Confield - Revision history

Miracle372: Autechre did the artwork themselves, credited on warp's site

2026-03-04T17:47:25Z

Autechre did the artwork themselves, credited on warp's site

← Older revision		Revision as of 13:47, 4 March 2026
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	== Credits ==		== Credits ==
	*[[Autechre]] (production)		*[[Autechre]] (design<ref>https://web.archive.org/web/20041223142839/http://www.warprecords.com/ography/release.php?cat=WARP128#</ref>, production)
	*[[Rob Brown]] (writer)		*[[Rob Brown]] (writer)
	*[[Sean Booth]] (writer)		*[[Sean Booth]] (writer)

EnergyIsMassiveLight: additional cite on vi code spoilse

2025-11-15T05:56:31Z

additional cite on vi code spoilse

← Older revision		Revision as of 01:56, 15 November 2025
Line 28:		Line 28:

	* "VI Scose Poise" was made with a custom sequencer in Max that would 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> The track also used the FS1R<ref>https://web.archive.org/web/20250410180732/https://post.lurk.org/@sean_ae/114314693813552997</ref> and a gamelan instrument (either a jegog or jublag).<ref name=":4" /><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>		* "VI Scose Poise" was made with a custom sequencer in Max that would 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> The track also used the FS1R<ref>https://web.archive.org/web/20250410180732/https://post.lurk.org/@sean_ae/114314693813552997</ref> and a gamelan instrument (either a jegog or jublag).<ref name=":4" /><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" featuring a different version of the track.<ref>https://web.archive.org/web/20030507103630fw_/http://www.warprecords.com/news/?offset=220&ti_id=162</ref><ref>{{Cite AAA2 doc\|296}}</ref>		* On the warprecords site on March 1st, 2001, they put out a visualiser titled "VI Code Spoilse" featuring a different version of the track.<ref>https://web.archive.org/web/20030507103630fw_/http://www.warprecords.com/news/?offset=220&ti_id=162</ref><ref>{{Cite AAA2 doc\|296}}</ref><ref>https://everything2.com/title/vi+code+spoilse</ref>

	=== Cfern ===		=== Cfern ===

EnergyIsMassiveLight: keyosc aaaa cites

2025-04-19T18:26:21Z

keyosc aaaa cites

Show changes

EnergyIsMassiveLight: vi scose poise info

2025-04-10T18:10:41Z

vi scose poise info

← Older revision		Revision as of 14:10, 10 April 2025
Line 27:		Line 27:
	=== VI Scose Poise ===		=== VI Scose Poise ===

	* ~~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>		* "VI Scose Poise" was made with a custom sequencer in Max that would 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> The track also used the FS1R<ref>https://web.archive.org/web/20250410180732/https://post.lurk.org/@sean_ae/114314693813552997</ref> and a gamelan instrument (either a jegog or jublag).<ref name=":4" /><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>
	* A gamelan instrument (either a jegog or ~~junlag~~) ~~was used on the track~~. <ref name=":4" /><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 be the original title of the track.<ref>https://web.archive.org/web/20030507103630fw_/http://www.warprecords.com/news/?offset=220&ti_id=162</ref>		* On the warprecords site on March 1st, 2001, they put out a visualiser titled "VI Code Spoilse", which may be the original title of the track.<ref>https://web.archive.org/web/20030507103630fw_/http://www.warprecords.com/news/?offset=220&ti_id=162</ref>

EnergyIsMassiveLight: twitter links replaced with archives

2025-01-28T00:30:05Z

twitter links replaced with archives

← Older revision		Revision as of 20:30, 27 January 2025
Line 10:		Line 10:
	\|next=[[Gantz Graf]]		\|next=[[Gantz Graf]]
	\|next year=2002		\|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<ref>https://bleep.com/release/23107-autechre-confield</ref><ref>https://web.archive.org/web/20040102053922/http://www.warprecords.com/artists/news.php?offset=0&ti_id=241&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Draft 7.30]]''.<ref>https://~~twitter~~.~~com~~/~~WarpRecords~~/~~status/1622631137762746368~~</ref><ref>https://~~twitter~~.~~com/WarpRecords~~/~~status~~/~~1629134504320200704~~</ref>		}}'''''Confield''''' is the sixth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 30th, 2001<ref>https://bleep.com/release/23107-autechre-confield</ref><ref>https://web.archive.org/web/20040102053922/http://www.warprecords.com/artists/news.php?offset=0&ti_id=241&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Draft 7.30]]''.<ref>https://ghostarchive.org/archive/iidDA</ref><ref>https://ghostarchive.org/archive/2SyWm</ref>

	== History ==		== History ==

EnergyIsMassiveLight: vi instrument

2024-06-09T01:48:02Z

vi instrument

← Older revision		Revision as of 21:48, 8 June 2024
Line 27:		Line 27:
	=== VI Scose Poise ===		=== 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>		* 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>
			* A gamelan instrument (either a jegog or junlag) was used on the track. <ref name=":4" /><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 be the original title of the track.<ref>https://web.archive.org/web/20030507103630fw_/http://www.warprecords.com/news/?offset=220&ti_id=162</ref>

	=== Cfern ===		=== Cfern ===
Line 48:		Line 48:

	* Sean noted that "Parhelic Triangle" didn't rely on any generative/algorithmic elements at all.<ref name=":2" />		* 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)<!-- it might not be a reyong. --> 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<!-- sean describes it more like "shit playing" --> 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> Sean also noted on Mastodon that the timings were tapped in.<ref>https://web.archive.org/web/~~20240608180953~~/https://post.lurk.org/@sean_ae/112581799023952175</ref> <!-- is this the correct phrasing? -->		* 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)<!-- it might not be a reyong. --> 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<!-- sean describes it more like "shit playing" --> 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> Sean also noted on Mastodon that the timings were tapped in.<ref name=":4">https://web.archive.org/web/20240609014251/https://post.lurk.org/@sean_ae/112581799023952175</ref><!-- is this the correct phrasing? -->

	=== Bine ===		=== Bine ===

EnergyIsMassiveLight: mastodon note

2024-06-08T20:46:18Z

mastodon note

← Older revision		Revision as of 16:46, 8 June 2024
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	* Sean noted that "Parhelic Triangle" didn't rely on any generative/algorithmic elements at all.<ref name=":2" />		* 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)<!-- it might not be a reyong. --> 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<!-- sean describes it more like "shit playing" --> 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>		* 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)<!-- it might not be a reyong. --> 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<!-- sean describes it more like "shit playing" --> 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> Sean also noted on Mastodon that the timings were tapped in.<ref>https://web.archive.org/web/20240608180953/https://post.lurk.org/@sean_ae/112581799023952175</ref> <!-- is this the correct phrasing? -->

	=== Bine ===		=== Bine ===

EnergyIsMassiveLight at 20:26, 20 May 2024

2024-05-20T20:26:13Z

← Older revision		Revision as of 16:26, 20 May 2024
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	== History ==		== History ==
	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> <!-- i know Uviol and bits of Sim Gishel were using it, but idk what the last one was. Cfern possibly? -->''Confield'' was instead mostly composed in Logic Pro.<ref>https://www.reddit.com/r/autechre/comments/9of3dv/autechres_tsugi_interview_translated/</ref> 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> <!-- i know Uviol and bits of Sim Gishel were using it, but idk what the last one was. Cfern possibly? -->''Confield'' was instead mostly composed in Logic Pro.<ref>https://www.reddit.com/r/autechre/comments/9of3dv/autechres_tsugi_interview_translated/</ref> The material shown on ''Confield'' was developed over 18 months.<ref>{{Cite web\|author=\|title=ALL Ae Q/A from Warp Records\|link=https://web.archive.org/web/20031024135223/http://www.autechre.nu/cgi-bin/newspro/news.cgi?newsid1018136565,21609,#:~:text=it%20spans%20about%2018%20months..%20it%27s%20a%20selection.\|status=dead\|archivedate=\|linkoriginal=http://www.autechre.nu/cgi-bin/newspro/news.cgi?newsid1018136565,21609,#:~:text=it%20spans%20about%2018%20months..%20it%27s%20a%20selection.\|accessdate=24 October 2003}}</ref>

	The record has gained a status as one of their most difficult records,<!-- citation for this possibly? --> 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>		The record has gained a status as one of their most difficult records,<!-- citation for this possibly? --> 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>

EnergyIsMassiveLight: reissue cites

2024-05-13T14:04:16Z

reissue cites

← Older revision		Revision as of 10:04, 13 May 2024
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	\|next=[[Gantz Graf]]		\|next=[[Gantz Graf]]
	\|next year=2002		\|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<ref>https://bleep.com/release/23107-autechre-confield</ref><ref>https://web.archive.org/web/20040102053922/http://www.warprecords.com/artists/news.php?offset=0&ti_id=241&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Draft 7.30]]''.		}}'''''Confield''''' is the sixth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 30th, 2001<ref>https://bleep.com/release/23107-autechre-confield</ref><ref>https://web.archive.org/web/20040102053922/http://www.warprecords.com/artists/news.php?offset=0&ti_id=241&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Draft 7.30]]''.<ref>https://twitter.com/WarpRecords/status/1622631137762746368</ref><ref>https://twitter.com/WarpRecords/status/1629134504320200704</ref>

	== History ==		== History ==
Line 95:		Line 95:
	* [https://soundcloud.com/autechreofficial/sets/confield-1 Soundcloud]		* [https://soundcloud.com/autechreofficial/sets/confield-1 Soundcloud]
	* [https://open.spotify.com/album/7fMTyCtIeBoYck15biPRaQ Spotify]		* [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 ==		== Credits ==

EnergyIsMassiveLight: date source

2024-05-11T18:12:14Z

date source

← Older revision		Revision as of 14:12, 11 May 2024
Line 10:		Line 10:
	\|next=[[Gantz Graf]]		\|next=[[Gantz Graf]]
	\|next year=2002		\|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<ref>https://web.archive.org/web/20040102053922/http://www.warprecords.com/artists/news.php?offset=0&ti_id=241&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Draft 7.30]]''.		}}'''''Confield''''' is the sixth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 30th, 2001<ref>https://bleep.com/release/23107-autechre-confield</ref><ref>https://web.archive.org/web/20040102053922/http://www.warprecords.com/artists/news.php?offset=0&ti_id=241&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Draft 7.30]]''.

	== History ==		== History ==