![]() You would load a sound, like a single note or drum hit, and then play it back via a keyboard or a grid of pads. Digital samplers were originally meant to be played like traditional musical instruments. Sampling exploded with the advent of digital recording and playback in the 1980s. While they had intended the drum loop to be a temporary track, they liked the sound of it so much that they kept it in the final song. Drummer Dennis Bryon had to leave the recording session early, so the band created a tape loop of two measures of his drum part from “Night Fever” and recorded the other instruments over it. One early example is the drum part in “Stayin’ Alive” by the Bee Gees (1977). These methods are difficult, however, so outside of experimental and avant-garde compositions, analog samples were unusual. Before digital audio, musicians sampled recordings by cutting and splicing magnetic tape, or by manipulating turntables. Strictly speaking, however, sampling is the manipulation and editing of audio recordings. In casual language, we tend to use the word “sampling” to include quotation and interpolation. Sampling transforms any recorded music or other audio into potential raw material. The idea of manipulating existing recordings for musical expression is at the heart of hip-hop, electronic dance music, and related pop styles. And see the future we did-at least as far as spring 2024.Sampling is one of the most significant developments in the past fifty years of popular music. “They used to laugh at me, but I saw the future,” went the Lil’ Louis sample on Gaubert’s typically energizing soundtrack. More hybridized Carhartt/tailoring jackets were delicately accessorized with hanging pearlescent beads behind the collar. Crepe sweatshirts were crafted into short and long hemmed dresses, and desert-toned MA-1 bombers sculpted into peplum skirts and sleeveless zip-ups. Other examples saw Carhartt cotton duck cut into covert coats for men or double-breasted evening jackets for women, ombre Fair Isle knits expressed in what looked like tufted fleece, and stately decorative florals (as on the mega-swatches at Loewe) embroidered onto workwear bleus de travail, or printed onto silky sheer-paneled rugby shirts. Abe said her childhood determination to remix her school uniform just as far as she could within the boundaries of the rules had come back to her while developing these looks. In other words, while all the looks were matchy-matchy, within them she used ingenious design and fabrication to splice together elements whose adjacency was strictly “wrong.” Thus the denim and the pinstripe. And as they played, out came a model wearing-because of course-a kilt.Īn inveterate hybridist, Abe returned to the fray with an agenda to express a “positive punk spirit”-one T-shirt read “Know Future”-in outfits that explored harmonic contradiction. Suddenly the beats receded to be replaced by unmistakeable dread strings (sans piano) from the credits of Succession. Michel Gaubert’s soundtrack was as banging as we were sweating: seriously. “Because what’s the point of the kilt if there’s no air circulation?” he growled with the assurance of Logan Roy knifing a child.įast forward 24 hours and we were sitting outside at Sacai in the Sorbonne, as the mercury hit 91 degrees. Cox was unequivocal that when wearing a kilt, everything else under it should be au naturel. Naturally, talk turned to that nation’s great contribution to the canon. ![]() Yesterday after Loewe, a knot of us were discussing menswear with Succession’s Brian Cox-a proud Scot. By day, so much weird stuff happens that it ceases to feel weird at all. ![]() Radical pants, rude wranglers (you know who you are), and strange encounters haunt your restless dreams. After 14 days straight of reporting the curated unreality of the menswear shows, you can be left a little delirious.
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