Tag: software

The Joyless Medium

The Joyless Medium

Today a non-music post following on from some other posts: Beats, Windows 98-Style, Are Videogames The New Jazz, and an upcoming piece about how listeners interact with groove music e.g. at house parties.

Basically, last night in bed I woke up and started imagining how those communal grooving/listening situations might happen online.

Take the typical social media comments section, and substitute the comments with layered music tracks in a loop… so whereas in Soundcloud you can put a text comment on a precise moment of a song e.g. “sick bass drop yo”, what if you could drop in a clap or bell pattern, precisely in time, to someone else’s music… or maybe some VST– or SFXR-type customisable synth sounds.

Nice stuff to fantasise about. There seem to be a couple of projects hinting at this kind of functionality. But definitely nothing taking off.

That made me think about the expressive channels currently available on my main social network, Facebook. That’s when I made the connection to my 90s throwback article which celebrated the techno-creative possibilities we had in the late 90s. I realised that FB intentionally forbids a spectrum of modes of expression and features that were actually taken for granted two decades ago.

This isn’t a technophobic post. I’ve no problem with people spending hours staring at screens. If I’m criticising anything here, it’s greed, and also blind faith in free markets + engineers’ optimisation to make people happier.

Here are some ways you can’t express yourself on FB:

  • pixel art or high-resolution art (because FB resizes and compresses all images)
  • ACII art (because text layout can’t be controlled and you can’t switch to a monospaced font)
  • decorative backgrounds
  • choosing the colour of elements, choosing a colour palette
  • making buttons or a user interface, trompe d’oeil/mimicking visual elements
  • laying out a page (the only option is, like with long posts on Twitter, to make a screenshot and share as a picture, but that loses the text data)
  • sharing sound snippets
  • italics, bold text, underlining

You are even discouraged from making your own smilies because they won’t register with the system that converts them to a little cartoon.

20 years ago, anyone making a personal webpage had all of these features at their fingertips. Forums and other communities allowed some of them too.

How about more mundane capabilities?

  • proper hyperlinks (FB lets you put links but without changing the text, and encourages one link per post by allowing a single preview pane; linking to other posts is limited/bogey in a number of ways… sponsored posts can’t be linked to, preview panes are generated in comments but not in news posts, and linking to an old post of yours presents the content with the text removed)
  • searchable posts (because FB’s model is based on feeding you algorithmically selected new material or else you stalking people’s profiles… so they can’t give you ways to find old posts)
  • choosing what you see, not just blocking vaguely defined content or blocking people
  • tags (unlike the other features I’ve mentioned, this is modern, from 2007)
  • metrics i.e. how many views you get (obviously, FB want you to pay for this information by buying sponsored posts)
  • publically editable posts a la Wiki

Will this change? I doubt it. Facebook have something that makes money for them. Perhaps the mass market (which is obviously what a social media site aims for) will never care enough to want those features. But if they were there, we’d be spending our time in a space that felt a lot less grim and robotic, and maybe, if we could play with and surprise each other, we’d be less grim and robotic.

Rant over. As usual, I’d love to hear your comments!

Let me anticipate a couple of objections. Yes, there are hundreds or thousands of websites where you can express yourself in these ways. But a lot of them work on the same formulaic, business-like assumptions of Facebook – that we are all just trying to promote and brand ourselves. Anyway, I think it’s fair to criticise a site where we spend a lot of time and which makes every effort to keep us there.

Oh and I should say that I recognise how useful many of Facebook’s features are, i.e. events and band pages. (I think that intersection of personal scale with a small organisation or business’ scale is where the site works best.) I just think we’d be better off if we could pay for those features straight out rather than by participating in the rote “interaction” of sharing itemised, cling-wrapped content.

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Beats, Windows 98-Style

Beats, Windows 98-Style

It’s been a while since I blogged here. In the meantime I’ve been working a lot on my rock band Mescalito… but some blog ideas have been simmering in the back of my mind.

Today’s post is a quick chat about a creativity-boosting project I thought of. I’ll be making a drumloop a day, every day of December 2016 and uploading them to my Soundcloud.

I was recently producing beats for my trio with Dyl Lynch and Max Zaska. I enjoyed trying to imitate the likes of Madlib, using compressor and EQ plugins etc. to make our live performances as fat as possible. For this month’s project, though, I’ll just focus on drum programming. I’m inspired by another bandmate, Ben Prevo’s, song-a-day project where he used whatever was at hand to make a more-or-less finished product each day.

To avoid the rabbit hole of tweaking FX plugins, and for a healthy dose of nostalgia, I’ll only use software available in the year 2000!

Hammerhead.png
Hammerhead Rhythm Station (Bram Bos, 2000)
Drumsynth.png
Drumsynth 2.0 (Paul Kellett, 2000)

To me, these programs evoke a different world. I imagine bedroom tinkerers sharing coding techniques, knowledge of analog and digital hardware, and a love of dance music. Bram Bos’ program even displays his student email address, from a Dutch university. The last days of a smaller, less consolidated internet.

Hammerhead Intro.png
The intro screen for Hammerhead

If you had a PC back then, your music-making options were limited to MIDI sequencing, basic layering of samples, trackers – or free programs like these.

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This screenshot took a bit of effort to find – it’s easy for the history of a scene like PC music software to disappear into the ether … Massiva, another program I was messing around with around the year 2000

The nicest thing about (my fantasy of) the 90s is the DIY mentality. The tools are by amateurs and rely on no-one else’s file formats or software. These guys saw a problem, coded up a solution and gave it to the world. That still happens today but you are far less likely to hear of it in the hyped and moneyed tech/startup landscape of today.

Admittedly, some of those pioneers monetised their work. Drumsynth 2 is now bundled with FL Studio.

I say “pioneers”, but the reason there was a space for pioneering, is that the professional music world had little time for PCs. PC music was a nerdy little field, obsessed with emulating “realer”, cooler sounds – a vibe you can pick up by browsing old magazines.

The presets in Drumsynth 2 do try to emulate iconic drum machines – but the little synth can’t really hack it and the noises are crude. I kind of like that though. To recap, I’m using 20-year-old free software to get a sound roughly (but not convincingly) like 40-year-old drum machines.

Having a small number of samples (20 preset, 6 custom, only 6 channels) in Hammerhead, my drum machine, forces me to listen closely to how sounds work together. No delay or reverb makes me strive for other ways of creating depth: volume differences, layered and interlocking syncopations, and expressive, varied timbres.

I’ll be pushing the software past what it was designed to do. Hammerhead does 4/4 beats in 16th notes only. By using odd numbers of bars, though, this can be got around (e.g. 5 bars of 4/4 can be 4 bars of 5/4). Similarly, the shuffle control can be abused for some beat-bending tricks, if the given 4/4 grid is disregarded.

So in a humble way this project might represent some DIY values from the hacker and demo-scenes of my idealised 90s – which were all about overcoming computational limitations.

By the way, those 4/4 grids are how I first learned rhythm, at the age of 12 or so (first in a MIDI sequencer, then in Hammerhead). Here is my first ever beat, from 2001:

And here is the first drumline of my month of beats, Windows 98-style. (Try this direct link if the soundcloud embedding doesn’t display below.)