Crabbman & Jamma – Pre-Order Sonic Salvage [Guest Post] [@CrabbasBadman]
The project title, ‘Sonic Salvage’ and the individual track names intend to suggest to the listener that this is not your typical instrumental beat project. Track names like ‘Hedgerows’ and ‘Remote Frequencies’ try to suggest that the creators are from a rural environment. ‘Renovation’ and ‘Sonic Salvage’ relate well to the fact the project intends to bring old sound and technique up to date. ‘Mood Food’ strongly suggests the way the creativity is biased towards the feel and sound of the music rather than traditional composition. There is also an interlude style track called ‘SouthDown’ which within the track itself points towards the rural setting this work comes from. The down tempo nature of the album again links in with the slow paced rural environment.
The initial influences for this project came from Portishead and The Roots. Portishead because of their explicit processing techniques and sonic signature, particularly on albums ‘Portishead’ and ‘Dummy’. The Roots because of their self sampling, originality, processing and 50:50 (live sound:studio sound) split on ‘Illadelph Halflife’.
There are a few fundamental areas of exploration that enabled this project’s creation. These were devised from research into how Portishead and The Roots created their sound signature. (See Project Proposal). Firstly and most importantly, sequencing drum hits recorded from vinyl, processing these through both new, old, analogue and digital equipment to create original drum breaks. These breaks are then used and sampled then reprocessed to make the drum tracks, giving a distinct sonic signature. Secondly, self sampling of guitar and bass licks to achieve an element of hip-hop without compromising originality. Again these self created samples are often processed in various ways to achieve an over-processed but pleasant sound. Lastly the use of turntablism to create original sounds, which comes from the hip-hop and trip hop influence. The range of equipment used to create and process the sound include an FM transmitter, FM radio, broken SM58 microphone, re-amplification box, Akai S900 sampler, SE x1 condenser microphone, Akai MPK midi controller, software reverbs and delays, Logic for routing and sequencing, Randall RH300 guitar amp, various software plug ins for guitar and bass processing and a Sony PSDJ9000 turntable.