You can put all recorded music techniques and gestures into three categories: realist, hyperrealist, and surrealist. These categories have soft boundaries that broadly overlap. Nevertheless, I find them to be a useful way to organize my thinking about the aesthetics of recordings.
One of the great privileges of working at NYU is having access to the state-of-the-art Dolan Studio. Listening to music on top-end Lipinskis through an SSL console in a control room designed by Philippe Starck is the most exquisite audio experience I’ve ever had, and likely will ever have. Unfortunately, it’s also very far removed from the circumstances in which I listen to music in my normal life. It isn’t even an issue of the speakers or amps, though of course mine are nowhere near as good as the ones in Dolan. It’s more about the listening environment.
I recently began my second semester of teaching Music Technology 101 at Montclair State University. In a perfect world, I’d follow Mike Medvinsky’s lead and dive straight into creative music-making on day one. However, there are logistical reasons to save that for day two. Instead, I started the class with a listening party, a kind of electronic popular music tasting menu. I kicked things off with “Umbrella” by Rihanna.
I chose this song because of its main drum loop, which is a factory sound that comes with GarageBand called Vintage Funk Kit 03–slow it down to 90 bpm and you’ll hear it. The first several class projects use GarageBand, and I like the students to feel like they’re being empowered to create real music in the class, not just performing academic exercises.
Right now I’m teaching music technology to a lot of classical musicians. I came up outside the classical pipeline, and am always surprised to be reminded how insulated these folks are from the rest of the culture. I was asked today for some electronic music recommendations by a guy who basically never listens to any of it, and I expect I’ll be asked that many more times in this job. So I put together this playlist. It’s not a complete, thorough, or representative sampling of anything; it mostly reflects my own tastes. In more or less chronological order:
So, you’ve learned how to listen closely and analytically. The next step is to get your hands on some multitrack stems and do mixes of your own. Participants in PWYM do a “convergent mix” — you’re given a set of separated instrumental and vocal tracks, and you need to mix them so they match the given finished product. PWYM folks work with stems of “Air Traffic Control” by Clara Berry, using our cool in-browser mixing board. The beauty of the browser mixer is that the fader settings get automatically inserted into the URL, so once you’re done, anyone else can hear your mix by opening that URL in their own browser.
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.