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Idyllic nature meets heavy beats on an emerging Paris label

Wednesday, September 30th, 2015

stage Lpc

We talk about the idea that online democratization should be unearthing new musical gems — but you have to find them first. CDM contributor Zuzana Friday is scouring the Web, looking for the collectives and labels and artists who stand out of that virtual noise. First up: Paris’ Lpc.

With the growing popularity of contemporary (post)techno, there have been many collectives, platforms and labels forming around the globe who want to promote and share their own angle on this music, its aesthetics and its attitude. Amidst that overwhelming superabundance, one of the collectives that genuinely deserves your attention is a Paris-based Lpc, aka La petite compagnie. We already shared Aquatic Life, a beautiful oceanic video of theirs; now let’s check them out in detail.

Lpc is an independent label founded in 2012 by a small collective of friends who met in the south of France. They’ve dedicated the project to the memory of Antoine Debens, who they call “their faithful friend and former president of the association.” So far, Lpc consists of duos Keadz and Monochrome and two solo artists, XVII and Mas, who all name-check influences like labels Stroboscopic Artefacts, raster-noton, and 12k, and artists like Yves de Mey and Samuel Kerridge.

In the productions on Lpc, various elements of techno, dubstep/post-dubstep, and deep dub techno meet ambient and ethereal, organic atmospheres — a mix of inspiration from contemporary techno titans and nature. Those natural aesthetics are interwoven with field recordings in the sound, but also in the images they choose for promotion and music videos. The visual side of the label is run by Mas, who shares his inspiration in photo albums dominated by black-and-white shots of trees, forrest, and sky.

Keadz blurred

Mas

Nature for Lpc means “purity, timelessness, and simplicity,” says member Tarek Iked, “and that joins the idea of beauty that we have. Nature is very inspiring for us. When we are in a countryside, listening to nature’s sounds, we don’t have the impression that someone is talking to us — in contrary to music made by humans. Nature’s sounds are random and unpredictable, they vary constantly, and that’s what makes them beautiful.”

Opening Ceremony// Abyss from LPC on Vimeo.

In Paris, Lpc runs parties called Ceremony, each themed with headings like like “Abyss,” “Night,” and “Desert.” “We choose the themes so that the image and sound are completely inseparable,” says Ikeda. “By defining a theme, we have the feeling that the artists we’re inviting make a special performance for this occasion. We also noticed that artists like to be given a sort of restriction, because it awakens their creativity.” Records take themes like this, as well.

The previous compilation, Quiet Sum, aimed to “transform summer’s rest and quietness into music.” The compilation is the work of a group of friends, retreating together to the countryside to produce the music. Lpc’s next release deals with chosen artists’ perception of silence. It will include tracks by Elle from Hypnus, Fjäder from Full Panda Records, Lpc artists, and Paris’ Hydrangea, whose album Dawn Lights I also highly recommend.

Was 4’33” an inspiration? “Of course we know John Cage’s work, but it didn’t directly inspire us,” says Ikeda. “This album was an opportunity for the different artists to reveal their personalities through the meaning of silence. It was also a way to create something homogeneous and linked. For the moment, we have most of the tracks, and we can say that there are no blank records. But in case we would have received something like this, we would have probably keep it as it is.”

With the positive feedback for Monochrome’s fourth EP by artists like Cio d’Or, Cassegrain and Edit Select, the awareness of Lpc’s artists and activities slowly grows. But with such beautiful work, this is a label to watch.

Horty Shooter

lpc

http://soundcloud.com/la-petite-compagnie

https://www.facebook.com/PetiteCompagnie

keadz.bandcamp.com

quietsum.bandcamp.com

Keadz
soundcloud.com/keadz
on.fb.me/1iKgWE9

Monochrome

soundcloud.com/monochromemusique
on.fb.me/IcD3EN

XVII
soundcloud.com/lpcxvii/mix-i

mas
soundcloud.com/mas111

The post Idyllic nature meets heavy beats on an emerging Paris label appeared first on Create Digital Music.


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“It is the nature of men to create monsters, it is the nature of monsters to destroy their makers”?

Monday, May 6th, 2013

Question by Joel L: “It is the nature of men to create monsters, it is the nature of monsters to destroy their makers”?
I’ve heard this phrase before, but do not remember where.

But the phrase sounds very reasonable in my opinion. Is this phrase true, or is it just another monster created by some individual.

Best answer:

Answer by Dr. Girishkumar TS
Real ‘human’ do not create monsters. It is only simply brain trained ones who do such things, who are neither trained in emotions nor in spirituality. It is natural that they get destroyed by what they create, simply a law of nature!

Add your own answer in the comments!

Shutter Island (Soundtrack) – On The Nature Of Daylight (Remake)

Saturday, March 9th, 2013

Shutter Island – On The Nature Of Daylight Composer: Max Richter Arranged & played by: ahspark87 Played by ear. Program used: LASS (1 viola, 1 bass, 1 cello, 1 violin A & 1 violin B)

Original Finnish tune. I had seen on YouTube in the implementation of The Agents. Here is my version. The backing is made with Band in a Box and Cubase
Video Rating: 4 / 5

Naughty By Nature – Uptown Anthem *uncensored*

Tuesday, January 1st, 2013

Naughty By Nature Uptown Anthem I found this on Daily Motion okay?
Video Rating: 4 / 5

Hi-Hat Club Vol.2: Suff Draft
Video Rating: 4 / 5

The Bee and The Stamen: Complete Live Stream, King Britt Interview, As Nature Meets Electronic Music

Friday, October 19th, 2012

King Britt, performing in the garden. Photo: Inna Spivakova.

For just a moment, take your mind somewhere a bit different.

First, imagine the computer as part of nature, not something separate from nature. And then, put your head inside the mind of a bee. (You might not want to operate heavy machinery, just in case you start to imagine you’re seeing things through a compound eye.)

That’s the journey we’re on with King Britt, the veteran producer from Philadelphia. He’s remixed everyone from Miles Davis to Tori Amos, but now, he remixes the world of the bee. And given how small we ultimately all are, perhaps that’s a worthy mission for a musician.

I’m pleased that we get to offer the exclusive, complete stream of the album. This seems to me one to buy in lossless quality, to enjoy in its entirety — even if many people no longer believe in such things. King also offers some insights into technology and nature that go well beyond the scope of this one record.

Peter: I think when most people think about synthesizers and computers, the last thing they imagine is something organic or natural. What does it mean for you to use these “artificial” technologies as a mirror to hold up to nature?

King: It’s funny, because a computer is made up of silicon, one of the most abundant elements on Earth, and copper, which is found in abundance in the Earth’s crust, is used for circuit boards. These are natural elements, which we don’t think of as natural because they are encased in plastic, but their ‘essence’ is organic in the beginning. So in a sense, once you know this fact, you dont think of the hardware as artificial. The funny thing is with the mirror idea, you’re essentially showing nature how it looks in a new outfit (plastic).

So, somehow, you’ve entered the mind of the bee. Since our lives are not terribly bee-like, how did you go about doing that? Did the foreignness of this help inspire you musically?

Lately, I have been listening to more sound design than music. So I got some cool plug-ins that were spectral processing things and really took any sound into a whole other sonic territory than I was used to. So, when I did Allogamy Sonics, it really sounded like a bees-in-a-hive situation. So then I started to think, what would a bee hear on his journey? “In Search of Stamen” is a perfect example. Quick movements from one idea to the other (using the monome) as if the bee was flying through the city….

The foreignness helped, for sure, as well as other ‘natural’ elements like cannibus.

Tell us a little bit about your musical journey. You’ve been a prolific producer for a long time. It’s funny, in a way, it sometimes seems like it’s the people I know who have had longer careers who are
the most adventurous, maybe because they don’t feel the need to fit some popular zeitgeist or prove themselves. How did you wind up at this point, and for those of you who don’t know you, how would you encapsulate some of the points in your career they should know?

I never think about what’s popular. I love popular music, but I just do what I feel. I love all genres and want to explore making music using this palette of knowledge. This knowledge, along with my DJ aesthetic, goes into my compositional process, which brings different results. Much of what I have done in the past like my Sister Gertrude Morgan Tribute or Sylk 130 stuff, was more digestive than, say, The Bee and the Stamen, but underneath, there was always sonic experimentation. It’s just that now, I’m stripping away more of the musical element down to its essence and putting more emphasis on sonic exploration, which is so much fun.

Not concerned so much with selling records or charting. But it always seems to work out in the end. I do it for the art and journey.

King Britt’s live rig, complete with monome and Ableton Live. Photo: Inna Spivakova, courtesy Data Garden.

What matters most to you musically these days? Listening to the record, it seems you’re really pushing sonic ideas as far as you can. When do you know you’ve pushed far enough?

Ha… you never know when you have pushed far enough, but after a while, you have to just stop and let it be. Musically, I have been studying more Musique Concrete stuff and found sounds, which I have been incorporating into my music since my Sylk130 days, and When The Funk Hits The Fan; [it] was a emotional picture. All the little skits were sound-designed from found sounds and real dialog.

Actually, I did a piece for TEDx last year with Saturn Never Sleeps, where the theme was the City. So I went all over Philadelphia to grab found sound rhythms and brought them into ableton and actually mapped out a days journey with rhythms. Then, Rucyl [Mills], the other half of SNS, sang over them… which gave it a wild sound.

I’m actually re-creating this and scoring it as we speak.

I know a bit about your tools and use of the monome, but specifically, what are we hearing on this record? It seems there’s a broad sound palette. What are the tools or techniques you’re employing?

So, initially I was experimenting with Michael Norris Spectral Plug-ins, which I had no idea how to use. Sometimes, it’s fun just to run things into these and find what works. So, the Allogamy Sonics is basically a rhythm from my Nintendo DS, and found sounds played on the monome, each running through a plug-in chain in Ableton. So I could group things then internally wired one into the other to get weird sh*t.

As far as textures, I have been creating my own loops using my synths running into things then sampling live into [monome patch] MLR. This is the case with most of the other songs, except Landing Grains, which is all Rhodes running through a series of Moogerfoogers and an Roland RE30 [Space Echo] ……and cannibus!

There are also some different sonic layers here; can you characterize some of these? Some are more fanciful, harmonic lines, others darker, glitchier shadows of timbres — do these have a narrative significance? Compositional significance?

Ha… well… Somethings I worked with various plug-ins, like [Native Instruments] Reaktor, which I create sounds and then run them into other things to then be sampled into MLR. So starting with one sound and then as its running in MLR, creating new sounds quickly on the fly and repeating until I have 5 for the song. This was more for the glitchy, techy stuff.

For the more harmonic [material], I pulled out a few synths and brought them into MLR, just to keep a sense of music. Then I would make samples of combinations, then resample myself. Ableton routing is just magnificent. Makes it all beautiful.

What are you working on otherwise — and are you somehow working this material into live performance? (That is, what did you perform this week?)

I performed some of this album live the other night at Switched On in Philly, which really went well. I was super nervous, because the version of MLR I was using is an altered Max for Live plug-in that sometimes isn’t stable, but it rocked! I was so happy in the end.

I wanted to sonically push more in the live show but considering the sound system and crowd, I may have blown some speakers and ears… I need to perfect that first.

The most fun was creating the architecture to actually do the performance in a smooth way without an [Akai] APC [Ableton controller]. So keymapping, knowing the MLR inside out, and creating multi-instrument racks is the key. Wow, that was the big discovery of bringing in like 20 VSTs into one rack and then mapping one knob to switch though them. Ableton wins again.

Any other impressions of interesting discoveries at the intersection of nature and sound at Switched on Garden?

Oh my God, Switched On is just so great. First, to be in a huge garden like that is amazing. Then to add something totally out-of-context like a synth is somehow very exciting, because it reminds you of science fiction movies, but it’s real. Then [to add] natural things, like the drum machine sequencer, where six people create a series of sequences that trigger little hammers to make beats on turtle shells…. genius. Everyone had fun!

Or mic’d cones that participants could alter the direction of the mics to then alter the sounds in the cones which changed each other…. c’mon …Alex curated the hell out of this year!

And most importantly, the kids loved it!

Video of the Live Show, Photos from Philly

King also shares with us some live video of the performance version of his work:

KING BRITT feat PIA ERCOLE live at SWITCHED ON GARDEN from King Britt on Vimeo.

This was a snippet from the live performance for my record release of The Bee and The Stamen at Switched On Garden 002 Festival. The event was curated and put on by Data Garden at Bartram Gardens in Philadelphia.
King Britt: Electronics, Monome and keys
Pia Ercole: Vocals
Video courtesy of Liz Hayes who happened to be filming

We spoke in our preview about the intersection of nature and music in this event; now, we have photos from The Switched-On Garden this month, by photographer Inna Spivakova. Slide show:

More information:

Data Garden (with more of this nature-meets-music goodness, and albums you can recycle by planting as seeds):
http://datagarden.org/

The Bee and the Stamen album page:
http://store.datagarden.org/album/the-bee-and-the-stamen

Twitter:
@DataGRDN
@KingBritt


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ToneBytes and Softrave releases “Ambient Nature Noise” VST Effect for Windows

Friday, June 8th, 2012

Read the full story @ KVR Audio
ToneBytes and Softrave have released Ambient Nature Noise, a new VST effect plug-in for Windows priced at $ 20 / €15. Ambient Nature Noise adds the sound and atmosphere of alive and lifeless nature to [Read More]
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Cymatics – In love with nature

Friday, May 25th, 2012

A chillout song for your soul.It is on my album Reborned. cymaticsound.bandcamp.com Follow me on Facebook : www.facebook.com Ambiental song made with Cubase 4 in 2010 In love with the nature
Video Rating: 4 / 5

Music from Nature Crafts Organic Rhythms, And More Sounds Made Music by Diego Stocco

Sunday, April 22nd, 2012

We’ve passed from Record Store Day to Earth Day — and here’s the perfect segue. Having ventured into the woods to find a music release, now we can hear trees transformed, by way of sampling, into catchy rhythms. Our friend Diego Stocco, that evergreen source of creative timbres, now makes everything from trees to beans into sounds that are subtle and complex, full of personality and uniquely tied to their origin materials. There’s no real violence done to nature, either; you can make all of these noises with little more force than a small thundershower.

Remarkably, the video — shot as a promotional for Burt’s Bees — is all real-time. After-the-fact sampling manipulation is itself a fun activity, but there’s none of that business here; this is all improvisation, not editing or effects.

And that brings us to the real message of what Diego Stocco can do. Microphones matter, yes, but the real expertise here is not mic technique; it’s listening. Diego comes up with this great material because he’s had a lot of practice listening to the world around him. As the skill of his listening improves, so do his sounds, as though the planet unfolds new possibilities. (In fact, even the question of technical experience also comes down to the same idea: you’ll get better at mic selection and placement with more experimentation and listening closely to the results.)

Other examples he’s released in the past months drive that point home. In “Improv on a Plate,” the composer and sound designer plays a plate as though it’s an instrument.

I was about to cut a chocolate cake and when I moved the plate on the countertop I noticed a very interesting sound.
One side of the plate was free to vibrate because the tiles were not perfectly even, so by applying pressure with one finger and tapping it with another I was able to create some tonal beats.
I hope you’ll enjoy it!
The recording setup was very simple, Røde NT5, Apogee ONE, Pro Tools 9.

At a recent workshop at Berklee, Diego gave this advice to students explicitly: listen. (The suggestion comes across in a way that to me resonates with the teachings of Zen Buddhism — and, indeed, the teachings of just about all teachers in all disciplines. Observation is essential.)

He illustrated that point with a case study: a taxicab with a funny trunk can be the beginnings of a piece of music.

One of the things that I talked about during my sound design lecture at Berklee http://bit.ly/y89Wtr was to listen to the world around you all the time.

There are many reasons, there could be something interesting happening from a sonic standpoint, you could enrich your sound vocabulary by building references, and most of the time you can create something useful out of that recorded material.

On my way back home, I took a cab from the airport, and I noticed that there was a strange chirping noise coming from the trunk. Of course, I recorded it right away : )
I took that sound, did some work on it and created this short sound designed piece.
You’ll hear the dry sound first, and then the sound designed version, enjoy!

I can think of no better way to celebrate Earth Day than with that reflection: listening to your environment, “organic” and man-made, and the world all around you will help you discover possibilities you’ve missed. That’s not just sound design: it’s a way of (better) life. Happy Earth Day; hope you’ve all had a good weekend.

http://diegostocco.com/

For more hot mic-on-tree action this Earth Day, here’s the 2009 video Music from a Tree:


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HoMedics SS-2000 Sound Spa Relaxation Sound Machine with 6 Nature Sounds, Silver

Wednesday, June 15th, 2011

HoMedics SS-2000 Sound Spa Relaxation Sound Machine with 6 Nature Sounds, Silver

  • 6 Nature sounds, ocean, summer night, rain, rain forest, waterfall and heart beat.
  • 15, 30 and 60 minute auto off timer
  • Battery or adaptor operated (adaptor included)
  • Natural sleep aid
  • Great for the baby’s room

Turn any room in your house into a relaxation spa with the sound machine. Bring clarity of mind throuth the 6 nature sounds, ocean, summer night, rain, rain forest, waterfall and heartbeat–which is great for a baby’s room. Great for travel using batteries or take along the home adaptor.

List Price: $ 24.99

Price:

More Make Beats Products

Cloud b Sleep Sheep – Four Soothing Sounds From Nature

Thursday, January 27th, 2011

Cloud b Sleep Sheep – Four Soothing Sounds From Nature

  • 4 Soothing Sounds: Mother’s Heartbeat, Spring Showers, Ocean Surf and Whale Songs
  • Velcro tab to secure Sleep Sheep to the outside of a crib
  • Removable sound box with adjustable volume and on/off controls
  • Automatic time-out after 23 minutes

Soothe your child into a restful, relaxing nap or night of sleep with the Sleep Sheep from Cloud b. This soft and adorable sleep time pal plays calming sounds that help drown out distracting noises and let baby drift into dreams. .caption { font-family: Verdana, Helvetica neue, Arial, serif; font-size: 10px; font-weight: bold; font-style: italic; } ul.indent { list-style: inside disc; text-indent: 20px; } table.callout { font-family: Verdana, Helvetica, Arial, serif; margin: 10px; width: 25

List Price: $ 28.00

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