Playback Room pt. II: American Producers
15 November–31 January 2015

Playback Room pt. II: American Producers

Funny your email should come just as I’m just reading this book now How Music Works by David Byrne. He touches quite a bit on the topic of how we’re listening to music today versus 20-30 years ago and centuries before. The whole history of music composition has for the most part been designed to work in the spaces it’s being performed in and listened to – from drum circles in villages to cathedrals, classical music halls on to rock n’ roll venues and later into dance clubs and warehouse raves, etc. The act of home listening hasn’t’ even reached 100 years yet! And safe to say that the built in speakers on all of our devices has certainly dumbed down the experience of listening to music as it’s meant to be. If you haven’t read this yet, grab a copy of the book… I’ve found it quite helpful at putting everything into perspective.

Your pointed out Missy and Timbaland – to be honest I think their collaborations were some of the most radical things to make it to the top of the charts here in the last 20 years. They still sound super futuristic to me even if they’ve been copied to death since. To be honest I can’t think of anything since as ground breaking in pop culture as those productions. Dance music is having a big moment on the radio here in the States but it’s really horrible EDM shit that is just so painful to listen to. Skrillex, Tiesto, etc… FUCK! Can’t deal with it, I completely tune it out.

As far as your question about compression, clipping, etc…maybe pay attention to Arca’s stuff. He’s a really young producer who has been living here in NYC for the past few years, he just graduated NYU and is already on the fast track to being super famous – he’s co-producing the new Bjork record and about to release his debut full-length on Mute records.

It’s probably more satisfying to listen to something hip hop based on your computer speakers than it is to listen to techno. With hip hop it’s really about the vocals and what they’re saying – producers tend to mix the vocals higher at the forefront so they pop out. Listening to a Robert Hood production at home may sound OK but you’re really not getting the full experience unless it’s in a warehouse setting. He’s a good example actually – I’ve played tracks of his at home and enjoyed them but when I play them in a warehouse or a club – where I have massive subwoofers at my disposal- I’ve heard entirely new base lines open up that weren’t so apparent on my little speakers in my bedroom.

Best, Michael

‘I Am’ — Tyree

Heavy Metal And Reflective (Official Music Video) – Azealia Banks


Michael Jackson

Nguzunguzu – “Smoke Alarm”

für hochkomprimierte MP3 Produktionen: alles von Lady Gaga Justin Timberlake My Love vietnameze subtitles: System of a Down Toxicity

jeff mills

Beyoncé – Halo

Missy Elliott

A$AP Ferg - Work Remix feat. A$AP Rocky, French Montana,… auf Beatport: Skrillex - Bangarang (Full Album) AUDIOSURF

My question is: What did you originally record it on? was it still tape or was it recorded digitally? It would be interesting to be able to show what music is physically recorded on today.

Salem King Night

That sounds nice, I love listening to music loud but not many places besides the car to do it. (Strip clubs to sometimes have amazing sound systems but theres alot going on)

We put it all into a computer to work with it but its guitars, keyboards, samples…sometimes record on a 4track then put that into a program sometimes its all digital….just depends.


große fragen, großes drama:

UR – Transition

John Maus

Fade To Mind label artists: Kelela Kingdom

und was den US Techno Bereich angeht -Carl Craigs Album “More Songs About Food And Revolutionary Art” … wurde / wird auch gerade remasterd neu veröffentlicht

-Robert Hood / Floorplan

in footsteps of missy elliot, but all new and a step ahead: azelia banks

Dr. Dre Eve - “Let Me Blow Ya Mind”

Steve Albini Nirvana - “Serve the Servants” 69 love songs edit

The-Dream finds ich übrigens ganz großartig. Diese Yamaha-Nicky-Abyss Trilogie ist auf jeden Fall ein guter Kandidat.

act: The Dream song: Abyss (Explicit)

X-101 Sonic Destroyer Rave New World Michael Jackson - They Don’t Care About Us

und tracks 8 and 13 von Death Grips ‘The Moneystore’ CD

Green Velvet CD finden

Hier noch n paar tips:

Spotify: crystal castels - (III) var - no one dance quite like my brother doldrums - lesser evil

Dj Patrick-Eve – Let Me Blow Ya Mind ft. Gwen Stefani . Remix

Date: 13. November 2014 18:36:39 MEZ Subject: Re: from Wolfgang Re: nujork

Im sorry I thought I sent this before but it was in my drafts.

We would stem out (seperate each part of the song) and send that to the studio technitions who are going to master it.

If we are in the same city we would usually use a hard drive and and work off that but if not we send it using online storage.

Some major artists I have produced for make you send all files through skype because it is more secure and doesnt save files in the same way email or a storage site does.

Most studios and recordings are made digitaly now, so song leave studios are .Wav files or other large audio files, alot of songs on youtube, online have been compressed and loose quality to so they can be smaller.

Its probably similar to sending and working with large format photos.


Playback Room pt. II: American Producers
Playback Room pt. II: American Producers
Playback Room pt. II: American Producers (Photo: Wolfgang Tillmans/Between Bridges)
Playback Room pt. II: American Producers

Press on the exhibition:

  • John Beeson, American Producers, Artforum, March 2015

  • Patrick Armstrong, American Producers Review, Flash Art, 26 February 2015