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 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
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.
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.
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.
Can the computer be an improvisation partner? Can it generate musical ideas of its own in real time that aren’t the product of random number generators or nonsensical Markov chains?
In Joel Chadabe‘s “Settings For Spirituals,” he uses pitch-tracking to perform various effects on a recording of a singer: pitch shifting, chorus, reverb. The result is effectively an avant-garde remix. It isn’t exactly my speed, but I like the spirit of the piece – remixing existing recordings is a central pillar of current interactive electronic music. I’m less taken with Chadabe’s 1978 “Solo” for Synclavier controlled by theremin. The idea of dynamically controlling a computer’s compositions is an intriguing one, and I like the science-fictional visual effect of using two giant theremin antennae to control note durations, and to fade instrumental sounds in and out. Chadabe set the Solo system up to intentionally produce unpredictable results, giving the feeling of an improvisational partner. He describes “Solo” as being “like a conversation with a clever friend.” Who wouldn’t want such an experience?
Because I’m old and out of touch, most of these are pre-2012 songs that were new to me this year.
Nas — “The World Is Yours”
In 1994 I was not paying attention to hip-hop at all. My loss.
Blackalicious — “Swan Lake”
More vintage 1994 hip-hop. Samples three different cover versions of the Stylistics’ “People Make The World Go Round.” Hip.
Matthew D. Thibeault. Wisdom for Music Education From the Recording Studio. General Music Today, 20 October 2011.
Stuart Wise, Janinka Greenwood and Niki Davis. Teachers’ Use of Digital Technology in Secondary Music Education: Illustrations of Changing Classrooms. British Journal of Music Education, Volume 28, Issue 2, July 2011, pp 117 - 134.
Digital recording studios in schools are becoming more common as the price of the required hardware and software falls. Matthew Thibeault urges music teachers to think of the studio not just as a collection of gear that can be used to document the “real” performance, but as a musical instrument in its own right, carrying with it an entire philosophy of music-making. Digital studio techniques have collapsed composition, recording and editing into a single act. Since most of the music we encounter in the world is recorded, and most of that digitally, any music program needs to include the recording, sequencing and editing process as part of the core curriculum.
For Paul Geluso’s Advanced Audio Production midterm, we were assigned to choose two tracks from his recommended listening list, and compare and contrast them sonically. I chose “Regiment” by David Byrne and Brian Eno, and “Little Fluffy Clouds” by The Orb.
Recorded ten years apart using very different technology, both tracks nevertheless share a similar structure: dance grooves at medium-slow tempos centered around percussion and bass, overlaid with radically decontextualized vocal samples. Both are dense and abstract soundscapes with an otherworldly quality. However, the two tracks have some profound sonic differences as well. “Regiment” is played by human instrumentalists into analog gear, giving it a roiling organic murk. “Little Fluffy Clouds” is a pristine digital recording built entirely from DJ tools, quantized neatly and clinically precise.
Recently, I was on Connecticut Public Radio’s Colin McEnroe show, talking about the culture and history of the mashup. I gave my usual enthusiastic endorsement of the practice. My friend Jesse Selengut, an ace jazz trumpet player and all-around music master, had some responses.