An exploitation of studio technology transforms a single sound into a new CD.

Most people would think that it's simply impossible - take a 14 second sample and turn it into a whole CD of new music. Well, it happened, and FLUID is much more than just that. It's a creative expression of sound and music. Here's some of the "whys", "hows", and "whens" that made FLUID possible....

Why?

The first question that I should answer is "Why?". Why make a CD from just a single sample? Well, I got the idea while I was working on Concept:FX3 (which is currently in production). I was getting some wild results while processing the same sound many times. I found out that one sound was giving me lots of very different and very useful new sounds. So I set some time aside and began working on what was to become FLUID. I didn't know if something like this had ever been done before and because of that, the project was kept a secret.


What's the point of FLUID?

The whole purpose of this CD is simply creative expression through music. It's very different not only in the way it was produced, but in the experience of listening to it. FLUID is not an "easy listen". It may be more like an "acquired taste". People who like new and unique music will love FLUID. Since there wasn't a record company involved, FLUID is a direct link to the recording artist - in this case me. It's the music that I wanted to get out into the world.


What's so significant about the fountain sound?

I chose the 14 second fountain sound because it had a lot of subtle differences that I thought would make for better manipulation. In the end, what I found out was that I could have used just about any sound as a starting point.


How long did the production of FLUID take?

I spent almost 7 full weeks in production. During that time, I turned down other work from outside clients so that I could concentrate on only this. Also, I limited myself to using only the gear in my studio. If I hit a "brick wall" then my only option was to work around it instead of hitting the local music gear retailer for an "equipment fix".

I worked in phases concentrating first only on the sound design. What is really surprising is that most of the sounds were "live" performances of loops that I created. I recorded those loops and live manipulations direct to CD and DAT. Once I had a sizeable sound base, I then sculpted music from the sounds as if each "song" had it's own instruments and format. These "songs" were all 16 bit Pro Tools sessions ranging anywhere from 8 to 20 tracks each.

The mixing phase was done on a song by song basis. I mixed for the individual song as opposed to an album format. All of the songs on FLUID were mixed to 24 bit files. I mastered in Pro Tools too. This is where I formed the vibe of FLUID as a complete production. Bottom line is that I produced FLUID the same way as I would have produced any mainstream format CD.


What kinds of gear did you use during the production process?

I relied heavily on Pro Tools throughout the entire production of FLUID. I have a Pro Tools Mix system with a Mac G3 266 desktop computer. As part of the sound creation process, I had Pro Tools playing back loops in real time while an HHB CD recorder was capturing the manipulated output. I used plug ins both automated and live manipulated to process the loops in real time as well. The plug ins that I used were Digidesign's D-Fi series, Bruno / Reso, and the stock Audiosuite plugs; Waves TDM II Bundle plugs, TC Works MasterX and Mega Reverb, and the Focusrite D2 and D3 eq and compressor.

For outboard gear, I had my Apogee AD 8000 and Rosetta converters, Tascam and HHB DAT machines, HHB CD recorders, a TC Electronic FireworX, an Echoplex that I purchased in a local pawn shop, and my TEAC 1/4" reel to reel machine. I also had my iBook which I used strictly as a CD playback device, a cheap FM transmitter and a '50s era Telefunken AM/FM/shortwave radio.





Got a question or comment? Email me.

Top: Fluid review in March 2001 issue of Keyboard.


Below: Fluid feature article in Electronic Musician, Feb. 2001.

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