Research Guides
Chris Gelon
June 8th, 2012
Honors 394B
Breaking Through: A Look into the Life of Basement Producers and DJs
Electronic music is a relatively new genre that has been ramping up in popularity over the last decade. Like the psychedelic music in the 1960s, electronic music started with college-age kids, moved on to the high schools, and then started hitting the mainstream. DJing is the most common way for these music producers to play concerts, as most of their music is intricately crafted and very difficult, if not impossible, to play live. Even though it is rising in popularity, electronic music and DJing is still very mysterious to the populous; people don’t understand how the music is made, or how much a DJ changes the song their spinning. By addressing the advent of the two, I hope to give a deeper understanding of this entire scene.
Once released on the Internet, music spreads like wildfire. The time between a track dropping and thousands of fans listening to it is mere seconds. One song can elevate an artist to stardom; recent hits like Skrillex’s “Scary Monsters and Nice Sprites”, Carly Rae Jensen’s “Call Me Maybe”, and Rebecca Black’s “Friday” serve as great examples. There are thousands of songs being produced all over the world at any given moment, most of which are never heard by the greater audience. In the past, the local radio stations controlled the music being played. People heard new music through the radios, and unless they owned a LP Player and a large amount of vinyl, this was their only source of music. Pat O’Day was the head of KJR; it “was not uncommon for KJR to boast of a 37 percent rating, an unheard of dominance by a radio station” (Blecha, O’Day). He was able to influence the musical trends of the Pacific Northwest just by his selection of music. By promoting new bands, he was able to choose the next big hit. However, unlike the past, basement producers have a chance to make it big. Sharing sites such as SoundCloud provide a way for aspiring artists to put their music out there for free; anyone, at any time, can listen to it. This departure from a physical medium to a virtual one provides anyone the chance to spread their music to the public.
With the arrival of streaming and piracy, artists have taken steps to both please their fans and fund their next album. Muse streams all of their albums on their websites, allowing users to listen to a complete set before purchasing. The more a user trusts the artist, the more likely they are to support them. In 2007, Radiohead released an album entitled In Rainbows. The album was digitally self-released at first, with fans downloading it for whatever price they saw fit. It was a huge success: fans got the music they wanted and the more frugal people did not have to resort to piracy.
Electronic music production is an art form. A producer can produce an entire album with just a computer, but there are a multitude of other options out there: MIDI controllers, oscillators, loop pedals, and Gameboys, to name a few. These devices can be very expensive if bought all at once; however, these purchases, if spread across several years, create a continually growing work station.
Figure 1: A music producing setup.
Figure 1 shows one music producer’s work station:
Every device adds a certain flavor to producing. FL Studio is a pattern-based music sequencer that allows users to create and edit songs. Other digital music programs include Ableton Live, Reason, Pro Tools, and Logic. They are the bread and butter of producing, and the starting point for most aspiring basement musicians. Other devices hook into the computer, allowing everything to be consolidated into one program. The Analog Synthesizer is an all in one MIDI controller, vocoder, synthesizer, and sequencer. Playing a keyboard allows for a more authentic sound, and speeds up production. The built in microphone and sequencer make this small device even better for making and recording jam sessions. The Kaoss Pad lets you control a linked effect with a single finger. Effect parameters are assigned to the x and y axes, which are manipulated with the touchpad; this is a great device to use during live performances. The Drum Pad Studio Controller links sounds to the different pads. There is also a touchpad, like the Kaoss Pad, that influences the sound created. And finally, the Laptop Pad Controller is another MIDI controller with several pads and knobs for various effects and hits. Most of these devices are overkill, but they all provide ways for a producer to express his vision.
Sampling in songs is becoming more and more common; there are even entire songs made out of other songs: Akufen, a glitch artist, uses microsamples from the radio to create detailed and intricate beats. The music producer creating these tracks, however, does not need to pay royalties for use of the samples: they are covered under fair use. Fair use is defined as “any copying of copyrighted material done for a limited and ‘transformative’ purpose, such as to comment upon, criticize, or parody a copyrighted material” (Stanford University Libraries). The amount of the song being sampled, especially in microsamples which can be fractions of a second, is so small that it allows the artist to use them without asking for permission. Song remixes and covers are also plentiful, and are sometimes even more popular the original. They are not, however, covered under fair use when used for monetary gain. The remixer and the copyright holder will usually come to an agreement of each party’s share in the profit. Permission is also needed to use vocal samples from songs: Avicii’s Levels samples vocal tracks from the song Something’s Got a Hold on Me by Etta James, but he needed to get permission to use it.
Figure 2: Top row from left to right: SpecsWizard, Jon Francois Stone, and Michael Gelon. Bottom row: Tyler Leitch, Fred Ness, and Bennett Schatz.
Over the last couple of months, I interviewed several basement producers and DJs living in Seattle. Each one has an interesting story to tell. Bennett Schatz is a DXArts student – a major focusing on art through technology –at the University of Washington, Tyler Leitch is an English and Philosophy student who plans on teaching English in Korea after he graduates, Fred Ness is a Computer Science student who also ran for ASUW president this past year, SpecsWizard is a hip-hop/rap music producer and a comic book artist – he is also the cousin of Vitamin D, a prominent hip-hop artist in the Seattle area – Jon Francois Stone is a Physical Education teacher at Hawthorne Elementary School who DJs at night, and Michael Gelon is an Anthropology student who enjoys developing independent games on the side. Some of them have played instruments for years, like the clarinet and the drums, while others have no musical training. All of them, however, were able to pick up DJing and music production without much effort.
Bennett started DJing while in college: “I was really into electronic music so I was like, ‘I could just DJ some parties!’ I threw a series of parties at my house my sophomore year of college, probably three or four parties, where I wanted to try my hand at DJing.” House parties, especially in college districts, are a great way to start out. The crowd has no expectations, and if everything comes crashing down, a music player is readily available to take your place. Fred mentioned how his love for music spawned his interest in music production and DJing. He said he is primarily a music listener rather than a musician. Listening to new music helps derive new ideas, and subconsciously gives musical inspiration. Unlike more classical musical instruments, like the trumpet or guitar, making electronic music does not have the same entry difficult. To sound decent on the violin, it takes years of practice; to sound decent as an electronic musician, all you need to do is press a button. Both Bennett and Fred have a love for music and – with little to no experience – could express their vision.
Even though electronic music production and DJing takes little effort to start, to truly master the art, it takes a lifetime. The starting point is to create your sound. A sound lets you identify as a musician and gives you a starting point for your songs. Tyler talks about the importance of a unique sound: “It’s useful to have a ‘sound’ while producing, because it is kind of like your home base almost, because without a general consistency among your tracks, you kind of sound like a guy who is just churning out random songs.” This process may take years to develop, and helps brand your music. For example, Skrillex’s music uses heavy bass and synth leads to combine both electro house and dubstep into a distinctive sound. Every Skrillex song is immediately recognizable.
Tyler’s music uses electro synth lines combined with trance drumbeats to create a definitive sound. He first began producing remixes to his favorite wind ensemble pieces, and then started branching into Korean music. He got hooked on Korean pop music and started developing remixes to his favorite songs by his favorite K-Pop band, Girls Generation. Korea does not have a large remix community, so he gained some fame in a country thousands of miles away. People were listening to his music, which drove him to create more. Recently, he has started to expand his remixes to American songs, but the competition has proven difficult for his music to stand out.
Bennett likes to use live self-recorded samples, or loop live instruments, to create his music. He adds in electronic manipulation later to create a very interesting sound; it is rooted in both synthetic and authentic music. Looping is a great technic for creating a live song with a single person; you can be your own band. Just like how an author is usually the only writer of a book, a song only played by one musician brings a great sense of cohesion, and truly represents their vision.
SpecsWizard uncle had a record store on 23rd and Jackson, and as a kid, he used to hang around and rifle through the vinyl. In high school, he rapped over hip-hop loops he made. He uses small samples of old hip-hop tracks to create an ambience like that of Shabazz Palaces.
Fred loves drums. His passion for them transfers over to his favorite music genre: drum and bass. It consists of very intricate drum patterns, often called breakbeats, with heavy bass and sub-bass lines at 160-180 BPM. He is fascinated by different drum patterns, which is apparent in his drumming and music.
Michael’s more recent music delves in chiptune territory. Chip, or 8-bit, music is an electronic genre that is reminiscent of vintage video games. He uses a modified Gameboy with an imitation cartridge that allows him to hook it up to his computer and create 8-bit loops. This technology is a great example of a new way to create music. Equipment is constantly evolving and iterating into new and exciting products. With it, producers are able to craft new soundscapes to better realize their vision. These advances help music evolve, allowing people to experience it in ways never thought possible.
Each of these producers has a defined sound to describe their music; however, to archive it we must associate each sound with a genre. This helps future scholars and listeners find the music they are looking for more efficiently, but it destroys the essence of the music. By categorizing music, we lose the sound the artists worked hard to create. In response, they have created sub-genres. This allows them to identify their music into smaller and more niche sounds. This has spawned an expansive list of new genres that may have only one or two artists. It locks their sound into a specialized genre, which is detrimental to the advancement of music. For example, the music produced by Darren Knobs in an independent video game called Bastion is described as acoustic frontier trip-hop. Instead of acoustic frontier trip-hop, we should call it Darren Knobs music. If every producer has a unique sound, then they should be categorized by themselves rather than a predefined genre.
Currently, DJ culture around the world is booming. DJs like Avicii, Benny Benassi, and Nero are starting to be internationally recognized for their work. They are being accepted as musicians, while before they were treated as party novelties. Skrillex won three Grammys at the 54th Grammy awards; his concerts consist of him being a DJ. There are thousands of high school and college age kids heading out to concerts like Dayglow, EDC, and Paradiso where the only artists are DJs. In Seattle, the music scene is also hopping. There are many venues and bars that have DJs spinning and getting experience. Bennett has even played trance music at a contra dance event. Jon talks about the currently changing music scene in Seattle: “The old heads of the cities might say, ‘If Seattle people don’t know the song they won’t dance’ but that is slowly changing”. More and more DJ shows are coming to Seattle, and with concert organizers like USC, the events are big and successful. Unfortunately, the smaller shows are still lacking in attendance. Bennett told me about an artist named Sam I Am who should be pulling hundreds of people, but only gets around ten or twelve a night. The community of DJs is there to support each other, but that isn’t always enough.
Jon also mentioned the shift in crowds that occurs during the weekend: “All the kids in the suburbs who realized something cool was happening in the city and the culture was happening there, they get their city clothes and go downtown…and most are wanting to be catered too.” There are still more underground music being played, but to get good business, venues have to shift their focus from unknown to Top 40. There is also a lot of entitlement involved in the music being played. SpecsWizard told me a story about it: “They throw five dollars in your face, and say play something, and you still don’t got it.” DJs aren’t there as a jukebox, they are there to give a show.
A single theme that ran through everyone’s interviews was that the point of DJing is letting people experience something. Like all performances, be that musical, dance, or art, DJing communicates emotion to the audience. Playing the right songs at the right time is the hardest part of the night, as one mess up could lead to the entire dance floor being evacuated. The definition of a good DJ varies a lot: some say the feeling of the set is the most important, while others say experimenting and finding new ways to use effects to enhance the experience are key. On the other hand, the definition of a bad DJ was clearly defined: someone who does not link songs together well and who cannot read their crowd. If you play only the songs that you like, you have alienated most of your audience. Everyone has different tastes, and by playing songs based off of the crowd’s reaction, you can build momentum and deliver an awesome set. Jon told me that even though he is not the most technical or talented DJ, he still gets the gigs because of his music choices. He searches the stores constantly to find new music he can put into his set. A diverse library allows for fluid transitions to different types of music.
When the adrenaline gets pumping and your mind is focused on the moment, then you’re in the flow. Jon talks about his flow: “When I’m in the flow DJing, and things are running right and the crowd’s right, and everything, it’s that moment of flow…the moment where that is all that is happening, and you are dialed in.” This feeling happens across all activities: running, playing an instrument, and even writing an essay. Your attention is fully on the task at hand, which allows you to dedicate all of your energy to one activity. Being able to unlock this flow is essential to being a good DJ. You feel the music, and you feel crowd, and you just know what to do.
Electronic music and DJs are breaking through to the public. The talent is growing, and the technology is making it possible for producers to be more effective at their work. Just like instruments, programs take a long time to master. Piano maestros start at the age of three; once electronic music artists start to produce music that young, we will start seeing incredible musicians capable of using their tools to create beautiful and unique soundscapes not otherwise possible with physical instruments. Most basement producers and DJs just want people to listen to them; they are not in it for the money. Music production is a hobby for them, but a passionate one. They want you to have an experience.
References
Blecha, Peter. 2001. "O'Day, Pat (b. 1934) -- Godfather of Northwest Rock?"
Francois Stone, Jon, and SpecsWizard. "Interview with SpecsWizard and Jon Francois Stone about Music Production and DJing." Personal interview. 15 May 2012.
Gelon, Michael. "Interview with Michael Gelon about Music Production and DJing." Personal interview. 28 May 2012.
Leitch, Tyler. "Interview with Tyler Leitch about Music Production and DJing." Personal interview. 12 May 2012.
Ness, Fred. "Interview with Fred Ness about Music Production and DJing." Personal interview. 13 May 2012.
Schatz, Bennett. "Interview with Bennett Schatz about Music Production and DJing." Personal interview. 11 May 2012.
Stanford University Libraries. "Fair Use.”
http://fairuse.stanford.edu.offcampus.lib.washington.edu/Copyright_and_Fair_Use_Overview/index.html