database
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Database: Barbara Braccini On Spending Hours Recording And Using A Few Seconds
“…this one synth that I spent so much time on that I loved, an Udo Super 6. I would record the signal on Logic, but I wouldn’t even think of the computer. I wasn’t even facing it. It felt very nice to just jam and play around with it. I would spend hours on that… Continue reading
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Database: Oklou On Loops
“…take as the basis of the tracks this idea of a loop that I could be listening to forever. Just because I think it sounds close to perfection. Shorter patterns and this idea of a cycle repeating itself forever and ever, and how I can build a pop song on top of that.” Oklou database… Continue reading
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Database: Alessandro Baricco on Vibration As Real Experience
“I will always remember that circular movement of my photography director’s hand, and now I know that what we miss in every digital device, and more in general in the digital world, is that breathing, that waviness, that irregularity. Like a vibration. Was that vibration what we used to call a soul? It’s hard to… Continue reading
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Database: Tim Oliver On Listening, Scaling To Intention, And Making Sure Something Is Always Leading Your Ear
“It’s listening. It’s a bit being able to zoom in and zoom out in perspective. That’s a good practice. I think if I were still alive ten years from now, or if I can still hear then, that if I listened back to a mix I’m doing now, I’d probably think the same negative things… Continue reading
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Database: Rachika Nayar On Composing As A Prism
“That’s how I think of mutating my guitar lines and sending it through these layers of recombination. It’s like putting it through a prism; exploring a single idea through all these multiplying perspectives [and] seeing one thing in hundreds of its different facets and selves.” Rachika Nayar Continue reading
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Database: Ellen Arkbro On Harmony As Moving Clouds
“Somehow the music slowly evolves through harmony in a way that feels like the movement of clouds. When you watch the sky and see clouds slowly passing by, creating new landscapes—the music feels a bit like that.” Ellen Arkbro Continue reading
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Database: Kali Malone On Acoustic Instruments’ Incalculable Beauty
“I love to combine synthesis and acoustic instruments in my work. There’s an incalculable beauty to an acoustic timbre’s organic quality and the human sensibility’s delicate obscurity. There’s also a component in the process of recording acoustic instruments that demands more commitment and clarity from my part, making the whole thing feel more humbling and… Continue reading
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Database: Aphex Twin On Working Out New Musical Languages And Reconfiguring The Brain
“I work intuitively. I actually prefer it if I don’t know what I’m supposed to do. If you’ve got an equal temperament piano keyboard, then you know what you’re going to get if you play certain chords. But I actually like it if you don’t know where the notes are, because then you do it… Continue reading
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Database: Moritz von Oswald On Rhythms That Stand Still
“We used patterns that weren’t really defined, but they work with each other and are constantly changing. It’s a state where the music is not moving, just kept like a Polaroid, in a way, where you have something going on rhythmically, but it actually stands still at the same time.” Moritz von Oswald Continue reading
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