Here’s a live rendition of Imogen Heap’s song “Hide And Seek.” It’s introduced by Zach Braff, but don’t let that dissuade you from watching.
Posts Tagged ‘keybs’
Imogen Heap and artificial harmony
Tuesday, January 26th, 2010
Game controllers as musical instruments
Friday, August 21st, 2009This is a picture of my electronic funk-soul-R&B band doing a show. From left to right, it’s Nicole Bishop, me and Barbara Singer. We were the whole band for that show. I did all the beats, samples and keyboards from my computer using a video game controller.
Here’s a screenshot of the program that the game controller is connected to.
The outer space background is my desktop image and isn’t part of the program itself. But maybe it should be.
His name is Prince, and he is funky
Thursday, August 20th, 2009Hip-hop artists love Prince. Like them, he blends drum machines, live jazz-funk musicians and samples of other songs.
Music at my house
Saturday, August 15th, 2009
My parents and stepparents loved music when I was growing up, more as spectators than participants.
Tuning systems, jigsaw puzzles, Giant Steps and Tetris
Friday, August 14th, 2009Expanding on “Learning Music Theory With Autotune”
If you’re a science geek and you find yourself in San Francisco, the most fun thing to do there is to go to the Exploratorium.
Sampling keybs
Friday, August 7th, 2009One of the greatest weirdnesses of electronic music is the sampling keyboard. You press a key and any sound recording you want pops out, at whatever pitch. The recent passing of John Hughes made me think of the scene in Ferris Bueller’s Day Off when Ferris samples his coughing and puking on an E-mu Emulator II, and plays them back to the tune of the Blue Danube waltz. The exact same technology is used on the soundtrack by Yello for their song “Oh Yeah.”
Vocalist Dieter Meier recorded the words “oh oh, chicka chicka” and “oh yeah” at a relatively normal pitch into the sampler, and keyboardist Boris Blank played them back lower and slowed down. There are also some cool sampled Tarzan yells and Lord Of The Rings synthesized men’s chorus. This track could have been recorded last week.
A synthesizer is like an axe
Thursday, July 23rd, 2009I found this picture of Herbie Hancock on some dude’s blog.
There was no caption or any other context. So I posted it on my Flickr with a note asking if anyone could identify the computer Herbie is sitting in front of. A couple of days later my friend Mike responded with this video of Herbie and Quincy Jones demonstrating Herbie’s Fairlight CMI in 1983. (more…)
The Doctor Who theme song: analog electronica
Sunday, June 28th, 2009When I was in third grade, my mom and stepfather went on academic sabbatical to London for six months, taking my sister and me with them. I guess I’m grateful for the chance to experience another culture and everything, but it was a rough six months. I missed my dad, school, New York, the Muppet Show. British third graders are manic xenophobes of Eric Cartman proportions. It was the first time I had ever experienced genuine alien-ness, and I didn’t like it. The best thing about being there was Doctor Who.
Wow chicka wah-wah
Saturday, June 27th, 2009Say “oooh” as in “noodle.” Then say “aaah” as in “park.” When you say “oooh” your mouth is more closed, with less resonating space and a smaller opening. This configuration blocks the higher overtones of your voice. When you say “aaah” your jaw and lips open, creating more resonating space and letting more high overtones through. Now glide from one to the other. The resulting “ooohaaaah” is the sound the wah-wah pedal is named for. By selectively filtering an electronic instrument’s overtones, the pedal can make it sound more vocal. It’s only two vowel sounds out of the dozens your mouth is capable of producing, but it’s a start toward making a more human tone.
Herbie Hancock gets future shock
Wednesday, June 17th, 2009People have been experimenting with using recording playback devices as musical instruments for a hundred years, but the concept didn’t explode into mass consciousness until the rise of hip-hop turntablism in the early 1980s. The breakthrough moment for a lot of people was Herbie Hancock’s song “Rockit” from his 1983 album Future Shock. The song includes turntable scratching over a blend of live and programmed drums and synths, along with some heavily processed robo-vocals. Future Shock is named for the Curtis Mayfield song, which is itself named for the Alvin Toffler book. The basic gist is, “Too much change too fast is stressful for people.” Herbie, at least, has managed to get some pleasure from his future shock. (more…)