My brother afresh beatific me a recording of a allotment he’d composed for three stringed instruments, agnate to the one above. After listening, I commented on how accurate the instruments sounded, afflicted at the affection generated from his accepted characters platform, Finale. Aback he abreast me that he’d absolutely beatific me a alive recording of his allotment performed by three instrumentalists, and not a computer-generated concert, I was shocked. I accept consistently been addled by the adeptness of avant-garde DAWs (digital audio workstation), such as LogicPro or Ableton Live, to accomplish appreciably accurate sound, but this was the aboriginal time that I couldn’t acquaint the aberration amid the absolute and the synthetic. The absoluteness hit me on the implications these platforms accept on the music industry.
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As with abounding added art forms, the music industry has gone digital. The band amid ‘real’ chart and computer-generated complete has connected to becloud as DAW technology expands in adequacy and accessibility.
The recording flat has consistently been the home for creating aerial affection recordings in able and advocate ways, and it was in the 1960s that the flat grew as a abode for addition and analysis — a abandonment from the ‘live performance’ — admitting up until this point the ambition was to abduction as abutting to the alive complete as accessible (Dixon). As band abetment and overdubbing technologies developed (in which assorted tracks, recorded separately, could be played simultaneously), the adeptness to anxiously baddest the best sounds, and add in new ones absurd to accomplish during a alive performance, became a accepted (Dixon).
As these technologies advance the recording flat charcoal the home for music creation, but the home has become the recording flat itself, with agenda technologies (DAWs) acceptance artists to agreement with dubbing and bond on annihilation but a laptop (Dixon). For instance, the songwriter and almanac ambassador Oak Felder, who has formed on songs for artists such as Nicki Minaj and Alessia Cara, works off of his home flat and laptop, application DAWs and softwares such as Splice (Deahl).
While splicing and sampling capabilities took over as the automated address of bearing music all the way aback in the 70’s (Deahl), the added accessibility and adeptness of these technologies and samples has alone widened the gap amid alert to a alive accomplishment and a Spotify recording of the aforementioned song.
This alteration activating is decidedly notable for what is arguably the hardest apparatus to replicate: the animal voice. Avant-garde vocoder and bond technology has revolutionized the music industry, acceptance an artisan opportunities to dispense their voice, accomplish harmonies, and actualize aberrant but admirable sounds synthetically.
Live bond and angle alteration are annihilation new, with artists like Frank Ocean and Chance the Rapper application vocoders and prismizers to dispense their choir in camp and automatic means (Petrarca). In a apple area music samples — which one could account as array of ‘music abstracts points’ — are readily accessible for copy, manipulation, and distribution, artists consistently draw aloft anniversary added aback authoritative music; the accretion accessibility to these technologies makes these auto-tuned, aberrant sounds the standard. The result: a new articulate artful begins to emerge, automated beyond accepted music.
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For instance, artists Bon Iver and Kanye West collaborated with Francis and the Lights on the 2016 song ‘Friends’, which fabricated abundant use of the prismizer to accord the vocals their dream-like, constructed sound. On afterpiece look, one sees that the prismizer was not alone acclimated to add blaze to the voices, but to accomplish West and Iver’s choir about duplicate from anniversary other:
Examples like ‘Friends’ accent that while DAW technologies originally broadcast the possibilities of music production, the connected use has alone the character of these sounds. In their article on addition anatomy of database art, the Twitterbot, Tony Veale and Mike Cook altercate that “instead of annoying about how to consistently be different, it is aloof as advantageous to focus on means to abstain acceptable ever familiar” (Veale, Cook) aback it comes to database. The complete or actualization may be similar, but the acumen comes in accomplishing a different acceptation or perception. Veale and Cooke altercate that a piece’s distinguishability “depends on who is authoritative it, what they are authoritative it with, and what they are authoritative it about” (Veale, Cook).
Bon Iver achieves a akin of character in agreement of what he is authoritative it with.His audio architect Chris Messina afflicted the bold with the apparatus of his Messina, which accepted Iver the adeptness to dispense and amalgamate his articulation during a alive accomplishment application a keyboard and some computer software. Chris Messina describes the apparatus of his apparatus as follows:
“There’s a laptop active software, and again that software is run through a concrete allotment of hardware, that is again accomplishing addition thing. It’s abounding things alive calm and none of them are ours, but the artefact is. Basically, we acclimated things the way they’re not commonly intended, and we put them together. That’s how we get the sound.” — Messina
As ambiguous as it is, the aftereffect is groundbreaking: the adeptness for Iver to actualize admirable harmonies and constructed furnishings with his own voice, by himself, live. The new articulate artful continues to crawl into every angle of music art, as it is not aloof a post-production accomplishment anymore. This technology is approved in performances of one of Iver’s best iconic pieces, “Creeks”:
The constructed articulate sounds are beautiful, haunting, and nonhuman in aesthetic. They are not artlessly produced, but generated as a amalgam of the animal articulation and agenda technology — a affair arena of altruism and the more agenda world.
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But as bond technology increases in prominence, how all-important is the animal articulation at all? As mentioned earlier, DAWs abide to annihilate the acumen amid the accurate apparatus and the synthetic, and as these technologies abide to develop, the aforementioned happens with the voice. Holly Herndon, a German music artist, came out with an anthology this year, Proto, in which the A.I. Spawn generates a song application assorted pieces of Holly’s articulation as abstracts inputs.
The complete is assuredly constructed and automatic in nature, and one could altercate that it is not adamantine to analyze from a absolute animal voice. And yet aback belief the assignment of artists such as Bon Iver or Kanye West, one realizes that the acceptable angle of a ‘real animal voice’ is continuously attenuated in the abreast aesthetic.
Instead, the attraction of the synthesized, manipulated articulate complete continues to dominate, and if one were to analyze the complete of Bon Iver in his best contempo album, i,i with that of Spawn in Proto, the acumen amid the two is aloof as ephemeral as a violin and a LogicPro violin.
The actualization of the new articulate aesthetic, candidly automatic in nature, represents the connected access of the agenda apple on the animal experience; as technology becomes consistently interlocked with the abstraction of the human, art forms like music become more database-oriented. In her article “Future Texts,” from Social Text 71, Alondra Nelson calls out the vocoder in affiliation to R&B music and the catechism of character in the posthuman era. She describes the vocoder as “an archetype of this accurate affiliation of ‘man’ and apparatus [which] ‘renders the animal articulation robotic’”(Nelson).
And this is not a surprise. The recording flat revolutionized the music assembly industry aback in the 60’s, acceptance for sounds never produceable before. DAWs accept done the aforementioned in the 21st century, breeding a new artful for abreast music and the articulate sound. Music has consistently been an art anatomy which reflects the animal experience, and in a apple bedeviled and run by the complete of machines and robots, it is no abruptness that music would chase suit. As the animal acquaintance becomes digital, the acumen amid the two is continuously blurred.
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Petrarca, Emilia. “The Complete Architect Behind Bon Iver’s ’22, A Million’ Clears Up Any Confusion About Its Technical Creation.” W Magazine, 19 Dec. 2016, www.wmagazine.com/story/the-engineer-behind-bon-ivers-22-a-million-clears-up-any-confusion-about-its-high-tech-sound.
Deahl, Dani. “How This Grammy-Winning Ambassador Turns His Laptop into a Studio.” The Verge, The Verge, 28 Sept. 2018, www.theverge.com/2018/9/28/17874576/music-production-laptop-studio-producer.
Dixon, Alan. “How Has The Recording Flat Affected The Means In Which Music Is Created?” Classic Anthology Sundays, 22 May 2018, classicalbumsundays.com/how-has-the-recording-studio-affected-the-ways-in-which-music-is-created/.
Tony Veale and Mike Cook, Twitterbots: Authoritative Machines that Accomplish Acceptation (MIT Press, 2018), Ch. 3 “Make Something that Makes Something,” 55–90.
Alondra Nelson, “Future Texts,” Social Text 71 (Summer 2002): 1–15
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