Quaristice - Revision history

EnergyIsMassiveLight: /* IO */

2025-11-15T05:43:57Z

← Older revision		Revision as of 01:43, 15 November 2025
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	*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>		*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>
	*The 'lyrics' in "IO" are ~~taken~~ from ~~a reading of~~ Stephen Hawking and Leonard Mlodinow's "A Briefer History of Time"<ref>https://forum.keyosc.com/topic/731-io-lyrics-and-analysis/#comment-16896</ref>. When Sean was asked about a connection to "A Brief History of Time", he said he had no memory of it being used.<ref>https://imgur.com/a/sean-ae-mastodon-2024-09-05-io-stephen-hawking-sample-https-post-lurk-org-sean-ae-113084508782375421-CvQrfU0</ref>		*The 'lyrics' in "IO" are fragments from Stephen Hawking and Leonard Mlodinow's "A Briefer History of Time"<ref>https://forum.keyosc.com/topic/731-io-lyrics-and-analysis/#comment-16896</ref>. When Sean was asked about a connection to "A Brief History of Time", he said he had no memory of it being used.<ref>https://imgur.com/a/sean-ae-mastodon-2024-09-05-io-stephen-hawking-sample-https-post-lurk-org-sean-ae-113084508782375421-CvQrfU0</ref>
	*"IO" appeared during the [[Untilted Tour\|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour\|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).		*"IO" appeared during the [[Untilted Tour\|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour\|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).

EnergyIsMassiveLight: some additional track equipment from interview

2025-11-15T05:41:27Z

some additional track equipment from interview

← Older revision		Revision as of 01:41, 15 November 2025
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	== History ==		== History ==
	Around 2005, Sean moved to Manchester, which meant Sean had no studio set up and thus both him and Rob (in London at the time)<ref name=":2">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=Autechre's latest release, Quaristice (Warp, 2008), is more fuzzy and emotional than you might expect. Working on practically identical rigs in separate cities (Booth, Manchester; Brown, London), Autechre pursued conventional recording methods for past efforts like Confield (Warp, 2001) and Untilted (Warp, 2005), but Quaristice is the result of the duo's live improvisations, recorded largely on its touring setup: Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90.}}</ref> couldn't make music in the traditional sense.<ref>{{Cite interview\|page=FutureMusic Interview, 2008\|quote='''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?''' '''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' Soo we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface." '''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."}}</ref> Around the same time, they were performing a lot of shows during the [[Untilted Tour]] for money.<ref name=":1" /> The outcome was thus that a majority of the material that would later become ''Quaristice'' were instead the product of hundreds of jams done on their live equipment rather than the heavily sequenced music of ''[[Draft 7.30]]'' and ''[[Untilted]]''.<ref>{{Cite interview\|page=We control the dice, 2008\|quote=With their new album Quaristice, however, Autechre have traded scrupulous construction for spontaneity, looseness and improvisation. Since the turn of millennium, a gap existed between their ever more experimental album releases and their (slightly) more straightforward live sets, in which their uncanny rapport reaches its fullest expression. The new album draws heavily on this live methodology. "We were putting live tracks down in the studio, messing them up, making them into versions, which eventually became new tracks," explains Booth. "We put down loads of hour-long jams of bits of the live set that we were going to edit later. But we found ourselves just writing new tracks on the same set-up. We'd got to the point where we were fluid enough for stuff to just come out." Brown elaborates: "Anything that existed from the live set we'd already been changing for a year or more. We were totally adept at getting stuff from nowhere. So the new tracks are like ghosts of what we'd been doing live." Bearing in mind their famed meticulousness - by Booth's own account they are "incredibly anal and precise people" - it seems remarkable that they made the decision deliberately to limit the scope for tampering with the fine details of the tracks. "I wish it were that romantic, but basically we'd barely set our studio up after I'd moved to Manchester," admits Booth. "It was just convenience. We can't resist temptation; it's more that we've learned to remove it. Once you record something as audio, two channels, you're pretty much stuck with it. So we've learned to prevent ourselves from being able to do it."}}</ref><ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Quaristice was all made from massive long jams,"}}</ref><ref>{{Cite interview\|page=We control the dice, 2008}} <!-- the excerpt that i wanted to use is 3 paragraphs long LOL --></ref><ref>{{Cite interview\|page=Barcode Interview, 2008}}</ref>		Around 2005, Sean moved to Manchester, which meant Sean had no studio set up and thus both him and Rob (in London at the time)<ref name=":2">{{Cite interview\|page=Easy to be Hard, Remix, April 2008\|quote=Autechre's latest release, Quaristice (Warp, 2008), is more fuzzy and emotional than you might expect. Working on practically identical rigs in separate cities (Booth, Manchester; Brown, London), Autechre pursued conventional recording methods for past efforts like Confield (Warp, 2001) and Untilted (Warp, 2005), but Quaristice is the result of the duo's live improvisations, recorded largely on its touring setup: Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90.}}</ref> couldn't make music in the traditional sense.<ref>{{Cite interview\|page=FutureMusic Interview, 2008\|quote='''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?''' '''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' Soo we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface." '''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."}}</ref> Around the same time, they were performing a lot of shows during the [[Untilted Tour]] for money.<ref name=":1" /> The outcome was thus that a majority of the material that would later become ''Quaristice'' were instead the product of hundreds of jams done on their live equipment rather than the heavily sequenced music of ''[[Draft 7.30]]'' and ''[[Untilted]]''.<ref>{{Cite interview\|page=We control the dice, 2008\|quote=With their new album Quaristice, however, Autechre have traded scrupulous construction for spontaneity, looseness and improvisation. Since the turn of millennium, a gap existed between their ever more experimental album releases and their (slightly) more straightforward live sets, in which their uncanny rapport reaches its fullest expression. The new album draws heavily on this live methodology. "We were putting live tracks down in the studio, messing them up, making them into versions, which eventually became new tracks," explains Booth. "We put down loads of hour-long jams of bits of the live set that we were going to edit later. But we found ourselves just writing new tracks on the same set-up. We'd got to the point where we were fluid enough for stuff to just come out." Brown elaborates: "Anything that existed from the live set we'd already been changing for a year or more. We were totally adept at getting stuff from nowhere. So the new tracks are like ghosts of what we'd been doing live." Bearing in mind their famed meticulousness - by Booth's own account they are "incredibly anal and precise people" - it seems remarkable that they made the decision deliberately to limit the scope for tampering with the fine details of the tracks. "I wish it were that romantic, but basically we'd barely set our studio up after I'd moved to Manchester," admits Booth. "It was just convenience. We can't resist temptation; it's more that we've learned to remove it. Once you record something as audio, two channels, you're pretty much stuck with it. So we've learned to prevent ourselves from being able to do it."}}</ref><ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Quaristice was all made from massive long jams,"}}</ref><ref>{{Cite interview\|page=We control the dice, 2008}} <!-- the excerpt that i wanted to use is 3 paragraphs long LOL --></ref><ref>{{Cite interview\|page=Barcode Interview, 2008}}</ref>

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

	After accumulating a large amount of live jams, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><ref>https://web.archive.org/web/20250823160144/https://post.lurk.org/@sean_ae/115078171668090014</ref><!-- add promotional details, plus what happened with versions -->		After accumulating a large amount of live jams, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><ref>https://web.archive.org/web/20250823160144/https://post.lurk.org/@sean_ae/115078171668090014</ref><!-- add promotional details, plus what happened with versions -->
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	* Elements of "Steels" made an appearance in the [[Quaristice Tour\|2008 live sets.]] ([https://youtu.be/BOl6sIMYPs0?si=pDxv0Ks5xO45Ikxb&t=2330 example])		* Elements of "Steels" made an appearance in the [[Quaristice Tour\|2008 live sets.]] ([https://youtu.be/BOl6sIMYPs0?si=pDxv0Ks5xO45Ikxb&t=2330 example])
	*In the Quaristice tour file dump, the MPC had a bunch of samples of sounds used in "Steels"; 64 samples of steeldif ("steeldif01.WAV" to "steeldif64.WAV") and 37 samples of steelxif ("steelxif01.WAV" to "steelxid37.WAV").<!-- the MPC also contained SHSTR which were samples used all over Quaristice, most prominently on Plc and 90101-5l-l --><!-- since i brought this up now, also note that there were files names, see SETLIST in the monomachines dump. also nice if someone with either the equipment of emulator to also be an expert on this. -->		*In the Quaristice tour file dump, the MPC had a bunch of samples of sounds used in "Steels"; 64 samples of steeldif ("steeldif01.WAV" to "steeldif64.WAV") and 37 samples of steelxif ("steelxif01.WAV" to "steelxid37.WAV"). Sean said in a 2008 interview that there were secret techniques involved in making those sounds.<ref>{{Cite interview\|page=Easy to be Hard, Remix, April 2008\|quote=As for the animal-accident-barking-crashing sound collisions of “Steels,” he only says, “I don't want to talk about how we did that 'cause there are some secret techniques involved, but most of it is MPC.}}</ref><!-- the MPC also contained SHSTR which were samples used all over Quaristice, most prominently on Plc and 90101-5l-l --><!-- since i brought this up now, also note that there were files names, see SETLIST in the monomachines dump. also nice if someone with either the equipment of emulator to also be an expert on this. -->

	===Tankakern===		===Tankakern===

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

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	===Fol3===		===Fol3===

	* "Fol3" initially started in Max~~, compiling various sound sources~~, before ~~getting~~ cut up in Renoise on Sean's laptop.<ref name=":1" /><ref name=":4" />		* "Fol3" initially started as a Max patch processing "50 or 60 samples" recorded with an AKG 1000 mic, before its output was then cut up in Renoise on Sean's laptop.<ref name=":1" /><ref name=":4" /> <ref>{{Cite interview\|page=Easy to be Hard, Remix, April 2008\|quote=“It's all stuff that was recorded with an AKG 1000 mic,” he replies, “then processed on a homemade patch, then used as source material and cut up. Just a simple edit job on a bunch of stuff, both physical things and instruments. I can't remember all the sources. The patch itself is running about 50 or 60 samples. Then that got cut up.”}}</ref>

	===fwzE===		===fwzE===

EnergyIsMassiveLight: typo

2025-10-03T20:23:29Z

typo

← Older revision		Revision as of 16:23, 3 October 2025
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	Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview\|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”\|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> <!-- could possibly write more here, as you scan see this is the "performing jams" part, and something akin to having the playing be more loose would be nice -->		Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview\|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”\|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> <!-- could possibly write more here, as you scan see this is the "performing jams" part, and something akin to having the playing be more loose would be nice -->

	After ~~much~~ of live jams ~~were done~~, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><ref>https://web.archive.org/web/20250823160144/https://post.lurk.org/@sean_ae/115078171668090014</ref><!-- add promotional details, plus what happened with versions -->		After accumulating a large amount of live jams, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><ref>https://web.archive.org/web/20250823160144/https://post.lurk.org/@sean_ae/115078171668090014</ref><!-- add promotional details, plus what happened with versions -->

	On January 10th, 2008, "Tankakern", "rale" and "WNSN" were shown off as part of The Wire On Air's "Adventures In Modern Music".<ref>https://web.archive.org/web/20080122114454/http://www.thewire.co.uk/index.php?page=articles&article=522</ref><ref>https://web.archive.org/web/20080122085224/http://www.bosbos.net/2008/01/19/autechre-quaristice-preview/</ref> There was also supposedly other tracks promoted in January, including the 22nd with "Simmm" and "paralel Suns" on Mary Anne Hobbs's Radio One show<ref>https://watmm-archive.com/t/28728/21</ref> and the 28th with "fwzE" on Rob Da Bank, Radio One.<ref>https://watmm-archive.com/t/28728/30</ref><!-- neither had archives on the specific dates, SAD! --> <!-- https://web.archive.org/web/20100129074517/http://forum.watmm.com:80/topic/30039-ahem/ --><!-- rewrite to parse better --><!-- https://watmm-archive.com/t/28728/6 read this for buildup to quaristice release (note, I got up to page 37) -->		On January 10th, 2008, "Tankakern", "rale" and "WNSN" were shown off as part of The Wire On Air's "Adventures In Modern Music".<ref>https://web.archive.org/web/20080122114454/http://www.thewire.co.uk/index.php?page=articles&article=522</ref><ref>https://web.archive.org/web/20080122085224/http://www.bosbos.net/2008/01/19/autechre-quaristice-preview/</ref> There was also supposedly other tracks promoted in January, including the 22nd with "Simmm" and "paralel Suns" on Mary Anne Hobbs's Radio One show<ref>https://watmm-archive.com/t/28728/21</ref> and the 28th with "fwzE" on Rob Da Bank, Radio One.<ref>https://watmm-archive.com/t/28728/30</ref><!-- neither had archives on the specific dates, SAD! --> <!-- https://web.archive.org/web/20100129074517/http://forum.watmm.com:80/topic/30039-ahem/ --><!-- rewrite to parse better --><!-- https://watmm-archive.com/t/28728/6 read this for buildup to quaristice release (note, I got up to page 37) -->

EnergyIsMassiveLight: versions writeup including announcement date

2025-09-05T15:00:04Z

versions writeup including announcement date

← Older revision		Revision as of 11:00, 5 September 2025
Line 12:		Line 12:
	}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. The physical version was set to release on March 3rd, 2008,<ref name=":6">https://bleep.com/release/9230-autechre-quaristice</ref><ref>https://web.archive.org/web/20071209163721/http://www.subba-cultcha.com/article_news.php?id=737</ref><!-- https://web.archive.org/web/20090215021528/http://www.side-line.com/news_comments.php?id=27802_0_2_0_C --> however the album was released early on January 29th, 2008 for digital download on Bleep.<ref>https://web.archive.org/web/20080129181242/http://www.bleep.com:80/</ref><ref>https://watmm-archive.com/t/28728/31</ref><ref name=":7">https://www.clashmusic.com/features/autechre-quaristice/</ref> Alongside the release of ''Quaristice'' was the limited edition ''[[Quaristice#Quaristice (Versions)\|Quaristice (Versions)]].''		}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. The physical version was set to release on March 3rd, 2008,<ref name=":6">https://bleep.com/release/9230-autechre-quaristice</ref><ref>https://web.archive.org/web/20071209163721/http://www.subba-cultcha.com/article_news.php?id=737</ref><!-- https://web.archive.org/web/20090215021528/http://www.side-line.com/news_comments.php?id=27802_0_2_0_C --> however the album was released early on January 29th, 2008 for digital download on Bleep.<ref>https://web.archive.org/web/20080129181242/http://www.bleep.com:80/</ref><ref>https://watmm-archive.com/t/28728/31</ref><ref name=":7">https://www.clashmusic.com/features/autechre-quaristice/</ref> Alongside the release of ''Quaristice'' was the limited edition ''[[Quaristice#Quaristice (Versions)\|Quaristice (Versions)]].''

	On September 5, 2025, a vinyl reissue of ''Quaristice'',<ref>https://web.archive.org/web/20250428142736/https://autechre.warp.net/format/1719959-quaristice</ref> ~~and~~ first-time vinyl pressing<ref>https://web.archive.org/web/20250428142739/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition</ref> and standalone digital release<ref>https://bleep.com/release/527943-autechre-quaristice-versions</ref~~><!-- Originally only available as part of the iconic and highly limited etched steel version of the initial 2008 CD release, now being given its own standalone digital release for the first time. --~~> of ''Quaristice (Versions)'', were put out alonside the ''[[Untilted]]'' reissue.		On September 5, 2025, a vinyl reissue of ''Quaristice''<ref>https://web.archive.org/web/20250428142736/https://autechre.warp.net/format/1719959-quaristice</ref> plus a first-time vinyl pressing<ref name=":8">https://web.archive.org/web/20250428142739/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition</ref> and standalone digital release<ref name=":9">https://bleep.com/release/527943-autechre-quaristice-versions</ref> of ''Quaristice (Versions)'' were put out alonside the ''[[Untilted]]'' reissue.<!-- announcement date needed? -->

	== History ==		== History ==
Line 125:		Line 125:
	\|label=Warp Records (WarpCD333X)		\|label=Warp Records (WarpCD333X)
	}}		}}
	~~Coinciding with the March 3rd release,~~ a steel case ~~edition~~ of ~~the~~ ''Quaristice'' ~~CD was released~~. ~~It was limited to 1,000 copies~~<ref name=":6" /> and was sold out within a day ~~after~~ the announcement. ~~In the limited edition CD set,~~ a second disc is included, titled ''Quaristice (Versions)'', which consists of alternate and extended versions ~~of certain tracks~~. <!-- ~~this needs to be expanded, see~~ the ~~bleep source with "The double~~ CD ~~set comes packaged in a Designers Republic styled~~, ~~photo~~-~~etched, 0.4mm steel slipcase with foil blocked inner gatefold wallet. Strictly limited to 1000 copies worldwide."~~ -->		Pre-orders were put up on Warpmart for a special edition steel case CD of ''Quaristice'' on January 29, 2008.<ref name=":10">https://watmm-archive.com/t/30415/1</ref> It was limited to 1000 copies worldwide and was sold out within a day of the announcement.<ref name=":10" /> On it a second disc was included, titled ''Quaristice (Versions)'', which consists of alternate and extended versions exclusive to the CD.

			On September 5, 2025, it was made widely available as a standalone digital release,<ref name=":9" /> alongside first-time pressings for vinyl.<ref name=":8" /> <!-- Originally only available as part of the iconic and highly limited etched steel version of the initial 2008 CD release, now being given its own standalone digital release for the first time. --> <!-- both cd and vinyl need a proper writeup of their designs -->

	===Altichyre===		===Altichyre===

EnergyIsMassiveLight: note on digital upload of versions

2025-09-05T14:04:32Z

note on digital upload of versions

← Older revision		Revision as of 10:04, 5 September 2025
Line 12:		Line 12:
	}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. The physical version was set to release on March 3rd, 2008,<ref name=":6">https://bleep.com/release/9230-autechre-quaristice</ref><ref>https://web.archive.org/web/20071209163721/http://www.subba-cultcha.com/article_news.php?id=737</ref><!-- https://web.archive.org/web/20090215021528/http://www.side-line.com/news_comments.php?id=27802_0_2_0_C --> however the album was released early on January 29th, 2008 for digital download on Bleep.<ref>https://web.archive.org/web/20080129181242/http://www.bleep.com:80/</ref><ref>https://watmm-archive.com/t/28728/31</ref><ref name=":7">https://www.clashmusic.com/features/autechre-quaristice/</ref> Alongside the release of ''Quaristice'' was the limited edition ''[[Quaristice#Quaristice (Versions)\|Quaristice (Versions)]].''		}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. The physical version was set to release on March 3rd, 2008,<ref name=":6">https://bleep.com/release/9230-autechre-quaristice</ref><ref>https://web.archive.org/web/20071209163721/http://www.subba-cultcha.com/article_news.php?id=737</ref><!-- https://web.archive.org/web/20090215021528/http://www.side-line.com/news_comments.php?id=27802_0_2_0_C --> however the album was released early on January 29th, 2008 for digital download on Bleep.<ref>https://web.archive.org/web/20080129181242/http://www.bleep.com:80/</ref><ref>https://watmm-archive.com/t/28728/31</ref><ref name=":7">https://www.clashmusic.com/features/autechre-quaristice/</ref> Alongside the release of ''Quaristice'' was the limited edition ''[[Quaristice#Quaristice (Versions)\|Quaristice (Versions)]].''

	~~In 2025<!--~~ September 5 ~~-->~~, a vinyl reissue of ''Quaristice''<ref>https://web.archive.org/web/20250428142736/https://autechre.warp.net/format/1719959-quaristice</ref> and first-time vinyl pressing ~~of ''Quaristice (Versions)''~~<ref>https://web.archive.org/web/20250428142739/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition</ref> were put out alonside the ''[[Untilted]]'' reissue.		On September 5, 2025, a vinyl reissue of ''Quaristice'',<ref>https://web.archive.org/web/20250428142736/https://autechre.warp.net/format/1719959-quaristice</ref> and first-time vinyl pressing<ref>https://web.archive.org/web/20250428142739/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition</ref> and standalone digital release<ref>https://bleep.com/release/527943-autechre-quaristice-versions</ref><!-- Originally only available as part of the iconic and highly limited etched steel version of the initial 2008 CD release, now being given its own standalone digital release for the first time. --> of ''Quaristice (Versions)'', were put out alonside the ''[[Untilted]]'' reissue.

	== History ==		== History ==

EnergyIsMassiveLight: additional quaristice source

2025-08-23T16:02:53Z

additional quaristice source

← Older revision		Revision as of 12:02, 23 August 2025
Line 19:		Line 19:
	Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview\|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”\|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> <!-- could possibly write more here, as you scan see this is the "performing jams" part, and something akin to having the playing be more loose would be nice -->		Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview\|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”\|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> <!-- could possibly write more here, as you scan see this is the "performing jams" part, and something akin to having the playing be more loose would be nice -->

	After much of live jams were done, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><!-- add promotional details, plus what happened with versions -->		After much of live jams were done, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><ref>https://web.archive.org/web/20250823160144/https://post.lurk.org/@sean_ae/115078171668090014</ref><!-- add promotional details, plus what happened with versions -->

	On January 10th, 2008, "Tankakern", "rale" and "WNSN" were shown off as part of The Wire On Air's "Adventures In Modern Music".<ref>https://web.archive.org/web/20080122114454/http://www.thewire.co.uk/index.php?page=articles&article=522</ref><ref>https://web.archive.org/web/20080122085224/http://www.bosbos.net/2008/01/19/autechre-quaristice-preview/</ref> There was also supposedly other tracks promoted in January, including the 22nd with "Simmm" and "paralel Suns" on Mary Anne Hobbs's Radio One show<ref>https://watmm-archive.com/t/28728/21</ref> and the 28th with "fwzE" on Rob Da Bank, Radio One.<ref>https://watmm-archive.com/t/28728/30</ref><!-- neither had archives on the specific dates, SAD! --> <!-- https://web.archive.org/web/20100129074517/http://forum.watmm.com:80/topic/30039-ahem/ --><!-- rewrite to parse better --><!-- https://watmm-archive.com/t/28728/6 read this for buildup to quaristice release (note, I got up to page 37) -->		On January 10th, 2008, "Tankakern", "rale" and "WNSN" were shown off as part of The Wire On Air's "Adventures In Modern Music".<ref>https://web.archive.org/web/20080122114454/http://www.thewire.co.uk/index.php?page=articles&article=522</ref><ref>https://web.archive.org/web/20080122085224/http://www.bosbos.net/2008/01/19/autechre-quaristice-preview/</ref> There was also supposedly other tracks promoted in January, including the 22nd with "Simmm" and "paralel Suns" on Mary Anne Hobbs's Radio One show<ref>https://watmm-archive.com/t/28728/21</ref> and the 28th with "fwzE" on Rob Da Bank, Radio One.<ref>https://watmm-archive.com/t/28728/30</ref><!-- neither had archives on the specific dates, SAD! --> <!-- https://web.archive.org/web/20100129074517/http://forum.watmm.com:80/topic/30039-ahem/ --><!-- rewrite to parse better --><!-- https://watmm-archive.com/t/28728/6 read this for buildup to quaristice release (note, I got up to page 37) -->

Zythion: updated track titles for "The PlclCpC" and "Perlence range3" according to the limited edition vinyl tracklist on AE_STORE (https://web.archive.org/web/20250522131548/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition)

2025-06-24T16:29:36Z

updated track titles for "The PlclCpC" and "Perlence range3" according to the limited edition vinyl tracklist on AE_STORE (https://web.archive.org/web/20250522131548/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition)

← Older revision		Revision as of 12:29, 24 June 2025
Line 128:		Line 128:
	===Altichyre===		===Altichyre===

	===The ~~PlclCpC~~===		===The Plc lCp C===

	*This particular version of "The Plc" first appeared in the [[Untilted Tour\|2005-2007 live sets]]. ([https://www.youtube.com/watch?v=li7wXbFnMKU&t=341s example])		*This particular version of "The Plc" first appeared in the [[Untilted Tour\|2005-2007 live sets]]. ([https://www.youtube.com/watch?v=li7wXbFnMKU&t=341s example])
Line 138:		Line 138:
	===Phylopn===		===Phylopn===

	===Perlence ~~range3~~===		===Perlence range 3===

	===SonDEre-ix===		===SonDEre-ix===
Line 181:		Line 181:
	{{tl section\|section=Quaristice (Versions)}}		{{tl section\|section=Quaristice (Versions)}}
	{{tl track\|number=1\|title=Altichyre\|length=1:43}}		{{tl track\|number=1\|title=Altichyre\|length=1:43}}
	{{tl track\|number=2\|title=The ~~PlclCpC~~\|length=9:18}}		{{tl track\|number=2\|title=The Plc lCp C\|length=9:18}}
	{{tl track\|number=3\|title=IO (mons)\|length=7:52}}		{{tl track\|number=3\|title=IO (mons)\|length=7:52}}
	{{tl track\|number=4\|title=Phylopn\|length=2:40}}		{{tl track\|number=4\|title=Phylopn\|length=2:40}}
	{{tl track\|number=5\|title=Perlence ~~range3~~\|length=7:37}}		{{tl track\|number=5\|title=Perlence range 3\|length=7:37}}
	{{tl track\|number=6\|title=SonDEre-ix\|length=3:27}}		{{tl track\|number=6\|title=SonDEre-ix\|length=3:27}}
	{{tl track\|number=7\|title=Tankraken\|length=5:28}}		{{tl track\|number=7\|title=Tankraken\|length=5:28}}
Line 202:		Line 202:
	\| Altibzz \|\| Altichyre		\| Altibzz \|\| Altichyre
	\|-		\|-
	\| The Plc \|\| The ~~PlclCpC~~ \|\| The Plc ccc		\| The Plc \|\| The Plc lCp C \|\| The Plc ccc
	\|-		\|-
	\| IO \|\| IO (mons) \|\| \|\| IO (mons)		\| IO \|\| IO (mons) \|\| \|\| IO (mons)
Line 208:		Line 208:
	\| plyPhon \|\| Phylopn		\| plyPhon \|\| Phylopn
	\|-		\|-
	\| Perlence \|\| Perlence ~~range3~~ \|\|		\| Perlence \|\| Perlence range 3 \|\|
	Perlence range 7		Perlence range 7

EnergyIsMassiveLight: extra info about release date, promo, other interviews, much more needs to be done

2025-06-01T16:16:30Z

extra info about release date, promo, other interviews, much more needs to be done

← Older revision		Revision as of 12:16, 1 June 2025
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	\|artist=[[Autechre]]		\|artist=[[Autechre]]
	\|cover=Quaristice.jpg		\|cover=Quaristice.jpg
	\|date=3 March 2008		\|date=29 January 2008 <small>(Digital)</small><br>3 March 2008 <small>(LP/CD)</small>
	\|label=Warp Records (WARP333)		\|label=Warp Records (WARP333)
	\|previous=[[Untilted]]		\|previous=[[Untilted]]
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	\|next=[[Digital Exclusives EP]]		\|next=[[Digital Exclusives EP]]
	\|next year=2008		\|next year=2008
	}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was ~~originally released~~ on March 3rd, 2008.<ref>https://bleep.com/release/9230-autechre-quaristice</ref> Alongside the release of ''Quaristice'' was the limited edition ''Quaristice (Versions)~~'', followed a few months later by [[Digital Exclusives EP~~\|~~''Digital Exclusives EP''~~]] ~~and ''[[Quaristice~~.~~Quadrange.ep.ae]]~~''.		}}'''''Quaristice''''' is the ninth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. The physical version was set to release on March 3rd, 2008,<ref name=":6">https://bleep.com/release/9230-autechre-quaristice</ref><ref>https://web.archive.org/web/20071209163721/http://www.subba-cultcha.com/article_news.php?id=737</ref><!-- https://web.archive.org/web/20090215021528/http://www.side-line.com/news_comments.php?id=27802_0_2_0_C --> however the album was released early on January 29th, 2008 for digital download on Bleep.<ref>https://web.archive.org/web/20080129181242/http://www.bleep.com:80/</ref><ref>https://watmm-archive.com/t/28728/31</ref><ref name=":7">https://www.clashmusic.com/features/autechre-quaristice/</ref> Alongside the release of ''Quaristice'' was the limited edition ''[[Quaristice#Quaristice (Versions)\|Quaristice (Versions)]].''

	In 2025<!-- September 5 -->, a vinyl reissue of ''Quaristice''<ref>https://web.archive.org/web/20250428142736/https://autechre.warp.net/format/1719959-quaristice</ref> and first-time vinyl pressing of ''Quaristice (Versions)''<ref>https://web.archive.org/web/20250428142739/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition</ref> were put out alonside the ''[[Untilted]]'' reissue.		In 2025<!-- September 5 -->, a vinyl reissue of ''Quaristice''<ref>https://web.archive.org/web/20250428142736/https://autechre.warp.net/format/1719959-quaristice</ref> and first-time vinyl pressing of ''Quaristice (Versions)''<ref>https://web.archive.org/web/20250428142739/https://autechre.warp.net/format/1719953-quaristice-4lp-limited-edition</ref> were put out alonside the ''[[Untilted]]'' reissue.

	== History ==		== History ==
	Around 2005, Sean moved to Manchester, which meant Sean had no studio set up and thus both him and Rob (in London at the time)<ref name=":2">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=Autechre's latest release, Quaristice (Warp, 2008), is more fuzzy and emotional than you might expect. Working on practically identical rigs in separate cities (Booth, Manchester; Brown, London), Autechre pursued conventional recording methods for past efforts like Confield (Warp, 2001) and Untilted (Warp, 2005), but Quaristice is the result of the duo's live improvisations, recorded largely on its touring setup: Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90.}}</ref> couldn't make music in the traditional sense.<ref>{{Cite interview\|page=FutureMusic Interview, 2008\|quote='''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?''' '''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' Soo we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface." '''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."}}</ref> Around the same time, they were performing a lot of shows during the [[Untilted Tour]] for money.<ref name=":1" /> The outcome was thus that a majority of the material that would later become ''Quaristice'' were instead the product of hundreds of jams done on their live equipment rather than the heavily sequenced music of ''[[Draft 7.30]]'' and ''[[Untilted]]''.<ref>{{Cite interview\|page=We control the dice, 2008\|quote=With their new album Quaristice, however, Autechre have traded scrupulous construction for spontaneity, looseness and improvisation. Since the turn of millennium, a gap existed between their ever more experimental album releases and their (slightly) more straightforward live sets, in which their uncanny rapport reaches its fullest expression. The new album draws heavily on this live methodology. "We were putting live tracks down in the studio, messing them up, making them into versions, which eventually became new tracks," explains Booth. "We put down loads of hour-long jams of bits of the live set that we were going to edit later. But we found ourselves just writing new tracks on the same set-up. We'd got to the point where we were fluid enough for stuff to just come out." Brown elaborates: "Anything that existed from the live set we'd already been changing for a year or more. We were totally adept at getting stuff from nowhere. So the new tracks are like ghosts of what we'd been doing live." Bearing in mind their famed meticulousness - by Booth's own account they are "incredibly anal and precise people" - it seems remarkable that they made the decision deliberately to limit the scope for tampering with the fine details of the tracks. "I wish it were that romantic, but basically we'd barely set our studio up after I'd moved to Manchester," admits Booth. "It was just convenience. We can't resist temptation; it's more that we've learned to remove it. Once you record something as audio, two channels, you're pretty much stuck with it. So we've learned to prevent ourselves from being able to do it."}}</ref><ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Quaristice was all made from massive long jams,"}}</ref><ref>{{Cite interview\|page=We control the dice, 2008}} <!-- the excerpt that i wanted to use is 3 paragraphs long LOL --></ref>		Around 2005, Sean moved to Manchester, which meant Sean had no studio set up and thus both him and Rob (in London at the time)<ref name=":2">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=Autechre's latest release, Quaristice (Warp, 2008), is more fuzzy and emotional than you might expect. Working on practically identical rigs in separate cities (Booth, Manchester; Brown, London), Autechre pursued conventional recording methods for past efforts like Confield (Warp, 2001) and Untilted (Warp, 2005), but Quaristice is the result of the duo's live improvisations, recorded largely on its touring setup: Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90.}}</ref> couldn't make music in the traditional sense.<ref>{{Cite interview\|page=FutureMusic Interview, 2008\|quote='''Even by your own high standards, some of the frequencies employed on Quaristice go further than you've gone before. Was that a conscious decision?''' '''Sean Booth:''' "This album sort of happened by chance really. I moved up to Manchester in 2005 and for about six months we were messing around with ideas and half doing tracks. We had to rewrite stuff for the live set but we thought 'before we do that we'll put down the stuff we've already got in the kit.' Soo we had a lot of the live set running in the studio and were putting down some long jam versions of the tracks, which we'd then cut down into much shorter tracks. So it just happened like that. Rather than us consciously thinking we'd do a load of live tracks it was more like we'd been doing it and having fun doing them, and the tunes were coming out so quickly because we were so used to working with the interface." '''Rob Brown:''' "I was just gonna say that it was quicker because of the hardware. When Sean was moving house I could’ve been in a state of limbo but I'd built a studio at mine and I'd been using the equipment from our live setup and stuff was just coming out — deeper stuff than you'd usually get from an afternoon’s work. You can spend three weeks working on something and end up with it sounding really staid compared to the original idea, but this stuff was coming out queasy, really weird and nice."}}</ref> Around the same time, they were performing a lot of shows during the [[Untilted Tour]] for money.<ref name=":1" /> The outcome was thus that a majority of the material that would later become ''Quaristice'' were instead the product of hundreds of jams done on their live equipment rather than the heavily sequenced music of ''[[Draft 7.30]]'' and ''[[Untilted]]''.<ref>{{Cite interview\|page=We control the dice, 2008\|quote=With their new album Quaristice, however, Autechre have traded scrupulous construction for spontaneity, looseness and improvisation. Since the turn of millennium, a gap existed between their ever more experimental album releases and their (slightly) more straightforward live sets, in which their uncanny rapport reaches its fullest expression. The new album draws heavily on this live methodology. "We were putting live tracks down in the studio, messing them up, making them into versions, which eventually became new tracks," explains Booth. "We put down loads of hour-long jams of bits of the live set that we were going to edit later. But we found ourselves just writing new tracks on the same set-up. We'd got to the point where we were fluid enough for stuff to just come out." Brown elaborates: "Anything that existed from the live set we'd already been changing for a year or more. We were totally adept at getting stuff from nowhere. So the new tracks are like ghosts of what we'd been doing live." Bearing in mind their famed meticulousness - by Booth's own account they are "incredibly anal and precise people" - it seems remarkable that they made the decision deliberately to limit the scope for tampering with the fine details of the tracks. "I wish it were that romantic, but basically we'd barely set our studio up after I'd moved to Manchester," admits Booth. "It was just convenience. We can't resist temptation; it's more that we've learned to remove it. Once you record something as audio, two channels, you're pretty much stuck with it. So we've learned to prevent ourselves from being able to do it."}}</ref><ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Quaristice was all made from massive long jams,"}}</ref><ref>{{Cite interview\|page=We control the dice, 2008}} <!-- the excerpt that i wanted to use is 3 paragraphs long LOL --></ref><ref>{{Cite interview\|page=Barcode Interview, 2008}}</ref>

	Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview\|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”\|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> <!-- could possibly write more here, as you scan see this is the "performing jams" part, and something akin to having the playing be more loose would be nice -->		Much of it was done using their live setup which at the time consisted of "Apple Mac G4, Elektron Machinedrum and Monomachine, Clavia Nord Modular G2 and Nord Rack, Yamaha FS1R, Akai MPC1000, Alesis QuadraVerb and Lexicon PCM 80 and 90",<ref name=":2" /> a majority of which were equipment carried over from ''[[Untilted]]''.''<ref>{{Cite interview\|quote=“There are all sorts of limitations implied with algorithmic music based on the way the system functions that we wanted to get around,” Booth continues. “That is what the last two albums were about, really. We used almost the same hardware for Untilted as Quaristice, but in a nonreal-time way, where we programmed all the sequencers to run in quite complex ways, retriggering each other and receiving each other's outputs and inputs. That was press and play and leaving it for a while and adding slight bits of unpredictability. This one being live is a completely opposite path.”\|page=Easy to be Hard, April 2008}}</ref>'' The process consisted of months recording "two hour-long jams a day".<ref name=":3">{{Cite interview\|page=Easy to be Hard, April 2008\|quote=“This album was made from really long live jam sessions,” Booth explains. “When I moved to Manchester in 2005, the first thing we did was set up a new studio with the live kit and record these really long jams. It turned out good, so we just kept doing it and writing new stuff with the same setup. Having that ability and so much drive capacity nowadays makes it easy to record everything. We did two hour-long jams a day. It took six months to edit it all down to six- or eight-minute tracks. Then we would reduce them again and again. We had a lot of different versions to choose from. We were also reusing bits of sequences from other tracks. Once we got them in a rough format, we used [MOTU] Digital Performer for all the editing.”}}</ref> <!-- could possibly write more here, as you scan see this is the "performing jams" part, and something akin to having the playing be more loose would be nice -->
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	After much of live jams were done, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><!-- add promotional details, plus what happened with versions -->		After much of live jams were done, they realised they had too much material and spent the last six months before the delivery date editing down all the jams.<ref>{{Cite interview\|page=Autechre: Dancers in the Dark, March 2008\|quote="Six months before we had to deliver the album we realised we had too much and we were like, 'shit we'd better start editing now!'}}</ref><ref name=":3" /> Sean noted in FutureMusic that there was a four month period of "just pure listening through and editing."<ref name=":0">{{Cite interview\|page=FutureMusic Interview, 2008\|quote=SB: "We did have about four months of just pure listening through and editing, but Digital Performer has all those new tools like Slide, where you can move the audio within the sections."}}</ref> The mixes were first edited down to 6-8 minutes, then edited down even further, before creating the finalised edits in MOTU Digital Performer.<ref name=":3" /><!-- add promotional details, plus what happened with versions -->

	On January 10th, 2008, "Tankakern", "rale" and "WNSN" were shown off as part of The Wire On Air's "Adventures In Modern Music".<ref>https://web.archive.org/web/20080122114454/http://www.thewire.co.uk/index.php?page=articles&article=522</ref><ref>https://web.archive.org/web/20080122085224/http://www.bosbos.net/2008/01/19/autechre-quaristice-preview/</ref> <!-- https://web.archive.org/web/20100129074517/http://forum.watmm.com:80/topic/30039-ahem/ --><!-- rewrite to parse better -->		On January 10th, 2008, "Tankakern", "rale" and "WNSN" were shown off as part of The Wire On Air's "Adventures In Modern Music".<ref>https://web.archive.org/web/20080122114454/http://www.thewire.co.uk/index.php?page=articles&article=522</ref><ref>https://web.archive.org/web/20080122085224/http://www.bosbos.net/2008/01/19/autechre-quaristice-preview/</ref> There was also supposedly other tracks promoted in January, including the 22nd with "Simmm" and "paralel Suns" on Mary Anne Hobbs's Radio One show<ref>https://watmm-archive.com/t/28728/21</ref> and the 28th with "fwzE" on Rob Da Bank, Radio One.<ref>https://watmm-archive.com/t/28728/30</ref><!-- neither had archives on the specific dates, SAD! --> <!-- https://web.archive.org/web/20100129074517/http://forum.watmm.com:80/topic/30039-ahem/ --><!-- rewrite to parse better --><!-- https://watmm-archive.com/t/28728/6 read this for buildup to quaristice release (note, I got up to page 37) -->

			In an interview with Clash Magazine after ''Quaristice'' was released 6 weeks earlier digitally onto Bleep,<!-- find issue 25, I cant find anywhere to even PURCHASE it ???? --> Sean mentioned that the "actual product is the FLAC file", preferring its digital distribution over physical.<ref name=":7" /> <!-- https://web.archive.org/web/20071209163721/http://www.subba-cultcha.com/article_news.php?id=737
			limited number of advanced copies being distributed?

			https://web.archive.org/web/20071214083340/http://www.drownedinsound.com/articles/2687857 --><!-- https://watmm-archive.com/t/28728/36 (interview?) -->

	===Design===		===Design===
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	\|label=Warp Records (WarpCD333X)		\|label=Warp Records (WarpCD333X)
	}}		}}
	Coinciding with the March 3rd release, a steel case edition of the ''Quaristice'' CD was released. It was limited to 1,000 copies and was sold out within a day after the announcement. In the limited edition CD set, a second disc is included, titled ''Quaristice (Versions)'', which consists of alternate and extended versions of certain tracks.		Coinciding with the March 3rd release, a steel case edition of the ''Quaristice'' CD was released. It was limited to 1,000 copies<ref name=":6" /> and was sold out within a day after the announcement. In the limited edition CD set, a second disc is included, titled ''Quaristice (Versions)'', which consists of alternate and extended versions of certain tracks. <!-- this needs to be expanded, see the bleep source with "The double CD set comes packaged in a Designers Republic styled, photo-etched, 0.4mm steel slipcase with foil blocked inner gatefold wallet. Strictly limited to 1000 copies worldwide." -->
	===Altichyre===		===Altichyre===

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	*At the time of release, ''Quaristice'' had the most tracks for a singe Autechre album, totally at 20 tracks (excluding the bonus track on the Japanese CD). It would eventually be beaten by ''[[elseq 1-5]]'', which had 21 tracks.		*At the time of release, ''Quaristice'' had the most tracks for a singe Autechre album, totally at 20 tracks (excluding the bonus track on the Japanese CD). It would eventually be beaten by ''[[elseq 1-5]]'', which had 21 tracks.
	*On ''[[Hanalgig]],'' a 2007 demo from the ''Quaristice'' sessions was leaked''.''		*On ''[[Hanalgig]],'' a 2007 demo from the ''Quaristice'' sessions was leaked''.''
			*In the Clash Magazine interview, Sean notes that it was the first time they 'watermarked' the promo releases.<ref name=":7" /><ref>https://watmm-archive.com/t/28728/10</ref>

	==Gallery==		==Gallery==

EnergyIsMassiveLight: lol typo

2025-05-27T20:36:18Z

lol typo

← Older revision		Revision as of 16:36, 27 May 2025
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	*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>		*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>
	*The 'lyrics' in "IO" are taken from a reading of Stephen Hawking and Leonard Mlodinow's "A Briefer History of Time"<ref>https://forum.keyosc.com/topic/731-io-lyrics-and-analysis/#comment-16896</ref>. When Sean was asked about a connection to "A Brief History of Time", he said ~~has~~ no memory of it being used.<ref>https://imgur.com/a/sean-ae-mastodon-2024-09-05-io-stephen-hawking-sample-https-post-lurk-org-sean-ae-113084508782375421-CvQrfU0</ref>		*The 'lyrics' in "IO" are taken from a reading of Stephen Hawking and Leonard Mlodinow's "A Briefer History of Time"<ref>https://forum.keyosc.com/topic/731-io-lyrics-and-analysis/#comment-16896</ref>. When Sean was asked about a connection to "A Brief History of Time", he said he had no memory of it being used.<ref>https://imgur.com/a/sean-ae-mastodon-2024-09-05-io-stephen-hawking-sample-https-post-lurk-org-sean-ae-113084508782375421-CvQrfU0</ref>
	*"IO" appeared during the [[Untilted Tour\|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour\|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).		*"IO" appeared during the [[Untilted Tour\|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour\|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).

EnergyIsMassiveLight: lol typo

2025-05-27T20:35:58Z

lol typo

← Older revision		Revision as of 16:35, 27 May 2025
Line 41:		Line 41:

	*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>		*As demonstrated by Landon Lechner, the main melodic line alternates between two whole-tone scale lines, one ascending and one descending. When viewed in piano roll, it forms an X. <ref>https://www.youtube.com/watch?v=LAZPhRLqpOs</ref>
	*The 'lyrics' in "IO" are taken from a reading of of Stephen Hawking and Leonard Mlodinow's "A Briefer History of Time"<ref>https://forum.keyosc.com/topic/731-io-lyrics-and-analysis/#comment-16896</ref>. When Sean was asked about a connection to "A Brief History of Time", he said has no memory of it being used.<ref>https://imgur.com/a/sean-ae-mastodon-2024-09-05-io-stephen-hawking-sample-https-post-lurk-org-sean-ae-113084508782375421-CvQrfU0</ref>		*The 'lyrics' in "IO" are taken from a reading of Stephen Hawking and Leonard Mlodinow's "A Briefer History of Time"<ref>https://forum.keyosc.com/topic/731-io-lyrics-and-analysis/#comment-16896</ref>. When Sean was asked about a connection to "A Brief History of Time", he said has no memory of it being used.<ref>https://imgur.com/a/sean-ae-mastodon-2024-09-05-io-stephen-hawking-sample-https-post-lurk-org-sean-ae-113084508782375421-CvQrfU0</ref>
	*"IO" appeared during the [[Untilted Tour\|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour\|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).		*"IO" appeared during the [[Untilted Tour\|2005-2007 live sets]]. ([https://youtu.be/JSpS3TFS3P0?si=7L-VoIxqV8tV424H&t=2491 example]) and [[Quaristice Tour\|2008 live sets]]. ([https://youtu.be/BOl6sIMYPs0?si=pLb0CLF2fRkNRXMV&t=1888 example]).