Oblique strategies for an electronic musician

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XLII
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70192
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Oblique strategies for an electronic musician
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2011-03-02 12:36:45
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  1. 1. Stop thinking of drums as KICK/SNARE/HIHAT
  2. 2. Use more 16th notes!
  3. 3. The relationship between percussive sounds and rhythmic noises can be a melodic relationship
  4. 4. Turn it into a melody
  5. 5. Turn it into percussion
  6. 6. Turn it into a pad
  7. 7. Think about a bongo player sitting in the street
  8. 8. Select a new random tempo
  9. 9. What Would Joe Zawinul do?
  10. 10. Make a cliche
  11. 11. Put in something off-key
  12. 12. Get reckless
  13. 13. Less logic
  14. 14. List your standard process from start to finish, now reverse it
  15. 15. If you dismiss an idea, stop and ask yourself why
  16. 16. Skip your first impulse and use the second one
  17. 17. Do something that isn’t 4/4 now
  18. 18. How can you make this fall apart
  19. 19. Play it backwards – the part, don’t reverse audio.
  20. 20. Pretend your mom is sitting next to you
  21. 21. Pretend your dad is sitting next to you
  22. 22. Swap midi clips between all elements
  23. 23. Keep everything, but change the order
  24. 24. Keep everything, but change the timing
  25. 25. Only one note at a time
  26. 26. Just play every other note
  27. 27. Think of something that seems like a bad idea, then use it
  28. 28. Play it like a child would play it
  29. 29. Play it with your knuckles
  30. 30. Play it with your elbows
  31. 31. What would you make if you knew everyone in the world was listening?
  32. 32. What would you make if you knew no one would ever hear it?
  33. 33. You’re not married to that octave !
  34. 34. Make your melody your bass line
  35. 35. Make a song with no drums at all
  36. 36. Make a song with only drums
  37. 37. Limit your options
  38. 38. Remove a part that’s giving you trouble. Just cut it!
  39. 39. What would your least favorite musician do?
  40. 40. Abandon normal instruments.
  41. 41. More everything!
  42. 42. Less nothing
  43. 43. Split the parts and play them with two instruments
  44. 44. Do it sober/drunk for a change…
  45. 45. Process something acoustic
  46. 46. start with something different
  47. 47. Stop. Turn a different knob
  48. 48. reverb or delay, but only for a little while
  49. 49. play less, faster
  50. 50. play more, softer
  51. 51. Take your favorite bit and make it unrecognizable
  52. 52. increase complexity, decrease density
  53. 53. Increase density, decrease complexity
  54. 54. Try to write the part with your voice
  55. 55. use your environment
  56. 56. Let the machines play, make some tea.
  57. 57. sample it, reverse it
  58. 58. Is modulation really necessary?
  59. 59. Use fewer patchcords.
  60. 60. Noise, or silence?
  61. 61. Turn it up to twelve and leave it there.
  62. 62. Plug an input into an output.
  63. 63. Use tracks with different tempos
  64. 64. Reach for the farthest knob
  65. 65. Delay the inevitable
  66. 66. Do that only once
  67. 67. Remember that old sound source you love but never use?
  68. 68. Don’t use the same old signal path
  69. 69. Unpatch everything and hook it up with intent for this specific project
  70. 70. Stick with the very first thing you try
  71. 71. Unplug
  72. 72. Copy it, alter it, repeat
  73. 73. Your mom
  74. 74. Reverse the loud and quiet
  75. 75. What insect — going where?
  76. 76. Play closer. Then farther
  77. 77. Record in silence. Add harmony
  78. 78. Return to the start
  79. 79. Start at the end
  80. 80. Pick a number. Use it
  81. 81. Reverse hands
  82. 82. An empty mind
  83. 83. Advance without fear
  84. 84. take a different approach to sequencing
  85. 85. change your clock source; ‘pattern’ not click track
  86. 86. go into unfamiliar territory; try something that you’ve never done before
  87. 87. use an element for something other than its ‘intended purpose’ (envelope/delay/filter as a sound source)
  88. 88. start with noise, then subtract
  89. 89. add layers
  90. 90. sculpt the feedback
  91. 91. cut it up and rearrange
  92. 92. build up, tear down *gradually*
  93. 93. patch it up silently before you turn it on, then adjust
  94. 94. add the element of *chance*
  95. 95. Constrain chaos
  96. 96. Halftime
  97. 97. Reveal Hidden Structure
  98. 98. The One is where you think it is
  99. 99. Take it outside
  100. 100. Overdub from memory
  101. 101. Let it slide
  102. 102. Nostalgia as a weapon
  103. 103. Make something out of sync
  104. 104. emulate a style you cannot stand
  105. 105. sustain everything
  106. 106. replace with a sine
  107. 107. repatch
  108. 108. stop writing. start painting
  109. 109. invert
  110. 110. sell everything. Buy new stuff
  111. 111. Stop Time, then resume
  112. 112. Play it so wrong it’s right
  113. 113. More digital
  114. 114. Close your eyes
  115. 115. Engage in intentional imitative synthesis
  116. 116. What would Springsteen do?
  117. 117. Pick out two odd “gear partners” and turn everything else off
  118. 118. Only use short patch cords
  119. 119. Make the sound with your voice
  120. 120. Turn off the effects
  121. 121. Make the sound smaller
  122. 122. Turn off the computer
  123. 123. repurpose your equipment
  124. 124. The studio is the instrument
  125. 125. Clean out the filter
  126. 126. Actually program a sound
  127. 127. Start recording, turn on a movie, mute the sound and write a soundtrack in real time for whatever you see
  128. 128. Think small
  129. 129. Think big
  130. 130. Remove one frequency band
  131. 131. End now
  132. 132. Blindly cut
  133. 133. Oppose it
  134. 134. Cage it
  135. 135. Unleash it
  136. 136. Bjork called, mix too tame
  137. 137. Too serious, make it laugh
  138. 138. Think of a note. Now don’t play it
  139. 139. Remove a beat
  140. 140. You play so many notes…
  141. 141. Compress time
  142. 142. Play when it’s wrong
  143. 143. strip it; invisible or naked?
  144. 144. Play the drum part on a keyboard, and play the keyboard part on the drums.
  145. 145. Imagine what the world sounds like to your cat (who can only hear down to 45Hz, but all the way up to 60K!!)
  146. 146. Learn the alphabet in another language.
  147. 147. Compose the theme song to the movie about your life.
  148. 148. Go to the zoo
  149. 149. Close your eyes and find your way twice around your home
  150. 150. Do two things; Show half of one, half of the other
  151. 151. pretend the computer isn’t programming you
  152. 152. sketch the project in a different material
  153. 153. Mute, don’t compute
  154. 154. Ring (modulate) the changes
  155. 155. Check your pulse, is it racing?
  156. 156. It’s hip to b square
  157. 157. Close your eyes, open your mind
  158. 158. Take a step back and move forward
  159. 159. Move your chair, brush your hair
  160. 160. Put your fingers in your ears
  161. 161. Make loudest voice but a whisper
  162. 162. Inspiration comes in many forms
  163. 163. Play with time
  164. 164. choose your least favorite element, remove everything else
  165. 165. choose an element and reverse the sequence
  166. 166. turn on the tv
  167. 167. turn OFF the tv
  168. 168. invert your chords
  169. 169. drop something and mimic the sound. don’t use the result for percussion. or do
  170. 170. Go as far as you can with the monitor – if not the computer – switched off
  171. 171. Draw up a list of your top five presets, and delete them
  172. 172. Silence at any time during the session should be eliminated unless as a deliberate tactic
  173. 173. Commit to your mistakes and take inspiration from them; do not undo or revert to any saved versions
  174. 174. Do not use automation at any stage, instead mix all sounds in realtime
  175. 175. Bounce all audio and delete source tracks before each overdub
  176. 176. Do not overdub; do as much in realtime as possible. If the result is unsatisfactory, consider this a limitation of your system

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