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Muslimgauze: The Godking of Loop and Fatness
MUFF WIGGLER Forum Index -> Artist Discussion Goto page 1, 2, 3  Next [all]
Author Muslimgauze: The Godking of Loop and Fatness
dogoftears
Been listening to Muslimgauze for about 13 years now.
What the hell was his secret?
How did he make everything so god-damned FAT?!
Been studying his loops for years. Trying to figure out his process. Read plenty of interviews but he rarely talked about production. Does any one have any insight? Did he have a favorite compressor? I know he had a friend at a professional studio where he would go to master and mix stuff. Would love to hear more from any one who knows more.

Some all time favorites of mine:
Mazar-i-Sharif
Baghdad
Hand of Fatima
Your Mines in Kabul (replaced Lahore and Marseille as one of my faves)
Azad (first one I ever got)
Izlamaphobia
Remixs Volume 3
and so many others... he could shit gold on an off day.
nrdvrgr
He also has a world record in releasing most albums after dying. If that is true...?
Nelson Baboon
I love his sound also, but haven't been able to find much. I think he recorded to analog tape, but I don't know much beyond that. Fuck, do I love his sound.

My favorite was always blue mosque.
dogoftears
I would imagine that is probably true. I think he's had more posthumous releases than in his life time.

Did this guy ever get out of his studio except to smoke a spliff? Seems from many interviews he was quite reclusive.
dogoftears
Nelson Baboon wrote:
I love his sound also, but haven't been able to find much. I think he recorded to analog tape, but I don't know much beyond that. Fuck, do I love his sound.

My favorite was always blue mosque.


i dunno about the analog tape... i seem to remember he was into digital tape, dat and adat. i think he tracked to adat?? not sure. either way it's rare you hear any tape hiss in his albums from about '94 onward. i know there was one staalplaat release where you sent them a blank dat, and they would dub the album directly from bryn's master tape to the dat and send it back to you.
Nelson Baboon
dogoftears wrote:
Nelson Baboon wrote:
I love his sound also, but haven't been able to find much. I think he recorded to analog tape, but I don't know much beyond that. Fuck, do I love his sound.

My favorite was always blue mosque.


I wouldn't bet money on it, but I have a very strong recollection that he recorded to analog tape, and was very much into analog in general.
i dunno about the analog tape... i seem to remember he was into digital tape, dat and adat. i think he tracked to adat?? not sure. either way it's rare you hear any tape hiss in his albums from about '94 onward. i know there was one staalplaat release where you sent them a blank dat, and they would dub the album directly from bryn's master tape to the dat and send it back to you.
dogoftears
for sure there was a lot of analog going on. his occasional synth sounds all sound like some squelchy roland shit. it sounds like he was using some sort of chain of very fat compression to track.

my buddy just got a thermionic culture phoenix compressor, and he did an experiment to see if he could mimic the 'gauze sound: he recorded all his individual drum and one shot samples thru the compressor, then made loops on the octa and bounced those again thru the compressor, then he did mixing/busing thru the compressor again, and finally he mastered thru the compressor yet again. the results were quite beautiful, very loud, colored, fat, quite close to the 'gauze sound. i would imagine bryn had a selection of favorite compressors he liked to chain to get his sound, and perhaps access to enough of this gear to do it all in 1 or 2 stages of recording/mixing (hence his speed of output).

i have more ideas but they are all just my own perception from listening repeatedly for years. would love to hear from any one who perhaps met him or knows more of his actual production secrets?
CJ Miller
dogoftears wrote:
i know there was one staalplaat release where you sent them a blank dat, and they would dub the album directly from bryn's master tape to the dat and send it back to you.


Uzbekistani Bizaar? I sent him a DAT for this. It's on CD now also. I started listening to him around 1990. My faves these days are Remixs (1), Arab Quarter, Jaal Ab Dullah, Hussein Mahmood Jeeb Tehar Gass, and Box of Silk and Dogs. Just thinking about these gets me wanting to put some on now.

I read (years ago, don't remember where) that Bryn loathed computers, sequencers, and samplers. He like tape and a big dub desk. He liked effects low-tech. A favorite distortion effect was to wiggle a loose cable around in time with the music. And he disliked trainspotters and gear whores, preferring to experiment with what was around.
Monobass
CJ Miller wrote:
I read (years ago, don't remember where) that Bryn loathed computers, sequencers, and samplers. He like tape and a big dub desk. He liked effects low-tech. A favorite distortion effect was to wiggle a loose cable around in time with the music. And he disliked trainspotters and gear whores, preferring to experiment with what was around.


I think I read the same piece... maybe on Staalplaat somewhere.

by shunning samplers etc things would inevitably go through several tape stages, I think that was probably one of the biggest influences on the sound from a technical point of view.
dogoftears
Monobass wrote:
CJ Miller wrote:
I read (years ago, don't remember where) that Bryn loathed computers, sequencers, and samplers. He like tape and a big dub desk. He liked effects low-tech. A favorite distortion effect was to wiggle a loose cable around in time with the music. And he disliked trainspotters and gear whores, preferring to experiment with what was around.


I think I read the same piece... maybe on Staalplaat somewhere.

by shunning samplers etc things would inevitably go through several tape stages, I think that was probably one of the biggest influences on the sound from a technical point of view.


he couldnt have hated all gear/sequencers, there is masterful 909 and 808 scattered across a lot of his discography.
Also if he used so many generations of tape why is the noise floor so low??
and if he was doing tape loops for his percussion then how come no where in the entire collection do i hear ONE tape splice?!
CJ Miller
dogoftears wrote:
he couldnt have hated all gear/sequencers, there is masterful 909 and 808 scattered across a lot of his discography.
Also if he used so many generations of tape why is the noise floor so low??
and if he was doing tape loops for his percussion then how come no where in the entire collection do i hear ONE tape splice?!


Same questions here. He was probably exaggerating. Maybe playing samples back one-shot with a delay? Use of DAT instead of analog? His description of the tech may be bogus but what I took from it is that he liked everything to be hands-on.
rezzn8r
CJ Miller wrote:
dogoftears wrote:
i know there was one staalplaat release where you sent them a blank dat, and they would dub the album directly from bryn's master tape to the dat and send it back to you.


Uzbekistani Bizaar? I sent him a DAT for this. It's on CD now also. I started listening to him around 1990. My faves these days are Remixs (1), Arab Quarter, Jaal Ab Dullah, Hussein Mahmood Jeeb Tehar Gass, and Box of Silk and Dogs. Just thinking about these gets me wanting to put some on now.

I read (years ago, don't remember where) that Bryn loathed computers, sequencers, and samplers. He like tape and a big dub desk. He liked effects low-tech. A favorite distortion effect was to wiggle a loose cable around in time with the music. And he disliked trainspotters and gear whores, preferring to experiment with what was around.


+1 for Box of Silk and Dogs!
Sorry, but I have no idea how he produced his sound.
Nelson Baboon
I'd love to have a copy of box of silk and dogs. Just saw a copy for $300, so it looks like that ain't going to happen.
CJ Miller
I have bought many Muslimgauze CDs, but for limited OOP stuff... that's why we have file sharing networks. And that's what I use them for. Dropping hundreds of $ for used collectible recordings, the artist wouldn't see any of it, especially if they have since died.
Nelson Baboon
Apparently you can download mp3's of this. I will have to do that. As far as file sharing stuff - I never got the knack of that on a mac. But I will not pay a collectors price.
Heathfinnie
Nelson Baboon wrote:
Apparently you can download mp3's of this. I will have to do that. As far as file sharing stuff - I never got the knack of that on a mac. But I will not pay a collectors price.


http://megaupload.com/?d=NOZJSRHM

Password is akuma

Not my site or affiliated in anyway, just came across it.
Nelson Baboon
Heathfinnie wrote:
Nelson Baboon wrote:
Apparently you can download mp3's of this. I will have to do that. As far as file sharing stuff - I never got the knack of that on a mac. But I will not pay a collectors price.


http://megaupload.com/?d=NOZJSRHM

Password is akuma

Not my site or affiliated in anyway, just came across it.


The link doesn't work here.
Heathfinnie
I think it's just not working as a direct link. Here is the website I I got it from.

http://akuma-no-uta.blogspot.com/2008/12/muslimgauze-megapost.html
dogoftears
Bump for more insight into the original topic?
b3nsf
Love it!! This one sounds like Buchla ....

mafouka
Does anyone know of any links to interviews w/ Bryn or have any other insightful stuff about his music process? I am greatful so much of the dude's music is available but am also intrigued by how little info there is
dogoftears
mafouka wrote:
Does anyone know of any links to interviews w/ Bryn or have any other insightful stuff about his music process? I am greatful so much of the dude's music is available but am also intrigued by how little info there is


well, 6 years and much more listening and technical knowledge later, i've only figured out a few things.

-for sure he likes GATES a lot. hard gating. and playing the gate. on a recent release "red madrassa" he is jimi hendrix of the gate.
-i think maybe he put these gates on everything, at the end of heavy processing, this could explain getting away with lots of tape bounces (noise floor often ducked out) and tape loops (loop splice ducked out as well)
-it's much more about distortion+gating combos then compression

still no clue how he did his loops though-- it could be tape, it could be a sampler, it could be a delay/looper type of device-- can't figure it out still after all these years. i have heard from numerous sources that he would basically use what was around, BUT he was also renting actual professional studio time for ALL his albums (!!! $$$) so the stuff around could very well have been quite nice stuff. he was that guy who would come in and abuse that gear, turn the knobs further, etc.

i think after a while he had many drum loops stock piled and would just reuse them for new "dub sessions," hence the ridiculous amounts of repetition in his later discography. i love some of this "reused" stuff though, he had a different approach to sound, the goal was to make a good dubby mix of whatever material was available.

as always, still hunting for answers. mainly i would like to know for sure how the loops were played back...
wackelpeter
1998 interview

http://www.muslimgauze.org/articles/the-edgeArticle.html


personally like a few of his Recordings but not all... my favourite will always be Azzazin
dogoftears
wackelpeter wrote:
1998 interview

http://www.muslimgauze.org/articles/the-edgeArticle.html


personally like a few of his Recordings but not all... my favourite will always be Azzazin


Azzazin is one of my favorites!! completely unique, and a great example of "wtf was going on there?!" such a strange overall sound, and what synths are being used??

will check out that interview
dogoftears
he is as vague as usual in that interview, often redirecting towards politics and generalities. i do see the bit about never using a computer/sampler, but it's all spoken in generalities. he avoids specific technical discussions in nearly every interview i've read.

such a strange dude he was...
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