Mac351 from dub to disco electronic music production and creativity
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Lectures slides: YouTube playlist: http://www.youtube.com/playlist?list=PLRCHqijqFjGujfLPQ9kyJE2gKmT3fUG61 Spotify playlist: http://open.spotify.com/user/robbo1337/playlist/5LIQQgziKdmD76ESFqk7fB
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Mac351 from dub to disco electronic music production and creativity
- 1. #mac351 robert.jewi>@sunderland.ac.uk From dub to disco: Electronic music produc3on and crea3vity
- 2. Overview • Technology • Technique • Talent
- 4. Wri>en & designed by Evan Linardi
- 9. “The ability to remix media, hack products, or otherwise tamper with consumer culture is their birthright, and they won't let outmoded intellectual property laws stand in their way” -‐ Tapsco> & Williams, 2008: 52
- 17. ABC-‐TV -‐ 1980
- 19. Kate Bush – ‘Babooshka’ – Never For Ever (1980)
- 21. Afrika Bambaataa & Soul Sonic Force – ‘Planet Rock’ (1982)
- 23. Kylie Minogue – ‘Sweet Music’ -‐ Body Language (2004)
- 25. ‘In 1979, the use of Page C and Music Composi3on Language (MCL) meant that not only was the Fairlight a synthesizer and sampler, it also incorporated musical composi3on abili3es. By 1982, a real-‐3me programmable sequencer was added. In 1983, the Musical Instrument Digital Interface (MIDI) and Society for Mo3on Picture and TV Engineers 3me code (SMPTE) were supported’ -‐ Brabazon, 2012: 101-‐2
- 27. Akai S-‐series S612 pictured
- 29. Deadmau5 on DJing “It takes two days to learn, as long as you can count to four” “People are […] smartening up about who does what – but there’s s3ll bu>on-‐pushers gemng paid half a million.” -‐ Rolling Stone, 2012
- 30. 2 ar3cles on Sunspace
- 31. Part 1: the dub
- 32. ‘All any prime minister had to do to gauge the winds was to listen closely to the week’s 45 rpm single releases; they were like poli3cal polls set to melody and riddim’ -‐ Jeff Chang, 2005: 31 Arthur ‘Duke’ Reid: “King of Sound & Blues” 1956, 1957 and 1958 32
- 33. 1962 – Jamaican independence 1964 – Reid built recording studio 1967 – The Paragons Rudolph ‘Ruddy’ Redwood & Byron Smith
- 34. Part 2: the ‘mix’ Nicky Siano
- 35. Part 3: the ‘edit’ 1972 – Botel club, Fire Island, New York
- 36. Law of the Land starts with clapping and [Gibbons] used to extend that sec3on in real 3me but there were a few fuck-‐ups, so I said, ‘Why don’t we record the song over and over again, just the beginning of it, and then splice the magne3c tape together?’... Then we pressed it to acetate. -‐ Lawrence, 2008: 288
- 37. Part 4: the ‘break’ 1967 – Clive Campbell (AKA DJ Kool Herc) arrives in the Bronx from Jamaica
- 38. “We might an3cipate a new music based on reworking MP3 recordings pulled from the Internet . . . . In this respect, the Internet is more than just a means of distribu3on, it becomes a raison d’être for a culture based on audio data” – Riddell, 2001, p.341 cited in Shiga, 2007: 94
- 39. 39
- 40. 40
- 43. The Prodigy – ‘Smack My Bitch Up’ – The Fat Of The Land (1997)
- 47. "In the old days, samples were $2,500 or $1,500. … I paid $2,000 for a Gladys Knight sample for 'Can It Be All So Simple' off Enter the Wu-‐Tang (36 Chambers). That was a big intro, and the hook was repe33ous. Something like that nowadays would cost $10,000."
- 49. • “mass culture provides the building blocks for the stuff we create” – Lessig in Lasica, 2005
- 50. Industry response • • • • lobbying for legisla3ve changes court ac3ons educa3on and propaganda campaigns technological means • For more info see Allen (2008) and Lessig (2004, 2008)
- 51. Expansion of U.S. copyright law (assuming authors create their works 35 years prior to their death)
- 52. Piracy used to be about folks who made and sold large numbers of counterfeit copies. Today, the term “piracy” seems to describe any unlicensed ac0vity, especially if the person engaging in it is a male teenager. The content industry calls some things that are unques3onably legal “piracy”’. -‐ Litman, 2000: 7-‐8
- 53. 53
- 57. Copyright/copywrong? • Technological shiys • Cultural shiys • Legal shiys • DMCA • Fair use/dealing • Sonny Bono Copyright Term Extension Act
- 58. If you were sued every time you accidentally violated copyright law in a single day how much would you owe?
- 59. Conclusion • Less than 2% of works have any con3nuing commercial value (Lessig, 2004) • CTEA = Mickey Mouse act? • ‘Rent-‐seeking’? • S3fling crea3vity?
- 60. • • ‘Sound desk’ -‐ Rob Jewi> ‘The Beatles Part 2 8-‐track’ -‐ Paul Riismandel • ‘mixtape from a friend in college’ – jessamyn west • • • • • ‘BASF DAT Digital Audio Tape’ – windthoek ‘IMGP6827_minidisc’ – Rae Allen ‘Moog Li>le Pha>y Tribute Edi3on’ – Leo Jun ‘Radium 49 M-‐Audio Keyboard – 5’ – Dave Sag ‘roland tb-‐303 bass line’ – dr. mo>e ‘Sample this’ – John Athayde • • ‘Analog music playing device’ – Robert Frieberger ‘laws for atoms’ – Will Lion • 60