The same Disquiet Junto project that spawned this wildly recursive remix also involved a few more people remixing my remix. Here’s a family tree of the three first generation source tracks, the seven second generation remixes of those tracks, and the three third generation remixes of the second generation remixes.
You can hear the three third-generation metaremixes below.
Here’s a strange and interesting thing that happened to me. The assignment for Disquiet Junto project 233 was to remix three tracks. The assignment for Junto project 234 was to metaremix one of the remixes from project 233. One of the people whose remix I metaremixed was listening to my track and accidentally had it playing in two different browser tabs simultaneously. He liked how it sounded, so he did a metametaremix with two copies of my metaremix offset by a few beats. It came out amazing!
I love SoundCloud. I love it for being an exceptionally easy way to share my music with people all over the world. I love the community aspect, especially the Disquiet Junto. I have all of my students host their portfolios there. But like a lot of the electronic musicians who form the heart of the SoundCloud userbase, I’m running into some problems with copyright.
Recently, I needed to unwind from a stressful morning, so I fired up Ableton, put in some Super Mario Bros mp3s and James Brown breaks, and went to town. I uploaded the results to my SoundCloud page, as usual, but got one of their increasingly frequent copyright notices.
I’ve uploaded a lot of material to SoundCloud that violates copyright law in various ways, and for the most part, no one has made any objection. I’ve occasionally used some long intact samples that triggered takedown notices, but my remixes and mashups are usually transformative enough to slip through the filter. Lately, however, I’m finding that SoundCloud has dramatically stepped up its copyright enforcement. A few months ago, I could have posted my Super Mario Bros/James Brown mashup without any trouble. Not any more.
Well, it’s official. All of my students are now henceforth required to post all music assignments on SoundCloud. It solves so many problems! No fumbling with thumb drives, no sharing of huge files, no annoyances with incompatible DAWs. No need to mess with audio-hostile Learning Management Systems. Everyone gets to listen to everyone else’s music. And best of all, the kids get into the habit of exposing their creative work to the blunt indifference of the public at large. Students can comment on and fave each others’ tracks, and so can randos on the web. It really takes the “academic” out of academic work.
Anna posed this question, and I think it’s an excellent one: What is up with “Let It Go” and little girls? Why is this song such a blockbuster among the pre-K set? How did it jump the gap from presentational to participatory music? Is it the movie, or the song itself? In case you never interact with pop culture or little kids, this is the tune in question:
I posted the question on Facebook, and my friends have so many good responses that I’m going to just paste them all in more or less verbatim below.
You may have noticed a lot of writing about Peter Gabriel on the blog lately. This is because I’ve been hard at work with Alex Ruthmann, the NYU MusEDLab, and the crack team at Peer To Peer University on a brand new online class that uses some of Peter’s eighties classics to teach audio production. We’re delighted to announce that the class is finished and ready to launch.
Here’s Alex’s video introduction:
This is the fourth 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 and third posts.
After PWYM participants have tried mixing using just levels and panning, the next step is to include audio effects for additional audio manipulation. As a painless introduction, you can load any track from SoundCloud into our own miniature web-based effects unit, #PWYM Live Effects. Then it’s time to open up some dry stems in Soundation. In addition to mixing and panning, you can now do some creative application of Soundation’s effects. These include:
Both low-pass and high-pass filters are available, which block high and low frequencies, respectively. Why would you want to do such a thing? There are practical and expressive reasons. The practical one is to keep sounds from fighting each other in the mix. So, for example, my electric guitar has a very bass-heavy sound. If there’s a bassist on the track along with me, together we’re going to sound like mud. By applying a high-pass filter to my guitar, I can stay out of the bassist’s way and still get across most of the information in my sound. Similarly, I’d want to low-pass the bass for the same reason.
Alex is fond of the phrase “pedagogies of timbre and space.” By that, he means: ways of studying those aspects of recorded music beyond the notes being played and words being sung. Timbre is the combination of overtones, noise content, attack and decay that makes one instrument sound different from another. Space refers to the environment that the sound exists in, real or simulated. These are the aspects of music that get shaped by recording engineers, producers and DJs. Audio creatives usually don’t have much input into the stuff you see on sheet music. But they end up significantly shaping the end result, because the sonic surface is the main thing that most non-specialist listeners pay attention to (along with the beat.) For many pop and dance styles, the surface texture is the most salient component of the music.
The work of audio professionals, be they recording artists, engineers, producers, remixers or DJs, consists mostly of close listening. Making recordings consists of doing a lot of asking yourself: Does this sound good? If not, why not? Is there something missing? Or does something need to be taken out? Is the blend of timbres satisfying? Are the sounds placed well in the stereo field? Are they at the right perceptual distance from the listener? No one is born able to ask these questions, much less to answer them. You have to learn how, and then you have to practice. In a sense, music production software is like the Microsoft Office suite. Before you learn about the fine points of formatting or making equations, you need to learn how to write coherently, how to organize data, how to structure a presentation. So it is with music. There’s no point in learning the nuts and bolts of particular software until you know what you’re listening for and what you want to achieve.