Can programming an electronic set be driving through DATA and become the normal way of life in the music industry or many facts pointing to the direction of accurate programming assistant in production and the indemnity to identification for scientific community and in field of internet that includes the digital music production to capitalizing on sound design and audio visual design.
Within the live coding installation, the environment trend to be extremely hard to compile with some OS, I usually only try to install it through a slate computer using only one method via command or terminals within the system design, a clean laptop or OS would be become a decade of dedicated computer for beginning, it is always scratching the surface, likely my coding skill is partly on my programming languages, I might be able to read different programming language I do find it hard to compile effectively in codes most of the time. Always practice make perfect, and be inventive about all. I will update more programming interpreters or IDE.
A short video to introduce the Kompakt records store with one of their partners – Michael Meyer in Cologne, Germany. Video by Jimmy Howe
Elevating stylized beatz
My recent experimenting on a sampling techniques and sequencing that has to have theory behind the science of ambient and beat making. I am working on a new series of sequenced tracks using this old skool sampling technique of Temp.beat.time(TBT)
The idea is base on Time-Stretch and some of my notes I present them to you that is following mostly music notation and intervals in laying out tracks quickly, on tempo, structuring the beats with time interval on location in a precise way on sequence sound loops and music instruments.
At this moment they are sampled in a way without a logical progression but I am working to forget the THEORY HINDRANCES BASIS. I think approaching music theory can sometimes get you into a random experiments. But this charting will help me to understand in the long run that Live Coding environment I mentioned previously vs. sampling techniques on my MPC are Form.Follow.Function constructing with real analogue sound from a better way to understand your knowledge in music and not formalized by some theory of sound inside a computer. I don’t think digital sound better than analogue sampler and definitely cannot use concept to register sound technique to copy another producer’s flow.
(TBT) is the way a track is approached with the sampling file is being laydown on the track in a sequence, all of them are technical method to arrange the basic sound in your tracks.
I have been using this list of interval to understand more on music notation in both musical standard principle. I think it help to understand a lot of these old instrument and machine in a studio environment without any knowledge from theory is just not the way to do it.
NOTES: Asian Music Intervals completely different to the list above, and to find anything useful in this list are not necessarily what I am trying to illustrates here.
By focusing towards the way we produce sound, it is perhaps immediate recognition on the creativity, but by an order of knowing the non-linear strings sequencer in software or via calculation in a live programming environment, we are far too predictable then what we would like not to be too countable by the container of the software IDE or Interface, the speed of random selection and function in the evolution of sound sequencer and software(Digital Audio Workstation) and theoreticians between the form of architecture interface in online system are a history in the making.
We need to focus on how we receive sound; The environment is selectively and collectively building on audio data from the network or offline recordings. Now if suppose we are building a network for sound designer, within an environment(IDE) to create a collective in the improvisation: like putting a fabric of invisibly created information that is unable to understanding all the sublimity with information, what it does sounded like.
For example if we are building for hearing impaired individuals or perhaps weak impairment in what visualizing sound in a tread of vertical urban design, how are we supposedly to understand that the inaudible system like hums and tings will become the friendly reminder of low frequency that create the impaired hearing functions. These are invisible data likely will not become the cover of artist on the Roll’n Stone magazine but all over the entire world, cities in Asia and globally will be blanked by a low frequency AMBIENT SOUND. Whether we are taking it through a formalise speech generator and maybe from human’s speaking through a vibration, but of course the mechanical process of sound wall from buildings and computers.
Towards the reasonable dimension of keeping this virtual state of flux, we cannot allow sound to be muted, just like music studio only looking for investor like myself who has no gains or ROI in production and design. The studios are struggling not to only work as repairman who need to do any repairing on the soundwall or treatment in audio and paying high cost of rent in quiet areas. There are sound design within a tactical location and environment when sensitivity meets construction in your studio area, per sa the focus is HOW WE PRODUCE SOUND!
PRODUCTION IN MUSIC has to have a combination of an input and output selective function, just like a human body to do intake of air and output of sound, for a localization of air intake of silent air purifier for example FOG and air pollution will generate water and carbon dioxide molecules/nano particules LOL.
Sound design as often as a by product of intake in non-reuseble or collection of sounds and that in sense generating a vibro either by chance or via a response in sound design. Of such mannerism is a reproduction in sound visualization, visual in the Spectrascope and waveform.
Although we have no chance of blocking the sound wall from the overall distance in the way vertical forms is in the format inside a building 40 floors up in the skyscrapers. But, for the most part, a diverse group of sound engineer and soundscapes is coming from off the walls within the building blocks of machine and wall absorbers; in finding of living cultivation to producer, and recording music. When you apply the use of mechanical reproduction ideas towards useless sound tactics/fractions of WHITENOISE, this is a psychological statement in association with memories and moods.
FOCUS on versatility and localization of the grassroots – lost in translations – has meaning for noise and information both kinda like data and useless tactical communication system. This focus are scale towards sound that has many attributes, for example within the sociological production of older architectures the sound tension is a visual idea without analytically designing natural homes for low rise housing as visual concept that is more interesting and without lost in translations and with losing of complex ideas.
NOTES: My views on #SkiBeatz video are not a reflection of what I think about music production, his video I added after was because he reminded me on how his music is made and hip hop lives.
Having to discovered that the world of rhythm and dance music have been at the underground scene in UK and to see that more of whom great producers and great production sounds are not only as busy as much to having to travel and play on tour. Here is a few reflections I recently encountered in the #musicroom @potatoheadhk
I like to share these tracks that have change my views on the dance music being a producer of experimental beats and ambient, the world of music producers are very much crossing all lines of discipline to arrive in a new city or another island that sending us this sentimental gift of soulful, balearic electronic sound.
Hong Kong isn’t obvious to be a destination from some of these avantgarde if you like check out what reason you think otherwise.
I was lucky to have meet with both of these masterminds. And present you their tracks I liked the most.
First two tracks are by #PeteHerbert #londonbali #passmeby
The tracks got me in to a memory swirling thru hipnotic afro drums was the last track thoughtfully played for only those intimately stayed until the very end of his set, in a low-key professional way the sound come thru from the JBL4355 #musicroom #JorgeMontiel
One of the better nights in Hong Kong dance music in my personal journey thru sound.
Come check out Ben Sheppee AV performance at Splice Festival this weekend. (Link in bio) #thingstodoinlondon #music
Splice Festival is back for its second edition, taking place over the bank holiday weekend 26th – 28th May 2017 at East London’s multi-arts centres Rich Mix, Red Gallery and Kamio.
Part of the EU funded AV Node network, Splice brings together over 40 international artists to celebrate the diverse field of audiovisual performance, including live cinema, AV remixing, VJing, video art and projection mapping. This year sees another diverse programme with headline act Coldcut, Award-winning Mira Calix and DJ Food among the performers alongside a host of educational talks, networking and satellite events.
Day tickets £15-25, Weekend tickets £50, limited early-bird release at £40. Available from the Splice website and Rich Mix box office. Saturday Talks are free entry. Further information and full programme here: www.splicefestival.com
Definitely, this has been on my mind building a wall of modular(wall of sound, And perhaps understand how analog sound work)
An analog recordings in music in ways to offer for sound arts And is continuing to offer influence in music including the electronic music.
As a producer to choose between Digital vs Analogue. In sound design and sound production. Computer music is the new field of studies, and we must file footed, I’m walking this in a stride and respectable manner. Whenever you see how modular sound can be understand us or we as a further away functionalist to keep explaining how it is make…, for programmers and electronic Das musicians.