kenton -wagonchrist-and squarepusher using live?
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scarixix
pushing squares
jah... was at gig in seattle as well.. ...
thought that might be Live set up to trigger from programmed keys
glad to catch show
thought that might be Live set up to trigger from programmed keys
glad to catch show
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metrothegnome
circle puller
I saw the LA show and it was insane. I had heard square pusher was anti computer, but after hearing the last 2 albums there was no way that could be done without a computer. Looked like he was playing sequences on his laptop, maybe logic and playing bass on top with lots of filters and triggering. Because he would pause between songs I don't think it was anything like live or reaktor as the arrangement of the sequences didn't change from what i've heard on cd.
Personally I was dissapointed with the wagon crist laptop dj set. It was to much of a "super dj" set in that he played a ton of old styles and 4/4 92' era techno, didn't seem very innovative considering the nature of the event.
My 2 cents. Glad to see I wasn't the only one on this forum who got to see that show. Squarepusher blew me away.
-gnome
Personally I was dissapointed with the wagon crist laptop dj set. It was to much of a "super dj" set in that he played a ton of old styles and 4/4 92' era techno, didn't seem very innovative considering the nature of the event.
My 2 cents. Glad to see I wasn't the only one on this forum who got to see that show. Squarepusher blew me away.
-gnome
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AB/BC
does anyone know if the kenton control freak midi controler
Yess it can! No prob whatsoever... it all sends midi messages...so... come on out and play 
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lowend
this is kinda old, but may shed some light on Squarepusher. It's an excerpt from Remix mag. Hard to believe things would have changed a lot in a year and half, given his methods.
Warp Records' Brave New World
By Ken Micallef
3,426 words
1 January 2002
Remix
Volume 4; Number 1; ISSN Number 48
English
Copyright 2002 by Intertec Publishing Corporation, a PRIMEDIA Company. All rights reserved.
GHOST IN THE MACHINE: SQUAREPUSHER
"When I don't do music, I just wanna get pissed," says Tom Jenkinson, aka Squarepusher. "I want to lose myself. The only way I can get to sleep at night is by doing the work. Then, for the remaining hours in the day, I can be sane. I have never gone on tour, because what on earth would I do in the daytime? I'd go fucking crazy. I would be on tour for a week and end up killing everyone on the bus."
For years, Jenkinson has pushed considerable boundaries in electronic music -- and perhaps the limits of his own fragile psyche in the process. Although Jenkinson did make a rare appearance in New York this summer, he also canceled a tour with labelmates Plaid. When you are as universally hailed as Squarepusher, being a prima donna is just part of the package.
Jenkinson's trademark sonic mayhem is in full effect on his latest effort, Go Plastic. The album features the salivating "My Red Hot Car," the rollicking drum 'n' bass of "Go Spastic," the pure melodies of "Tommib," and the anal breakbeat fury of "The Exploding Psychology." "Classical composers were so much more advanced than anyone writing melodies today," says Jenkinson in regards to his antimelodic approach. "If you want to hear a beautiful melody, then go listen to Mozart. The music that buzzes me up most is music that never quite goes home. That resonates with me -- I have never felt at home anywhere."
Squarepusher epics such as Music Is Rotted One Note and Feed Me Weird Things were composed on the barest of sources, prime examples of man and machine uniting for greater musical purpose. In fact, this bass-playing wizard only recently bought his first PC. And with this purchase, his programs have changed. "Go Plastic is the first record to represent anything I have done on modern equipment," he says. "The most current piece I had previously was a late -- '80s Akai S950 sampler. My mentality has been to use the cheapest shit and make really experimental stuff from crap gear. Limitations are actually an advantage. You have to think your way around the restrictions. But if I didn't add anything new to my studio, I would have just been repeating myself, and I can't be bothered to do that."
Squarepusher's composing methods are just as rugged. "I go into a trance state when I am programming," he says. "I don't use [Emagic] Logic Audio Platinum. I hate computer editing, and I hate computer sequencing. The music I am into comes from using multitrack tape recorders and dubbing for composition. Once you've edited on tape, computer editing is a piece of shit. It is so much more of a vibe to cut up tape and line things up using your ears, not your eyes. Now I make the composition from start to finish instead of making a track and editing it afterwards."
Jenkinson relies on some primitive sequencing, as well. "I do all step-time writing," he says. "I have a Yamaha sequencer, and you can edit the music in tracklists and put it all in numbers. The whole day my head is juggling numbers -- it is this strange numerical mission. It's like being a psychic or a mathematician. It is not just about knowing about equipment and mathematics; it is knowing how to intuit things, to see the way things should go."
Saying he may drop off the scene one day, perhaps to become a milkman, Squarepusher remains dogmatic about fate. For him, it is music or nothing, sanity or the loony bin. "You are either one with machines or you are one with people, and the two don't mix," Jenkinson says. "You are sitting there, full of all this data, and someone comes in the room and asks if you want a cup of tea. It's like, 'What? Fuck off and leave me alone.'"
Warp Records' Brave New World
By Ken Micallef
3,426 words
1 January 2002
Remix
Volume 4; Number 1; ISSN Number 48
English
Copyright 2002 by Intertec Publishing Corporation, a PRIMEDIA Company. All rights reserved.
GHOST IN THE MACHINE: SQUAREPUSHER
"When I don't do music, I just wanna get pissed," says Tom Jenkinson, aka Squarepusher. "I want to lose myself. The only way I can get to sleep at night is by doing the work. Then, for the remaining hours in the day, I can be sane. I have never gone on tour, because what on earth would I do in the daytime? I'd go fucking crazy. I would be on tour for a week and end up killing everyone on the bus."
For years, Jenkinson has pushed considerable boundaries in electronic music -- and perhaps the limits of his own fragile psyche in the process. Although Jenkinson did make a rare appearance in New York this summer, he also canceled a tour with labelmates Plaid. When you are as universally hailed as Squarepusher, being a prima donna is just part of the package.
Jenkinson's trademark sonic mayhem is in full effect on his latest effort, Go Plastic. The album features the salivating "My Red Hot Car," the rollicking drum 'n' bass of "Go Spastic," the pure melodies of "Tommib," and the anal breakbeat fury of "The Exploding Psychology." "Classical composers were so much more advanced than anyone writing melodies today," says Jenkinson in regards to his antimelodic approach. "If you want to hear a beautiful melody, then go listen to Mozart. The music that buzzes me up most is music that never quite goes home. That resonates with me -- I have never felt at home anywhere."
Squarepusher epics such as Music Is Rotted One Note and Feed Me Weird Things were composed on the barest of sources, prime examples of man and machine uniting for greater musical purpose. In fact, this bass-playing wizard only recently bought his first PC. And with this purchase, his programs have changed. "Go Plastic is the first record to represent anything I have done on modern equipment," he says. "The most current piece I had previously was a late -- '80s Akai S950 sampler. My mentality has been to use the cheapest shit and make really experimental stuff from crap gear. Limitations are actually an advantage. You have to think your way around the restrictions. But if I didn't add anything new to my studio, I would have just been repeating myself, and I can't be bothered to do that."
Squarepusher's composing methods are just as rugged. "I go into a trance state when I am programming," he says. "I don't use [Emagic] Logic Audio Platinum. I hate computer editing, and I hate computer sequencing. The music I am into comes from using multitrack tape recorders and dubbing for composition. Once you've edited on tape, computer editing is a piece of shit. It is so much more of a vibe to cut up tape and line things up using your ears, not your eyes. Now I make the composition from start to finish instead of making a track and editing it afterwards."
Jenkinson relies on some primitive sequencing, as well. "I do all step-time writing," he says. "I have a Yamaha sequencer, and you can edit the music in tracklists and put it all in numbers. The whole day my head is juggling numbers -- it is this strange numerical mission. It's like being a psychic or a mathematician. It is not just about knowing about equipment and mathematics; it is knowing how to intuit things, to see the way things should go."
Saying he may drop off the scene one day, perhaps to become a milkman, Squarepusher remains dogmatic about fate. For him, it is music or nothing, sanity or the loony bin. "You are either one with machines or you are one with people, and the two don't mix," Jenkinson says. "You are sitting there, full of all this data, and someone comes in the room and asks if you want a cup of tea. It's like, 'What? Fuck off and leave me alone.'"
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noisetonepause
- Posts: 4938
- Joined: Sat Dec 28, 2002 3:38 pm
- Location: Sticks and stones
Re: limitations, I must say I concur. I got a Korg Electribe S steptime 'groove sampler' yesterday, and it's the mutt's nuts - so much so, I'll be getting another one. You can't do a lot with it (95 secs of mono sampling, stores to SmartMedia only), but it's instant madness if you work it right.
Live syncs up nicely to it too, which gives you a nice, big PLAY button and temp knob. Scrumptious.
-Paws
Live syncs up nicely to it too, which gives you a nice, big PLAY button and temp knob. Scrumptious.
-Paws
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Guest
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Guest
as far as what mysterious things were lurking in tom's rack, when i saw him a few years back at coachella i got the impression that he was using a sherman filterbank. what with the heat and the time since then, i can't remember if it was because i actually got to read the name on the unit or if i just tried to deduce it, but since everyone's playing "spot the gear" i figured i'd add my 2 cents worth... well, since it's so speculative, maybe it's just 2 pesos worth, come to think of it.
by the way, i'm really kicking myself for not having gone to see them both live, i didn't realize that tom would be playing bass live!
ryan
by the way, i'm really kicking myself for not having gone to see them both live, i didn't realize that tom would be playing bass live!
ryan
Squarepusher Live Rig
thought this might be of interest to some....
---it's a pic of Squarepusher's current live rig, posted by somebody on the Planet Mu board
Cheers,
Roland aka Format
---it's a pic of Squarepusher's current live rig, posted by somebody on the Planet Mu board
Cheers,
Roland aka Format
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burgessa23
- Posts: 176
- Joined: Sun Feb 03, 2002 12:33 am
- Location: Seattle, WA, USA
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frankieballsss
- Posts: 18
- Joined: Thu Aug 14, 2003 6:19 pm
whoahhhhhh
"blew les claypool to shreds", relax there buddy, as a bass player i can tell you that les claypool is at another level musically and technically than squarepusher.
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metrothegnome
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Guest
Re: whoahhhhhh
not to be a tool, but I've been playing bass for decades, and though i appreciate les' unique approach and distinctive creative style, i really don't understand the people that worship him. he does very original things, but a lot of it sounds a bit sloppy and muddled by a cloud of pot smoke to me. My favorite bass players in order: Jaco Pastoriusfrankieballsss wrote:"blew les claypool to shreds", relax there buddy, as a bass player i can tell you that les claypool is at another level musically and technically than squarepusher.
jaco Pastorius,
jaco pastorius
for todays technically and musically masters of bass look to Otiel Burbridge and Victor wooten.
others include familyman barret, stanley clarke, and alphoso johnson.
but seriously, anyone that plays or likes bass, and hasn't listened to Jaco needs to go to school and listen to the best electric bass player ever. All of the great players today have come through the gates jaco opened up. And for 2 more cents, check out my favorite guitarists ever--ernest Ranglin and django reinhart--simply jaw dropping amazing shit, trust me.
Ryan
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Guest