Wow chicka wah-wah

Say “oooh” as in “noodle.” Then say “aaah” as in “park.” When you say “oooh” your mouth is more closed, with less resonating space and a smaller opening. This configuration blocks the higher overtones of your voice. When you say “aaah” your jaw and lips open, creating more resonating space and letting more high overtones through. Now glide from one to the other. The resulting “ooohaaaah” is the sound the wah-wah pedal is named for. By selectively filtering an electronic instrument’s overtones, the pedal can make it sound more vocal. It’s only two vowel sounds out of the dozens your mouth is capable of producing, but it’s a start toward making a more human tone.

Here’s a documentary about the wah:

Cry Baby: The Pedal That Rocks The World from Joey Tosi on Vimeo.

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When The Levee Breaks

The drum intro from Led Zeppelin’s “When The Levee Breaks” is the perfect embodiment of The Awesome Majesty Of Rock.

John Bonham

What makes John Bonham’s drums on this track so staggeringly heavy? Partially it’s his playing, and partially it’s the innovative production. Bonham’s performance was recorded by engineer Andy Johns in Headley Grange, a Victorian-era house in England. Bonham played a brand new drum kit at the bottom of a big stairwell. The microphones were placed at the top of the stairs three stories above. The stairwell created a huge natural reverb, making the sound both big and powerful, and oddly diffuse and distant. To make the drums sound even more humungous, the band slowed the tape down a little, lowering the pitch and giving the track a thick, sludgy quality.

Zeppelin only ever played “When The Levee Breaks” live a couple of times. On the recording, the tempo is seventy beats per minute, which is a tempo more usually associated with ballads. It’s very hard to maintain a heavy groove when you’re playing that slow. Also, it’s impossible to replicate the timbre of the pitch-shifted drums acoustically. It’s as if “Levee” was meant to live purely in the electronic realm. Continue reading “When The Levee Breaks”

Herbie Hancock gets future shock

Herbie Hancock is a musician’s musician. He pushed the boundaries of acoustic piano in the sixties. He found a uniquely personal voice on an array of synthesizers in the seventies. And in the eighties, he helped bring turntablism into the pop mainstream.

People have been experimenting with recording playback devices as musical instruments for a hundred years. But the concept didn’t cross into mass consciousness until the rise of hip-hop turntablism in the early 1980s. The breakthrough moment for a lot of people was Herbie’s song “Rockit” from his 1983 album Future Shock. The song includes turntable scratching over a blend of live and programmed drums and synths, along with some heavily processed robo-vocals. Future Shock is named for the Curtis Mayfield song, which is itself named for the Alvin Toffler book. The basic gist is, “Too much change too fast is stressful for people.” Herbie, at least, has managed to get some pleasure from his future shock. Continue reading “Herbie Hancock gets future shock”

Bad meaning good

“Peter Piper” is the leadoff track on Raising Hell, the third album by Run-DMC. It was their big commercial and critical breakthrough. My stepbrother Dan had it on cassette and it pretty much defined the sound of my sixth and seventh grade experience.

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God don’t ever give me nothing I can’t handle, so please don’t ever give me records I can’t sample

The title is a lyric by Kanye West on Common’s track “They Say.” A hundred percent of my musical energy right now is coming from and going into sample-based music. To wit:

Records I Can’t Sample

[audio:http://ethanhein.com/music/Ethan_Hein_Records_I_Cant_Sample.mp3]

Me vs Michael Jackson vs Herbie Hancock vs Missy Elliot vs Kanye West vs Fab Five Freddy

mp3 download, ipod format download

Synth strings played on video game controller MIDI.

Just about every music purchase I made in the past year was to get high-quality samples. I use my CD collection as a valuable hard-copy backup of a vast, well-recorded sample library. For just about any song except the major masterpieces, I’d much rather listen to the hook repeated endlessly over a hip-hop beat than the song itself. Reason and Recycle are only too happy to oblige me. Being able to effortlessly homebrew my own dance music has given me some insight into how good it must feel to make your own cheese or wine or shoes or sushi or computer programs.

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How to make a hot beat

Here’s a more specific post on programming various well-known beats.

The brain is a pattern recognition machine. We like repetition and symmetry. But we only like it up to a point. Once we’ve recognized and memorized the pattern, we get bored and stop paying attention. If the pattern changes or breaks, it grabs our attention again. If the pattern-breaking happens repetitively, itself forming a new pattern, we find it super gratifying. Continue reading “How to make a hot beat”

Human technology is part of nature

Humans are animals. Our tools are extensions of our bodies into the environment, like beavers and beaver ponds, coral and coral reefs, plants and oxygen. We’re unusual in the extent of our bodies’ impact on our environment, but plenty of other organism shape their environment to suit their needs. Technology is part of our extended phenotype, as much a part of us as our social groups. We’re part of nature, and so is everything we make and use.

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Self-reference in computer programming and hip-hop

Like this sentence, computer programs and songs can refer to themselves. Many computer programs and songs are made of loops within loops within loops. Self-reference gives computers their extreme versatility. It also makes for richer, more interesting music.

http://www.flickr.com/photos/jerkhaircut/3538413244/

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The Michael Jackson sample map goes viral

I’ve been making sample maps, diagrams showing what songs include samples of what other songs. I’m a big sample geek. I like knowing where my music comes from the same way I like knowing where my food comes from. This map shows many, probably not nearly all, of the songs that sample Michael Jackson’s solo work. Click to see it bigger.

Michael Jackson sample map

MJ is in the middle, with his songs in the first ring out. The next ring shows songs that sampled MJ. The outer ring shows the artist who did the sampling. Most of the information comes from the Rap Sample FAQ and wikipedia. I included MJ quoting “Soul Makossa” and Björk quoting “Wanna Be Startin’ Something” even they aren’t technically samples, but I figured, musically and legally it’s the same thing. Continue reading “The Michael Jackson sample map goes viral”