ravi has all these insane beautiful guitars check out this gibson
i brought my condenser mic over to their house im recording hella stuff on all these beautiful instruments
he also has a sitar thats like 100 years old and all this crazy stuff from india and a slide guitar that actually gave him permanent arthritis even though he only played it for like 2 weeks (im assuming he played it improperly) so my mom had to confiscate the sliding thing that goes on ur finger but i have that in here too
this is screenshot of a post by sean booth from autechre on a forum called we are the music makers in a thread called "ask autechre anything"
because enjoyment of music doesn’t require any knowledge of how it was created, conversations about music don’t often advance beyond the speculative. when kathleen hanna and claire sat down for an interview in new york the weekend of this year’s mtv video music awards, she made a point of asking what drew claire to electronic music. in that interview and in others, hanna has talked a lot about finding recording studios to be hostile creative environments, lorded over by male engineers and irrevocably stained by their specific expectations and prejudices. starting with her first experiments with home recording and continuing through her work with the electropop group le tigre, she availed herself of every opportunity technology presented to liberate her work and her creative process from the influence of those spaces, allowing her to push herself into frightening but exciting new territory she would never have been able to reach otherwise.
i read this interview recently with stephen wolfram about his new wolfram programming language where he talked about how it was capable of recognizing the difference between the concept of “south america” and the concept of “west buttcheeksfort” by consulting the sum total of all knowledge stored in the wolframalpha knowledge base on the cloud. it can treat “south america” as a distinct idea with the actual characteristics that south america has right off the bat, as opposed to regular programming languages that would just treat it as an empty phrase until you provided information about what characteristics it was supposed to have. it makes sense that producers like autechre, who often create music literally by scripting code, would begin to look at the entire process as a computer program, not just the parts of the process that actually take place within a computer. the environments within which music is created and performed are not neutral in the creative process - they have their own distinct characteristics and their input can affect the final product as much as any other part of the process
sometimes i feel like the input of environments often overwhelms the input of the individual human beings that play music within them. i lived in minneapolis for 8 years - there are only a few venues in the city local bands can expect to play at and they’re all overflowing with a very distinct character. the 7th street entry is a 200 capacity room that’s attached to a larger venue called the first avenue mainroom, which is where prince infamously filmed some of purple rain. the entry is a dark, gritty room, with concrete floors and walls that have been painted pitch black. the stage is small and doesn’t have room for much more than four people and a drum kit, if that. the bar serves discounted PBR tallboys until midnight and highballs made with bottom shelf vodka and whiskey. there are types of shows the room is kind to, and types of shows that it isn’t, and given that the majority of touring bands that come through that part of the country play the entry at least once, people who live in the city are given ample opportunities to become aware of the character of the space the second they start interacting with live music there in any meaningful capacity. if you want to play that room, you are very likely to gear what you are doing towards that room. the ladder that gets you there mostly consists of smaller, darker, grittier variations of the same type of room, most of which have shitty PA systems that require you to have a drum kit and amps onstage if you want to make any kind of impact. deciding you want to play the room most of your favourite bands have played probably also entails making, without even thinking about it, several of the most important decisions there are to be made about what your music is going to sound like and how you’re going to present it to people. the default setting of local bands in minneapolis becomes woolly, grungy bar rock. playing those rooms often also means being played by those rooms.
kathleen hanna interprets the influence of recording studios as oppression and seeks to liberate herself from toxic input she doesn’t want to have to accept in order to create. “autechre” is short for “audio technology research”, so it follows that maybe their desire to mute or alter the input being provided by the environments they perform in are a function of the restless experimentalism that drives all of their creative decisions, a process action that’s just as effective or essential as any of the knobs being turned onstage. viewing a space as a distinct entity with distinct characteristics that have a tangible effect on the way sounds and ideas are transmitted and received
i was in a wikipedia hole awhile ago and i read something somewhere about how st vincent made her first record in garageband, the music production software that comes with most apple laptops. claire also started making music in garageband, and “my song 5” on haim’s days are gone takes it’s title from the naming syntax garageband suggests when you’re saving a composition that hasn’t been given a specific title, a nod to the fact that most haim songs begin as garageband demos danielle haim makes by herself on her computer. the effect that garageband has had on music has been very profound, very distinct, and i think very much like the effect kathleen hanna was hoping home recording technology and the creative promise of electronic music would have on the way music is created and who it is created by. the landscape of pop music is currently dominated by artists who might not exist as musicians if not for the opportunity garageband afforded them - to me at least haim’s days are gone feels like an album-length celebration of a listener relationship with pop and rock that was never ruined by the entrenched prejudices and predatory attitudes women used to be confronted with the second they dared ever even pick up an instrument. people who apple laptops had been successfully marketed to, i.e. college students and the aesthetically inclined, all suddenly found themselves with the tools to radically reshape the landscape of popular music unexpectedly right at their fingertips, and in my opinion the impact of that reality was as immense and transformative as the advent of any other significant recording technology or the synthesizer or the sampler or the electric guitar or whatever else
sales of apple laptops peaked around 2007 as far as i can tell and i think among other things the massive influx of laptop-incubated new genres like “witch house” and “chillwave” were directly attributable to the widespread tinkering that resulted from the countless new sets of eyes and new approaches brought to bear on music by the omnipresence of garageband as an accessible and widely available creative tool. in subsequent years, laptop sales in general have been decisively overtaken by sales of smartphones and tablets. last month apple debuted a new, free version of the ipad version of garageband, and iOS 7 features improvements that make it easier for individual audio apps to chain together and work in conjunction with one another.
as an interface, the ipad is much more intuitive and versatile than a laptop. playing a piano on a touchscreen is a much more effective way to write music than playing the home row keys on a laptop keyboard the way that dabblers messing around with garageband on their macbooks would. the free version of iOS garageband gives you access to a piano and a guitar, and the guitar interface is just as fun and intuitive as the touchscreen piano, allowing you to slide your fingers across a set of strings to create convincing strumming sounds, something no laptop interface could ever do. there’s also a “smart guitar” interface that’s hard to explain that lets you play chords on any scale you choose by strumming different frets on a virtual fretboard or with a single touch - it’s almost like a versatile, digital version of an autoharp. a one-time five dollar in-app purchase unlocks a host of other instruments, including a “sampler” that lets you record sounds with the ipad’s microphone or grab snippets of songs in your itunes library and then play them on a keyboard.
as an arrangement tool, the ipad feels limited. as someone who’s been arranging and producing music on computers for over ten years it’s hard to wrap my head around arranging a song without being able to cut, copy, and paste with keyboard shortcuts. the software makes it easy to transfer compositions over to a macbook for more intensive editing using apple’s AirDrop feature, but that likely isn’t going to make dabblers feel empowered to create finished, high-quality music the way that the laptop edition used to. a lot of rhetoric surrounding the use of tablets for music production centers on the idea that they’re best used to complement an existing production setup, not to replace it. i wonder if the considerable creative potential of tablet production software will ever be able to have the impact laptop garageband did if people aren’t able to engage with it with the mentality that they can and should use it to create actual listenable and interesting music on their own terms. iOS garageband is as fun, user-friendly, and intuitive as any iteration of the software ever has been, but there’s a point where it cuts you off and gives the impression that it’s an incontrovertibly amateur platform, unable to get you across the finish line or propel you into a world of broader sonic experimentation like the one that bands like salem gestured towards by aggressively tweaking the parameters of a more versatile incarnation of the program
another problem is that the latest version of OSX garageband, which iOS garageband is intended to compliment, has implemented sweeping changes that severely limit the level of sonic customization the user can achieve. while the software offers a fascinating new “drummer” feature that spontaneously generates drum tracks to accompany your fledgling musical ideas by analyzing what you’ve already recorded and responding to your input about what style and what level of complexity and aggression you want, it also removes the software’s ability to incorporate third party plug-ins. you’re limited to the proprietary instruments and effects included within garageband itself unless you opt to upgrade to apple’s pro-level digital audio workstation, logic. users looking to dive deep into sound design, the kind of “audio technology research” autechre built their name around, will find little use for most of the features the software offers. on the other hand, the new touchscreen instrument interfaces make the process of songwriting more fun and accessible than any entry-level platform i’ve ever used - bedroom production on laptops could be very abstract and cerebral, but bedroom production on tablets is more like writing a song on an acoustic guitar, just faster and easier and with optional headphone inputs and volume control for people who don’t want to receive any noise complaints from neighbors or family members.
it’s possible that there just aren’t really very many new sounds left and that the rampant retromania gripping pop culture by the neck is the direct result of the novelty barrel being wholly and thoroughly scraped clean by the last generation of macbook-wielding newcomers looking for a unique angle to try to build a career on. but i still can’t help but be excited about any new technology that presents the potential for artists to be more self-sufficient and empowered when it comes to creating, distributing, and performing art entirely on their own terms. maybe as a sensory experience, the art that the next generation of artists using these tools will create will be indistinguishable from what came before - but a lot of the time a free range egg tastes the same as a factory farmed egg, and i’m still grateful that i have the opportunity to choose the free range one, you know?
great vocal eq
ok, this is the most useful thing google images has ever provided for me
like, well i guess everyone is different. but this is the only eq that ever works for me and i feel like this is a totally reliable eq for female vocals
greatest songs of all time
lauryn hill killing me softly
butthole surfers pepper
chris isaak wicked game
beyonce single ladies
prince when doves cry
manson beautiful people
rihanna only girl in the world or we found love (or take care/ whats my name)
outkast b.o.b… hey ya// ms jackson
mariah we belong 2gthr ./// fantasy
taylor swift i knew u were trouble //
alicia keys if i aint got u
patsy -c razy
majical cloudz i do sing for u
lana del rey ride
mia bucky odne gone
enya???? bodicea or however u spell
+ dummy in its entirety
all of swan lake
dolly - jolene!!!
elliot smith between the bars
missy pass that dutch
joanna newsom cosmia
skrillex devils den
mazzy star fade into you
katy b louder
themselves grass skirt and fruit hat
kanye lost in the world
all of ghost in the shell soundtrack
animal collective in the flowers
nickis verse on monster
nin march of the pigs? closer? haha i wrote march of the pugs at first by accident and erased it but i like the idea of march of the pugs
ill probably add more but now have to go back 2 work
paramore - thats what u get
flow child - less of it, more of having
a very large spider just crawled into my pre-amp and i think he/ she/ it has been electrocuted
actuallygrimes asked: ill crush u with my iron fist
i love you too
magicalgyaru asked: do you like the new stuff coming out of YG Family? I was really, really into "Missing You" by 2NE1 particularly, but I think "Ringa Linga" and "Doom Dada" are also both pretty fun however appropriative they are
"doom dada" is the topic (ha) of much conversation in my household
i dunno if ringa ling is something i’m ever gonna go out of my way to revisit but the fact that both of those people are in the same group is pretty mystifying - if any of the dudes in one direction ever starts wondering if he should pull an AJ and try to stake out a career as the weird one, someone needs to show them the top video and make sure they understand how far that bar has been raised since the 90s
so tempted to post doom dada by top again because its literally the greatest k pop song and video of all time