Dewanatron may possibly be the most revolutionary synthesizer company today. Founded by Leon Dewan and his brother Brian, the duo are adamant fans of music and musicians in their own way. Possibly the most famous piece of gear they manufacture is a synthesizer they have dubbed the "Swarmatron"used today by Trent Reznor and can be heard on the song "Big Black Boots" by Reznor's side project How to Destroy Angels. Equally as intriguing as the instruments they manufacture is the history behind the brothers themselves.
Leon Dewan dropped out of high school to assist his father's fledgling company and help with the inventions and built his first synthesizer out of an old Texas Instruments calculator, a electronic quiz game, and a radio. At the age when most people would be green and looking for work, Leon had already graduated from Yale with a degree in nuclear physics without ever receiving his high school diploma. Brian Dewan had just an unlikely story. He once made his living building furniture, but found his passion for synthesis while recording various synths at Oberlin College.
Together the brothers make some of the most intriguing instruments. The rare use of these instruments has had a significant impact on popular music however. As the rage for more dubstep, techo, and electronica hybrids of music make their way into the mainstream, more and more interesting sonic textures can be traced back to the brothers and their innovative synths. As these synths that they create are heard they always maintain a rare ambiguous quality.
From a technical and professional standpoint, I'm completely impressed. Leon prints all of his own circuit boards and everything just shy of making their own capacitors is done in house with little production cost.
Monday, October 24, 2011
Monday, October 17, 2011
The Vocoder
The vocoder has been truly instrumental in the progression of electronic music, pun intended. The application of this device is now common place in music today from Imogen Heap's "Hide and Seek" to Out of the Blue's "Mr. Blue Sky" the application of the vocoder can be heard in many sonic locations. The vocoder also lead to such innovations as Peter Frampton's talkbox.
The first musical application of the vocoder may have been in Siemens Studio for Electronic music in 1959. Then along came Dr. Robert Moog developing the first solid state vocoder making the musical use far more practical. Then just a year later, Bruce Haack built a prototype vocoder and featured it on his album "The Electric Lucifer" later that year.
I personally think the vocoder is a wonderful instrument. It allows the user to create and shape a certain emphasis that could not otherwise be portrayed with out the use of multiple vocalists. For this same reason the vocoder is equally astounding from an engineering stand point. Though the timbre is portrayed in a different manner, more control over the expressiveness is available.
The first musical application of the vocoder may have been in Siemens Studio for Electronic music in 1959. Then along came Dr. Robert Moog developing the first solid state vocoder making the musical use far more practical. Then just a year later, Bruce Haack built a prototype vocoder and featured it on his album "The Electric Lucifer" later that year.
I personally think the vocoder is a wonderful instrument. It allows the user to create and shape a certain emphasis that could not otherwise be portrayed with out the use of multiple vocalists. For this same reason the vocoder is equally astounding from an engineering stand point. Though the timbre is portrayed in a different manner, more control over the expressiveness is available.
Electronic Music
Kraftwerk is renowned for their progressive unique sound. The band formed just at the dawn of the krautrock sensation that swept over Germany. Their image was almost as if they had embraced their German heritage.
The band truly made a name for themselves with their smash hit "Autoban" in '74 inspired by the Brian Wilson and the Beach Boys. The band was so proud of the record the decided that it was their new "year zero." They following album Radio-Activity was inspired by the radio as well and radioactive materials. Then with Trans-Europe Express, the band hit a sort of slump. Although in later years the album became somewhat of a cult classic, the initial reception was not favorable. Then in '78 Kraftwerk released "The Man Machine" as a sort of "whovian" record, with themes of robots and cybermen. Then in '81 the band released their 8th studio album, titled "Computer World," and was a very ambitious concept album.
It is because of the scale and innovation that they pursued that the band is widely considered to be so influential in electronic music. Though, I can agree that the band was widely influential and I can appreciate the artistic quality behind what they accomplished, personally I did not enjoy hardly any of their music. I found myself more actively listening to their unique choice of panning rather than the composition itself.
The band truly made a name for themselves with their smash hit "Autoban" in '74 inspired by the Brian Wilson and the Beach Boys. The band was so proud of the record the decided that it was their new "year zero." They following album Radio-Activity was inspired by the radio as well and radioactive materials. Then with Trans-Europe Express, the band hit a sort of slump. Although in later years the album became somewhat of a cult classic, the initial reception was not favorable. Then in '78 Kraftwerk released "The Man Machine" as a sort of "whovian" record, with themes of robots and cybermen. Then in '81 the band released their 8th studio album, titled "Computer World," and was a very ambitious concept album.
It is because of the scale and innovation that they pursued that the band is widely considered to be so influential in electronic music. Though, I can agree that the band was widely influential and I can appreciate the artistic quality behind what they accomplished, personally I did not enjoy hardly any of their music. I found myself more actively listening to their unique choice of panning rather than the composition itself.
Monday, October 10, 2011
What's Goin' On
With massive hits like "Heard it though the Grapevine" and "Ain't No Mountain High Enough" Marvin Gaye established himself as a respectable artist and musician. Prior to "What's Goin' On" much of the lyrical content of Gaye's tunes were very poppy and suited for the radio. But then "he got real" and started singing about the state of the nation from the perspective of a soldier returning from the Vietnam War, seeing injustice, hatred, and suffering.
The biggest struggle that Gaye was faced with when attempting to make his message heard was the fact that he refused to be portrayed in the Motown fashion he had become known for. Berry Gordy was too concerned with the backlash that Gaye's image might receive and even said that the song was "the worst thing" he's ever heard in his life. He of coarse changed his mind when the song gained popularity and sold over 100,000 copies within the first week.
The uniqueness of the album was unrivaled by any other soul record of the time. Lyrically the album was addressing more serious issues that other music out at the time, almost in a punk rock sort of way. With heavy emphasis on political corruption, war, drug abuse, and environmentalism, the album would have conveyed the message equally well if performed by Black Flag, and this was new for the realm of soul music.
I loved the eb and flow the album offered. With beautiful transitions and elegant performances this is definitely a recording I can listen to over and over. I especially enjoyed the rawness that the album portrayed. It wasn't over done, over hyped or too generic. Everything about it was very freeing and yet it still maintained that soul wrenching vibe associated with the genre.
The Velvet Underground and Nico
The Velvet Underground was an amazing iconic group in the 1960's that would inevitably inspire all of punk rock today. The band was an full symphonic orchestra of noise, filled with guitars, bass, a viola, and simple drums to steady out and lock down the beat.
Lou Reed and John Cale lived together, and after inviting over a few college friends, they formed The Velvet Underground. This dynamic duo was almost entirely responsible for the overall sound and lyrical content the band created. Their musical tone and timbre caught the attention of Andy Warhol, a pop artist of the time.
Warhol began to produce the band and get them in touch with other creative minds. Eventually he was responsible for incorporating European former model and singer, Nico. At first the band was resistent to the change in their line up, but Reed reluctantly wrote several songs for Nico to sing on. This lead to the release of "The Velvet Underground & Nico" almost as if the band wanted to state that Nico was a separate entity and not a member of the band.
The album stood vastly apart from anything that had been produced up to that point. The album gained notoriety for its experimentalist performance sensibilities and the controversial subject matter of their lyrics. "I'm waiting for the man" discussed an effortful venture to obtain heroin, which for it's time was an extremely sensitive subject. The tonality of the album was a very original concept as well. John Cale implemented what is now known as "ostrich tuning" in which all of the string on the guitar are tuned to the same note. This radical tuning can be heard on the songs "All Tomorrow's Parties" and "Venus in Furs."
The album helped me to realize how many of my favorite bands came to be and from where they pulled inspiration. I honestly believe that if not for The Velvet Underground bands like The Black Angels would not be able to exist today. As a professional, however, I'm greatly disappointed with the album. As impressive, revolutionary, and rebellious as it is, it seemed to me to be a bit rushed and thoughtless in the production upon first listening.
Lou Reed and John Cale lived together, and after inviting over a few college friends, they formed The Velvet Underground. This dynamic duo was almost entirely responsible for the overall sound and lyrical content the band created. Their musical tone and timbre caught the attention of Andy Warhol, a pop artist of the time.
Warhol began to produce the band and get them in touch with other creative minds. Eventually he was responsible for incorporating European former model and singer, Nico. At first the band was resistent to the change in their line up, but Reed reluctantly wrote several songs for Nico to sing on. This lead to the release of "The Velvet Underground & Nico" almost as if the band wanted to state that Nico was a separate entity and not a member of the band.
The album stood vastly apart from anything that had been produced up to that point. The album gained notoriety for its experimentalist performance sensibilities and the controversial subject matter of their lyrics. "I'm waiting for the man" discussed an effortful venture to obtain heroin, which for it's time was an extremely sensitive subject. The tonality of the album was a very original concept as well. John Cale implemented what is now known as "ostrich tuning" in which all of the string on the guitar are tuned to the same note. This radical tuning can be heard on the songs "All Tomorrow's Parties" and "Venus in Furs."
The album helped me to realize how many of my favorite bands came to be and from where they pulled inspiration. I honestly believe that if not for The Velvet Underground bands like The Black Angels would not be able to exist today. As a professional, however, I'm greatly disappointed with the album. As impressive, revolutionary, and rebellious as it is, it seemed to me to be a bit rushed and thoughtless in the production upon first listening.
Monday, October 3, 2011
Revolver - The Beatles Coming Full Circle
Up until the release of Revolver, The Beatles were really nothing more than a marketing tool used by record labels to make money. Everything about them was presented in a very romantic manner and the girls of that era all had their favorite Beatle. A large majority of their music was very heavily influenced by the concept of love or of being in love. Though over time the band had come across some life experiences that truly opened the realm of their musical capabilities.
As the band had about three to four months off for the first time in years. The band found themselves experimenting with drugs. The concept of "sex, drugs, and rock and roll" can realistically be traced back to this point, because it was at this point that LSD became known for it's influence on music. The band got lucid and the music of Revolver opened up from anything that had ever been heard before.
It was with this album that the idea of the studio being an instrument in the recording process was introduced. The band experimented almost like scientists with sound, analog tape, and the world that produced sound itself. Through out the record guitar are heard in reverse with vocals running through Leslie cabinets and overly compressed percussion. All of these effects had never been heard before. For it's time it was awe inspiring, especially when you consider the technology they had available. Not only that but the musical range displayed on this record was also new and in a sense profound.
As an audiophile and consumer of media, I still find this album to keep up with today's standards of "good" music. For the most part I don't find it to be dated at all. As an engineer, I'm impressed when I consider all that I hear and the process behind it. It's simple to manipulate digital audio, and in that sense, I'm very privileged.
As the band had about three to four months off for the first time in years. The band found themselves experimenting with drugs. The concept of "sex, drugs, and rock and roll" can realistically be traced back to this point, because it was at this point that LSD became known for it's influence on music. The band got lucid and the music of Revolver opened up from anything that had ever been heard before.
It was with this album that the idea of the studio being an instrument in the recording process was introduced. The band experimented almost like scientists with sound, analog tape, and the world that produced sound itself. Through out the record guitar are heard in reverse with vocals running through Leslie cabinets and overly compressed percussion. All of these effects had never been heard before. For it's time it was awe inspiring, especially when you consider the technology they had available. Not only that but the musical range displayed on this record was also new and in a sense profound.
As an audiophile and consumer of media, I still find this album to keep up with today's standards of "good" music. For the most part I don't find it to be dated at all. As an engineer, I'm impressed when I consider all that I hear and the process behind it. It's simple to manipulate digital audio, and in that sense, I'm very privileged.
Pet Sounds and Brian Wilson
The Beach Boys came into the industry as a very happening sort of group. In that day, it was marketability at it's best. Even though the band, in their early days, wasn't doing anything too exceptionally revolutionary at first, Brian Wilson's application of counterpoint within the vocal harmonies barely foreshadowed what was too come. The band was the embodiment and very definition of California Americana. This had everything to do with Brian Wilson.
In all actuality the band may as well be know as Brian Wilson and the Beach Boys because with out Wilson, there would be no Beach Boys. Brian was raised in music and in a sense raised by music. This and his competitive nature directly contributed to the band's success. Brian was completely instrumental (pun intended) in every aspect of the band. He wrote, arranged, produced, recorded, and composed nearly every aspect of every song that the Beach Boys ever had attributed to their name, to include everything that was never heard.
Brian grew up with his father playing piano and listening with intense focus to The Four Freshmen. This only served to shape the base his musical pallet. As Phil Spector become increasing well known for his "wall of sound" Wilson become increasingly more interested in his recording process. Brian would spend as much of his time as he could studying Phil's approach to production and music itself, to the point of obsession. He even began to phase out his session musicians and hire Spector's musicians to replace them. Thankfully for Wilson, his obsession paid off with the release of Pet Sounds.
When Pet Sounds was released, listeners were either amazed by the album and understood it intimately or were completely baffled by it. This really was the first successful attempt at a "concept album" by anatomizing a romantic relationship. This, in essence, whether consciously or not influenced The Receiving End of Sirens' album "Between the Heart and the Synapse" along with Shakespeare.
As a listener, I found the album, Pet Sounds, to be very calming and soothing. As a professional, however, I found the album inspiring, exciting, and riveting when considering the technology available at the time it was recorded.
In all actuality the band may as well be know as Brian Wilson and the Beach Boys because with out Wilson, there would be no Beach Boys. Brian was raised in music and in a sense raised by music. This and his competitive nature directly contributed to the band's success. Brian was completely instrumental (pun intended) in every aspect of the band. He wrote, arranged, produced, recorded, and composed nearly every aspect of every song that the Beach Boys ever had attributed to their name, to include everything that was never heard.
Brian grew up with his father playing piano and listening with intense focus to The Four Freshmen. This only served to shape the base his musical pallet. As Phil Spector become increasing well known for his "wall of sound" Wilson become increasingly more interested in his recording process. Brian would spend as much of his time as he could studying Phil's approach to production and music itself, to the point of obsession. He even began to phase out his session musicians and hire Spector's musicians to replace them. Thankfully for Wilson, his obsession paid off with the release of Pet Sounds.
When Pet Sounds was released, listeners were either amazed by the album and understood it intimately or were completely baffled by it. This really was the first successful attempt at a "concept album" by anatomizing a romantic relationship. This, in essence, whether consciously or not influenced The Receiving End of Sirens' album "Between the Heart and the Synapse" along with Shakespeare.
As a listener, I found the album, Pet Sounds, to be very calming and soothing. As a professional, however, I found the album inspiring, exciting, and riveting when considering the technology available at the time it was recorded.
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