What does live music mean in the laptop era?

This weekend my electronica band Revival Revival is doing some shows for the first time in many months. We’ll be doing a lot of what my non-electronic-musician friends consider to be cheating. The lead vocals and guitar will be live, as will some of the synths. Everything else will be canned, recordings played back from a laptop. Here’s the setup:

From left to right, you’re seeing an Mbox, the audio interface that goes with Pro Tools. We plug the vocal mic into it so that the computer can perform its magic, like Auto-tune and compression. Next is a little mixer sitting on top of a headphone amp. Then there’s Babsy’s laptop running one of our Pro Tools files, showing some of the backing vocals she’ll be singing over. On the right is a Line 6 Pod, a guitar effects unit and amp modeler. It’s a lot easier to carry to gigs than a real amp. Using a fake amp modeler isn’t very rock and roll but it fits perfectly with the spirit of electronica. For the show we’re going to use two computers, Barbara’s to run Pro Tools, and mine for Reason synths and playback of ordinary audio files.

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The Grateful Dead and electronica

In keeping with my posts thinking of the Beatles and Jimi Hendrix as electronic musicians, I thought I’d round out the techno-hippie trifecta with the Dead. Their fans might lean to the crunchy granola side, and they did some of their most endearing work in unplugged mode, but for the most part the Dead were a cutting-edge high-tech operation. By the time I was going to see them in the 1990s, they were heavily into MIDI guitar and electronic drums. They released an entire album of their synth-heavy improvisation called Infrared Roses, with cover art by Jerry himself.

Infrared Roses

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Moody’s Mood For Love

My neighbor and friend Diéry Prudent is working on a documentary on the bebop saxophonist and flutist James Moody, best known for his 1949 recording “Moody’s Mood For Love.” It’s an improvised solo over the changes to “I’m In The Mood For Love,” one of those off-the-cuff jazz solos that came out so tightly structured as to stand on its own as a melody. For jazz listeners, “Moody’s Mood” has eclipsed the pleasant but corny tune it was based on. It supports my assertion that jazz arrangements of standards are analog remixes.

“Moody’s Mood” went on to inspire further analog remixing. In 1952, Eddie Jefferson wrote lyrics to Moody’s solo, and King Pleasure recorded them in 1954 with Blossom Dearie. Here’s Moody himself singing the Eddie Jefferson lyrics with Dizzy Gillespie – he sings Blossom Dearie’s part too:

Also, here’s a delightful performance of “Moody’s Mood” from the Cosby Show (sorry, no embedding.)

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Repetition, repetition, repetition, repetition

I’ve had a lot of music teachers, formal and informal. The best one has been the computer. It mindlessly plays anything I tell it to, over and over. Hearing an idea played back on a continuous loop tells me quickly if it’s good or not. If the idea is bad, I immediately get annoyed, and if it’s good, I’ll cheerfully listen to it loop for hours.

There’s something in the cumulative experience of a loop that makes it greater than the sum of the individual listens. Good loops create a meditative, trance-like state, like Buddhist mantras you can dance to. As far as I’m concerned, if it’s the right groove, there’s no such thing as too much repetition. Take “Hey Jude” by the Beatles.

At the end, they repeat “Naah, na na nanana naah, nanana naah, hey Jude” over and over for four minutes. I could listen to it for forty minutes. Why don’t I get bored? Continue reading “Repetition, repetition, repetition, repetition”

Glenn Gould predicts remix culture

Classical music recordings are usually straightforward snapshots of live performances. Sometimes recordings are spliced together from multiple takes or overdubbed, but this practice is considered by classical musicians to be highly shameful. Glenn Gould had a very different attitude toward the studio. He loved working there, and viewed it as a more valuable creative outlet than the concert stage. At age thirty-one, he stopped performing live altogether to focus on recording and writing. He was outspokenly in favor of tape editing and other “artificial” studio techniques.

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Scales and emotions

See also a post about making chords from scales, and all of these scales in one giant flowchart.

So maybe you want to write a song or an instrumental in a particular mood or style, and you’re feeling overwhelmed by all the scales. Here’s a handy guide to the commonly used scales in Western pop, rock, jazz, blues and so on. You can play all of these scales and more using the aQWERTYon. Continue reading “Scales and emotions”

Inside the recording process

The vast majority of music that I hear is recorded, and if you’re reading this the same is probably true of you. Most people don’t have a clear idea what the recording process is like, especially using computers. Here are my adventures in recording.

I grew up in the eighties. Cassette recorders were just starting to be ordinary household gear. My sister and I made a bunch of random tapes as kids, not knowing what we were doing or why, just that it was fun. We also taped songs we liked off the radio. We waited until the song we wanted came on, and then held up the tape recorder to the radio speaker. Go ahead and laugh, millenials, but this was such a widespread practice among my generation that there’s a whole Facebook group devoted to it.

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Songwriting and genealogy

The best tool for understanding where music comes from is evolutionary biology. Songs don’t spontaneously spring into being any more than animals or plants do. They evolve, descending from reshuffled pieces of existing songs, the way our genes are shuffled together from our parents’ genes. The same way that all life has a single common ancestor, all human music has a shared origin in the calls of our primate forebears.

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I’m speaking on a panel

Fan Wars: Copyright vs. Mash-ups and Fan Fiction

Many mash-up artists seem unaware that their work implicates any rights at all, and copyright owners may be reluctant to alienate fans with copyright restrictions. Artists such as Girl Talk remain outspoken against copyright restrictions on mash-up culture. Individual copyright owners, such as the owners of Star Wars, have adopted terms of use for mash-ups.

Is fan and other mash-up activity important to enrich our culture? Are existing allowances for fair use adequate? Should mash-up artists and fan fiction publishers have any right (legal or moral) to complain when others copy and redistribute their work? What is a copyright owner or licensee to do when it has contractual obligations to third parties in connection with their contributions? How should these issues be resolved?

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Le Freak, c’est chic

Meet guitarist and producer Nile Rodgers, one of my favorite musicians in the world. He founded Chic along with the late bassist Bernard Edwards, and he’s on Twitter.

Nile Rodgers has led an action-packed life. As a teenager, he played with the Sesame Street band, and then with the Apollo Theater house band, where he backed such luminaries as Aretha Franklin and P-Funk. He was an active Black Panther. His Allmusic bio lists various NYC bands he played in before forming Chic, including a new wave rock outfit called Allah & The Knife Wielding Punks. He later went on to write most of the disco songs and eighties pop hits that I like, and helped lay the cornerstone of hip-hop. He deserves a blog post and then some.

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