HiDERA | 16 August 2020 | 539 MB
常说伊恩是一个鼓手就像说一个独角兽是一匹马。确定,这是准确的,但这并不是故事的全部。一个更恰当的评价是，Chang是一个经过进化的打击乐手:一半是人，一半是机器。他使用一个复杂的鼓触发器阵列来实时播放和操作样本，将真实的鼓与抽象的源融合在一起，这样它们就可以相互影响和感染。电脑操纵的声音和张震的自然摆动的演奏并置是惊人的。这给了他的音乐一种难以确定的生物力学特性。这就像自由爵士，行进乐队的节奏，霹雳舞，和一个桶鼓手都建立了一个美丽的，被击打的婴儿。
我们在一家金属商店见到了伊恩，录下了他在任何他能找到的音乐上演奏不那么基本的基础和复节奏。他敲击碎金属、管子和机器，听起来怪怪的。我们在变焦HR4上记录了他的表现，使用的是Sennheiser K6，以及ME66猎枪麦克风和ME64心脏模块。我们对声音进行处理，将它们分割成循环和一次性镜头，然后将最优美的旋律转换成脚本的Kontakt乐器(我们已经包含在包中)，并从中制作更多的循环和预置。
金属结构是节拍制造者的财源。它的声音在电影配乐中和在trap、low -fi或IDM中是一样的。
Saying Ian Chang is a drummer is like saying a unicorn is a horse. Sure, it’s accurate, but it’s not the whole story. A more apt assessment is that Chang is the percussionist evolved: part human, part machine. He uses a complex array of drum triggers to play and manipulate samples live, fusing real-world drums with abstracted sources so that they’re interacting and infecting each other. The juxtaposition of computer-manipulated sounds and the natural swing of Chang’s playing is striking. It gives his music a biomechanical quality that’s hard to pin down. It’s like free jazz, marching band cadences, breakcore, and a bucket drummer all built a beautiful, beat-driven baby.
We met up with Ian at a metal shop and recorded him playing not-so-rudimentary rudiments and polyrhythms on anything he could find. He hit scrap metal, pipes, and machines that sounded strange. We recorded his performance on a Zoom HR4 with a Sennheiser K6 with an ME66 shotgun microphone and ME64 cardioid modules, where appropriate. We processed the sounds, sliced them into loops and one-shots, then turned the most melodic lines into a scripted Kontakt instrument (which we’ve included in the pack) and made even more loops and presets from that.
Metal Structures is a beat maker’s bonanza. Its sounds are as equally at home in cinematic scores as they are in trap, lo-fi, or IDM.
