database
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Database: Burial on the Impression of the Drums
“My drums are definitely not necessarily in time. When I try and do drums that are too regimented, they lose something. But the moment I put drums where I think they sound good, rather than in time, they seem to have that roll, the swing of the jungle and garage tunes I love.” “It’s not… Continue reading
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Database: Christian Löffler on Working Quickly and Using Field Recordings
“That’s the way I work, really quickly. I finish lots of sketches with not too much detail, it’s a rough way of working.” “It makes sense to use field recordings because you already have something that is constantly changing and it makes for a really good base for the track. There will always be changes… Continue reading
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Database: Casino Versus Japan on Maintaining Original Intention
“These days you can record anything and then bring it into a program and get heavy on editing and processing. That can change the color or intention of the original idea into something new and exciting. I always try to be cautious about that, as it is easy to do and I don’t want to… Continue reading
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Database: Arovane On Decisive Sources Of Good Musical Ideas
(Photo: F.W. Stubbs) “It’s pretty important to focus on a few instruments and know them inside out. Often it is the process and the workflow that are decisive for good musical ideas.” Uwe Zahn (aka Arovane) database Continue reading
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Database: Autechre On Music That Reveals Itself By Changing Piece By Piece As It Rotates
“I think a lot of people, when they’re constructing complex music, have this idea that for something maddeningly complex to change into something else that’s maddeningly complex you’ve got to do it suddenly. But there are millions of ways you can do it, because you can have your entire track changing piece by piece as… Continue reading
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Database: William Orbit On Unquantized Rhythms, Playing Stuff By Hand, The Curve
“You can make something very unlistenable by quantizing it too much. I play a lot of stuff by hand and don’t quantize it, and very often it sounds better that way. Unquantized rhythms work better when used next to quantized rhythms and vice versa.” “Basically, you have two hands, so you’ve got ahold of two… Continue reading
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Database: A.G. Cook On Total Opposite Sounds
“Any producer who claims to have whatever sound is five seconds away from opening up something that will create the total opposite. So if anything, my sound is really trying to bring that to the forefront.” A.G. Cook database (a cache of perceptions) (slower walks) Continue reading
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Database: Wolfgang Voigt On Sampling’s Magic Momentum
“I like a certain music, I throw it in my sampler, I modulate it, transform it, deform it, and so on. But I only use particular material as a starting point because I want its specific sonic world to appear in my music. I want there to be a connection but, ideally, I don’t want… Continue reading
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Database: Ital Tek on Music In a 3D Plane
“I like to think of music in kind of like a 3D plane, like a shape…I do try and pay particular attention to making everything balance and creating little bits of ear candy and texture and thinking of it like your frequencies are kind of in a visual plane.” Ital Tek Continue reading
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Database: Loraine James On Balancing Melody and Drums
“A lot of the time in my stuff is the juxtaposition of crazy drums and the melody is more simple—just to balance out both. I like to have a warm, simple melody and the drums are doing whatever they want to do.” Loraine James database (a cache of perceptions) Continue reading
