New roland spd 20 mumbai free#
Is it important to you that your geographic or cultural locality is represented in your music? Is it necessary for the listener to know that some of the sounds in your track came from a specific place – from this one particular market in Bombay, for instance? And to put it somewhat too dogmatically, isn't there some essential contradiction in incorporating sounds and structures which are so specific and localizable within something abstract like electronic music? In other words, isn't the whole idea of electronic music to make something in a new way – free of any connection to an identifiable time or place? My most favourite finds were the hits from the potato chopping at the Byculla veggie market, the crates being unloaded from trucks and tossed on the ground from the Dadar flower market, a lot of the bell/clings from the metal mill too, and most of the 'groove' is from the hammering and breaking up of all the (stolen?) car parts at Chor Bazaar. I usually automate the frequency cutoff on Live's Auto Filter to bring elements in and out, and for recurring hits, I often used the Max for Live LFO to modulate the gain so that the rhythms breathed a bit. I wound up using EQ Eight on most of the samples to roll off the low end, and I gated a few. I tried to go easy on the processing of each sound so as not to take away from the atmosphere or the quality that came with each sound. I collaborated with Aarifah Rebello, a drummer who has a really melodic approach, and she played out a bunch of different grooves on all of the kits and then I sort of picked/chopped and chose what worked for the music. My method was to build about 10 different Drum Racks, and then to play out grooves on a Roland SPD-SX percussion pad.
I then grouped sounds from different spaces and with different timbral qualities and compiled them into several Drum Racks. (The recorder I used, the Zoom H6 is amazing because it can record a backup file where the gain is set to -12db relative to the level, so even if something seems like it's clipped, you've got a backup which isn't) The first round of my process of sifting entailed going through each piece of audio and highlighting the hits that sounded good to me, and also had enough head room. When I was collecting all the hits and metallic sounds, I was looking at them as 'one-shots' even before I took them into the studio. Which of the sounds did you end up using in the track you made and what was that process like? The sample pack you’ve created features lots of really interesting percussive hits gathered at wood and metal mills, flower and vegetable markets and elsewhere in Bombay. I feel like my listening has gotten re-activated in a way that I didn't foresee.ĭownload the remix stems of Sandunes’ “Switching Rails” I expected to gather a lot of different textural and rhythmic information but I didn't quite expect it to all be so usable or musical! The process of actually looking for sound in a relatively 'normal' environment has definitely changed the way I hear things in my city. I've never really made a piece of music entirely from found sound, so this was definitely a new process. I have done a few projects with found sound before, but mostly interviews or spoken word that sits over a bed of music and was designed to be a narrative. Mostly because Bombay is a fairly noisy city, so I had to decide where I wanted to gate or clean up sounds and where I wanted to leave in the atmospheric 'noise' that made that sound so special. Yep it was definitely a bit of work to go through tonnes of raw audio and pick and choose the best 'samples'. Were you yourself surprised by the variety of timbres, rhythms and melodies that your city offered up? It sounds like quite a lot of work went into isolating the inherently musical moments in the recordings you made in Bombay.
New roland spd 20 mumbai download#
Download Sandunes’ free Searching for Sound sample pack