bjorkbeats

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does anyone have any idea how to get some of the distorted, warped drum sounds off Homogenic - like the ones on 5 years, all neon like, and joga.

just distorting drum sounds doesnt work (obviously - its never that simple), that sounds terrible, bjork (and whoever she worked with) must have used other sources for the sounds...

does anyone have a clue how they created those amazing sounding beats?
 
Bjork uses a great variety of instruments, specially vintage.

AKAI AX 60 is one of them. This analogic synth wich processes samples with real analog filters belong to middle eightiees.
 
yeah its a lot of processing, meticulous edits, and clever sampler tricks.

try investigating production tips for IDM
 
I don't know about Homogenic, but in Vespertine she used only like one or 2 real drum sounds for the drums... all the rest were everyday sounds. and for that album, I'm pretty sure she put the sounds into an audio sequencer, like DP4 or pro-tools or something.... but I'm not sure about previous albums though.
 
Homogenic was produced by Mark Bell (of LFO fame), while Matmos did a lot of stuff on Vespertine. You might wanna check 'em out.
 
try investigating production tips for IDM
Click to expand...

i'm also interested in other idm music, are there any well known techniques to get those kind of effects, where can i find out about them?
 
Heh, i love homogenic. What a great CD. I love the entire thing, the production is simply mind numbing. The person that produced it was a genious. None of the insturements in that sound like off the shelf patches.
Anyway, any tips on producing drum beats like the strange snare bass drum combos on the first track? ( i think it was the first track )
 
When Homogenic came out about 5 years or so ago there was an article/interview with mark bell... and he said how he created those sounds.... I don't remember everything... but I do remember him talking about using mutiple effects peddles... not just distortion... try different effect chains on one sound. experiment.
 
at one of her concerts, mark bell (i think it was him) was playing those drums live, and he was using what looked like a Novation DrumStation or Super Drumstation, tweaking the filters on the front of it.

He might have had it ran through a distortion later in the chain, but he didnt seem to have too much equipment there actually, just seemed to know very well how to use the full potential of the few things he had there.
 
please don't post your thread multiple times... your other threads were deleted

thanks
 
mano 1 said:
please don't post your thread multiple times... your other threads were deleted
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duh. I was just about to reply "wasn't there just another thread about björk's sounds" ...but apparently 'twas the same thing.

now that i'm listening to homogenic, it sounds a lot like they've used a bitcruncher thingy on the drums - a plugin that reduces the bitrate of a sample. i think there's several of these available, and at least cubase sx & live come with such plugins. probably some distortion too.
 
She does alot of stuff with field recordings. Record some everyday sounds with a minidisc recorder if you can get your hands on one. Throw em into your favorite softsampler or MPC or whatever. I think its easiest with sampling software because you can just drop it right to a track and pile on the VSTs. Get inventive when you record. I built and entire kit from recordings I made in my garage. ANYTHING can be a drum. I spent an hour dropping a shoe onto everything I could find and another hour making rhythms with a magazine. It forces you to get creative, working this way. Once you have recorded it, you can truncate the sample in interesting areas to find new rhythms. If you have sequenced something you like and have a beat that you're happy with, try taking elements that make up the backbeat, or the accent beats or whatever and just shift em over by a sixteenth or 1/32 note. You will get beats and cool off timings that you might not have otherwise thought of. ( I use that all the time) This works best if you can assign individual elements to their own tracks, so you dont interrupt the underpinnings of the original groove that you liked in the first place. Like the guys were saying, you have to get in and do lots of creative editing if you want this type of sound. I know stockpiling sounds to build your kits from is time-consuming but its well worth the effort.
 
Since you like Bjork, you might check out Dntel, Andreas Tilliander, Schneider TM, Rechenzentrum, Vladislav Delay, Electric Birds, the list could go on forever..... All these artists use the methods mentioned in one way or another and are still kinda poppy if you get the right discs. I suggest looking into a couple of these guys' work and studying how they structure things. Listen to how some of them will lazily "drape" sounds over each other as opposed to how others will get surgical with their editing. All of this matters. Main thing to keep in mind is that when you work like this, there is no right or wrong. Its a blast just to experiment with odd beats and disentigrating a sound with DSPs, which will be crucial to giving most sounds some extra character. Its very rewarding when you can listen back to a finished track and know that you customized and "created" all your instruments. More or less. Computers are flexible and there is so much tech out there that there are virtually no rules any more when it comes to production. Just have fun and try to think of new ideas. Good luck!:)
 
What is the most cost effective + smallest minidisc recorder with a mic input that I can get my hands on to record in the field?
Thanks

Got to get my hands on one of those crazy akai synths that one of byork's producers used.
 
n0303 said:
What is the most cost effective + smallest minidisc recorder with a mic input that I can get my hands on to record in the field?
Thanks
Click to expand...

Im wondering the same thing.

I asked one day but things got pretty complicated with DAT decks and other huge mics...

Ultimately it'd be cool if a mic was small enough to clip to your pocket and still good enough to grab a good range of frequencies.

Thanks
 
I got my Sony about a year ago for about $200. The condenser mic that is made specifically for it cost about another $100. Cant remember the model #'s. I am at work right now so when I get home I will post the model numbers. This has been an INVALUABLE couple pieces of gear. The mic is terrific. Its so much fun to zoom around snatching sounds out of thin air and then putting them into the PC and crushing them! I used it to do all the vocals for a friends demo and it turned out pretty good. Needless to say I had to run it thru lots of plugins, but still impressive.... This is a MUST if you want to do organic/glitchy sounding tracks. It has opened up so many options for finding unusual sounds and really adds a lot of character to tracks. Like I said, I will post the model numbers later today.:)
 
Excellent! Please do post some details and I will make sure to look into it. I've been wanting to do this for a while now.
 
Okay, here they are.

Recorder: Sony MZ-N707 Type R

Mic: Sony ECM-MS907

The mic is a condensor mic so make sure you put a AA battery in it. I walked around for 30 min. trying to figure out why I wasn't getting a good level before figuring that one out!:D
 
I have a Sony MZ-R70, it has served me well for a couple of years. I've used it with a couple of mics, an old and wonderfully lo-fi (but surprisingly good sounding) Shure 575S and an AKG C1000 - some others too, but those too I can remember.
 
BENJ-AMG said:
Okay, here they are.

Recorder: Sony MZ-N707 Type R

Mic: Sony ECM-MS907

The mic is a condensor mic so make sure you put a AA battery in it. I walked around for 30 min. trying to figure out why I wasn't getting a good level before figuring that one out!:D
Click to expand...

Awesome... Thank you very much. I would love to get those and start sampling whatever comes up :)
 
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