Draft 7.30 - Revision history

EnergyIsMassiveLight: extra info from XLR8R

2026-04-05T18:05:49Z

extra info from XLR8R

← Older revision		Revision as of 14:05, 5 April 2026
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	== History ==		== History ==
	''Draft 7.30'' was ~~made~~ over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>		''Draft 7.30'' was recorded in Suffolk, England<ref name=":5">{{Cite interview\|page=Autechre. The Master Draftsmen, XLR8R Issue 67, May 2003}} </ref> over the span of fifteen months leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>

	Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> However, tracks were still often recorded in one take.<ref>https://web.archive.org/web/20250823160621/https://post.lurk.org/@sean_ae/115078509915195794</ref>		Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> However, tracks were still often recorded in one take.<ref>https://web.archive.org/web/20250823160621/https://post.lurk.org/@sean_ae/115078509915195794</ref>

	~~For equipment~~, ~~a lot~~ of ~~Digital Performer was used, with one use case involving "triggering a sampler from~~ the ~~sequencer (akai z8 over midi)"~~<ref>[https://~~docs~~.~~google~~.~~com/spreadsheets~~/d/~~1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho~~/~~edit#gid=0&range=D261]{{Cite AAA doc\|261}}~~</ref>, ~~as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts"~~.~~<ref>{{Cite AAA doc\|189}}</ref> Most of~~ the ~~setup~~ was ~~carried over from ''[[Confield]]'',~~ with ~~the addition of an Akai Z8 and~~ a ~~Analogue Systems rack~~.<ref name=":4"~~>{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop~~/~~, funk and dub for this record --~~>		The album title itself was confirmed to literally mean the seventh draft, 30th revision of the album.<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref> It went through Draft 7.1, Draft 7.2 before the final title stuck when they had to send the record to Warp and was unable to come up with a more appropriate title.<ref name=":5" />

	Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}~~</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which Rob noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14~~</ref>		For equipment, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> Autechre decided to restrict themselves from downloading any new programs and plug-ins in that time.<ref name=":3" /> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->

			Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh."<ref>{{Cite AAA doc\|1091}}</ref>
	<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->		<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->

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	* BPM: 90 <!-- or 180? -->		* BPM: 90 <!-- or 180? -->
	* "6IE.CR" consists of a CR-8000 being fed through a RSD10 with the Nord controlling the pitch of it with some gating and layering for the second half that Sean ~~couldnt~~ properly remember.<ref>{{Cite AAA doc\|1161}}</ref>		* "6IE.CR" consists of a CR-8000 being fed through a RSD10 with the Nord controlling the pitch of it with some gating and layering for the second half that Sean couldn't properly remember.<ref>{{Cite AAA doc\|1161}}</ref>
	* The original title was "606.ie" according to the CDDB~~, which~~ Sean also confirmed in interview, explaining that the name was because the track "was based on a manipulation of a 606 sound."<ref name=":2">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=Going into details about some of the track titles on Draft 7:30, Booth explains "'6IE.CR' was actually called '606IE,' because it was based on a manipulation of a 606 sound. 'Reniform' is a real word, meaning kidney-shaped, and 'Puls' of course is 'Pulse' without the 'e'. 'Surripere' is the Latin word that's the root of 'surreptitious'. And in 'Theme of Sudden Roundabout', 'Sudden' is actually the name of a place."}}</ref> The title got abbreivated to 6IE, with CR likely being appended to refer to the CR-8000 used on the track.		* The original title was "606.ie" according to the CDDB Sean also confirmed it in an interview with Sound on Sound, explaining that the name was because the track "was based on a manipulation of a 606 sound."<ref name=":2">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=Going into details about some of the track titles on Draft 7:30, Booth explains "'6IE.CR' was actually called '606IE,' because it was based on a manipulation of a 606 sound. 'Reniform' is a real word, meaning kidney-shaped, and 'Puls' of course is 'Pulse' without the 'e'. 'Surripere' is the Latin word that's the root of 'surreptitious'. And in 'Theme of Sudden Roundabout', 'Sudden' is actually the name of a place."}}</ref> The title got abbreivated to 6IE, with CR likely being appended to refer to the CR-8000 used on the track.

	=== Tapr ===		=== Tapr ===

Sq at 15:03, 4 April 2026

2026-04-04T15:03:49Z

← Older revision		Revision as of 11:03, 4 April 2026
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	For equipment, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->		For equipment, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->

	Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which ~~Sean~~ noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>		Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which Rob noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>
	<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->		<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->

EnergyIsMassiveLight: /* Reniform Puls */

2025-09-06T13:23:00Z

Reniform Puls

← Older revision		Revision as of 09:23, 6 September 2025
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	* BPM: 110		* BPM: 110
	* The original title listed in the CDDB was "kidney bean". The final title consists of "Reniform", which means kidney-shaped, and "Puls", which is just short for Pulse.<ref name=":2" /> "Pulse" can be either be interpreted in an electronic context (i.e. clock pulse) or as a synonym for legume/bean, the latter of which would indicate that Reniform (kidney-shaped) Puls (bean) directly references the original title.		* The original title listed in the CDDB was "kidney bean". The final title consists of "Reniform", which means kidney-shaped, and "Puls", which is just short for Pulse.<ref name=":2" /> "Pulse" can be either be interpreted in an electronic context (i.e. clock pulse) or as a synonym for legume/bean, the latter of which would indicate that Reniform (kidney-shaped) Puls (bean) directly references the original title.
	* "Reniform Puls" is the only track to have any use of Max/MSP on ''Draft 7.30,''<ref name=":0" /> however most of it was still DAWs: "mostly done in digital performer, but there's loads of hardware on there, and bits of modular stuff." <ref>https://web.archive.org/web/20240209152633/https://post.lurk.org/@sean_ae/111901878065350503</ref>		* "Reniform Puls" is the only track to have any use of Max/MSP on ''Draft 7.30,''<ref name=":0" /> however most of it was still DAWs: "mostly done in digital performer, but there's loads of hardware on there, and bits of modular stuff." <ref>https://web.archive.org/web/20240209152633/https://post.lurk.org/@sean_ae/111901878065350503</ref> The ending is a recording of mains hum.<ref>https://web.archive.org/web/20250906130619/https://post.lurk.org/@sean_ae/115152658904928756</ref>

	== Tracklist ==		== Tracklist ==

EnergyIsMassiveLight: draft one take

2025-08-23T16:26:55Z

draft one take

← Older revision		Revision as of 12:26, 23 August 2025
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	''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>		''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>

	Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> ~~Alongside that~~, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->		Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> However, tracks were still often recorded in one take.<ref>https://web.archive.org/web/20250823160621/https://post.lurk.org/@sean_ae/115078509915195794</ref>

			For equipment, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->

	Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which Sean noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>		Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which Sean noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>

EnergyIsMassiveLight: some bpms and lite rewrites

2025-07-16T14:26:06Z

some bpms and lite rewrites

← Older revision		Revision as of 10:26, 16 July 2025
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	Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> Alongside that, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->		Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> Alongside that, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->

	Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The title itself was confirmed to literally mean the seventh draft, 30th revision, ~~with~~ Sean ~~noting that the working title~~ "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>		Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which Sean noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>
	<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->		<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->

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	* The original title was "Benk Chin".		* The original title was "Benk Chin".

	=== IV VV IV VV VIII ===		=== IV VV IV VV VIII <!-- BPM; 120 or 137 idk? seems like 120 -->===

	* The original title was "nwnw8", with the final title being a heavily stylised version of that title - substituting N for IV and W for VV.		* The original title was "nwnw8", with the final title being a heavily stylised version of that title - substituting N for IV and W for VV.
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	=== 6IE.CR ===		=== 6IE.CR ===

			* BPM: 90 <!-- or 180? -->
	* "6IE.CR" consists of a CR-8000 being fed through a RSD10 with the Nord controlling the pitch of it with some gating and layering for the second half that Sean couldnt properly remember.<ref>{{Cite AAA doc\|1161}}</ref>		* "6IE.CR" consists of a CR-8000 being fed through a RSD10 with the Nord controlling the pitch of it with some gating and layering for the second half that Sean couldnt properly remember.<ref>{{Cite AAA doc\|1161}}</ref>
	* The original title was "606.ie" in the CDDB, which Sean also confirmed in interview that it was ~~initially called that~~ because "it was based on a manipulation of a 606 sound."<ref name=":2">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=Going into details about some of the track titles on Draft 7:30, Booth explains "'6IE.CR' was actually called '606IE,' because it was based on a manipulation of a 606 sound. 'Reniform' is a real word, meaning kidney-shaped, and 'Puls' of course is 'Pulse' without the 'e'. 'Surripere' is the Latin word that's the root of 'surreptitious'. And in 'Theme of Sudden Roundabout', 'Sudden' is actually the name of a place."}}</ref> The title got abbreivated to 6IE, with CR likely being appended to ~~mean~~ the CR-8000.		* The original title was "606.ie" according to the CDDB, which Sean also confirmed in interview, explaining that the name was because the track "was based on a manipulation of a 606 sound."<ref name=":2">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=Going into details about some of the track titles on Draft 7:30, Booth explains "'6IE.CR' was actually called '606IE,' because it was based on a manipulation of a 606 sound. 'Reniform' is a real word, meaning kidney-shaped, and 'Puls' of course is 'Pulse' without the 'e'. 'Surripere' is the Latin word that's the root of 'surreptitious'. And in 'Theme of Sudden Roundabout', 'Sudden' is actually the name of a place."}}</ref> The title got abbreivated to 6IE, with CR likely being appended to refer to the CR-8000 used on the track.

	=== Tapr ===		=== Tapr ===
Line 50:		Line 51:
	=== Theme Of Sudden Roundabout ===		=== Theme Of Sudden Roundabout ===

			* BPM: 128
	* “Theme Of Sudden Roundabout” is a reference to Sudden, a suburb of Rochdale where Rob and Sean grew up.<ref name=":2" /> The titular roundabout in question could be [https://www.google.com/maps/place/53%C2%B035'55.6%22N+2%C2%B009'49.2%22W/@53.5987227,-2.1638831,191m/data=!3m1!1e3!4m4!3m3!8m2!3d53.5987778!4d-2.1636667 this one], as seen on Google Maps.		* “Theme Of Sudden Roundabout” is a reference to Sudden, a suburb of Rochdale where Rob and Sean grew up.<ref name=":2" /> The titular roundabout in question could be [https://www.google.com/maps/place/53%C2%B035'55.6%22N+2%C2%B009'49.2%22W/@53.5987227,-2.1638831,191m/data=!3m1!1e3!4m4!3m3!8m2!3d53.5987778!4d-2.1636667 this one], as seen on Google Maps.
	* The original title, as listed on CDDB, was "Prince Moth Mothy Moth Moth". ~~In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything,]]~~ Rob ~~mentions~~ this was wrong, that the original title ended with Mother, as in someone who does moths.<ref>{{Cite AAA doc\|708}}</ref> ~~However~~, in a ~~2023 Mastodon~~ post ~~when~~ Sean was asked about the title again, he mentioned that it was just Moth at the end.<ref>https://www.reddit.com/r/autechre/comments/1828tlp/sean_answering_why_theme_of_sudden_roundabout_was/</ref> ~~In that same post,~~ Sean explained that the track was called that after an "epically large moth" landed on their Nord Modular and sat there for much of the track.		* The original title, as listed on CDDB, was "Prince Moth Mothy Moth Moth". Rob mentioned that this was wrong, that the original title ended with Mother, as in someone who does moths,<ref>{{Cite AAA doc\|708}}</ref> however, in a different post where Sean was asked about the title again, he mentioned that it was just Moth at the end.<ref>https://www.reddit.com/r/autechre/comments/1828tlp/sean_answering_why_theme_of_sudden_roundabout_was/</ref> Sean explained that the track was called that after an "epically large moth" landed on their Nord Modular and sat there for much of the track.

	=== VL AL 5 ===		=== VL AL 5 ===

			* BPM: 99
	* [https://www.youtube.com/watch?v=bt5efp1-IfA A 12-minute version of VL AL 5] was played during the 2008-02-23 Webcast.		* [https://www.youtube.com/watch?v=bt5efp1-IfA A 12-minute version of VL AL 5] was played during the 2008-02-23 Webcast.
	* The original title was "Vlimpton Alpha 5", which the final title is just an abbreviation of.		* The original title was "Vlimpton Alpha 5", which the final title is just an abbreviation of.
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	=== P.:NTIL ===		=== P.:NTIL ===

			* BPM: 110
	* The original title was "Foam Conduit".		* The original title was "Foam Conduit".
	* In an article by Erin Hutton, he included a note that the title is pronounced "pointil".<ref name=":3" />		* In an article by Erin Hutton, he included a note that the title is pronounced "pointil".<ref name=":3" />
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	=== V-Proc ===		=== V-Proc ===

			* BPM: 104.05
	* The original title was "uprock".		* The original title was "uprock".
	* "V-Proc" initially started out with simple drum samples (possibly Linndrum) before being mangled beyond recognition. <ref>https://web.archive.org/web/20240218010910/https://post.lurk.org/@sean_ae/111949563697343787</ref>		* "V-Proc" initially started out with simple drum samples (possibly Linndrum) before being mangled beyond recognition. <ref>https://web.archive.org/web/20240218010910/https://post.lurk.org/@sean_ae/111949563697343787</ref>
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	=== Reniform Puls ===		=== Reniform Puls ===

			* BPM: 110
	* The original title listed in the CDDB was "kidney bean". The final title consists of "Reniform", which means kidney-shaped, and "Puls", which is just short for Pulse.<ref name=":2" /> "Pulse" can be either be interpreted in an electronic context (i.e. clock pulse) or as a synonym for legume/bean, the latter of which would indicate that Reniform (kidney-shaped) Puls (bean) directly references the original title.		* The original title listed in the CDDB was "kidney bean". The final title consists of "Reniform", which means kidney-shaped, and "Puls", which is just short for Pulse.<ref name=":2" /> "Pulse" can be either be interpreted in an electronic context (i.e. clock pulse) or as a synonym for legume/bean, the latter of which would indicate that Reniform (kidney-shaped) Puls (bean) directly references the original title.
	* "Reniform Puls" is the only track to have any use of Max/MSP on ''Draft 7.30,''<ref name=":0" /> however most of it was still DAWs: "mostly done in digital performer, but there's loads of hardware on there, and bits of modular stuff." <ref>https://web.archive.org/web/20240209152633/https://post.lurk.org/@sean_ae/111901878065350503</ref>		* "Reniform Puls" is the only track to have any use of Max/MSP on ''Draft 7.30,''<ref name=":0" /> however most of it was still DAWs: "mostly done in digital performer, but there's loads of hardware on there, and bits of modular stuff." <ref>https://web.archive.org/web/20240209152633/https://post.lurk.org/@sean_ae/111901878065350503</ref>

EnergyIsMassiveLight: keyosc aaaa cites

2025-04-19T18:32:49Z

keyosc aaaa cites

← Older revision		Revision as of 14:32, 19 April 2025
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	''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>		''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>

	Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> Alongside that, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->		Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> Alongside that, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->

	Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The title itself was confirmed to literally mean the seventh draft, 30th revision, with Sean noting that the working title "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>		Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The title itself was confirmed to literally mean the seventh draft, 30th revision, with Sean noting that the working title "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>
Line 29:		Line 29:

	* The original title was "nwnw8", with the final title being a heavily stylised version of that title - substituting N for IV and W for VV.		* The original title was "nwnw8", with the final title being a heavily stylised version of that title - substituting N for IV and W for VV.
			* Sean noted that one stage of producing the snares involved DP stretching and automating reverb parameters. The original (unknown) sound source was done by Rob.<ref>{{Cite AAA2 doc\|622}}</ref>
	* "IV VV IV VV VIII" was initially released as a single for ''Draft 7.30'', both for radio play<ref>https://www.discogs.com/release/545749-Autechre-IV-VV-IV-VV-VIII</ref> and download.<ref>https://web.archive.org/web/20030420192456/http://www.warprecords.com/draft7_30/</ref><!-- the second link requires a flash player like Ruffle, but it shows a minisite which has a link to an IV VV mp3 download -->		* "IV VV IV VV VIII" was initially released as a single for ''Draft 7.30'', both for radio play<ref>https://www.discogs.com/release/545749-Autechre-IV-VV-IV-VV-VIII</ref> and download.<ref>https://web.archive.org/web/20030420192456/http://www.warprecords.com/draft7_30/</ref><!-- the second link requires a flash player like Ruffle, but it shows a minisite which has a link to an IV VV mp3 download -->

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	* BPM: 120		* BPM: 120
	* The track initially started life as two separate tracks, with the second half made before the first. Later in development, they realised that both tracks had the same tempo and decided to combine it for the final track. <ref>{{Cite AAA doc\|580}}</ref><!-- Subtle note, Sean used "us" which implies Surripere at the minimum was decided together to be combined. But this could also indicate that the track was a collaborative effort as a whole -->		* The track initially started life as two separate tracks, with the second half made before the first. Later in development, they realised that both tracks had the same tempo and decided to combine it for the final track. <ref>{{Cite AAA doc\|580}}</ref><!-- Subtle note, Sean used "us" which implies Surripere at the minimum was decided together to be combined. But this could also indicate that the track was a collaborative effort as a whole -->
	* "Surripere" consists of ~~either~~ a ~~fake analog or~~ Nord on the first part, and a Nord Lead with Native Battery's loop modulation on the second part's "crunchy stuff."<ref name=":1" />		* "Surripere" consists of a Nord Rack 1 on the first part,<ref>{{Cite AAA2 doc\|308}}</ref> and a Nord Lead with Native Battery's loop modulation on the second part's "crunchy stuff."<ref name=":1" />
	* The original title was "Theft". The final title "Surripere" is the Latin root word of surreptitious, meaning to do something stealthily.<ref name=":2" /> A straight translation of "Surripere" is in fact "theft"		* The original title was "Theft". The final title "Surripere" is the Latin root word of surreptitious, meaning to do something stealthily.<ref name=":2" /> A straight translation of "Surripere" is in fact "theft"

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	* [https://www.youtube.com/watch?v=bt5efp1-IfA A 12-minute version of VL AL 5] was played during the 2008-02-23 Webcast.		* [https://www.youtube.com/watch?v=bt5efp1-IfA A 12-minute version of VL AL 5] was played during the 2008-02-23 Webcast.
	* The original title was "Vlimpton Alpha 5", which the final title is just an abbreviation of.		* The original title was "Vlimpton Alpha 5", which the final title is just an abbreviation of.
			* A "big rack of analogue systems gear" was used for "VL AL 5".<ref name=":4" />

	=== P.:NTIL ===		=== P.:NTIL ===

EnergyIsMassiveLight: twitter links replaced with archives

2025-01-28T00:30:17Z

twitter links replaced with archives

← Older revision		Revision as of 20:30, 27 January 2025
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	\|next=[[Untilted]]		\|next=[[Untilted]]
	\|next year=2005		\|next year=2005
	}}'''''Draft 7.30''''' is the seventh studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 7th, 2003<ref>https://bleep.com/release/23111-autechre-draft-730</ref><ref>https://web.archive.org/web/20040307112934/http://www.warprecords.com/artists/news.php?offset=0&ti_id=606&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Confield]]''.<ref>https://~~twitter~~.~~com~~/~~WarpRecords~~/~~status/1622631137762746368~~</ref><ref>https://~~twitter~~.~~com/WarpRecords~~/~~status~~/~~1629134504320200704~~</ref>		}}'''''Draft 7.30''''' is the seventh studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 7th, 2003<ref>https://bleep.com/release/23111-autechre-draft-730</ref><ref>https://web.archive.org/web/20040307112934/http://www.warprecords.com/artists/news.php?offset=0&ti_id=606&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Confield]]''.<ref>https://ghostarchive.org/archive/iidDA</ref><ref>https://ghostarchive.org/archive/2SyWm</ref>

	== History ==		== History ==

EnergyIsMassiveLight: draft development time

2024-05-22T18:27:35Z

draft development time

← Older revision		Revision as of 14:27, 22 May 2024
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	== History ==		== History ==
	Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some generative elements on "~~RENIFORM PULS~~", ''Draft 7.30'' was otherwise ~~written "note by note"~~.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref> Alongside that, a lot of Digital Performer was used, with ~~some~~ use ~~cases being~~ "triggering a sampler from the sequencer (akai z8 over midi)". <ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261 {{Cite AAA doc\|261}}]</ref> ~~''Draft 7.30'' also uses~~ a lot amplitude envelopes~~, alongside~~ "really light touches of quadraverb and lexicon on select parts". <ref>{{Cite AAA doc\|189}}</ref>		''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>

			Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> Alongside that, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->

	Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The title itself was confirmed to literally mean the seventh draft, 30th revision, with Sean noting that the working title "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>		Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The title itself was confirmed to literally mean the seventh draft, 30th revision, with Sean noting that the working title "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>
			<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->

	== Tracks ==		== Tracks ==

EnergyIsMassiveLight at 18:11, 22 May 2024

2024-05-22T18:11:40Z

← Older revision		Revision as of 14:11, 22 May 2024
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	== Trivia ==		== Trivia ==

	* For the liner notes of ''Draft 7.30'' ([[:File:Draft 7.30 tape inlay.jpg\|image]]), Sean notes that their designer (Alexander Rutterford) wanted to have code design for the inlay tape, and so they provided him with a bunch of nonsense Pascal code which was five times longer than what could fit.<ref>{{Cite interview\|quote='''AR: Liner notes to Draft 7.30 have clips of Supercollider, Java, Pascal code. Any thoughts on this?''' SB: That was just for our graphic designer. Originally I wasn't into it, really. He kinda wanted some text to go inside the tape... yeah, it is a bit of a joke. It was kinda like... 'cause I sent it to him hoping that he was going... 'cause we sent him a lot more than that, we sent him about five times as much as that. And he kind of... he ended up scaling it just so that it'd fit the page, but he was a bit irritated; it didn't reduce into the fit of the tape. So it doesn't totally reveal itself, but it didn't really matter the only least bit of it, 'cause it's nonsense anyway. But it looks better when you see the whole lot, erm, but it wasn't supposed to be legible, it was supposed to be texture, in a way. It was something for him to use really from a graphical perspective. He wanted text, so, yeah, we wrote some nonsense software. It's mostly Pascal, you know, kind of dated (laughs). Erm, yeah, it was our idea of a joke, kinda. We haven't used that much Autechre code on this album a bit, not a massive amount; we haven't really used any generative sequencing at all on this record. It's all composed with straight-up sequencing we've knackered and stuff. So, erm, there's plenty bit of proper code on this sleeve, but only our idea of it. Probably the only ones laughing at it, as usual.}}</ref>		* For the liner notes of ''Draft 7.30'' ([[:File:Draft 7.30 tape inlay.jpg\|image]]), Sean notes that their designer (Alexander Rutterford) wanted to have code design for the inlay tape, and so they provided him with a bunch of nonsense Pascal code which was five times longer than what could fit.<ref>{{Cite interview\|quote='''AR: Liner notes to Draft 7.30 have clips of Supercollider, Java, Pascal code. Any thoughts on this?''' SB: That was just for our graphic designer. Originally I wasn't into it, really. He kinda wanted some text to go inside the tape... yeah, it is a bit of a joke. It was kinda like... 'cause I sent it to him hoping that he was going... 'cause we sent him a lot more than that, we sent him about five times as much as that. And he kind of... he ended up scaling it just so that it'd fit the page, but he was a bit irritated; it didn't reduce into the fit of the tape. So it doesn't totally reveal itself, but it didn't really matter the only least bit of it, 'cause it's nonsense anyway. But it looks better when you see the whole lot, erm, but it wasn't supposed to be legible, it was supposed to be texture, in a way. It was something for him to use really from a graphical perspective. He wanted text, so, yeah, we wrote some nonsense software. It's mostly Pascal, you know, kind of dated (laughs). Erm, yeah, it was our idea of a joke, kinda. We haven't used that much Autechre code on this album a bit, not a massive amount; we haven't really used any generative sequencing at all on this record. It's all composed with straight-up sequencing we've knackered and stuff. So, erm, there's plenty bit of proper code on this sleeve, but only our idea of it. Probably the only ones laughing at it, as usual.\|page=Autechre's Interview to Grooves Magazine, February 2003}}</ref>

	== Links ==		== Links ==

EnergyIsMassiveLight: liner notes code backstory

2024-05-22T18:10:40Z

liner notes code backstory

← Older revision		Revision as of 14:10, 22 May 2024
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	{{tl finaltime\|time=1:02:51}}		{{tl finaltime\|time=1:02:51}}
	}}Note: The capitalisation is based by Sean's word,<ref>https://web.archive.org/web/20240513140035/https://post.lurk.org/@sean_ae/112433667473497612</ref><!-- did this man fucking cite a bootleg --> however the capitalization varies across releases, which either writes all caps<ref>https://www.discogs.com/release/130319-Autechre-Draft-730/image/SW1hZ2U6MTc1ODUwNw==</ref><ref>https://autechre.bandcamp.com/album/draft-730</ref> or inconsistently formats different sets of tracks into title case like Bleep<ref>https://bleep.com/release/23111-autechre-draft-730?lang=en_US</ref>, MusicBrainz<ref>https://musicbrainz.org/release/f69a0c28-4490-4185-8555-a951ff567c44</ref> and other streaming services.		}}Note: The capitalisation is based by Sean's word,<ref>https://web.archive.org/web/20240513140035/https://post.lurk.org/@sean_ae/112433667473497612</ref><!-- did this man fucking cite a bootleg --> however the capitalization varies across releases, which either writes all caps<ref>https://www.discogs.com/release/130319-Autechre-Draft-730/image/SW1hZ2U6MTc1ODUwNw==</ref><ref>https://autechre.bandcamp.com/album/draft-730</ref> or inconsistently formats different sets of tracks into title case like Bleep<ref>https://bleep.com/release/23111-autechre-draft-730?lang=en_US</ref>, MusicBrainz<ref>https://musicbrainz.org/release/f69a0c28-4490-4185-8555-a951ff567c44</ref> and other streaming services.

			== Trivia ==

			* For the liner notes of ''Draft 7.30'' ([[:File:Draft 7.30 tape inlay.jpg\|image]]), Sean notes that their designer (Alexander Rutterford) wanted to have code design for the inlay tape, and so they provided him with a bunch of nonsense Pascal code which was five times longer than what could fit.<ref>{{Cite interview\|quote='''AR: Liner notes to Draft 7.30 have clips of Supercollider, Java, Pascal code. Any thoughts on this?''' SB: That was just for our graphic designer. Originally I wasn't into it, really. He kinda wanted some text to go inside the tape... yeah, it is a bit of a joke. It was kinda like... 'cause I sent it to him hoping that he was going... 'cause we sent him a lot more than that, we sent him about five times as much as that. And he kind of... he ended up scaling it just so that it'd fit the page, but he was a bit irritated; it didn't reduce into the fit of the tape. So it doesn't totally reveal itself, but it didn't really matter the only least bit of it, 'cause it's nonsense anyway. But it looks better when you see the whole lot, erm, but it wasn't supposed to be legible, it was supposed to be texture, in a way. It was something for him to use really from a graphical perspective. He wanted text, so, yeah, we wrote some nonsense software. It's mostly Pascal, you know, kind of dated (laughs). Erm, yeah, it was our idea of a joke, kinda. We haven't used that much Autechre code on this album a bit, not a massive amount; we haven't really used any generative sequencing at all on this record. It's all composed with straight-up sequencing we've knackered and stuff. So, erm, there's plenty bit of proper code on this sleeve, but only our idea of it. Probably the only ones laughing at it, as usual.}}</ref>

	== Links ==		== Links ==
Line 97:		Line 101:
	*[[Sean Booth]] (writer)		*[[Sean Booth]] (writer)
	* [[Noel Summerville]] (mastering engineer)		* [[Noel Summerville]] (mastering engineer)
	* [[Alexander Rutterford]] (images, design) <ref>https://www.discogs.com/master/960-Autechre-Draft-730</ref>		* [[Alexander Rutterford]] (images, design)<ref>https://www.discogs.com/master/960-Autechre-Draft-730</ref>

	== References ==		== References ==
	<references />		<references />

← Older revision		Revision as of 12:26, 23 August 2025
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	''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>		''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003\|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>

	Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> ~~Alongside that~~, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->		Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview\|page=Sound On Sound Interview, April 2004\|quote=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. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview\|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> However, tracks were still often recorded in one take.<ref>https://web.archive.org/web/20250823160621/https://post.lurk.org/@sean_ae/115078509915195794</ref>

			For equipment, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc\|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc\|189}}</ref> Most of the setup was carried over from ''[[Confield]]'', with the addition of an Akai Z8 and a Analogue Systems rack.<ref name=":4">{{Cite AAA2 doc\|611}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->

	Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which Sean noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>		Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013\|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc\|1091}}</ref> The album title itself was confirmed to literally mean the seventh draft, 30th revision, which Sean noted "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>