Introduction
As an experimental studio-based composer, I began to create sample-based loops from pre-existing audio derived from YouTube to act as inspiration for new compositions. This is a common practice within the hip-hop production community as ‘the digital era means that there are even more possibilities that hip-hop practitioners can utilise to create their music’ (Williams Reference Williams2014, p. 205). However, the browsing of infinite links permitted me from feeling any physical connection to the source material. Furthermore, I had begun to feel frustrated by algorithms that continually propelled me towards source material that had already been extensively sampled. This may not seem like an issue, but knowingly utilising source material that has already been used by another producer is regarded as an ethical violation within the hip-hop production community known as ‘Biting’ (Chang Reference Chang2009). It was then (in an almost fortuitous manner) that I discovered piles of dusty and discarded vinyl records within a local Op (literally short for ‘Opportunity’) shop. Accordingly, this study intends to answer the following primary research question: What are the benefits of utilising a used vinyl record found at a local Op shop in the construction of a loop library?
Research design: aims and method
Here I examine a practice-led research project which explores the process of selecting, manipulating, and rearranging audio derived from a vinyl record found in an Op shop. As stated by Borgdorff: ‘The practice of creating and performing in the atelier or studio is central to the research process itself. Methodically speaking, the creative process forms the pathway … which new insights, understandings, and products come into being’ (Reference Borgdorff2012, p. 146).
Therefore, my practice-led approach aims to provide insight into the concepts and techniques discussed within the literature through the development of two sample-based loops. This process will be demonstrated through the inclusion of audio and visual examples. These examples will feature as the Online Appendix for this study and will be appropriately coded as Audio Appendices # and Visual Appendices #.
The aesthetic of vinyl
[T]here's an aura and there's a tradition of it and it's much more exciting to dig through vinyl than it is to flip through CD's. . . . And it has to do with the mystique vinyl has in our era. (Wang as cited in Schloss, Reference Schloss2014, p. 93)
The appeal of utilising source material derived from vinyl seems to lie in a series of its ineffable qualities. Its distinctive cycles of audible hisses, pops and crackles ignite romantic notions of its unique past replaying in the present, yet its existence in the present further contribute to its own physical history. In this way, vinyl is unlike modern digital formats as it exists in a state of flux, its subsistence at the constant mercy of dirt, scratches, weather and wear from use and handling. Through this sonic representation of its own ontology, utilising vinyl as source material allows me the opportunity to intervene with the original musical recording, and the record's own personalised history. This interaction with multiple layers of the past defines the unique nature of vinyl as a source material. As further supported by Chang (Reference Chang2009): ‘the origin plays a unique role in the aesthetics and ethics of sampling practice and is never ignored in the process of creation’ (p. 145).
The significance of crate digging in Op shops
The process of searching through used vinyl records is known as ‘crate digging’ (McLeod and DiCola Reference McLeod and DiCola2011). Regarded as a rite of passage, crate digging is an archaeological process in which listening is central in the development of a producer's musical style. The creative significance of establishing a listening repertoire through crate digging is supported by Negus (as cited in Schloss Reference Schloss2014), who states:
I think that [knowing a lot of records] is important, because it's gonna give you a lot more to draw upon, but it's [also] gonna open up your mind to different ideas of what you can do. (p. 95).
In this way, crate digging within Op shops facilitates a unique approach to the acquisition of source material. Consisting of a rarely organised collection of records donated by the local community, previewing records in Op shops is virtually impossible. Consequently, this forces me to purchase records that represent the musical preferences of my local community based solely on their cover art, song titles and perceived genre. It is this somewhat serendipitous approach to crate digging that has allowed me to discover Bacharach Baroque (Bacharach and David Reference Bacharach and David1973). For the purpose of this study, I have decided to utilise this record as source material, as I feel that it embodies the obscure nature of records that could only ever be found within an Op shop.
The search for sample material
This process continues by capturing short sections of the source material which appeal to me within the first instance of listening onto a digitised stereo track. It may seem ironic, but this will later enable me to harness the potential of my digital audio workstation to edit and manipulate the source material. As noted by Chang (Reference Chang2009):
The appreciative attention paid to the low fidelity character of the original seems to operate in conflict with the advanced digital technology used to manipulate it. (p. 153)
In addition, this one time approach is unique to utilising vinyl as sample material, as unlike digital audio, I am unable to visually scan through waveforms to identify isolated sections of instrumentation. In this way, utilising vinyl has empowered me to develop an intuitive listening-based method to recognise viable sample material. The importance of intuition in selecting sample material is further supported by Reeves (as cited in McIntyre and Morey Reference McIntyre and Morey2014), who states:
I think that sampling is just one of those things that, you know … you just hear something and it has to be that that has to be used. (p. 48)
For the purpose of this study, I have selected a four-second section (see Audio Appendix 1) from the introduction of ‘What the World Needs Now’ (Bacharach and David Reference Bacharach and David1973, track 4) as sample material. I feel that this section of the composition contains enough rhythmic and harmonic diversity to facilitate the construction of two distinct sounding loops. In addition, the creative advantages of utilising a section of this composition extend beyond its musical qualities. As a baroque-styled rendition of a renowned Burt Bacharach song, this composition is also a reinterpretation of an earlier musical work. Therefore, utilising this composition as sample material permits the exploration of further reinterpretations, and the opportunity to harness its familiarity as an identifiable intertextual reference. This allows the listener to establish a recognisable connection between my composition and the original. Furthermore, it affords me the opportunity to demonstrate a degree of cultural literacy within my approach to sample-based composition.
The importance of manipulation
[C]hoosing to begin with a sample … is less than zero and there is some creative or craftsman-like act that needs to be achieved even before zero is reached. (Wilsmore Reference Wilsmore2010, p. 9)
This emphasis on the importance of manipulation illustrates the unique ontological relationship that sample-based composition has with sound. Unlike instrument-based composition, in which sound is recognised as the final outcome, sample-based composition treats sound as the beginning of the process. This relationship encourages producers to exercise the limitless potential of new technologies to manipulate the time, timbre, pitch or spatial aspects of their selected sample material. This sense of malleability presents sample-based composers with the potential to create numerous musical works from one section of sample material. This is supported by Sewell (Reference Sewell2014), who states, ‘it is possible to create tracks that are completely new, unexpected, and radically different from one another even if they derive from a common source’ (p. 45). Therefore, through the capacity for unbounded artistic expression, the process of manipulation is regarded as essential in the development of new sample-based compositions.
Pitch manipulation
For the purpose of this study, I have decided to subject the sample material to two contrasting pitch-based manipulations. This is due to the inherent nature of pitch-based manipulations to peripherally intervene with the time and timbre of sample material. In Sample Material A (see Audio Appendix 2), I employed a transposition of minus three semitones.
This manipulation has increased the frequency information of the sample material at approximately 50 and 80 Hz, and between 300 and 500 Hz. In addition, there is a reduction of frequency information at 10 kHz. Conversely, in Sample Material B (see Audio Appendix 3) I experimented with a transposition of minus nine semitones. When applied, this manipulation increased the frequency information of the sample material at approximately 50 and 80 Hz, and between 100 and 300 Hz. Furthermore, there was a decrease in frequency information at 8 kHz (Figure 1). Throughout this process, I was surprised by the resilience of the sample material to enduring two diverse pitch-based manipulations. Previously, when manipulating MP3 files downloaded from YouTube, I had been unable to forcefully manipulate the sample material in this manner without the appearance of harsh sonic artefacts.
Spectral Analysis of Sample Material A after I intervened with the pitch.
Chopping samples
The process of extracting samples from the sample material is known as ‘chopping’ (Russ, Reference Russ2012). Regarded as essential in the development of ownership within sample-based compositions, chopping functions to top and tail sections of the sample material to isolate and distil individual samples. The notion of ownership within sampling practices may seem contradictory, yet as recognised by Ratcliffe (Reference Ratcliffe2014), sample-based composers only ‘gain a sense of ownership once the source material has been deconstructed (p. 102). However, owing to the pliable nature of sampling software, there is no preferred approach to chopping. Therefore, producers are encouraged to enact ownership through experimenting in order to develop their own approach. This is supported by DJ Kool Akiem (as cited in Schloss, Reference Schloss2014), who describes his approach to chopping as follows:
[U]sually I'm just randomly throwin’ stuff on there, kinda feeling it out. Tryin’ to, you know, ‘Ooh, if I chop it here, it'll sound like that’. (p.152)
Despite the lack of prevailing ideology, Gillespie (as cited in Williams, Reference Williams2014) states that the majority of sample-based compositions employ either a syntagmatic or morphemic approach. The distinction between these approaches is determined by the length of the chopped samples. For instance, a syntagmatic approach employs longer elements from the sample material such as complete musical phrases or passages. Conversely, a morphemic approach only employs very short samples which appear to be removed from the musical context of the sample material. Therefore, for the purpose of this study, I decided to apply a morphemic approach to Sample Material A, and a syntagmatic approach to Sample Material B.
To begin, I selected Sample Three, Sample Four, and Sample Five (see Audio Appendices 4–6, Visual Appendix 1) from Sample Material A. Owing to how this morphemic approach has removed these samples from their original musical context, these three samples have been selected based solely on their timbre. Additionally, I have selected five samples from Sample Material B (see Audio Appendices 7–11, Visual Appendix 2). These samples embody the nature of a syntagmatic approach, as each sample features a phrase of instrumentation from the original composition. However, in order for all selected samples to encompass a greater musical capacity to be rearranged into a new loop, it is necessary that they are further refined by trimming each of their start and end points (see Visual Appendices 3–10).
Flipping samples into new loops
Finding stuff. . . . Putting stuff together: it's composition, to me. (DJ Top Spin as cited in Schloss Reference Schloss2014, p. 146)
The process of rearranging samples derived from pre-existing audio to create a new composition is known as ‘flipping’ (Hall Reference Hall2018). Operating under the premise that all music is derivative, flipping embraces the rehashing of existing compositions to create new delineations. This notion is further supported by Wang (as cited in Sinnreich Reference Sinnreich2010), who states that: ‘Everything is derivative. It's just, really, if you think something is stylistically original, you're not familiar with the sources of derivation. . . . It's really just a question of how many strands, how many layers there are to the derivation’ (p. 132). Similar to centonisation, flipping requires a broad-minded approach to navigate a series of self-imposed restrictions in the search for new musical relationships. In this way, flipping is regarded as vital in confirming a sense of creative ownership over the original composition. As stated by Sinnreich (Reference Sinnreich2010), flipping is pivotal in completing ‘the alchemical transformation from “taking” to “making”’ (p. 126).
To begin this process, I assigned each of the samples to a drum pad on my MIDI controller. This allows me to physically impose myself onto both sets of samples in arranging an underpinning rhythmic structure. This physical approach to arrangement is further explained by Bennett (as cited in McIntyre and Morey Reference McIntyre and Morey2014) who states: ‘Arguably it could be seen as form of “jamming”, except that some of the musicians are not present in the room, nor are they are able to modify their performances in response to those who are present’ (p. 54).
Utilising this process, I created two new musical structures. Musical Structure A (see Audio Appendix 12) utilises the samples derived from Sample Material A to form a morphemic arrangement, while Musical Structure B (see Audio Appendix 13) utilises samples derived from Sample Material B to form a syntagmatic arrangement. Musical Structure A bears little resemblance to the original composition, and is only animated by the live performance of its arrangement. Conversely, Musical Structure B features recognisable elements from the original composition, and as such sounds more like a complete musical collage.
In order to complete the flipping process, I decided to loop both musical structures to forge a new musical relationship between the end and beginning of each structure. In this way, the act of looping permits the musical structures to embody a sense of musical inevitability and significance through repetition. Furthermore, when listening to the looped versions of both musical structures the characteristics of their respective syntagmatic and morphemic approaches are further enhanced. This is evident in Musical Structure A (see Audio Appendix 14) as its linear progression resolves in a manner which feels cyclical, whereas the collage sounding nature of Musical Structure B (see Audio Appendix 15) is elaborated upon in a manner which makes it difficult to anticipate where the structure ends and begins.
Conclusions
This study has employed a practice-led research method to explore the benefits of utilising a used vinyl record found in an Op shop to construct a new loop library. Through the construction of two new loops, this process has found that the benefits of utilising vinyl records found in Op shops include:
• an ethical and sustainable approach to the gathering of source material;
• the potential to discover obscure records which are unlikely to have been extensively sampled within the production community;
• the opportunity to establish an artistic connection with the cultural and musical preferences of my local community;
• the development of intuitive listening skills essential in identifying viable sample material;
• the capacity of vinyl to maintain its audio quality when manipulated and rearranged.
Musical outcomes
I have included two ‘demos’ as part of the musical outcomes of this study. The intention of these is to display the capacity of the two sample-based loops to stimulate further manipulation and composition. It is hoped that this highlights the flexibility afforded to sample-based composers when utilising instrumentation to expand on self-generated loops to develop entire compositions. Furthermore, the inclusion of this material offers composers the opportunity to consider the benefits of a sample-based loop library in the facilitation of new compositions.
Demo one (see Audio Appendix 16)
This demo utilises the loop created from Musical Structure A. This demo explores additional manipulations to the musical structure through the application of a slap delay. This manipulation acts to expand upon the rhythmic qualities of this loop. Furthermore, through the addition of a programmed drum and synth bass arrangement, this demo presents a potential use case for this loop.
Demo two (see Audio Appendix 17)
This demo features the loop created from Musical Structure B. Through the application of EQ, the loop within this demo has been further manipulated to remove the excessive bass frequencies obtained through the initial pitch-based manipulation. In addition, this loop has been further manipulated by the implementation of a sweeping filter. This manipulation functions to explore the collage sounding nature of this loop. Furthermore, the accompanying drum and lead synth arrangement within this demo displays this loops compositional viability.
Appendix
Audio Appendices
Available at https://scottluderman.wixsite.com/popmusiccomposition/audio-appendix
1. Raw Sample Material.
2. Sample Material A – pitched three semitones down.
3. Sample Material B – pitched nine semitones down.
4. Sample Material A – morphemic sample 1.
5. Sample Material A – morphemic sample 2.
6. Sample Material A – morphemic sample 3.
7. Sample Material B – syntagmatic sample 1.
8. Sample Material B – syntagmatic sample 2.
9. Sample Material B – syntagmatic sample 3.
10. Sample Material B – syntagmatic sample 4.
11. Sample Material B – syntagmatic sample 5.
12. Musical Structure A.
13. Musical Structure B.
14. Musical Structure A looped.
15. Musical Structure B looped.
16. Demo one – Musical Structure A.
17. Demo two – Musical Structure B.
Visual appendices.
Available at https://scottluderman.wixsite.com/popmusiccomposition/visual-appendix
1. Sample Material A – morphemic sample markers.
2. Sample Material B – syntagmatic sample markers.
3. Sample Material A – morphemic sample 1 parameters.
4. Sample Material A – morphemic sample 2 parameters.
5. Sample Material A – morphemic sample 3 parameters.
6. Sample Material B – syntagmatic sample 1 parameters.
7. Sample Material B – syntagmatic sample 2 parameters.
8. Sample Material B – syntagmatic sample 3 parameters.
9. Sample Material B – syntagmatic sample 4 parameters.
10. Sample Material B – syntagmatic sample 5 parameters.
11. Sample Material A – reconfigured Musical Structure.
