Ableton Loop Music Makers Summit 10-12 November 2017, Funkhaus Berlin.
I have returned from a weekend in Berlin at a summit/conference which was both inspiring and engaging. Primarily although I haven’t been using Ableton specifically for sound editing purposes I liked the look of the speakers in the programme and it became the perfect reasoning to opt for a weekend in one of the most creative European cities on research purposes!
It’s been over 20 years since I last visited this city and I have very fond memories of being well looked after by friendly democratic East Berliners in a large squatters block. I recall the starkness of the architecture and the particularly bleak weather. In essence not a lot had changed. The industrial urban-ness of the city remained and much of it seemed to have become a large canvas for the painting of graffiti.
The Bauhaus designed Funkhaus was something else altogether. The former DDR home of German Radio broadcasting and production was both austere externally yet rich and acoustically warm internally. Totalling 50,000sq metres it’s size is impressive alone.
Ableton’s programme was diverse and impressive covering areas of music production, creative methodologies, new sound technologies, music in eduction and providing workshops, sound installations and performances there was a lot to absorb. I highlighted 3 primary sound people I wanted to listen to: Kate Gately, Catarina Barbieri and Jenny Hval.
Kate Gately. Talked in a Q&A format and showed a film of her recording sounds around the city she lived (LA). The primary interests for me in the context of my own practice was listening to how she records and then how she translates those sounds to her sound/music production. She spoke of her internal processes and the struggle in trying to find her ‘voice’ sonically but that she built up her studio over time in way which works well for her. (i.e.: she processes sounds standing and edits sitting down in two different workstation areas within the same room). I really find this level of unravelling anthers practice useful. I can find when in the sound booth working on my own sound projects that it’s an isolating experience where I am constantly questioning what I’m doing, or researching how to achieve a particular sound effect etc. So in some sense knowing other’s who are at a professional level further on than I still ask similar questions of themselves is a form of relief…
Catarina Barbieri. Was a joy to listen to and to hear. Her words really resonated when she talked about minimalism in her intention with the modular synth music she makes. She spoke of using only single note(s) and creating patterns of permutations from that one note. She spoke of minimalism in Eastern music structures (particularly Indian classical) which struck a chord with me. She talked of how often Eastern traditions would begin by trying to tune into the sound which was already in existence as opposed to ‘creating/plucking/playing’ a sound/note from silence. It reminded me a lot of having sat in many traditional Ragas musical performances whilst travelling in India years ago and how the sound did seem to drift in and drift out without there being a particular start or end. I think I have been trying, albeit in a more basic way, by my overuse of fade in’s and fade out’s on my own pieces…!
Hearing her music played live was really special and enhanced by the huge speaker stacks of the auditorium and general high level of audio kit. The sound was very polyphonic, rich and hypnotic. From a performative perspective, they had cleverly set up a camera to access how she was using the synth and this gave an added performative dimension to a production which otherwise would have been quite still.
Jenny Hval. I listened to her in conversation with Frances Morgan (The Wire) where she spoke at length of some of her inspiration for writing and of what her creative process looks like. It was refreshing to hear her eclectic recording ideas, for instance she spoke of having ideas whilst driving, recording them into her phone and putting those spoken words straight into her music, unedited. Other aspects to note which were of interest were her performance ideas, her use of an iPhone onstage as both recording and performative tool.