We spend a lot of time within these pages discussing the specific technology behind how we create sounds, whether that’s the capabilities of certain synth engines, the applications of assorted effect processors or the way we can shape samples or recorded material. But as much as these techniques are important, the way we physically interact with our technology is equally as influential in shaping how we create music.
Try, for example, making beats with an XOX-style step sequencer, MPC-style bank of playable pads and using a laptop’s mouse and keyboard. Even if you use the same source sounds and aim for similar stylistic results, chances are the ideas you come up with are likely to vary somewhat. While each of these techniques can, in theory, create broadly the same results, the expressiveness of finger-drumming on the MPC’s pads is likely to result in an altogether looser-feeling groove compared to the mechanised rhythms created by the step sequencer or precise edits shaped with a mouse and keyboard.
Even if we’re not always conscious of it, the manner in which we interact with our electronic instruments plays a major role in determining the type of sounds we create. Altering, subverting and advancing these techniques can be a great way to inspire fresh ideas.
CV, MIDI and much more
In the early days of electronic music making, there were effectively only two methods of controlling electronic instruments: via their inbuilt controls – usually an assortment of keyboards, pads, rotaries and sliders – or via an external control signal. With those earliest instruments, control signals would take the form of control voltage and gate signals. These electronic signals use voltage values to transmit pitch and parameter information as well as on/off gate triggers, which could be used to trigger envelopes, sync internal clocks and more.
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Denne historien er fra December 2019-utgaven av Future Music.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
SONIC DESTRUCTION
From overdriven signal paths to rhythmic malfunctions, there’s plenty of creativity to be found by doing things just a little bit wrong
Feed Me
EDM producer Jon Gooch revives his cartoonish Feed Me moniker. Danny Turner finds out how the use of live instrumentation changed his production approach
Exploring Akai MPC
Leo Maymind takes a detailed look at an iconic groovebox whose influence helped shape modern hip-hop and much more besides
Liars
Dissolving the contours of rock and electronics, Danny Turner charts the making of Liars’ 10th album with Angus Andrew and Laurence Pike
Jean-Michel Jarre
The pioneering musician who introduced generations to futuristic sounds the first time around is at it again. He joins Matt Mullen to talk experiments in VR gigging, spatial audio and more...
Noise
With roots as far back as 1913, noise is the genre that’s also a state of mind
1010 Music Bitbox mk2 £549
Rob Redman finds out whether this updated sampler box of tricks contains any more surprises
Erica Synths and Sonic Potions LXR-02 £499
Rob Redman braces himself for another resurrected blast from the past
Modal SKULPTsynth SE £169
Modal are back with an update to their SKULPT synth. Bruce Aisher takes a listen to see if it can rustle up a big sound
Reason Studios Reason 12 £399
Now in both DAW and plugin realms, Reason gains a sampler and refreshed Combinator. Si Truss investigates