The Noise Deconstruction – a song example

The Noise Deconstruction – a song example:

A blog about how to deconstruct music in order to get the best sound production.

So you have a sound that you like, but you do not know what it is.

This tutorial will teach you how to deconstruct it and create your own version. I started with a minimal techno track by the artist The Hacker and deconstructed it into this track:

I started with this track because I was intrigued by its simplicity and repetition, but also because I liked the way the leads and bassline were used together. I wanted to get those sounds out of my speakers so that they could be heard by others.

This is one of the best things I’ve read in a while. A blog about how to deconstruct music in order to get the best sound production.

The Noise Deconstruction – a song example

This article really hit home for me. I’m not into electronic music, but it’s got a lot of good examples and it clearly shows how to deconstruct a song to its core elements and, in turn, learn how to build songs from scratch.

The Noise Deconstruction is a song by the band “The Noise”. The song is a good example on how to deconstruct music in order to get the best sound production possible. Let’s look at what makes this song great!

The song has a very simple structure: A verse, a chorus, an instrumental part and then the verse again. This song consists of 5 tracks that are mixed together. It starts with drums, bass and a synth pad played by an old analogue synthesizer (ARP). Then it’s time for some guitar – but only played in one note, muted and with lots of delay. After the chorus there is an instrumental part that contains a solo lead synth and some guitar effects.

The Noise Deconstruction – a song example:

I am currently taking an online electronic music course, that deals with all kinds of different electronic music styles and genres as well as their history. During the course I have produced a track, which is based on a genre called “Noise”. In this blog post I want to briefly describe the process of my production and how I tried to deconstruct the genre in order to make it my own. Let’s get started.

The Genre:

Noise music (also called noise) is a form of experimental music that uses a variety of sound sources – traditionally analog electronics such as tape recorders, radios and oscillators. However, real-world sounds can also be used; for example, field recordings made using recorders or mobile phones. Noise music often uses repetition and layering techniques, as well as dynamic changes in volume and panning to create an intense listening experience – one where tension builds up inside the listener’s head with every new layer added. The genre is related to other experimental musical genres such as musique concrète, industrial music and drone music. Noise has been used by artists such as Cornelius Cardew, Glenn Branca and Throbbing Gristle in their works

The Noise Deconstruction – a song example

I’ve been meaning to write about this for a while, but I keep not getting around to it.

The Noise Deconstruction is a particular composition by Morton Subotnick that I heard at some point in my early 20s. Possibly on NPR! It was played pretty regularly back then.

It’s music made entirely with synthesizers and other electronic effects, and it’s just noise. There’s no melody or harmony, just sounds.

What I love about it is that it’s very carefully constructed noise. The sounds are all carefully chosen, one after another (or maybe several together) so that they’re pleasing to listen to, even though they have no relationship to each other or any consistent structure. They just sound good together.

I use this piece often when teaching people about how to listen to sound as opposed to music for its own sake. If you’ve never heard it, go find it on YouTube now and listen to the whole thing!

One of the most common questions people have when they start to look into electronic music is: How do I get that sound? In most cases, this means a complex and layered sound. Not only does the song consist of many different elements, but those elements are often multi-layered themselves.

When you listen to a great track, it’s easy to feel overwhelmed by it. You often find yourself wondering how much time and effort went into making that particular track. Did it take one guy 20 hours to make it? Or was it a whole band? How many computers did they use? How much equipment?

Now imagine being able to write your own songs like that. If you’re new to electronic music, the first thing you think is “I don’t know where to begin.” And even if you’ve been around the block a couple of times and have some experience, you may still be in awe of how other people do it.

Well worry not! This series of articles aims to show you how anyone can create complex music with little more than their laptop and a free software program called Audacity.

For most of the 70’s people were making electronic music with synthesizers and modular setups, but you could still do something that hadn’t been done before. When you listen to it now, it doesn’t sound so special anymore. Maybe it’s because it was such an exciting time, and people were just trying to find out what these synthesizers could do.

In some cases they had no idea how they made a certain sound. They did everything by ear and then just recorded what they did. They didn’t have books that told them how to make a specific sound, or even what a certain knob on a synthesizer did. For example Brian Eno and David Bowie created the very well known “Heroes” album in 1977 in Berlin. Their producer Tony Visconti started with writing down every single setting for all songs on an analog tape recorder and patchbay settings for the synthesizer. Then he went back to London with this written list and re-created the whole album from scratch there at Hansa Studios.

I think that the development of electronic music in those days was a bit like the early days of photography, where everyone was trying out all kinds of things without knowing exactly what would happen.

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