Creating Loops: Art of Subtlety and Hypnotic Repetition
- The process of creating loops involves moving from instrument to instrument in the studio, playing and recording a layer of the loop.
- If a loop can be listened to for a long time without getting bored and fully engaging with it, it is considered a keeper and gets saved to the hard drive.
- Creating loops is a delicate art where the goal is to make sure nothing stands out too much while still being repetitive and hypnotic.
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下記英文の解釈で質問があります 1/26
So when recording these loops, you didn't have an exact idea of what exactly you want to do with them? No … No idea whatsoever… The live aspect was just that - it was an improvisation with microphones running most of the time. I would move from instrument to instrument in the studio and play and record a layer of the loop. Once I got something that seemed “finished” to me I’d head into the control room. If I felt I could listen to this loop - usually about 12 seconds long or less - for 10, 15, 25 minutes and totally zone into it, then I knew it was a keeper, and I’d commit it to the hard drive and then erase and move onto another one. It’s a really subtle art of creating loops where nothing sticks out too much as to cause it to get obvious sounding, yet, at the same time the loops have to be repetitive and hypnotic. Q１ I would move from instrument to instrument in the studio and play and record a layer of the loop. スタジオの中で、楽器から楽器に移動して、プレイして、ループを重ねていったんだ。 ここでのwouldとはどういった解釈ですか？ Q2 If I felt I could listen to this loop - usually about 12 seconds long or less - for 10, 15, 25 minutes and totally zone into it, then I knew it was a keeper, and I’d commit it to the hard drive and then erase and move onto another one. もし、このループ…大抵の場合は12秒かそれ以下くらいだけど、それを10分、15分、25分間と聴く事が出来で、そしてtotally zone into it,then I knew it was a keeper, そしてそのループ（it）をハードディスクに記録して、それから消したり動かしたりして別のループに作り替えていくんだ（ontoの解釈） 英語の部分がどうもわかりません。あとontoの解釈は上記でよいでしょうか？ Q3 It’s a really subtle art of creating loops where nothing sticks out too much as to cause it to get obvious sounding, yet, at the same time the loops have to be repetitive and hypnotic. ループを生み出すというぼんやりとしたアートさ。where nothing sticks out too much as to cause it to get obvious sounding, けど、同時にループは反復的で、催眠作用があるものでなければならない。 ここも英語のままの部分がどうもわかりません・・・。
- medium_2011
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- 英語
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質問者が選んだベストアンサー
Q１ I would move from instrument to instrument in the studio and play and record a layer of the loop. スタジオの中で、楽器から楽器に移動して、プレイして、ループを重ねていったんだ。 ここでのwouldとはどういった解釈ですか？ ーーー＞ガンガンやった、という強い意志の表れのようにおもいます。 Q2 If I felt I could listen to this loop - usually about 12 seconds long or less - for 10, 15, 25 minutes and totally zone into it, then I knew it was a keeper, and I’d commit it to the hard drive and then erase and move onto another one. もし、このループ…大抵の場合は12秒かそれ以下くらいだけど、それを10分、15分、25分間と聴く事が出来きそうだっておもったら、もうそれにどっぷりで、それでそのループはキープ（採用）ってするのさ。そしてそのループ（it）をハードディスクに記録して、それから消して、つぎの（ループ）にとりかかってくんだ（聞いていくんだ）。 Q3 It’s a really subtle art of creating loops where nothing sticks out too much as to cause it to get obvious sounding, yet, at the same time the loops have to be repetitive and hypnotic. ほんとうに繊細な仕事だ。なんか狙ったサウンドがあって、それにむかって突き進むってことではないんだ。けど、同時にループは反復的で、催眠作用があるものでなければならない。
関連するQ&A
- 下記英文の解釈について質問があります。(2)
What was recording at the University of York Music Research Centre like? After a day or so of getting the technical setup out of the way, the rest of the time was mostly smooth and really fun. I’d often spend the morning working, break for lunch with everyone, and then work until dinner, break for dinner, and then head back into the studio by myself after midnight and work for a couple more hours. Because I was concentrating on collecting source material for the album I didn’t feel an enormous pressure to get everything right. I recorded hours and hours of material but it didn’t matter if some of it wasn’t as good as others, as it was all material I could pick apart later. It didn’t have to be perfect which made the whole experience that much more relaxed and freed me up to try various things I wouldn’t have otherwise tried. Besides music, we took some time off to drive around the English countryside, ate a lot of amazing food and hit the pub every night, discovering a great German beer that no one else liked … except Theo! この文章のほぼ全ては理解できるのですが、少しわからないところがあります。 Q1 I recorded hours and hours of material but it didn’t matter if some of it wasn’t as good as others, as it was all material I could pick apart later. It didn’t have to be perfect which made the whole experience that much more relaxed and freed me up to try various things I wouldn’t have otherwise tried. 私は素材のレコーディングに何時間も何時間もかけた。しかし、仮にレコーディングした素材のいくつかが、他のものほど良くなくてもそれは問題ではなかった。 この次の、as it was all material I could pick apart later.ですが、 ここがよくわかりません。このasはなぜならばとして訳せばよいでしょうか？ それと、it was all that material which I could pick apart later.が正式な文章ですよね？ 次のセンテンスのitはレコーディングした素材のことで、レコーディングした素材が完璧である必要は無い。までで、やはり構造的にどうも理解できないです。 perfectを先行詞としたwhichの文章 experienceを先行詞としたthatの文章 そしてそれ以降があやふやです・・・。 長くなってしまいましたが、よろしくお願いいたします。
- ベストアンサー
- 英語
- 下記の英文解釈について質問があります。12/11
Do you see yourself as part of a certain tradition or as part of a movement? No, not really. I mean, when I started making music more seriously there was (and still is) a vivid electronica scene here in Vienna (Mego,Cheap, etc), which influenced me for sure. But the music I listen to is so diverse.... I am looking for general functions in pieces of other musicians and not so much for aesthetics. So the music or let’s say one aspect of a piece which has an influence on what I do, can come from nearly everywhere. Diversity is so important for me that I can hardly imagine to be part of a movement - at least not a strict one that has any kind of "rules". Q1 4行目の、I am looking for general functions in pieces of other musicians and not so much for aestheticsですが、and以降はどこからの続きになっているのでしょうか？ それとここはどういった意味になるのでしょうか？それと最初の1行目で、no, not reallyと言っていますが、「いや、そうでもない」という意味ですが、つまり疑問文をorで区切るのではなく、答えを見てどちらかを削るのがわかりやすい流れでしょうかね？ How would you describe your method of composing? あなたの曲作りの方法というものをどのように定義しますか？ Usually i have an idea of the effect, which the piece should have. Then I try to build sounds and tonal relationships to establish that. But I don’t follow the tracks all the time – sometimes there happens an exciting fragment on the original way and I continue with that. Most of the time there is a small structure, a small texture by an acoustic instrument in the beginning and by the time I build more and more around it. When I have found the basic modules, then I think about the general structure and so on. It is a modular system, but not in a specific order - what I mean is that I don’t necessarily start with a theme or something. Q2 1行目ですが文法の構造としては、コンマの前の文自体が先行詞ですよね。つまり、強引に組み立てると The piece should have [I have an idea of the effect,]. こうなるのでしょうか？ あと訳がいまいちわからないです。 大抵の場合、俺はアイデアを持っている。→効果についての。 →楽曲が・・・うーんいまいちわかりません。 よろしくお願いいたします。
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- 英語
- 下記英文の解釈について質問があります
The „resources and staff“ of the University were at your disposal. In which way were they helpful to you during the different stages of the project? Carrying heavy instruments around! (laughs) No, well, yeah ... They did help carry instruments ... But, I had a wonderful day of training from a woman at the university named Angie Atmadjaja who gave me a few short lessons on how to play some of these instruments in the "proper" way. As fun and enlightening as that was it made me realize that I wanted to keep my distance from the proper and traditional. Angie also made some recordings and I believe some of them appear on the album. It took a good solid day or two to get the whole studio wired the way I wanted it into my Kyma system and loopers. We had to create a system that allowed me remote control of the control room while I was in the recording room as well as some tricky monitoring situations. The tech and studio staff at the Music Research Center took care of most of that and after ironing out some bugs I had an amazing space in which I could work alone late into the night and control everything as I walked around the room. Q1 As fun and enlightening as that was it made me realize that I wanted to keep my distance from the proper and traditional. この文章の構造がわかりません。 it made me realize that I wanted to keep my distance from the proper and traditional. 訳せます。 「それは、私が正しいやり方や、伝統から距離を置いておきたいと願っていた事を気付かせてくれた」 Asからthatまでをitとしているのですよね？それと、Aｓ fun and enlightening as thatも何かの構文で、元々は違っているのでしょうか？ Q2 It took a good solid day or two to get the whole studio wired the way I wanted it into my Kyma system and loopers. この文章がいまいち理解出来ません。後半のkyma system and loopersは彼の持つ音楽用のシステムの事です。 Q3 We had to create……からの日本語ですが、 私たちはレコーディングルームやtricky monitoring situationsにいる間、離れた場所からコントロールルームを制御するシステムを作らなくてはならなかった。 ミュージックリサーチセンターにいる技術者と、スタジオのスタッフはthatに注意を払っていた。いくつかのバグを解決した後に、私はその晩、一人で仕事が出来る素晴らしい空間を持つ事が出来た。 その部屋中を歩き回りながら全てをコントロールしたんだ。 どうもギクシャクしてしまっています・・・。 よろしくお願いいたします。
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- 下記英文について質問があります。(1)
How much did „your own thing“ benefit from your work as a session musician? セッションミュージシャンとしての仕事は、あなた自身の作品（own thing）に対してどのくらいの結果（benefit）をもたらしましたか？ Well, I think it’s always great to collaborate with other artists, because it almost always pushes me to try something I haven’t tried before, or even thought of before. But when it comes to my own music and compositions, I’m not sure if I bring much of my session work into them. Then again, working as a session musician definitely helped me develop a little bit of confidence on some instruments. When you’re put on the spot like that, and you have to come up with something, it can be stressful ... And over time it slowly gets easier and easier, and depending on the instrument and the music, sometimes nowadays I might not even think about it at all. I just start playing. So for better or worse, I’m slowly learning to trust my own musicianship. 途中のwhen you’re put on the spot…辺りからどうも何を言いたいのかがわかりません。訳を教えてください。
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- 下記英文の解釈について質問があります。
続きです。 Do you consider it important that more young people care for classical music? If so, how, do you think, could this be achieved? Anne Salié: Sure it is important. It is our audience we are talking about. And how to get young people in concerts? First of all, don‘t cancel music education in schools. Teach everybody an instrument, wherever his talents may lie, at least for a short time. And most importantly - teach with fun. If you enjoy what you're doing, others will, too. Xenia Kourkoumeli: This is a point where every musician would agree! Youth is power and the power of the classical music can move and reach the young people if only the organisators and programmdirectors would present classical concerts in new contexts - meaning extraordinary venues, new modern campaigns for festivals etc. Ｑ３ . If you enjoy what you're doing, others will, too. このwillは自動詞であってますか？ ランダムハウス ━v.t.,v.i.* *文語**代動詞として*(…)したいと思う: Go where you will. 行きたいところへ行きなさい つまり、 「もし、あなた自身が楽しんでいるならば、若者も求めるわ」という訳です。 この解釈であってますか？ Ｑ４ Youth is power and the power of the classical music can move and reach the young people まず、「若さは力」で、the powerとtheがついていますがこのtheはどう解釈しますか？前の文章を受けて、「若いという力」ということであってますか？（個人的にはそうは思わないですが・・・。） 【6】*総称用法*…というもの. 「クラシック音楽の力ってやつは」みたいな感じですか？ そして次の文ですが、andがありますが、 the power of the classical music can move the young people. the power of the classical music can reach the young people. という事ですか？ これだと、順番通りに解釈すると「若者を動かして、届く」という事になってしまいます。 私のイメージだと、「クラシック音楽のもつパワーが若者に届いて（reach）、彼らを突き動かす（move）」となるのですが・・・。そこで引っかかっています。つまり、なぜmove reachの順番なのだろうかと。この順番である限り、私の訳文は間違っていると思うのですが・・・。 以上です。よろしくお願いいたします。
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- 下記英文について質問があります。
下記英文について質問があります。 It's too bad you weren't in New York long enough to check out the Living Colour reunion. They played in Central Park for Summer Stage. It was a time-warp. I mean, they used to be one of my favorite bands back in high school. You know I would've been there with bells on. What a laugh! They used to be one of my favorites too. I had everything. Even the different versions of Stain, which had crazier Vernon Reid solos on the Aussie version. Q: I guess America just couldn't handle that. It was weird to finally see them though.I was standing next to some body-builder guy named "Rock". And so he tells me a bit about playing with some of the Living Colour guys, and gives me a flier for his band that says, "There is no other band on the planet like COCKDIESEL featuring drummer Reggie Sylvester." That's fucked. I guess I told you about Reggie, right? Insane! この文章ではほぼ完全に意味は理解できています。ただわからないのが、It was weird to finally see them though.の意味と、he tells me a bit about playing with some of the Living Colour guys～がなぜ現在形なのか？ それと、That's fucked. I guess I told you about Reggie, right? Insane!でのfuckedやinsaneの解釈です。 ――――――――――――――――――――――――――――――――――――――――― I have played the guitar heads people like Fred Frith, Hans Reichel, Henry Kaiser. Usually these are the artists to start off with, as they are immediately impressive and then move onto people like Mr. Rowe. Usually以降がわかりません。この発言は、彼は大学講師をやっていて、どんな内容か？ という質問に対する彼の発言です。 ――――――――――――――――――――――――――――――――――――――――― Q: Are there certain things you want them to discern from the recordings? For something so intuitive, how do you analyze it in a productive manner? I try to encourage them to play in ad hoc groupings as much as possible. 質問の文章がわかりません。 ――――――――――――――――――――――――――――――――――――――――― Q: Does he ever pull out some choice cardiovascular pics for you? 彼は心臓血管の写真をあなたのために持ってくるのですか？ であってますか？ it was a real limited release, I wasn't worried about 'perfection' or too precious about fucking up. too precious about fucking up.がわかりません。 以上です。よろしくお願いいたします。
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- 下記英文の解釈で質問があります。
http://c.oshiete.goo.ne.jp/oshiete_category.php3?c=385 シルヴァン・シャボーというミュージシャンのインタビューです。 "Touching Down Lightly" is your new album with only one track of 47 minutes. I consider that musicians that create long music's are the ones who really know how to make music. Do you share my thought? That's an interesting point of view, I clearly get what you mean. I used to consider that when a musician composed a very long work, he couldn't do it without a lot of heart and conviction...................................略 It's not a matter of knowing how to make music. It's more about the need: the need to make a piece that can last and to feel powerful enough to do that while you're performing. And this recording was made with heart and conviction. 2段落目の It's more about the need: the need to make a piece that can last and to feel powerful enough to do that while you're performing. この文がいまいちわかりません。 構造は、 the need に対してto makeで修飾していて、 pieceを関係代名詞でthat以下で修飾、ですね。 a piece can last そして、次のto feelですが、ここがいまいちわかりません。 それとこの文章の意味を教えてください。 ――――――――――――――――――――――――――――――――――――――――― あと、単語帳のDuoにあった文章ですが、 A woman passed by me giving off a subtle scent of perfume. この文章ですが、givingの前にwasが入らないのでしょうか？ A woman passed by me was giving off a subtle scent of perfume. なら納得がいくのですが・・・。 それともこれは文章ではなく、句なのでしょうか？
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- 下記英文の解釈もついて質問です 12/19
Many artists dream of a "magnum opus". Do you have a vision of what yours would sound like? 多くのアーティストは「最高傑作」への夢を持ち続けています。「最高傑作」についてのビジョンを持っていますか？ No. Honestly talking, I don’t have a vision of an opus magnum and I guess even if I did, I probably woold not recognise when it happens. I try to do my work as good as I can, but with the knowledge that it reflects my personal development and the cirumstances of a specific period of my life. These conditions change and the output will be different. This kind of evolution is interesting for me, but not a single peak. ノー。正直に言うと、俺は最高傑作というものに対してビジョンなんて持っていないし、仮に最高傑作とやらを作り上げたとしても、それが最高傑作だと認める事はないだろうね。 自分の仕事に対して、可能な限りベストを尽くそうとはしているよ。しかし自分に備わっている知識とは、自分自身の成長や、ある特定の時期の周りの環境なんかに反映されて出来るものだ。そういった状況というのは変化するし、結果としてアウトプットも異なってくる。俺にとっては、この成長こそが興味の尽きないところなんだよ。しかも成長の波は一度ではない。 Q1 ここで言いたい事は、ひと言でいえば「成長を通して変化を重ねていくので、”最高”なんてものは無い」といった事でしょうか？変化という伸びていくものに対して、最高という天井は不必要。というとらえ方。 Q2 I try to do my work as good as I can, but with the knowledge that it reflects my personal development and the cirumstances of a specific period of my life. このセンテンスの文法上のルールを知りたいです。with the knowledge that it～ はどういったルールでしょうか？SVOではどれがどうなるのかなどを知りたいです。 itとは「I try to do my work as good as I can」のことでしょうか？ それと、with the knowledgeの部分です。これがとういったルールでここに存在しているのか。 いまいちピンと来ませんが、強調構文というやつですか？
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- 英語
- 下記英文の解釈について質問があります 2
You could have just continued down with your solo efforts. What made you come together for a new Lokai album nonetheless? I like to work with Stefan a lot. For me it´s a very unique way of creating music. At the same time, we are both continuing with our solos. My second solo album is almost ready. I am looking for the right place to release it right now. It is called KMET and it´s an electronic Singer-Songwriter project. In the studio I write, record, play and sing it all. Also on stage, it works as a one man show with the support of a little live sampler. I think with "transition", lokai have found their very own sound and aesthetic. So that alone offers to me something no other project can. We have very different personalities (even though some people think we are brothers) and this can be quite fruitful. With lokai, it´s is clear that certain sounds or structures will not fit. So it is a restriction that makes the world a little smaller and for me that is a great way to work. Complete musical freedom and variety are aspects I can entertain as a solo artist. So that alone offers to me something no other project can. この一文は倒置？でしょうか？ もともとはどうなるのでしょうか？ With lokai, it´s is clear that certain sounds or structures will not fit. So it is a restriction that makes the world a little smaller and for me that is a great way to work. 結構この人の文章では、with～, というのがありますが、これは上記の場合Lokaiでは、という風に訳せばよいでしょうか？ その次のit's の it はthat以降ですよね。That certain sounds or structures will not fit is clear.その次の文章がわかりません。soは後のthatと因果関係があるのでしょうか？ それと、上記とは別に This second album was really a lot about getting our own "lokai sound". この文章ですが、 シンプルな構造にすると this second album was getting our own lokai soundということでしょうか？ そうすると、aboutがうまく解釈できないのですが・・・。 以上となります。長いですがよろしくお願いいたします…。
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- 英文解釈について
During the Age of Silence, people communicated more, not less. Basic survival demanded that the hands were almost never still, and so it was only during sleep that people were not saying something. No distinction was made between the gestures of language and the gestures of life. The labor of building a house, say, or preparing a meal was no less an expression than making the sign for I love you or I feel serious. When a hand was used to shield one’s face when frightened by a loud noise something was being said; and when fingers were used to pick up what someone else had dropped something was being said; and even when the hands were at rest, that, too, was saying something. （質問１） 第2パラグラフのThe labor of a building, say, or preparing a meal...ですが、このsayというのは「例えば」と訳すのだと思いますが、普通Can you play a wind instrument, say, a flute?というふうにa wind instrumentの具体例＝a fluteという並びになるとい思います。しかしここでは(the labor of) building a houseの具体例がpreparing a mealではなく、恐らくthe gestures of lifeの具体例がbuilding~とpreparing~だと思うのですが正しいでしょうか？さらにこういう使い方(全文の具体例を次の文に持ってくる）のはよく有ることでしょうか？さらに例文があれば紹介していただきたいです。 （あと２～３個質問があるのですが入りきらないので次にします
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返事が遅くなってすいません。ありがとうございました。