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Multimedia Presentation - Brian Eno

MHII, Full Sail, Music Production, Media Presentation. - For Educational Use Only

adrianna parnagian

on 18 January 2014

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Transcript of Multimedia Presentation - Brian Eno

Brian Eno
Brian Eno is a highly recognized producer and musician credited for many great innovations and accomplishments in the music industry. Brian Eno's impact on music is an extensive variation that connects with so many styles and varieties. From his creative musical creations in Roxy Music, solo projects that essentially recreated and established ambient music and demonstrated electronic music in a completely different way. He also collaborated and produced exceptional compositions with many greats like David Bowie, Talking Heads, U2, Cluster, Harmonia and Coldplay.
Brian Eno has exhibited a variety of different techniques throughout the years to create his superlative sound. He has used the guitar, synthesizer, vocal treatments, tape delays and distortion. Brain Eno was fascinated with repetition from the musical influence of Minimalists like Riley, Reich and La Monte Young that would influence Eno and Robert Fripp to bring Live-Looping to the industry. Eno devised the Revox tape delay process prominently used by Fripp called the "Frippertronics" heard in his ambient compositions.
Eno quotes on doing vocal treatments, "One of the reasons I stopped making vocal records was because I was fed up with the identification that's always made between the voice on the record and the composer, as if this person singing was some sort of extension of my personality. But I don't care about my personality being the content of the thing. I always liked the idea of seeing what I was doing the way a playwright might think of a play or a novelist might think of a book. There are characters in there, but they're not the novelist, they're just characters in the book. And with the new voiceshaping technologies that are around now, you can suddenly make a voice that's clearly not your own."
Brian Eno on technology
Recording Techniques
The Oblique Strategies
In 1974 Brian Eno, and painter, multimedia artist Peter Schmidt created The Oblique Strategies oracle card deck. There were three original versions and much later a bit different fourth and fifth editions as well as several dilemma decks have been made. They were a highly esteemed tool Eno often used in the studio and composing with other artists. For example, when he recorded David Bowie's Berlin trilogy albums from 1976 to 78, Low, Heroes, and Lodger they were found very useful. The cards were to bring insight and inspiration.
Eno told Charles Amirkhanian at KPFA in Berkeley in 1980: "The Oblique Strategies evolved from me being in a number of working situations when the panic of the situation—particularly in studios—tended to make me quickly forget that there were others ways of working and that there were tangential ways of attacking problems that were in many senses more interesting than the direct head-on approach. If you’re in a panic, you tend to take the head-on approach because it seems to be the one that’s going to yield the best results Of course, that often isn’t the case—it’s just the most obvious and—apparently—reliable method. The function of the Oblique Strategies was, initially, to serve as a series of prompts which said, “Don’t forget that you could adopt this attitude,” or “Don’t forget you could adopt that attitude.”
Brian Eno a man of many talents with numerous artistic outputs. He has collaberated with Robert Fripp of King Crimson, with David Bowie as a writer and musician on the Berlin Trilogy including, Low, Heros and Lodger, his later album 1, Outside and on his song "I'm Afraid of Americans", David Byrne's "My Life in the Bush of Ghosts", John Cale, Larie Anderson, Robert Wyatt on "Shleep", and John Hassell with the German Duo Cluster. He has produced several bands including U2, Talking Heads, Devo, Coldplay and James.
Eno being synonymous with ambient music with "Music For Airports", "The Plateaux of Mirror", "Day Of Radiance", and "On Land" being a big part of his Ambient Series.
Eno the Artist
For Educational Use Only
By Adrianna Parnagian
Another installation project he comprised was in 1996, by bringing his sound installation work into private homes by creating "Generative Music", a software program that generates self-evolving sound pieces. Brian Eno's Installation project for hospitals using art and sound to relax and help soothe patients. They are random images of paintings and artwork he created over the years randomized and changing shapes and colors. He called it 77 Million Paintings.
Eno quotes -“I evolved the images in 77 Million Paintings over the last 20 years. They’re a very unlikely set of images. If you looked at them individually, you’d think some of them are so uninteresting when they’re out of combination with anything else it’s quite counterintuitive that they would work when they’re connected up with other images. It’s certainly not a group of images you would arrive at just by sitting down with this idea and deciding to make it work. They really evolved over quite a long period of time. The music as well actually evolved over a long period of time.”
Installation Project
Scape Application
Brian Eno a man of many artistic talents has created the follow-up to "Bloom"with Peter Chilvers an application exclusively for ipad called "Scapes". It is created by stacking musical elements and layers on a flat musical backround with the capability to save your creations, built with a randomness that makes each experience different. Eno quotes, "There are certain sounds that I've found work well in nearly any context," he says. "Their function is not so much musical as spatial: they define the edges of the territory of the music… They are pictorial elements that create the foreground and background, and make the space in the middle. They activate it, and that's the space you can then put things in."
Eno's Impact on Music
Brian Eno has had a great influence during the course of his evolving career impacting many artists, musicians and producers in the Entertainment Industry. Creating a musical fusion of art and sound inspiring many other great musicians to create outside confinement and restriction.
Eno on music-“I never wanted to write the sort of song that said, ‘Look at how abnormal and crazy and out there I am, man!’ Bowie never wrote those sorts of songs [either]. People like Frank Zappa and Bryan Ferry knew we could pick and choose from the history of music, stick things together looking for friction and energy. They were more like playwrights; they invented characters and wrote a life around them. Bowie played a double game as well as he appeared to live it, too. He played with the form and the expectations brilliantly.”
Eno quotes on what influences his creative impact musically stating, “The point about working is not to produce great stuff all the time, but to remain ready for when you can. There’s no point in saying, ‘I don’t have an idea today, so I’ll just smoke some drugs.’ You should stay alert for the moment when a number of things are just ready to collide with one another… The reason to keep working is almost to build a certain mental tone, like people talk about body tone. You have to move quickly when the time comes, and the time might come very infrequently – once or twice a year, or even less.”
In The Studio
An Eno Installation Project
Transferring all of Eno's other endeavors, he has maintained parallel careers as a lecturer, installation artist and author. Eno created his first public installation in the 80's doing "Mistaken Memories of Medieval Manhattan", presenting footage ofthe sky shot sideways. His first published work was in 1968, the limited press "Music For Non-Musicians. His most notable work being excerpts from his personal diary publish in 96' titled "A Year-With Swollen Appendices. Eno Quotes- "One of the things I like about my installation work, the big pieces with light and so on, is that's what happens to me then. I always wondered why I like this state that I go into when I think, "Oh God, that's lovely"... uncritical self-admiration (laughs). I think it's down-time, I'm reprocessing then. And the reason other people like these shows is that it gives them the chance to do the same thing. What's interesting about those shows is what's missing: there's no narrative, no surprises, no pace. It's not like any other experience, really, except sitting and looking at a stained glass window, or something. There's no chance of projecting a story onto the whole thing. What that means is the part of the mind that normally would be doing that is allowed to daydream, to disengage. So maybe that's what I am doing there, providing opportunities for the mind to do that.
Brian Eno quotes, "People often ask me what role technology plays in music, and whether I think there is too much technology in music. Recently, I have started answering by saying that technology in music is a little bit like numbers to mathematics. You can’t really imagine music without technology. Now, as my friend Danny Hill is the inventor said, technology is the name we give to things that don’t work yet. When it works we don’t call it technology anymore. But you have to remember that once upon a time a violin was technology, once upon a time an organ was technology. Those things were all built and created by people who were working at the cutting edge of the technologies of their time."Eno comments on the DAW- "The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement. With Cubase or Photoshop, anybody can actually do anything, and you can make stuff that sounds very much like stuff you'd hear on the radio, or looks very much like anything you see in magazines. So the question becomes not whether you can do it or not, because any drudge can do it if they're prepared to sit in front of the computer for a few days, the question then is, "Of all the things you can now do, which do you choose to do? "
Brian Eno a studio wizard, has worked with a multitude of artists and musicians and has established certain studio techniques that were opposed to conventional recording methods. Eno used the studio to establish the exact sounds he wanted to capture, rather than record and go. He was not meticulous on gear like other producers. He demonstrated improvisational techniques.
Eno on the studio process, "You can design a piece of music and say, "OK, now we're going to do a song. It's going to have three sections, and in the middle section there's only going to be drums and voice, but the voice can only do one note. In the third section, everyone can play, but nobody must play on a beat that anyone else is playing. Of course, the chances of you getting a great piece of music are quite remote. But the chances of you getting a seed for something are quite strong. You hear a voice singing a single note over a drumbeat and you think... "Ooh, it's not quite the right drumbeat or quite the right note, but there's something good about it."
Regarding the diversity on his projects and what he thinks audiences expect from his work, Eno quotes- "Quite a few things. We're definitely in the postmodern era of pop music. People are conscious of shuffling styles. To give you an example, I can't imagine that Jefferson Airplane, Cream, or someone like that were consciously shuffling styles. They weren't even thinking about it, I would imagine. Style was not an issue. You played the way you'd worked it out to play."
Eno used technology and the studio as its own instrument and art form that transcended into many compositions and arrangements influenced by him.
More Eno
google web images Brian Eno
As a musician, composer, and artist Brian Eno holds a major influence in the study and art of Music Production and Audio. In implementing one of Eno's methods I try to record my ideas as tools for my musical foundations. In learning some of Eno's techniques on "Deliberate Limitations" as well as utilizing sources that would not be conventionally used. Those influences allow me to create, jam and compose freely when ideas are being captured. In practicing my craft in audio, I am inspired by Brian Eno's productions and many of his digital and synthesized techniques he demonstrates in the studio.
I write, compose, and play bass in my band ACUSTALAPSE. This is one of our original songs "Scatterbrain".
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