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Well he's wrong about number 11 lol I like Tom, and even though not all of his releases I'm a massive fan of, I sincerely respect all his twists and turns. Because he's (and Autechre) aren't work shy, I can live with a few duds, as I know it won't be long before summat I like turns up. I think perhaps this was the downfall of Tomorrows Harvest with some of BOC's fanbase, too long a wait and with God knows what time span before something next. With Squarepusher, you just shrug it off and have a little patience. In terms of instrumentation, I like to see what atypical methods of playing can be explored. (It is interesting to note here that sometimes, though a sound has been very torturous to generate, it may end up sounding entirely conventional. An example of this is 'Square Rave' from 'Selection Sixteen', where although it roughly speaking sounds as if it was sequenced using conventional methods, it was in fact all played at half speed from a bass guitar >midi converter and then the overall piece's structure was made by splicing sections of tape together.

Rare Earth - Get Ready you sit in a plane? Finger Playlist: David Holmes. By Tolerance data serial keygens. Finger Magazine. Finger Magazine. Squarepusher - Feed Me Weird Things you go.

In this way many experimental methods are disguised from seeming as such.). Squarepusher is mentioned in 'Ulysees' by James Joyce, and is apparently an old -english term for an archer. I am always asked this question -I do not appreciate why a name has so much significance.

As a pseudonym, I suppose people assume that it was chosen because of some resonance between its implied meaning and some principal attribute of the work presented under that name. My thoughts in this regard were always that a pseudonym, like any other name is a matter of convenience and has no inherent meaning whatsoever. This track was made by tracking my bass playing using a Pitch to Midi converter. That means that the note to note data of the musical performance is encoded and resolved to a finite set of parameters which are then transmitted over a serial data connection. The typical parameters include the actual note, its volume and its length.

Also transmissible are arbitrary parameters such as those controlled by foot pedals. All of this data can then be used to control and play any instrument with a Midi connection.

In the instance of this track, the sounds being controlled by my bass playing are actually generated by computer programs. As such the title is an oblique joke about the character of the modern bass having nothing to do with it's inherent sound making capacity. I've always wondered how the heck Go Plastic was made. I mean if you listen to the 'Girl' version of My Red Hot Car, it seems much more plausible that it's just relatively few crispy sequences running together.