i’m calling in my og status here to put this in the studio because while it is half a shitpost and thus maybe more technically suited to side room bullshit, i’m also dead serious and this is from something i’m actually doing.
gaze in horror friends at my ultra drum parallel “compression” send for this dark power-ambient shit i’m doing.
i did just have 4 but coming back to it i thought “no, this is too gentle.” so i duped em all once again and behold, the limiter centipede, into which you put a normal sounding ableton suite drum kit and out of which you get a sausage with an absurd amount of sustain and a lovely crunchy verb tail to compensate for the little bits where the sample doesn’t quite fill the space between notes - this is a fairly slow beat and the idea was to take the nice natural decay of these samples and absolutely fucking shit on them, just defile them in a way that would make any audio engineer immediately blacklist you from ever touching a project they’re on if they were to witness it (hi)
obviously it does what i intend but i expect some of you may not actually be able to read this now through the blind rage with which you wish to strangle me whist screaming exactly why what i’ve done here is bad and i’m bad an i deserve the cold release of thanatos’ grip
please send all hate mail, love letters, and discussion at this webzone ok i love you bye
Ive actually seen several bigger name producer guys on YouTube doing stuff like this. Mr. Bill being one of them. I was surprised initially in seeing the technique but if it sounds good, do it.
it’s definitely one of those things that’s like “i know exactly why this is awful and that’s exactly why i want to do it” techniques. you could really do the same thing just slamming one limiter with clean gain but that’s not as fun or pointless
Rob Clouth aka Vaetxh did it on his Libet Tones album
"Cuntpressor:
The name for this track is taken from a VST I wrote that forces all audio passing through it to the same amplitude, i.e. it completely erases dynamic range. This has some interesting results: reverbs can’t decay, allowing you to hear parts of the tail that aren’t normally heard; filtered delays dissolve into harmonics normally too quiet to hear; field recordings are flattened so that quiet rustles and loud bangs are equally pronounced."
And recently I found another guy called Meii who does it to
This type of thing can be cool in specific scenarios, but most of the time I get better results by doing something a little more selective and manipulative, or simply applying something slightly strange to a signal rather than just making huge, dominating and under-controlled heap of chaos happen.
With that said, letting something like this go on, hitting record and then selectively resampling it is more my speed unless I’m going for an improvised soundscape. As dumb as it sounds, the cool kids have dubbed this “post noise”, and I like it a lot better than regular noise because it’s much more interesting.
