-
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
-
Keywords: One Instrument
One Instrument is a constraint in the form of a pact with yourself to use just a single source for sounds in a track. I’ll make do with this you think, using the thought as incantation, and off you go exploring what you might do with the instrument. The One Instrument principle goes against the… Continue reading
-
Same Walk, Different Music
Our subway stop has been under repair for a few months, so going anywhere involves walking a half mile to the 74th street stop. The 12-minute walk isn’t scenic, but it is a good time to spend listening to music. In fact, walking—not running, or sitting—may be the best way to listen to music because… Continue reading
-
Keywords: No Click
No Click is a simple constraint for recording in a DAW: don’t play to a metronome click. Without a click, the producer’s playing is free to follow its own ever-changing tempo. Without a click, the producer unfolds a performance with its micro-timings intact—in other words, a performance that captures a moment’s real time flux. No… Continue reading
-
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
-
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
brettworks 