database
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Database: Chlär On Using AI To Stimulate Ideas At A Rudimental Level
“I started implementing AI in my sequencing aspect of the sound because I found it fascinating that with techno we have both very primitive-sounding results where it’s really drum-driven, loopy, and tends to trigger a primitive aspect of our human condition. But at the same time it’s exploring technology to a very extreme extent. The… Continue reading
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Database: Brian Eno On Splitting Audio Into Different Frequency Bands
“I would split [Harold Budd’s] piano signal into four or five different frequency bands, so everything equivalent to the lower string of a bass guitar would be put onto one track of the tape, then the next frequency band that is equal to the human voice range would be put onto another. I would make… Continue reading
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Database: Prok Fiskal On How Bad Sounds Evoke A Certain Thing
“I didn’t want to do a nostalgic thing but those sorts of sounds, I really love them, I really love a bad accordion synth, it sounds really beautiful in a way, or a really shitty choir preset can sound lovely.” “I wanted to use these sounds in a way that wasn’t nostalgic. But they have… Continue reading
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Database: Virtual Riot On Building A Map Of Sound Design In Your Mind
“With Massive, before Serum, there were no tutorials. And I was just turning every knob and imagining what that might mean what I’m doing right there […] I was like, Just turn every knob, remember what it does and start to build in your mind a sort of map of, Okay, this does this, this does… Continue reading
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Database: Lee ‘Scratch’ Perry On Instant Inputs And Outputs
“I’m a miracle man–things happen which I don’t plan, I’ve never planned anything…Whatsoever I do, I want [the recording studio] to be an instant action object, instant reaction subject. Instant input, instant output.” Lee ‘Scratch’ Perry database. Continue reading
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Database: Aphex Twin On Not Reusing Sounds, Avoiding The Obvious, And How All Sounds Break Down Into Really Simple Things
“I’m not into multitracking, I like things to be live. I record everything live, and I’m not bothered about saving sounds. In fact, I erase them on purpose. I have a library of stuff, but it’s stuff I haven’t used yet. And also I don’t want to use a sound I’ve used before. There’s an… Continue reading
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Database: Frequent On Giant Effects Chains And Arbitrary Decisions Leading To A New Musical Place
“Just make a giant [effects] chain. A lot of times people ask me how I make a sound, and it’s like, I just didn’t stop where you would have stopped twenty effects ago. There’s no secret thing: you just keep doing shit and eventually you’ll get something interesting. And that’s the non-technical aspect of it:… Continue reading
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Database: Paul Morley On The Thinking Process And Technological Limitations
“It’s all about the ears and imagination and the process. It’s a thinking process, almost. Ideas come from various members, and then it’s survival of the fittest ideas. A lot of stuff is improvised, and then 6 months later you notice that an idea that happened there is still attached to the music.” “What created… Continue reading
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Database: James Heather On Presenting Minimally
“It is not always the right decision to be just adding and adding things when making for the sake of it and because it’s easy because of technology. The foundation has to be there of the message, and that can actually be presented minimally.” James Heather database. Continue reading
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Database: Koreless On Noise Reduction, Constant Renewal Of Sounds, And Conventional Structures
“I think filters are one way of cutting frequencies… Nothing above this frequency can come through, but noise reduction stuff works with what’s called an FFT, and so you split the audio bands into, say, 1,024 bands, and you control each one… It’s like a different way of controlling the frequency response using PCAs per… Continue reading
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