introduction to music production

I set my hihats using a Euclidean-style distribution. It’s not straight 16th notes or totally regular, instead it gives a slightly off-grid, pushed-forward energy, like a 5 over 16 or 7 over 16 type of feel.

I also placed my kick on a regular 4/4 grid (the base groove) and used automation to emphasise the first beat of every bar and layered it with a cymbal crash.

the placement of my melodic elements seem to be moving in a cycle that doesn’t line up perfectly every bar like a triplet-based rhythm or even a 5-note loop over a 4-beat bar. This creates a polyrhythmic tension, where the loop takes multiple bars to “sync back up” with the main beat.

Gm Cm Eb F Cm Gm

For the first task I created a drumbeat in a 4/4 time signature and used snared to accent beat phrases

For the second task I automated the tempo change from 4/4 to 12/8. By using the formula to determine the new tempo, I changed it from 120bpm to 180bpm.

For task 1 we had to choose a point in the piece to alter the chords to create a 2 5 1 chord progression.

Based off the fact that this song is in D major, I found a D major chord toward the end of the song, chord 2 being Em, chord 5 being A that leads back to the tonic of D. With chords 2 and 5 I fit these two into one bar, by using minims.

For task two, we were set to vamp up the chord of Bbm with variations without using Bb as the root note of the chords. For this, I used a variation of 7ths, 9ths and chord inversions to give harmony interest without deterring from the main chord / key.

b3 5 b7 9 

b7 9 b3 5 

Bb 

Cm 

2 b3  5  7  

b9 b3 5 7 

For task three, I altered the chords, added extentions and changed the voicing to that the chords flowed easier into one another.

I added a 7th to the first chord of Dm for it to become Dm7, left the second chord of Eb over F as I thought it worked well, I also swapped the C in the chord of F for an octave lower for better voicing. the chord proceeding this I added a Ab which has not been heard yet in the chord progression. this transformed the basic Bb chord to Bb7.

LESSON 1 TASK 1
In order to establish the opening chord of C major, I altered the first two acapella notes on the upbeat from a D and an A to a C and a G, which creates an open 5th chord. When the piano chord comes in, the melody lands on a C to compliment the Cmajor chord. The second chord is a D minor chord in 2nd inversion, meaning that the root note of the chord is A, not D. Although the original melody lands on a F, which in theory would compliment the Dminor chord, I swapped it for a step down to E as the D minor inversion lasts for one beat, and therefore the F acts as a passing note to the E that is the 5th degree of the A minor chord. This works since the inversion of the D minor chord has a root note of A, which remains the same for the following chord of Aminor. I took out the 5th degree of some of the 7th and 9th chords to make it sound less messy and crowded.

LESSON 1 TASK 2

I determined that the key was in D major, which is the chord that I continuously returned to every other bar. I came to this conclusion as the main long sustained note is an A, the dominant of D major. I knew that the key was not in A minor, since a F sharp shortly appears in the following bar. I used various inversions of the chords especially for the repeated ones like D major or to simply make it easier for the piano player so that the chords don’t jump around too much.

Chords used ; D major , G maj 9 , D major , Gmin7, D major , G maj 7, E minor second inversion, A major, G major, g minor, d Major2nd inver, d major

During this unit I have definitely experienced some challenges and touched on various analytical approaches to music that I have not considered before. First off, the three producers we focused on exposed me to music genres that I do not usually listen to. I think this alone has already forced me to expand my music taste and appreciate the different artists’ unique sound. One of the skills I developed over this unit would be the analytical side to music production and really taking apart the production let alone delve into the motive behind why they create music. A good example of this would have been analysing Moor Mothers music with how she uses her politically charged music to bring awareness to social injustice. I think I benefited from this from an academic perspective from the blog post where I chose one of her pieces to analyse, as it required me to do some extra external research. I equally found it interesting with the way RZA incorporates his love for kung fu movies and how he samples music from them. The workshop that included the use of the AKAI sampler was a tough but humbling experience which really made me appreciate how far technology has advanced and how we often take it for granted. I would say that the workshop has opened me up to using samples in a more creative manner – samples do not need to be exclusively taken from other songs but other forms of media like film and television dialogue are equally as effective. The most foreign form of music to me was definitely Rashad Becker, and possibly the artist I struggled most with to relate to. Saying this, I did learn how to listen, view and make music from a completely different perspective. Using the VCV rack helped me understand this type of music and completely disregard any sense of tonality, rhythm or genre for a while as I experimented with modular synthesis. Although this went against every grain in my body in regards to making music it was a good experience to have done. Additionally, I did find that the presentation pushed me out of my comfort zone since it was something I haven’t done before and there are definitely things that I would do differently in terms of preparation for it next time. 

After this unit, I would definitely like to incorporate more creative sampling in my own music and learn to understand VCV rack a little better as it was a completely new concept to me. Although I found certain aspects of study harder than others, I feel like I can leave this unit behind with a new knowledge that has definitely improved my understanding of certain genres and new skills that I can introduce to my future productions.

Burns, L. Woods, A (2018) ‘Rap Gods and Monsters’,  Words, Music, and Images in the Hip-Hop Intertexts of Eminem, Jay-Z, and Kanye West University of Michigan Press, pp. 215-221.

This chapter explores the intertextual practices of three major rap artists, Eminem, Jay-Z, and Kanye West and how they craft their identities within the hip-hop genre through stylistic references to other works, cultural figures, and broader media in order to establish themselves as “Rap Gods.”. It discusses how these artists use intertextuality to assert their authority and status, while also addressing complex issues such as race, fame, gender, class, and the dynamics of the hip-hop industry.

Key Points summarised:

1. Hip-Hop Intertextuality: Hip-hop artists extend the practice of sampling to include lyrical, musical, and visual references to other rappers, pop culture, and media. Intertextuality is a fundamental feature of hip-hop culture, allowing artists to repurpose existing materials to create new ideas  and assert their place in the genre.
2. Cultural and Mythic Identity: The chapter emphasises how the artists build “mythic” identities, positioning themselves as Gods within the hip-hop world. These mythic figures draw on references to history, religion, and popular culture, which help the artists negotiate their identity in the industry. The process of “mythmaking” is seen as an ongoing effort where artists actively shape their public personas and legacy through their work. The chapter discusses how these artists engage in mythmaking, a process where they shape their identities as heroic, larger than life figures in the cultural narrative of hip-hop. 
3. Impact of Mythmaking: The mythic identities created by West, Jay-Z, and Eminem influence upcoming generations of rappers, who either seek to build on or challenge the mythic status of these “rap gods.” This ongoing interaction with the media and fanbase helps to continuously shape the artists’ legacies.
4. Braggadocio vs. Mythmaking: While hip-hop often involves braggadocio where artists boast about their dominance and success, the mythmaking discussed here extends beyond mere self-promotion. It involves crafting an elevated, god-like status that situates these artists as foundational figures in hip-hop culture, drawing from historical and cultural references to legitimize their authority.

Media’s Role: The media plays a crucial role in shaping the public’s perception of these artists’ mythic status. While artists actively craft their identities, media and fan reception further mold and amplify their persona, sometimes reinforcing or challenging the constructed narrative.

Albums Analyzed:

Kanye West’s (2013) Yeezus . Available at: Spotify (Accessed: 10th December 2024).

Jay-Z’s (2013) Magna Carta Holy Grail. Available at: Spotify (Accessed: 10th December 2024).

Eminem’s (2013) The Marshall Mathers. Available at: Spotify (Accessed: 10th December 2024).

How did City pop reflect the economic status of Japan at the time? With “I can’t stop the loneliness” By Anri 

In recent years the revival of citypop has made its way overseas to the western world and gained popularity at an astonishing rate. You may be familiar with songs such as “Stay With Me” and “Plastic Love”, the Weekend even sampled “Midnight Pretenders” in his song “Out Of Time”. City pop originated in the 1970s however did not gain popularity till the mid 80s’ otherwise known as “the age of the bubble” (1994  ). I will make a short analysis of the song “I Can’t Stop the Loneliness” by Anri, who was one of the more popular female J-idols at the time who reflects this. The sudden influx of western trade is highly reflected in the genre fusion of this song which includes jazz, pop and funk elements to give a new glossy sound. The smooth synths are not only a huge characteristic of citypop but also imply technological advancement during this era, with Japan being at the forefront of technological innovation (Stanford University, 2017). The steep incline of the economic status is also reflected in the fast upbeat tempo and strong syncopated rhythms that gives the song a danceable beat which was heard at nightclubs, that aligned with the growing disco and entertainment culture at the time. Anri’s vocal delivery in the verses are delicately sung to give a sense of yearning, that builds in pitch and dynamics to the chorus which emphasises feelings of hope into a new era of economic prosperity. The catchy chorus line “I can’t stop, the loneliness” in English mirrors the economic shift towards global culture that exudes modernity. The funk influence in “I Can’t Stop” is prevalent in the off beat bouncy bassline provided by a bass guitar that speculates the fast paced consumerist society Japan was becoming. The funk influence also plays a part in the western cultural exchange during the 80s. This genre fusion overlap is also heard in the backing vocals and bright trumpets giving the song a swung jazzy feel. In essence, this song serves as a product and reflection of the economic status of Japan in the 80s, with its unique blend of western music to create a modern production with qualities that reflect the economic growth of the bubble era. 

Anri (1983) ‘悲しみがとまらない/I can’t stop the lonliness’,Timley!!!. Available at: Spotify (Accessed: 1st December 2024).

Noguchi, Y. (1994) ‘The “Bubble” and Economic Policies in the 1980s’, The Journal of Japanese Studies, Vol. 20, No. 2,pp. 291-329 (39 pages). Available at: https://www.jstor.org/stable/133196

SPICE Stanford Organisation on International and Cross-Cultural Education (2017) Japan’s Emergence as an Innovating Economy. Available at: https://spice.fsi.stanford.edu/multimedia/japans-emergence-innovating-economy (Accessed: December 1st, 2024).

At Friday’s workshop I explored how Rashad Becker produces his tracks by learning the basic functionalities of modular synthesis. The application we used was VCV rack that allows one to ‘wire up’ the different modules without the repercussions of potentially destroying some very valuable equipment, as well as being an online free platform that makes it accessible for good practice.

 As someone with very little technical knowledge with how the different modules connect, by the end of the session I was glad to have learnt the general concept of how it works, and what capabilities it offers. I will admit that I was quite lost for the first half, however once I had decided to copy what was presented on the board and work backwards by removing the wires one by one and listening to what was going on it became a lot clearer to me. Based on the basic setup with the ADSR, VCA and audio, I then went ahead and downloaded plateau reverb, a liquid filter, BLEAK analog, HORA soft bell and HORA deep boosted bass drum. With the basis of BLEAK being my starting analog, I connected this to the liquid filter that passed through the ADSR, VCA, plateau to the audio output. For some reason CLKD wouldn’t download for me so I substituted it for the regular LFO provided and selected the saw wave to connect it to the ADSR gate in order to provide audio. I then decided to add HORA bass drum kick for a more rhythmic feel just as in Becker’s work (Dances VI, 2016). The only available output was the right one in the audio, so in order for both the BLEAK analog and the kick to be heard in mono I added merge, that allows multiple instruments to connect to the audio output. The final sound I added was the soft bell chimes to contrast the deep sounds heard already. I tuned both the bell and bass drum to be played in octaves as this seems as far as Rashad Becker’s use of harmony goes in his tracks. The rest of my time was spent playing around with the decay, gain, pulse width and more. 

Through this process I have learnt that making music does not have to necessarily start from any form of melodic idea, pitch or rhythm. The use of modular synthesis provides a different, unconventional way of making what we recognise music to be culturally. My biggest challenge was resisting the urge to attempt to hear something melodic and to try not to think so seriously about trying to make it sound ‘nice’ to hear.

Rashad Becker (2016) ‘Dances VI’, Traditional Music of Notional Species Vol.II. Available at: Spotify (17th October 2024).

Rashad Becker’s Dances VI from his 2016 album Traditional Music of Notional Species Vol. II displays an exploration of sonic textures and rhythmic complexities. Rashad Becker’s pieces can be easily identified by his use of granular synthesis, glitch-based effects, and subtle tonal shifts that invite constant transformation throughout. Dances VI is no exception, Becker uses extreme sound manipulation techniques to create an immersive auditory environment that prioritises a sensory filled experience over traditional signification systems.

The track opens with a pulsating synth bass accompanied by high pitched chimes seeming to hit the first beat of each bar. As the piece progresses the sense of definite rhythm begins to fade with the additional fragmented sounds of crackling, faint hums, and irregular bursts of noise that immediately create a sense of tension and unease. The combination of the sounds create complex textural elements that shift between moments of near silence and dense, chaotic clusters of sound. Throughout the piece, Becker manipulates these elements using advanced digital processing techniques, such as granular synthesis and pitch-shifting, 

to create a sonic landscape that is constantly in motion. In a Magazine interview with Rashad Becker, Josh Hall describes his use of panning and the effect it takes. ‘They move dramatically across the stereo field, at times appearing as elongated screams and at others as delirious incantation, interlocking with each other in an unsettling chatter’ (Josh Hall, 2013). Unlike the majority of conventional dance music, Becker avoids predictable beat patterns to create a fragmented and non-linear structure. Instead he employs a rhythmic language that shifts unpredictably, often using silence or sparsely placed sounds as key structural elements. The effect creates an immersive listening experience, one that forces you to attune to the restless nature of the sounds as opposed to trying hard to understand or determine a particular structure or melodic idea regularly imposed by fixed conventional music genres.  

Hall, J. (2013) ‘Revolutionary intent: mastering legend Rashad Becker on Lenin, pig bladders and killing the author’, Fact Magazine, pp.1 Available at: https://www.factmag.com/2013/09/10/revolutionary-intent-mastering-legend-rashad-becker-on-lenin-pig-bladders-and-killing-the-author/3/  (Accessed: 12th October 2024).