Everyone go look up Madlib in Brazil
For some of you who are beatmaking but never sampled from vinyl this idea of a needle drop may well sound bizarre. It is after all the vestige of bygone sourcing. However if you are looking for actual fresh sounds this is such a powerfully simple way to do so. By recording all the jumping around your audio youāll hear things never intended. Please try it!
Iām begging you to add headnod to your tracks.
We oft take for granted. Your productions can be made all the sweeter by understanding pocket and committing to its outward expression. āDilla Timeā by Dan Charnas tries to explain that signature lope as a friction inbetween quantized and felt time. I think thereās a relationship with whatās calm to raucous in its proximity to regular rhythm. A delicate dance, but the expression of which has neck breaking results.
Some of this is baked into the very technology we operate in. Understanding why swing starts at 50 is a hint at whatās happening therein.
Who are your favorite beatmakers who get you grooving?
Double decennial of Denies The Dayās Demise! Thatās 20 years of this misfit album brimming with Samba, Synths, and an untidy amount of Saudade.
Cover Artwork is an adaptation of Winsor McCay by Laura Darlington (hence the sideburns).
The 2nd to be split between Mush and Ninjatune, it felt without easy category at the time, and I love how itās persisted. Be it as inspiration for parts of Bluās No York, or @diplo ās first released remix?! (On the accompanying Sundown EP see the 3rd slide), actually the Sundown video all about climate collapse (thank you @goclaygo on the 2nd slide) and just in generally one my few sing-along LPs.
If you have a moment please give it a spin today, I think the topics more pertinent than ever.
Music is that reminder of something bigger we take part in.
The they in this case is corporations. Not just ašļø, thatās just the latest trend of aggrandized.
Today is a wonderful date to recall our powerfulness as taking part in a whole rather than halves (and have nots)
My students on the precipice, about to graduate into unknowns. Often encouraged to immediately wall their ideas behind NDAs, ascribe their copyrights away, enter into deals they donāt wholeheartedly want.
Maybe we could all use a bit of room for growth? I want you all to be successful on your own terms.
The sweetest love awaits between practice and doing. Here Iām finding an unlikely set of circumstances, new and timeless, for tonightās play. Could you rock with this? I hope my fingers can trace this set again
Welcome to the show!
Kayfabe comes from the world of wrestling, and might be useful term by which to view our Music Industryā¢ļø?
As my experience at Berklee draws to a close Iām extra reflecting on my students soon entering their next stage.
Adversarial Audio is a burgeoning field that aims to defeat model scraping. It can be as complex as you can imagine. However hereās an example of low tech high impact methods you can put on your tracks today, right now.
Shout out @surfgang1 for making this heavy weight album that defies easy imitation.
Newness by @iamkorts is very lovely, but beneath the surface there is a long standing controversy that has left many divided. Is there something to the pitch of songs? Iām so curious on your thoughts, and what you are doing about it!
Sampling is truly one of the greatest inventions of the 20th century and now a battleground for the 21st. We need to seize back its future.
I envision a great continuation of all previous sounds. Through new noise makers, effects, stem splitters, and of course performance. Be it the toy like MPC, the brand new DSM by @maxforlive.vstopia or a handheld recorder that can capture the world and its surrounds.
I look forward to hearing your creative solutions.
