RIP Wayne Shorter

In 2013, Wayne Shorter said, “The word ‘jazz’ to me only means ‘I dare you.’” I love Wayne’s playing and writing without always understanding it. I got exposed to both via Miles Davis, who put Wayne’s tunes at the center of his late 1960s albums. Here’s “Orbits” from Miles Smiles.

And here’s an orchestral arrangement of the same tune recorded 36 years later on Wayne’s album Alegría. (It includes Brad Mehldau on piano.) Check out Wayne’s multiphonics at 1:55!

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The microphone placement playlist

Last week in music tech class, we talked about audio recording, and how the placement of microphones relative to the voices or instruments can shape the sound of a recording. Mics don’t just pick up the sound of the voice or instrument itself. They also pick up the sound of the voice or instrument bouncing off the walls, floor, and ceiling. Depending on where the mic is relative to the sound source, it might pick up more direct sound or more indirect sound. The specific blend tells the listener a lot about the environment that the sound was recorded in, and carries information about style and genre too. 

Here’s a highly simplified diagram of sound in an environment. The solid line represents direct sound, pressure waves going straight from the guitar into your ear. The dotted lines are indirect sound, pressure waves that bounce off the walls, floor and ceiling before reaching your ear.

In a recording, microphones are a stand-in for your ears, receiving pressure waves and converting them into electrical fluctuations. If the mic is close to the sound source, it will mostly pick up direct sound. If the mic is far away from the sound source, it will mostly pick up indirect sound. 

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Janet (Ms Jackson if you’re nasty)

Janet has been on my mind a lot the past few months, what with Michael, and I was driven to go listen to Control again. It must have been quite a shock for Ms Jackson’s fans when it dropped in 1986. I wasn’t aware of her teenage bubblegum pop stuff as a kid, though I suppose I must have seen her on Diff’rent Strokes. And then, all of a sudden, “Nasty.” It scared the heck out of me in the sixth grade. But the music was irresistible. I didn’t know why I liked it then, but now I can articulate: bebop phrasing over industrial drum machines and synths, that’s the sound of all the music I like as an adult.

Control was produced by Jimmy Jam and Terry Lewis. I always thought that their stuff sounded a lot like Prince, so I wasn’t surprised to read on Wikipedia that they were part of Morris Day And The Time.

The other song we’re working on remixing is “What Have You Done For Me Lately.” The chorus has that ear-grabbing E-flat dimished scale lick in the big synth, but this song’s most lasting effect on musicians was due its bassline, played on a Yamaha TX81Z, which blends overtones into a distinctively harsh sound. The module in the photo just generates electrical signals; you need an external keyboard or sequencer to control it and speakers to hear it.


The Lately bass sound is so popular that now every synth comes with a preset called LatelyBass. I’ll bet you there’s some LatelyBass being played on some dance floor in your town on any given night.

Here’s my favorite track from a much later Janet album, The Velvet Rope, released during the peak of my Grateful Dead obsession so I totally slept on it at the time.

Some notes about the Nasty remix/mashup:

The three singers, in order of entrance, are Candida Haynes, Babsy Singer and Nicole Bishop. I use slightly different sounds on them. Candida’s vocal is doubled, with one copy dry and the other Auto-Tuned to the chromatic scale. There’s quarter-note delay on both copies. The song she’s quoting is “Certainly” by Erykah Badu. Babsy’s sound is the one that’s emerged as our standard Revival Revival patch: three copies of the vocal, one dry, one Auto-tuned to the key of the song and one Auto-tuned to the tonic for extra wide warbles and posthumanness. The tonic track also has Amplitube on it for dirt. (When Babsy first enters, the posthuman track is soloed.) Nicole’s sound is the simplest, the same as Candida’s minus the delay. Everything else on the track is sampled from the Janet Jackson original, with some slicing and dicing in Recycle. Nasty!

See also a post about Janet and Michael’s mutual influence.