Anatomy of a Disquiet Junto project

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.

Data Centre

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Composing improvisationally with Ableton Live

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

Recording Peter Gabriel’s Security

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.

Peter Gabriel's Security

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.

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Tabla Breakbeat Science is dropping an album

My new studio band has an album nearing completion. It’s called Music Information Retrieval, because our studio time was sponsored by NYU’s Music and Audio Research Lab — we contributed to a database of multitracks that will be used for music informatics research.

We made our DJ debut over the weekend at the Rubin Museum, where our brand-new track “Rock Steady” was dropped by DJ Ripley.

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TufAmerica suing Frank Ocean is ridiculous

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.

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Animated gifs and electronic music

I was looking at a collection of perfectly looped gifs on Buzzfeed and thinking about how they remind me of sample-based electronic music. In both cases, you’re taking a piece of a linear recording and making it cyclical. Do it wrong and it’s extremely irritating. Do it right and it’s mesmerizing. I’ve given a lot of thought to how looping a segment of audio changes its meaning, but am only just starting to think about the visual equivalent.

George applauds

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Teaching audio and MIDI editing in the MOOC

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.

Audio and MIDI tracks in Soundation

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Tabla Breakbeat Science

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.

Tabla Breakbeat Study recording session

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