I participate in Marc Weidenbaum’s Disquiet Junto whenever I have the time and the brain space. Once a week, he sends out an assignment, and you have a few days to produce a new piece of music to fit. Marc asks that you discuss your process in the track descriptions on SoundCloud, and I’m always happy to oblige. But my descriptions are usually terse. This week I thought I’d dive deep and document the whole process from soup to nuts, with screencaps and everything.
Here’s this week’s assignment, which is simpler than usual:
Please answer the following question by making an original recording: “What is the room tone of the Internet?” The length of your recording should be two minutes.
I have been very vocal in my criticism of contemporary classical music on this blog. But there is some new music out there that I do like, very much. Most of it falls under the minimalist category, made by Steve Reich and his followers. The coolest new thing I’ve heard in this idiom is “Timber” by Michael Gordon.
The piece is played by six people on wooden planks, using mallets and fingertips. I thought at first it was a conceptual thing — “look what we can do with ordinary lumber” — but in fact this is an actual instrument called a simantra, used by Eastern Orthodox monks and, later, Iannis Xenakis. You can take a look at part of the score.
So why do I consider this to be good? Continue reading
I just completed a batch of new music, which was improvised freely in the studio and then shaped into structured tracks after the fact.
I thought it would be helpful to document the process behind this music, for a couple of reasons. First of all, I expect to be teaching this kind of production a lot more in the future. Second, knowing how the tracks were made might be helpful to you in enjoying them. Third, composing the music during or after recording rather than before has become the dominant pop production method, and I want to help my fellow highbrow musicians catch up to it. Continue reading
There’s an interview on the Creative Commons blog with Disquiet Junto instigator and Aphex Twin historian Marc Weidenbaum. It’s full of his usual keen insight.
Here are some key quotes. Continue reading
This post was originally written for the Play With Your Music blog.
Peter Gabriel’s songwriting and recording process in the early 1980s was unusual in its technological sophistication, playfulness and reliance on improvisation. But now that the technology is a lot cheaper and more accessible, most pop, dance and hip-hop music is produced using similar methods.
The South Bank Show’s long 1983 documentary on the making of Peter Gabriel’s fourth solo album Security follows the production of the album from its earliest conception to its release and critical reception, giving fascinating insight into the creative process along the way.
Update: there’s a lively discussion of this post happening on Synthtopia’s Facebook page.
Musical repetition has become a repeating theme of this blog. Seems appropriate, right? This post looks at a wonderful article by Elizabeth Hellmuth Margulis, investigating the reasons why we love repetition in music in Aeon Magazine.
The simple act of repetition can serve as a quasi-magical agent of musicalisation. Instead of asking: ‘What is music?’ we might have an easier time asking: ‘What do we hear as music?’ And a remarkably large part of the answer appears to be: ‘I know it when I hear it again.’
Maybe, like me, you’re a fan of “Super Rich Kids” by Frank Ocean featuring Earl Sweatshirt.
Maybe, like me, you were especially delighted by the part at 1:59, when Frank unexpectedly quotes “Real Love” by Mary J. Blige.
A “record label” (really a group of lawyers) called TufAmerica heard that quote too, and now they’re suing Frank Ocean for sampling their property without permission. TufAmerica owns 3.15% of “Real Love.” They acquired this stake by suing Mary J. Blige, whose song samples “Top Billin’” by Audio Two.
We’re asking participants in Play With Your Music to create musical structure graphs of their favorite songs. These are diagrams showing the different sections of the song and where its component sounds enter and exit. In order to create these graphs, you have to listen to the song deeply and analytically, probably many times. It’s excellent ear training for the aspiring producer or songwriter. This post will talk you through a structure graph of “Sledgehammer” by Peter Gabriel. Co-produced by Peter and Daniel Lanois, this is an emblematic eighties pop tune.
Here are the video versions of my analysis:
Below is the musical structure graph. Click the image below to see it bigger, and with popup comments.
Here’s the perceived space graph:
And here’s a chart of the chord progression.
This is the fifth in a series of posts documenting the development of Play With Your Music, a music production MOOC jointly presented by P2PU, NYU and MIT. See also the first, second, third and fourth posts.
Soundation uses the same basic interface paradigm as other audio recording and editing programs like Pro Tools and Logic. Your song consists of a list of tracks, each of which can contain a particular sound. The tracks all play back at the same time, so you can use them to blend together sounds as you see fit. You can either record your own sounds, or use the loops included in Soundation, or both. The image below shows six tracks. The first two contain loops of audio; the other four contain MIDI, which I’ll explain later in the post.
Update: we’re working on an album. Listen to it here.
Last semester I did a project for my psychology of music class that studied the way people clap to funk/dance music. I was testing to see whether my subjects knew to clap on the backbeats or not. I didn’t give them any prompting as to how they were supposed to clap, and most people did their best to clap to the beat one way or another. The most interesting response came from my buddy Shashank, a classically trained tabla player from Bangalore. There are plenty of Indian musicians at NYU, but most of them are culturally very western — a lot of them play metal, and you’d think they were from suburban New Jersey if you didn’t know otherwise. Shashank, on the other hand, has had close to zero exposure to western music. He attempted to clap tabla patterns over the beats in my study, with strange and interesting results.
After the project was over, I thought it would be cool to hear Shashank improvise on the tabla over various classic breakbeats. We did a couple of recording sessions, and they were a lot of fun.