Post #4518380 · Elektrine

@sean_ae@post.lurk.org

2026-08-19 11:27 UTC

@Cognessence@social.linux.pizza @silvermoats@mastodon.social when i met rob he had an Aiwa CA-100H and that thing was fascinating sounding with DSL on, like all the hats were glistening and any lowrate sampling sounding gorgeous i should prob try to get my hands on some old aiwa tech and make a DSL processor, although it's prob like you say, very dependent on the speakers and whatnot 80s music and hifi kinda grew up in tandem (same for club rigs and PAs back then), everything was coloured for context, people making beats for boomboxes and all that i mean nothing is gonna be flat, chasing ghosts there p much (even worse with electronic music cos what even is 'should')

Replies (1)

@Cognessence@social.linux.pizza 2026-08-19 11:45

@sean_ae@post.lurk.org @silvermoats@mastodon.social It was lovely to read of that experience of the Aiwa CA-100H and how glistening hats sounded / how any lowrate sampling came off as gorgeous. 😍 Very true what you said at the end. I’m not sure where I got that impossible notion from - but it was probably in the air at the time? Editions of ‘Sound on Sound’ were lying around. :D Flat monitoring is a sort of useful engineering fiction, but especially makes no sense as a target for music made on/for coloured playback. Over time I saw [the equivalent of] Boombox/PAs as the instrument and how all of that gets composed into the sound maybe like room acoustics get composed into orchestral writing, but that the the thought of attaining “the real” was ever there is still quite weird. And yeah, electronic music makes it even more obviously unresolvable, given there’s no acoustic referent. A third colouration stacked on the first two lol. On that note, I really like your idea for the Aiwa hunt and creation; a real target you can actually hit, unlike “should.” :D

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