beat box the whole thing, man. What it may lack in crowd-pleasing hoohah it gains in to-the-point no-nonsense action.alexanderbeetle wrote:Cheers for the replies! All very useful stuff.
Re: pitching/filtering - I'd rather not have to do a great deal of this if it can be avoided, I have a 20 minute slot in which to introduce the subject/record the sounds/play them back. I want people who have no experience of things music tech to be able to hear and identify the sounds as they have been recorded. This is why it's quite important to get them as close (frequency-wise) to actual usable drum sounds from the off.
So you are both asking for pre-planning, yet want spontaneity? kick a desk, clap your hands, bang a glass, and you have a usable 3-piece kit. that should do italexanderbeetle wrote: I should clarify that this will be conducted in a classroom environment, so stuff like cutlery and bubblewrap may not be available. This is why I am in great need of source inspiration, I want the sounds (if possible) to be a spontaneous as possible (slam the door, whack a bag, drop a bunch of keys etc), if I have to bring in a load of props I thought it might loose some of the excitement. But then it might also be a little safer.
Hehe, I may suggest that if anyone feels confident enough that they might produce a vocal hihat. But frankly I'm no Justin Timberlake when it comes to human beatboxing.Machinate wrote:beat box the whole thing, man. What it may lack in crowd-pleasing hoohah it gains in to-the-point no-nonsense action.
I think you'll find that all the best examples of "spontaneous" performance (comedy, public speaking, etc) are in fact meticulously pre-planned. Making them seem effortless is alas quite a skill.Machinate wrote:So you are both asking for pre-planning, yet want spontaneity? kick a desk, clap your hands, bang a glass, and you have a usable 3-piece kit. that should do it Smile
Honestly, does it really matter? You need to make three sounds. Not rhythmically. Just sounds. The topic is the principles of sampling, not found-sound recording techniques, right?alexanderbeetle wrote:Hehe, I may suggest that if anyone feels confident enough that they might produce a vocal hihat. But frankly I'm no Justin Timberlake when it comes to human beatboxing.Machinate wrote:beat box the whole thing, man. What it may lack in crowd-pleasing hoohah it gains in to-the-point no-nonsense action.
It might be down to personal teaching style, but since both the process of pre-planning this AND making it seem effortless is (ironically) quite an effort, is it really worth doing? I mean, if you are going to sample found sounds in real life it is *never* scripted, *always* improvised.alexanderbeetle wrote:I think you'll find that all the best examples of "spontaneous" performance (comedy, public speaking, etc) are in fact meticulously pre-planned. Making them seem effortless is alas quite a skill.Machinate wrote:So you are both asking for pre-planning, yet want spontaneity? kick a desk, clap your hands, bang a glass, and you have a usable 3-piece kit. that should do it Smile
Well I actually need more like about six (my idea was to use a pre-existing midi pattern, and ideally a familiar one like the amen break or some such) so I would need a pretty full kit. I agree that making the sounds with my mouth/my students mouths would be easier, but I guess I thought it might be a bit more fun to do it with struck objects etc. Plus I would like to tie it in with a music concrete and the idea of found-sounds and referential sampling to a minor degree anyway, so I guess that there is a little more to it than just 'the principles of sampling'.Machinate wrote:Honestly, does it really matter? You need to make three sounds. Not rhythmically. Just sounds. The topic is the principles of sampling, not found-sound recording techniques, right?
Well as much as this tends to be my working maxim, I think that traditionally speaking (and technically speaking) this is the the wrong way to approach studio recording. The idea of 'polishing a turd' is not one that most professional studios relish, thus they go to great efforts to make sure that the original sound is a perfect as possible/need as little adjustment in the mix as possible. From a personal point of view, I enjoy 'weirder' sounds and more leftfield and experimental musics so I agree the processing in part (to me) is also more important. But it would be inappropriate, even in an informal introductory session, to teach it this way.Machinate wrote:Mind you with sample munging these days almost all sound sources can be musically meaningful. It's what happens *after* you've sampled that really matters to me.
