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They were genuinely bored and achieved everything they wanted, and a few surprises like winning AOTY mightve pushed em away from doing more. I mean it was a big question as to how you follow up the pyramid as it is. If they were greedy bastards with zero integrity they wouldve signed a deal with a casino in Vegas and made mountains of money cause it wouldve never gotten tiring to see that show.
i would have preferred them to be greedy bastards and cashed out at some shows their fans got to see
Considering you've found the need to respond to my threads as if you are threatened by me I offer you some peace my confused counterpart. May you find peace in your restless soul.
They should just get the Alive setup out of storage and tour it with some random guys wearing the robot costumes pretending to push buttons in the pyramid.
They should just get the Alive setup out of storage and tour it with some random guys wearing the robot costumes pretending to push buttons in the pyramid.
There’s a cover band that does this on a smaller scale and it’s a fun show. I think they called One More Time.
5.5/four tet, daphni b2b floating points, avalon emerson 5.12/neil young 5.19/mannequin pussy 5.21/serpentwithfeet 5.25/hozier 6.12-16/bonnaroo 6.28/goose 6.29/goose 9.17/the national + the war on drugs 9.23/sigur ros 9.27-29/making time 10.17/air
They should just get the Alive setup out of storage and tour it with some random guys wearing the robot costumes pretending to push buttons in the pyramid.
The One More Time tribute act was doing that for a while.
There's a guy called Calvin Harrison out there paying homage to Calvin Harris. Tributes are the worst.
edit: "Calvin Harris is the worlds highest paid DJ, according to Forbes his earnings in 2016 topped £50m …book this ultimate experience now and bring the big festival experience to your venue or special event for not even as much as a fraction of the cost."
saw a Siouxsie cover band > Cure cover band (boys don't cry?, I don't remember what the Siouxsie band was named)
three normal looking, "I'm in a rock cover band", dudes, and then a terrific fake Robert Smith. guy looked and acted like he had been doing it for decades.
There's a guy called Calvin Harrison out there paying homage to Calvin Harris. Tributes are the worst.
edit: "Calvin Harris is the worlds highest paid DJ, according to Forbes his earnings in 2016 topped £50m …book this ultimate experience now and bring the big festival experience to your venue or special event for not even as much as a fraction of the cost."
There's a guy called Calvin Harrison out there paying homage to Calvin Harris. Tributes are the worst.
edit: "Calvin Harris is the worlds highest paid DJ, according to Forbes his earnings in 2016 topped £50m …book this ultimate experience now and bring the big festival experience to your venue or special event for not even as much as a fraction of the cost."
I find tributes to bands silly but a tribute to a DJ or live electronic act where most things are prerecorded is even sillier.
There's a guy called Calvin Harrison out there paying homage to Calvin Harris. Tributes are the worst.
edit: "Calvin Harris is the worlds highest paid DJ, according to Forbes his earnings in 2016 topped £50m …book this ultimate experience now and bring the big festival experience to your venue or special event for not even as much as a fraction of the cost."
I saw Brit Floyd few years ago and they were fine (not comparing to David Gilmour of course, which was great)
There's a guy called Calvin Harrison out there paying homage to Calvin Harris. Tributes are the worst.
edit: "Calvin Harris is the worlds highest paid DJ, according to Forbes his earnings in 2016 topped £50m …book this ultimate experience now and bring the big festival experience to your venue or special event for not even as much as a fraction of the cost."
I saw Brit Floyd few years ago and they were fine (not comparing to David Gilmour of course, which was great)
An uncle of mine who has seen Floyd many times always swore by Australian Pink Floyd. Their tickets are always waaaay higher than I’d like to pay for a tribute though so I haven’t checked them out myself.
given the questionable choices bonnaroo has made for some late nights the past few years, i can imagine a late night scenario where i'd be thrilled to see a daft punk cover act in That Tent.
This has made me appreciate RAM so much more. That album is great, can’t believe people were shitting on it when it came out.
it's also the most beautifully mixed and mastered pop record to come out in the past decade or more. insane how much care went into the sound quality of that record.
I've seen Brit Floyd a couple times and I'd recommend it. Their production is pretty legit, especially was in 2018, and they play some more obscure stuff from Division Bell and Momentary Lapse along with most of the hits. Obviously not the same as seeing Roger or Gilmour, but a cool show.
This has made me appreciate RAM so much more. That album is great, can’t believe people were shitting on it when it came out.
it's also the most beautifully mixed and mastered pop record to come out in the past decade or more. insane how much care went into the sound quality of that record.
this post just reminded me that i wrote an essay freshman year of college (when my writing was a lot worse) about this very topic.
it's barely 4 pages if anyone wants to read /Users/chasebarrett/Downloads/_Recording%20Paper.pdf
*not sure how to post a PDF link. i think you can copy and paste it and it'll work but if not here ya go.
French Electro-Dance duo Thomas Bangalter and Guy Christo, otherwise known as Daft Punk, released the very polarizing album Random Access Memories in 2014. Ditching the heavy, super fast paced head slamming bass drops of their earlier albums, Daft Punk decided to release a Nile Rodgers and Pharrell heavy disco, dance-electronica album. The critics mostly responded positively, some fans despised it in comparison to the old style of Daft Punk, but the one undeniable truth of the album is that it;s mastering, dynamics, and overall sound are fantastic. This comes from the process that Bangalter and Christo used in the studio while recording the album. The smooth, crisp, and easy to listen to album is a treat for the ears, as so many other hit songs and albums have become victim to the “Loudness War”, causing low dynamic range and absurd distortion, ruining the quality of the music we hear. Random Access Memories moved away from this technique, and set a new precedent for mastering albums. The combination of analogue and digital recording, refusal to give in to the “Loudness War”, and wonderful dynamic range of the album makes Random Access Memories one of the most enjoyable and easy to listen to albums of the decade.
The full, saturated sound of analogue processing is part of what gave random access memories it's fantastic feel throughout the album. The albums isn’t solely analogue recordings though, every single track was recorded on both analogue and digital tapes simultaneously, and was completely digitised into Pro Tools afterward according to the Recording Engineer of the album, Mick Guzauski . If there was a ever a need for more saturation, they would use the reels recorded on the ATR Mastertape. Giorgio Morder, a known analogue synth legend, was featured on the album on 3 of the 13 tracks. His fingerprints can be heard all over the project through saturation distortion and extremely well balanced EQ. This technique provided a rich and soft sound for every track. It is quite easy to hear, even upon your first listen through the album. Bangalter is a known obsessive when it comes to the sound of his music, and it really showed on this album. He had a set plan for how he wanted every drum, guitar, and vocal track to sound before even entering the studio. Another aspect that contributed to the fantastic analogue and digital production of the album, is the fact that it was mixed at Conway Studios in Los Angeles California, which features a multitude of vintage analogue compressors. These were usually set in bypass mode so they could achieve the distinctive sound given off by the transformers. Overall the combination of Analogue and Digital recording on this album combined with the rich instrumentation strongly contributed to the smooth sound of this album.
The wide dynamic range of each track is another factor in what makes Random Access Memories such a joy to listen to. A lot of dynamic range in today's popular music is lost in the fray of the “loudness war”, and brings a lot of distortion. Bass becomes muddy, high ends become harsh, and no matter how you feel about the song itself, it becomes painful to listen to, especially with headphones. This is not the case when it comes to Random Access Memories. The dynamic range of this album gives way for a lot of headroom, something that isn’t necessarily common in the dance music genre. If the album had conformed to its contemporaries and given in the the "loudness war” in an attempt to receive more radio play (which is something that the album received plenty of anyway) it would've been extremely distorted, or it would of lost most of its bass, which is such a standout, focal point of the album. This would cause the rest of the album to lose its strong, full, lively sound that is heard on every single track. Some of the largest dynamic range comes on the most popular tracks on the album, such as Give Life Back To Music and Get Lucky, which when transported into pro tools in .wav format and run through the TT Dynamic Range Meter, each clocked in at a very respectable 9 DR. The dynamic highlight of the album comes fro Beyond, which peaks at 17 DR. Much of this can be credited to Bob Ludwig, who was tasked with the final stages of mastering and approached the project with the intent of keeping as much of the already substantial amount of dynamic range as possible. This process of leaving a very wide dynamic range and refusing to give in to the “Loudness War” were essential in creating an album with extreme listenability and such ease on the ears to listen to.
No amount of speculation and debate over the new style that Daft Punk decided to go in can change the fact that their 2014 album, Random Access Memories, sounds fantastic. From its deep and fat low end bass, to its soft and controlled high ends, it is a recording masterpiece. The past decade has been dominated by the “Loudness War” and the technique of boosting the volume on every aspect of a song to a point where there is very little dynamic range. Daft Punk broke the curve of this technique and released an album that came off as soft and smooth. It was soothing to the ears with its real, non sampled instruments and delightfully pleasant vocals. Many aspects such as the combination of using both analogue and digital processing on every track, refusal to give in the “Loudness War”, and ability to create an album with a vast and wide dynamic range, all contributed to Daft Punk’s Random Access Memories being on of the best sounding albums of the decade.
When RAM came out, or was about to I guess, I listened to a leak and the tracks were in reverse order, so it started with Contact. I was like "holy shit they're really going for it" and after that I was a little bit let down. Great album and all, but that colored it for me.
I don't really have a great getting-into-Daft-Punk story. My friend burned Homework for me in like 98 or 99, so I was so young I hardly even remember it. It's always been there. We made some music video for Around the World because we always made dumb camcorder videos like that as kids. I visited him in LA (he became a pro cinematographer and works out there) in 2014 and bought the Get Lucky 12" single at Amoeba in Hollywood, which is probably my favorite piece of vinyl I own, since it has the Vanderway Edit on it, along with a few other remixes like the Fatman Scoop remix (which unfortunately skips). The Fatman Scoop remix is pretty much what you'd expect, just him screaming "LET'S GO NOW" over the song, so it's no big deal. I love that Vanderway Edit, though, as well the original single. Homework and that vinyl were kind of the bookends of their career, as it turns out. I suppose there's some poetry to that.
RAM is probably my favorite Daft Punk album. I think it’s more influential than P4k leads on, it’s just less revolutionary. Like, Discovery changed what dance music could be, RAM is “just” a fantastic album that IMO brought a retro sound back into the mainstream