''So there's no bespoke Autechre hardware/software in the pipeline?'''

'''SB:''' "We're in touch with people because over the years we've had questions about hardware and software. When we contacted MoTU they were incredibly receptive and now we know people there. Elektron were the same when we spoke to them. I never contacted James McCartney [developer of SuperCollider] as I never thought there was anything I could tell him. It's usually when there's something wrong that we get in touch with people."

'''RB:''' "It's weird with all the software that people are always aiming to optimise but never quite getting to that point. There's a shape-shifting ethic that goes on with software where you can say 'why does it have to analyse every time I make an edit?' and they'll come back and say 'just wait till v1.4'."

'''SB:''' "Traditionally, hardware companies have been these huge monoliths that you couldn't get anywhere near, whereas software companies now are often small and have somebody whose job is to deal with people getting in touch to ask how they use certain features. The software companies are constantly in touch with people about updating their software and seeing how they can help users."

'''Which is certainly more pro-active than the 'here's what you're going to get' attitude that some of the hardware companies employ...'''

'''RB:''' "Yeah, exactly. It's like JJ and the Akai scenario again. He's on OS2 now."

'''SB:''' "It's like the Elektrons too — every couple of months there's a new OS and a couple of new features, which is brilliant because they never remove anything."

'''Yet software seems to be less central to your studio at the moment...'''

'''SB:''' "Doing the tracks in the studio it was more about the 'liveness' rather than the software. We were still using the computer and occasional soft synths in real-time but mainly because latency, CPU sound and everything is at the point where there's a thinner line than ever between real-time and non-real-time. You can use a computer just to run a soft synth now and not feel like it's weird and still have it connected to your live stuff and making instant control changes. It's functioning just like a synth but it's just that you've blocked it off, and rather than using the same screen for doing your sequencing and your programming you use the other kit."

'''Are there any soft synths you particularly like?'''

'''SB:''' "FM7 is my favourite. I'm so familiar with that world and it's such a good representation but it's also, like, 5,000 times faster to program. For me it's amazing that you can make a DX100 patch on a computer in five minutes. Then there's other things like Cube [VirSyn's additive soft synth], which is very like something we used to use Kyma for with a particular use of spectral files, but Cube runs really well on even the worst computers ever and it's got amazing envelope control in it. The way they've made multi-dimensional envelope controls makes it so much quicker to program than in Kyma. The reason Cube's good isn't because of what it's offering technically, it's purely the interface."

'''RB:''' "On the last album, ''Untilted'', I was using a few of the Arturia soft synths because they were trying to get the 'ultimate closest to the real synths'. Yeah, right! The thing is though, by the time you've got two poly voices going, the computer's almost broken because it's trying so hard. The Arturias were good to make the most bizarre patches because you have all the functionality of a massive Yamaha CS-80 and you can actually get your hands, in theory, on those synths that I never had because I was way too young and the bedroom was way too small."

'''SB:''' "I got really excited when the PPG soft synth came out because you knew they'd get it right. Moogs and Yamahas are hard but the PPG was easy. Economically it seems like a really bad idea to buy lots of synths at the moment as the resale value is so bad. You would've thought 10 years ago that if you bought loads of synths you'd be fine and that they wouldn't depreciate in value the way computers do."

'''Mind you, the soft synths are a lot more stable voltage- and tuning-wise than the original machines.'''

'''SB:''' [laughs] "I remember when we first turned up to play live at a club called Bojangles in Rochdale. They had no idea about electronic music and we turned up with a Roland MC-202 and a Roland Octopad and they guy was like 'you can't put that through my PA, that's a synthesizer, that makes perfect waveforms. If you play a square wave through this rig you'll blow it!' He must've thought his cones would be bouncing out of the speakers."

'''RB:''' "I remember he insisted on using our 4-track, which was better for us as it meant we made a lot less mistakes."

'''Any dream software/hardware that you'd like to see?'''

'''SB:''' "Everything I could think of is based on stuff that's already out there. I'd quite like to see a much, much better of Tassman, as I really like Tassman but it's pushing it as far as the CPU's concerned. I like the modules; I think they're really tasty. There's a lot of SPK modelling going around and they've got a good angle on it aesthetically. The filers on the models are really, really nice-sounding compared to something like Native.

"Another thing, which is more of a gripe really, is when Traktor 3, for example, came out it only runs on fast computers. For some people that's still a bit tricky and that bugs me, as you'd think something like Traktor, where you're playing three wavs, wouldn't have so much trouble for the chips running on smaller computers. I wish people would be a little bit more economical with CPU power."

'''RB:''' "I think the Analysis and Library functions slow it down. I used to do whole tracks with Logic Audio on an IBM ThinkPad with a 133Mhz processor and 48MB of RAM. They were proper tracks with maybe a couple of effects and plug-ins, then mastering. Even SoundEdit 16 was on OS 7.6 or something and still working on 90MHz machines."

'''SB:''' "I'd quite like to see a machine that lets you install your own kind of synth engine and maybe a little developing environment you could use to design synth engines. I think that's coming soon." '''FM'''

{{DEFAULTSORT:2008 FutureMusic_Interview}}
[[Category:Interview]]

FutureMusic Interview, 2008

2025-08-01T18:41:32Z

Roxwize:

Below is a transcript from a FutureMusic interview given to Autechre near the release of [[Quaristice]]. Scans provided by https://autechre.neocities.org/en/interviews/interview41.

==Transcript==

Autechre need no introduction to any follower of electronic music. Suitably homed by frequency-friendly Warp Records, Autechre — Sean Booth and Rob Brown — have taken the synthetic form and filtered it off in myriad new directions, earning them critical plaudits and devoted fans such as Radiohead's Thom Yorke and the godlike genius that is Chris Morris.

From their late '80s Rochdale roots as aspiring Hip Hop enthusiasts messing around with mix tapes and a Roland MC-202, through a succession of ground-breaking albums and frenetic live sets, Autechre have consistently come up with the electronic goods while defying categorisation. Rather than rest on their laurels, their new album, ''Quaristice'', sees Rob and Sean no less keen to explore electronic music's further reaches. With tracks such as the metallically beautiful ''Simmm'', the 606-rhythmic ''Tankakern'' and the bit-crushed Hip Hop of ''fwze'', Autechre show they've lost none of their edge.

Having had the pleasure of interviewing Autechre some years back for the release of seventh album ''Draft7.30'', the opportunity was grasped to talk to the duo on the eve of ''Quaristice''’s release. Thankfully, Autechre have lost none of the enthusiastic fanaticism for technology I recall from our first encounter, effortlessly segueing between generative software, circuit-bent hardware and extolling the virtues of Larry David's ''Curb Your Enthusiasm''. Rob and Sean share a passion for electronics and the continuing possibilities of electronic music — a fact that probably isn't lost on the software and hardware companies whose products Autechre use and who, one suspects, listen intently to the feedback Autechre invariably give them on how best to enhance their wares.

With that in mind, I endeavoured to find out more about the inner machinations of Autechre, their current stance on software versus hardware, and where music-making technology is going...

'''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?'''

'''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' S o we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface."

'''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."

'''And where did you go with it from there?'''

'''SB:''' "It lent itself towards production as we were really trying to get it right at the time. A lot of the arrangements and how the sounds changed were off the cuff so that part of it was being considered a lot less, whereas the actual sounds and how it was all produced had the most conscious thought put into it. So I suppose, consciously, we've probably become a little better at the production, which has meant we can relax a bit more. There's bits where we've been running it and I've changed a sequence, and rather than thinking that it's maybe ruined a particular take we'd just let it carry on. So when you hear big changes in a track, that tends to be where there was a big chunk missing."

'''Did working that way leave you with a logistical nightmare, having so much music from the jams?'''

'''RB:''' "Kind of — just the sheer amount of projects."

'''SB:''' "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."

'''RB:''' "You can have takes for each track as well. You can run the thing you're working on, stop and save, go to a new take and it doesn’t delete anything. Everything can also be orientated in a way that’s native — like the live set’s good for us using the equipment because we've done it hundreds of times, sometimes back-to-back, day after day. Then there might be some big one-off festival where one of us might've had a month to prepare some new ideas then just go with it on the night."

'''Is that the trusty old TR-606 Drumatix dusted down for an appearance on the track ''Tankakern''?'''

'''RB:''' "As with every album, a facet of the older stuff perhaps comes alive again. We originally bought our 606 off a local Hip Hop guy for £50 and we thought he couldn't program it as it was in really weird time signatures and rubbish 11-step rhythms. We were really dissing him for ages until we realised that's what happens to the 606s if you take the batteries out of them for too long. We used to see the 606 as a baby-cousin to the TR808 as we'd always seen Mantronix going on about his 808, but all we could ever get was a 606 and the only record I had with a 606 on it was The Gap Band... I wanted to be a bit more Hip Hop than that!"

'''SB:''' “They actually sound the same kind of metallic/plastic that they look. I like how solid they are and they distort nicer than some other drum machines."

'''What hardware have you been using for live sets?'''

'''SB:''' "Obviously we cut down the equipment we take out for the live sets so there’s the Elektron SPS-1, Elektron SFX-60, Nord G2. an Akai MPC1000 and a Mackie mixer."

'''RB:''' "Usually we specify that we want a Mackie Onyx because that's what we've got ourselves. We take our own DI and our own dbx 1066 and there's as WaveIdea Bitstream 3x controller."

'''Does the Akai MPC betray that underneath the glitches you're still Hip Hoppers at heart?'''

'''RB:''' [laughs] "I never had an MPC. We had a Roland R-8, which was a sort of undergraduate to the MPC world. Mark Broom had the first MPC I ever laid my hands on and it was perfect for him, a House producer doing MPC tracks. But at the same time I think Akai have always had an over-simplistic approach. Yeah, it might be a de facto 16-bit recording quality, and the bigger ones are 96kHz sampling rate..."

'''SB:''' "The MPC1000 runs the JJ OS doesn't it?"

'''RB:''' "Yeah, there's a Japanese kid who makes the OS for the MPC2500 and the 1000, which massively modifies it. It's like when you've got a bit of equipment that's the runt of the family. With a big corporation like Akai they'll make the middle one pretty good, the big one too big but well spec'd, and make the smaller ones a nipped-up version of all the others. Basically, this guy JJ has blown that wide open by getting to the CPU and into the OS and he's made it work just how you'd really want it to work.

"When I bought the MPC I was really depressed. I thought 'okay, it's simple and it's the interface I wanted, but it gives me all these MIDI channels and all these Mute capabilities and live stuff I can do.' Even though it might feel like a playback device, JJ made it a performance machine again. He put a few MIDI roll editors into it, a controller, and vector programmability into some of the controls. It's still restrictive but there are some gains from that. All he's done is make the interface a bit harder to read."

'''SB:''' "The best thing would be to have a Kurzweil board in an MPC unit. The quick interface and the fact the keys are all laid out for you on the MPCs makes you do different kinds of edits. Obviously we grew up with the Roland R-8, which was a big part of our studio for ages. It had 16 pads so the idea of having one drum and pitching it around the interface was [???] natural for us. In fact, when I first got an MPC I remember thinking it was just like an R-S — or rather, what you'd like to be able to do with an R-S. To me they're both still great machines even though they're not offering anything particularly ground-breaking."

'''We seem to be coming back to 'hands on' with hardware controllers from 'hands off' with software.'''

'''RB:''' "The choice of hardware is becoming ridiculous now. In the 1990s you could get a Penny and Giles 16-fader unit for £4,000, then you had your Peavey 16x with only a couple of things in between. Now you have the BitStream, which is solid as a rock yet it's got some ridiculous software programming where you can program everything to SysEx level. So now, even at entry level, people can download some Mackie emulation templates and they're away. Then you have the nutters who are writing these huge strings for their SysEx."

'''SB:''' "You could use it to control all the parameters of a jumbo jet with the amount of SysEx programming it has! I wouldn't say I like hardware more than software as we still do a lot on computer and, by their nature, computers are multi-purpose — that's the point of software. Using a hardware machine I'm still using software, it's just that it's been designed to work optimally with that machine."

'''So have Autechre moved on from software?'''

'''SB:''' "Well, the last album was made using a lot of hardware but we were using it in a very 'softwarey' kind of way. We'd set up multiple hardware sequencers but once it was set up for us to program it was just a matter of pressing 'Play' and making sure that the MIDI sequencing was synced then recording it into Digital Performer. So it was like a base-system of hardware..."

'''RB:''' "But the computer was still in the hub of it all."

'''SB:''' "As I said earlier, with this album we did these long jams and had a horrendous amount of stuff recorded but the computers enabled it to be really quick editing it all down. If we had to use tape to do the same album I wouldn't be quite so chuffed! So I can't sit here and say that hardware's brilliant and software's not. Fair enough we weren't using the computer or anything exotic other than the editing but it enabled that so well, and a lot of people take that for granted. If there was a hardware machine that enabled us to do the kind of editing we do on software then I'd probably go for that, as it would involve more buttons and less mouse."

'''So some kind of intermediate interface twixt mouse and button is required?'''

'''RB:''' "There was one point in the late '90s where we thought it was all going to come together when Wacom brought out their Cintiq touch-monitor devices. That was suddenly your hardware box."

'''SB:''' "Surely Apple are going to release a giant iPhone with a touch-screen for doing music? If they got that together all the others would die immediately."

'''The way you explore and use your equipment reminds me of that Brian Eno quote where he asserts that a high percentage of DX7 synths had never even been programmed.'''

'''SB:''' [laughs] "Yeah, but you can understand why, as it must've filled people with dread who were come away from analogue synths at the time. A lot of kids now would probably get their heads around it a lot quicker as most have done at least some IT training. In its time it was quite prohibitive though, and that was the test of whether someone was a good programmer, if they could program a DX."

'''So there's no bespoke Autechre hardware/software in the pipeline?'''

'''SB:''' "We're in touch with people because over the years we've had questions about hardware and software. When we contacted MoTU they were incredibly receptive and now we know people there. Elektron were the same when we spoke to them. I never contacted James McCartney [developer of SuperCollider] as I never thought there was anything I could tell him. It's usually when there's something wrong that we get in touch with people."

'''RB:''' "It's weird with all the software that people are always aiming to optimise but never quite getting to that point. There's a shape-shifting ethic that goes on with software where you can say 'why does it have to analyse every time I make an edit?' and they'll come back and say 'just wait till v1.4'."

'''SB:''' "Traditionally, hardware companies have been these huge monoliths that you couldn't get anywhere near, whereas software companies now are often small and have somebody whose job is to deal with people getting in touch to ask how they use certain features. The software companies are constantly in touch with people about updating their software and seeing how they can help users."

'''Which is certainly more pro-active than the 'here's what you're going to get' attitude that some of the hardware companies employ...'''

'''RB:''' "Yeah, exactly. It's like JJ and the Akai scenario again. He's on OS2 now."

'''SB:''' "It's like the Elektrons too — every couple of months there's a new OS and a couple of new features, which is brilliant because they never remove anything."

'''Yet software seems to be less central to your studio at the moment...'''

'''SB:''' "Doing the tracks in the studio it was more about the 'liveness' rather than the software. We were still using the computer and occasional soft synths in real-time but mainly because latency, CPU sound and everything is at the point where there's a thinner line than ever between real-time and non-real-time. You can use a computer just to run a soft synth now and not feel like it's weird and still have it connected to your live stuff and making instant control changes. It's functioning just like a synth but it's just that you've blocked it off, and rather than using the same screen for doing your sequencing and your programming you use the other kit."

'''Are there any soft synths you particularly like?'''

'''SB:''' "FM7 is my favourite. I'm so familiar with that world and it's such a good representation but it's also, like, 5,000 times faster to program. For me it's amazing that you can make a DX100 patch on a computer in five minutes. Then there's other things like Cube [VirSyn's additive soft synth], which is very like something we used to use Kyma for with a particular use of spectral files, but Cube runs really well on even the worst computers ever and it's got amazing envelope control in it. The way they've made multi-dimensional envelope controls makes it so much quicker to program than in Kyma. The reason Cube's good isn't because of what it's offering technically, it's purely the interface."

'''RB:''' "On the last album, ''Untilted'', I was using a few of the Arturia soft synths because they were trying to get the 'ultimate closest to the real synths'. Yeah, right! The thing is though, by the time you've got two poly voices going, the computer's almost broken because it's trying so hard. The Arturias were good to make the most bizarre patches because you have all the functionality of a massive Yamaha CS-80 and you can actually get your hands, in theory, on those synths that I never had because I was way too young and the bedroom was way too small."

'''SB:''' "I got really excited when the PPG soft synth came out because you knew they'd get it right. Moogs and Yamahas are hard but the PPG was easy. Economically it seems like a really bad idea to buy lots of synths at the moment as the resale value is so bad. You would've thought 10 years ago that if you bought loads of synths you'd be fine and that they wouldn't depreciate in value the way computers do."

'''Mind you, the soft synths are a lot more stable voltage- and tuning-wise than the original machines.'''

'''SB:''' [laughs] "I remember when we first turned up to play live at a club called Bojangles in Rochdale. They had no idea about electronic music and we turned up with a Roland MC-202 and a Roland Octopad and they guy was like 'you can't put that through my PA, that's a synthesizer, that makes perfect waveforms. If you play a square wave through this rig you'll blow it!' He must've thought his cones would be bouncing out of the speakers."

'''RB:''' "I remember he insisted on using our 4-track, which was better for us as it meant we made a lot less mistakes."

'''Any dream software/hardware that you'd like to see?'''

'''SB:''' "Everything I could think of is based on stuff that's already out there. I'd quite like to see a much, much better of Tassman, as I really like Tassman but it's pushing it as far as the CPU's concerned. I like the modules; I think they're really tasty. There's a lot of SPK modelling going around and they've got a good angle on it aesthetically. The filers on the models are really, really nice-sounding compared to something like Native.

"Another thing, which is more of a gripe really, is when Traktor 3, for example, came out it only runs on fast computers. For some people that's still a bit tricky and that bugs me, as you'd think something like Traktor, where you're playing three wavs, wouldn't have so much trouble for the chips running on smaller computers. I wish people would be a little bit more economical with CPU power."

'''RB:''' "I think the Analysis and Library functions slow it down. I used to do whole tracks with Logic Audio on an IBM ThinkPad with a 133Mhz processor and 48MB of RAM. They were proper tracks with maybe a couple of effects and plug-ins, then mastering. Even SoundEdit 16 was on OS 7.6 or something and still working on 90MHz machines."

'''SB:''' "I'd quite like to see a machine that lets you install your own kind of synth engine and maybe a little developing environment you could use to design synth engines. I think that's coming soon." '''FM'''

{{DEFAULTSORT:2008 FutureMusic_Interview}}
[[Category:Interview]]

Gescom

2024-11-20T15:20:37Z

Roxwize: /* Live Shows */

[[Category:Gescom]]
Gescom is a musical collective that is associated with [[Autechre]]. The earliest mention of the group was under the thanks credits for ''[[Incunabula]].'' During their 2013 AMA, Rob mentioned that Gescom is a separate project from work as Autechre.<ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D226</ref> Sean confirms that at least 15-20 people have been part of the group, including him and Rob.<ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D301</ref> Sean also mentions that it means other people can release material without their involvement.<ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D325</ref>

==Discography<ref>https://www.discogs.com/artist/49</ref>==

===Album===
*''[[Minidisc]]'' (1998)
*''A1-D1'' (2007)

===EPs / Singles===
*''Gescom E.P.'' (1994)
**Written by Sean Booth, Rob Brown, Rob Hall, Darrell Fitton and Daniel 72.<ref>https://www.discogs.com/release/195-Gescom-Gescom-EP</ref>
*''C & D'' (1995) (also known as Gescom 2)
**Written by Rob Brown, Sean Booth, and Andy Maddocks.<ref>https://www.discogs.com/release/1927-Gescom-C-D</ref>
*''The Sounds of Machines Our Parents Used'' (1995)
*''Key Nell'' (1995)
*''Motor'' (1996)
**Written by Rob Brown and Sean Booth, potentially with other contributors.
**Despite releasing in 1996, ''Motor'' carries a 1994 copyright date. Early, rejected copies also contain contributor information which was redacted on all known copies, as well as a misspelling of the word "distributed". Later copies had the labels redesigned to remove all credits and correct the misspelled word. <ref>https://aestheticcomplexity.wordpress.com/2016/11/20/gescom-motor-ep/</ref> 
*''Keynell (Autechre remixes)'' (1996)
*''Ad Vanz Vs Gescom / Foehn - Split Series #2'' (1998)
**Written by Rob Brown and Rob Hall.<ref>https://fatcatrecords.bandcamp.com/album/split-series-2</ref>
*''This'' (1998)
*''That'' (1998)
*''ISS:SA'' (2003)
**Some tracks were made by Sean.<ref>https://imgur.com/a/sean-ae-mastodon-2024-08-23-iss-sa-sean-contribution-https-post-lurk-org-sean-ae-113010561937955988-3Ip8cz3</ref>
**"Megamix" was done with decks consisting of other Gescom records sent to and then edited on MiniDisc.<ref>https://web.archive.org/web/2/https://post.lurk.org/@sean_ae/112591899866808551</ref>
*''Skull Snap'' (2011)

===DJ Mixes===
*Disengage (1994-1996)
*''[[AMKS_1]]'' (2021)

===Rarities<ref>https://docs.google.com/spreadsheets/d/1i1o90JzFLUelov8bydmpurOCDhktdd-oMbErw8G0AXA/edit?hl=en#gid=3</ref>===
*Bronchusix
*Snorkel
**from Various Artists - Groove Techno (From Acid To Ambient). Copyrighted 1994, written by Sean Booth and Rob Brown.<ref>https://www.discogs.com/release/2496846-Various-Groove-Techno-From-Acid-To-Ambient</ref>
*Tony LeMesmer
*Sklf2
*Two Of
*Peel Xyzdub
*Stoop
**Stoop could be a collaborative piece made with Boards of Canada, due to elements of the song appearing among other BoC material as loopable background music on their defunct 2000 - 2001 website. <ref>https://youtu.be/Y6_FlG27Amo?si=_oxF3Ata71fR5TZ6&t=688</ref>
*Leritue (Gibber Mix)
** Written by Sean Booth and Rob Brown. <ref>https://www.discogs.com/release/282-Various-Alt-Frequencies-3</ref>
*Untitled ''(Mask 400)''
*Around Absolute Zero
*9Û5©03^.¶·5K70¸12i--) ..1`2`|||
**frrom Fals.ch 02. A program generating music.<ref>https://www.discogs.com/release/410894-Various-Falsch-02</ref>
*PN-1.3.15
*YXJ440M
[[File:Horizon.png|thumb|Screenshot of the program used to generate Horizon.]]
*Horizon
**Horizon is a generative piece made using the BBC BASIC programming language for the BBC Micro series of microcomputers. It was originally created by Sean in 2004 for the rand()% generative radio station by the BBC.<ref>https://forum.watmm.com/topic/59299-sean-booth-horizon/</ref>
**It was supposed to be reused for the Composing with Process radio series from [https://rwm.macba.cat/ Radio Web MACBA] in 2010, but was mistakenly credited to Sean instead of Gescom.<ref>https://forum.watmm.com/topic/58850-composing-with-process-radio-programme/?do=findComment&comment=1438583</ref><ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D315</ref><ref>https://forum.watmm.com/topic/86350-does-anyone-have-a-recording-to-share-of-sean-booths-piece-horizon/</ref> It was subsequently replaced with a piece by Ryoji Ikeda due to Warp Record's exclusivity policies.<ref>https://rwm.macba.cat/en/research/composing-process-perspectives-generative-and-systems-music-12-exclusives</ref>
**The full BBC BASIC code used to create the track is featured on the artwork of its ID3 metadata – an emulator screenshot of the program after being loaded. It only uses 6 lines.
**The track is named after the emulator that was used in its creation, [https://www.bannister.org/software/horizon.htm Horizon]. The program's filename is actually "EL25", as shown on the screenshot.

*''[[Hanalgig]]''

===Remixes===
*Push Button Objects - Non-Existant (Keyed In by Gescom)
*Man Parrish - Boogie Down Bronx (Remix)
*Hecker - Itiso161/ae (Remix - Gescom)
* Passarani - Phonok (Vacuum Party Mix)
*Kid Acne - Eddy Fresh (Gescom Remix)
*Kid Acne - Eddy Fresh (Gescom Dub Mix)

===Collaborations===
*Mira Calix – ''Ilanga''
**Production Assisted by Gescom <ref>https://www.discogs.com/release/159-Mira-Calix-Ilanga</ref>
*LSD Dream Emulator
**Art Credited to Gescom and Sean Booth<ref>https://web.archive.org/web/20231229114858/https://post.lurk.org/@sean_ae/111660687133105749</ref>

===Live Shows===
See,<ref>https://ra.co/dj/gescom</ref> also Live DJ recording at Cay Aoyama Tokyo 2000-07-01 

2024-10-31 Bristol @ Strange Brew (Diagonal Records presents '13')<ref>https://ra.co/events/1983229</ref><ref>https://www.instagram.com/strange_brew_briz/p/DBqfBTuNm_c/?hl=en&img_index=6</ref> (DJ Mix by Rob Brown)

== References ==
<references />

Gescom

2024-11-20T15:19:40Z

Roxwize: /* Raritieshttps://docs.google.com/spreadsheets/d/1i1o90JzFLUelov8bydmpurOCDhktdd-oMbErw8G0AXA/edit?hl=en#gid=3 */

[[Category:Gescom]]
Gescom is a musical collective that is associated with [[Autechre]]. The earliest mention of the group was under the thanks credits for ''[[Incunabula]].'' During their 2013 AMA, Rob mentioned that Gescom is a separate project from work as Autechre.<ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D226</ref> Sean confirms that at least 15-20 people have been part of the group, including him and Rob.<ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D301</ref> Sean also mentions that it means other people can release material without their involvement.<ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D325</ref>

==Discography<ref>https://www.discogs.com/artist/49</ref>==

===Album===
*''[[Minidisc]]'' (1998)
*''A1-D1'' (2007)

===EPs / Singles===
*''Gescom E.P.'' (1994)
**Written by Sean Booth, Rob Brown, Rob Hall, Darrell Fitton and Daniel 72.<ref>https://www.discogs.com/release/195-Gescom-Gescom-EP</ref>
*''C & D'' (1995) (also known as Gescom 2)
**Written by Rob Brown, Sean Booth, and Andy Maddocks.<ref>https://www.discogs.com/release/1927-Gescom-C-D</ref>
*''The Sounds of Machines Our Parents Used'' (1995)
*''Key Nell'' (1995)
*''Motor'' (1996)
**Written by Rob Brown and Sean Booth, potentially with other contributors.
**Despite releasing in 1996, ''Motor'' carries a 1994 copyright date. Early, rejected copies also contain contributor information which was redacted on all known copies, as well as a misspelling of the word "distributed". Later copies had the labels redesigned to remove all credits and correct the misspelled word. <ref>https://aestheticcomplexity.wordpress.com/2016/11/20/gescom-motor-ep/</ref> 
*''Keynell (Autechre remixes)'' (1996)
*''Ad Vanz Vs Gescom / Foehn - Split Series #2'' (1998)
**Written by Rob Brown and Rob Hall.<ref>https://fatcatrecords.bandcamp.com/album/split-series-2</ref>
*''This'' (1998)
*''That'' (1998)
*''ISS:SA'' (2003)
**Some tracks were made by Sean.<ref>https://imgur.com/a/sean-ae-mastodon-2024-08-23-iss-sa-sean-contribution-https-post-lurk-org-sean-ae-113010561937955988-3Ip8cz3</ref>
**"Megamix" was done with decks consisting of other Gescom records sent to and then edited on MiniDisc.<ref>https://web.archive.org/web/2/https://post.lurk.org/@sean_ae/112591899866808551</ref>
*''Skull Snap'' (2011)

===DJ Mixes===
*Disengage (1994-1996)
*''[[AMKS_1]]'' (2021)

===Rarities<ref>https://docs.google.com/spreadsheets/d/1i1o90JzFLUelov8bydmpurOCDhktdd-oMbErw8G0AXA/edit?hl=en#gid=3</ref>===
*Bronchusix
*Snorkel
**from Various Artists - Groove Techno (From Acid To Ambient). Copyrighted 1994, written by Sean Booth and Rob Brown.<ref>https://www.discogs.com/release/2496846-Various-Groove-Techno-From-Acid-To-Ambient</ref>
*Tony LeMesmer
*Sklf2
*Two Of
*Peel Xyzdub
*Stoop
**Stoop could be a collaborative piece made with Boards of Canada, due to elements of the song appearing among other BoC material as loopable background music on their defunct 2000 - 2001 website. <ref>https://youtu.be/Y6_FlG27Amo?si=_oxF3Ata71fR5TZ6&t=688</ref>
*Leritue (Gibber Mix)
** Written by Sean Booth and Rob Brown. <ref>https://www.discogs.com/release/282-Various-Alt-Frequencies-3</ref>
*Untitled ''(Mask 400)''
*Around Absolute Zero
*9Û5©03^.¶·5K70¸12i--) ..1`2`|||
**frrom Fals.ch 02. A program generating music.<ref>https://www.discogs.com/release/410894-Various-Falsch-02</ref>
*PN-1.3.15
*YXJ440M
[[File:Horizon.png|thumb|Screenshot of the program used to generate Horizon.]]
*Horizon
**Horizon is a generative piece made using the BBC BASIC programming language for the BBC Micro series of microcomputers. It was originally created by Sean in 2004 for the rand()% generative radio station by the BBC.<ref>https://forum.watmm.com/topic/59299-sean-booth-horizon/</ref>
**It was supposed to be reused for the Composing with Process radio series from [https://rwm.macba.cat/ Radio Web MACBA] in 2010, but was mistakenly credited to Sean instead of Gescom.<ref>https://forum.watmm.com/topic/58850-composing-with-process-radio-programme/?do=findComment&comment=1438583</ref><ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D315</ref><ref>https://forum.watmm.com/topic/86350-does-anyone-have-a-recording-to-share-of-sean-booths-piece-horizon/</ref> It was subsequently replaced with a piece by Ryoji Ikeda due to Warp Record's exclusivity policies.<ref>https://rwm.macba.cat/en/research/composing-process-perspectives-generative-and-systems-music-12-exclusives</ref>
**The full BBC BASIC code used to create the track is featured on the artwork of its ID3 metadata – an emulator screenshot of the program after being loaded. It only uses 6 lines.
**The track is named after the emulator that was used in its creation, [https://www.bannister.org/software/horizon.htm Horizon]. The program's filename is actually "EL25", as shown on the screenshot.

*''[[Hanalgig]]''

===Remixes===
*Push Button Objects - Non-Existant (Keyed In by Gescom)
*Man Parrish - Boogie Down Bronx (Remix)
*Hecker - Itiso161/ae (Remix - Gescom)
* Passarani - Phonok (Vacuum Party Mix)
*Kid Acne - Eddy Fresh (Gescom Remix)
*Kid Acne - Eddy Fresh (Gescom Dub Mix)

===Collaborations===
*Mira Calix – ''Ilanga''
**Production Assisted by Gescom <ref>https://www.discogs.com/release/159-Mira-Calix-Ilanga</ref>
*LSD Dream Emulator
**Art Credited to Gescom and Sean Booth<ref>https://web.archive.org/web/20231229114858/https://post.lurk.org/@sean_ae/111660687133105749</ref>

===Live Shows===
See<ref>https://ra.co/dj/gescom</ref>, also Live DJ recording at Cay Aoyama Tokyo 2000-07-01 

2024-10-31 Bristol @ Strange Brew (Diagonal Records presents '13')<ref>https://ra.co/events/1983229</ref><ref>https://www.instagram.com/strange_brew_briz/p/DBqfBTuNm_c/?hl=en&img_index=6</ref> (DJ Mix by Rob Brown)
== References ==
<references />

Warp Tapes 89-93

2024-11-20T15:06:56Z

Roxwize: /* Analysis */

{{Infobox
|title=Warp Tapes 89-93
|artist=[[Autechre]]
|cover=Warp Tapes 89-93.jpg
|date=24 June 2019
|label=n/a
|previous=[[NTS Sessions 1-4]]
|previous year=2018
|next=[[AE_LIVE 2016/2018]]
|next year=2020
}}'''''Warp Tapes 89-93''''' is a DJ mix by Autechre compiling material from 1989 to 1993. It was debuted on NTS Radio during Warp's 30th anniversary weekend as two mixes: Part 1 on June 21st, 2019, and Part 2 on June 23rd, 2019.<ref>https://artists.wxaxrxp.net/autechre</ref> It was then officially released on June 24th, 2019 as a free download on the store.<ref>https://ra.co/news/43993</ref><ref>https://www.discogs.com/release/13799471-Autechre-Warp-Tapes-89-93</ref>

== History ==
The tracks were a mix between those recorded straight to cassette and those recorded on a TASCAM 244, which were of much higher quality. Some dubs were added by Rob 10 years earlier for levelling purposes while working on the ''[[Lego Feet]]'' reissue, but otherwise no major changes or mastering was done.<ref>{{Cite interview|quote='''The Warp Tapes are really good,” thank you, “surprising great quality recordings for their age.''' Some of them are. The ones that were recorded on 244 are good because the 244, TASCAM 244, is just beautiful and if you're just recording two channels onto it, because it runs at double speed, then all the noise is, like, out of the way and they're just, it's just really good analog sound. It's really surprising. You can get sound like that out of a cassette, you know. So yeah, all the tracks that were recorded on that thing sound great, and all the stuff that was done straight to normal cassette sounds, well it is what it is, you know. '''Did they need much remastering?''' No. I mean, there weren't, there was no mastering at all. It was just, the tracks were taken. Rob did new dubs of a lot of those tracks which were just literally just getting the line and the levels correct, and then just putting them on a digital and at 24 bit, I think, and so we had, we did, he'd done them quite a while before like a good 10 years before we did that. I think it was around the time that we were recompiling, because we had to rebuild the Lego Feet thing when we did that because we didn't have the masters for that. Just time, and had gone missing, so we had to rebuild that. So the version that Skam released later isn't the same as the version that came out in ‘91. That all the tracks sounded different, I mean, we tried to rip, do, you know, replicate it as close as we could but it's, yeah, in the same, so. So, anyway we had them newer versions and they're just a bit cleaner. They're just better digital copies, so, but there was no EQ or anything on any of it or anything like that, it was just as is, so, and then, yeah. Just to, just kind of mixed as, you know, like mix together, the tracks or whatever, but like not really. There's no mastering or anything, so. I think we were just lucky, really. I think when you're not using much equipment, if using a very, very basic setup like just a drum machine through a DJ mixer into a tape deck, you can't really go wrong, you know, it's gonna sound good. That's the beauty of that shit and we were blessed, really, to grow up at a time where that shit was the only shit we could afford, you know. I think if we'd have had a lot more money and we'd have had bigger studios, you know, like an early Mac maybe or, you know, things wouldn't have sounded quite so correct now from back then. So we were just sort of lucky not to have any equipment, I think, in a lot of ways, and you don't make as many mistakes in your mixing and everything because there's nothing there to mix, you know. So yeah, we were just lucky.|page=Sean Twitch AMA, June 2022}}</ref> The DJ mix format was done after NTS Radio approached Autechre to request one, but Sean noted that the possiblity of releasing them individually was not out of the question.<ref>{{Cite interview|quote='''Any plans to release more early stuff like the Warp tapes?''' No plans because we didn't have a plan to do that. It was just, we got asked by NTS and we had the stuff there. So we just threw the mix together and did it. Was a bit, you know, off the cuff. We haven't got loads and loads of amazing material from that era. We've got loads of material though, so I don't know. Maybe. I mean we even thought about doing a release based on that thing because that's a mix. So maybe we could just put the tracks out individually on some kind of format? I guess, if we could be bothered?|page=Sean Twitch AMA, June 2022}}</ref>

==Analysis==
Analysis by [[User:Quants0|Quants0]]. Timestamps are based on spectral analysis of the waveforms.
{| class="wikitable"
|+
!Timestamp
!Identifer / Notes
|-
! colspan="2" |Warp Tapes 89-93 Part 1
|-
|0:00:00 - 0:04:47
|'''#1'''
|-
|0:04:10 - 0:08:31
|'''#2'''
Uses a 303 synth.
|-
|0:07:57 - 0:12:09
|'''#3 "Westcoast Acid"'''<ref name=":0">{{Cite web|author=EnergyIsMassiveLight|title=old lego feet/ae leak of early material|website=Reddit|date=10 March 2024|link=https://www.reddit.com/r/autechre/comments/1bbc89f/old_lego_feetae_leak_of_early_material/|accessdate=25 March 2024}}</ref>
|-
|0:12:05 - 0:16:02
|'''#4 "Rippin Circuits"'''<ref name=":0" /><ref name=":1">{{Cite interview|page=Sean Twitch AMA, July 2022|quote=But that original Accelera track, which was originally it was called Rippin Circuits, that was Rob's track from ‘89, that was like the first time that we'd done that pitch thing, and it was really cool because like on the 202, if he was using the 202 as to generate the square wave for the pitch input, and then you had your sample in there, and then you started adding resonance to it, it just start losing it slightly and getting really good.}}</ref>
"Rippin Circuits" is an early version of "[https://aepages.org/wiki/Cavity_Job Accelera 1 & 2]" made by Rob in 1989. Sean said that this is likely the oldest track in the compilation.<ref name=":1" /><ref>https://web.archive.org/web/20231224114430/https://post.lurk.org/@sean_ae/111635157753588040#:~:text=(I%20think%20the%20oldest%20track%20on%20there)</ref>
|-
|0:15:36 - 0:22:43
|'''#5'''
Contains elements from [[Incunabula#Kalpol Introl|"Kalpol Introl"]]. Samples [https://www.youtube.com/watch?v=NpsvBvwRuf0 "Pass the Mic" by Beastie Boys].<ref>https://www.whosampled.com/sample/661650/Autechre-Part-1-Track-5-Beastie-Boys-Pass-the-Mic/</ref>
|-
|0:21:12 - 0:27:55
|'''#6 "Destroyer"'''<ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D274</ref> 
Samples [https://www.youtube.com/watch?v=lb13ynu3Iac J. Robert Oppenheimer's 1965 speech] using the Boss RSD-10.<ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=Yeah, that was our only sampler for quite a long time, like that Destroyer of Worlds track was done just using that as a sampler, done on the four track.}}</ref> Performed at [[1991-06-04 Rochdale, England, UK @ Sweatbox 2 (Bojangles)|Sweatbox 2 1991]].
|-
|0:26:58 - 0:31:35
|'''#7'''
|-
|0:31:33 - 0:34:10
|'''#8'''
|-
|0:33:51 - 0:41:05
|'''#9'''
|-
|0:40:27 - 0:48:16
|'''#10'''
|-
|0:47:17 - 0:54:20
|'''#11 "98 Chop"<ref name=":0" />'''
Contains a brief reprise of Part 1 #7 which continues into Part 1 #12
|-
|0:54:20 - 1:00:00
|'''#12'''
Contains percussion from [[List of Rarities#Crystel|"Crystel"]]. Unidentified "cheers mate" sample begins at 0:58:59
|-
! colspan="2" |Warp Tapes 89-93 Part 2
|-
|0:00:00 - 0:08:44
|'''#1 "Luna Chop"'''<ref>https://forum.watmm.com/topic/20728-luna-chop</ref>'''<ref name=":0" />'''
Uses the same bassline as "Keyop" from [[Lego Feet|''Lego Feet'']].
|-
|0:08:37 - 0:12:58
|'''#2'''
Uses the same percussion as [[Incunabula#Maetl|"Maetl"]]
|-
|0:12:44 - 0:18:01
|'''#3'''
|-
|0:17:23 - 0:24:19
|'''#4'''
|-
|0:23:33 - 0:31:54
|'''#5'''
Early version of "[[Tri Repetae#Leterel|Leterel]]"
|-
|0:31:26 - 0:33:40
|'''#6'''
Reprise of Part 1 #7
|-
|0:33:12 - 0:38:37
|'''#7'''
|-
|0:38:07 - 0:45:33
|'''#8 "Persuit 2"<ref name=":0" />'''
|-
|0:44:54 - 0:54:36
|'''#9''' Contains elements of [[Incunabula#444|"444"]]
|-
|0:53:21 - 1:00:00
|'''#10 "Peyaline"<ref name=":0" />'''
|}

==Tracklist==
{{Tracklist|list=
{{tl track|number=1|title=Warp Tapes 89-93 Part 1|length=1:00:00}}
{{tl track|number=2|title=Warp Tapes 89-93 Part 2|length=1:00:00}}
{{tl finaltime|time=2:00:00}}
}}

== Links ==
*[https://www.discogs.com/release/13799471-Autechre-Warp-Tapes-89-93 Discogs]

== References ==
<references />
[[Category:DJ Mix]]
[[Category:Compilation]]

Warp Tapes 89-93

2024-11-20T15:05:32Z

Roxwize:

{{Infobox
|title=Warp Tapes 89-93
|artist=[[Autechre]]
|cover=Warp Tapes 89-93.jpg
|date=24 June 2019
|label=n/a
|previous=[[NTS Sessions 1-4]]
|previous year=2018
|next=[[AE_LIVE 2016/2018]]
|next year=2020
}}'''''Warp Tapes 89-93''''' is a DJ mix by Autechre compiling material from 1989 to 1993. It was debuted on NTS Radio during Warp's 30th anniversary weekend as two mixes: Part 1 on June 21st, 2019, and Part 2 on June 23rd, 2019.<ref>https://artists.wxaxrxp.net/autechre</ref> It was then officially released on June 24th, 2019 as a free download on the store.<ref>https://ra.co/news/43993</ref><ref>https://www.discogs.com/release/13799471-Autechre-Warp-Tapes-89-93</ref>

== History ==
The tracks were a mix between those recorded straight to cassette and those recorded on a TASCAM 244, which were of much higher quality. Some dubs were added by Rob 10 years earlier for levelling purposes while working on the ''[[Lego Feet]]'' reissue, but otherwise no major changes or mastering was done.<ref>{{Cite interview|quote='''The Warp Tapes are really good,” thank you, “surprising great quality recordings for their age.''' Some of them are. The ones that were recorded on 244 are good because the 244, TASCAM 244, is just beautiful and if you're just recording two channels onto it, because it runs at double speed, then all the noise is, like, out of the way and they're just, it's just really good analog sound. It's really surprising. You can get sound like that out of a cassette, you know. So yeah, all the tracks that were recorded on that thing sound great, and all the stuff that was done straight to normal cassette sounds, well it is what it is, you know. '''Did they need much remastering?''' No. I mean, there weren't, there was no mastering at all. It was just, the tracks were taken. Rob did new dubs of a lot of those tracks which were just literally just getting the line and the levels correct, and then just putting them on a digital and at 24 bit, I think, and so we had, we did, he'd done them quite a while before like a good 10 years before we did that. I think it was around the time that we were recompiling, because we had to rebuild the Lego Feet thing when we did that because we didn't have the masters for that. Just time, and had gone missing, so we had to rebuild that. So the version that Skam released later isn't the same as the version that came out in ‘91. That all the tracks sounded different, I mean, we tried to rip, do, you know, replicate it as close as we could but it's, yeah, in the same, so. So, anyway we had them newer versions and they're just a bit cleaner. They're just better digital copies, so, but there was no EQ or anything on any of it or anything like that, it was just as is, so, and then, yeah. Just to, just kind of mixed as, you know, like mix together, the tracks or whatever, but like not really. There's no mastering or anything, so. I think we were just lucky, really. I think when you're not using much equipment, if using a very, very basic setup like just a drum machine through a DJ mixer into a tape deck, you can't really go wrong, you know, it's gonna sound good. That's the beauty of that shit and we were blessed, really, to grow up at a time where that shit was the only shit we could afford, you know. I think if we'd have had a lot more money and we'd have had bigger studios, you know, like an early Mac maybe or, you know, things wouldn't have sounded quite so correct now from back then. So we were just sort of lucky not to have any equipment, I think, in a lot of ways, and you don't make as many mistakes in your mixing and everything because there's nothing there to mix, you know. So yeah, we were just lucky.|page=Sean Twitch AMA, June 2022}}</ref> The DJ mix format was done after NTS Radio approached Autechre to request one, but Sean noted that the possiblity of releasing them individually was not out of the question.<ref>{{Cite interview|quote='''Any plans to release more early stuff like the Warp tapes?''' No plans because we didn't have a plan to do that. It was just, we got asked by NTS and we had the stuff there. So we just threw the mix together and did it. Was a bit, you know, off the cuff. We haven't got loads and loads of amazing material from that era. We've got loads of material though, so I don't know. Maybe. I mean we even thought about doing a release based on that thing because that's a mix. So maybe we could just put the tracks out individually on some kind of format? I guess, if we could be bothered?|page=Sean Twitch AMA, June 2022}}</ref>

==Analysis==
Analysis by [[User:Quants0|Quants0]]. Timestamps are based on spectral analysis of the waveforms.
{| class="wikitable"
|+
!Timestamp
!Identifer / Notes
|-
! colspan="2" |Warp Tapes 89-93 Part 1
|-
|0:00:00 - 0:04:47
|'''#1'''
|-
|0:04:10 - 0:08:31
|'''#2'''
Uses a 303 synth.
|-
|0:07:57 - 0:12:09
|'''#3 "Westcoast Acid"'''<ref name=":0">{{Cite web|author=EnergyIsMassiveLight|title=old lego feet/ae leak of early material|website=Reddit|date=10 March 2024|link=https://www.reddit.com/r/autechre/comments/1bbc89f/old_lego_feetae_leak_of_early_material/|accessdate=25 March 2024}}</ref>
|-
|0:12:05 - 0:16:02
|'''#4 "Rippin Circuits"'''<ref name=":0" /><ref name=":1">{{Cite interview|page=Sean Twitch AMA, July 2022|quote=But that original Accelera track, which was originally it was called Rippin Circuits, that was Rob's track from ‘89, that was like the first time that we'd done that pitch thing, and it was really cool because like on the 202, if he was using the 202 as to generate the square wave for the pitch input, and then you had your sample in there, and then you started adding resonance to it, it just start losing it slightly and getting really good.}}</ref>
"Rippin Circuits" is an early version of "[https://aepages.org/wiki/Cavity_Job Accelera 1 & 2]" made by Rob in 1989. Sean said that this is likely the oldest track in the compilation.<ref name=":1" /><ref>https://web.archive.org/web/20231224114430/https://post.lurk.org/@sean_ae/111635157753588040#:~:text=(I%20think%20the%20oldest%20track%20on%20there)</ref>
|-
|0:15:36 - 0:22:43
|'''#5'''
Contains elements from [[Incunabula#Kalpol Introl|"Kalpol Introl"]]. Samples [https://www.youtube.com/watch?v=NpsvBvwRuf0 "Pass the Mic" by Beastie Boys] <ref>https://www.whosampled.com/sample/661650/Autechre-Part-1-Track-5-Beastie-Boys-Pass-the-Mic/</ref> 
|-
|0:21:12 - 0:27:55
|'''#6 "Destroyer"''' <ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D274</ref> 
Samples [https://www.youtube.com/watch?v=lb13ynu3Iac J. Robert Oppenheimer's 1965 speech] using the Boss RSD-10.<ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=Yeah, that was our only sampler for quite a long time, like that Destroyer of Worlds track was done just using that as a sampler, done on the four track.}}</ref> Performed at [[1991-06-04 Rochdale, England, UK @ Sweatbox 2 (Bojangles)|Sweatbox 2 1991]].
|-
|0:26:58 - 0:31:35
|'''#7'''
|-
|0:31:33 - 0:34:10
|'''#8'''
|-
|0:33:51 - 0:41:05
|'''#9'''
|-
|0:40:27 - 0:48:16
|'''#10'''
|-
|0:47:17 - 0:54:20
|'''#11 "98 Chop"<ref name=":0" />'''
Contains a brief reprise of Part 1 #7 which continues into Part 1 #12
|-
|0:54:20 - 1:00:00
|'''#12'''
Contains percussion from [[List of Rarities#Crystel|"Crystel"]]. Unidentified "cheers mate" sample begins at 0:58:59
|-
! colspan="2" |Warp Tapes 89-93 Part 2
|-
|0:00:00 - 0:08:44
|'''#1 "Luna Chop"'''<ref>https://forum.watmm.com/topic/20728-luna-chop</ref>'''<ref name=":0" />'''
Uses the same bassline as "Keyop" from [[Lego Feet|''Lego Feet'']].
|-
|0:08:37 - 0:12:58
|'''#2'''
Uses the same percussion as [[Incunabula#Maetl|"Maetl"]]
|-
|0:12:44 - 0:18:01
|'''#3'''
|-
|0:17:23 - 0:24:19
|'''#4'''
|-
|0:23:33 - 0:31:54
|'''#5'''
Early version of "[[Tri Repetae#Leterel|Leterel]]"
|-
|0:31:26 - 0:33:40
|'''#6'''
Reprise of Part 1 #7
|-
|0:33:12 - 0:38:37
|'''#7'''
|-
|0:38:07 - 0:45:33
|'''#8 "Persuit 2"<ref name=":0" />'''
|-
|0:44:54 - 0:54:36
|'''#9''' Contains elements of [[Incunabula#444|"444"]]
|-
|0:53:21 - 1:00:00
|'''#10 "Peyaline"<ref name=":0" />'''
|}

==Tracklist==
{{Tracklist|list=
{{tl track|number=1|title=Warp Tapes 89-93 Part 1|length=1:00:00}}
{{tl track|number=2|title=Warp Tapes 89-93 Part 2|length=1:00:00}}
{{tl finaltime|time=2:00:00}}
}}

== Links ==
*[https://www.discogs.com/release/13799471-Autechre-Warp-Tapes-89-93 Discogs]

== References ==
<references />
[[Category:DJ Mix]]
[[Category:Compilation]]

List of Rarities

2024-11-20T14:49:11Z

Roxwize: /* Ts1a */

This page is a collection of all original tracks by [[Autechre]] which were released as part of another series. List partially sourced from [https://docs.google.com/spreadsheets/d/1i1o90JzFLUelov8bydmpurOCDhktdd-oMbErw8G0AXA/edit?hl=en#gid=1 here].

For remixes, refer to [[List of Remixes]].

== Released  ==

=== Crystel ===
* from [https://www.discogs.com/master/30010-Various-Artificial-Intelligence Artificial Intelligence], 1992
* According to Sean, this was the song that got Autechre signed to Warp, and not [[Autechre / Saw You]] as previously assumed.<ref>https://web.archive.org/web/20240113191644/https://post.lurk.org/@sean_ae/111750128290861077</ref>

=== The Egg ===
* from [https://www.discogs.com/master/30010-Various-Artificial-Intelligence Artificial Intelligence], 1992
* This song is in mono. It is not known whether this was done on purpose.

=== Lanx 3 ===
* from [https://www.discogs.com/release/115269-Various-Volume-Eight Volume Eight], 1993

=== Chatter ===
* from [https://www.discogs.com/master/21134-Various-Artificial-Intelligence-II Artificial Intelligence II], 1994

=== Nonima ===
* from [https://www.discogs.com/release/238132-Various-Mind-The-Gap-Volume-5 Mind the Gap Volume 5], 1995

=== Silversub ===
* from [https://www.discogs.com/release/748632-Various-FMCD-January-1995 FMCD January 1995], 1995
* Is an alternate mix of [[Amber#Silverside|Silverside]].

=== P.I.O.B (Mix Two) ===
* from [https://www.discogs.com/master/1377596-The-Fall-Drome-Autechre-Untitled Fall/ Drome/Autechre - Untitled], 1996
* Is an alternate mix of ''[[Garbage#PIOBmx19|PIOBmx19]].''

=== Carni ===
* from [https://www.discogs.com/release/13845-Various-Eurowarp Eurowarp], 1996

=== Inhake 3 ===
* from [https://www.discogs.com/release/55136-Various-22-Class-A-Tracks 22 Class A Tracks], 1997

=== Puch ===
* from [https://www.discogs.com/release/200712-Various-Elements-The-Chemistry-Of-Mutating-Beats Elements], 1997

=== Stop Look Listen ===
* from [https://www.discogs.com/master/2353-Various-We-Are-Reasonable-People We are Reasonable People], 1998

=== Extended Ambience Sample from a Resonant Structure ===
* from [https://www.discogs.com/release/795959-Various-Unique-Sounds-Sonic-Elements-From-The-Stars Future Music Magazine], 1998
* in an interview excerpt, Autechre described the production of this song by saying: "Microphones were positioned around a structure with a resonant frequency of 100Hz. Electrical equipment inside the structure provided a constant tone of 50Hz. Water channelling equipment was also used. Signals from the two microphones were passed through five parallel resonators, all tuned with intervals divisible by 25Hz. Each resonator was filtered and the output mixed down to two channels and reversed."
** Sourced from [https://forum.watmm.com/topic/93486-autechre-interview-future-music-july-1998/ magazine scans, provided by WATMM user frozenreeds].

=== All Tomorrow's Linoleum ===
* from [https://www.discogs.com/master/82780-Various-All-Tomorrows-Parties-10 All Tomorrow's Parties 1.0], 2001

=== Konlied Mx ===
* from [https://www.discogs.com/master/84197-Various-Routine Routine], 2001

=== Naftwa4 ===
* from [https://www.discogs.com/release/96580-Various-Warp-WIFOF2003-Mix WIFOF2003], 2003

=== /]{- /](||) Excerpt ===
* from [https://www.discogs.com/master/48147-Various-Autechre-Curated-All-Tomorrows-Parties-30- All Tomorrow's Parties 3.0], 2003

* The title is an ASCII representation of "AE ACID"

=== Bronchus One.1 ===
* from [https://www.discogs.com/master/250176-Various-An-Anthology-Of-Noise-Electronic-Music-Second-A-Chronology-1936-2003 An Anthology Of Noise & Electronic Music / Second A-Chronology 1936-2003], 2003

* According to the copyright information, the song was published 1991.<ref>https://www.discogs.com/release/156514-Various-An-Anthology-Of-Noise-Electronic-Music-Second-A-Chronology-1936-2003</ref>
* is an alternate mix of [[Incunabula#Bronchus 2|Bronchus 2]].

=== Coenc3 ===
* from [https://www.discogs.com/release/1307559-Various-45-A-Tribute-To-Daniel-Hansson 45 - A Tribute to Daniel Hansson], 2008

* During his [[Sean Twitch AMA, July 2022|July 2022 Twitch AMA]], Sean mentioned that the track was made in 2005.

=== Oval Moon (IBC mx) ===
* from [https://www.discogs.com/master/207276-Various-Warp20-Unheard Warp20 (Unheard)], 2009

* According to the copyright information, the song was published 1991.<ref>https://www.discogs.com/release/2024532-Various-Warp20-Unheard</ref>
* IBC refers to the pirate radio station (short for Illegal Broadcasting Company) where Autechre got their start as radio DJs.[https://www.thepiratearchive.net/ibc/]

=== 6852 ===
[[File:6852.jpg|alt=poster|thumb|ATP "Made In Japan" promotional poster for "6852"|139x139px]]

"'''6852'''" is a digital-only song released by [[Autechre]] on April 17th, 2011. It was given away via a download code when purchasing a ticket for a charity concert hosted by [https://www.discogs.com/label/4961-ATP-Recordings ATP] in support of the Japanese Red Cross after the recent tsunami disaster.
*The title, "6852", likely originally referred to the number of islands that comprised Japan at time of release.
*The Headhunters' "God Make Me Funky" is sampled on the track. <ref>https://www.whosampled.com/sample/234368/Autechre-6852-The-Headhunters-Pointer-Sisters-God-Make-Me-Funky/</ref>

=== Ts1a ===
*from [https://www.discogs.com/master/1359215-Various-Benefit-Compilation-For-Japan Benefit Compilation for Japan], 2011
*The track also appeared on ''[[Hanalgig]]'', where Sean mentioned that it was made in 2009.
*During his July 2022 AMA, Sean said that the track either used Synplant or the Yamaha FS1R for some of the FM sounds.<ref>https://youtu.be/sihCO_RN1tc?feature=shared&t=2698</ref>

=== SYptixed ===
*from [https://www.discogs.com/master/684135-Various-Bleep10 Bleep:10], 2014

== Bonus Tracks ==

=== Medrey ===

* See [[Tri Repetae#Medrey|Medrey]].

=== MCR Quarter ===

* See [[Confield#MCR Quarter|MCR Quarter]].

=== Zurich 2001 ===

* See [[Untilted#Zurich 2001|Zurich 2001]].

=== nu-Nr6d ===

* See [[Quaristice#nu-Nr6d|nu-Nr6d]].

=== Xektses sql ===

* See [[Oversteps#Xektses sql|Xektses sql]].

=== ClnChr ===

* See [[Move Of Ten#ClnChr|ClnChr]].

=== 18 (keyosc) ===

* See [[Exai#18 (keyosc)|18 (keyosc)]].

=== n Cur ===

* See [[SIGN#n Cur|n Cur]].

=== p1p2 ===

* See [[PLUS#p1p2|p1p2]].

== Commissions/Contributions==

=== Onedotzero 8 ===
*[https://vimeo.com/3953671 A commission for the opening of Onedotzero8], with music by Autechre and visuals by [[Alex Rutherford]].

=== Atoms Vectors Pixels Ghosts™ ===
*A visual art project by [[The Designers Republic]] featuring music from Autechre, including an early [[elseq 1-5#spaces how V|"spaces how V"]]. <ref>https://vimeo.com/41905073</ref><ref>https://www.thedesignersrepublic.com/atoms-vectors-pixels-ghosts</ref><ref>https://www.s1artspace.org/programme/atoms-vectors-pixels-ghosts/</ref><ref>https://web.archive.org/web/20240124200545/https://post.lurk.org/@sean_ae/111807273811423116</ref><ref>https://web.archive.org/web/20240124200447/https://post.lurk.org/@sean_ae/111810622481393012</ref> 

=== P1-449 ===
"'''P1-449'''" was released as part of the Sónar Calling GJ273b project on October 16th, 2017. The project was made to transmit music and audio art for extraterrestrial contact.<ref>https://soundcloud.com/sonarcalling/autechre-p1-449/s-v8hVY</ref><ref>https://www.sonarcalling.com/en/</ref> The file was made as an audio representation of the first 449 prime numbers in base ten.<ref>https://www.sonarcalling.com/en/artists/autechre/</ref>

== Unreleased/Miscellaneous Appearances ==

=== [[Late 80s Tape]] ===

* Leaked in 2019 around the same time as Warp Tapes. Contains 5 unreleased tracks, one track which appeared in Lego Feet Part 3, 2 DJ mixes, and one non-Ae track (Coma II (A.M/O.K) by S'Express). 

=== IBC Anthem ===

* Done in 1992 for Andy Richard's IBC Show, with Ged O'Hara on vocals. <ref name=":0">https://www.reddit.com/r/autechre/comments/1bbc89f/old_lego_feetae_leak_of_early_material/</ref><ref>https://web.archive.org/web/20240113193629/https://post.lurk.org/@sean_ae/111749064152560779</ref>

=== Techthree ===

* [https://www.youtube.com/watch?v=pvF2Xq9sUFo Unreleased Lego Feet track.]<ref name=":0" />

=== Bigmistake ===

* [https://www.youtube.com/watch?v=r5nntgNbtsY Unreleased Lego Feet track.]<ref name=":0" />

=== Flight Deck ===

* Performed at Sweatbox 2 1991<ref>https://web.archive.org/web/20240309191939/https://post.lurk.org/@sean_ae/112067053409190575</ref> as well as aired on Sunset 102 FM on December 18th, 1990<ref>https://www.youtube.com/watch?v=IueaLLmy-1U</ref> after they came in with the tape.<ref>https://web.archive.org/web/20240604224813/https://post.lurk.org/@sean_ae/112560743996346551</ref> A snippet appears on ''[[Lego Feet]]''.<ref>https://www.reddit.com/r/autechre/comments/1d7ad8f/comment/l6yp7h7/</ref>

=== MYSLB ===

* BPM: 125
* Performed at Sweatbox 2 1991 + had a demo snippet shared by Sean. Name is short for "Make Your Self Look Bad!" which is the main vocal loop of "[https://www.youtube.com/watch?v=KcGa22wuZ4I Help Me Somebody]" by Brian Eno and David Byrne. The main production is the 606 and FZ-10 on hihats. <ref>[https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B) https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B)]</ref>

=== Untitled 90s Live Track ===

* Performed as a live track during their 1997 tour ([https://www.youtube.com/watch?v=IPqbpe06SVc&t=652 example]) with an R8. No proper track version from Autechre exists.<ref>https://web.archive.org/web/20240424140935/https://post.lurk.org/@sean_ae/112326437984409445</ref> Later reperformed during The Fear Ratio's 2020 DJ Mix.<ref>https://www.youtube.com/watch?v=-AM4eQ-wyWU</ref> Mark Broom confirmed over Facebook it was an Autechre track that was given to him.<ref>https://www.reddit.com/r/autechre/comments/173wc3z/the_greatest_of_all_unreleased_ae_tracks/</ref>

=== Second Crane ===

* Performed at Stormy Waters 1995.<ref>{{Cite AAA doc|1338|1339}}</ref>

=== Untitled Track on Radio Mix ===

* ''[[Radio Mix]]'', 1997

=== Lupe Mx ===

* Alternate version of [[Chiastic Slide#Pule|"Pule"]], appeared in the Untilted test transmission.

=== [[1999-10-10 Indio, CA, USA @ Coachella Festival|Coachella 1999 Tracks]] ===

=== Autechre.ws Test Transmission ===

* Series of mostly experimental minimal/drone tracks originally broadcast on April 8, 2005. Some of these tracks would be reused as part of [[Autechre & The Hafler Trio|Autechre's collaborations with the Hafler Trio]].

== References ==
<references />

NTS Sessions 1-4

2024-11-20T14:46:38Z

Roxwize: move refs

[[Category:Album]]
{{Infobox
|title=NTS Sessions 1-4
|artist=[[Autechre]]
|cover=NTS Sessions 1-4.png
|date=26 April 2018 (Digital) August 2018 (LP/CD)
|label=Warp Records (WARP364)
|previous=[[JNSN CODE GL16 / spl47]]
|previous year=2017
|next=[[Warp Tapes 89-93]]
|next year=2019
}}'''''NTS Sessions 1-4''','' often shortened to '''''NTS Sessions''''', is the thirteenth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. The four sessions were first individually broadcasted on London-based online radio station [https://www.nts.live/ NTS] throughout April 2018, before the entire project became available for download on the April 26th, 2018. Physical versions later became available for purchase over August 2018.<ref name=":0" /><ref>https://headphonecommute.com/2018/08/28/autechre-nts-sessions-warp/</ref>
== History ==
Having previously done a DJ Mix for NTS Radio on January 22nd, 2016<ref>{{Cite web|link=https://www.nts.live/shows/guests/episodes/autechre-22nd-january-2016|date=22 January 2016|title=Autechre 22nd January 2016 {{!}} Listen on NTS|website=NTS Radio|accessdate=8 March 2024|author=Autechre}}</ref>, NTS Radio approached Autechre with a residency offer. They were initially hesitant whether they wanted to construct an 8-hour DJ mix until they realised that they had enough original material to span that time.<ref>[[Autechre: ‘Something happens when you listen to music in the dark’, July 2018]]</ref><ref name=":0">[[Autechre on Their Epic NTS Sessions, David Lynch, and Where Code Meets Music, August 2018]]</ref> Autechre noted that ''NTS Sessions 1-4'' was conceived first as a radio show performance, with the release instead being the archival version similar to their previous [[Peel Session|''Peel Sessions'']].<ref name=":0" /><ref>{{Cite web|link=https://www.rollingstone.it/musica/interviste-musica/autechre-niente-di-piu-umano-dei-computer/424382/|date=25 August 2018|title=Autechre: niente di più umano dei computer|website=Rolling Stone Italia|accessdate=8 March 2024|author=Biazzetti, Claudio}}</ref> Other points of influence noted by Autechre for this format includes both their IBC pirate radio shows around the time of ''[[Lego Feet]]''<ref name=":0" /> as well as their Kiss FM Disengage shows.<ref name=":1">{{Cite web|link=https://www.ele-king.net/interviews/006477/|date=28 August 2018|title=音楽とともにオーディエンスも進化する|website=ele-king|accessdate=8 March 2024|author=野田努, 小林君}} </ref>

Autechre explicitly noted the aesthetic goals were to create "developed alternate versions of existing Autechre material",<ref name=":1" /> and to focus on "deep mixing", where elements are not upfront or noticeable on first listen.<ref name=":0" />

Similar to other adjacent records, the material was a lot of long jams sessions that were edited down.<ref name=":1" /><ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''What's the process of collecting or creating a tracklist as big as NTS? How do you decide to flow the album?''' You just do, I don't know. I've been doing long mixes for a long time, so I'm really into planning out these long sessions. I used to do mixes for just acid sessions. We used to use DATs because that's, you could get like four hours on a tape back in a day, so we'd do these big long fucking mixes and you'd know at what point the drugs start working and at what point you're gonna start getting trails and all that, so. That was just that, you know what I mean? But I'm saying yeah, I mean long term, long mixes for long periods of time, I've always liked that. I always liked Mixmaster Morris sets, you know, he could play sets all day. He would just play a set all day and it, and you'd still be with him by the end of the day. He'd still be able to keep you interested and I always admired that about him because he's got such a kind of, you know, encyclopedic knowledge of music history that he can keep pulling him out the bag as it were. I feel like he doesn't get enough credit as a DJ, to be honest.}}</ref> Much of the material either came from jams done between ''[[Exai]]'' and ''[[elseq 1-5]]'' or new jams done on old patches, with the oldest material dating back to 2011 with a "bladelores" jam.<ref name=":0" /> Some of the material was also performed at their [[AE LIVE|2014/2015]] and [[AE LIVE 2016/2018|2016/2018]] live shows, with Sean noting that "most of NTS Sessions was like cells from live sets".<ref name=":3">{{Cite interview|page=Sean Twitch AMA, July 2022|quote=column thirteen, I think it was a live set cell. I don't know if we'd used it before NTS came out. I think we might have used a bit of it, I can't remember. Most of NTS Sessions was like cells from live sets, either at the time or a bit prior to that, that we already had jams fully recorded. So we just editing them down into things, and we basically like made it knowing that it was going to go out on the radio. So it was kind of, there's a different editing process to what we'd normally do. So bits of it from before, bits of it were from just then, bits of it were made especially for the thing, for the broadcast, you know. It was a combination of stuff.}}</ref> Most of the tracks were done solo by either Sean or Rob.<ref>https://web.archive.org/web/20231118215345/https://post.lurk.org/@sean_ae/111433472440615681</ref> All tracks were recorded directly "in the box" to stereo.<ref>https://web.archive.org/web/20241107183922/https://post.lurk.org/@sean_ae/113442509470527990</ref>

On April 3rd, 2018, the announcement was sent out that each 2-hour session would be aired every week Thursday at 4PM GMT throughout April on the 5th, 12th, 19th and 26th respectively.<ref name=":2">{{Cite web|link=https://web.archive.org/web/20180417023755/http://warp.net/news/autechre-nts-sessions/|date=8 April 2018|title='NTS Sessions' 01–04|website=Warp|accessdate=8 March 2024|author=}}</ref><ref>{{Cite web|link=https://www.factmag.com/2018/04/03/autechre-nts-radio-residency/|date=3 April 2018|title=Autechre announce four day NTS Radio residency|website=Fact Magazine|accessdate=8 March 2024|author=Twells, John}}</ref> The first session was made available for download on April 9th, with the rest being made available hours after being aired.<ref name=":2" /> After all four sessions were aired, the entire 8 hours were then looped constantly in a permanent residency, which is still ongoing as of writing.<ref>{{Cite web|link=https://www.nts.live/projects/autechre-nts-residency/|date=|title=NTS Residency.|website=NTS Radio|accessdate=8 March 2024|author=Autechre}}</ref>

Initially, the plan was to just keep it as a digital-only release similar to ''[[elseq 1-5]]'', however with the wider audience that ''NTS Sessions'' would reach'','' physicals were arranged for 12xLP boxset, 8xCD boxset and individual 3xLP for each session, which were sent out a few months later to customers who pre-ordered.<ref name=":2" /><ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=So yeah, that's what elseq was, but when we come to doing NTS, we kind of knew that, with the boost of it being on the radio, that we might be able to get away with doing a physical for it. So we pushed it a little bit, and it turned out to be a wise move. But it was a gamble, you know. But we would have done the same for NTS otherwise. It would have been digi only, but Warp was pretty convinced that we could move physicals of it. So we tried it and it worked, so. Fair play to Warp for taking a chance on that, because I probably wouldn't have, left to my own devices, but I approached them with it and they were up for it. So we did it, so.}}</ref> The initial 12xLP box set however was laden with warping issues and had replacement copies sent to buyers.<ref>{{Cite web|link=https://www.reddit.com/r/autechre/comments/99fodl/warped_box_set/|date=22 August 2018|title=Warped Box Set|website=Reddit|accessdate=8 March 2024|author=tjech}}</ref> Due to the length restraints of physical copies, edits were made to fit tracks on each CD/disc, mostly in regard to their transitions.

=== Design ===
Regarding the design of the physical releases by [[The Designers Republic]], Anderson noted that "there was a sense that the physical releases (conceptually) served to archive the radio sessions — so we imagined what Autechre archives would look like."<ref>"NTS Sessions". ''The Designers Republic'', https://www.thedesignersrepublic.com/nts-sessions. Accessed 19 Sep 2024.</ref>

== Tracks ==

=== NTS Session 1 ===
[[File:NTS_Session_1.jpg|thumb|150x150px|NTS Session 1]]
==== t1a1 ====

* BPM: 140
* The percussion was previously used at the start of the [[AE LIVE|2014/2015 live sets]]. ([https://youtu.be/hGevT4L4f74?si=Xssb1mBABltjfKnP&t=197 example])

==== bqbqbq ====

==== debris_funk ====

* On the LP version, the outro ends solely with the note decay rather than the immediate transition into "l3 ctrl".

==== l3 ctrl ====

==== carefree counter dronal ====

* BPM: 160

==== north spiral ====

* BPM: 164
* On the CD version, the intro has been altered to just start with the clicks, rather than the transition from "carefree counter dronal" to it.
* "north spiral" appears in an remixed form on the [[AE LIVE|14/15 live sets]]. ([https://youtu.be/wc9BmSemYRU?si=qRq0QAlah2oBj6SC&t=1521 example])

==== gonk steady one ====

* BPM: 124

==== four of seven ====

* BPM: 120

==== 32a_reflected====

* BPM: 80
* The synths used in "32a_reflected" appear at the end of the [[AE LIVE 2016/2018|2016 live sets]]. ([https://www.youtube.com/watch?v=zCWGYrsf5Lo&t=3830s example])
* The "reflected" in the title likely refers to the composition of track, whereby the original recording was duplicated, its channels flipped, and then played in reversed against the original track, creating a musical palindrome via reflection.

=== NTS Session 2 ===
[[File:NTS_Session_2.jpg|thumb|150x150px|NTS Session 2]]
==== elyc9 7hres ====

* The title shares its name with [[elseq 1-5#elyc6 0nset|"elyc6 0nset"]]'','' which "elyc9 7hres" reuses certain elements from.

==== six of eight (midst) ====

==== xflood ====

==== gonk tuf hi ====

==== dummy casual pt2 ====

==== violvoic ====

* "violvoic" appears partially on the [[AE LIVE|2014/2015 live sets]]. ([https://www.youtube.com/watch?v=7FMRK4ToByk&t=2976s example])

==== sinistrailAB air ====

==== wetgelis casual interval ====

* The synths from "wetgelis casual interval" appeared a few times in their [[AE LIVE|14/15 live shows]]. ([https://youtu.be/Zr5hQmbtNlY?si=bEFvo70iT9yRyqLL&t=4303 example])
* "wetgelis" likely references the composer Vangelis.

==== e0 ====

==== peal MA ====

* On the LP version, "peal MA" has a much longer intro that got separated from "e0"

==== 9 chr0 ====

==== turbile epic casual, stpl idle ====

* "turbile epic casual, stpl idle" shares a few commonality with [[elseq 1-5#oneum|"oneum"]].<nowiki/>
* Elements of "turbile epic casual, stpl idle" appear in the [[AE LIVE 2016/2018|2016/2018 liv]]<nowiki/>[[AE LIVE 2016/2018|e sets]]. ([https://www.youtube.com/watch?v=KallOfGzdzw&t=2837s example])

=== NTS Session 3 ===
[[File:NTS_Session_3.jpg|thumb|150x150px|NTS Session 3]]
==== clustro casual ====

==== splesh ====

* "all end" briefly appears at the end of "splesh".

==== tt1pd ====

==== acid mwan idle ====

* On the LP version, "acid mwan idle" fades in rather than transitioning straight from "tt1pd".

==== fLh ====

* Sean was involved with "fLh" and noted the track had "quartertone abuse" <ref>https://web.archive.org/web/20240612141855/https://post.lurk.org/@sean_ae/112603198530829122 </ref>

==== glos ceramic ====

==== g 1 e 1 ====

* In the [[AE LIVE|2014 live shows]], "g 1 e 1" could be heard near the end of the sets. ([https://youtu.be/_Ec0hR6FlKo?si=duGZIXd2yP5UMo-n&t=3382 example])
* "g 1 e 1" is constructued mostly from tuned delay lines.<ref>https://web.archive.org/web/20230726161856/https://post.lurk.org/@sean_ae/110771366258863281#:~:text=the%20g1e1%20stuff%20is%20just%20tuned%20delay%20lines%20iirc</ref>

==== nineFly ====

* An early version of "nineFly" appears on the 2015 US live sets ([https://www.youtube.com/watch?v=m_SnP2px8to&t=2712s example]).
* The studio version of this track uses "basic threshold fft" noise reduction.<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''How exactly was the sound of nineFly made? Spectral stuff?''' Noise reduction. Just basic threshold fft shit, you know. So, really simple. It's not hard to do. It's like pretty entry-level fft stuff, so.}}</ref>

==== shimripl air ====

* "shimripl" may be a shortened version of "shimmer, ripple"

==== icari ====

=== NTS Session 4 ===
[[File:NTS_Session_4.jpg|thumb|150x150px|NTS Session 4]]
==== frane casual ====

* "frane casual" shares a lot of similarities with "pendulu casual".

==== mirrage ====

==== column thirteen ====

* An altered version of "column thirteen" appeared in the middle of the [[AE LIVE 2016/2018|2018 live sets]]. ([https://youtu.be/SF8k6oSTQ-A?si=1GrBWyRLj7ZVZfFK&t=2634 example])<ref name=":3" />
* On the LP version, the transition element from "mirrage" is removed.

==== shimripl casual ====

* "shimripl casual" appears in the [[AE LIVE 2016/2018|2016/2018 live sets]]. ([https://www.youtube.com/watch?v=TGqbpV6qS6M&t=775s example])
* On both the CD and LP version, the track ends with a fadeout.
* On the LP version, the track is split into 2 parts, with a few minutes on the side with "column thirteen" and the rest on a different side.

==== all end ====

* BPM: 11
* The particular drone sound at the end of "bladelores" is what became "all end". In an interview, they confirmed that the name is in fact because the track uses the end of "bladelores" for all of the track, alongside feeling right because "It was the end, and it was long and all."<ref name=":1" /> It also appears at the end of "splesh".
* It was confirmed that "all end" was solely made by Rob. <ref>[[Hanalgig AMA, July 2022]]</ref>
* On the LP and CD versions of ''NTS Sessions'', "all end" only has a fade in rather than the short transition from "shimripl casual" at the start. Due to the length of "all end", it was split up into 3 parts to fit on 3 sides.

=== sinistrail sentinel ===

* Exclusive bonus track for people who brought NTS Sessions on AE_STORE and Bleep. Part of the Adult Swim Single Program.
* "sinistrail sentinel" appeared on the [[AE LIVE|2014/2015 live sets]]. ([https://www.youtube.com/watch?v=3B_wgxTYe9s&t=813s example])

== Tracklist ==
{{Tracklist|list=
{{tl section|section=NTS Session 1}}
{{tl track|number=1|title=t1a1|length=18:40}}
{{tl track|number=2|title=bqbqbq|length=11:16}}
{{tl track|number=3|title=debris_funk|length=10:25}}
{{tl track|number=4|title=l3 ctrl|length=16:52}}
{{tl track|number=5|title=carefree counter dronal|length=5:14}}
{{tl track|number=6|title=north spiral|length=15:01}}
{{tl track|number=7|title=gonk steady one|length=22:25}}
{{tl track|number=8|title=four of seven|length=13:06}}
{{tl track|number=9|title=32a_reflected|length=7:02}}
{{tl total|time=2:00:00}}
{{tl section|section=NTS Session 2}}
{{tl track|number=10|title=elyc9 7hres|length=10:21}}
{{tl track|number=11|title=six of eight (midst)|length=8:42}}
{{tl track|number=12|title=xflood|length=9:25}}
{{tl track|number=13|title=gonk tuf hi|length=7:53}}
{{tl track|number=14|title=dummy casual pt2|length=5:16}}
{{tl track|number=15|title=violvoic|length=15:01}}
{{tl track|number=16|title=sinistrailAB air|length=2:41}}
{{tl track|number=17|title=wetgelis casual interval|length=2:39}}
{{tl track|number=18|title=e0|length=15:45}}
{{tl track|number=19|title=peal MA|length=5:04}}
{{tl track|number=20|title=9 chr0|length=15:45}}
{{tl track|number=21|title=turbile epic casual, stpl idle|length=21:30}}
{{tl total|time=2:00:00}}
{{tl section|section=NTS Session 3}}
{{tl track|number=22|title=clustro casual|length=11:03}}
{{tl track|number=23|title=splesh|length=8:56}}
{{tl track|number=24|title=tt1pd|length=22:12}}
{{tl track|number=25|title=acid mwan idle|length=11:57}}
{{tl track|number=26|title=fLh|length=8:18}}
{{tl track|number=27|title=glos ceramic|length=13:26}}
{{tl track|number=28|title=g 1 e 1|length=7:00}}
{{tl track|number=29|title=nineFly|length=10:04}}
{{tl track|number=30|title=shimripl air|length=7:06}}
{{tl track|number=31|title=icari|length=19:58}}
{{tl total|time=2:00:00}}
{{tl section|section=NTS Session 4}}
{{tl track|number=32|title=frane casual|length=13:43}}
{{tl track|number=33|title=mirrage|length=6:22}}
{{tl track|number=34|title=column thirteen|length=17:02}}
{{tl track|number=35|title=shimripl casual|length=24:32}}
{{tl track|number=36|title=all end|length=58:22}}
{{tl total|time=2:00:00}}
{{tl track|number=37|title=sinistrail sentinel (AE_Store & Bleep exclusive bonus track)|length=11:42}}
{{tl finaltime|time=8:11:42}}
}}

== Trivia ==
* ''NTS Sessions 1-4'' is by far the longest Autechre album, with a runtime of exactly 8 hours. The vinyl release of ''NTS Sessions 1-4'' spans twelve LPs (24 sides, A-X), making it the largest album Warp Records has ever released.

== Links ==

* [https://autechre.warp.net/stream/nts-sessions AE_STORE]
* [https://www.nts.live/projects/autechre-nts-residency/ NTS Residency]
* [https://bleep.com/release/104160-autechre-nts-sessions-1-4 Bleep]
* [https://www.discogs.com/master/1395770-Autechre-NTS-Sessions Discogs]

==Credits ==
* [[Autechre]] (production)
*[[Rob Brown]] (writer, producer)
*[[Sean Booth]] (writer, producer)
*[[Noel Summerville]] (mastering engineer)
*[[The Designers Republic]] (design) <ref>https://www.discogs.com/master/1395770-Autechre-NTS-Sessions</ref>

== References ==
<references />

Template:Tracklist

2024-08-23T18:35:26Z

Roxwize: SHIT, positional arguments arent 0-indexed

{{{!}} class="wikitable mw-collapsible"
|+
!#
!style="min-width: 230px;" {{!}} Title
!Length
{{{1|{{{list|
{{tl section|section=SECTION}}
{{tl track|number=1|title=track|length=0:00}}
{{tl total|time=0:00}}
{{tl finaltime|time=0:00}}
}}}}}}
{{!}}}<noinclude>
Use the first parameter to control how the tracklist is laid out. You can use [[Template:tl section|sections]], [[Template:tl track|track names]], [[Template:tl total|total runtime]], and [[Template:tl finaltime|final runtime]] (i.e. including bonus tracks).

Example:
<pre>
{{Tracklist|
{{tl track|1|Track 1 |length=5:00}}
{{tl track|2|Track 2 |length=5:00}}
{{tl total|10:00}}
{{tl track|3|Bonus track|length=2:50}}
{{tl finaltime|12:50}}
}}
</pre>
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2024-08-23T18:34:28Z

Roxwize: `list` works fine, but its the only named argument and its use is obvious at a glance so i dont think it needs to be named

{{{!}} class="wikitable mw-collapsible"
|+
!#
!style="min-width: 230px;" {{!}} Title
!Length
{{{0|{{{list|
{{tl section|section=SECTION}}
{{tl track|number=1|title=track|length=0:00}}
{{tl total|time=0:00}}
{{tl finaltime|time=0:00}}
}}}}}}
{{!}}}<noinclude>
Use the first parameter to control how the tracklist is laid out. You can use [[Template:tl section|sections]], [[Template:tl track|track names]], [[Template:tl total|total runtime]], and [[Template:tl finaltime|final runtime]] (i.e. including bonus tracks).

Example:
<pre>
{{Tracklist|
{{tl track|1|Track 1 |length=5:00}}
{{tl track|2|Track 2 |length=5:00}}
{{tl total|10:00}}
{{tl track|3|Bonus track|length=2:50}}
{{tl finaltime|12:50}}
}}
</pre>
[[Category:Templates]]
</noinclude>

Template:tl track

2024-08-23T18:32:28Z

Roxwize: testing something out

|-
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|{{{2|{{{title|}}}}}}{{#if:{{{note|}}}| {{{note}}}}}
|style="text-align:right;"|{{{length}}}

Template:tl track

2024-08-23T18:31:44Z

Roxwize: Undo revision 3550 by Roxwize (talk)

{{!}}-
{{!}}style="text-align:center;"{{!}}{{{1|{{{number|0}}}}}}
{{!}}{{{2|{{{title|}}}}}}{{#if:{{{note|}}}| {{{note}}}}}
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2024-08-23T18:31:21Z

Roxwize: Undo revision 3551 by Roxwize (talk)

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Roxwize: Undo revision 3552 by Roxwize (talk) ok, stupid mistake, hold on

{{!}}-
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2024-08-23T18:30:46Z

Roxwize: add to cat

{{!}}-
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Roxwize: add to cat

{{!}}-
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{{!}}colspan="3"{{!}}<noinclude>[[Category:Templates]]</noinclude>

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2024-08-23T18:30:03Z

Roxwize: add to cat

{{!}}-
{{!}}style="text-align:center;"{{!}}{{{1|{{{number|0}}}}}}
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{{!}}style="text-align:right;"{{!}}{{{length}}}<noinclude>[[Category:Templates]]</noinclude>

The Designers Republic

2024-08-23T14:31:02Z

Roxwize: comma consistency

The Designers Republic is a Sheffield-based design studio, founded in 1986<ref>https://www.thedesignersrepublic.com/about</ref> by Ian Anderson and Nick Phillips. They've since become a highly influential design studio, accredited for pioneering the Vectorheart,<ref>https://cari.institute/aesthetics/vectorheart</ref> and Y2K Futurism art style,<ref>https://cari.institute/aesthetics/y2k-aesthetic</ref> examples of this including Psygnosis' [https://en.wikipedia.org/wiki/Wipeout_(video_game) Wipeout], packaging for the Sony Aibo ERS-210, and the majority of their output post-millenium. Other notable works include building the brand identity for [https://warp.net/ Warp Records], anti-establishment, post-modern works such as Pho-Ku Corporation and [https://www.thedesignersrepublic.com/buy-me merchandising lines]. Their collaboration with Autechre spans from [[Incunabula]] to [[AE_LIVE 2022－]], however with a "break"<ref>https://www.thedesignersrepublic.com/quaristice</ref> following [[Chiastic Slide]], and ending with [[Quaristice]].

== History ==

Before The Designers Republic, Ian Anderson had become engrained in the Sheffield music scene, managing and working with various bands—something which naturally lead him into design—having to create flyers for various gigs. This resulted in him being asked to manage the band Person to Person, for which he created the Designers Republic banner, both to take advantage of the [https://en.wikipedia.org/wiki/Enterprise_Allowance_Scheme Enterprise Allowance Scheme] and as a necessity due to a conflict of interest in him being band manager and also designer.<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'', Thames and Hudson ISBN 978-0500027356, p.10</ref> After being asked to create the artwork for [https://en.wikipedia.org/wiki/Chakk Chakk's] ''10 Days in an Elevator,'' he requested help from his friend Nick Phillips, with whom he created the artwork for [https://en.wikipedia.org/wiki/Age_of_Chance Age of Chance's], their indie success provided tDR with wider recognition, and consequently work for Pop Will Eat Itself.<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.12</ref>. It was also at this time that they created the brand identity then-nascent Warp Records.

Their rising popularity in the design world lead them to work with various large-scale entities in the late 90's and early 2000's, such as [https://www.thedesignersrepublic.com/coca-cola Coca-Cola], [https://www.thedesignersrepublic.com/gatecrasher Gatecrasher], [https://www.thedesignersrepublic.com/emigre Emigre], [https://www.thedesignersrepublic.com/e4 Channel 4], Nickelodeon,<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.284</ref> Pulp,<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.366</ref> and various others.

Changes in the music industry, large-scale copying of their style and mismanagement meant that in 2009, The Designers Republic would go into voluntary liquidation, emerging as a "leaner operation" since.<ref>https://www.creativereview.co.uk/the-designers-republic-is-dead-long-live-the-designers-republic/</ref><ref>https://www.eyemagazine.com/feature/article/reputations-ian-anderson</ref><ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.17</ref>

== Relationship with Autechre ==

Autechre has a long-standing relationship with The Designers Republic and Ian Anderson. First learning of them through tapes sent to Warp Records and being "blown away" on first listen,<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.15</ref> he would then foster a personal relationship with the duo, liking the "intellectualization of the design process" and the dynamic between them.

Autechre and The Designers Republic took a creative break following Chiastic Slide, presumably for greater creative freedom, they would re-unite professionally for the artwork for [[Quaristice]], inspired by the abrasiveness of the music and Norton Disk Tools' disk defragmentation graphic, they would create the erratically spaced typographic cover for the album. They have since worked together for nearly all their following projects.

The Designers Republic has had a continuous theme of humanity vs. technology in their works with Autechre,<ref>https://www.thedesignersrepublic.com/incunabula</ref> from Incunabula to the unreal nature of the Amber cover, impossible, strange machinery for Tri Repetae, fragmentation and abstraction for Chiastic Slide, Exai's abstract, brutalist typography to the entirely human covers for Oversteps (both the circle and typography were handwritten in the cover).<ref>https://www.thedesignersrepublic.com/oversteps</ref>

As of AE_LIVE 2022, The Designers Republic have worked with Autechre on the following releases:

*''[[Incunabula]]'' (1993)
*''[[Basscad,EP]]'' (1994)
*''[[Anti]]'' (1994)
*''[[Amber]]'' (1994)
*''[[Garbage]]'' (1995)
*''[[Anvil Vapre]]'' (1995)
*''[[Tri Repetae]]'' (1995)
*''[[Chiastic Slide]]'' (1997)
*''[[Envane]]'' (1997)
*''[[Cichlisuite]]'' (1997)
*''[[Peel Session]]'' (1999)
*''[[Peel Session 2]]'' (2000)
*''[[Quaristice]]'' (2008)
*''[[Quaristice.Quadrange.ep.ae]]'' (2008)
*''[[Oversteps]] (''2010)
* ''[[Move Of Ten]]'' (2010)
*''[[Exai]]'' (2013)
*''[[L-event]]'' (2013)
*''[[AE_LIVE]]'' (2015/2019)
*''[[elseq 1-5]]'' (2016)
*''[[NTS Sessions 1-4]]'' (2018)
* [[AE LIVE 2016/2018|''AE_LIVE 2016/2018'']] (2020)
*''[[SIGN]]'' (2020)
*''[[PLUS]]'' (2020)
* [[AE LIVE 2022－|''AE_LIVE 2022－'']] (2023)

== References ==
<references />

The Designers Republic

2024-08-23T14:30:37Z

Roxwize: use a wikilink

The Designers Republic is a Sheffield-based design studio, founded in 1986<ref>https://www.thedesignersrepublic.com/about</ref> by Ian Anderson and Nick Phillips. They've since become a highly influential design studio, accredited for pioneering the Vectorheart,<ref>https://cari.institute/aesthetics/vectorheart</ref> and Y2K Futurism art style,<ref>https://cari.institute/aesthetics/y2k-aesthetic</ref> examples of this including Psygnosis' [https://en.wikipedia.org/wiki/Wipeout_(video_game) Wipeout], packaging for the Sony Aibo ERS-210, and the majority of their output post-millenium. Other notable works include building the brand identity for [https://warp.net/ Warp Records], anti-establishment, post-modern works such as Pho-Ku Corporation and [https://www.thedesignersrepublic.com/buy-me merchandising lines]. Their collaboration with Autechre spans from [[Incunabula]] to [[AE_LIVE 2022－]], however with a "break"<ref>https://www.thedesignersrepublic.com/quaristice</ref> following [[Chiastic Slide]], and ending with [[Quaristice]].

== History ==

Before The Designers Republic, Ian Anderson had become engrained in the Sheffield music scene, managing and working with various bands—something which naturally lead him into design—having to create flyers for various gigs. This resulted in him being asked to manage the band Person to Person, for which he created the Designers Republic banner, both to take advantage of the [https://en.wikipedia.org/wiki/Enterprise_Allowance_Scheme Enterprise Allowance Scheme] and as a necessity due to a conflict of interest in him being band manager and also designer.<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'', Thames and Hudson ISBN 978-0500027356, p.10</ref> After being asked to create the artwork for [https://en.wikipedia.org/wiki/Chakk Chakk's] ''10 Days in an Elevator,'' he requested help from his friend Nick Phillips, with whom he created the artwork for [https://en.wikipedia.org/wiki/Age_of_Chance Age of Chance's], their indie success provided tDR with wider recognition, and consequently work for Pop Will Eat Itself.<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.12</ref>. It was also at this time that they created the brand identity then-nascent Warp Records.

Their rising popularity in the design world lead them to work with various large-scale entities in the late 90's and early 2000's, such as [https://www.thedesignersrepublic.com/coca-cola Coca-Cola,] [https://www.thedesignersrepublic.com/gatecrasher Gatecrasher,] [https://www.thedesignersrepublic.com/emigre Emigre,] [https://www.thedesignersrepublic.com/e4 Channel 4,] Nickelodeon,<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.284</ref> Pulp,<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.366</ref> and various others.

Changes in the music industry, large-scale copying of their style and mismanagement meant that in 2009, The Designers Republic would go into voluntary liquidation, emerging as a "leaner operation" since.<ref>https://www.creativereview.co.uk/the-designers-republic-is-dead-long-live-the-designers-republic/</ref><ref>https://www.eyemagazine.com/feature/article/reputations-ian-anderson</ref><ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.17</ref>

== Relationship with Autechre ==

Autechre has a long-standing relationship with The Designers Republic and Ian Anderson. First learning of them through tapes sent to Warp Records and being "blown away" on first listen,<ref>Anderson, Ian (2023) ''A to Z of The Designers Republic,'' Thames and Hudson ISBN 978-0500027356, p.15</ref> he would then foster a personal relationship with the duo, liking the "intellectualization of the design process" and the dynamic between them.

Autechre and The Designers Republic took a creative break following Chiastic Slide, presumably for greater creative freedom, they would re-unite professionally for the artwork for [[Quaristice]], inspired by the abrasiveness of the music and Norton Disk Tools' disk defragmentation graphic, they would create the erratically spaced typographic cover for the album. They have since worked together for nearly all their following projects.

The Designers Republic has had a continuous theme of humanity vs. technology in their works with Autechre,<ref>https://www.thedesignersrepublic.com/incunabula</ref> from Incunabula to the unreal nature of the Amber cover, impossible, strange machinery for Tri Repetae, fragmentation and abstraction for Chiastic Slide, Exai's abstract, brutalist typography to the entirely human covers for Oversteps (both the circle and typography were handwritten in the cover).<ref>https://www.thedesignersrepublic.com/oversteps</ref>

As of AE_LIVE 2022, The Designers Republic have worked with Autechre on the following releases:

*''[[Incunabula]]'' (1993)
*''[[Basscad,EP]]'' (1994)
*''[[Anti]]'' (1994)
*''[[Amber]]'' (1994)
*''[[Garbage]]'' (1995)
*''[[Anvil Vapre]]'' (1995)
*''[[Tri Repetae]]'' (1995)
*''[[Chiastic Slide]]'' (1997)
*''[[Envane]]'' (1997)
*''[[Cichlisuite]]'' (1997)
*''[[Peel Session]]'' (1999)
*''[[Peel Session 2]]'' (2000)
*''[[Quaristice]]'' (2008)
*''[[Quaristice.Quadrange.ep.ae]]'' (2008)
*''[[Oversteps]] (''2010)
* ''[[Move Of Ten]]'' (2010)
*''[[Exai]]'' (2013)
*''[[L-event]]'' (2013)
*''[[AE_LIVE]]'' (2015/2019)
*''[[elseq 1-5]]'' (2016)
*''[[NTS Sessions 1-4]]'' (2018)
* [[AE LIVE 2016/2018|''AE_LIVE 2016/2018'']] (2020)
*''[[SIGN]]'' (2020)
*''[[PLUS]]'' (2020)
* [[AE LIVE 2022－|''AE_LIVE 2022－'']] (2023)

== References ==
<references />

Autechre

2024-08-23T14:26:23Z

Roxwize: spelling

[[File:autechre08.jpg|thumb|Live in Princeton, NJ, 6 May 2001]]

== Biography ==
[INCOMPLETE]

[[Sean Booth]] and [[Rob Brown|Robert Brown]] both met each other in Rochdale's graffiti scene in 1987.<ref>[https://aepages.org/wiki/Autechre:_Tiny_Mix_Tapes_Interview,_April_2010#:~:text=It%E2%80%99s%20hard%20to%20argue%20that%20Autechre%20haven%E2%80%99t%20changed%20since%20they%20first%20met%20in%201987 Tiny Mix Tapes Interview, April 2010]</ref><ref>[https://web.archive.org/web/20100405073202/http://www.barcodezine.com/Autechre%20Interview.htm#:~:text=for%2020%20years%20%E2%80%93-,we%20met%20in%201987,-.%20A%20lot%20of Barcode Interview, 2008]</ref> Rob notes that a mutual friend of theirs, Ged, first met Sean on a bus tagging and later Rob and Sean formally met each other to exchange graffiti files.<ref>[https://thequietus.com/articles/13899-autechre-interview-exai-l-event#:~:text=This%20trust%20factor,younger%20than%20me The Quietus Interview, November 2013]</ref><ref>[https://aepages.org/wiki/Radio_Mix_Interview,_March_1997#:~:text=I%20met%20Sean%20through%20this%20guy%20who%20introduced%20us.%20He%20met%20Sean%20on%20a%20bus%20one%20night%2C%20tagging%2C%20and%20he%20met%20me%20one%20night%2C%20sort%20of%20exchanging%20graffiti%20files Radio Mix Interview, March 1997]</ref> After the initial meeting, Sean ended up going to Rob's house and getting access to Rob's tape equipment, leading to them both creating mixes. Both already had background experience in making tapes: Rob having made multiple mixtapes ([[Rob Brown's Ultra Rare Mixtapes]]) and Sean having done tapes since being 11-12 at his granddad's.<ref name=":1">[https://aepages.org/wiki/We_are_the_music_makers,_November_1997#:~:text=you%20pronounce%20Autechre%3F-,Booth%3A%20awe%2Dteh%2Dker.,-Weidenbaum%3A%20A%20million We are the music makers, November 1997]</ref>

== Name ==
The name "Autechre" was created by first typing "au" and then keysmashing the rest until the Atari's 8-character limit was hit. It initially came about as a track title for one of their demo tapes ([[Autechre / Saw You#Autechre|"Autechre"]]) before being adopted as their stage name six months later.<ref name=":0">''What's In Those Names?'', [[Sound On Sound Interview, April 2004]]</ref><ref>[https://aepages.org/wiki/SECONDS_Magazine_Issue_31,_1994#:~:text=SECONDS%3A%20What%20does%20%22Autechre%22%20mean%3F SECONDS Magazine Issue 31, 1994]</ref> Rob explained that the initial "au" came from a sample on the FZ10, which itself was part of a list of samples Autechre labelled as "au[insert descriptive]" for "vocal choir voices sustaining a single note" like oou.<ref>{{Cite AAA doc|1201}}</ref> However, in a 2024 interview, they clarified that it wasn't fully random, but rather part of their naming conventions abbreviations, meaning that it was more akin to "oou-take-three"<ref>{{Cite interview|page=Autechre. Chi è il gruppo più misterioso della musica contemporanea, February 2024|quote=Rob: Non ha un senso preciso ma credo che nasca da questo: dovevamo salvare molti file perché stavamo realizzando un demo e dovevamo dargli un nome e qualcuno disse letteralmente ‘‘questo è un suono ‘oou’’ e, siccome non c’era spazio per parole lunghe è stato catalogato come ‘oou’ ‘take one’, “take two’,’take three’: ‘oou-take-three’ suonava bene ed è diventato Autechre così lo abbiamo usato per il demo. E poi quando guardavamo la scritta ci piaceva, era una buona parola [ed: to be translated on the page]}}</ref>, which would align with tracks like [[List of Rarities#Techthree|"Techthree"]]. The current accepted pronunciation of Autechre, as the band itself uses, is "awe-teh-ker" (/ɔːˈtɛkər/), however they accept any pronunciation.<ref name=":0" /><ref name=":1" />

==Trivia==
[[Gear List|''Autechre Gear List'']]
*Autechre's record deal with Warp Records supposedly states that both Sean and [[Rob Brown|Rob]] are forbidden to release material under any name other than Autechre (or [[Gescom]] in select circumstances). The only exception to this is Sean Booth on ''[[3. Telepathics Meh In-Sect Connection]]'' due to miscommunication, however Gescom's Horizon was almost also premiered under Sean Booth.
*Autechre used "MYSLB" multiple times, including an old MySpace page<ref>https://web.archive.org/web/20080724140236/http://myspace.com/myslb</ref> and a website.<ref>http://www.myslb.com/</ref> The name comes from one of their first tracks [[List of Rarities#Myslb|"Myslb"]] which is an acronym of its sample going "Make Your Self Look Bad".<ref>[https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B) https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B)]</ref>
*Autechre mentioned two major arguments they've had in a Clash Magazine interview. The first was in 1989 where Ged's tape deck got ruined due to one of their tapes, leading them to blame each other before settling the damages between each other. The other was during some live show in Japan, where miscommunication by Rob caused Sean to abruptly lash out at him.<ref>https://www.clashmusic.com/features/autechre-interview/</ref>
*After a German festival got cancelled due to bad weather creating muddy grounds and flooding, Autechre alongside Boards of Canada broke into a trailer to steal champagne. After the raiding, Sean got so drunk that he tried to tackle Mike Paradinas – who was otherwise actively avoiding getting any mud on him – into the mud.<ref>https://www.rollingstone.it/musica/interviste-musica/autechre-niente-di-piu-umano-dei-computer/424382/</ref><ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D99</ref><ref>https://bocpages.org/wiki/Warp_Factor_Ten</ref>
*During a show, Sean's vodka-covered hands caught on fire from his R8 going alight. His attempt to clap it out caused the audience to start clapping, additionally making some set their hands on fire "as some kind of tribute".<ref>{{Cite AAA doc|809}}</ref>
*Sean notes one of his greatest fears is "nothing."<ref name=":1" />
*A few times during shows somewhere between 1996-2002, they compensated for their laptops failing and thus the show falling silent by letting a Minidisc shuffle sounds to fill the space, although Sean notes that the audience caught on quickly.<ref>{{Cite interview|page=Elektron Stories: Sean Booth, 2006|quote='''Oh. Did everything go completely silent on stage?''' A few times, yeah. Some nights we would have backup in the form of a bunch of sounds on a Minidisc player shuffling randomly, but you could only get away with it for a couple of minutes before people started shouting.}}</ref>
*During the early 90s "at a show by warp/mushroom records in AU", Rob became sick from the smart drinks given to him, leading to a situation where at the start of the performance he tried to vomit discretely into a nearby water bottle that he emptied. Unfortunately, due to it being a tiny 25cl bottle, it flew back out, hitting both the roof and his face - although the speed of it meant none stuck to his face.<ref>{{Cite AAA doc|853}}</ref>
*For "Gyroscope" off Board of Canada's ''Geogaddi'', Sean provided the band with the samples of a child reading out the numbers from a number station.<ref>https://www.twoism.org/forum/viewtopic.php?p=254145#p254145</ref>
*In an Interview with data.wave, Darrell Fitton (aka Bola) explained that after meeting Rob and Sean and letting them make music on his equipment, Sean challenged Bola to make a track similar to what they were making. After completing "Blipsalt", Darrel gave it to them, which they then was gave to Warp. "Blipsalt" ended up appearing as a track on Artificial Intelligence II.<ref>http://www.datawv.com/2017/08/interview-darrell-fitton-bola.html</ref>
* In the credits for Metroid Prime, both Sean Booth and Rob Brown are listed under Special Thanks.<ref>[https://youtu.be/gIMLe_51OH0?t=171 Metroid Prime - End Credits]</ref> In an interview with the game's audio lead Clark Wen, he notes that at one point in early development, an Autechre song was used for a demo level while they were making arrangements with Autechre to compose music.<ref>https://youtu.be/0phhV8Hgkv0?t=224</ref> Sean explained in the [[Sean Twitch AMA, July 2022]] that they had contacts at a Retro Studios branch that were keen on letting them compose the soundtrack for the game, but it fell through after Nintendo got their own musician to compose it.<ref>[https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=demo%20sphere%3A%20%E2%80%9CCould%20you%20please%20explain%20your%20mention%20in%20the%20Metroid%20Prime%20credits%3F%E2%80%9D Sean Twitch AMA, July 2022]</ref> Sean later confirmed on Mastodon that it was only talks and that no demos were made.<ref>[https://web.archive.org/web/20240114174123/https://post.lurk.org/@sean_ae/111749064152560779#:~:text=nah%20we%20never%20made%20anything%20for%20it%2C%20it%20didn%E2%80%99t%20go%20beyond%20talks @sean_ae Mastodon post, January 2024]</ref>
* For 808 State's ''Prebuild LP'', it gives big thanks to "Sean and Rob who got the tapes out of the cupboard and set the project running."<ref>https://www.808state.com/discogs/808pages/albpages/albprebuild/prebuild2.htm#:~:text=808%20State%20%2D%20Prebuild%20%2D%20UK%202xLP%20%2D%20Message</ref> Sean elaborated later that they were bugging Graham Massey over possible unreleased material which started the project.<ref>{{Cite AAA doc|1300}}</ref>

==References==
<references />

Autechre

2024-08-23T14:25:10Z

Roxwize: convert editing note into comment

[[File:autechre08.jpg|thumb|Live in Princeton, NJ, 6 May 2001]]

== Biography ==
[INCOMPLETE]

[[Sean Booth]] and [[Rob Brown|Robert Brown]] both met each other in Rochdale's graffiti scene in 1987.<ref>[https://aepages.org/wiki/Autechre:_Tiny_Mix_Tapes_Interview,_April_2010#:~:text=It%E2%80%99s%20hard%20to%20argue%20that%20Autechre%20haven%E2%80%99t%20changed%20since%20they%20first%20met%20in%201987 Tiny Mix Tapes Interview, April 2010]</ref><ref>[https://web.archive.org/web/20100405073202/http://www.barcodezine.com/Autechre%20Interview.htm#:~:text=for%2020%20years%20%E2%80%93-,we%20met%20in%201987,-.%20A%20lot%20of Barcode Interview, 2008]</ref> Rob notes that a mutual friend of theirs, Ged, first met Sean on a bus tagging and later Rob and Sean formally met each other to exchange graffiti files.<ref>[https://thequietus.com/articles/13899-autechre-interview-exai-l-event#:~:text=This%20trust%20factor,younger%20than%20me The Quietus Interview, November 2013]</ref><ref>[https://aepages.org/wiki/Radio_Mix_Interview,_March_1997#:~:text=I%20met%20Sean%20through%20this%20guy%20who%20introduced%20us.%20He%20met%20Sean%20on%20a%20bus%20one%20night%2C%20tagging%2C%20and%20he%20met%20me%20one%20night%2C%20sort%20of%20exchanging%20graffiti%20files Radio Mix Interview, March 1997]</ref> After the inital meeting, Sean ended up going to Rob's house and getting access to Rob's tape equipment, leading to them both creating mixes. Both already had background experience in making tapes: Rob having made multiple mixtapes ([[Rob Brown's Ultra Rare Mixtapes]]) and Sean having done tapes since being 11-12 at his granddad's.<ref name=":1">[https://aepages.org/wiki/We_are_the_music_makers,_November_1997#:~:text=you%20pronounce%20Autechre%3F-,Booth%3A%20awe%2Dteh%2Dker.,-Weidenbaum%3A%20A%20million We are the music makers, November 1997]</ref>

== Name ==
The name "Autechre" was created by first typing "au" and then keysmashing the rest until the Atari's 8-character limit was hit. It initially came about as a track title for one of their demo tapes ([[Autechre / Saw You#Autechre|"Autechre"]]) before being adopted as their stage name six months later.<ref name=":0">''What's In Those Names?'', [[Sound On Sound Interview, April 2004]]</ref><ref>[https://aepages.org/wiki/SECONDS_Magazine_Issue_31,_1994#:~:text=SECONDS%3A%20What%20does%20%22Autechre%22%20mean%3F SECONDS Magazine Issue 31, 1994]</ref> Rob explained that the initial "au" came from a sample on the FZ10, which itself was part of a list of samples Autechre labelled as "au[insert descriptive]" for "vocal choir voices sustaining a single note" like oou.<ref>{{Cite AAA doc|1201}}</ref> However, in a 2024 interview, they clarified that it wasn't fully random, but rather part of their naming conventions abbreviations, meaning that it was more akin to "oou-take-three"<ref>{{Cite interview|page=Autechre. Chi è il gruppo più misterioso della musica contemporanea, February 2024|quote=Rob: Non ha un senso preciso ma credo che nasca da questo: dovevamo salvare molti file perché stavamo realizzando un demo e dovevamo dargli un nome e qualcuno disse letteralmente ‘‘questo è un suono ‘oou’’ e, siccome non c’era spazio per parole lunghe è stato catalogato come ‘oou’ ‘take one’, “take two’,’take three’: ‘oou-take-three’ suonava bene ed è diventato Autechre così lo abbiamo usato per il demo. E poi quando guardavamo la scritta ci piaceva, era una buona parola [ed: to be translated on the page]}}</ref>, which would align with tracks like [[List of Rarities#Techthree|"Techthree"]]. The current accepted pronounciation of Autechre, as the band itself uses, is "awe-teh-ker" (/ɔːˈtɛkər/), however they accept any pronounciation.<ref name=":0" /><ref name=":1" />

==Trivia==
[[Gear List|''Autechre Gear List'']]
*Autechre's record deal with Warp Records supposedly states that both Sean and [[Rob Brown|Rob]] are forbidden to release material under any name other than Autechre (or [[Gescom]] in select circumstances). The only exception to this is Sean Booth on ''[[3. Telepathics Meh In-Sect Connection]]'' due to miscommunication, however Gescom's Horizon was almost also premiered under Sean Booth.
*Autechre used "MYSLB" multiple times, including an old MySpace page<ref>https://web.archive.org/web/20080724140236/http://myspace.com/myslb</ref> and a website.<ref>http://www.myslb.com/</ref> The name comes from one of their first tracks [[List of Rarities#Myslb|"Myslb"]] which is an acronym of its sample going "Make Your Self Look Bad".<ref>[https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B) https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B)]</ref>
*Autechre mentioned two major arguments they've had in a Clash Magazine interview. The first was in 1989 where Ged's tape deck got ruined due to one of their tapes, leading them to blame each other before settling the damages between each other. The other was during some live show in Japan, where miscommunication by Rob caused Sean to abruptly lash out at him.<ref>https://www.clashmusic.com/features/autechre-interview/</ref>
*After a German festival got cancelled due to bad weather creating muddy grounds and flooding, Autechre alongside Boards of Canada broke into a trailer to steal champagne. After the raiding, Sean got so drunk that he tried to tackle Mike Paradinas – who was otherwise actively avoiding getting any mud on him – into the mud.<ref>https://www.rollingstone.it/musica/interviste-musica/autechre-niente-di-piu-umano-dei-computer/424382/</ref><ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D99</ref><ref>https://bocpages.org/wiki/Warp_Factor_Ten</ref>
*During a show, Sean's vodka-covered hands caught on fire from his R8 going alight. His attempt to clap it out caused the audience to start clapping, additionally making some set their hands on fire "as some kind of tribute".<ref>{{Cite AAA doc|809}}</ref>
*Sean notes one of his greatest fears is "nothing."<ref name=":1" />
*A few times during shows somewhere between 1996-2002, they compensated for their laptops failing and thus the show falling silent by letting a Minidisc shuffle sounds to fill the space, although Sean notes that the audience caught on quickly.<ref>{{Cite interview|page=Elektron Stories: Sean Booth, 2006|quote='''Oh. Did everything go completely silent on stage?''' A few times, yeah. Some nights we would have backup in the form of a bunch of sounds on a Minidisc player shuffling randomly, but you could only get away with it for a couple of minutes before people started shouting.}}</ref>
*During the early 90s "at a show by warp/mushroom records in AU", Rob became sick from the smart drinks given to him, leading to a situation where at the start of the performance he tried to vomit discretely into a nearby water bottle that he emptied. Unfortunately, due to it being a tiny 25cl bottle, it flew back out, hitting both the roof and his face - although the speed of it meant none stuck to his face.<ref>{{Cite AAA doc|853}}</ref>
*For "Gyroscope" off Board of Canada's ''Geogaddi'', Sean provided the band with the samples of a child reading out the numbers from a number station.<ref>https://www.twoism.org/forum/viewtopic.php?p=254145#p254145</ref>
*In an Interview with data.wave, Darrell Fitton (aka Bola) explained that after meeting Rob and Sean and letting them make music on his equipment, Sean challenged Bola to make a track similar to what they were making. After completing "Blipsalt", Darrel gave it to them, which they then was gave to Warp. "Blipsalt" ended up appearing as a track on Artificial Intelligence II.<ref>http://www.datawv.com/2017/08/interview-darrell-fitton-bola.html</ref>
* In the credits for Metroid Prime, both Sean Booth and Rob Brown are listed under Special Thanks.<ref>[https://youtu.be/gIMLe_51OH0?t=171 Metroid Prime - End Credits]</ref> In an interview with the game's audio lead Clark Wen, he notes that at one point in early development, an Autechre song was used for a demo level while they were making arrangements with Autechre to compose music.<ref>https://youtu.be/0phhV8Hgkv0?t=224</ref> Sean explained in the [[Sean Twitch AMA, July 2022]] that they had contacts at a Retro Studios branch that were keen on letting them compose the soundtrack for the game, but it fell through after Nintendo got their own musician to compose it.<ref>[https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=demo%20sphere%3A%20%E2%80%9CCould%20you%20please%20explain%20your%20mention%20in%20the%20Metroid%20Prime%20credits%3F%E2%80%9D Sean Twitch AMA, July 2022]</ref> Sean later confirmed on Mastodon that it was only talks and that no demos were made.<ref>[https://web.archive.org/web/20240114174123/https://post.lurk.org/@sean_ae/111749064152560779#:~:text=nah%20we%20never%20made%20anything%20for%20it%2C%20it%20didn%E2%80%99t%20go%20beyond%20talks @sean_ae Mastodon post, January 2024]</ref>
* For 808 State's ''Prebuild LP'', it gives big thanks to "Sean and Rob who got the tapes out of the cupboard and set the project running."<ref>https://www.808state.com/discogs/808pages/albpages/albprebuild/prebuild2.htm#:~:text=808%20State%20%2D%20Prebuild%20%2D%20UK%202xLP%20%2D%20Message</ref> Sean elaborated later that they were bugging Graham Massey over possible unreleased material which started the project.<ref>{{Cite AAA doc|1300}}</ref>

==References==
<references />

Autechre

2024-08-23T14:21:56Z

Roxwize: /* Trivia */ some grammatical changes

[[File:autechre08.jpg|thumb|Live in Princeton, NJ, 6 May 2001]]

(for now, dump all non-release related trivia, i.e. events, anecdotes from interviews, history notes, etc.)

== Biography ==
[INCOMPLETE]

[[Sean Booth]] and [[Rob Brown|Robert Brown]] both met each other in Rochdale's graffiti scene in 1987.<ref>[https://aepages.org/wiki/Autechre:_Tiny_Mix_Tapes_Interview,_April_2010#:~:text=It%E2%80%99s%20hard%20to%20argue%20that%20Autechre%20haven%E2%80%99t%20changed%20since%20they%20first%20met%20in%201987 Tiny Mix Tapes Interview, April 2010]</ref><ref>[https://web.archive.org/web/20100405073202/http://www.barcodezine.com/Autechre%20Interview.htm#:~:text=for%2020%20years%20%E2%80%93-,we%20met%20in%201987,-.%20A%20lot%20of Barcode Interview, 2008]</ref> Rob notes that a mutual friend of theirs, Ged, first met Sean on a bus tagging and later Rob and Sean formally met each other to exchange graffiti files.<ref>[https://thequietus.com/articles/13899-autechre-interview-exai-l-event#:~:text=This%20trust%20factor,younger%20than%20me The Quietus Interview, November 2013]</ref><ref>[https://aepages.org/wiki/Radio_Mix_Interview,_March_1997#:~:text=I%20met%20Sean%20through%20this%20guy%20who%20introduced%20us.%20He%20met%20Sean%20on%20a%20bus%20one%20night%2C%20tagging%2C%20and%20he%20met%20me%20one%20night%2C%20sort%20of%20exchanging%20graffiti%20files Radio Mix Interview, March 1997]</ref> After the inital meeting, Sean ended up going to Rob's house and getting access to Rob's tape equipment, leading to them both creating mixes. Both already had background experience in making tapes: Rob having made multiple mixtapes ([[Rob Brown's Ultra Rare Mixtapes]]) and Sean having done tapes since being 11-12 at his granddad's.<ref name=":1">[https://aepages.org/wiki/We_are_the_music_makers,_November_1997#:~:text=you%20pronounce%20Autechre%3F-,Booth%3A%20awe%2Dteh%2Dker.,-Weidenbaum%3A%20A%20million We are the music makers, November 1997]</ref>

== Name ==
The name "Autechre" was created by first typing "au" and then keysmashing the rest until the Atari's 8-character limit was hit. It initially came about as a track title for one of their demo tapes ([[Autechre / Saw You#Autechre|"Autechre"]]) before being adopted as their stage name six months later.<ref name=":0">''What's In Those Names?'', [[Sound On Sound Interview, April 2004]]</ref><ref>[https://aepages.org/wiki/SECONDS_Magazine_Issue_31,_1994#:~:text=SECONDS%3A%20What%20does%20%22Autechre%22%20mean%3F SECONDS Magazine Issue 31, 1994]</ref> Rob explained that the initial "au" came from a sample on the FZ10, which itself was part of a list of samples Autechre labelled as "au[insert descriptive]" for "vocal choir voices sustaining a single note" like oou.<ref>{{Cite AAA doc|1201}}</ref> However, in a 2024 interview, they clarified that it wasn't fully random, but rather part of their naming conventions abbreviations, meaning that it was more akin to "oou-take-three"<ref>{{Cite interview|page=Autechre. Chi è il gruppo più misterioso della musica contemporanea, February 2024|quote=Rob: Non ha un senso preciso ma credo che nasca da questo: dovevamo salvare molti file perché stavamo realizzando un demo e dovevamo dargli un nome e qualcuno disse letteralmente ‘‘questo è un suono ‘oou’’ e, siccome non c’era spazio per parole lunghe è stato catalogato come ‘oou’ ‘take one’, “take two’,’take three’: ‘oou-take-three’ suonava bene ed è diventato Autechre così lo abbiamo usato per il demo. E poi quando guardavamo la scritta ci piaceva, era una buona parola [ed: to be translated on the page]}}</ref>, which would align with tracks like [[List of Rarities#Techthree|"Techthree"]]. The current accepted pronounciation of Autechre, as the band itself uses, is "awe-teh-ker" (/ɔːˈtɛkər/), however they accept any pronounciation.<ref name=":0" /><ref name=":1" />

==Trivia==
[[Gear List|''Autechre Gear List'']]
*Autechre's record deal with Warp Records supposedly states that both Sean and [[Rob Brown|Rob]] are forbidden to release material under any name other than Autechre (or [[Gescom]] in select circumstances). The only exception to this is Sean Booth on ''[[3. Telepathics Meh In-Sect Connection]]'' due to miscommunication, however Gescom's Horizon was almost also premiered under Sean Booth.
*Autechre used "MYSLB" multiple times, including an old MySpace page<ref>https://web.archive.org/web/20080724140236/http://myspace.com/myslb</ref> and a website.<ref>http://www.myslb.com/</ref> The name comes from one of their first tracks [[List of Rarities#Myslb|"Myslb"]] which is an acronym of its sample going "Make Your Self Look Bad".<ref>[https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B) https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B)]</ref>
*Autechre mentioned two major arguments they've had in a Clash Magazine interview. The first was in 1989 where Ged's tape deck got ruined due to one of their tapes, leading them to blame each other before settling the damages between each other. The other was during some live show in Japan, where miscommunication by Rob caused Sean to abruptly lash out at him.<ref>https://www.clashmusic.com/features/autechre-interview/</ref>
*After a German festival got cancelled due to bad weather creating muddy grounds and flooding, Autechre alongside Boards of Canada broke into a trailer to steal champagne. After the raiding, Sean got so drunk that he tried to tackle Mike Paradinas – who was otherwise actively avoiding getting any mud on him – into the mud.<ref>https://www.rollingstone.it/musica/interviste-musica/autechre-niente-di-piu-umano-dei-computer/424382/</ref><ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D99</ref><ref>https://bocpages.org/wiki/Warp_Factor_Ten</ref>
*During a show, Sean's vodka-covered hands caught on fire from his R8 going alight. His attempt to clap it out caused the audience to start clapping, additionally making some set their hands on fire "as some kind of tribute".<ref>{{Cite AAA doc|809}}</ref>
*Sean notes one of his greatest fears is "nothing."<ref name=":1" />
*A few times during shows somewhere between 1996-2002, they compensated for their laptops failing and thus the show falling silent by letting a Minidisc shuffle sounds to fill the space, although Sean notes that the audience caught on quickly.<ref>{{Cite interview|page=Elektron Stories: Sean Booth, 2006|quote='''Oh. Did everything go completely silent on stage?''' A few times, yeah. Some nights we would have backup in the form of a bunch of sounds on a Minidisc player shuffling randomly, but you could only get away with it for a couple of minutes before people started shouting.}}</ref>
*During the early 90s "at a show by warp/mushroom records in AU", Rob became sick from the smart drinks given to him, leading to a situation where at the start of the performance he tried to vomit discretely into a nearby water bottle that he emptied. Unfortunately, due to it being a tiny 25cl bottle, it flew back out, hitting both the roof and his face - although the speed of it meant none stuck to his face.<ref>{{Cite AAA doc|853}}</ref>
*For "Gyroscope" off Board of Canada's ''Geogaddi'', Sean provided the band with the samples of a child reading out the numbers from a number station.<ref>https://www.twoism.org/forum/viewtopic.php?p=254145#p254145</ref>
*In an Interview with data.wave, Darrell Fitton (aka Bola) explained that after meeting Rob and Sean and letting them make music on his equipment, Sean challenged Bola to make a track similar to what they were making. After completing "Blipsalt", Darrel gave it to them, which they then was gave to Warp. "Blipsalt" ended up appearing as a track on Artificial Intelligence II.<ref>http://www.datawv.com/2017/08/interview-darrell-fitton-bola.html</ref>
* In the credits for Metroid Prime, both Sean Booth and Rob Brown are listed under Special Thanks.<ref>[https://youtu.be/gIMLe_51OH0?t=171 Metroid Prime - End Credits]</ref> In an interview with the game's audio lead Clark Wen, he notes that at one point in early development, an Autechre song was used for a demo level while they were making arrangements with Autechre to compose music.<ref>https://youtu.be/0phhV8Hgkv0?t=224</ref> Sean explained in the [[Sean Twitch AMA, July 2022]] that they had contacts at a Retro Studios branch that were keen on letting them compose the soundtrack for the game, but it fell through after Nintendo got their own musician to compose it.<ref>[https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=demo%20sphere%3A%20%E2%80%9CCould%20you%20please%20explain%20your%20mention%20in%20the%20Metroid%20Prime%20credits%3F%E2%80%9D Sean Twitch AMA, July 2022]</ref> Sean later confirmed on Mastodon that it was only talks and that no demos were made.<ref>[https://web.archive.org/web/20240114174123/https://post.lurk.org/@sean_ae/111749064152560779#:~:text=nah%20we%20never%20made%20anything%20for%20it%2C%20it%20didn%E2%80%99t%20go%20beyond%20talks @sean_ae Mastodon post, January 2024]</ref>
* For 808 State's ''Prebuild LP'', it gives big thanks to "Sean and Rob who got the tapes out of the cupboard and set the project running."<ref>https://www.808state.com/discogs/808pages/albpages/albprebuild/prebuild2.htm#:~:text=808%20State%20%2D%20Prebuild%20%2D%20UK%202xLP%20%2D%20Message</ref> Sean elaborated later that they were bugging Graham Massey over possible unreleased material which started the project.<ref>{{Cite AAA doc|1300}}</ref>

==References==
<references />

Sean Booth

2024-04-23T13:53:22Z

Roxwize:

'''Sean Booth''' is an electronic musician, best known for being half of [[Autechre]].

[[Category:People]]

Rob Brown

2024-04-23T13:53:11Z

Roxwize:

Rob Brown (born 1970<ref>[[Autechre. Futurologists, April 2003]]</ref>) is an electronic musician, and one half of [[Autechre]], along with [[Sean Booth]]; the two met in 1987 to start Autechre.<ref>[[This is the sound of ...Autechre, 1996]]</ref>

== References ==
<references />

[[Category:People]]

Noel Summerville

2024-04-23T13:52:57Z

Roxwize: add cat

Noel Summerville is the mastering engineer for many of Autechre's albums. He typically leaves digital versions of albums untouched, instead processing vinyl versions to make it sound similar or as close to identical to the digital tracks as possible.[https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=mainly%20what%20he's%20trying%20to%20do%20is%20make%20it%20sound,%20the%20vinyl%20sound%20the%20same%20as%20a%20digital.]

[[Category:People]]

List of Remixes

2024-04-23T13:14:52Z

Roxwize: /* Ulver - Ghost Entry (Autechre Re-Entry) */ punctuation

This page is a collection of all tracks remixed by [[Autechre]]. (For rare original material refer to [[List of Rarities]])

Sources<ref>https://web.archive.org/web/20170425161720/http://www.autechre.info/discography/remixes.html</ref><ref>https://docs.google.com/spreadsheets/d/1ecLwyuktVbp6j5OfeCqf4KBTOlkbXragR4nfqvJ3JTc/edit#gid=1</ref><ref>https://docs.google.com/spreadsheets/d/1i1o90JzFLUelov8bydmpurOCDhktdd-oMbErw8G0AXA/edit?hl=en#gid=1</ref>  

== Released by Autechre ==

=== Tortoise/Autechre - Adverse Camber ===
* 1998<ref name=":0">https://www.discogs.com/release/25105-Tortoise-Autechre-Adverse-Camber-To-Day-Retreival</ref>

=== Tortoise/Autechre - To Day Retreival ===
* 1998<ref name=":0" />

=== Neu! - Weissensee Against Im Glück ===
[[File:Splitrmx12.jpg|alt=poster|thumb|139x139px]]

* August 23, 1999 / Released on ''Splitrmx12<ref name=":1">https://www.discogs.com/release/17921-Autechre-SplitRmx12</ref>''

=== Bic? - At Drowning In A Sea Of Indiependance ===
* August 23, 1999 / Released on ''Splitrmx12''<ref name=":1" />

*Uses the Kyma Capybara.<ref>https://aepages.org/wiki/Hanalgig_AMA,_July_2022#:~:text=remix%20and%20the-,bic%20remix,-)%2C%20and%20i%20eventually</ref> 
*Sean confirmed that Bic? was a "Gescom Affiliate"

== Released by Remixed Artist ==

=== Higher Intelligence Society - Speech3 (Conoid Tone Reformed by Autechre) ===
*1994<ref>https://www.discogs.com/release/635-The-Higher-Intelligence-Agency-Reform</ref>

=== Saint Etienne - Like a Motorway (Skin Up, You're Already Dead Mix by Autechre) ===
* May 16, 1994<ref>https://www.discogs.com/master/32767-Saint-Etienne-Like-A-Motorway</ref>

=== Buck-Tick - Iconoclasm (Autechre's Don't X Ray Da DAT Mix) ===
* August 24, 1994<ref>https://www.discogs.com/release/192310-Buck-Tick-%E3%82%B7%E3%82%A7%E3%82%A4%E3%83%97%E3%83%AC%E3%82%B9</ref>

=== SCHAFT - SKF10047 (Autechre Mix) ===
* September 21, 1994<ref>https://www.discogs.com/release/292355-Schaft-Switchblade</ref>

=== Scorn - Falling (Autechre's "FR 13" Mix) ===
* 1995<ref>https://www.discogs.com/release/373027-Scorn-Falling-The-End-Remixes</ref>

=== Slowly - On the Loose (Autechre's For Internal Use Only Mix) ===
* Remix appeared on Slowly - ''Remix EP'' (1995) as "On The Loose (Autechre Remix)"<ref>https://www.discogs.com/release/73470-Slowly-Remix-EP</ref> as well as on the bonus remixes of Slowly - ''Ming'' (1995) as "On the Loose (Autechre's For Internal Use Only Mix)"<ref>https://www.discogs.com/release/54264-Slowly-Ming</ref>
* Also appeared on ''[[Radio Mix]]'' with a few small edits, mostly notably the outro is a pitched down loop which ends the track faster than the normal remix.

=== V - Vliezwei (Vliegenbos Morning Reproduced By Autechre) ===
* 1995<ref>https://www.discogs.com/master/373651-V-Sub-Machine-The-Unheard-Vliezwei</ref>

=== Palmskin Productions - Evolution of the Beast (Autechre Mix) ===
* February 27, 1995(?)<ref>https://www.discogs.com/master/283584-Palm-Skin-Productions-The-Beast</ref>

=== Beaumont Hannant - Psi-Onyx (Psix Million Dollar Myx Oscar Goldman Bonus) ===
* May 1, 1995<ref>https://www.discogs.com/master/80105-Beaumont-Hannant-Psi-Onyx</ref>

=== Softballet - Jail Of Freedom (Jailitilsli) ===
* June 28, 1995<ref>https://www.discogs.com/master/80098-Softballet-Forms-Remix-For-Ordinary-People</ref>

=== DJ Food - Sexy Bits (Autechre's ae9v Mix) ===
* July 10, 1995<ref>https://www.discogs.com/release/4487-DJ-Food-Refried-Food-Part-2</ref>

=== Domonique Dalcan - Aveugle & Sourd (Autechre Mix) ===
* 1996<ref>https://www.discogs.com/master/73689-Dominique-Dalcan-Aveugle-Sourd-Remixes</ref>

=== Edge of Motion - Earth Ball (Autechre Rmx) ===
* 1996<ref>https://www.discogs.com/release/61267-Edge-Of-Motion-Ad-Hoc</ref>

=== Impulse - One-Six-Four-Seven (Numbers Rammed Down My Ear Mix) ===
* 1996<ref>https://www.discogs.com/release/55733-Impulse-One-Six-Four-One-Seven-EP</ref>

=== Silvania - 1Belm (Autechre Mx) ===
* April 30, 1996<ref>https://www.discogs.com/release/232073-Silvania-Delay-Tambor</ref>

===Kinesthesia - Sanq (Autechre Mix)===
*January 1996<ref>https://www.discogs.com/release/28159-Kinesthesia-Remixes-From-The-Album-Empathy-Box</ref>

===Lamb - Gold (Autechre Mix)===
*March 25, 1996<ref>https://www.discogs.com/release/32696-Lamb-Gold</ref>

=== Nav Katze - Happy? (Qunk Mix by Autechre)===
*May 22, 1996<ref>https://www.discogs.com/release/197385-Nav-Katze-Gentle-Elegance</ref>

===Mike Ink - Paroles (Autechre Repoles)===
*October 14, 1996<ref>https://www.discogs.com/release/3692-Mike-Ink-Paroles</ref>

===Gescom - Keynell (Mix 1)===
*November 25, 1996<ref name=":2">https://www.discogs.com/release/162-Autechre-Gescom-Keynell-Keynell</ref>

===Gescom - Keynell (Mix 2)===
*November 25, 1996<ref name=":2" />

===Lexis - Hypnotise (Autechre Slow Mix)===
*1997<ref>https://www.discogs.com/release/980-Lexis-Criminal-Elements-Klute-Remix-Hypnotise-Autechre-Remix</ref>

=== Nav Katze - Happy? (Qunk Mix Dub)===
*May 21, 1997<ref>https://www.discogs.com/release/20471-Nav-Katze-Never-Mind-The-Distortion-II</ref>

=== Merzbow - Ecobondage [Ending] AE Remix===
*June 16, 1997<ref>https://www.discogs.com/release/51532-Merzbow-Scumtron</ref>

=== Spacetime Continuum - String Of Pearls===
*October 7, 1996<ref>https://www.discogs.com/release/61539-Spacetime-Continuum-rEMIT-rECAPS</ref>

===Mark Broom - Any No. Between 1 & 17 (Autechre Remix)===
*November 1997<ref>https://www.discogs.com/release/19707-Mark-Broom-Angie-Is-A-Shoplifter</ref>

=== Stereolab - Refractions in the Plastic Pulse (Feebate Mix)===
*January 15, 1998<ref>https://www.discogs.com/release/40110-Stereolab-Miss-Modular</ref>
*This was later remastered and released digitally on September 2nd, 2022.

===Gescom - Mag 3.1426 (Rmxd By Ae)===
*June 1998<ref name=":3">https://www.discogs.com/release/25106-Gescom-This</ref>

===Gescom - Viral Rival (Rmxd By Ae)===
*June 1998<ref name=":3" />

===Gescom - Keynell (Rmxd By Ae)===
*June 1998<ref name=":3" />
*Shares the same precussion as [[Anvil Vapre#Second Scepe|"Second Scepe"]].

===Skinny Puppy - Killing Game (Autechre Remix) (Bent Mix)===
*October 19, 1998<ref>https://www.discogs.com/release/104373-Skinny-Puppy-Remix-Dystemper</ref>
*Completely done in SoundEdit.<ref>[https://aepages.org/wiki/Pitchfork_Interview,_April_2005#:~:text=Did%20you%20do%20that%20in%20SoundEdit%3F%20I%20thought%20I%20heard%20the%20bender%20function%20being%20used%20there... https://aepages.org/wiki/Pitchfork_Interview,_April_2005#:~:text=Did%20you%20do%20that%20in%20SoundEdit%3F%20I%20thought%20I%20heard%20the%20bender%20function%20being%20used%20there...]</ref>

===East Flatbush Project - Tried by 12 (Autechre Mix)===
*December 1998<ref>https://www.discogs.com/release/60458-East-Flatbush-Project-Tried-By-12-Remixes</ref>

===Various Artists - 8 (Ae Mix)===
*1998<ref>https://www.discogs.com/release/13017-Various-Artists-Remixes</ref>

===Squarepusher - Two Bass Hit (AE Mix)===
*July 16, 1999<ref>https://www.discogs.com/release/24510-Squarepusher-Maximum-Priest-EP</ref>

=== Phoenecia - Odd Job (Autechre's Systems Mono Version)===
*August 2, 1999<ref>https://www.discogs.com/release/1369-Phoenecia-Odd-Jobs</ref>

===Various Artists - No. 8 (æ2 Mix by Autechre)===
*November 1999<ref>https://www.discogs.com/release/82807-Various-Artists--8-85-9-Remixes</ref>

===Kruton - Smallfish Pa.track2 (Autechre Remix)===
*February 26, 2001<ref>https://www.discogs.com/release/87864-Kruton-Granular-Plateaux</ref>

===Freeform - A.T. (Autechre Remix)===
*March 14, 2002<ref>https://www.discogs.com/release/94936-Freeform-Vietnam-And-China-Audiotourism-Reinterpretations</ref>

===Jello - Neph (Autechre's Ultramatique 6 Mix)===
*July 15, 2002<ref>https://www.discogs.com/release/35282-Jello-Chamchimzee</ref>

=== Seefeel - Spangle (Autechre Remix)===
*April 28, 2003<ref>https://www.discogs.com/release/168959-Seefeel-Autechre-Remix-Of-Spangle-By-Seefeel</ref>

* This remix came out as a single nine years after the original track released on the ''Starethrough EP'', via Warp Records.<ref>https://www.discogs.com/release/28420-Seefeel-Starethrough-Ep</ref>
*The remix was later included on Seefeel's ''Rupt and Flex'' compilation in 2021<ref>https://www.discogs.com/master/2126677-Seefeel-Rupt-Flex-94-96</ref>

===Team Doyobi - Push Chairs for Grown Ups (Autechre Remix)===
*December 15, 2003<ref>https://www.discogs.com/release/214958-Team-Doyobi-Push-Chairs-For-Grown-Ups-Remixes</ref>

===Earth - Coda Maestoso In (F)Flat Minor (Remixed By Autechre)===
*March 2005<ref>https://www.discogs.com/release/476455-Earth-Legacy-Of-Dissolution</ref>

===Mark Broom - Any Number Between 1 & 17 (Autechre Alt Mix)===
*June 2005<ref>https://www.discogs.com/release/472591-Mark-Broom-Angie-Revisited</ref>

===Sensational Meets Kouhei - Sensachre 10 Mix (Autechre Remix)===
*2006<ref>https://www.discogs.com/release/762004-Sensational-Meets-Kouhei-Sensational-Meets-Kouhei</ref>

=== Surgeon - Bad Hands Part II (Autechre Remix)===
*March 1, 2007<ref>https://www.discogs.com/release/919570-Surgeon-Whose-Bad-Hands-Are-These-Part-I</ref>

===Unique 3 - The Theme (Autechre Remix)===
*June 2007<ref>https://www.discogs.com/release/989370-Unique-3-The-Theme</ref>

=== The Black Dog - Tunnels Ov Set (Autechre Remix)===
*August 3, 2009<ref>https://www.discogs.com/release/1831461-The-Black-Dog-We-Are-Sheffield-EP</ref>

===Deneir - The Winding Ladder (Autechre Mix)===
*June 8, 2010<ref>https://www.discogs.com/release/12141528-Deneir-Nowhen-EP</ref>

=== Anodyne - Close Your Eyes (Corporation Street Remix by Autechre)===
*August 9, 2010<ref>https://www.discogs.com/release/2391951-Anodyne-The-Remixes-EP</ref>

=== The Bug - Skeng (Autechre Remix)===
*November 15, 2010<ref name=":4">https://www.discogs.com/release/3580168-The-Bug-Infected</ref>

=== The Bug - Skeng (Autechre Dub)===
*November 15, 2010<ref name=":4" />

===Oberman Knocks - Dilankex (Autechre Remix)===
*February 2014<ref>https://www.discogs.com/release/5422075-Oberman-Knocks-Dilankex</ref>
*The A side contains the 45rpm original track while the B side contains the 33rpm Autechre remix.<ref>https://www.factmag.com/2013/11/21/autechre-remix-oberman-knocks-dliankex-for-new-12/</ref>

===Russell Haswell - Heavy Handed Sunset (Autechre Conformity Version)===
*December 8, 2015<ref>https://www.discogs.com/release/7826375-Russell-Haswell-As-Sure-As-Night-Follows-Day-Remixes</ref>

===Giorgio Moroder & Raney Shockne - 611 Time Out (Autechre Remix)===
*May 31, 2016<ref>https://www.discogs.com/release/8675883-Giorgio-Moroder-And-Raney-Shockne-Tron-Runr-Original-Soundtrack</ref>

===SOPHIE - BIPP (Autechre Mx)===
*Remix of [https://nmbrs.bandcamp.com/track/bipp SOPHIE - Bipp]
*January 14, 2021, released on Numbers.<ref>https://nmbrs.bandcamp.com/album/bipp-autechre-mx-unisil</ref><ref>https://www.discogs.com/release/18034606-Sophie-Bipp-Autechre-Mx-Unisil</ref> It also received a vinyl pressing on January 29th, 2023. Unfortunately, SOPHIE tragically passed away just sixteen days after the remix released. 
*One of SOPHIE's stern instructions back in 2015 was "NO remixes, unless it's Autechre." 5 years later, after Numbers repeatedly tried to contact Autechre, they were sent the remix and the note, "Sorry this is so late, hope it's still of some use."<ref>https://www.papermag.com/sophie-autechre-remix</ref>

=== Anodyne - We Are All We Have (Autechre Remix)===
*March 5, 2021<ref>https://www.discogs.com/release/17697514-Anodyne-Decayed</ref>

===Humanoid - sT8818r (A664 Mix by Autechre)===
*December 3, 2021<ref>https://www.discogs.com/release/21142879-Humanoid-sT8818r-Humanoid</ref>

===Ulver - Ghost Entry (Autechre Re-Entry)===
*Remix of [https://ulver.bandcamp.com/album/ghost-entry Ulver - Ghost Entry].
*Released alongside the original single on December 15, 2023.<ref>https://ulver.bandcamp.com/album/ghost-entry</ref><ref>https://www.discogs.com/release/29206930-Ulver-Ghost-Entry</ref>

==Released on VA Compilation==

===Medium - Celsius (Rebuilt by Autechre)===
*1997<ref>https://www.discogs.com/release/243157-Various-7-Hills-Clash-Rebuilt-EP</ref>

===D-Breeze - Crazy for Love (Autechre Remix)===
*Intially only released on the limited-editon vinyl of ''MASK500'' in 1999. ([https://www.discogs.com/release/19800-Various-MASK-500 Discogs]). In 2023, Helena Hauff released the track digitally on ''fabric presents Helena Hauff.'' <ref>https://helenahauff.bandcamp.com/album/fabric-presents-helena-hauff</ref>

===Jürgen Paape - Autechre (TR7AEremix) vs. Jürgen Paape===
*Remix of [https://www.discogs.com/master/546959-J%C3%BCrgen-Paape-Triumph Jürgen Paape - Triumph A1] 
*July 2, 1999<ref>https://www.discogs.com/release/123083-Various-Sub-Rosa-vs-Kompakt</ref>

===Nightmares On Wax - Sal Batardes (Autechre's Purple Mix)===
*October 11, 1999<ref>https://www.discogs.com/release/30834-Various-Warp103-Remixes</ref>

*One of the patches from "Left Blank" from ''[[EP7]]'' which uses the Kyma Capybara is reused here.<ref>https://aepages.org/wiki/Hanalgig_AMA,_July_2022#:~:text=the%20nightmares%20on%20wax%20remix</ref> <ref>https://web.archive.org/web/20231217191142/https://post.lurk.org/@sean_ae/111595944351176551</ref>

===LFO - What is House? (LFO Remix) (Autechre Remix)===
*September 28, 2009<ref>https://www.discogs.com/release/2024521-Various-Warp20-Recreated</ref>

==Unreleased==

=== D'Breez - Closer (Autechre Remix)===

*Made "circa 1992", shared by Darrel Fitton on Facebook on November 14, 2008.<ref>https://forum.watmm.com/topic/41311-gescom-g1/?do=findComment&comment=912899</ref><ref>https://www.youtube.com/watch?v=nt2L1LkEXoY</ref>

===Jimi Tenor - Take Me Baby (Remix)===
*March 1997 / Appeared on ''[[Radio Mix]]''

===Chris Morris (Autechre Remix)===
* April 10, 2005 as part of Untilted test transmission.

===O.S.T. - Ou (Autechre Remix)===
*Remix of [https://amhain.bandcamp.com/track/ou O.S.T. - Ou]
*2008 <ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D260</ref><ref>https://web.archive.org/web/20111006182014/http://www.hairentertainment.com/chrisdouglas#:~:text=%C2%A0Autechre%20have%20done%20a%20remix%20Of%20Ou</ref>

===Coil - Panic (Autechre Remix)===

*March 2, 2010  as part of the Autechre 12hr mx on autechre.ws<ref>https://archive.org/details/autechre12hrmix</ref><ref>https://www.reddit.com/r/autechre/comments/kwaxpn/ae_remixing_coils_panic/</ref>

=== Surgeon - Whose Bad Hands Are These? (Autechre Splunder Mix)===

*March 2, 2013 as part of the 2013 Exai Webcast.
*[https://www.youtube.com/watch?v=wVrMucgFS94 Youtube upload] 

== References ==
<references />

Autechre / Saw You

2024-04-23T13:12:37Z

Roxwize: /* Trivia */ move reference

{{Infobox
|title=Autechre / Saw You
|artist=Autechre
|cover=
|date= 1990
|label=self-released
|previous=
|previous year=
|next=[[Lego Feet]]
|next year=1991
}}'''''Autechre / Saw You''''' is the oldest known release from [[Autechre]], created in 1990 as a demo cassette, with only 50 copies made which were shared with friends and labels.<ref>https://www.discogs.com/release/6714178-Autechre-Autechre-Saw-You</ref> On January 13th, 2024, Sean posted downloads for tape transfers of both Autechre<ref>https://web.archive.org/web/20240113170311/https://post.lurk.org/@sean_ae/111749663624600342</ref> and Saw You.<ref name=":0">https://web.archive.org/web/20240113162259/https://post.lurk.org/@sean_ae/111749064152560779</ref> 

== History ==
Both tracks were made in Daz Fitton's studio above Dr Rock around 1989-1990 and recorded straight to cassette. <ref>[https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=So%20both%20of%20them%20are%20tracks%20that%20we%20did%20in%20Dazzy%E2%80%99s%20studio%20in%20%E2%80%9889%2C%20%E2%80%9890. https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=So%20both%20of%20them%20are%20tracks%20that%20we%20did%20in%20Dazzy%E2%80%99s%20studio%20in%20%E2%80%9889%2C%20%E2%80%9890.]</ref><ref>https://web.archive.org/web/20231224114430/https://post.lurk.org/@sean_ae/111635157753588040</ref> 

On its Discogs page, it was noted that the tape got them signed to Warp Records. However, Sean clarified that they were actually rejected due to Warp not currently looking to sign anyone at the time. The track that actually got them signed was [[List of Rarities#Crystel|"Crystel"]] in 1991.<ref>https://web.archive.org/web/20240113191644/https://post.lurk.org/@sean_ae/111750128290861077</ref>

The labels on the cassette were made by Sean with ink splatters, and the font used on the labels is Zurich Black from the Letraset character set.

== Tracks ==

=== Autechre ===

* The track name came from typing "Au" (due to a 'au' type sample appearing in the track) and then keysmashing the rest until the Atari's 8 character limit was hit. The band themselves liked the name so much they later adopted it as their new pseudonym.<ref>[https://aepages.org/wiki/Sound_On_Sound_Interview,_April_2004#:~:text=Sean%20Booth%20explains%20that%20the%20name%20came%20about%20when%20the%20duo%20were%20working%20on%20an%20Atari.%20%22The%20first%20two%20letters%20were%20intentional%2C%20because%20there%20was%20an%20%27au%27%20sound%20in%20the%20track%2C%20and%20the%20rest%20of%20the%20letters%20were%20bashed%20randomly%20on%20the%20keyboard. https://aepages.org/wiki/Sound_On_Sound_Interview,_April_2004#:~:text=Sean%20Booth%20explains%20that%20the%20name%20came%20about%20when%20the%20duo%20were%20working%20on%20an%20Atari.%20%22The%20first%20two%20letters%20were%20intentional%2C%20because%20there%20was%20an%20%27au%27%20sound%20in%20the%20track%2C%20and%20the%20rest%20of%20the%20letters%20were%20bashed%20randomly%20on%20the%20keyboard.]</ref><ref>https://aepages.org/wiki/SECONDS_Magazine_Issue_31,_1994#:~:text=SECONDS%3A%20What%20does%20%22Autechre%22%20mean%3F</ref> 
* "Autechre" was [https://www.youtube.com/watch?v=wFpnAqrXVBI played on Sunset 102 FM] on December 18th, 1990 by 808 State.
* The pads on "Autechre" was later reused in "Persuit 2" from [[Warp Tapes 89-93]] along with noise from "Saw You" in 1992.
* According to the metadata of Sean's download, it was recorded in 1989.

=== Saw You ===

* When asked about it in 2022, Sean mentioned that in the [https://www.youtube.com/watch?v=lC7LGzCZ-q0 Sweatbox 1991 recording], "Saw You" was the house/techno track with long keys and an TX81Z saxophone sound.<ref>https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=%E2%80%9CCan%20you%20tell%20us%20something%20about%20the%20Autechre/Saw%20You%20demo%3F%E2%80%9D</ref> The TX81Z sound was "prob an edited preset".<ref name=":0" />
* According to the metadata of Sean's download, it was recorded in 1990.

== Tracklist ==
{{Tracklist|list=
{{tl track|number=1|title=Autechre|length=5:22}}
{{tl track|number=2|title=Saw You|length=6:10}}
{{tl finaltime|time=11:32}}
}}
== Trivia ==

* The Discogs listing along with its images, created by user awkwardsilence, were confirmed to be real in the July Twitch AMA.<ref>https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=But%20the%20pictures%20of%20the%20tapes%20are%20real</ref> However, out of respect, the original poster stated they weren't planning on leaking the tracks.
* An early copy spread around Soulseek (and later uploaded to YouTube by hsfq) is fake. It actually consists of the tracks "Many" and "The Brink" from Freeform's Free EP (SKAM, 1995).<ref>https://www.youtube.com/watch?v=Z6R3fyKSwVM&pp=ygUQQXV0ZWNocmUgU2F3IFl1bw%3D%3D</ref>

== Links ==

* Dropbox [https://www.dropbox.com/scl/fi/ubb2d0nv4det2yl4rb9d0/LegoFour-01_Autechre.NORM.wav?rlkey=lsimwfawns8ec9olptmqq98d2&dl=0 "Autechre",] [https://www.dropbox.com/scl/fi/qjs8c5d4oiaop69lpvwfx/LegoFour-14_SawYou.NORM.wav?rlkey=y0e78f7lkrjufhszauvge8245&dl=0 "Saw You"]
* [https://www.discogs.com/release/6714178-Autechre-Autechre-Saw-You Discogs]

== References ==
<references />
[[Category:Single]]

File:autechre08.jpg

2024-04-23T13:10:36Z

Roxwize:

== Summary ==
Photographed by pudstah on 6 May 2001. Shared to Flickr on 4 March 2007.
https://www.flickr.com/photos/pudstah/410459709/

"at an outdoor gig in princeton, nj. it was a gorgeous day that day."

Autechre

2024-04-23T13:10:00Z

Roxwize: update photo information to be correct

[[File:autechre08.jpg|thumb|Live in Princeton, NJ, 6 May 2001]]

(for now, dump all non-release related trivia, i.e. events, anecdotes from interviews, history notes, etc.)

The name "Autechre" was created by first typing "au" and then keysmashing the rest until the Atari's 8-character limit was hit. It initially came about as a track title ([[Autechre / Saw You#Autechre|"Autechre"]]) before being adopted as their stage name six months later.<ref name=":0">''What's In Those Names?'', [[Sound On Sound Interview, April 2004]]</ref><ref>[https://aepages.org/wiki/SECONDS_Magazine_Issue_31,_1994#:~:text=SECONDS%3A%20What%20does%20%22Autechre%22%20mean%3F SECONDS Magazine Issue 31, 1994]</ref> Rob explained that the initial "au" came from a sample on the FZ10, which itself was part of a list of samples Autechre labelled as "au[insert descriptive]" for "vocal choir voices sustaining a single note" like oou.<ref>{{Cite AAA doc|1201}}</ref> However, in a 2024 interview, they clarified that it wasn't fully random, but rather part of their naming conventions abbreviations, meaning that it was more akin to "oou-take-three"<ref>{{Cite interview|page=Autechre. Chi è il gruppo più misterioso della musica contemporanea, February 2024|quote=Rob: Non ha un senso preciso ma credo che nasca da questo: dovevamo salvare molti file perché stavamo realizzando un demo e dovevamo dargli un nome e qualcuno disse letteralmente ‘‘questo è un suono ‘oou’’ e, siccome non c’era spazio per parole lunghe è stato catalogato come ‘oou’ ‘take one’, “take two’,’take three’: ‘oou-take-three’ suonava bene ed è diventato Autechre così lo abbiamo usato per il demo. E poi quando guardavamo la scritta ci piaceva, era una buona parola [ed: to be translated on the page]}}</ref>, which would align with tracks like [[List of Rarities#Techthree|"Techthree"]]. The current accepted pronounciation of Autechre, as the band itself uses, is "awe-teh-ker" (/ɔːˈtɛkər/), however they accept any pronounciation.<ref name=":0" /><ref name=":1">[https://aepages.org/wiki/We_are_the_music_makers,_November_1997#:~:text=you%20pronounce%20Autechre%3F-,Booth%3A%20awe%2Dteh%2Dker.,-Weidenbaum%3A%20A%20million We are the music makers, November 1997]</ref>

== Biography ==
[INCOMPLETE]

[[Sean Booth]] and [[Rob Brown|Robert Brown]] both met each other in Rochdale's graffiti scene in 1987.<ref>[https://aepages.org/wiki/Autechre:_Tiny_Mix_Tapes_Interview,_April_2010#:~:text=It%E2%80%99s%20hard%20to%20argue%20that%20Autechre%20haven%E2%80%99t%20changed%20since%20they%20first%20met%20in%201987 Tiny Mix Tapes Interview, April 2010]</ref><ref>[https://web.archive.org/web/20100405073202/http://www.barcodezine.com/Autechre%20Interview.htm#:~:text=for%2020%20years%20%E2%80%93-,we%20met%20in%201987,-.%20A%20lot%20of Barcode Interview, 2008]</ref> Rob notes that a mutual friend of theirs, Ged, first met Sean on a bus tagging and later Rob and Sean formally met each other to exchange graffiti files.<ref>[https://thequietus.com/articles/13899-autechre-interview-exai-l-event#:~:text=This%20trust%20factor,younger%20than%20me The Quietus Interview, November 2013]</ref><ref>[https://aepages.org/wiki/Radio_Mix_Interview,_March_1997#:~:text=I%20met%20Sean%20through%20this%20guy%20who%20introduced%20us.%20He%20met%20Sean%20on%20a%20bus%20one%20night%2C%20tagging%2C%20and%20he%20met%20me%20one%20night%2C%20sort%20of%20exchanging%20graffiti%20files Radio Mix Interview, March 1997]</ref> After the inital meeting, Sean ended up going to Rob's house and getting access to Rob's tape equipment, leading to them both creating mixes. Both already had background experience in making tapes: Rob having made multiple mixtapes ([[Rob Brown's Ultra Rare Mixtapes]]) and Sean having done tapes since being 11-12 at his granddad's.<ref name=":1" />

==Trivia==
[[Gear List|''Autechre Gear List'']]
*Autechre's record deal with Warp Records supposedly states that both Sean and [[Rob Brown|Rob]] are forbidden to release material under any name other than Autechre (or [[Gescom]] in select circumstances). The only exception to this is Sean Booth on ''[[3. Telepathics Meh In-Sect Connection]]'' due to miscommunication, however Gescom's Horizon was almost also premiered under Sean Booth.
*Autechre used "MYSLB" multiple times, including an old MySpace page<ref>https://web.archive.org/web/20080724140236/http://myspace.com/myslb</ref> and a website.<ref>http://www.myslb.com/</ref> The name comes from one of their first tracks [[List of Rarities#Myslb|"Myslb"]] which is an acronym of its sample going "Make Your Self Look Bad".<ref>[https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B) https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B)]</ref>
*Autechre mentioned two major arguments they've had in a Clash Magazine interview. The first was in 1989 where Ged's tape deck got ruined due to one of their tapes, leading them to blame each other before settling the damages between each other. The other was during some live show in Japan, miscommunication by Rob caused Sean to abruptly lash out at him.<ref>https://www.clashmusic.com/features/autechre-interview/</ref>
*After a German festival got cancelled due to bad weather creating muddy grounds and flooding, Autechre alongside Boards of Canada broke into a trailer to steal champagne. After the raiding, Sean got so drunk that he tried to tackle Mike Paradinas, who was otherwise actively avoiding getting any mud on him, into the mud.<ref>https://www.rollingstone.it/musica/interviste-musica/autechre-niente-di-piu-umano-dei-computer/424382/</ref><ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D99</ref><ref>https://bocpages.org/wiki/Warp_Factor_Ten</ref>
*During a show, Sean's vodka-covered hands caught on fire from his R8 going alight. His attempt to clap it out caused the audience to start clapping, and also making some set their hands on fire "as some kind of tribute".<ref>{{Cite AAA doc|809}}</ref>
*Sean notes one of his greatest fears is "nothing."<ref name=":1" />
*During the early 90s "at a show by warp/mushroom records in AU", Rob became sick from the smart drinks given to him, leading to a situation where at the start of the performance he tried to vomit discretely into a nearby water bottle that he emptied. Unfortunately, due to it being a tiny 25cl bottle, it flew back out, hitting both the roof and his face - although the speed of it meant none stuck to his face.<ref>{{Cite AAA doc|853}}</ref>
*For "Gyroscope" off Board of Canada's ''Geogaddi'', Sean provided the band with the samples of a child reading out the numbers from a number station.<ref>https://www.twoism.org/forum/viewtopic.php?p=254145#p254145</ref>
*In an Interview with data.wave, Darrell Fitton (aka Bola) explained that after meeting Rob and Sean and letting them make music on his equipment, Sean challenged Bola to make a track similar to what they were making. After completing "Blipsalt", Darrel gave it to them, which then was given to Warp. "Blipsalt" ended up appearing as a track on Artificial Intelligence II.<ref>http://www.datawv.com/2017/08/interview-darrell-fitton-bola.html</ref>
* In the credits for Metroid Prime, both Sean Booth and Rob Brown are listed under Special Thanks.<ref>[https://youtu.be/gIMLe_51OH0?t=171 Metroid Prime - End Credits]</ref> In the [[Sean Twitch AMA, July 2022]], he explained that they initially had contacts at Retro Studio branch that were keen on letting them compose the soundtrack for the game, but it fell through after Nintendo got their own music person to compose it.<ref>[https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=demo%20sphere%3A%20%E2%80%9CCould%20you%20please%20explain%20your%20mention%20in%20the%20Metroid%20Prime%20credits%3F%E2%80%9D Sean Twitch AMA, July 2022]</ref> Sean later confirmed on Mastodon that it was only talks and that no demos were made. <ref>[https://web.archive.org/web/20240114174123/https://post.lurk.org/@sean_ae/111749064152560779#:~:text=nah%20we%20never%20made%20anything%20for%20it%2C%20it%20didn%E2%80%99t%20go%20beyond%20talks @sean_ae Mastodon post, January 2024]</ref>
* For 808 State's ''Prebuild LP'', it gives big thanks to "Sean and Rob who got the tapes out of the cupboard and set the project running."<ref>https://www.808state.com/discogs/808pages/albpages/albprebuild/prebuild2.htm#:~:text=808%20State%20%2D%20Prebuild%20%2D%20UK%202xLP%20%2D%20Message</ref> Sean elaborated later that they were bugging Graham Massey over possible unreleased material which started the project.<ref>{{Cite AAA doc|1300}}</ref>

==References==
<references />

Autechre

2024-04-20T03:41:35Z

Roxwize: add image

[[File:autechre08.jpg|thumb|right|Live in Princeton, NJ, 4 March 2007]]

(for now, dump all non-release related trivia, i.e. events, anecdotes from interviews, history notes, etc.)

The name "Autechre" was created by first typing "au" and then keysmashing the rest until the Atari's 8-character limit was hit. It initially came about as a track title ([[Autechre / Saw You#Autechre|"Autechre"]]) before being adopted as their stage name six months later.<ref name=":0">''What's In Those Names?'', [[Sound On Sound Interview, April 2004]]</ref><ref>[https://aepages.org/wiki/SECONDS_Magazine_Issue_31,_1994#:~:text=SECONDS%3A%20What%20does%20%22Autechre%22%20mean%3F SECONDS Magazine Issue 31, 1994]</ref> Rob explained that the initial "au" came from a sample on the FZ10, which itself was part of a list of samples Autechre labelled as "au[insert descriptive]" for "vocal choir voices sustaining a single note" like oou.<ref>{{Cite AAA doc|1201}}</ref> However, in a 2024 interview, they clarified that it wasn't fully random, but rather part of their naming conventions abbreviations, meaning that it was more akin to "oou-take-three"<ref>{{Cite interview|page=Autechre. Chi è il gruppo più misterioso della musica contemporanea, February 2024|quote=Rob: Non ha un senso preciso ma credo che nasca da questo: dovevamo salvare molti file perché stavamo realizzando un demo e dovevamo dargli un nome e qualcuno disse letteralmente ‘‘questo è un suono ‘oou’’ e, siccome non c’era spazio per parole lunghe è stato catalogato come ‘oou’ ‘take one’, “take two’,’take three’: ‘oou-take-three’ suonava bene ed è diventato Autechre così lo abbiamo usato per il demo. E poi quando guardavamo la scritta ci piaceva, era una buona parola [ed: to be translated on the page]}}</ref>, which would align with tracks like [[List of Rarities#Techthree|"Techthree"]]. The current accepted pronounciation of Autechre, as the band itself uses, is "awe-teh-ker" (/ɔːˈtɛkər/), however they accept any pronounciation.<ref name=":0" /><ref name=":1">[https://aepages.org/wiki/We_are_the_music_makers,_November_1997#:~:text=you%20pronounce%20Autechre%3F-,Booth%3A%20awe%2Dteh%2Dker.,-Weidenbaum%3A%20A%20million We are the music makers, November 1997]</ref>

== Biography ==
[INCOMPLETE]

[[Sean Booth]] and [[Rob Brown|Robert Brown]] both met each other in Rochdale's graffiti scene in 1987.<ref>[https://aepages.org/wiki/Autechre:_Tiny_Mix_Tapes_Interview,_April_2010#:~:text=It%E2%80%99s%20hard%20to%20argue%20that%20Autechre%20haven%E2%80%99t%20changed%20since%20they%20first%20met%20in%201987 Tiny Mix Tapes Interview, April 2010]</ref><ref>[https://web.archive.org/web/20100405073202/http://www.barcodezine.com/Autechre%20Interview.htm#:~:text=for%2020%20years%20%E2%80%93-,we%20met%20in%201987,-.%20A%20lot%20of Barcode Interview, 2008]</ref> Rob notes that a mutual friend of theirs, Ged, first met Sean on a bus tagging and later Rob and Sean formally met each other to exchange graffiti files.<ref>[https://thequietus.com/articles/13899-autechre-interview-exai-l-event#:~:text=This%20trust%20factor,younger%20than%20me The Quietus Interview, November 2013]</ref><ref>[https://aepages.org/wiki/Radio_Mix_Interview,_March_1997#:~:text=I%20met%20Sean%20through%20this%20guy%20who%20introduced%20us.%20He%20met%20Sean%20on%20a%20bus%20one%20night%2C%20tagging%2C%20and%20he%20met%20me%20one%20night%2C%20sort%20of%20exchanging%20graffiti%20files Radio Mix Interview, March 1997]</ref> After the inital meeting, Sean ended up going to Rob's house and getting access to Rob's tape equipment, leading to them both creating mixes. Both already had background experience in making tapes: Rob having made multiple mixtapes ([[Rob Brown's Ultra Rare Mixtapes]]) and Sean having done tapes since being 11-12 at his granddad's.<ref name=":1" />

==Trivia==
[[Gear List|''Autechre Gear List'']]
*Autechre's record deal with Warp Records supposedly states that both Sean and [[Rob Brown|Rob]] are forbidden to release material under any name other than Autechre (or [[Gescom]] in select circumstances). The only exception to this is Sean Booth on ''[[3. Telepathics Meh In-Sect Connection]]'' due to miscommunication, however Gescom's Horizon was almost also premiered under Sean Booth.
*Autechre used "MYSLB" multiple times, including an old MySpace page<ref>https://web.archive.org/web/20080724140236/http://myspace.com/myslb</ref> and a website.<ref>http://www.myslb.com/</ref> The name comes from one of their first tracks [[List of Rarities#Myslb|"Myslb"]] which is an acronym of its sample going "Make Your Self Look Bad".<ref>[https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B) https://web.archive.org/web/20240114152614/https://post.lurk.org/@sean_ae/111754768777276869#:~:text=title%20is%20MYSLB%2C%20maybe%20you%20can%20fig%20out%20the%20sample%20from%20that%20%3B)]</ref>
*Autechre mentioned two major arguments they've had in a Clash Magazine interview. The first was in 1989 where Ged's tape deck got ruined due to one of their tapes, leading them to blame each other before settling the damages between each other. The other was during some live show in Japan, miscommunication by Rob caused Sean to abruptly lash out at him.<ref>https://www.clashmusic.com/features/autechre-interview/</ref>
*After a German festival got cancelled due to bad weather creating muddy grounds and flooding, Autechre alongside Boards of Canada broke into a trailer to steal champagne. After the raiding, Sean got so drunk that he tried to tackle Mike Paradinas, who was otherwise actively avoiding getting any mud on him, into the mud.<ref>https://www.rollingstone.it/musica/interviste-musica/autechre-niente-di-piu-umano-dei-computer/424382/</ref><ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D99</ref><ref>https://bocpages.org/wiki/Warp_Factor_Ten</ref>
*During a show, Sean's vodka-covered hands caught on fire from his R8 going alight. His attempt to clap it out caused the audience to start clapping, and also making some set their hands on fire "as some kind of tribute".<ref>{{Cite AAA doc|809}}</ref>
*Sean notes one of his greatest fears is "nothing."<ref name=":1" />
*During the early 90s "at a show by warp/mushroom records in AU", Rob became sick from the smart drinks given to him, leading to a situation where at the start of the performance he tried to vomit discretely into a nearby water bottle that he emptied. Unfortunately, due to it being a tiny 25cl bottle, it flew back out, hitting both the roof and his face - although the speed of it meant none stuck to his face.<ref>{{Cite AAA doc|853}}</ref>
*In an Interview with data.wave, Darrell Fitton (aka Bola) explained that after meeting Rob and Sean and letting them make music on his equipment, Sean challenged Bola to make a track similar to what they were making. After completing "Blipsalt", Darrel gave it to them, which then was given to Warp. "Blipsalt" ended up appearing as a track on Artificial Intelligence II.<ref>http://www.datawv.com/2017/08/interview-darrell-fitton-bola.html</ref>
* In the credits for Metroid Prime, both Sean Booth and Rob Brown are listed under Special Thanks.<ref>[https://youtu.be/gIMLe_51OH0?t=171 Metroid Prime - End Credits]</ref> In the [[Sean Twitch AMA, July 2022]], he explained that they initially had contacts at Retro Studio branch that were keen on letting them compose the soundtrack for the game, but it fell through after Nintendo got their own music person to compose it.<ref>[https://aepages.org/wiki/Sean_Twitch_AMA,_July_2022#:~:text=demo%20sphere%3A%20%E2%80%9CCould%20you%20please%20explain%20your%20mention%20in%20the%20Metroid%20Prime%20credits%3F%E2%80%9D Sean Twitch AMA, July 2022]</ref> Sean later confirmed on Mastodon that it was only talks and that no demos were made. <ref>[https://web.archive.org/web/20240114174123/https://post.lurk.org/@sean_ae/111749064152560779#:~:text=nah%20we%20never%20made%20anything%20for%20it%2C%20it%20didn%E2%80%99t%20go%20beyond%20talks @sean_ae Mastodon post, January 2024]</ref>
* For 808 State's ''Prebuild LP'', it gives big thanks to "Sean and Rob who got the tapes out of the cupboard and set the project running."<ref>https://www.808state.com/discogs/808pages/albpages/albprebuild/prebuild2.htm#:~:text=808%20State%20%2D%20Prebuild%20%2D%20UK%202xLP%20%2D%20Message</ref> Sean elaborated later that they were bugging Graham Massey over possible unreleased material which started the project.<ref>{{Cite AAA doc|1300}}</ref>

==References==
<references />

File:autechre08.jpg

2024-04-20T03:38:55Z

Roxwize: Photographed by pudstah on Flickr. https://www.flickr.com/photos/pudstah/410459709/ "at an outdoor gig in princeton, nj. it was a gorgeous day that day."

== Summary ==
Photographed by pudstah on Flickr.
https://www.flickr.com/photos/pudstah/410459709/

"at an outdoor gig in princeton, nj. it was a gorgeous day that day."

Template:Deletion request

2024-04-17T18:42:02Z

Roxwize:

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Template:Deletion request

2024-04-17T18:39:58Z

Roxwize: Created page with "<div style="background-color:#a00;color:#fff;border:1px solid #000;padding:8px;"> An editor has requested that this page be '''deleted''' for the following reason: {{{reason}}}. {{#if:{{{talksec|}}}| The discussion for this deletion can be found on this page's talk page here.|If this deletion has the potential to cause conflict, or the page is being actively edited, please discuss this in the talk page first; an ongoing discussion may already exist there..."

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An editor has requested that this page be '''deleted''' for the following reason: {{{reason}}}.

{{#if:{{{talksec|}}}| The discussion for this deletion can be found on this page's talk page [[{{talksec}}|here]].|If this deletion has the potential to cause conflict, or the page is being actively edited, please discuss this in the talk page first; an ongoing discussion may already exist there. If in doubt, check the Discord channel.}}
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Talk:Main Page

2024-04-17T18:32:23Z

Roxwize: add toc

__TOC__

== Parser functions ==

I tried using <code>{{#if}}</code> in [[Template:Infobox]] but it didn't seem to work. Trying other parser functions like <code>{{#time}}</code> didn't seem to display anything either. Have parser functions not been set up yet? I'm not familiar with MediaWiki internals, but as far as I can tell it's an [https://www.mediawiki.org/wiki/Help:Extension:ParserFunctions extension] that you have to activate. If this can be enabled then please do so, so that I can fix the bug with the infobox (unless there's a way to do it without using an if function). — [[User:Roxwize|roxwize]] [ [[User talk:Roxwize|talk]] ] 14:24, 21 February 2024 (EST)
: Another thing, do you think you could look into enabling [https://www.mediawiki.org/wiki/Extension:Cite citations] as well, since they seem to be frequently used on many pages, but as just regular external links? — [[User:Roxwize|roxwize]] [ [[User talk:Roxwize|talk]] ] 14:36, 21 February 2024 (EST)

== DMY / MDY? ==

I figure, for future consistency, we should decide on whether dates will be formatted as day-month-year or month-day-year. We could do what Wikipedia does and have it depend on the article but there's no point in that. I'm in support of DMY being the date "standard". Thoughts? We could put it to a vote.

For reference, DMY is "17 April 2024" and MDY is "April 17, 2024". — [[User:Roxwize|roxwize]] [ [[User talk:Roxwize|talk]] ] 14:31, 17 April 2024 (EDT)

Talk:Main Page

2024-04-17T18:31:57Z

Roxwize:

AEPAGES Forums is currently under construction.

== Parser functions ==

I tried using <code>{{#if}}</code> in [[Template:Infobox]] but it didn't seem to work. Trying other parser functions like <code>{{#time}}</code> didn't seem to display anything either. Have parser functions not been set up yet? I'm not familiar with MediaWiki internals, but as far as I can tell it's an [https://www.mediawiki.org/wiki/Help:Extension:ParserFunctions extension] that you have to activate. If this can be enabled then please do so, so that I can fix the bug with the infobox (unless there's a way to do it without using an if function). — [[User:Roxwize|roxwize]] [ [[User talk:Roxwize|talk]] ] 14:24, 21 February 2024 (EST)
: Another thing, do you think you could look into enabling [https://www.mediawiki.org/wiki/Extension:Cite citations] as well, since they seem to be frequently used on many pages, but as just regular external links? — [[User:Roxwize|roxwize]] [ [[User talk:Roxwize|talk]] ] 14:36, 21 February 2024 (EST)

== DMY / MDY? ==

I figure, for future consistency, we should decide on whether dates will be formatted as day-month-year or month-day-year. We could do what Wikipedia does and have it depend on the article but there's no point in that. I'm in support of DMY being the date "standard". Thoughts? We could put it to a vote.

For reference, DMY is "17 April 2024" and MDY is "April 17, 2024". — [[User:Roxwize|roxwize]] [ [[User talk:Roxwize|talk]] ] 14:31, 17 April 2024 (EDT)

Quaristice

2024-04-17T12:30:49Z

Roxwize: ditto

[[Category:Album]]
{{Infobox
|title=Quaristice
|artist=[[Autechre]]
|cover=Quaristice.jpg
|date=3 March 2008
|label=Warp Records (WARP333)
|previous=[[Untilted]]
|previous year=2005
|next=[[Digital Exclusives EP]]
|next year=2008
}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on March 3rd, 2008. Alongside the release of ''Quaristice'' was the limited edition ''Quaristice (Versions)'', followed a few months later by [[Digital Exclusives EP|''Digital Exclusives EP'']] and ''[[Quaristice.Quadrange.ep.ae]]''.

== History ==
Around 2005, Sean moved to Manchester, which meant Sean had no studio set up and thus both him and Rob (in London at the time)<ref name=":2">{{Cite interview|page=Easy to be Hard, April 2008|quote=Autechre's latest release, Quaristice (Warp, 2008), is more fuzzy and emotional than you might expect. Working on practically identical rigs in separate cities (Booth, Manchester; Brown, London), Autechre pursued conventional recording methods for past efforts like Confield (Warp, 2001) and Untilted (Warp, 2005), but Quaristice is the result of the duo's live improvisations, recorded largely on its touring setup: Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90.}}</ref> couldn't make music in the traditional sense.<ref>{{Cite interview|page=FutureMusic Interview, 2008|quote='''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?''' '''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' Soo we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface." '''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."}}</ref> Around the same time, they were performing a lot of shows during the [[Untilted Tour]] for money.<ref name=":1" /> The outcome was thus that a majority of the material that would later become ''Quaristice'' were instead the product of hundreds of jams done on their live equipment rather than the heavily sequenced music of ''[[Draft 7.30]]'' and ''[[Untilted]]''.<ref>{{Cite interview|page=We control the dice, 2008|quote=With their new album Quaristice, however, Autechre have traded scrupulous construction for spontaneity, looseness and improvisation. Since the turn of millennium, a gap existed between their ever more experimental album releases and their (slightly) more straightforward live sets, in which their uncanny rapport reaches its fullest expression. The new album draws heavily on this live methodology. "We were putting live tracks down in the studio, messing them up, making them into versions, which eventually became new tracks," explains Booth. "We put down loads of hour-long jams of bits of the live set that we were going to edit later. But we found ourselves just writing new tracks on the same set-up. We'd got to the point where we were fluid enough for stuff to just come out." Brown elaborates: "Anything that existed from the live set we'd already been changing for a year or more. We were totally adept at getting stuff from nowhere. So the new tracks are like ghosts of what we'd been doing live." Bearing in mind their famed meticulousness - by Booth's own account they are "incredibly anal and precise people" - it seems remarkable that they made the decision deliberately to limit the scope for tampering with the fine details of the tracks. "I wish it were that romantic, but basically we'd barely set our studio up after I'd moved to Manchester," admits Booth. "It was just convenience. We can't resist temptation; it's more that we've learned to remove it. Once you record something as audio, two channels, you're pretty much stuck with it. So we've learned to prevent ourselves from being able to do it."}}</ref><ref>{{Cite interview|page=Autechre: Dancers in the Dark, March 2008|quote="Quaristice was all made from massive long jams,"}}</ref><ref>{{Cite interview|page=We control the dice, 2008}} </ref>

Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview|page=Easy to be Hard, April 2008|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> 

After much of live jams were done, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview|page=Autechre: Dancers in the Dark, March 2008|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview|page=FutureMusic Interview, 2008|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" />


===Cover===
''Quaristice'' was the first new artwork commissions by The Designers Republic since ''[[Chiastic Slide]]''.<ref>https://www.thedesignersrepublic.com/quaristice</ref> ''Quaristice'' and ''[[Quaristice.Quadrange.ep.ae]]'' also marked the first time Autechre had covers made for individual tracks. Other releases to also have individual track art include ''[[Oversteps]]'' and ''[[elseq 1-5]]''.

==Tracks==

===Altibzz===

*The title possibly comes from Audioease's Altiverb.

===The Plc===

*The vocal samples on the outro of "The Plc" are from Run-DMC's "Here We Go (Live at the Funhouse)" <ref>https://www.whosampled.com/sample/126386/Autechre-The-Plc-Run-DMC-Here-We-Go-(Live-at-the-Funhouse)/</ref>

===IO===

*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>
*The first versions of "IO" appeared during the [[Untilted Tour|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).

===plyPhon===

*"plyPhon" was made by Rob on the MPC.<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote=No, plyPhon was, I think it was MPC. It's Rob’s, so you've got to ask him.}}</ref>

===Perlence===

*For "Perlence", the MPC bits were done by Rob and the Machinedrum/Monomachine bits were done by Sean. <ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=Some of the tracks that [Rob] did with [the MPC] like Perlence, I think are just fucking amazing.}}</ref><ref>https://forum.watmm.com/topic/102698-twitch-ama/?do=findComment&comment=2923175</ref>
*The snare sound in "Perlence" is the TRX Clap.<ref>{{Cite AAA doc|1=28}}</ref>

=== SonDEremawe===

===Simmm===

===paralel Suns ===

* Sean mentioned that "paralel Suns" was made by first recording a Nord Lead 1 through Lexicon reverb, which was then edited down in Digital Performer by having the "slabs" crossfade into each other to get the final track. <ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=paralel Suns is a Nord Lead 1 through a Lexicon reverb, and then slabs of that were then taken, and kind of edited and faded into each other, kind of thing. So I had loads of different notes in the DAW, which I think was DP at the time. And then I was doing loads of crossfading between all these different slabs. So yeah, it's a bit long process really to get the result, considering it's just a sort of short ambient thing. But it was, it gives it that weird wet but dry sound, so.}}</ref>

=== Steels===

* Elements of "Steels" made an appearance in the [[Quaristice Tour|2008 live sets.]] ([https://youtu.be/BOl6sIMYPs0?si=pDxv0Ks5xO45Ikxb&t=2330 example])
*In the Quaristice tour file dump, the MPC had a bunch of samples of sounds used in "Steels"; 64 samples of steeldif ("steeldif01.WAV" to "steeldif64.WAV") and 37 samples of steelxif ("steelxif01.WAV" to "steelxid37.WAV").

===Tankakern===

*The TR-606 appears on "Tankakern" <ref>{{Cite interview|page=FutureMusic Interview, 2008|quote='''Is that the trusty old TR-606 Drumatix dusted down for an appearance on the track Tankakern?''' RB: "As with every album, a facet of the older stuff perhaps comes alive again.}}</ref>
*The main samples on Tankakern are of an old oil tank (likely the origin of the title) alongside birdsong that was recorded in that same garden. Sean also mentioned that the samples for Tankakern were also used for the Skeng mix, Gescom's "Tangle Ill", and "a few things." <ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''do you use bird samples? i’m fairly certain theres some in tankakern and the…''' Yeah, that's true. There is, I think there is in Tankakern because Tankakern was an oil tank in the garden, or one of the sounds was. And yeah, there were birds in the garden. So I've used that old tank on a few things. It's on Tankakern but it's on the Skeng mix and a few things. Still got them samples. I think the first track we used them on was Tangle Ill?}}</ref>

=== rale===

*"rale" was made by Sean with his laptop using Renoise. <ref name=":1">{{Cite interview|page=Sean Twitch AMA, July 2022|quote='''Is there a major shift in your methodology around the transition from Untilted to Quaristice? What was going on behind the scenes?''' Yeah, I mean, fuck, you know a lot of stuff for me. I mean my dad died in 2004, so that was a blow and that sent me off on a weird spiral of not knowing where the fuck I was or who I was, and then a lot of stuff that my family had kept from me came out, and then we toured and then, I'm not gonna talk about any of that stuff, so don't ask. And then me and Chantal [Passamonte, fka Mira Calix] split up [in] 2005 and then I moved to Manchester and I hardly had a studio for ages because we were just doing gigs for money. So for about three years, I didn't really have a studio. I just had kind of a live setup on a desk in a room and my speakers and a mixer and I was building a studio up slowly while we were doing that. So Quaristice is the sort of sound of me putting the studio back together, plus a few tracks that I did on my laptop in Renoise, sort of mixed in there. So like, Fol3, fol4, WNSN, rale, they’re all Renoise tracks. And then there's a bunch of like, Rob’s MPC things, you know, Rob was doing like MPC tracks and then yeah, I don't know like, that was a good fit, so yeah. I don't know, like a bit of a mixed bag really, of things happening, you know what I mean? But I was enjoying being in Manchester in my new space and feeling quite free and liberated and not really wanting to work with DAWs because I felt like I'd reached a bit of a ceiling with them and I didn't really want to go much further into it. I started getting a bit bored with timeline sequencing. Starting just wanting to do things in the room and have a bit more of a live vibe to them, which was a bit more like a return to roots, which is the kind of thing you do when you just split up with your wife that you've been with for ten years, you know I mean? So in a lot of ways, I was returning to my roots, really, you know, going back up to Manchester and then doing all that. I hope that offers some understandable context for that.}}</ref>

===Fol3===

* "Fol3" was made by Sean with his laptop using Renoise. <ref name=":1" />

===fwzE===

===90101-5l-l===

*Elements of "90101-5l-l" appear in the [[Quaristice Tour|2008 live sets]]. ([https://www.youtube.com/watch?v=BOl6sIMYPs0&t=2126s example])

===bnc Castl===

*"bnc Castl" may be short for "bouncy castle"
*Elements of "bnc Castl" appear in the [[Untilted Tour|2005-2007 live sets]]. ([https://www.youtube.com/watch?v=JSpS3TFS3P0&t=3790s example])

===Theswere ===

===WNSN===

*"WNSN" was made by Sean with his laptop using Renoise. <ref name=":1" />

===chenc9===

*"chenc9" had an early appearance on the [[Untilted Tour|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=J6X9T6wriRPt6-LF&t=1734 example]) <ref>{{Cite interview|page=Interview with SB for Reverb Magazine, January 2008|quote='''Having had the pleasure of taking in your live set in Glasgow back in April ’05 (and being totally blown away), I wondered if any of the material released on Quaristice had featured in some guise or other in that Untilted tour…was sure I detected something familiar about chenc9 for example?''' Yeah, a couple of bits, there were a couple of bits here and there…yeah there’s one riff right at the end of chenc9 and the bass thing. It’s hard to remember now, we did so many versions and re-versions and odd mixes of a melody of this bit and melody off that bit, it all got really mushy.}}</ref>

===Notwo===

===Outh9X===

*"Outh9X" uses the NMG2 and Simmons SDE.<ref>{{Cite AAA doc|1=1004}}</ref>

===nu-Nr6d===

*On the Japanese issue of ''Quaristice'', the cover was altered to include the Japanese bonus track "nu-Nr6d" as part of the design.<ref>https://ia802202.us.archive.org/21/items/mbid-8bc65240-4c57-4f21-b49f-fb80f0bea5bb/mbid-8bc65240-4c57-4f21-b49f-fb80f0bea5bb-35945482710.jpg</ref>

==Quaristice (Versions)==
{{Infobox|
|title=Quaristice (Versions)
|artist=[[Autechre]]
|cover=Quaristice Versions.jpg
|date=3 March 2008
|label=Warp Records (WarpCD333X)
}}
Coinciding with the March 3rd release, a steel case edition of the ''Quaristice'' CD was released. It was limited to 1,000 copies and was sold out within a day after the announcement. In the limited edition CD set, a second disc is included, titled ''Quaristice (Versions)'', which consists of alternate and extended versions of certain tracks.
===Altichyre===

===The PlclCpC===

*This particular version of "The Plc" first appeared in the [[Untilted Tour|2005-2007 live sets]]. ([https://www.youtube.com/watch?v=li7wXbFnMKU&t=341s example])

===IO (mons) ===

*This track was one of the few tracks to be released multiple times, appearing also on [[Digital Exclusives EP]].

===Phylopn===

===Perlence range3===

===SonDEre-ix===

===Tankraken ===

===fol4===

*"fol4" was made by Sean with his laptop using Renoise. <ref name=":1" />

===90101-61-01===

===chenc9-x===

===nofour===

==Tracklist==
{{Tracklist|list=
{{tl track|number=1|title=Altibzz|length=2:52}}
{{tl track|number=2|title=The Plc|length=4:17}}
{{tl track|number=3|title=IO|length=3:08}}
{{tl track|number=4|title=plyPhon|length=2:33}}
{{tl track|number=5|title=Perlence|length=3:25}}
{{tl track|number=6|title=SonDEremawe|length=1:21}}
{{tl track|number=7|title=Simmm|length=5:00}}
{{tl track|number=8|title=paralel Suns|length=3:03}}
{{tl track|number=9|title=Steels|length=2:56}}
{{tl track|number=10|title=Tankakern|length=3:39}}
{{tl track|number=11|title=rale|length=3:43}}
{{tl track|number=12|title=Fol3|length=3:47}}
{{tl track|number=13|title=fwzE|length=2:39}}
{{tl track|number=14|title=90101-5l-l|length=3:11}}
{{tl track|number=15|title=bnc Castl|length=2:52}}
{{tl track|number=16|title=Theswere|length=2:12}}
{{tl track|number=17|title=WNSN|length=4:57}}
{{tl track|number=18|title=chenc9|length=4:57}}
{{tl track|number=19|title=Notwo|length=5:34}}
{{tl track|number=20|title=Outh9X|length=7:15}}
{{tl total|time=1:13:22}}
{{tl track|number=21|title=nu-Nr6d (Japanese CD exclusive)|length=3:51}}
{{tl total|time=1:17:13}}
{{tl section|section=Quaristice (Versions)}}
{{tl track|number=1|title=Altichyre|length=1:43}}
{{tl track|number=2|title=The PlclCpC|length=9:18}}
{{tl track|number=3|title=IO (mons)|length=7:52}}
{{tl track|number=4|title=Phylopn|length=2:40}}
{{tl track|number=5|title=Perlence range3|length=7:37}}
{{tl track|number=6|title=SonDEre-ix|length=3:27}}
{{tl track|number=7|title=Tankraken|length=5:28}}
{{tl track|number=8|title=fol4|length=11:41}}
{{tl track|number=9|title=90101-61-01|length=5:10}}
{{tl track|number=10|title=chenc9-x|length=8:29}}
{{tl track|number=11|title=nofour|length=4:24}}
{{tl total|time=1:07:55}}
{{tl finaltime|time=2:25:09}}
}}

==Trivia==

*The CAT number, WARP333, was likely specifically requested by Autechre.
*At the time of release, ''Quaristice'' had the most tracks for a singe Autechre album, totally at 20 tracks (excluding the bonus track on the Japanese CD). It would eventually be beaten by ''[[elseq 1-5]]'', which had 21 tracks.
*On ''[[Hanalgig]],'' a 2007 demo from the ''Quaristice'' sessions was leaked''.''

==Gallery==
<gallery>
File:Altibzz.jpg|Altibzz
File:The Plc.jpg|The Plc
File:IO.jpg|IO
File:plyPhon.jpg|plyPhon
File:Perlence.jpg|Perlence
File:SonDEremawe.jpg|SonDEremawe
File:Simmm.jpg|Simmm
File:paralel Suns.jpg|paralel Suns
File:Steels.jpg|Steels
File:Tankakern.jpg|Tankakern
File:rale.jpg|rale
File:Fol3.jpg|Fol3
File:fwzE.jpg|fwzE
File:90101-5l-l.jpg|90101-5l-l
File:bnc Castl.jpg|bnc Castl
File:Theswere.jpg|Theswere
File:WNSN.jpg|WNSN
File:chenc9.jpg|chenc9
File:Notwo.jpg|Notwo
File:Outh9X.jpg|Outh9X
</gallery>

==Links==

*[https://autechre.warp.net/release/249272-autechre-quaristice AE_STORE]
*[https://music.apple.com/us/album/quaristice/273111825 Apple Music]
*[https://autechre.bandcamp.com/album/quaristice Bandcamp]
*[https://bleep.com/release/9230-autechre-quaristice Bleep]
*[https://www.discogs.com/master/2472-Autechre-Quaristice Discogs]
*[https://soundcloud.com/autechreofficial/sets/quaristice Soundcloud]
*[https://open.spotify.com/album/21mZBXYBKljtRluyCoCqCK Spotify]

==Credits==
*[[Autechre]] (production)
*[[Rob Brown]] (writer)
*[[Sean Booth]] (writer)
*[[Noel Summerville]] (mastering engineer)
*[[The Designers Republic]] (design) <ref>https://www.discogs.com/master/2472-Autechre-Quaristice</ref>

==References==
<references />

Quaristice.Quadrange.ep.ae

2024-04-17T12:30:09Z

Roxwize: add d.e.e. (might have to take this up in the discord)

{{Infobox
|title=Quaristice.Quadrange.ep.ae
|artist=[[Autechre]]
|cover=Quaristice.Quadrange.ep.ae.jpg
|date=19 May 2008
|label=Warp Records (WARPD333A)
|previous=[[Digital Exclusives EP]]
|previous year=2008
|next=[[Oversteps]]
|next year=2010
}}'''''Quaristice.Quadrange.ep.ae''''' is the ninth EP by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on May 19th, 2008.

== History ==
In a 2016 RA interview, Sean mentioned that part of the motivation for the release method for Quadrange was that while making ''[[Quaristice]]'', they had an hour-long track they wanted to put out (referring to "Perlence subrange 6-36") but felt that it would not be worth the physical cost of an extra CD for one track. However, they opted instead to put it up digitally as that freed them from the hassle of both physical limitations and expectations of "album flow".<ref>{{Cite interview|page=Autechre: elseq et al, June 2016|quote=When we did Quaristice, we had an hour-long track, and we thought, "Well, there's no point adding a whole extra CD to the 'proper' album just for this one track, nobody's going to want to pay the extra money for that." But if we put it online a few people might buy it. We did that and that worked, so that fed into what we're doing now.}}</ref> 

==Tracks==

[[File:Quaristice.PPP9.ep.ae.jpg|thumb|150x150px|Quaristice.PPP9.ep.ae]]
=== The Plc ccc ===

* The name plays on [[Quaristice#The Plc|"The Plc]]".

=== Perlence range 7 ===

* The name plays on [[Quaristice#Perlence|"Perlence"]].

=== Perlence Suns ===

* The name plays on [[Quaristice#Perlence|"Perlence"]] and [[Quaristice#paralel Suns|"paralel Suns"]].

=== 90101-51-6 ===

* The name plays on [[Quaristice#90101-5l-l|"90101-5l-l"]].

[[File:Quaristice.9T9P.ep.ae.jpg|thumb|150x150px|Quaristice.9T9P.ep.ae]]
=== 9013-2 ===

* The name plays on [[Quaristice#90101-5l-l|"90101-5l-l"]].

=== Tkakanren ===

* The name plays on [[Quaristice#Tankakern|"Tankakern"]].

=== 90101-51-19 ===

* The name plays on [[Quaristice#90101-5l-l|"90101-5l-l"]].

=== Perlence subrange 3 ===

* The name plays on [[Quaristice#Perlence|"Perlence"]].

[[File:Quaristice.c9Pn.ep.ae.jpg|thumb|150x150px|Quaristice.c9Pn.ep.ae]]
=== chenc9-1dub ===

* The name plays on [[Quaristice#chenc9|"chenc9"]].

=== 9010171-121 ===

* The name plays on [[Quaristice#90101-5l-l|"90101-5l-l"]].

=== Perlence losid 2 ===

* The name plays on [[Quaristice#Perlence|"Perlence"]].
* "Perlence losid 2" was done by Sean.<ref name=":0">https://forum.watmm.com/topic/102698-twitch-ama/page/19/#comment-2923175</ref>

=== notwotwo ===

* The name plays on [[Quaristice#notwo|"notwo"]].

[[File:Quaristice.Subrange.ep.ae.jpg|thumb|150x150px|Quaristice.Subrange.ep.ae]]
=== Perlence subrange 6-36 ===

* The name plays on [[Quaristice#Perlence|"Perlence"]].
* "Perlence subrange 6-36" is the longest track Autechre has released sitting at 58 minutes, 36 seconds. "all end" from ''[[NTS Sessions 1-4]]'' only goes up to 58 minutes, 22 seconds on digital versions.
* This track was also done by Sean with some of his parts slowed down.<ref name=":0" />

== Tracklist ==
{{Tracklist|list=
{{tl section|Quaristice.PPP9.ep.ae}}
{{tl track|1|The Plc ccc|length=10:04}}
{{tl track|2|Perlence range 7|length=10:13}}
{{tl track|3|Perlence Suns|length=4:06}}
{{tl track|4|90101-51-6|length=8:45}}
{{tl total|33:09}}
{{tl section|Quaristice.9T9P.ep.ae}}
{{tl track|5|9013-2|length=2:01}}
{{tl track|6|Tkakanren|length=10:23}}
{{tl track|7|90101-51-19|length=12:47}}
{{tl track|8|Perlence subrange 3|length=7:06}}
{{tl total|32:18}}
{{tl section|Quaristice.c9Pn.ep.ae}}
{{tl track|9|chenc9-1dub|length=3:48}}
{{tl track|10|9010171-121|length=4:32}}
{{tl track|11|Perlence losid 2|length=7:27}}
{{tl track|12|notwotwo|length=9:37}}
{{tl total|25:25}}
{{tl section|Quaristice.Subrange.ep.ae}}
{{tl track|13|Perlence subrange 6-36|length=58:35}}
{{tl total|time=58:35}}
{{tl finaltime|time=2:29:29}}
}}

== Gallery ==
<gallery>
File:The Plc ccc.jpg|The Plc ccc
File:Perlence range 7.jpg|Perlence range 7
File:Perlence Suns.jpg|Perlence Suns
File:90101-51-6.jpg|90101-51-6
File:9013-2.jpg|9013-2
File:Tkakanren.jpg|Tkakanren
File:90101-51-19.jpg|90101-51-19
File:Perlence subrange 3.jpg|Perlence subrange 3
File:chenc9-1dub.jpg|chenc9-1dub
File:9010171-121.jpg|9010171-121
File:Perlence losid 2.jpg|Perlence losid 2
File:notwotwo.jpg|notwotwo
File:Perlence subrange 6-36.jpg|Perlence subrange 6-36
</gallery>

== References ==
<references />
[[Category:EP]]

Digital Exclusives EP

2024-04-17T12:28:31Z

Roxwize:

{{Infobox
|title=Digital Exclusives EP
|artist=[[Autechre]]
|cover=Digital Exclusive EP.jpg
|date=23 April 2008
|label=Warp Records
|previous=[[Quaristice]]
|previous year=2008
|next=[[Quaristice.Quadrange.ep.ae|Quaristice.Quadrange.ep.ae]]
|next year=2008
}}
'''''Digital Exclusives EP''''' is an promotional EP by [[Autechre]] released on [https://warp.net/ Warp Records]. It was released on the April 23rd, 2008 exclusively to the Japanese iTunes store.<ref>https://www.discogs.com/release/1336378-Autechre-Digital-Exclusive-EP</ref>

==Tracks==

=== IO (mons)===
See [[Quaristice#IO (mons)|Quaristice (Versions)]].

===90101-51-4===

===Blyz Castl===

* Sean notes that the track was in part a reaction to people thinking that their Japanese-exclusive tracks were rubbish.<ref>{{Cite AAA doc|478}}</ref>

==Tracklist==
{{Tracklist|list={{tl track|number=1|title=IO (mons)|length=7:40}}
{{tl track|number=2|title=90101-51-4|length=7:40}}
{{tl track|number=3|title=Blyz Castl|length=5:36}}
{{tl finaltime|time=20:56}}}}

== References ==
<references />
[[Category:EP]]

Digital Exclusives EP

2024-04-17T12:28:16Z

Roxwize: infobox

{{Infobox
|title=Digital Exclusives EP
|artist=[[Autechre]]
|cover=Digital Exclusive EP.jpg
|date=23 April 2008
|label=Warp Records
|previous=[[Quaristice]]
|previous year=2008
|next=[[Quaristice.Quadrange.ep.ae|Quaristice.Quadrange.ep.ae]]
|next year=2008
}}
[[File:Digital Exclusive EP.jpg|thumb]]
'''''Digital Exclusives EP''''' is an promotional EP by [[Autechre]] released on [https://warp.net/ Warp Records]. It was released on the April 23rd, 2008 exclusively to the Japanese iTunes store.<ref>https://www.discogs.com/release/1336378-Autechre-Digital-Exclusive-EP</ref>

==Tracks==

=== IO (mons)===
See [[Quaristice#IO (mons)|Quaristice (Versions)]].

===90101-51-4===

===Blyz Castl===

* Sean notes that the track was in part a reaction to people thinking that their Japanese-exclusive tracks were rubbish.<ref>{{Cite AAA doc|478}}</ref>

==Tracklist==
{{Tracklist|list={{tl track|number=1|title=IO (mons)|length=7:40}}
{{tl track|number=2|title=90101-51-4|length=7:40}}
{{tl track|number=3|title=Blyz Castl|length=5:36}}
{{tl finaltime|time=20:56}}}}

== References ==
<references />
[[Category:EP]]

Quaristice

2024-04-17T12:25:30Z

Roxwize: /* Quaristice (Versions) */ add infobox

[[Category:Album]]
{{Infobox
|title=Quaristice
|artist=[[Autechre]]
|cover=Quaristice.jpg
|date=3 March 2008
|label=Warp Records (WARP333)
|previous=[[Untilted]]
|previous year=2005
|next=[[Quaristice.Quadrange.ep.ae|Quaristice.Quadrange.ep.ae]]
|next year=2008
}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on March 3rd, 2008. Alongside the release of ''Quaristice'' was the limited edition ''Quaristice (Versions)'', followed a few months later by [[Digital Exclusives EP|''Digital Exclusives EP'']] and ''[[Quaristice.Quadrange.ep.ae]]''.

== History ==
Around 2005, Sean moved to Manchester, which meant Sean had no studio set up and thus both him and Rob (in London at the time)<ref name=":2">{{Cite interview|page=Easy to be Hard, April 2008|quote=Autechre's latest release, Quaristice (Warp, 2008), is more fuzzy and emotional than you might expect. Working on practically identical rigs in separate cities (Booth, Manchester; Brown, London), Autechre pursued conventional recording methods for past efforts like Confield (Warp, 2001) and Untilted (Warp, 2005), but Quaristice is the result of the duo's live improvisations, recorded largely on its touring setup: Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90.}}</ref> couldn't make music in the traditional sense.<ref>{{Cite interview|page=FutureMusic Interview, 2008|quote='''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?''' '''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' Soo we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface." '''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."}}</ref> Around the same time, they were performing a lot of shows during the [[Untilted Tour]] for money.<ref name=":1" /> The outcome was thus that a majority of the material that would later become ''Quaristice'' were instead the product of hundreds of jams done on their live equipment rather than the heavily sequenced music of ''[[Draft 7.30]]'' and ''[[Untilted]]''.<ref>{{Cite interview|page=We control the dice, 2008|quote=With their new album Quaristice, however, Autechre have traded scrupulous construction for spontaneity, looseness and improvisation. Since the turn of millennium, a gap existed between their ever more experimental album releases and their (slightly) more straightforward live sets, in which their uncanny rapport reaches its fullest expression. The new album draws heavily on this live methodology. "We were putting live tracks down in the studio, messing them up, making them into versions, which eventually became new tracks," explains Booth. "We put down loads of hour-long jams of bits of the live set that we were going to edit later. But we found ourselves just writing new tracks on the same set-up. We'd got to the point where we were fluid enough for stuff to just come out." Brown elaborates: "Anything that existed from the live set we'd already been changing for a year or more. We were totally adept at getting stuff from nowhere. So the new tracks are like ghosts of what we'd been doing live." Bearing in mind their famed meticulousness - by Booth's own account they are "incredibly anal and precise people" - it seems remarkable that they made the decision deliberately to limit the scope for tampering with the fine details of the tracks. "I wish it were that romantic, but basically we'd barely set our studio up after I'd moved to Manchester," admits Booth. "It was just convenience. We can't resist temptation; it's more that we've learned to remove it. Once you record something as audio, two channels, you're pretty much stuck with it. So we've learned to prevent ourselves from being able to do it."}}</ref><ref>{{Cite interview|page=Autechre: Dancers in the Dark, March 2008|quote="Quaristice was all made from massive long jams,"}}</ref><ref>{{Cite interview|page=We control the dice, 2008}} </ref>

Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview|page=Easy to be Hard, April 2008|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> 

After much of live jams were done, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview|page=Autechre: Dancers in the Dark, March 2008|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview|page=FutureMusic Interview, 2008|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" />


===Cover===
''Quaristice'' was the first new artwork commissions by The Designers Republic since ''[[Chiastic Slide]]''.<ref>https://www.thedesignersrepublic.com/quaristice</ref> ''Quaristice'' and ''[[Quaristice.Quadrange.ep.ae]]'' also marked the first time Autechre had covers made for individual tracks. Other releases to also have individual track art include ''[[Oversteps]]'' and ''[[elseq 1-5]]''.

==Tracks==

===Altibzz===

*The title possibly comes from Audioease's Altiverb.

===The Plc===

*The vocal samples on the outro of "The Plc" are from Run-DMC's "Here We Go (Live at the Funhouse)" <ref>https://www.whosampled.com/sample/126386/Autechre-The-Plc-Run-DMC-Here-We-Go-(Live-at-the-Funhouse)/</ref>

===IO===

*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>
*The first versions of "IO" appeared during the [[Untilted Tour|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).

===plyPhon===

*"plyPhon" was made by Rob on the MPC.<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote=No, plyPhon was, I think it was MPC. It's Rob’s, so you've got to ask him.}}</ref>

===Perlence===

*For "Perlence", the MPC bits were done by Rob and the Machinedrum/Monomachine bits were done by Sean. <ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=Some of the tracks that [Rob] did with [the MPC] like Perlence, I think are just fucking amazing.}}</ref><ref>https://forum.watmm.com/topic/102698-twitch-ama/?do=findComment&comment=2923175</ref>
*The snare sound in "Perlence" is the TRX Clap.<ref>{{Cite AAA doc|1=28}}</ref>

=== SonDEremawe===

===Simmm===

===paralel Suns ===

* Sean mentioned that "paralel Suns" was made by first recording a Nord Lead 1 through Lexicon reverb, which was then edited down in Digital Performer by having the "slabs" crossfade into each other to get the final track. <ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=paralel Suns is a Nord Lead 1 through a Lexicon reverb, and then slabs of that were then taken, and kind of edited and faded into each other, kind of thing. So I had loads of different notes in the DAW, which I think was DP at the time. And then I was doing loads of crossfading between all these different slabs. So yeah, it's a bit long process really to get the result, considering it's just a sort of short ambient thing. But it was, it gives it that weird wet but dry sound, so.}}</ref>

=== Steels===

* Elements of "Steels" made an appearance in the [[Quaristice Tour|2008 live sets.]] ([https://youtu.be/BOl6sIMYPs0?si=pDxv0Ks5xO45Ikxb&t=2330 example])
*In the Quaristice tour file dump, the MPC had a bunch of samples of sounds used in "Steels"; 64 samples of steeldif ("steeldif01.WAV" to "steeldif64.WAV") and 37 samples of steelxif ("steelxif01.WAV" to "steelxid37.WAV").

===Tankakern===

*The TR-606 appears on "Tankakern" <ref>{{Cite interview|page=FutureMusic Interview, 2008|quote='''Is that the trusty old TR-606 Drumatix dusted down for an appearance on the track Tankakern?''' RB: "As with every album, a facet of the older stuff perhaps comes alive again.}}</ref>
*The main samples on Tankakern are of an old oil tank (likely the origin of the title) alongside birdsong that was recorded in that same garden. Sean also mentioned that the samples for Tankakern were also used for the Skeng mix, Gescom's "Tangle Ill", and "a few things." <ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''do you use bird samples? i’m fairly certain theres some in tankakern and the…''' Yeah, that's true. There is, I think there is in Tankakern because Tankakern was an oil tank in the garden, or one of the sounds was. And yeah, there were birds in the garden. So I've used that old tank on a few things. It's on Tankakern but it's on the Skeng mix and a few things. Still got them samples. I think the first track we used them on was Tangle Ill?}}</ref>

=== rale===

*"rale" was made by Sean with his laptop using Renoise. <ref name=":1">{{Cite interview|page=Sean Twitch AMA, July 2022|quote='''Is there a major shift in your methodology around the transition from Untilted to Quaristice? What was going on behind the scenes?''' Yeah, I mean, fuck, you know a lot of stuff for me. I mean my dad died in 2004, so that was a blow and that sent me off on a weird spiral of not knowing where the fuck I was or who I was, and then a lot of stuff that my family had kept from me came out, and then we toured and then, I'm not gonna talk about any of that stuff, so don't ask. And then me and Chantal [Passamonte, fka Mira Calix] split up [in] 2005 and then I moved to Manchester and I hardly had a studio for ages because we were just doing gigs for money. So for about three years, I didn't really have a studio. I just had kind of a live setup on a desk in a room and my speakers and a mixer and I was building a studio up slowly while we were doing that. So Quaristice is the sort of sound of me putting the studio back together, plus a few tracks that I did on my laptop in Renoise, sort of mixed in there. So like, Fol3, fol4, WNSN, rale, they’re all Renoise tracks. And then there's a bunch of like, Rob’s MPC things, you know, Rob was doing like MPC tracks and then yeah, I don't know like, that was a good fit, so yeah. I don't know, like a bit of a mixed bag really, of things happening, you know what I mean? But I was enjoying being in Manchester in my new space and feeling quite free and liberated and not really wanting to work with DAWs because I felt like I'd reached a bit of a ceiling with them and I didn't really want to go much further into it. I started getting a bit bored with timeline sequencing. Starting just wanting to do things in the room and have a bit more of a live vibe to them, which was a bit more like a return to roots, which is the kind of thing you do when you just split up with your wife that you've been with for ten years, you know I mean? So in a lot of ways, I was returning to my roots, really, you know, going back up to Manchester and then doing all that. I hope that offers some understandable context for that.}}</ref>

===Fol3===

* "Fol3" was made by Sean with his laptop using Renoise. <ref name=":1" />

===fwzE===

===90101-5l-l===

*Elements of "90101-5l-l" appear in the [[Quaristice Tour|2008 live sets]]. ([https://www.youtube.com/watch?v=BOl6sIMYPs0&t=2126s example])

===bnc Castl===

*"bnc Castl" may be short for "bouncy castle"
*Elements of "bnc Castl" appear in the [[Untilted Tour|2005-2007 live sets]]. ([https://www.youtube.com/watch?v=JSpS3TFS3P0&t=3790s example])

===Theswere ===

===WNSN===

*"WNSN" was made by Sean with his laptop using Renoise. <ref name=":1" />

===chenc9===

*"chenc9" had an early appearance on the [[Untilted Tour|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=J6X9T6wriRPt6-LF&t=1734 example]) <ref>{{Cite interview|page=Interview with SB for Reverb Magazine, January 2008|quote='''Having had the pleasure of taking in your live set in Glasgow back in April ’05 (and being totally blown away), I wondered if any of the material released on Quaristice had featured in some guise or other in that Untilted tour…was sure I detected something familiar about chenc9 for example?''' Yeah, a couple of bits, there were a couple of bits here and there…yeah there’s one riff right at the end of chenc9 and the bass thing. It’s hard to remember now, we did so many versions and re-versions and odd mixes of a melody of this bit and melody off that bit, it all got really mushy.}}</ref>

===Notwo===

===Outh9X===

*"Outh9X" uses the NMG2 and Simmons SDE.<ref>{{Cite AAA doc|1=1004}}</ref>

===nu-Nr6d===

*On the Japanese issue of ''Quaristice'', the cover was altered to include the Japanese bonus track "nu-Nr6d" as part of the design.<ref>https://ia802202.us.archive.org/21/items/mbid-8bc65240-4c57-4f21-b49f-fb80f0bea5bb/mbid-8bc65240-4c57-4f21-b49f-fb80f0bea5bb-35945482710.jpg</ref>

==Quaristice (Versions)==
{{Infobox|
|title=Quaristice (Versions)
|artist=[[Autechre]]
|cover=Quaristice Versions.jpg
|date=3 March 2008
|label=Warp Records (WarpCD333X)
}}
Coinciding with the March 3rd release, a steel case edition of the ''Quaristice'' CD was released. It was limited to 1,000 copies and was sold out within a day after the announcement. In the limited edition CD set, a second disc is included, titled ''Quaristice (Versions)'', which consists of alternate and extended versions of certain tracks.
===Altichyre===

===The PlclCpC===

*This particular version of "The Plc" first appeared in the [[Untilted Tour|2005-2007 live sets]]. ([https://www.youtube.com/watch?v=li7wXbFnMKU&t=341s example])

===IO (mons) ===

*This track was one of the few tracks to be released multiple times, appearing also on [[Digital Exclusives EP]].

===Phylopn===

===Perlence range3===

===SonDEre-ix===

===Tankraken ===

===fol4===

*"fol4" was made by Sean with his laptop using Renoise. <ref name=":1" />

===90101-61-01===

===chenc9-x===

===nofour===

==Tracklist==
{{Tracklist|list=
{{tl track|number=1|title=Altibzz|length=2:52}}
{{tl track|number=2|title=The Plc|length=4:17}}
{{tl track|number=3|title=IO|length=3:08}}
{{tl track|number=4|title=plyPhon|length=2:33}}
{{tl track|number=5|title=Perlence|length=3:25}}
{{tl track|number=6|title=SonDEremawe|length=1:21}}
{{tl track|number=7|title=Simmm|length=5:00}}
{{tl track|number=8|title=paralel Suns|length=3:03}}
{{tl track|number=9|title=Steels|length=2:56}}
{{tl track|number=10|title=Tankakern|length=3:39}}
{{tl track|number=11|title=rale|length=3:43}}
{{tl track|number=12|title=Fol3|length=3:47}}
{{tl track|number=13|title=fwzE|length=2:39}}
{{tl track|number=14|title=90101-5l-l|length=3:11}}
{{tl track|number=15|title=bnc Castl|length=2:52}}
{{tl track|number=16|title=Theswere|length=2:12}}
{{tl track|number=17|title=WNSN|length=4:57}}
{{tl track|number=18|title=chenc9|length=4:57}}
{{tl track|number=19|title=Notwo|length=5:34}}
{{tl track|number=20|title=Outh9X|length=7:15}}
{{tl total|time=1:13:22}}
{{tl track|number=21|title=nu-Nr6d (Japanese CD exclusive)|length=3:51}}
{{tl total|time=1:17:13}}
{{tl section|section=Quaristice (Versions)}}
{{tl track|number=1|title=Altichyre|length=1:43}}
{{tl track|number=2|title=The PlclCpC|length=9:18}}
{{tl track|number=3|title=IO (mons)|length=7:52}}
{{tl track|number=4|title=Phylopn|length=2:40}}
{{tl track|number=5|title=Perlence range3|length=7:37}}
{{tl track|number=6|title=SonDEre-ix|length=3:27}}
{{tl track|number=7|title=Tankraken|length=5:28}}
{{tl track|number=8|title=fol4|length=11:41}}
{{tl track|number=9|title=90101-61-01|length=5:10}}
{{tl track|number=10|title=chenc9-x|length=8:29}}
{{tl track|number=11|title=nofour|length=4:24}}
{{tl total|time=1:07:55}}
{{tl finaltime|time=2:25:09}}
}}

==Trivia==

*The CAT number, WARP333, was likely specifically requested by Autechre.
*At the time of release, ''Quaristice'' had the most tracks for a singe Autechre album, totally at 20 tracks (excluding the bonus track on the Japanese CD). It would eventually be beaten by ''[[elseq 1-5]]'', which had 21 tracks.
*On ''[[Hanalgig]],'' a 2007 demo from the ''Quaristice'' sessions was leaked''.''

==Gallery==
<gallery>
File:Altibzz.jpg|Altibzz
File:The Plc.jpg|The Plc
File:IO.jpg|IO
File:plyPhon.jpg|plyPhon
File:Perlence.jpg|Perlence
File:SonDEremawe.jpg|SonDEremawe
File:Simmm.jpg|Simmm
File:paralel Suns.jpg|paralel Suns
File:Steels.jpg|Steels
File:Tankakern.jpg|Tankakern
File:rale.jpg|rale
File:Fol3.jpg|Fol3
File:fwzE.jpg|fwzE
File:90101-5l-l.jpg|90101-5l-l
File:bnc Castl.jpg|bnc Castl
File:Theswere.jpg|Theswere
File:WNSN.jpg|WNSN
File:chenc9.jpg|chenc9
File:Notwo.jpg|Notwo
File:Outh9X.jpg|Outh9X
</gallery>

==Links==

*[https://autechre.warp.net/release/249272-autechre-quaristice AE_STORE]
*[https://music.apple.com/us/album/quaristice/273111825 Apple Music]
*[https://autechre.bandcamp.com/album/quaristice Bandcamp]
*[https://bleep.com/release/9230-autechre-quaristice Bleep]
*[https://www.discogs.com/master/2472-Autechre-Quaristice Discogs]
*[https://soundcloud.com/autechreofficial/sets/quaristice Soundcloud]
*[https://open.spotify.com/album/21mZBXYBKljtRluyCoCqCK Spotify]

==Credits==
*[[Autechre]] (production)
*[[Rob Brown]] (writer)
*[[Sean Booth]] (writer)
*[[Noel Summerville]] (mastering engineer)
*[[The Designers Republic]] (design) <ref>https://www.discogs.com/master/2472-Autechre-Quaristice</ref>

==References==
<references />

Confield

2024-03-28T12:49:26Z

Roxwize:

[[Category:Album]]
{{Infobox
|title=Confield
|artist=[[Autechre]]
|cover=Confield.jpg
|date=30 April 2001
|label=Warp Records (WARP128)
|previous=[[Peel Session 2]]
|previous year=2000
|next=[[Gantz Graf]]
|next year=2002
}}'''''Confield''''' is the sixth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 30th, 2001, then later repressed on vinyl in 2023, alongside ''[[Draft 7.30]]''.

== History ==
The material shown on ''Confield'' was developed over 18 months. <ref>{{Cite web|author=Autechre|title=ALL Ae Q/A from Warp Records|link=http://www.autechre.nu/cgi-bin/newspro/news.cgi?newsid1018136565,21609,#:~:text=it%20spans%20about%2018%20months..%20it%27s%20a%20selection.|status=dead|archivedate=2003-10-24T13:52:23Z}}</ref>

In the [[Sound On Sound Interview, April 2004]], Autechre gave some context to the development of ''Confield'', specifically noting the increased use of Max first in live sets and then in studio experiments "that weren't really applicable in a club environment" lead to what would become ''Confield.''<ref>{{Cite interview|page=Sound On Sound Interview, April 2004|quote="When I first encountered Max, I thought it was totally head-exploding," recalls Booth. "We came up with some pretty interesting stuff as soon as we got it. 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."}}</ref> Much of ''Confield'' was recorded in real-time as they manipulated the parameters.<ref name=":0">{{Cite interview|page=Sound On Sound Interview, April 2004|quote="There's a lot of maths and generated beats on Confield, but we never considered that album very difficult," asserts Booth. "It's like pop music compared to some of the stuff we had considered putting out! And even when the beats sound like they are moving around in time and space, they're not random. They're based on sets of rules and we have a good handle on them. [...] "When we do generative stuff we work with real-time manipulation of MIDI faders that determines what the rhythms sound like. A sequencer is spitting out stuff and we're using our ears and the faders to make the music. There's no event generation taking place other than within the system we've designed. Sometimes we'll stripe a whole load of stuff down as MIDI data, because there may be a couple of things we want to change. We generate these beats in Max and with home-made sequencers. And there are models of analogue sequencers in the computer that are doing manipulation like gating and compressing some of the beats. "On Confield we also used analogue sequencers and drum machines, because you can do a lot with restarting patterns. You can hack things and maybe use a control volume to determine what step the drum machine is playing from. Perhaps you send that control volume from an analogue sequencer, so the drum machine is skipping around. And then you get another analogue sequencer to drive that analogue sequencer with a different timing.}}</ref><ref>{{Cite interview|page=Sean Booth Interview taken by Peter Hollo, March 2005|quote=A lot of the tracks on Confield are like that – they’re basically made in real-time using sequencers where we’d spent a lot of time making this thing that would generate music according to a few set parameters, and then we’d mess around with the parameters in order to make the music later, when we were in a different frame of mind.}}</ref>

However, Autechre has pushed back on the narrative that ''Confield'' was a purely 'generative' Max record.<ref>{{Cite AAA doc|1541}}</ref> In the same [[Sound On Sound Interview, April 2004|Sound On Sound interview]], Sean expressed discomfort with how generative was taken to mean random when the material was based on heavily controlled set of rules alongside other analogue sequencers and drum machines for complex sequencing.<ref name=":0" />

Rob noted that roughly 10% of ''Confield'' was properly generative,<ref>{{Cite AAA doc|1194}}</ref> and in an [[Interview with SB for Reverb Magazine, January 2008]], Sean further clarified that only 3 tracks on ''Confield'' even used Max for sequencing.<ref name=":3">{{Cite interview|page=Interview with SB for Reverb Magazine, January 2008|quote='''But looking back to the likes of Confield, where you were well documented as being users of generative software like Max/MSP..''' ...Well, there was only 3 tracks on Confield that had Max sequencing. It’s ironic, I mean Pen Expers was made using a minidisk, like by pausing a DMX drum machine, I could go through the whole album and be really boring. But there’s only 3 tracks on there that are really generative really.}}</ref> ''Confield'' was instead mostly used Logic Pro.<ref>https://www.reddit.com/r/autechre/comments/9of3dv/autechres_tsugi_interview_translated/</ref>

The record has gained a status as one of their most difficult records, however Sean felt that "it's like pop music compared to some of the stuff we had considered putting out!"<ref name=":0" /> and that the record was "another album" similar to ''[[Chiastic Slide]]'' rather than a huge leap forward.<ref>{{Cite AAA doc|795}}</ref>

=== Cover ===
For the promotion cycle of ''Confield'', a page was posted by Warp on April 3rd, 2001, titled "Autechre: Confileid".<ref>https://web.archive.org/web/20030507103110fw_/http://www.warprecords.com/news/?offset=220&ti_id=346</ref> [https://www.youtube.com/watch?v=-NsvXJ5DyAk On the page, it featured an animated video of multiple 3D planes being scattered.] The animation and covers were made by Autechre themselves.<ref>{{Cite AAA doc|21}}</ref> Multiple frames of the animation went on to be used in the design of ''Confield,'' including for both the cover of the CD issues<ref name=":1" /> - seen in the thumbnail of the article - and the vinyl issues.<ref>https://www.discogs.com/release/8434-Autechre-Confield</ref>

When ''Confield'' and ''[[Draft 7.30]]'' was reissued in 2023, Warp put out a promotional video for ''Confield'' featuring the same animation but in higher quality. They also put out a series of shorts of album tracks played over animations; both of the original for [https://www.youtube.com/watch?v=LgZQGpK3o-8 Sim Gishel] and [https://www.youtube.com/watch?v=6Zci4NpOQlA Lentic Catachresis], as well as different versions including a fountain-like eruption for [https://www.youtube.com/watch?v=sSgvFBESo_A VI Scose Poise], [https://www.youtube.com/watch?v=o1Mu3VcN8tE Cfern], [https://www.youtube.com/watch?v=pyJmCTBjJZ8 Pen Expers]; a side downpour for [https://www.youtube.com/watch?v=rtstpM8WJ-A Bine] and [https://www.youtube.com/watch?v=kCOVyc-Jw3M Eidetic Casein]; and a top-down view for [https://www.youtube.com/watch?v=MAipXaToYQs Parhelic Triangle] and [https://www.youtube.com/watch?v=GC5k4dDyhjU Uviol]. 

[https://web.archive.org/web/20231021172129/https://static-cdn.jtvnw.net/jtv_user_pictures/97bd9d1b-0349-4936-b8b1-712257ec4e85-channel_offline_image-1920x1080.jpeg A high quality frame from the animation was also used as a Twitch image for au7echre.]

== Tracks ==
=== VI Scose Poise ===

* The same gamelan instrument used on "Parhelic Triangle" was also used on "VI Scose Poise" <ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote='''Right, so there's a gamelan in Parhelic Triangle. Where did you get it?''' Bali. '''I always suspected you borrowed the one Tom Jenkinson brought back from Asia which he used in Gong Acid.''' Yeah, it's funny that because when I went there, he was about to go there and he was really weirded out. So we actually got, ‘cause I bought like quite a lot of gamelan stuff when I was over there, because it's cheap basically, and they'll export it for you and everything, so as long as you're willing to wait for the shipping. It's really cheap to get it. And they’ll, you can just get them to custom build you it basically. So I've done that and so yeah, it's around the same time but I think we went to different places. I'm not sure if we've gotten built in the same place. But yeah, I gave them away to the Suffolk Schools gamelan when me and Chantal split up, which is like 2005, so I haven't had them since then, but I had them all the time I was living in Suffolk. So I've got, basically bought them in ‘99. Got them shipped to Sheffield and they sat in boxes for ages, and then the lads who were storing them in the studio, which was a studio in Sheffield. A lad called Dave Willie, don't know if he's Wilkinson or Williamson, but he's a lad who lived in Sheffield and they'd opened them up. Him and this other lad, Ross, who were working on stuff, and they used them a bit, I think. And then so, and then I took them to Suffolk and I had them from about 2000 to just before, like late ‘99 to 2005. So yeah, I had them and I had them downstairs and so we had a studio, it was in like a barn, and then downstairs in the barn, I just had all the gongs laid out, like a whole room full of them. But I only used them on a few tracks. I used them on VI Scose Poise and Parhelic Triangle, that we've released and there's a few probably unreleased ones as well, so.}}</ref>
* On the warprecords site on March 1st, 2001, they put out a visualiser titled "VI Code Spoilse", which may indicate the origin of the title.<ref>https://web.archive.org/web/20030507103630fw_/http://www.warprecords.com/news/?offset=220&ti_id=162</ref>
* Sean mentioned that "VI Scose Poise" was made with a custom sequencer in Max that would just run on its own.<ref>{{Cite interview|page=Sean Booth Interview taken by Peter Hollo, March 2005|quote=‘The generative stuff – some of it’s process-based; a track like ‘VI Scose Poise’, for example, is completely process-based. That was a process made in Max [a program for creating sound-generating and -processing objects from the ground up] as a kind of sequencer, spitting out MIDI data. It was built just to run. It had various counters that would instigate various changes in the way the patch. We’d hit “Start” and listen to it, and if it did something wrong we’d change whatever variable it was that was making it go wrong, then run the process again. This was completely hands-off.}}</ref>

=== Cfern ===

=== Pen Expers ===

* "Pen Expers" was made using a Minidisk, "like by pausing a DMX drum machine." <ref name=":3" />
* The title is possible a play on Python's generator object <genexpr>. 
* [https://www.youtube.com/watch?v=2yehrsC51z4 An early version of "Pen Expers" mashed up with Vangelis's "Cosmos" was performed at Coachella 1999.]

=== Sim Gishel ===

* "Sim Gishel" only used some algorithmic elements.<ref name=":2">{{Cite AAA doc|1193}}</ref>

=== Parhelic Triangle ===

* Sean noted that "Parhelic Triangle" didn't rely on any generative/algorithmic elements at all.<ref name=":2" />
* In the July Twitch AMA, Sean explained that the process behind "Parhelic Triangle". He first recorded himself playing a reyong (a type of gamelan instrument) which was then taken into Logic. The "couple of MIDI parts laid over the top" of the track were detuned to 9 EDO to be in key with the reyong. The loose pulse of the track is due to the reyong being played somewhat irregularly by Sean and him having to manually time it up in Logic before overlaying the percussion to it. The percussion was assembled from "rubber bands in a shoebox sampled on an Emu E-synth". <ref>{{Cite interview|quote='''How the hell were the sounds on Parhelic Triangle made? You also said it wasn't generative.''' Yeah, I know, I'm. Yeah so, like the main kind of gong pattern is, oh what's it called now? Is it a reyong? I can't remember what it's called. It's like a gamelan instrument. There's like a row of like little pots. Metal on suspended. So that was played live and then the percussion track, so that, I took that and then put that in Logic and then the percussion track was done with samples of, yeah, like rubber bands in a shoebox sampled on an Emu E-synth and sort of, using the filters in that a bit. And that was programmed, so what I had to do in Logic, rather than like, because I didn't, there's no flex time or anything then so, I just basically timed up the project to the live gong playing because I weren’t playing to a click or anything. So I didn't have any, so it was drifting, the timing basically. So I had to time up the Logic project to the gong track, and then I'd made the percussion stuff over the top of that. So it was kind of the time, that's why the timing slips around because it's just my shit playing of the gongs to begin with that dictated the timing on the track. So yeah, and then there was a few of a couple of MIDI parts laid over the top, but I had to detune them a bit because the gongs were a bit, well they're weirdly tuned, aren't they? So, sort of, I think it was like 9 EDO or something. Yeah, I can't remember now.}}</ref>

=== Bine ===

=== Eidetic Casein ===

=== Uviol ===

* [https://www.youtube.com/watch?v=p_B_dT8MrxU A 16-minute version of "Uviol"] was played during the 2008-02-23 Webcast. In the [[WATMM Ask Autechre Anything, November 2013|WATMM Ask Autechre Anything]], Sean mentioned that the longer versions are often parts of the real-time jams without as much editing. <ref>{{Cite AAA doc|289}}</ref>
* "Uviol" was one of the tracks to use a lot of Max sequencing. <ref name=":2" /> Sean clarified that it was specifically one with a ton of parameters that they manipulated in real time.<ref>{{Cite interview|page=Sean Booth Interview taken by Peter Hollo, March 2005|quote=‘Then a track like ‘Uviol’ was made using a sequencer we’d built that changed what it was generating according to parameters we set with faders, so we’d spend a lot of time building it very soberly, and then we’d spend a lot of time very un-soberly playing it.}}</ref>

=== Lentic Catachresis ===

* The ending half of "Lentic Catachresis" has the same progression as [[Lego Feet|''Lego Feet'''s "Part 1"]].

=== MCR Quarter ===

* The title is likely a play on<nowiki/> ''[[Envane]]'''s "Quarter" naming aesthetic, and MCR likely is just short for Manchester.
* As listed on the Japanese CD <nowiki/>issue, "MCR Quarter" was recorded in 1998 at Manchester's Band On The Wall, however it reappeared (possibly just replayed the bootleg recording) at [https://youtu.be/4x8tWLjqnU0?t=1294 Warp's 10th Anniversary event on November, 5 1999.]

== Tracklist ==
{{Tracklist|list={{tl track|number=1|title=VI Scose Poise|length=6:57}}
{{tl track|number=2|title=Cfern|length=6:41}}
{{tl track|number=3|title=Pen Expers|length= 7:08}}
{{tl track|number=4|title=Sim Gishel|length=7:15}}
{{tl track|number=5|title=Parhelic Triangle|length=6:04}}
{{tl track|number=6|title=Bine|length=4:41}}
{{tl track|number=7|title=Eidetic Casein|length=6:12}}
{{tl track|number=8|title=Uviol|length=8:35}}
{{tl track|number=9|title=Lentic Catachresis|length=8:30}}
{{tl total|time=1:02:03}}
{{tl track|number=10|title=MCR Quarter (Recorded Live At Band On The Wall, Manchester 1998) [Japanese CD exclusive]|length=11:03}}
{{tl finaltime|time=1:13:06}}}}
== Trivia ==

* The CAT number, WARP128, was likely specifically requested by Autechre. 128 is the seventh power of 2.
* ''Confield'' was originally titled "[https://www.discogs.com/release/24370391-Autechre-LED L.E.D.]" on a promotional CDr, distributed by [https://www.discogs.com/label/22255-Source Source 360°]

== Links ==

* [https://autechre.warp.net/release/356362-autechre-confield AE_STORE]
* [https://music.apple.com/us/album/confield/282571770 Apple Music]
* [https://autechre.bandcamp.com/album/confield Bandcamp]
* [https://bleep.com/release/23107-autechre-confield Bleep]
* [https://www.discogs.com/master/1374-Autechre-Confield Discogs]
* [https://soundcloud.com/autechreofficial/sets/confield-1 Soundcloud]
* [https://open.spotify.com/album/7fMTyCtIeBoYck15biPRaQ Spotify]
* [https://twitter.com/WarpRecords/status/1622631137762746368 Repress announcement tweet]
* [https://twitter.com/WarpRecords/status/1629134504320200704 Repress release tweet]

== Credits ==
*[[Autechre]] (production)
*[[Rob Brown]] (writer)
*[[Sean Booth]] (writer)
*[[Frank Arkwright]] (mastering engineer) <ref name=":1">https://www.discogs.com/master/1374-Autechre-Confield</ref>

== References ==
<references />

Template:Cite web

2024-03-28T12:44:30Z

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Possible parameters are:
{{{!}} class="wikitable"
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!Name
!Description
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|title
|Title of the source
|<code>The _alt.music.autechre_ FAQ (Frequently Asked Questions) version 1.15</code>
|-
|website
|Name of the website on which the source is held
|<code>LonelyMachines</code>
|-
|date
|Date when the source was published
|<code>December 2000</code>
|-
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|<code>https://lonelymachines.org/the-autechre-faq-v-199/</code>
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|<code>7 April 2003</code>
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Template:Cite web

2024-03-28T12:42:23Z

Roxwize:

{{#if:{{{author|}}}|{{{author}}}. }}{{#if:{{{title|}}}|"{{{title}}}". }}{{#if:{{{website|}}}|''{{{website}}}'', }}{{#if:{{{date|}}}|{{{date}}}, }}{{#if:{{{link|}}}|{{{link}}}. }}{{#if:{{{accessdate|}}}| Accessed {{{accessdate}}}.}}{{#ifeq:{{{status|alive}}}|dead| Archived from [https://web.archive.org/web/{{#time:YmdHis|{{{archivedate|now}}}}}/{{{link}}} the original] on {{#time:j F Y|{{{archivedate|now}}}}}.|}}<noinclude>

Cite a website to use as a reference. Uses MLA formatting.

Possible parameters are:
{{{!}} class="wikitable"
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!Name
!Description
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|Author of the source (last, first)
|<code>Ruud, Knut Andreas</code>
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|Title of the source
|<code>The _alt.music.autechre_ FAQ (Frequently Asked Questions) version 1.15</code>
|-
|website
|Name of the website on which the source is held
|<code>LonelyMachines</code>
|-
|date
|Date when the source was published
|<code>December 2000</code>
|-
|link
|URL where the source can be accessed
|<code>https://lonelymachines.org/the-autechre-faq-v-199/</code>
|-
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|Date when the source was accessed
|<code>7 April 2003</code>
|-
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|-
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Template:Cite web

2024-03-28T12:41:11Z

Roxwize:

{{#if:{{{author|}}}|{{{author}}}. }}{{#if:{{{title|}}}|"{{{title}}}". }}{{#if:{{{website|}}}|''{{{website}}}'', }}{{#if:{{{date|}}}|{{{date}}}, }}{{#if:{{{link|}}}|{{{link}}}. }}{{#if:{{{accessdate|}}}| Accessed {{{accessdate}}}.}}{{#ifeq:{{{status|alive}}}|dead| Archived from [https://web.archive.org/web/{{#time:YmdHis|{{{archivedate|2003-04-07T12:00:00Z}}}}}/{{{link}}} the original] on {{{archivedate}}}.|}}<noinclude>

Cite a website to use as a reference. Uses MLA formatting.

Possible parameters are:
{{{!}} class="wikitable"
|+
!Name
!Description
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|-
|author
|Author of the source (last, first)
|<code>Ruud, Knut Andreas</code>
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|Title of the source
|<code>The _alt.music.autechre_ FAQ (Frequently Asked Questions) version 1.15</code>
|-
|website
|Name of the website on which the source is held
|<code>LonelyMachines</code>
|-
|date
|Date when the source was published
|<code>December 2000</code>
|-
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|<code>https://lonelymachines.org/the-autechre-faq-v-199/</code>
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|<code>7 April 2003</code>
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Template:Cite web

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Roxwize: archiving

{{#if:{{{author|}}}|{{{author}}}. }}{{#if:{{{title|}}}|"{{{title}}}". }}{{#if:{{{website|}}}|''{{{website}}}'', }}{{#if:{{{date|}}}|{{{date}}}, }}{{#if:{{{link|}}}|{{{link}}}. }}{{#if:{{{accessdate|}}}| Accessed {{{accessdate}}}.}}{{#ifeq:{{{status|alive}}}|dead| Archived from [https://web.archive.org/web/{{#time:YmdHis}}/{{{link}}} the original] on {{{archivedate}}}.|}}<noinclude>

Cite a website to use as a reference. Uses MLA formatting.

Possible parameters are:
{{{!}} class="wikitable"
|+
!Name
!Description
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|-
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|Author of the source (last, first)
|<code>Ruud, Knut Andreas</code>
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|Title of the source
|<code>The _alt.music.autechre_ FAQ (Frequently Asked Questions) version 1.15</code>
|-
|website
|Name of the website on which the source is held
|<code>LonelyMachines</code>
|-
|date
|Date when the source was published
|<code>December 2000</code>
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|<code>https://lonelymachines.org/the-autechre-faq-v-199/</code>
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</noinclude>

aepages:Guidelines

2024-03-27T13:23:18Z

Roxwize: /* Standards */comma

To start editing, you first need to create an account. Any edits you make need to be manually approved by a mod, as to prevent spam or vandalism.

General questions should, for now, go in [[Talk:Main Page|the main talk page]]. Remember to sign your messages with four tildes (~). For any further clarification or queries, check out the [https://discord.com/invite/Z8cfSQkhsm Discord server].

== Rules ==
These are subject to change as the wiki changes.

# Do not edit or upload anything which does not fit the purpose of the Autechre wiki.
# When making edits, they will only be declined if they are seen as bad-faith.

== Standards ==
The following are a loose set of standards. These are incomplete and also subject to change.

# Keep tracks or other random bits on their respective release pages, as most of them will not have enough information to be a standalone page.
# While images can be uploaded, it is preferable if the image is made smaller for server reasons
# Format release titles with Italics (''[[Incunabula]]'') and tracks with quotes ("Kalpol Introl"). On the main release page, the first mention in the first paragraph will also be bolded ('''''[[Incunabula]]''''').
# For sections with few information, write it out using a bullet list rather than paragraphs.
# When referencing an interview or AMA/Q&A, cite it using its appropriate [[:Category:Citation templates|citation template]] if available. If citing raw URLs, including a <code>#:~:text=</code> set to the excerpt that backs up your claim, if it exists, is recommended.

aepages:Guidelines

2024-03-27T13:22:23Z

Roxwize: additional information

To start editing, you first need to create an account. Any edits you make need to be manually approved by a mod, as to prevent spam or vandalism.

General questions should, for now, go in [[Talk:Main Page|the main talk page]]. Remember to sign your messages with four tildes (~). For any further clarification or queries, check out the [https://discord.com/invite/Z8cfSQkhsm Discord server].

== Rules ==
These are subject to change as the wiki changes.

# Do not edit or upload anything which does not fit the purpose of the Autechre wiki.
# When making edits, they will only be declined if they are seen as bad-faith.

== Standards ==
The following are a loose set of standards. These are incomplete and also subject to change.

# Keep tracks or other random bits on their respective release pages, as most of them will not have enough information to be a standalone page.
# While images can be uploaded, it is preferable if the image is made smaller for server reasons
# Format release titles with Italics (''[[Incunabula]]'') and tracks with quotes ("Kalpol Introl"). On the main release page, the first mention in the first paragraph will also be bolded ('''''[[Incunabula]]''''').
# For sections with few information, write it out using a bullet list rather than paragraphs.
# When referencing an interview or AMA cite it using its appropriate [[:Category:Citation templates|citation template]] if available. If citing raw URLs, including a <code>#:~:text=</code> set to the excerpt that backs up your claim, if it exists, is recommended.

SIGN

2024-03-27T13:19:54Z

Roxwize: /* Trivia */

[[Category:Album]]
{{Infobox
|title=SIGN
|artist=[[Autechre]]
|cover=SIGN.jpg
|date=16 October 2020
|label=Warp Records (WARP329)
|previous=[[AE_LIVE 2016/2018]]
|previous year=2020
|next=[[PLUS]]
|next year=2020
}}'''''SIGN''''' is the fourteenth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. ''SIGN'' was first announced on September 2nd, 2020, then on October 8th, it was livestreamed via Autechre’s website in full, and made available for download shortly afterwards on October 16th. Three weeks later, it would be followed up by their fifteenth album ''[[PLUS]]'', which released on October 28th.

== History ==
Much of ''SIGN'' was done using a ported version of their rig in Max for Ableton Live,<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote=And then there's a version that’s ported to [Max for Ableton] Live before we did SIGN and PLUS and all that was very different because there's not as much recursion in it. It's a kind of top-down, kind of, control hierarchy and I'd say both of them are good systems, but they're very different the way that the rig works in Max, when we're running it in Max is that everything's real-time. So, everything's informing everything else and there's a lot more cross-communication. So, there is no hierarchy as such, it's more of a web of interactions, whereas the Ableton stuff is very hierarchical. It's, there's a kind of top layer of control information and then everything else responds to that, and that's how SIGN was done, and I'm, I got a bit bored with it, if I'm being honest. It was like, it's good, but I prefer the web to the tree.}} </ref> as well as MC Max.<ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote='''Have you used MC Max much?''' Yeah. Quite a lot. It's really flexible and amazing basically, I really rate it. I think MC's like, yeah, just amazing, and it's kind of weird because I've been doing like massively polyphonic kind of stuff and then suddenly MC popped up and it was like, oh okay! It just gave me a whole new way of looking at it, so. Used it quite a bit on SIGN actually, which you might be able to hear.}}</ref>

== Tracks ==
===M4 Lema===

* [https://black-corporation.com/product/deckards-dream-mk2/ Deckard's Dream] was used on "M4 Lema". <ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote=Yeah, first track on SIGN [M4 Lema], it's on there. That DekDre [Scap B], that's why it's called DekDre.}}</ref>

===F7===

* Elements on "F7" appear in the [[AE LIVE 2022－|2022 live sets]]. ([https://youtu.be/lrSIKl-IbY4?t=2376 example])

===si00===

===esc desc===

===au14===

* The title could be an abbreviation for "autechre 14", in accordance to the 14th album motif.

===Metaz form8===

===sch.mefd 2===

===gr4===

===th red a===

===psin AM===

* Elements on "psin AM" appear in the [[AE LIVE 2022－|2022 live sets]]. ([https://youtu.be/wcjFdFNFbMU?t=885 example])
* In the [https://youtu.be/jgMArRJswIQ&t=71 15 December 2022 max demo], the synthesizer in channel 9 is called "psinAMbq.MC", likely indicating that module was the origin for the title of "psin AM".

===r cazt===

===n Cur===

== Tracklist ==
{{Tracklist|list={{tl track|number=1|title=M4 Lema|length=8:50}}
{{tl track|number=2|title=F7|length=5:57}}
{{tl track|number=3|title=si00|length=5:51}}
{{tl track|number=4|title=esc desc|length=4:56}}
{{tl track|number=5|title=au14|length=5:04}}
{{tl track|number=6|title=Metaz form8|length=6:00}}
{{tl track|number=7|title=sch.mefd 2|length=5:26}}
{{tl track|number=8|title=gr4|length=3:21}}
{{tl track|number=9|title=th red a|length=6:36}}
{{tl track|number=10|title=psin AM|length=6:20}}
{{tl track|number=11|title=r cazt|length=7:12}}
{{tl total|time=1:05:32}}
{{tl track|number=12|title=n Cur [Japanese CD exclusive]|length=6:15}}
{{tl finaltime|time=1:11:47}}}}

==Trivia==

*One theory is that the catalogue numbers were chosen such that each digit adds up to 14 (3+2+9) to match ''SIGN'' being the 14th album.
*In a<nowiki/>n interview with the New York Times<nowiki/>, Rob mentioned that the title ''SIGN'' is "an initialization, but we don't want to tell anybody what it stan<nowiki/>ds for." <ref>https://www.nytimes.com/2020/10/13/arts/music/autechre-sign-interview.html</ref>
*It s<nowiki/>hould be noted that, in a first for<nowiki/> Autechre, the CD versions for both SIGN and PLUS use different artworks. In SIGN's case, the dark grey b<nowiki/>ackground has been replaced with a solid black one.<ref>https://www.discogs.com/release/16065078-Autechre-SIGN/image/SW1hZ2U6NTQ0MTE4ODY=</ref>

== Links ==

* [https://autechre.warp.net/release/202875-autechre-sign AE_STORE]
* [https://music.apple.com/us/album/sign/1527795661 Apple Music]
* [https://autechre.bandcamp.com/album/sign Bandcamp]
* [https://bleep.com/release/202853-autechre-sign Bleep]
* [https://www.discogs.com/master/1819720-Autechre-SIGN Discogs]
* [https://soundcloud.com/autechreofficial/sets/sign-489384382 Soundcloud]
* [https://open.spotify.com/album/6bZID6hhfiOoLYwAm3fliK Spotify]

==Credits==
*[[Autechre]] (production)
*[[Rob Brown]] (writer)
*[[Sean Booth]] (writer)
*[[Noel Summerville]] (mastering engineer)
*[[The Designers Republic]] (design) <ref>https://www.discogs.com/master/1819720-Autechre-SIGN</ref>

== References ==
<references />

Warp Tapes 89-93

2024-03-27T13:17:55Z

Roxwize: /* Analysis */ update link

{{Infobox
|title=Warp Tapes 89-93
|artist=[[Autechre]]
|cover=Warp Tapes 89-93.jpg
|date=24 June 2019
|label=n/a
|previous=[[NTS Sessions 1-4]]
|previous year=2018
|next=[[AE_LIVE 2016/2018]]
|next year=2020
}}'''''Warp Tapes 89-93''''' is a DJ Mix by Autechre compiling material from 1989 to 1993. It was debuted on NTS Radio during Warp's 30th anniversary weekend as two mixes: Part 1 on June 21st, 2019, and Part 2 on June 23rd, 2019.<ref>https://artists.wxaxrxp.net/autechre</ref> It was then officially released on June 24th, 2019 as a free download on the store.<ref>https://ra.co/news/43993</ref><ref>https://www.discogs.com/release/13799471-Autechre-Warp-Tapes-89-93</ref>

== History ==
The tracks were a mix between those recorded straight to cassette and those recorded on a TASCAM 244, which were of much higher quality. Some dubs were added by Rob 10 years earlier for levelling purposes while working on the ''[[Lego Feet]]'' reissue, but otherwise no major changes or mastering was done.<ref>{{Cite interview|quote='''The Warp Tapes are really good,” thank you, “surprising great quality recordings for their age.''' Some of them are. The ones that were recorded on 244 are good because the 244, TASCAM 244, is just beautiful and if you're just recording two channels onto it, because it runs at double speed, then all the noise is, like, out of the way and they're just, it's just really good analog sound. It's really surprising. You can get sound like that out of a cassette, you know. So yeah, all the tracks that were recorded on that thing sound great, and all the stuff that was done straight to normal cassette sounds, well it is what it is, you know. '''Did they need much remastering?''' No. I mean, there weren't, there was no mastering at all. It was just, the tracks were taken. Rob did new dubs of a lot of those tracks which were just literally just getting the line and the levels correct, and then just putting them on a digital and at 24 bit, I think, and so we had, we did, he'd done them quite a while before like a good 10 years before we did that. I think it was around the time that we were recompiling, because we had to rebuild the Lego Feet thing when we did that because we didn't have the masters for that. Just time, and had gone missing, so we had to rebuild that. So the version that Skam released later isn't the same as the version that came out in ‘91. That all the tracks sounded different, I mean, we tried to rip, do, you know, replicate it as close as we could but it's, yeah, in the same, so. So, anyway we had them newer versions and they're just a bit cleaner. They're just better digital copies, so, but there was no EQ or anything on any of it or anything like that, it was just as is, so, and then, yeah. Just to, just kind of mixed as, you know, like mix together, the tracks or whatever, but like not really. There's no mastering or anything, so. I think we were just lucky, really. I think when you're not using much equipment, if using a very, very basic setup like just a drum machine through a DJ mixer into a tape deck, you can't really go wrong, you know, it's gonna sound good. That's the beauty of that shit and we were blessed, really, to grow up at a time where that shit was the only shit we could afford, you know. I think if we'd have had a lot more money and we'd have had bigger studios, you know, like an early Mac maybe or, you know, things wouldn't have sounded quite so correct now from back then. So we were just sort of lucky not to have any equipment, I think, in a lot of ways, and you don't make as many mistakes in your mixing and everything because there's nothing there to mix, you know. So yeah, we were just lucky.|page=Sean Twitch AMA, June 2022}}</ref> The DJ mix format was done after NTS Radio approached Autechre to request one, but Sean noted that the possiblity of releasing them individually was not out of the question.<ref>{{Cite interview|quote='''Any plans to release more early stuff like the Warp tapes?''' No plans because we didn't have a plan to do that. It was just, we got asked by NTS and we had the stuff there. So we just threw the mix together and did it. Was a bit, you know, off the cuff. We haven't got loads and loads of amazing material from that era. We've got loads of material though, so I don't know. Maybe. I mean we even thought about doing a release based on that thing because that's a mix. So maybe we could just put the tracks out individually on some kind of format? I guess, if we could be bothered?|page=Sean Twitch AMA, June 2022}}</ref>

==Analysis==
Analysis by [[User:Quants0|Quants0]]. Timestamps are based on spectral analysis of the waveforms.
{| class="wikitable"
|+
!Timestamp
!Identifer / Notes
|-
! colspan="2" |Warp Tapes 89-93 Part 1
|-
|0:00:00 - 0:04:47
|'''#1'''
|-
|0:04:10 - 0:08:31
|'''#2'''
Uses a 303 synth.
|-
|0:07:57 - 0:12:09
|'''#3 "Westcoast Acid"'''<ref name=":0">{{Cite web|author=EnergyIsMassiveLight|title=old lego feet/ae leak of early material|website=Reddit|date=10 March 2024|link=https://www.reddit.com/r/autechre/comments/1bbc89f/old_lego_feetae_leak_of_early_material/|accessdate=25 March 2024}}</ref>
|-
|0:12:05 - 0:16:02
|'''#4 "Rippin Circuits"'''<ref name=":0" /><ref name=":1">{{Cite interview|page=Sean Twitch AMA, July 2022|quote=But that original Accelera track, which was originally it was called Rippin Circuits, that was Rob's track from ‘89, that was like the first time that we'd done that pitch thing, and it was really cool because like on the 202, if he was using the 202 as to generate the square wave for the pitch input, and then you had your sample in there, and then you started adding resonance to it, it just start losing it slightly and getting really good.}}</ref>
"Rippin Circuits" is an early version of "[https://aepages.org/wiki/Cavity_Job Accelera 1 & 2]" made by Rob in 1989. Sean said that this to likely the oldest track in the compilation.<ref name=":1" /><ref>https://web.archive.org/web/20231224114430/https://post.lurk.org/@sean_ae/111635157753588040#:~:text=(I%20think%20the%20oldest%20track%20on%20there)</ref>
|-
|0:15:36 - 0:22:43
|'''#5'''
Contains elements from [[Incunabula#Kalpol Introl|"Kalpol Introl"]]. Samples [https://www.youtube.com/watch?v=NpsvBvwRuf0 "Pass the Mic" by Beastie Boys] <ref>https://www.whosampled.com/sample/661650/Autechre-Part-1-Track-5-Beastie-Boys-Pass-the-Mic/</ref> 
|-
|0:21:12 - 0:27:55
|'''#6 "Destroyer"''' <ref>https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D274</ref> 
Samples [https://www.youtube.com/watch?v=lb13ynu3Iac J. Robert Oppenheimer's 1965 speech] using the Boss RSD-10<ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote=Yeah, that was our only sampler for quite a long time, like that Destroyer of Worlds track was done just using that as a sampler, done on the four track.}}</ref>
|-
|0:26:58 - 0:31:35
|'''#7'''
|-
|0:31:33 - 0:34:10
|'''#8'''
|-
|0:33:51 - 0:41:05
|'''#9'''
|-
|0:40:27 - 0:48:16
|'''#10'''
|-
|0:47:17 - 0:54:20
|'''#11 "98 Chop"<ref name=":0" />'''
Contains a brief reprise of Part 1 #7 which continues into Part 1 #12
|-
|0:54:20 - 1:00:00
|'''#12'''
Contains percussion from [[List of Rarities#Crystel|"Crystel"]]. Unidentified "cheers mate" sample begins at 0:58:59
|-
! colspan="2" |Warp Tapes 89-93 Part 2
|-
|0:00:00 - 0:08:44
|'''#1 "Luna Chop"'''<ref>https://forum.watmm.com/topic/20728-luna-chop</ref>'''<ref name=":0" />'''
Uses the same bassline as "Keyop" from [[Lego Feet]]
|-
|0:08:37 - 0:12:58
|'''#2'''
Uses the same percussion as [[Incunabula#Maetl|"Maetl"]]
|-
|0:12:44 - 0:18:01
|'''#3'''
|-
|0:17:23 - 0:24:19
|'''#4'''
|-
|0:23:33 - 0:31:54
|'''#5'''
Early version of "[[Tri Repetae#Leterel|Leterel]]"
|-
|0:31:26 - 0:33:40
|'''#6'''
Reprise of Part 1 #7
|-
|0:33:12 - 0:38:37
|'''#7'''
|-
|0:38:07 - 0:45:33
|'''#8 "Persuit 2"<ref name=":0" />'''
|-
|0:44:54 - 0:54:36
|'''#9'''
|-
|0:53:21 - 1:00:00
|'''#10 "Peyaline"<ref name=":0" />'''
|}

==Tracklist==
{{Tracklist|list=
{{tl track|number=1|title=Warp Tapes 89-93 Part 1|length=1:00:00}}
{{tl track|number=2|title=Warp Tapes 89-93 Part 2|length=1:00:00}}
{{tl finaltime|time=2:00:00}}
}}

== Links ==
*[https://www.discogs.com/release/13799471-Autechre-Warp-Tapes-89-93 Discogs]

== References ==
<references />
[[Category:DJ Mix]]
[[Category:Compilation]]

AE 2022－

2024-03-26T02:33:34Z

Roxwize: /* History */ comma

{{DISPLAYTITLE:AE_LIVE 2022－}}
{{Infobox
|title=AE_LIVE 2022－
|artist=[[Autechre]]
|cover=AE LIVE 2022.jpg
|date=10 August 2023
|label=Warp Records (WARP444)
|previous=[[PLUS]]
|previous year=2020
|next=
|next year=
}}
'''''AE_LIVE 2022－''','' otherwise known as the '''''twentytwentytwo''''' tour<ref>https://autechre.warp.net/twentytwentytwo</ref>'','' is a compilation of seven soundboard recordings taken from live shows performed throughout 2022. The first batch was released on August 10th, 2023.

== History ==
The main equipment used for the tour are two M1<ref name=":0">{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''“Do you like the new Mac chip situation? Is it any different to work on compared to the old CPU?”''' Yes. So my patch was using about 75, 80% towards the end of last year or the year before, whenever it was I got it, and then, yeah, I got the M1 and then it was just flying! 30%, just flying! Just absolutely insane! So there's no turning back now I'm fucked because I'm filling it up already. Loads of Live physmod things, and things that were a bit, you know, expensive. So yeah, I love it. Just amazing, kind of a little bit too much if anything, and the disking out speeds are amazing. The transitions are all super tight. The timing's super tight. All the control rate stuff is super tight. So yeah, I think if you're using Max and you've got an M1, you're basically living the dream at this point. it's just insane.}}</ref> Macs running Max/MSP, Kenton Killamix controllers, Apogee Symphony Desktop, Apogee Element 24, and MOTU M2.<ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote='''Can u describe the live setup of the last gigs, laptop, controllers, souncard, thx''' I mean you know, two, I mean the latest ones are just two M1 Macs, Kenton Killamix controllers, two interfaces; I've got an Apogee Symphony Desktop, Rob's using the Apogee Element 24. The mixer is like a little Mackie Onyx12 channel thing just because it fits on a plane easily, and it's easier to get around. And it's replaceable if it breaks, you know, it's not, we're not relying on some esoteric mixer being found by the promoter at the last minute, so. Because that's always a consideration, you know? There's only the controllers really that be hard to source. So we often carry spares like if we're on a tour bus, we'll have spares of the controllers we’ll source.}}</ref><ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''What's your live setup nowadays?''' Two Macs, and these Kenton Killamix things, and a couple of interfaces.}}</ref><ref>{{Cite interview|page=Hanalgig AMA, July 2022|quote='''Tebbisimo: [...] What audio interface you using on the live sets ATM? [...]''' XH HX: i'm using apogee symphony desktop lately which i really rate but before that was using apogee element 24 (also good but harder to get now) and before that was using RME ADI2 converter (had to stop since apple borked the optical port but i loved that thing). i also got a MOTU M2 which is mad value for ESS sabre converters if u want something cheapish}}</ref> In 2024, they got four custom-made Killamix Minis.<ref>https://web.archive.org/web/20240309004321/https://post.lurk.org/@sean_ae/112054867478643903</ref>

During the [[Sean Twitch AMA, June 2022]], Sean answered a few questions regarding the live material after having performed the first show of the twentytwentytwo tour. The tour was initially planned to be held in 2020, before the COVID-19 pandemic delayed the tour. Sean mentioned that on his end, he spent the time reworking the back end, getting interested in MC (multi-channel audio in Max), physical modelling<ref name=":0" /> (such as [https://forum.ircam.fr/projects/detail/modalys/ Modalys]), and scratching (as seen on Gescom's ''[[AMKS_1]]'')''.''<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote=Basically when COVID hit, I had a lot of time on my hands to rebuild a lot of it. So it's, yeah, it’s a lot of it you wouldn't even notice because a lot of it's just porting things to Gen that didn't need to be ported but just because I wanted a bit more control, and that led me off on loads of tangents because once you start building basic things like oscillators, you get a bit mad with all the options. So yeah, that happened and then I got heavily into MC, and then that happened. And then I built a lot more [physical] modeling stuff, and I did that scratching thing that we used on that Gescom thing that we've done about just over a year ago. And then did that and then, and then, yeah the set sort of grew out of all that tech basically. So sty listically, it's not that far off what we've been doing for the last few years because I think we're still in the same sort of place mentally. But, tech wise, the underlying, the kind of back end stuff is all fresh.}}</ref> [[ae mixlr 300320|During a mixlr stream back in March 30th, 2020]], Sean shared snippets from their jams folder, which included the live material at that time, showing how long they've been developing the material. The end product was Sean noting that, on his side, he had about three and a half hours of total material prepared that may or may not be shown.<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote=[...] I mean some, they will share elements and the probably, I mean in all likelihood it'll be mostly similar material but there's a bunch of material that's not aired yet. That's because we've had too long to work on this fucking set, right, so. Least my part of the set is, I don't know, like three and a half hours of stuff, so I don't know how much of it will end up using.}}</ref>

The first show of the tour was performed at Primavera in Barcelona on the 3rd of June. In the AMA, Sean mentioned that that particular show did not go well, as they were struggling to negotiate the rights to the soundboard from Primavera before messing up the recording, meaning it was left off the release.<ref>[[Sean AMA Transcript 220605#:~:text%3DYeah%2C%20there's%20not%20really%20any%20good%20pictures%2C%20but%20the%20problem%20was%20with%20Primavera%2C|<nowiki/>]]{{Cite interview|page=Sean Twitch AMA, June 2022|quote=[...] the problem was with Primavera, they were trying to get rights for everything, right? So they were trying to get broadcast, they were trying to record it, you know? Obviously we're thinking about releasing them, so we didn't want to okay it. We ended up fucking up the recording anyway, so it wouldn't have mattered.}}</ref>

On October 4th, 2022, "AE_LIVE_HELSINKI_110922_LTD" was released early exclusively to attendants of the show due to technical issues during the show.<ref>{{Cite web|author=RaelGenious|title=Exclusive release incoming for Helsinki attendees|website=Reddit|date=26 September 2022|link=https://www.reddit.com/r/autechre/comments/xobdtd/exclusive_release_incoming_for_helsinki_attendees/|accessdate=25 March 2024}}</ref> Small glitches such as pops and audio dropouts appeared early into the show and got progressively more distracting as the show went on. A possible explanation is that the venue's poor subwoofer setup, exacerbated by the set's use of heavy subbass, experienced a coil short circuit leading to the malfunctions.<ref>{{Cite web|author=avalyn__|title=There were some audio issues during Helsinki gig.|website=Reddit|date=11 September 2022|link=https://www.reddit.com/r/autechre/comments/xbspfv/there_were_some_audio_issues_during_helsinki_gig/?rdt=51772|accessdate=25 March 2024}} </ref><ref>{{Cite web|author=dcom|title=Comment in Autechre. Live. Twentytwentytwo.|website=We Are The Music Makers|date=15 September 2022|link=https://www.reddit.com/r/autechre/comments/xobdtd/exclusive_release_incoming_for_helsinki_attendees/|accessdate=25 March 2024}}</ref> The soundboard was sent out as is without mastering, and was later rereleased with proper mastering. 

On August 7th, 2023, Warp sent out an announcement to sign up for to the newsletter. The following day, ''AE_LIVE 2022－'' was officially announced, and the first batch of shows from Milan 2022 to Turin 2022 was released individually and as a compilation on the 10th. The hyphen added to the end of the title indicated the possibility of future sets being added at a later date. In a Mastodon post in late 2023, Sean gave an update that the material was up to "about 4 hours long so far and growing steadily." <ref>[https://web.archive.org/web/20231118215345/https://post.lurk.org/@sean_ae/111433472440615681#:~:text=We%20took%20a,from%20our%20POV. @sean_ae Mastodon post, November 18, 2023]</ref>

== Analysis ==
Main analysis by [[User:Zythion|Zythion]] and [[User:EnergyIsMassiveLight|EnergyIsMassiveLight]]. Fan titles taken from fan-edit TT2- (AE_LIVE 2022 Exclusives).<ref>{{Cite web|author=Twistrose|title=TT2－ (AE_LIVE 2022 Exclusives)|website=Reddit|date=19 August 2023|link=https://www.reddit.com/r/autechre/comments/15vkklu/tt2_ae_live_2022_exclusives/|accessdate=25 March 2024}}</ref> Officially released sets are highlighted in bold while the unreleased sets with bootleg recordings are italicized.

*'''#1''' ''(fan name: T2)''
*'''#2''' '''"ecol4"'''<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote=So, you can hear a bit of ecol[4] in the set, ecol4 that was basically like the ecol4 that's on PLUS when we started out.}}</ref> ''(fan name: ical7)''
* '''#3''' ''(fan name: L cemp)''
*'''#4''' Contains elements of '''"F7"'''''(fan name: F4)''
*'''#5''' ''(fan name: prin Cur)''
*'''#6''' ''(fan name: asle 1)''
* '''#7''' ''(fan name: M3 Luni)''
*'''#8''' Contains elements of '''"psin AM"''' ''(fan name: osin PM)''
*'''#9''' ''(fan name: nal.1)''
*'''#10''' ''(fan name: corcine)''
*'''#11''' ''(fan name: drane3)''

{| class="wikitable"
!
!#1
!#2
!#3
!#4
!#5
!#6
!#7
!#8
!#9
!#10
!#11
|-
|'''MILAN_010722'''
|0:00
|7:06
|24:20
|35:47
|46:23
|62:14
|
|
|
|
|
|-
|'''ATHENS_050722'''
|0:00
|7:41
|25:32
|36:17
|46:42
|64:02
|73:53
|
|
|
|
|-
|'''HELSINKI_110922'''
|0:00
|7:42
|24:19
|35:40
|46:38
|64:27
|
|
|
|
|
|-
|'''LONDON_071022_A'''
|0:00
|6:12
|19:20
|29:16
|37:13
|53:06
|
|
|
|
|
|-
|'''LONDON_071022_B'''
|
|
|
|
|
|
|0:00
|9:46
|25:14
|32:59
|44:54
|-
|'''BERGEN_021122'''
|0:00
|7:00
| 19:19
|29:15
|37:12
|52:23
| 59:47
|
|
|
|
|-
|'''TURIN_041122'''
| 0:00
| 5:59
|18:19
|28:15
| 36:12
| 52:41
|
|
|
|
|
|-
| colspan="12" |
|-
|''[https://www.youtube.com/watch?v=1hgXKUqSf4c Barcelona_030622]''
|1:01
|8:18
|24:45
|35:40
|48:46
|59:14
|
|
|
|
|
|}

==Trivia==

*
*In December 2022, Sean posted two max demos to Mastodon; one on the [https://www.youtube.com/watch?v=3poN6FDyB28 10th] and one on the [https://www.youtube.com/watch?v=jgMArRJswIQ 15th].It has since been confirmed to be live show patches as both appeared in the Sydney and Dublin sets.
**In the top right corner of the 15th December demo, "three tone" is written, possibly indicating the section title.
** Also in the 15th demo, one of the files loaded into a sampler (likely indicating a sample used in the live material) is Gap Band's [https://www.youtube.com/watch?v=zSsXRWhfN3w&pp=ygUpQnVybiBSdWJiZXIgT24gTWUgKFdoeSBZb3UgR290dGEgSHVydCBNZSk%3D "Burn Rubber On Me (Why You Wanna Hurt Me)"]
**For the 10th December demo, it was captioned with “Reasonable facsimile of the Levee Breaks snare from a model made of water and spider silk (?!) who knew” with alt text further clarifying "A video showing a modelled snare drum roughly emulating the snare drum from When The Levee Breaks by Led Zeppelin". The snare4ml shown is an example snare instrument from [https://forum.ircam.fr/projects/detail/modalys/ Modalys for Max], with Modalys also appearing in the 15th demo for its custom-made clarinet instrument.<ref>Observation by sfn / Davide Vin</ref>
*The CAT number, WARP444, was likely specifically requested by Autechre, to reference the song "444" off their first album, ''[[Incunabula]]''.
*The main cover art for ''AE_LIVE 2022－'' consists of all the individual set art overlaid on top of each other.

==Gallery==
<gallery>
File:AE LIVE MILAN 010722.jpg|AE_LIVE_MILAN_010722
File:AE LIVE ATHENS 050722.jpg|AE_LIVE_ATHENS_050722
File:AE LIVE HELSINKI 110922.jpg|AE_LIVE_HELSINKI_110922
File:AE LIVE LONDON 071022 A.jpg|AE_LIVE_LONDON_071022_A
File:AE LIVE LONDON 071022 B.jpg|AE_LIVE_LONDON_071022_B
File:AE LIVE BERGEN 021122.jpg|AE_LIVE_BERGEN_021122
File:AE LIVE TURIN 041122.jpg|AE_LIVE_TURIN_041122
</gallery>

==Tracklist ==
{{Tracklist|list=
{{tl track|number=1|title=AE_LIVE_MILAN_010722|length=1:06:56}}
{{tl track|number=2|title=AE_LIVE_ATHENS_050722|length=1:20:03}}
{{tl track|number=3|title=AE_LIVE_HELSINKI_110922|length=1:11:07}}
{{tl track|number=4|title=AE_LIVE_LONDON_071022_A|length=59:48}}
{{tl track|number=5|title=AE_LIVE_LONDON_071022_B|length=59:33}}
{{tl track|number=6|title=AE_LIVE_BERGEN_021122|length=1:07:59}}
{{tl track|number=7|title=AE_LIVE_TURIN_041122|length=1:00:45}}
{{tl finaltime|time=7:46:12}}
}}

==Links==

*[https://autechre.warp.net/release/408603-autechre-aelive-2022 AE_STORE]
*[https://bleep.com/release/430787-autechre-aelive-2022 Bleep]
*[https://www.discogs.com/master/3199512-Autechre-AE_LIVE-2022 Discogs]
*[https://twitter.com/WarpRecords/status/1689637725731954688 Announcement Tweet]

==References==
<references />
[[Category:Live]]
[[Category:Compilation]]