Limiting
Limiting
N
Flow
Flow is a notion coined by Mihalyi Csikszentmihalyi which is a mental state “where you’re feel that you’re not doing your ordinary everyday routine”, “alternative reality” (TED 2004). I can understand this concept because I am engaging creative processes when producing music since 1999. When I'm making beats, I can forget about time. My passion absorbs me, everyday life routines, “external details” (Stople 2010) feel disconnected from my thoughts. When I’m suspended in flow and I’m playing piano or write in piano roll or using sequencing instrument, until something really significant will pull me out of this comfort zone I’ll be working away. It’s having the impact on my time awareness, happiness, and makes my life feel more meaningful, organized and peaceful. It is a process where I am feeling most productive and creative.
Aesthetics
Aesthetics are various forms of critique of a piece of art, “In its traditional form aesthetics concentrates on the philosophical study of the work of art in and of itself” (Shuker 2002: 2-3). I consider that Hip-Hop sub-culture has impacted my production style and technical skills which is a part of my creative practice. I am aware of negative habits of frequent criticism and see it as a problem. That’s why I make music, and leave it speak for itself. Sometimes by sampling I try to incorporate sound in my arrangements with all the respect to original music makers and leaving a phrase to let it be recognised.
Authenticity
Authenticity is an important concept and i'ts function has been explaineded by Shuker- "Authencticity continues to serve an important ideological function helping differentiate particular forms of musical cultural capital, and is central to debates around the use of studio musicians (bubblegum), sampling and other innovative recording techniques (rap), and lipsynching' as function" (2002;21). Means basically that ideas for creative approach are having their solid ground in qualities like tradition, common sense usage, political ideologies or maybe representational with the accent on how not to fake. Autobiographical Hip-Hop songs from groups of a middle class like Beastie Boys are where my influence is coming from. This is more like subculture with ideology, Zulu Nation was always a part of it bringing all of the joys of sound systems to the streets. From there the drum brakes becomes the weapon of choice for DJs creating the thing with the MCs. My perspective of being authentic with my music is similar- being experimental with not being 100% safe, so it could not be repeated easily. For example, I like to record Hi-Hats by expensive condenser microphones and kick drum by the speaker. Some of the studio managers could say why? Well, I will not explain every technique, but I got my spare sport socks next to the mic pads to reduce treble. I know now, thanks to Edward R Keal which proclaims that “The ideology for sound mixing changed: technical work was now artistic...and there was a new artistic aesthetic of experimentation and self-expression" (Kealy, 1979: 216)
Likeliness
The Likeliness or Likelihood “relates to the selection of possibles by creator and the fact that some possible are more likely to be selected than others (rock guitarist will use plectrum and electric sustain; un-likeliness – hit a diminished 13th chord, play a solo with constant intonation, etc.)(ibid:39). Likelines and constrains for me are like ambience of a drums room that I compromise. I naturally aim for possibilities which would influence, contribute more but likely I would have to implement sampling with unique character, like open clean drum-hits, or a soup can microphone for re-amping Lo-fi timbre due to budget constraint.
I compromise a little because lack of space in my living room too. My stereo image created by the set of speakers should probably be wider but I’m not unfamiliar with methods which helped me maintain stereo information- I'm using Sonarworks Reference System 4 since I discovered it's benefits. It has a good impact on my mixes, clear low-end for example, the way that the mix translate to different listening systems is priceless.
Habitus and Field
Habitus relates to the creative process criteria and the theory behind it was described by Toynbee as "The key aspect of habitus is the way it dispose musician- agents to play, write, record and perform in a particular way"(2000; 36). The on the go possibilities are so amazing that I’ve become a massive lover of midi keyboards capable of working from a phone battery, fully functioning midi mapping and pocket DAW operating for constant producing. I used to work on two batteries, couldn’t stop. Fruity Loops Mobile has absorbed a huge part of my own time due to capabilities and quality. Armed with midi controller works wonders. Taking it to an airport or basically anywhere when traveling by bus, bath or bed, garage or stairs equals happy days. When texts, sounds, midi notes can be imported and exported from the DAW the ideas can cross-platforms and inspire me to try genres. I am most happy from track 12 which was done entirely on the phone.
"Music produces pleasure and the need to listen to music,
receptivity- the need for music, which meets creativity"
- Zofia Lissa
AUDIO ASPECT
Most interesting aspect of my good mix definition is the inclusion of arrangements.
It fulfils and leads me to next phase: Individuality.
INDIVIDUALITY
It would be difficult and unmatchable not to be myself, so I try to develop my own sound. Instead of a roompler I reach for items found on the spot and it feels far from being wrong and turns useful in the session to have unique sound like own break.
One of my favourite ways of making music includes reusing samples of sounds from vinyl records. I love to spread them across the keyboard creating substitute of expensive samples libraries and write something new, give them a second life at the same time .
COMPOSITION
The inevitable and pleasing task when making music still drives me at the night time when I feel creative.
Collaborative composing. This is a secured and interesting process, very comfortable as I don't have to travel to see my co-writers/composers. We swap stems ( recordings ) using safe online services around the world.
TEMPO AND RHYTHM
Sometimes uplifting and exciting like 160 BPM, sometimes subsides to precision, but mostly presented in 90 or less BPM (Hip-Hop, Trap) typically with a touch of swing and filled with heavy bass like Roland 808 or set by side with Uhe, Xpand! or clean D.I sound.
MAKE BEATS NOT WAR
Explosion of opportunities for beatmeakers, producers, has spread across the internet like a good virus.
The music can be delivered to the listeners in a minutes. This surprising era of modern music consumption, 'pocket music' and sharing files fills me with interest and anticipation.
References:
Hodgson, J. (2019) Understanding Records: A Field Guide to Recording Practice, (2nd end). New York: Blumsbury Publishing Inc
Kealy, R. (1979). From Craft to Art: The Case of Sound Mixers and Popular Music. In:S. Frith and A.Goodwin, ed., On Record: Rock, Pop and the Written Word, 1st ed. London: Routledge.
Lissa,Z. (2007) Zarys nauki o muzyce (6th, ed). Warszawa:Agencja Wydawnicza Ad Ocoulos
Shuker,R. (2002) Popular Music: They Key Concepts. Routledge: London
Songworkdotcom (2010) Songwork’s Toggling with Andrea Stople [online] Available from < https://www.youtube.com/watch?v=9QvTu_KFoIg&feature=youtu.be> [06 March 2020]
Toynbee, J. (2000) Making Popular Music: Musicians Creativity and Institutes. Oxford: University Press
TED (2004) Flow, the secret to happiness [online] Available <from https://www.ted.com/talks/mihaly_csikszentmihalyi_flow_the_secret_to_happiness/up-next> [27 March 2020]