Modern workstation and work with it (part II): a massive epidemic of kleptomania
The biggest temptation in mastering a modern software sequencer is to completely forget about your role as a composer and get too carried away with searching and combining finished loops and samples. Things can even go as far as DJing, when by composing music they begin to mean the inclusion of a winamp and a drum machine while recording them on a tracker.
Just remember, no matter how cool the result is, it has only the most indirect relation to composing music. But the most direct is to kleptomania, when you start to feel what is written by others by default as your own, and without any compromises.
A modern hardware sequencer as part of a workstation costs a lot of money. Software - costs nothing. You download it in torrents absolutely free of charge, violating all conceivable and inconceivable copyrights, just download terabytes of loops and samples in the same pirated way and create lovely compositions against all this thievish background. Well, not against the thieves' background. In kleptomanian. It is so hard to resist the temptation that you take it for granted.
Therefore, it should initially be considered not a model for assembling in the form of loops, but chic cans of sounds with which the Internet abounds. However, one does not interfere with the other. In the same Fruti Lupse, you can register the rhythm section in the form of collections of loops, and put the desired sample into the synthesizer, which you will control using the keyboard (no matter what, you can use the computer without money). And play a very good melody.
An example of this approach is the insane variety of electronic musicians who, for all their abuse of loops and samples, can nevertheless be considered composers. That is what composers, not DJs, although in the case of loops, all composer consists in programming the desired sequence of inclusion of musical phrases. At the worst, one can console oneself that this is not much different from working with a score. Of course, if you have a very good imagination.
Parov Stelar and Simon Green, better known under the pseudonym Bonobo, as well as an insane number of other artists can serve as classics of this approach. Restrictions on the genre in the use of a workstation simply do not exist.
You can, working on the same unit, work in styles:
- electronic music
- and even record orchestral parts for classical pieces.
For completeness, some software sequencers may produce notes of what you just recorded.
However, sometimes this "kleptomania" can take on very pretty forms.
Here is an example of what Simon Green creates by working with his workstation.
[peckplayer id = ”1 ″ sound =” // propianino.ru/wp-content/uploads/2012/02/01-Prelude.mp3|//propianino.ru/wp-content/uploads/2012/02/02- Kiara1.mp3 | //propianino.ru/wp-content/uploads/2012/02/02-Days-To-Come-feat.-Bajka.mp3 | //propianino.ru/wp-content/uploads/2012/02 /04-Dismantling-Frank.mp3|//propianino.ru/wp-content/uploads/2012/02/05-Ketto.mp3|//propianino.ru/wp-content/uploads/2012/02/06-The -Sicilian.mp3 ″]
And in the next part you will see how all this happens.