Emotional Abuse - Revision history

Fredd-E at 11:19, 29 December 2024

2024-12-29T11:19:29Z

Fredd-E at 13:41, 8 December 2021

2021-12-08T13:41:32Z

ZosoCon: minor additions and changes. added scans

2019-01-21T14:14:17Z

minor additions and changes. added scans

Fredd-E at 14:37, 21 March 2017

2017-03-21T14:37:50Z

Fredd-E at 14:37, 21 March 2017

2017-03-21T14:37:36Z

Fredd-E at 18:35, 25 June 2011

2011-06-25T18:35:48Z

93.147.218.206: Text replace - 'name1' to 'name'

2008-11-01T14:52:41Z

Text replace - 'name1' to 'name'

192.18.1.36: Text replace - 'name' to 'name1'

2008-11-01T12:15:34Z

Text replace - 'name' to 'name1'

Fredd-E: added subcategory: the campfire headphase era

2008-08-30T17:54:47Z

added subcategory: the campfire headphase era

Moebius: formatting

2008-03-16T21:27:27Z

formatting

← Older revision		Revision as of 11:19, 29 December 2024
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 ''Dec 1, 2005 12:00 PM, By Erin Hutton''
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 “We usually imagine our music to have a visual element while we're writing it, so we were picturing this character losing his mind at the campfire and compressing weeks of events into a few hours, in that time-stretching way that acid fucks with your perception,” Sandison says. “We wanted to simultaneously shift and reduce the sound palette, too, making it more like a conventional band gone over the edge. It's taking away the reliance on samples, vocals or cryptic references and adding more organic instrumentation. That's not to say we left all that behind for good; it was just the feel we had for this particular collection of songs.”
-==== LIGHTING THE FIRE ====
-<onlyinclude>
+'''LIGHTING THE FIRE'''
 The songs on ''The Campfire Headphase'' take on the traditional Boards of Canada ethos of warbling half-consciousness not unlike, say, drifting about in a ketamine-induced haze. That sense coupled with the effect of timeworn tape is accompanied by warm analog tones, interesting synthetic flourishes (often detectable only with headphones) and surreal organic melodies. Sandison and Eoin layered everything from drums and guitars to flutes, whistles and various old analog synths and keyboards into the music — though, if they had their druthers, you wouldn't know it. Admittedly, Boards of Canada takes great pains to mangle any recognizable sound.
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 Further adding to the studio delay — BOC started sketches for the album as far back as 2002 but didn't begin studio work in earnest until 2004 — is that Sandison and Eoin mix as they go rather than waiting until the end of the recording process. Although it may take more time at the onset, it encourages a certain amount of discipline. “When you're finely tuning sound textures as part of the core of a song, you can't leave it to later and hope something works; you have to hear it while you write,” Sandison says. “The main thing I find us doing in the mix is removing stuff, like when you've played something a lot and you suddenly realize that something doesn't need to be loud or even there at all. There's at least one track on the record where the core idea that the song was built around has been removed at the end in the mix, almost like making a plaster-cast mold. I tend to focus on EQ in the mix, but I rarely enhance anything. If I hear something that I think is a problem, my instinct is usually to make space around that thing to let it breathe. So, often, I find myself dialing the filters down on adjacent parts to push them into the background, out of focus, and leave the important thing intact.”
-</onlyinclude>
-==== BUSTLE IN YOUR ''HEADPHASE'' ====
-<onlyinclude>
+'''BUSTLE IN YOUR ''HEADPHASE'''''
 Experimentation in the studio might not make for the fastest production, but it does yield some interesting sounds and methods. In addition to shifting sound back and forth from tape to tape for added distress, BOC might boost a flat sound by putting it through a guitar amp, miking it with one or two mics and rerecording the overloaded result. But, of course, that just scratches the experimental surface.
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 Although traditional effects aren't generally in the formula — Boards of Canada does employ homemade items such as Eoin's DIY Leslie effect, created by mounting a mic inside a rotating ice-cream tub — they do occasionally have their place. “One of the things we're often aiming at is an anechoic sound that gives the impression of being outdoors, so we use little or no reflection effects unless it's for something specific,” Sandison says. “So if you want an outdoorsy but echoey sound, you should just make the low frequencies echo; that way, it resembles real outdoor environments.”
-</onlyinclude>
-==== SOURCE MATERIAL ====
-<onlyinclude>
+'''SOURCE MATERIAL'''
 Given BOC's apparent allegiance to all things vintage, it should be no surprise that the duo eschews the use of software — including plug-ins, instruments or synths — aside from the occasional convolution reverb and Apple Logic Pro for arrangement duties. “[Soft synths] don't have the natural discrepancies that we like in real analog gear,” Sandison says. “Half of our synths have their guts hanging out. We can tweak the sounds by doing things like pouring coffee on them. Marcus will say, ‘It's too in tune, needs more coffee,’ so we pour a bit more coffee on the exposed innards. I don't think most software synths come with a ‘coffee’ setting — I'm just joking, by the way. Don't try pouring liquids on electrical devices, kids.”
 It's that sort of devilish humor and twinkle-in-the-eye cleverness that informs the entire Boards of Canada experience, from the guys' inventive recording experiments to the resulting musical creations that are never what they seem. “We like to create full-sounding parts that appear to be from another record,” Sandison says. “So, sometimes, we go to great lengths working on complete pieces of vintage-sounding music with the sole intention of ripping a two-second chunk out of it to give the impression of it being a sample of something old. It takes ages, but it's a good trick. So we sample them as though they really are someone else's old record — we abuse the sound to make it really rough, maybe sampling it in at 8-bit, 22kHz or whatever. If it sounds like samples from old sources, it means we're doing our job properly, because that's the whole point.”
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-== Images/Scans ==
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 Image:2005 12 Remix Vol07 No12 Cover.jpg
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 Image:2005 12 Remix Vol07 No12 pg30.jpg
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 [[Category: Interviews]]
 [[Category: The Campfire Headphase era]]

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 |title=Emotional Abuse
 |author=Erin Hutton
-|date=December 2015
+|date=2005/12
 |publication=Remix
-|issue=Vol 7 #12
+|issue=Vol 07 No 12
 }}
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 It's that sort of devilish humor and twinkle-in-the-eye cleverness that informs the entire Boards of Canada experience, from the guys' inventive recording experiments to the resulting musical creations that are never what they seem. “We like to create full-sounding parts that appear to be from another record,” Sandison says. “So, sometimes, we go to great lengths working on complete pieces of vintage-sounding music with the sole intention of ripping a two-second chunk out of it to give the impression of it being a sample of something old. It takes ages, but it's a good trick. So we sample them as though they really are someone else's old record — we abuse the sound to make it really rough, maybe sampling it in at 8-bit, 22kHz or whatever. If it sounds like samples from old sources, it means we're doing our job properly, because that's the whole point.”
 </onlyinclude>
-== Images ==
+== Images/Scans ==
-{{scan-needed}}
+<gallery>
 [[Category: Interviews]]
 [[Category: The Campfire Headphase era]]

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		+	\|title=Emotional Abuse
		+	\|author=Erin Hutton
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		+	\|issue=Vol 7 #12
		+	}}
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-=== Emotional ABUSE ===
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 ''Dec 1, 2005 12:00 PM, By Erin Hutton''

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 Perfection is a nebulous concept, one that varies dramatically depending on who or what is directing the point of comparison. In terms of music production, perfection is now generally sought after through true-to-life analog emulations and pristine digital recordings. But that ideal doesn't appeal to Scottish duo Boards of Canada, which seeks the opposite in its music. Mike Sandison and Marcus Eoin's idea of audio perfection exists in a surreal wash of imperfection — sound and instrumentation crippled and maimed to reveal a vintage beauty inspired by the sights and sounds of the past.
-Indeed, late-'70s television and film have historically played a large role in the Boards of Canada sound — specifically, the 16mm educational films produced by the National Film Board of Canada (hence the pair's name1). Sandison and Eoin also draw from the vast well of early-'80s American TV dramas and weekend matinees, as well as the closing sequences from the Lorimar (''Dallas'', ''Eight Is Enough'') and Stephen J. Cannell (''The Rockford Files'', ''The A-Team'') production companies, for inspiration. Although Sandison and Eoin had been dabbling in recording since the early '80s (when they weren't yet teens), they began synthesizing their influences into proper recorded form in 1995 with the glorified demo Twoism (Music70; rereleased by Warp, 2002). [[Warp]] released the heralded ''[[Music Has the Right to Children]]'' in 1998 and the stellar follow-up, ''[[Geogaddi]]'', in 2002. Now, BOC is back with ''[[The Campfire Headphase]]'' (Warp, 2005), and the group's '70s and '80s cinematic inspiration has given way to re-creation.
+Indeed, late-'70s television and film have historically played a large role in the Boards of Canada sound — specifically, the 16mm educational films produced by the National Film Board of Canada (hence the pair's name). Sandison and Eoin also draw from the vast well of early-'80s American TV dramas and weekend matinees, as well as the closing sequences from the Lorimar (''Dallas'', ''Eight Is Enough'') and Stephen J. Cannell (''The Rockford Files'', ''The A-Team'') production companies, for inspiration. Although Sandison and Eoin had been dabbling in recording since the early '80s (when they weren't yet teens), they began synthesizing their influences into proper recorded form in 1995 with the glorified demo Twoism (Music70; rereleased by Warp, 2002). [[Warp]] released the heralded ''[[Music Has the Right to Children]]'' in 1998 and the stellar follow-up, ''[[Geogaddi]]'', in 2002. Now, BOC is back with ''[[The Campfire Headphase]]'' (Warp, 2005), and the group's '70s and '80s cinematic inspiration has given way to re-creation.
 “We usually imagine our music to have a visual element while we're writing it, so we were picturing this character losing his mind at the campfire and compressing weeks of events into a few hours, in that time-stretching way that acid fucks with your perception,” Sandison says. “We wanted to simultaneously shift and reduce the sound palette, too, making it more like a conventional band gone over the edge. It's taking away the reliance on samples, vocals or cryptic references and adding more organic instrumentation. That's not to say we left all that behind for good; it was just the feel we had for this particular collection of songs.”

← Older revision		Revision as of 17:54, 30 August 2008
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	[[Category: Interviews]]		[[Category: Interviews]]
		+	[[Category: The Campfire Headphase era]]