database
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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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Database: Kelly Lee Owens On Creating Music On An Instrument To Take Away Doubt
“Think about it. When you’re programming stuff into the computer, you are constantly assessing what it sounds like and whether this note needs to be changed. It’s a constant interruption because that’s how your brain works. But if you create a piece of music on an instrument and immediately record that, you are taking away Continue reading
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Database: Plaid On Mistakes Leading To Originality
“Often the originality is in the mistakes. You might try and make a drum and bass track but don’t have the skills so it turns out a bit weird..but that kind of weird is something new…something stranger and more exciting might come out it.” Andy Turner (aka Plaid) Continue reading
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Database: Guy Brewer On Constraints To Define Your Sound
“As much as I’m all for people letting go while writing and just letting the process take them forward, I also think there’s a certain amount of thought that should go into deciding who you want to be, what you want to represent. I choose bits of equipment for each track because I know they Continue reading
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Database: Hans Zimmer On Not Using Presets
“I don’t really have any finished programs in my synthesizers, I just have the neutral program I go from and I set up each sound individually as it comes along, because it will never be right just calling up a preset. It’ll never be as perfect as if you tweaked it and actually spent a Continue reading
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Database: Janerik Kongshaug On Compression And Dynamics
“When it’s mixed, it’s finished. If you’re doing a mix, why should you send it to someone else to change the mix? Of course, today what’s happening is everybody is compressing. A lot of music today sounds so compressed— you get tired. There are often no dynamics. Many people say the ECM recordings sound so Continue reading
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