prudo
26-11-2009, 18:13
segnalo agli utenti del forum che si interessano di musica elettronica in genere questa nuova uscita di Monolake
http://www.monolake.de/releases/ml-025.html
non la segnalo solo dal punto di vista artistico (in verità la devo ancora ascoltare anche io...), ma la segnalo SOPRATTUTTO dal punto di vista del workflow che sta alla base di questo specifico lavoro.
Monolake, alias Robert Henke, per chi non lo sapesse, è una delle menti che hanno ideato Ableton Live dalle origini.
ha anche ideato molti dei suoi plugin (uno per tutti "operator").
dal punto di vista artistico mi piace, anche se non mi ha mai fatto impazzire.
artisticamente è stato sicuramente favorito dal fatto di essere ambasciatore ufficiale di Live e del poter quindi "professare" per tutto il mondo il verbo di Ableton.
è da sempre però un personaggio MOLTO MOLTO attento al modo di produrre musica, alle sue tecnologie, alle innovazioni e alle qualità del mondo analogico in comparazione di quello digitale.
infatti il disco in questione ha delle particolarità.
è tutto spiegato per filo e per segno alla pagina del link che ho postato.
la cosa da evidenziare in particolar modo è la totale assenza dell'utilizzo di compressori, limiter o massimizzatori in tutti gli stadi della produzione del disco.
quoto le caratteristiche della produzione:
sound sources include field recordings of airport announcements, hammering on metal plates at the former Kabelwerk Oberspree, Berlin, several sounds captured inside the large radio antenna dome at Teufelsberg, Berlin, dripping water at the Botanical Garden Florence, air condition systems and turbines in Las Vegas, Frankfurt and Tokyo, walking on rocks in Joshua Tree National Park, wind from the Grand Canyon, a friends answering machine, a printer, conversations via mobile phones, typing on an old Macintosh keyboard and recordings from tunnel works in Switzerland. Synthetic sounds exclusively created with the software instruments Operator, Tension, Analog and the build in effects inside Ableton Live. Additional sound design and sequencing using MAXMSP / MaxForLive. Additional reverb: various impulse repsonses via Altiverb. Composed, edited and mixed entirely in Live on a MacBookPro with a pair of Genelec 8040s. Mastering by Rashad Becker at Audioanwendungen September 2009.
The music on this album has not been compressed, limited or maximized at any production stage. Why not?
Once upon a time, music had dynamics. There were loud parts, and there were more quiet parts. Then came radio. In radio there is a technical limit for the transmittable maximum volume. As a consequence the average level of music with a high dynamic range is lower than the average level of music with a low dynamic range. The loudest possible music in radio is music where every element is constantly hitting the limit, music with no dynamics at all. Radio, and more recently mp3 players and laptop speakers influenced the way popular music is composed, produced and mastered: Every single event has to be at maximum level all the time. This works best with music that is sonically simple, and music in which only a few elements are interacting. A symphony does not sound convincing thru a mobile phone speaker, and a maximized symphony does not sound convincing at all.
Monolake is about complexity, about details, about the elastic tension between beats in the foreground and textural elements in the background. We want to preserve that balance as much as possible in the final product and this is why the music on this album is produced without applying any compression.
About the mastering: Mastering was done entierly in the anolog domain, using a selection of vintage and high end EQs running at 'hot levels'. This impies there is a certain degree of saturation going on in very loud parts due to electrical characteristis of the tubes, transistors and audio transformers involved, but that's it as far as nonlinear behaviour is concerned.
More (general) thoughts on mastering can be found here:
http://www.monolake.de/interviews/mastering.html
spero che la cosa possa risultare stimolante per fare delle riflessioni a magari prendere spunto dal punto di vista tecnico/produttivo.
http://www.monolake.de/releases/ml-025.html
non la segnalo solo dal punto di vista artistico (in verità la devo ancora ascoltare anche io...), ma la segnalo SOPRATTUTTO dal punto di vista del workflow che sta alla base di questo specifico lavoro.
Monolake, alias Robert Henke, per chi non lo sapesse, è una delle menti che hanno ideato Ableton Live dalle origini.
ha anche ideato molti dei suoi plugin (uno per tutti "operator").
dal punto di vista artistico mi piace, anche se non mi ha mai fatto impazzire.
artisticamente è stato sicuramente favorito dal fatto di essere ambasciatore ufficiale di Live e del poter quindi "professare" per tutto il mondo il verbo di Ableton.
è da sempre però un personaggio MOLTO MOLTO attento al modo di produrre musica, alle sue tecnologie, alle innovazioni e alle qualità del mondo analogico in comparazione di quello digitale.
infatti il disco in questione ha delle particolarità.
è tutto spiegato per filo e per segno alla pagina del link che ho postato.
la cosa da evidenziare in particolar modo è la totale assenza dell'utilizzo di compressori, limiter o massimizzatori in tutti gli stadi della produzione del disco.
quoto le caratteristiche della produzione:
sound sources include field recordings of airport announcements, hammering on metal plates at the former Kabelwerk Oberspree, Berlin, several sounds captured inside the large radio antenna dome at Teufelsberg, Berlin, dripping water at the Botanical Garden Florence, air condition systems and turbines in Las Vegas, Frankfurt and Tokyo, walking on rocks in Joshua Tree National Park, wind from the Grand Canyon, a friends answering machine, a printer, conversations via mobile phones, typing on an old Macintosh keyboard and recordings from tunnel works in Switzerland. Synthetic sounds exclusively created with the software instruments Operator, Tension, Analog and the build in effects inside Ableton Live. Additional sound design and sequencing using MAXMSP / MaxForLive. Additional reverb: various impulse repsonses via Altiverb. Composed, edited and mixed entirely in Live on a MacBookPro with a pair of Genelec 8040s. Mastering by Rashad Becker at Audioanwendungen September 2009.
The music on this album has not been compressed, limited or maximized at any production stage. Why not?
Once upon a time, music had dynamics. There were loud parts, and there were more quiet parts. Then came radio. In radio there is a technical limit for the transmittable maximum volume. As a consequence the average level of music with a high dynamic range is lower than the average level of music with a low dynamic range. The loudest possible music in radio is music where every element is constantly hitting the limit, music with no dynamics at all. Radio, and more recently mp3 players and laptop speakers influenced the way popular music is composed, produced and mastered: Every single event has to be at maximum level all the time. This works best with music that is sonically simple, and music in which only a few elements are interacting. A symphony does not sound convincing thru a mobile phone speaker, and a maximized symphony does not sound convincing at all.
Monolake is about complexity, about details, about the elastic tension between beats in the foreground and textural elements in the background. We want to preserve that balance as much as possible in the final product and this is why the music on this album is produced without applying any compression.
About the mastering: Mastering was done entierly in the anolog domain, using a selection of vintage and high end EQs running at 'hot levels'. This impies there is a certain degree of saturation going on in very loud parts due to electrical characteristis of the tubes, transistors and audio transformers involved, but that's it as far as nonlinear behaviour is concerned.
More (general) thoughts on mastering can be found here:
http://www.monolake.de/interviews/mastering.html
spero che la cosa possa risultare stimolante per fare delle riflessioni a magari prendere spunto dal punto di vista tecnico/produttivo.