Creative Intention

To create a compositional seed which meets the following criteria:

• Contain at least three samples derived from the audio recording.

• Consist of at least one sample with the capacity to be re-purposed into a kick or bass sample.

• Consist of at least one sample which can be utilised as a rhythmic stab sample.

• Possess no recognisable resemblance to the original audio recording.

• Possess a tempo between 95BPM and 100BPM.

• Possess stylistic relevance with the genre of Hip Hop.

Audio Recording Selection 

The selected audio recordings for this compositional seed must:

• Be taken from the damaged vinyl copy of The Best of Artie Shaw - Concerto for Clarinet found at the Vinnies charity shop in Stones Corner. 

• Be no longer than eight seconds in length.

• Feature audio which has been subject to the damage sustained by the vinyl record. 

Primary Interventions: 

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Time (Reverse), Structure (Deriving of Samples & Structural Exploration).

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Secondary Interventions:

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Structure, Timbre, and Time.

Audio Recording Four

I have chosen this audio recording as I am drawn to the swing feel of the instrumental section. In addition, I feel that this audio recording provides depth in its timbre and melody, as it features both a distinctive piano and clarinet part. I feel as if this depth allows this audio recording to have the capacity to fulfil the creative brief, as I can see the potential for either the clarinet or piano part to be utilised as a rhythmic stab sample. Furthermore, I really enjoy how the damage sustained by the vinyl record forces the audio recording to skip back to an isolated bass note within the recorded composition. I feel that through further intervention, this bass note could potentially work to form a kick or low end bass sample, and therefore satisfy the creative brief.

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Audio Recording Eleven

I have selected this audio recording as I feel it is a pleasant rhythmic loop created by the damage sustained by the vinyl record. I am intrigued by the placement of the damage within the audio recording, as I feel it forces an interesting and somewhat digital sounding glitch upon the clarinet part towards the end of the loop. I feel as if this glitch could have the potential to satisfy the creative brief by functioning as a rhythmic stab sample, as I feel it has a unique timbre in comparison to the rest of the instrumentation. Furthermore, I feel that through further intervention, the skip within the audio recording has the potential to satisfy the creative brief by being re-purposed into a kick or bass sample.

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Audio Recording Sixteen

I have selected this audio recording because I feel that the damage sustained by the vinyl record offers an array of samples required to satisfy the creative brief. In particular, I feel that through further intervention some of the clarinet parts within the lower register could be re-purposed into several kick or bass samples. In addition, I feel as if the aspects of the instrumentation contained within the high register could be re-purposed into rhythmic stab samples. Furthermore, I am inspired by the notion that the damage sustained by the vinyl record has forced a degree of randomisation upon the audio recording, which in some sense acts an organic structural intervention. I am curious as to how further interventions could be utilised to bring a more deliberate and planned structure to the randomisation created by the damage sustained by the vinyl record.  

Audio Recording Four

I feel relatively pleased with this primary intervention as I feel it has allowed this audio recording to become further removed from the original. For example, I feel as if sections of the clarinet and piano parts now possess a more warped aesthetic, which I think could increase their capacity to become re-purposed as rhythmic stab samples. In addition, I feel as if the bass part seems to have become more pronounced, whilst its precursory vinyl damage based glitch is less recognisable. Therefore, I think that this primary intervention has been useful in the initial development and assessment of the audio recordings capacity to withstand intervention and possess the samples required to satisfy the creative brief.  

Audio Recording Eleven

Unfortunately, I feel as if this primary intervention has not entirely strengthened the characteristics I found appealing in this selected audio recording. However, I am quite pleased with how this primary intervention has brought forth the digital sounding glitch that I was considering re-purposing as a rhythmic stab sample. Unfortunately, I am uninspired by the remaining instrumentation, and I feel the audio recording now lacks the capability to generate the minimum of three samples required in order to satisfy the creative brief.

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Audio Recording Sixteen

I have found this primary intervention to be rather interesting. I feel that due to the near randomised nature of the original audio recording, this intervention has not really changed how I feel about its potential to be possess samples that can be re-purposed in a manner that satisfies the creative brief. However, I do feel inspired by how this primary intervention has worked to intervene with the dynamics of the instrumentation. For example, particular parts of the instrumentation now appear to crescendo, and this has allowed me to begin to consider which elements of this instrumentation can be re-purposed into rhythmic stab samples. Therefore, I am eager to continue to explore the capacity of this audio recording to withstand further intervention.   

Audio Recording Four

To begin this structural intervention, I have decided to place ten audio markers across this audio recording in order to derive nine initial samples. These markers are loosely placed to capture the elements that I find compelling within the original audio recording. In particular, I have placed markers to capture the damage sustained by the vinyl record, the subsequent bass note, and sections of both the clarinet and piano parts.

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Audio Recording Sixteen

To begin this structural intervention, I have decided to place nineteen audio markers across this audio recording in order to derive eighteen initial samples. Although these markers are loosely placed, I have attempted to place them near the transients in the audio waveform. I feel this is an appropriate method in beginning to dissect this audio recording, as I think it will allow me to capture, isolate, and further evaluate the various pieces of undamaged instrumentation.

Through this initial stage of structural intervention, I have been able to narrow down the samples derived from the audio recordings into smaller selections of samples. These remaining selections consist of samples which have both creatively inspired or intrigued me, whilst acting to fulfil the aspects of the creative brief. 

Audio Recording Four (Initial Samples)

In this smaller selection of samples, I have decided to select both Sample Two and Sample Three. Both of these samples are derived from the piano part in the audio recording, and I feel as if they both possess the capacity to be re-purposed into rhythmic stab samples. In addition, I feel with further intervention Sample Six has the potential to be re-purposed into a bass line. Furthermore, I have also decided that I would like to continue to explore this structural intervention with Sample Seven, as I believe that this sample has the potential to function as a percussive element within a new compositional seed.

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Audio Recording Sixteen (Initial Samples)

In this smaller selection of samples, I have decided to select both Sample One and Sample Fourteen. As these samples are both derived from clarinet parts within the lower register of the instrumentation, I feel as if these samples have the potential to be re-purposed into samples which could be arranged to form a bass line. In addition, I have decided to include Sample Eleven within this smaller selection of samples, as I am really pleased with how the first primary intervention has worked to alter the inherent dynamics within this section of the audio recording. In particular, I feel that this change in dynamic has given Sample Eleven an abrupt crescendo type quality, and I believe this will enable this sample to be utilised as a rhythmic stab within a new compositional seed. 

Audio Recording Four (Structural Exploration One)

I feel as if this structural exploration has been beneficial in understanding how Sample Two and Sample Three can be arranged together to form the basis of a compositional seed relevant within the Hip Hop genre. However, I feel that some further refinement to the exact selection of both samples is needed to fully recognise their individual potential both creatively, and in fulfilling the requirements of the creative brief. For example, I feel as if Sample Two could be further refined in its selection so as to really represent its capacity to be utilised as a kick drum sample. 

Audio Recording Four (Structural Exploration Two)

I am really pleased with this structural exploration, as I feel it has allowed me to recognise the potential for arranging Sample Six and Sample Seven together to form a wider rhythmic pattern. However, I feel that further refinement is required in order for each sample to become re-purposed into a rhythmic stab sample.

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Audio Recording Sixteen (Structural Exploration One)

I feel as if this structural exploration has been interesting, as it has inspired me to think about experimenting with the arrangement of one rhythmic stab sample in order to form a wider rhythmic component. I am relatively pleased with the selection of the sample, however I am eager to attempt to refine the selection of this sample in order to provide more clarity with the context of a wider arrangement.

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Audio Recording Sixteen (Structural Exploration Two)

I was eager to begin this structural exploration,, as I feel that both Sample One and Sample Fourteen are individually capable of acting as the bass sample required by the creative brief. However, I feel inspired by the potential evident within both of these samples when arranged together to form a simplistic bass line. Therefore, I am pleased with the selection of both samples, and I feel that no further refinement is needed. 

Audio Recording Four

After further refinement, I feel that Sample Two and Sample Three now possess the capability to act as rhythmic stab samples, and satisfy the requirements of the creative brief. In addition, after arranging both Sample Two and Sample Three together, I feel that their is potential, with further intervention, for both samples to contribute to the formation of a new compositional seed. However, I am less satisfied with Sample Six and Sample Seven. Although, both samples meet the requirements fit within the parameters of the creative brief, I feel relatively uninspired by the potential of these two samples to form a new compositional seed. Therefore, I have decided to no longer pursue Audio Recording Four as a viable means for creating re-purposed samples capable of fulfilling the requirements of the creative brief in order to form a new compositional seed.

Audio Recording Sixteen

After the further refinement of the selection of Sample Eleven, I am now really pleased by both the contextual clarity of the sample, and its wider capacity to act as a rhythmic stab in order to fulfil the requirements of the creative brief. In addition, I feel the further refinement of this sample has allowed me to begin to contemplate other potential ideas for its arrangement within a new compositional seed. Although no further refinement was required, I am also really pleased by Sample One and Sample Fourteen. I feel that through further intervention, both samples could have the capacity to qualify as the bass samples required to fulfil the creative brief. Overall, I am pleased with outcomes of both primary interventions enacted upon Audio Recording Sixteen, as I think that they have allowed me to derive a set of samples which have the capacity to be re-purposed to form a new compositional seed.

To be continued Semester Two, 2019.