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Database: Ludwig Göransson On Doubling Sounds
“We have parts played by a string quartet and overdubbed with four different synth voices; you can double it and have them weave in and out of each other so you don’t really know if it is the real instrument or if it is something else. People are unable to put their finger on what… Continue reading
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What’s The Driver?: Musical Inspiration Versus Musical Process
When you upload a track to Spotify you’re given an opportunity to write a short pitch to have the music considered for one of Spotify’s three thousand “editorial” playlists. The pitch format is strict: check a few boxes about what instruments are featured (e.g. “synthesizer”, “violin”, “bouzooki”, “sampler”…), what music culture you’re operating in (e.g.… Continue reading
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Database: Legowelt On Old Reverbs
“I’m kind of more into old reverbs, especially 12-bit reverbs that don’t sound too realistic. Modern reverbs that are too realistic are a little bit scary for me because you have a kind of uncanny valley that sounds so realistic it feels uncomfortable. It’s nice when the reverb is a bit crappy—it’s more relaxing for… Continue reading
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Keywords: Arrangement
Arrangement is the layout of the music over time, a sonic schematic (like the architect’s drawings) that specifies form: what goes where, entrances and exits, what happens now or later, transitional-liminal spaces, which ever-changing juxtaposition of parts best hold our attention. Arrangement decisions are guided by the reality that in music, everything can’t all happen… Continue reading
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Sound Is A Moving Target
The basis of making music is having a relationship with a musical instrument. What does this mean? The relationship comprises touch, technique, and reciprocity. An instrument is something physical you can touch and make sound with. An instrument responds to the quality of your touch and will sound in accordance with your technique. In doing… Continue reading
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