Category: Creative Sound Project 2

David Byrne is one of the biggest musical pioneers of the 20th century and personal favourites of mine, His work contains a fascinating blend of avant-garde experimentation, world music influence and popular music tropes. One of his most notable aspects of his work is collaboration, working with musical legends such as Brian Eno, Adrian Belew, St’ Vincent, Brian McOmber. Byrne strives in environments like these where ideas are freely and frequently exchanged.

The nature of his collaboration often leads to unexpected sonic textures and complex rhythms through Byrnes love for drum programming. One oof his favourite machines to use is the LinnDrum which is one of the earliest digital drum machines. This machine was pivotal in shaping the rhythmic foundations of Talking Heads’ 5th album: Speaking in Toungues. Its precise, punchy beats gave us tracks such as ‘Burning Down the House’ its signature groove. Unlike traditional drum kits, the LinnDrum allowed Byrne to create highly controlled, repeatable patterns that were central to the albums danceable feel. The recording of the album was characterized by a modular, piecemeal (one thing at a time) approach. Instead of recording the live band, he built it layer by layer, with each instrument being recorded separately. This allowed him and the rest of the band to focus on each element’s precise sound and arrangement.

Byrne has always been known for using non-musical sounds in his recordings. For example, the track ‘I Get Wild / Wild Gravity’ features ambient and percussive field recordings he made outside of the studio which helps add a layer of unpredictability and realism to the track. Speaking in Toungues is a masterful album which balances avant-garde experimentation with general accessibility. The band utilized the latest technology at the time, embraced modular recording processes and infused the sound with global rhythmic influences and unconventional sounds. Resulting in an album that would define a brand new direction for the band but also majorly influencing the foundations of 80s pop music.

Throughout this year I have made set a goal to start releasing my music and sound experiments. Over 4 years, I’ve accumulated my favourite pieces and released them to the public on SoundCloud. This marked a big step for my personal development as I have always struggled with my output, and have always wanted to archive my music across my life so that I can look back at them in a few years and take note on my development as a musician.

A lot of these tracks were recorded for college projects and others for my own purpose and I think they each contrast in sonic arrangement and genres. Further goals include releasing my first album, a collective of compositions and songs written and produced by me and my friends to highlight each others musical vision and talents. Over the years I’ve accumulated enough equipment to make this possible and I intend on producing it using a 4-track and recording it straight to a cassette. Whether I push for an official release is still up for consideration as I want to dedicate my fullest attention to developing my skills and having something to show for it. Here are a few notable tracks I produced. Eventually I hope to take my tracks to film and tv and possibly theatre, but I feel I still have a ways to go before understanding enough of what’s required in the industry.

Techniques that I have learned through producing these have informed my creative process when producing sound compositions, especially when it comes to arrangement of field recordings and how to creatively process the audio and create a visual story with the pieces.

I recorded this track in a windmill in Diss using a prepared piano with nails and pints stuck between the strings, accompanied by a low growling acoustic guitar, drum machine, guitar and orchestral arrangements.

I produced this track digitally using mellotron samples, chaotic modulating brass sections and old archival 1050s radio.

In April I was asked to make music for my friend’s fashion project for her degree project. This was my first introduction to producing music for a brief outside of my assignments, so it felt a lot more difficult for me to settle with ideas, as they were for someone else. The concept behind the show was based around post-apocalyptic utilitarian fashion. Regarding the brief, I wasn’t given many definite rules to follow and unfortunately the video for the runway wouldn’t be completed until after the tracks were finished. This meant I had no visual reference for any of the tracks.

Some of the key notes from the brief were to include broken drum beats, sirens, glitching effects an overall to create a constant ambience for the models to walk to. Here are the final pieces I ended up deciding to use:

For this track I focused on the synth bass as a leading point of the track. To create this sound I used a Korg Monologue synth as it has an amazing sequencer which allows me to hold notes while modulating the sound with the inbuilt EQ and filter modules. The accompanying ambience and sounds were made using a virtual copy of a Buchla Music Easel and a virtual CMI from Arturia Analogue Lab 4.

I decided to use my physical equipment for this track, such as a Korg Volca Beats drum machine, my bass, Korg Monologue and also my guitar for use of the Ebow. This was the first track I began to develop for this project so I hadn’t quite figured out what sound I was looking to achieve. In order to stray away from simplicity and repeating previous methods, most of the recordings only required one take. I’m still surprised at the outcome as it sounds and feels very DIY but accomplishes the broken and glitchy prompts I was asked for when planning. The resulting effects on the drums were achieved using the built in delay function on the Volca and the occasional live triggering of the kit.

For this project, I wanted to capture sonic experiences while touring across Europe and to somehow create an emotional relation to each characteristic of my track. In my previous projects, I branched out of my comfort zone when it came to producing and arranging by using unfamiliar methods (to me), such as, live radio manipulation and modulation and synthesis. This time around, I want to use familiar techniques and methods that I have learnt over the past year.

Due to the extensive nature of touring, I’m unable to take lots of equipment with me. Because of this, I’m only able to bring my Zoom h1n Field recorder, my laptop and an assortment of pedals (for live shows). As this is my first international tour, I’m looking forward to indulging in other cultures and capturing the essence of visiting new places by taking note of sonic differences in each country. I have already prepared a folder of foley samples and some field recordings that might come in handy when it comes to arranging the track. These include recordings I took using a Zoom H5 field recorder, a hydrophone and a contact microphone. I’m really looking forward for the inevitable culture shock of being in Europe for the first time but I’m most excited to hear what these places sound like!