What do you mean stagger?? I haven't heard that word used musically. Do you mean the syncopated style he uses? Where you think a musical note should go to sound good but actually it is placed off sync or off beat on purpose and creates a syncopated, unexpectedly good sounding sound. But I'm not even sure he does this with instruments? Usually it's with the drums he does this a lot
@@Speedster189 I don't know if it's syncopation technically, as it's not the combination of two rhythms, rather the note is just placed off the expected rhythm. in this case the arpeggio synth forming the chord, is placed off the quaver (or eighth note) in quite a random way. Go to 1:02 , the first bar here has the synth on the quaver rhythm, whereas the 3rd bar disrupts that obvious pattern. Staggered is a good way of describing this without falling into the technicalities of syncopation.
Indeed. The staggered notes make less sense outside context. It's certainly a display of Richard's writing skills. He was probably weighting whether to keep the beat fixed or tether the melody to some of the syncopated 808s. If it hits the bass off the main metre, then the perception of the beat changes, and the rest until the next note feels much shorter relative to its actual duration due to rewiring. The stagger effect contributes to temporal variation and thus temporarily obfuscates events. It's an auditory response to sABR, the same effect that makes the tick of a clock slower after blinking. That being said, stagger is fundamentally a dissonant phenomenon. Move the sample on a sinewave off its axis every other non-integer cycle and you will get dissonant overtones. It takes work to throw off a synchronised system. Similarly, on account of our brains also being synchronised systems, it takes additional energy to decode desync sensory events. When staggering, therefore, it is to achieve some deliberate effect, because anomalies never go unnoticed. Pairing the melody with the rhythm section emphasises this juxtaposition and throws the listener off as intended.
Learning as I go. I do spend way too much time researching new topics in order to answer interesting UA-cam comments. I don't think this is what you wanted to know, but I played in a rock band and produced some esoteric and pretentious music for 15 years, studying oriental linguistic and natural sciences during the former 10, majoring in physics for the remainder. I regrettably listen to too many podcasts of further pretentious nutjobs arguing neuroscience and philosophy. But I guess I occasionally learn something that is useful. I'm sorry I can't answer exactly where I learned this stuff in particular. Places range in the thousands. I can't hold more than a few ideas in my head at a time. The more new things I do, the more triggers for old begin to reappear in my mind. It's like when you hear a new song you can swear you've heard before. Gradually the words and notes intertwine, and from the stem blossom into new ideas to call attention to the roots from which they grow. I believe music creatives such as us share this gift. Off the top of my head, some of the ideas that intermingle with Richard's approach to timing are hip hop drum sampling, notably J Dilla, then the inevitably temporal relationship between a kick drum and bass guitar on monophonic synthesizers or music tracker channels like LSDJ, and how this all ties into the phase phenomenon of spontaneous synchronisation where if you place a dozen metronomes coupled on a platform physically ticking away at different starting times, eventually they'll all synchronise due to energy transfers nudging ticking events into zero crossings where the waves no longer cancel. The _harmony_ (so to speak) of rhythm is also largely about cancelling phases. The beat _wants_ to be constant, and it _will_ be constant, as if you just wait long enough, it will eventually repeat. (This is also true philosophically, as when someone else replays your song, the song repeats, just as if the whole song itself had been 1 incredibly long beat.) An unprecedented juxtaposition of "the constant and harmonious" versus "the variant and dissonant" is exaggerated in modern music, where machines have achieved a practically perfect beat. This "true zero" reference point emphasizes "imperfections", making subdivided rhythms so noticeable that the industry has recently seen no choice but to surgically stitch all rhythms to a grid. The reason this "true zero" versus "imperfect" distinction is important is because it says something about our brain's ability to adapt to complex information. People had no problem listening to "unquantised" music before. The problem arises when within a certain frame of time we're forced to contend with sounds that are hardly discernable versus sounds that are easily discernable. Like how some people are visibly annoyed by the TV and radio being on simultaneously, the further source muddling the one that's closer. Other evidence also seem to point towards the brain's adapting to the perception of time is a continuous process. It necessarily means that while _you_ may believe you know the beginning and end of a musical beat, even when synths and samples are flying left and right, your brain certainly doesn't. By providing contradictory information: two distinct bass drums; multiple different snare drums, what's down-beat and what's up-beat becomes uncertain, and the "intent" of the rhythm is obfuscated. It may have been that the beat was changed when the bass came in a step too late. It may have been that the beat was _already_ changed by the bass, and came in earlier than expected by the drums. But for the brain ambiguity is an illegal state. People always default to some way to interpret what they are experiencing, so as to not go insane. Therefore, the "beat" as it is perceived by the listener, is one, and a place in between. This paradox of the beat being experienced as either longer or shorter than what is actually heard is the kind of contraction/dilation that causes feelings of panic or release. Such effectful timing is the kind of artistic technique that Richard mastered in electronic music. It's a nuanced push/pull kind of language of urgency. Obfuscation itself is a very important element known to everyone who has ever attempted to produce or record music. In psychological terms, it is the event where you are so overwhelmed with stimuli that your ability to make qualitative judgments breaks down. "Noise", the genre, is the musical conclusion to this phenomenon, what might be called _functional auditory agnosia_, the inability to interpret sounds, and is a vibe Richard is not entirely unfamiliar with, having put out several albums with harsh soundscapes of overdriven screams. In more conventional music, obfuscation is the simple realisation that an ensemble of musicians generally produce a more consistent sound than each of its parts on their own, and that picking out the nuances of one voice from a choir of 20 singing in unison is no easy task. Just like the difference in perception between the spokes of a bicycle wheel rotating in 1Hz and 5Hz, many sounds eventually become one. What many modern producers and mixing engineers pride themselves on, working on studio projects with hundreds upon hundreds of layers, is an act of obfuscating individual recordings by design; the "mix" is greater than the sum of its parts because the parts are allowed to be drowned out, becoming instead a cohesive single. If you want to go philosophical, you could even say that all things in the observable universe are parts of an ensemble that obfuscates each indivisible something that dances right above the Planck length. And it is this oneness that gives everything its form. I sincerely hope you don't take offence of this. I write primarily for myself. Writeups often go incredibly information dense, hard to read as my own handwriting in words, because I put every word down as a reminder to myself for when occasionally I am notified of a response. It is by those means I try to manipulate my environment, including social media algorithms, so as to provide only what I want when I know what I need, even when I am too tired to consciously choose. I also don't spend too much time on routines. Food is dense, commutes are short, possessions few and well organised. These, too, may answer how and why I learn such things. My friends are harsh critics. Good friends. I fight them daily. I lose when I bite off more than I can chew. While thinking on command is challenging, the underlying ideas are all hardwired up there. So I'm always just waiting for the right trigger to unleash them externally. Once they've materialised, I can begin working with them formally, as in a comment, a report, an article or a message to a friend. @@BlissfulWizard82
There's two more after 2:42 seconds apart. Also, notice that more than just the drums have been removed. They're probably mistakes, but I think it's just supposed to be ambient
This still has a giant bass drum in it. That's why it doesn't sound so empty without drums because it still has one major drum in it. If it remove the bass drum it would sound a lot more empty trust me
I can do it but that takes a lot of time. Richard posted this is a real file only he had. To re do that song I would have to recreate it bit by bit without drums would take a long time and wouldn't be with any of the original exact synthetic but close sounding ones
do you have a link to the download from the Vimeo page? he happened to remove it or i'm just unable to find it for some reason. edit: i'm realizing you probably just took the audio from the video instead. for some reason i thought it was more chopped up and paused at certain parts.
yes i took the audio from the vimeo video. if you can't find it, there is a reupload on youtube which i didn't know existed before i uploaded mine : ua-cam.com/video/pAZo7x83it4/v-deo.html
Stop comparing things. Besides with Richard this one WAS the original he most likely added the drums after. He even saved this version for many years and gave it to us for free many years later
When that beat drop doe 00:38
the way the notes stagger gives an elegant, desperate feeling.
What do you mean stagger?? I haven't heard that word used musically. Do you mean the syncopated style he uses? Where you think a musical note should go to sound good but actually it is placed off sync or off beat on purpose and creates a syncopated, unexpectedly good sounding sound.
But I'm not even sure he does this with instruments? Usually it's with the drums he does this a lot
@@Speedster189 I don't know if it's syncopation technically, as it's not the combination of two rhythms, rather the note is just placed off the expected rhythm. in this case the arpeggio synth forming the chord, is placed off the quaver (or eighth note) in quite a random way. Go to 1:02 , the first bar here has the synth on the quaver rhythm, whereas the 3rd bar disrupts that obvious pattern. Staggered is a good way of describing this without falling into the technicalities of syncopation.
Indeed. The staggered notes make less sense outside context. It's certainly a display of Richard's writing skills. He was probably weighting whether to keep the beat fixed or tether the melody to some of the syncopated 808s. If it hits the bass off the main metre, then the perception of the beat changes, and the rest until the next note feels much shorter relative to its actual duration due to rewiring. The stagger effect contributes to temporal variation and thus temporarily obfuscates events. It's an auditory response to sABR, the same effect that makes the tick of a clock slower after blinking. That being said, stagger is fundamentally a dissonant phenomenon. Move the sample on a sinewave off its axis every other non-integer cycle and you will get dissonant overtones. It takes work to throw off a synchronised system. Similarly, on account of our brains also being synchronised systems, it takes additional energy to decode desync sensory events. When staggering, therefore, it is to achieve some deliberate effect, because anomalies never go unnoticed. Pairing the melody with the rhythm section emphasises this juxtaposition and throws the listener off as intended.
@@voilabolognessich423damn man. Where did you learn this stuff. I’m intrigued!
Learning as I go. I do spend way too much time researching new topics in order to answer interesting UA-cam comments.
I don't think this is what you wanted to know, but I played in a rock band and produced some esoteric and pretentious music for 15 years, studying oriental linguistic and natural sciences during the former 10, majoring in physics for the remainder. I regrettably listen to too many podcasts of further pretentious nutjobs arguing neuroscience and philosophy. But I guess I occasionally learn something that is useful.
I'm sorry I can't answer exactly where I learned this stuff in particular. Places range in the thousands. I can't hold more than a few ideas in my head at a time. The more new things I do, the more triggers for old begin to reappear in my mind. It's like when you hear a new song you can swear you've heard before. Gradually the words and notes intertwine, and from the stem blossom into new ideas to call attention to the roots from which they grow. I believe music creatives such as us share this gift.
Off the top of my head, some of the ideas that intermingle with Richard's approach to timing are hip hop drum sampling, notably J Dilla, then the inevitably temporal relationship between a kick drum and bass guitar on monophonic synthesizers or music tracker channels like LSDJ, and how this all ties into the phase phenomenon of spontaneous synchronisation where if you place a dozen metronomes coupled on a platform physically ticking away at different starting times, eventually they'll all synchronise due to energy transfers nudging ticking events into zero crossings where the waves no longer cancel.
The _harmony_ (so to speak) of rhythm is also largely about cancelling phases. The beat _wants_ to be constant, and it _will_ be constant, as if you just wait long enough, it will eventually repeat. (This is also true philosophically, as when someone else replays your song, the song repeats, just as if the whole song itself had been 1 incredibly long beat.)
An unprecedented juxtaposition of "the constant and harmonious" versus "the variant and dissonant" is exaggerated in modern music, where machines have achieved a practically perfect beat. This "true zero" reference point emphasizes "imperfections", making subdivided rhythms so noticeable that the industry has recently seen no choice but to surgically stitch all rhythms to a grid.
The reason this "true zero" versus "imperfect" distinction is important is because it says something about our brain's ability to adapt to complex information. People had no problem listening to "unquantised" music before. The problem arises when within a certain frame of time we're forced to contend with sounds that are hardly discernable versus sounds that are easily discernable. Like how some people are visibly annoyed by the TV and radio being on simultaneously, the further source muddling the one that's closer.
Other evidence also seem to point towards the brain's adapting to the perception of time is a continuous process. It necessarily means that while _you_ may believe you know the beginning and end of a musical beat, even when synths and samples are flying left and right, your brain certainly doesn't. By providing contradictory information: two distinct bass drums; multiple different snare drums, what's down-beat and what's up-beat becomes uncertain, and the "intent" of the rhythm is obfuscated.
It may have been that the beat was changed when the bass came in a step too late. It may have been that the beat was _already_ changed by the bass, and came in earlier than expected by the drums. But for the brain ambiguity is an illegal state. People always default to some way to interpret what they are experiencing, so as to not go insane. Therefore, the "beat" as it is perceived by the listener, is one, and a place in between. This paradox of the beat being experienced as either longer or shorter than what is actually heard is the kind of contraction/dilation that causes feelings of panic or release. Such effectful timing is the kind of artistic technique that Richard mastered in electronic music. It's a nuanced push/pull kind of language of urgency.
Obfuscation itself is a very important element known to everyone who has ever attempted to produce or record music. In psychological terms, it is the event where you are so overwhelmed with stimuli that your ability to make qualitative judgments breaks down. "Noise", the genre, is the musical conclusion to this phenomenon, what might be called _functional auditory agnosia_, the inability to interpret sounds, and is a vibe Richard is not entirely unfamiliar with, having put out several albums with harsh soundscapes of overdriven screams.
In more conventional music, obfuscation is the simple realisation that an ensemble of musicians generally produce a more consistent sound than each of its parts on their own, and that picking out the nuances of one voice from a choir of 20 singing in unison is no easy task. Just like the difference in perception between the spokes of a bicycle wheel rotating in 1Hz and 5Hz, many sounds eventually become one. What many modern producers and mixing engineers pride themselves on, working on studio projects with hundreds upon hundreds of layers, is an act of obfuscating individual recordings by design; the "mix" is greater than the sum of its parts because the parts are allowed to be drowned out, becoming instead a cohesive single.
If you want to go philosophical, you could even say that all things in the observable universe are parts of an ensemble that obfuscates each indivisible something that dances right above the Planck length. And it is this oneness that gives everything its form.
I sincerely hope you don't take offence of this. I write primarily for myself. Writeups often go incredibly information dense, hard to read as my own handwriting in words, because I put every word down as a reminder to myself for when occasionally I am notified of a response.
It is by those means I try to manipulate my environment, including social media algorithms, so as to provide only what I want when I know what I need, even when I am too tired to consciously choose. I also don't spend too much time on routines. Food is dense, commutes are short, possessions few and well organised. These, too, may answer how and why I learn such things.
My friends are harsh critics. Good friends. I fight them daily. I lose when I bite off more than I can chew.
While thinking on command is challenging, the underlying ideas are all hardwired up there. So I'm always just waiting for the right trigger to unleash them externally. Once they've materialised, I can begin working with them formally, as in a comment, a report, an article or a message to a friend.
@@BlissfulWizard82
holy shiet this sounds so calmly
Anyone speaks english? (I'm getting scared with the amount of secret songs and secret versions of richard on youtube)
yeah man definitely, you gotta check unlimited joy on youtube for daily rare aphex uploads
i speako engursihsu
i spek englend
да
si, yo hablo inglés
2:44 is just beautiful
Hello ;)
@@mr_spirit hi
only aphex twin is capable of making fucking breakcore 24/7 relaxing music to sleep to
ITS IDM NOT FUCKING BREAKCORE
True
this is braindance/idm
you’ll like ‘My Lady Carey’s Dompe’ too
@@FPSzkypeople need to keep that scuzzy genre locked away
0:39 hey what is this???
There's two more after 2:42 seconds apart. Also, notice that more than just the drums have been removed. They're probably mistakes, but I think it's just supposed to be ambient
this is literally just autechre - melve
kinda creepy now
A different feel , an ominous curious tune ..
How on EARTH was this done?
check the description little baka
@@oiseauidiot just had a look, absolutely insane!
dont call him that
I wish i could meet Richard. Hes my idol
I'm surprised David Lynch never tapped Richard to do at least one track for one of his masterpieces.
ses ma vie sans toi......
been looking for this
Massagem nos ouvidos e na mente
This isn't Aphex Twin, it's Rothko
so scary
The drums and beats were a little too sharp and hurt my ears ngl
Gorgeous
Amazing
This still has a giant bass drum in it. That's why it doesn't sound so empty without drums because it still has one major drum in it.
If it remove the bass drum it would sound a lot more empty trust me
That's actually a bass synth, but it totally has a sharp enough impact that I'm not surprised if most hear it as a drum
That’s a bass synth. Big diff.
I don't trust you
@IHateDubstep ahh your right good point
You took the Aphex out. It's just the Twin now
Thank you
Eye-dancing to this is so fun! :)
c'est beaucoup trop beau
mon pc a vapeur ne peut pas rec en hd dsl
Woah
Could you make this one Analogue Bubblebath Vol 3 - .942937 without beats?
no because this is from richard's vimeo channel i didnt do anything myself
I can do it but that takes a lot of time. Richard posted this is a real file only he had. To re do that song I would have to recreate it bit by bit without drums would take a long time and wouldn't be with any of the original exact synthetic but close sounding ones
thanks
I FINALLY FOUND IRT~!!!!!!!! OM
Micro timing. Nice nice aphex.
FLOW
do you have a link to the download from the Vimeo page? he happened to remove it or i'm just unable to find it for some reason.
edit: i'm realizing you probably just took the audio from the video instead. for some reason i thought it was more chopped up and paused at certain parts.
yes i took the audio from the vimeo video. if you can't find it, there is a reupload on youtube which i didn't know existed before i uploaded mine :
ua-cam.com/video/pAZo7x83it4/v-deo.html
also the vimeo : vimeo.com/223378825
you can find it on aphex's website down in the druqks page
Lourd
Prefer this than the original song if I have to be honest
Stop comparing things. Besides with Richard this one WAS the original he most likely added the drums after. He even saved this version for many years and gave it to us for free many years later
how
it's on his vimeo
@@oiseauidiot et sur youtube depuis longtemps dsl mais finito le reupload
mais la vidéo Vimeo que t'a repost existait déjà sur youtube???
gneugneug nguenguenguen javais cherché sans le trouver l'autre video est introuvable si tu cherche vordhosbn intrumental ou no drum
@@oiseauidiot oh le malaise tu scroll 30 secondes et tu le trouve x)
@@Dumpsterfire95 qui sen fout
full osef en fait ? c'est toi le malaise gros à clc pour rien
Finally, no more of the 🥁🥁🥁🥁🥁🥁🥁🥁🥁
Drug
laissez vous emporter, la chute n'en sera que plus douce