|: MAIN :|: ONE :|: TWO :|: THREE :|: FOUR :|: FIVE :|: REMODEL :|: CONTACT :|
All audio files were created from digital sources (online samples, file swapping, softsynth generation, etc.) and were manipulated through use of a single computer. The challenges in this environment range from the hardware and software limitations to sample quality issues. With most of my audio experience coming from a live band setting, the limits that using a single computer and the available software puts on keeping a beat and the inability to listen to play along with one track while recording a performance on a separate track forced me to look into other ways of making the track musical and coherent. Attempts at abandoning beat altogether and using certain effects over an entire piece to make it feel more like one were explored. Additionally, being used to the consistent frequencies and tonal qualities from track to track that comes from a guitar/bass/drums/vocal environment made it at first seem difficult to use samples with little relation to one another and keep them unified. Again, manipulation with effects enabled completely different samples to come together in a more like sounding way.
I don't listen to electronic music. I don't listen to loop based music. I rarely hear a song that employs a sample. I do listen to music that transcends boundaries. This was one of my main attempts in each project file. I knew I would not be happy with a file that had a purely digital music feel to it. I wanted to let my influences from rock and punk and indie and all other styles of music that I listen to come through the computer environment. I think Live is one of the best examples on the CD of this. Also, in the softsynth project, I attempted to use a tool that primarily is thought of to produce electronic sounding tones to create more instrumental ones.
Because I didn't feel any natural order in the tracks, I decided to place them in the order in which they were created. Though the original softsynth track was the third project, the piece on the remodeling CD was the last track worked on and departed so far from the original that it seemed more appropriate to be placed as "done last".
When designing the packaging, I wanted to create something that again didn't carry so much an electronic feel as one might expect for a CD containing all digitally created audio. The cardboard was chosen for this reason and to let the disc stand out from the standard jewel case. The name remodeling was given to it because this is essentially what the audio is: remodeled sample. The digital environment gives me more of a feeling of remodeling existing sounds than it does in creating new ones. This could be reordering a recorded song, manipulating a sample and tinkering with the patches in a digital synthesizer. This is further emphasized with the remodel section of this site.
I believe a website is indispensable in the music world today as it can offer so much more information for existing fans and give potential fans the chance to learn about something new. Creating a CD only didn't feel complete and at the same time only making mp3s available didn't seem to go along with my other ideas about mixing the digital and concrete worlds of audio. Together, I think they create a much more complete project with each offering something the other cannot give.
This project as a whole has sparked an interest to combine more of the
computer environment with the live band environment I traditionally play
in. Outside of CD mastering and multi-track recording, I viewed the digital
audio and sampling world as a tool primarily for use in electronic and
hip-hop music. I now believe it can become a key part of any audio work.