Digital Composition

A practical investigation into processes that "dehumanise" a performance - with

specific reference to djent.

Joshua White March 2015

Abstract

This study investigates studio production techniques that dehumanise a performance, developed through technological advancements and the mass production of home recording setups; specifically related to the genre of djent. The research approach consists of a literary review that predominantly takes place online, using sources such as video tutorials as there is no record of djent being studied by a scholar. The practical research took place in a studio environment to recreate the sound of djent and experiment with its distinct sonic characteristics. Research reveals that production processes related to djent crossover with influence from dance music as both are created from home-studios. Both genres could not have been created without affordable technology, as they rely on minimal production setups and audio/MIDI sequencing. It was concluded that the dominantly dehumanising factor through the production process is the programming of MIDI drum sounds, as it does not require a physical human performance. Other factors also included the sequencing of audio, quantisation, pitch correction and digital composition.

Keywords: djent, dehumanisation, clinical production, sonic experimentation.

Acknowledgements

Performance Sam Teather - Guitar, Bass Guitar & Co-Writer

Josh White - Programming, Producer & Co-Writer Dudley Ross - Solo Guitar

James Ganney - Vocals & Lyrics

Research Dan Weller - Interview

Misha Mansoor - 'How To' Videos

Contents

Acknowledgements

Abstract

1. Introduction

2. Methodology

3. Literary Review

Etymology and Genre Identity

The Sonic Elements of Digital Music

The Birth and Rise of Home Recording

4. Practical Work

Instrumental Preparation and Setup

Audio and MIDI Sequencing

Electronic Music Production and Sonic Experimentation

5. Conclusion

6. Bibliography

7. Discography

8. Appendices

5

7

9

13

17

19

21

24

27

28

32

34

!5

Introduction

The study of musicology covers a wide variety of subjects, including in-depth

research into modern genres of popular music. This essay will look at one particular

genre of metal that has no record of being analysed by a scholar: “djent” (pronounced

with a silent "d"). A term used by key performers within the scene, such as Periphery;

TesseracT; Sikth and Messhugah, to define a power chord performed on seven or

eight string guitars often in dropped tuning such as F, Bb, Eb, Ab, Db, Gb, Bb, Eb

(got-djent.com, 2010). Complex ‘human activity’ is a phrase used by Widmer and

Goebl (2004, p.203) to define music. For the purpose of this essay ‘human activity’

will be defined as the realtime, unprocessed and unedited instrumental performance;

as opposed to a digitally reconstructed/composed performance which will henceforth

be defined as "digital composition”. The main focus of this project will be an

investigation into production processes and studio techniques that dehumanise a

performance, by taking away from the human activity. Thomson (2011) portrays djent

as an ‘onomatopoeic microgenre’, however this is a contested by others such as

Periphery’s lead guitarist Misha Mansoor who describes djent as a ‘movement’ or

‘scene’ within heavy metal (MetalSucks, 2006). Using opinions of established artists

and those involved in the djent community, a justification to declare djent an

independent genre will be explored.

Particular attention will be paid to the creation of djent and a proposed link between

the distinct sonic trademarks of the genre, and the technological advancements of

!6

recording mediums made during the 21st Century. Frith and Zagorski-Thomas (2012,

pp. 77-83) take a comprehensive view on technological advancements in recent years

and discuss the notion of the ‘project studio’ ; home-recording setups became 1

increasingly prevalent around the same time as the rise of the Internet. This highlights

further research questions that will help to indicate the level of ‘human activity’ that

remains at the end of the djent production process: How has the development and

mass production of home recording setups affected the sonic trademarks of djent?

Firstly, to make this connection a conclusive definition of “djent” will be required, as

well as a contextualisation of the genre — how it is created, and the fundamental

elements that separate djent from other sub-genres under the metal umbrella:

Mansoor (2011b) defines djent as: “an onomatopoeia for that really hard metallic

picking sound of four notes”. Existing djent albums such as TesseracT’s (2010) debut

release One, and Periphery’s (2010) self-titled album Periphery, validate the four-note

chord mentioned by Mansoor which assist in defining the sound of djent: The drop-

tuned distorted guitars play a prominent role in the music as well as the extensive use

of studio production techniques, compound time signatures (11/8, 7/8 etc.) loud non-

dynamic drum beats, the tonality of the drum sound and syncopated rhythmic

patterns. One prevalent extra-musical characteristic shared by both records is the

clinical purification that has taken place to achieve the high fidelity of audio

production and a distinct sonic tonality. Some of these features and studio techniques

are shared with modern electronic music genres (I.E. dubstep and house); a possible

connection between djent and electronic music will be explored.

A ‘type of small-scale recording facility’ (p. 82).1

!7

Methodology

The research for this study will be divided into two sections; the first will be in the

form of a literary review and the second will be a practice-based research. The literary

review will extract information from books, journals, online videos, online interviews,

articles, websites and existing listening material. A large proportion of this research

will take place online, due to djent being academically unstudied. Members of well-

established djent artists often construct online material such as articles for online

magazines, interviews, video tutorials, instrumental setups, live setups and studio

recording setups. These focus on: etymology, genre specific production techniques,

genres with similar production setups (such as electronic music), the history of djent,

influences and recording mediums. Significant reference will be made from Misha

Mansoor, who is considered one of the frontrunners of the djent scene; in both terms

of production techniques and writing techniques, Mansoor (and other members of

Periphery) often share(s) ideas amongst an Internet founded audience (Thomson,

2011). As djent was birthed through the sharing of guitar riffs and song ideas on

internet forums (got-djent.com, n.d.), some evidence used throughout this essay will

be derived from those forum discussions. Another key source of information is the list

of questions (appendix 7) asked by the author and answered by guitarist and producer

for British band Sikth, Dan Weller (2015).

The practical study investigates the studio production techniques and compositional

approaches related to djent that dehumanise a performance. An attempt will be made

to re-create the distinct sonic characteristics and performance techniques that already

!8

exist within the scene, in order to analyse the level of ‘human activity’ that remains at

the end of the project. This particular study will take place in the studio environment,

with equipment similar to what is presently being used by established djent artists;

both studio equipment and instrumental setups will be reflected. The recorded

material will contain influence from established djent artists: Meshuggah; TesseracT;

Periphery; Monuments; Sikth and Northlane in an attempt to establish and replicate

the sonic trademarks of djent. An experiment will also take place by adding electronic

music production elements to the created djent tracks, to analyse the production

techniques used across both genres and determine if the two genres sonically overlap.

!9

Literary Review

Etymology and Genre Identity

DJ’s are often associated with choosing recorded music from existing artists for

automatic playback at an event, on the radio etc. "Turntablists" create new music

through the manipulation of existing sounds and recordings during a live

performance. The term "turntablism" was coined in 1995 by DJ Babu to distinguish

this particular form of DJing. However, turntablism actually existed two decades prior

to the invention of the term with artists such as Grandmaster Flash and the Furious 5

(Katz, 2010, pp. 124-126). It is a common occurrence that terms used to describe

certain acts (musical and extra-musical) can become the name of that act: Katz (2010,

p. 126) refers to the art of "breakdancing", where Turntablists used “looping” to 2

create instrumental breaks, during which individual dancers would showcase their

talent. Thomson (2011) mentions that Swedish band Meshuggah and British band

Sikth pioneered the term djent years before it was recognised as a genre. Prior to this,

artists that performed this style of music were using djent as a term for the distinct

sound of a particular four-note palm-muted chord (Mansoor, 2011). There is

noticeable debate across the the djent community that questions whether djent should

be declared an independent genre, a sub-genre under the metal umbrella or a term for

a guitar chord. Some take a much simpler view on the subject: 'if people are referring

to it is a genre, then it is one. […] usage determines etymology, not vice

versa.’ (MetalSucks, 2015).

“backspinning” a vinyl record to a specific point, creating a repetition of a musical passage. 2

!10

A breakdown (in metal) is often characterised as the half-time heavy instrumental

section where the guitars; the bass guitar; and the drummers kick pedal, are all being

performed in rhythmic unison. It usually involves the repetition of a single low note

strummed in a variety of rhythmic patterns. During a live performance, it is the

section where the audience take part in a violent manner of dance known as

“moshing”, a type of live activity that occurs across metal, punk and even some

hardcore dance music — is this perhaps the metal equivalent of the breakdancing

section in turntablism? As Steve Terreberry (2014) discusses in his comical video

How To Be DJENT! One particular performance and structural aspect that separates

djent from other genres under the metal umbrella is the intricacies of the breakdowns,

which are often polyrhythmic in nature. British band Sikth have been labelled "djent"

by the media and its audience, but Dan Weller (2015) states he is "baffled" by the

association between Sikth and djent. When asked what defines an artist as being

"djent", his response was "I have no idea". This is evidence to confirm that the

definition of a djent artist is still inconclusive.

Djent shows notable musical influence from sub-genre predecessors under the metal

umbrella known as “metalcore”, “screamo”, “hardcore” and “dethcore/deathcore”;

formed from a blend of punk and heavy metal. For the purpose of this essay, these

three sub-genres will be referred to collectively as “metalcore”. Each sub-genre

displays different attitudes regarding the performance of the music, but the basic

foundations and characteristics are strongly based around: a blend of screamed and

melodic vocal lines, two electric guitarists, a bass player and a drummer with a double

kick pedal. The sonic trademarks of metalcore albums such as Phobia (Breaking

!11

Benjamin, 2006), Stand Up and Scream (Asking Alexandria, 2009) and With Roots

Above and Branches Below (The Devil Wears Prada, 2009) have transferred to djent

music along with the fans of the scene. Alex Webster (from metalcore band Cannibal

Corpse) states that “if you have metalcore bands occasionally doing a tour with a

death metal band, it’s kind of a fan exchange” (MetalSucks, 2007). A prevalent feature

in djent is the syncopated, compound time-signatures such a 7/8, 11/8, 5/4 etc. which

is a structural technique used sparsely in metalcore. This influence is taken from a

different side of the metal scene known as “progressive metal” (prog-metal) and

“progressive rock” (prog-rock) communally referred to as “prog”; which in turn was

also influenced by rhythm and harmony structures in classical music. This includes

artists such as King Crimson, Yes, Rush, Wishbone Ash and Pink Floyd.

Prog, metalcore, djent and parts of commercial electronic music (IE dubstep) all aim

towards a sonic clarity in production. But there are evident differences in the way they

are composed and the processes that are undertaken to achieve the sonic clarity. This

differentiation can be directly linked to the recording mediums available during the

time periods that the music was recorded — King Crimson (1969) In the Court of the

Crimson King had to be recorded uniquely in an analogue configuration, with no easy

way to edit the performance (expect for the physical splicing of tape). Whereas 3

modern genres of music including djent, metalcore and dubstep can be easily altered

and even composed with non-destructive editing software. Misha Mansoor shows 4

To join (two pieces of film, for example) at the ends.3

Editing that preserves the original material and logs any amendments, which can be digitally 4

recovered.

!12

this use of software and editing techniques in his guitar recording video tutorial (Top

Secret Audio, 2014a). He demonstrates use of “double-tracking”, “digital looping”

and “panning” — the guitar phrase is performed twice, one track is panned left and

one is panned right to achieve a wide guitar sound. It can then be digitally cut at the

start and end of the phrase to form a tight section which can then be repeated

(looped). The influence of looping (as discussed earlier) reflects back to the art of

turntablism in the 1970s and has progressed from the physical movement of a vinyl

record, to a digital studio production technique. As a studio technique it partially

removes elements of ‘human activity’, as it is possible to edit out any performance

errors by the repetition of one perfect take.

!13

The Sonic Elements of Digital Music

Certain audio production techniques (such as multitracking and double-tracking) can

be used across a wide variety of genres, and by a wide range of producers to make a

track sound more powerful by filling the stereo spectrum (Borthwick & Moy, 2004, p.

141). Other techniques however, have been developed through technological

advancements: 'Rap [...] shifted into a more aggressive terrain during the 1980s with

the incorporation of sampled elements such as [...] drum loops' (Borthwick and Moy,

2004, p.153). Drum looping is another technique that has progressed from the

physical switching of analogue (tape) recorded loops, to a software function that

allows the user to digitally programme instruments to the finest detail; otherwise

known as MIDI (musical instrument direct interface) sequencing. Electronic music is

one genre that is significantly influenced from studio production techniques,

especially MIDI sequencing. Recent electronic music sub-genres such as dubstep, are

created in a digital format through the sequencing of software instruments and the

manipulation of existing audio (audio sequencing). Many modern styles of music

including djent and dubstep have integrated these techniques into their compositional

approach. Misha Mansoor demonstrates his use of MIDI sequencing to create a drum

performance using Toontrack’s Superior Drummer (Top Secret Audio, 2014b).

Paul White (1995) states: ‘When you summarise the way a musician composes using

a sequencer, it isn't really too different from the way a traditional composer works’.

Both forms of composition start with by testing a musical idea (often on a keyboard)

which is documented either through notation, or a digital recording of the

performance through a MIDI instrument. Both require the composer to bring in

!14

performers to play the finished composition after any alterations have been made. As

long as the composer’s work is reproduced as accurately as possible, it does not really

matter if the finished piece is performed by an orchestra or a bank of synths: ‘has

anyone ever accused Stravinski or Beethoven of being cheats, because they couldn't

play all the orchestral instruments themselves? I think not.’ (White, 1995). Hamilton

(1990, p.326) agrees with White and states that: ’The more interested composers

became in protecting their artistic output, the more they tended to notate every

detail.’. Djents founding bedroom guitarists took on the role of composer/arranger by

transferring rhythmic guitar parts into a MIDI kick/snare phrase, which lacks the

dynamic detail of a natural human performance. As the genre grew to be more

popular, artists were continuing to replicate this unconventional and non-dynamic

MIDI sound — it became part of djent’s distinct tonality.

Djent guitarists strive for the perfect instrumental tone and always try to achieve a

perfect take. Simply playing the parts all the way through the track has the potential to

contain natural human errors such as slight timing fluctuations and unwanted noise

(fret noise etc). To eliminate these errors during the recording process, performers will

record small parts of a phrase at a time to ensure each segment is perfectly in time.

The segments can be used to compose other guitar phrases by re-sequencing them into

any order that the writer chooses: ‘Music in the last century has been transformed by

the concerted quest to replace the human performer/composer/producer of sound with

mechanical and then digital means’ (Bloustien, Peters et al, 2008, p.27). During the

production stage, unwanted noise can be cut out by manually removing parts of the

!15

audio file (or applying a noise gate ). This process creates the very “choppy” (tightly 5

gated) guitar sound which can be heard prominently on the Singularities album by

Northlane (2013). Both of these processes particular types of audio sequencing

technique, that dehumanise a recorded performance by tampering with the behaviour

of sound.

Unlike vintage production processes where the main objective for the engineers

involved in making the records was to provide a “more faithful” transmission (Eno,

1948, in: Cox & Warner, 2010, p. 128), djent could be considered an unreal reflection

of real-life acoustics and natural human performance. However the digital tone that is

so consistent within djent is true to its own “sound-world” as discussed by Zak III

(2009, p.308):

In an atmosphere of sonic experimentation, engineers, musicians, producers and

audiences came to appreciate the expressive qualities of electronically manipulated

sound. In the process, the foundation was laid for what has become a commonplace

of pop music record production: that recordings assert their own versions of

acoustic reality, and that a recording’s sound-world is defined by its makers

through a process of creative distortion of real-world musical events.

During the early stages of djent, recording budgets were minimal so using sequencing

programmes (such as Superior Drummer) as a drum performance was both convenient

and inexpensive. As some djent artists became more successful, sequencing was used

as a way for musicians such as Mansoor, to compose drum performances that

A device thats mutes a signal when it falls below a set threshold.5

!16

Periphery’s drummer Matt Halpern could then learn and record in a professional

studio (Top Secret Audio, 2014c). Some of the patterns are still unconventional and

require an experienced metal drummer to perform, but Mansoor writes specifically

with Halpern in mind. In a YouTube video with Top Secret Audio (2015c), Mansoor

states “I can’t play that […], that can be tricky. Matt can play stuff like that so I

always leave it in.” ‘In some ways, the sequencer is better than the written score,

because it can play back a part exactly as you played it in the first place’ (White,

1995). The samples used in modern drum sequencers are also recorded to an

extremely high quality with the additional ability to edit patterns, change the shape of

the drum sounds and control velocity; all of which can be changed at any point in

time. With a recorded human drum performance, technology allows for timing

alterations but no flexibility in velocity shifts, drum patterns or drum sounds (without

replacing/doubling the audio with a MIDI sample). This may be the reason that many

djent artists still show preference to programmed drums, and why it is such a popular

tool amongst home studio setups.

!17

The Birth and Rise of Home Recording

Since the punk era in the 1970s, musicians started to take a DIY approach to

recording, an ethos that influenced more mainstream rock music. ‘The studio

equipment is seen as practically another instrument by rock musicians, who developed

in their ability to ‘act as self-contained productions units.’ (Kealy, 1979, in: Frith &

Goodwin, 1990, pp. 215-216). The djent scene was birthed through musicians

producing their own music from their project studios, using minimal gear. Digital

guitar amp simulators (such as the Line 6 POD or Fractual Audio Axe FX) were

revolutionary in terms of the high quality of audio they could produce and the

convenience of not having to mic up an amplifier cabinet: ‘A key technological

development for the community was good-sounding affordable home studio

gear.’ (MetalSucks, 2006). With djent artists often producing their own music, it puts

them in the position of the painter, they are working directly onto a substance and

always retain the ability to paint a bit out or add a piece (Eno, 1948, in: Cox &

Warner, 2010). The genre and its distinctive sound has been driven forward by

bedroom guitarists using virtual amp setups and computer recording programmes

(Thomson, 2011). Weller (2015) explains that home recording was responsible for the

creation of djent, and that without drum programming and DI's (Direct Interfaces) the

scene would simply not have existed.

In his book The Poetics of Rock, Zak III (2001, pp. 97-99) discusses the pristine

clarity of digital recording and how producers often use vintage recording equipment

to bring analogue warmth to recordings. Analogue equipment can be an expensive

investment, one that can be avoided within the djent community as the sound of the

!18

genre derives from the shared love of 'clinical' production and 'perfection' (Weller,

2015); this has created the distinct digital tone that is the foundation for djent’s sonic

tonality: ‘New technologies, for example, have bought about particular changes in the

way we engage with music’ (Bloustien, Peters et al, 2008, p. 25). With substantial

dependence on technological advances and the increasing possibilities of the Internet,

music creators and consumers now engage with the art through digital methodology.

The home-recording studio has been the preserve of electronic music for some years

now; with dubstep, house and techno being produced by artists in their bedrooms.

Online file-sharing company Napster placed fear across the music industry as it

threatened established networks. For modern generations of music including the

online-founded djent scene, it presented opportunity as a way for artists to record

parts for each other and share their ideas online (Thomson, 2011). It is for this reason

that djent and other computer dependent genres have no definitive geographical base

(MetalSucks, 2009). In the context of home recording and the djent community, you

will see below a discussion and analysis of a practical study undertaken by the author.

!19

Practical Work

Instrumental Preparation and Recording Setup

The practice based research for this project took place in a controlled studio setting, in

an attempt to replicate the production environment and equipment used by existing

djent artists. The hardware, software and instrumental setups have been specifically

chosen with reference to to the discoveries made during the literary review section of

this essay. A 6 string Dean Vendetta guitar with an 8 string set (less the two highest

strings) tuned to G, C, F, A#, D#, G was performed though an Axe-FX digital guitar

processing unit, to achieve the distinct digital tone demonstrated in Periphery’s

YouTube tutorials (Adam Nolly Getgood, 2013a) — the specific distorted guitar tone

used is a direct reflection of TesseracT’s own Axe FX tone called FAS Modern, with

an added low-cut equaliser set at 100hz to remove any unnecessary bass frequencies

(MetalSucks, 2006). A DI signal was also taken from the guitar tracks to enable re-

amping later on if required.

It was decided early on that the project would contain a vocal for at least some of the

tracks, as most established djent bands (excluding Animals as Leaders and The Helix

Nebula) contain a vocal part (either melodic or screamed). The vocals were recorded

using a Rode NT1 condenser microphone with no processing added during recording,

assigning complete equalisation and dynamic control at the mixing stage; a

representation of working in a digital format. The bass guitar was a 4 string Fender

special run Japanese half jazz half precision. Most djent bands use 5 or 6 string basses

to match the 7 or 8 string guitars, however with limited equipment a 4 string was the

!20

only option available. The bass tone (see appendix 3.3) consisted of a blend between a

DI signal and an Axe FX guitar amp to add some distortion, as demonstrated by Adam

Nolly Getgood (2013b).

!21

Audio and MIDI Sequencing

The demo guitar tracks were composed using a line 6 digital guitar amplifier at a

project studio (see appendix 2.1, 2.3, 2.4 and 2.5 for demo versions); material that

became the rhythmic foundation for the interplay between the kick and snare. The

final drum sounds on the tracks are MIDI sequenced performances using Superior

Drummer 2.3 with the addition of Periphery's own preset drum sounds by Nolly

(appendix 3.6). The Superior Drummer default Avatar kit (appendix 3.5) was used

initially, but after juxtaposing this with the Nolly pack it was clear that the default

kick and snare samples lacked weight and punch; a sonic distinction that is desired by

the djent community. Mansoor often uses slight timing and velocity adjustments to

humanise a non-human performance (Top Secret Audio, 2014b). The Logic MIDI

sequencing (“piano roll”) window offers a function called “humanize”, which

randomly shift note timing, velocity and length within user-defined parameters.

The “humanize” function can remove some of the rhythmic unison between the

instrumentation, so another method is to manually move certain parts of a beat which

allows for greater control over exact note positioning and timing without affecting

note length or velocity. In this instance (appendix 3.8), the ride cymbal has been

moved slightly behind the snare, to emulate how a drummer would perform that

phrase (Top Secret Audio, 2014a). Appendix 3.7 demonstrates the same drum pattern

as a quantised performance, which subsequently sounds less natural. With reference 6

to Singularities (Northlane, 2013), most of the drum hits are programmed at full

velocity to compose a desired un-dynamic but punchy performance. To give the

A digital technology that snaps audio/MIDI notes to a user defined beat (IE 1/4 note)6

!22

impression of a more dynamic drum performance, ghost notes were added to fill in

the gaps between full velocity hits (see appendix 6.1 and 6.2 for screenshots); ghost

notes are a natural element of human performance that can also transform a static

pattern into a linear groove, demonstrated in appendix 3.9 and 3.10. Programming the

drums is a clear example of dehumanising (Weller, 2015) as it often represents

unconventional drum patterns and contains no physical performance of an instrument.

That be being said, djent producers are beginning to incorporate techniques that add

details of human performance to reduce the level of dehumanisation.

The electric guitar tracks (and some bass parts) have been gated to remove any

unwanted noise between phrases, creating a tight phrase or note that is part of the 7

djent guitar sound. One method would involve inserting a noise gate onto the guitar

tracks, to remove any signal that falls below a set threshold. For this project the

preferred method was to manually gate the audio (see appendix 5.1) by removing

sections of a file, allowing greater control over the start time (attack); end time

(release) and threshold settings. Appendix 3.1 confirms that without gating, the

performance contains displeasing sounds such as amp noise and hand movements

between the phrases. Appendix 3.2 demonstrates the same guitar phrase with the

discussed manual gating. Cutting audio in this way expresses an extremely fast attack

and release time that may sound un-natural in some genres, but this is a recognisable

sonic characteristic of djent. It is also another procedure that takes away from the

human activity by removing imperfections and therefore dehumanises the

performance.

Abrupt fades between audio and silence achieved through a noise gate with fast attack/release times7

!23

In the context of cutting audio, unedited instrumental recordings may contain

imperfections such as timing or pitch fluctuations, elements that demonstrate human

activity. One systematic approach to removing these errors is to quantise the audio

using programmes such as Logics Flex Time. The elimination of mistakes can also be

achieved by recording smaller sections of a complete musical phrase, then compiling

the recorded material to form a take. Although both processes remove elements of

human activity, it could be argued that the latter is less dehumanising than the former

as the recorded performance remains unedited (in relation to altering the behaviour of

sound). However appendix 3.20 demonstrates that take compilation can easily become

digital composition, as initially the pinch harmonic (illustrated in appendix 5.2) was

not written as part of the original riff (see appendix 3.21). The pinch harmonic was

recorded after the song was written, as an experiment to see if it could be placed in the

context of an existing phrase to create a new riff. As heard in appendix 3.22 a guitar

performance has also been digitally composed by recording three notes, and

structuring them into a rhythmic pattern (see appendix 5.4 for a visual representation).

Although digital composition diminishes the original intentions of a recorded

performance, it is a convenient tool that djent producers may use post-recording

instead of having to re-record a phrase or record a new part.

!24

Electronic Music Production and Sonic Experimentation

Dubstep (and other dance music) relies on technology to compose tracks using

various techniques such as sub-drops (bass-drops), reversed audio, filter sweeps,

“glitched” (cut and re-sequenced) audio samples, auto-tune and looping; an example

that demonstrates at least three of these elements is ‘Scary Monsters And Nice

Sprites’ by Skrillex (2010). As part of an experiment for this project, some of the

above techniques were used in the context of djent, to see if dance music elements

could be added to the genre: 'When the platform of making music happens to be your

computer, you tend to make music like dance music' (Skrillex 2012). It is important to

note that some of these techniques are already being used by some metal and djent

artists (IE Parkway Drive and Northlane), but not to the extremity of dubstep. This

practical experiment will also test the level of dehumanisation (if any) that the dance

music elements portray.

Appendix 4.3 visually represents how pitch correction software (Flex-Pitch) was used

on the melodic vocal, to ensure that all notes were perfectly in tune. Taylor Larson

(co-producer for Periphery II) explained that Spencer Sotelo (lead vocalist for

Periphery) required no vocal tuning as his performance was “flawless” (Periphery,

2015c). However with reference to appendix 3.13, it is clear that the vocal recordings

for this project were not “flawless” and required some tuning to achieve the sonic

perfections of djent (see appendix 3.12 for tuned vocal). To take this dehumanising

process even further, the possibilities of digitally composing vocal harmonies has

been explored. This involved using Melodyne to reshape the structure of the original

recorded performance into a new melody (ITB Studios, 2009). The digitally

!25

composed harmony sounds un-natural and robotic when heard in isolation (see

appendix 3.11) but in the context of ‘Track 4’, the un-natural elements are hidden

behind the more prominent instrumentation (such as drums and guitars). Although the

digital harmony is not an accurate representation of the human voice, composing this

way is extremely convenient if recording time is limited, the vocal performance is

inconsistent or to programme an idea for a singer to perform.

‘Letter Experiment’ by Periphery (2010) demonstrates a vocal “glitch” (or “stutter)

technique that involves splicing audio and repeating small sections of a phrase (see

appendix 4.2), this is often a single syllable/word taken from a melody and can be

heard in appendix 3.15. For this project, the “glitch” technique has also been used on

a clean guitar chord as demonstrated in appendix 3.4. As well using the “glitch”

technique, the chord has also been reversed to act as a build up from the introduction

heard on ’Track 1’ (see appendix 4.5). By combining these two methods, the original

intention of the performed chord (see appendix 3.16) has been altered. It could argued

that changing the behaviour of sound is a process that dehumanises a performance,

however in this case (and in the case of dance music) it could also be argued that the

producers intention is not to alter the original sound, but to create a new sound/

instrument based on existing material. For example Skrillex (2010) uses vocal

recordings as the foundation to build a MIDI instrument, effectively transforming a

human activity (the natural sound of a voice) into a MIDI performance.

Dance music often uses a riser to build up tension between sections of a track or as a

lead up to a breakdown or drop, this can consist of filter sweeps or reversed audio

!26

samples. ‘Scary Monsters and Nice Sprites’ uses a filter sweep as an introduction to

the song, a technique also used by Australian metal band Parkway Drive (2010) to

bring dance music elements to the metal realm on their track ‘Sleepwalker’. This

technique was replicated for the introduction of ‘Track 3' (see appendix 3.18) but for

the purpose of sonic experimentation it was decided that the a riser would be applied

as a transition between two sections. The main reason for this test was the guitar tone

between the verse/breakdown and chorus’ during ‘Track 1’ had been accidentally

altered during recording; the riser took the focus off of the change in tonality. The first

chorus uses a reversed crash cymbal (appendix 3.14) with an underlying bass line

while the second uses a filter sweep (appendix 3.19). A visual representation of the

two types of riser are illustrated in appendix 4.4 (reversed crash) and appendix 4.1

(introduction filter sweep).

!27

Conclusion

Through research presented in this essay, there is evidence to suggest that djent can be

declared an independent genre, due to its distinct sonic characteristics. However there

is dispute around this statement as some still refer to djent as a movement or scene

within metal. The literary review revealed processes that occur during the production

stage of djent that dehumanise a performance. Although there are many dehumanising

processes (audio sequencing, pitch correction and digital composition etc) drum

programming/sequencing has been identified as the clearest example, since the digital

representation is constructed without the physical performance of an instrument.

Unestablished djent artists may be restricted to drum programming and audio

sequencing because of minimal production setups, or a lack of funding to pay for the

recordings of real instruments and amplifiers. This has led to the distinct digital

tonality of the genre. That being said, artists are starting to use various systematic

measurements that add or preserve elements of human activity, to counteract the

dehumanisation that occurs during the production process. As recording budgets have

increased for popular djent artists such as Periphery and Tesseract, drum

programming has become a way for band members to digitally compose a

performance for the drummer to learn and record. Research suggests that without the

mass production and affordability of project studios, drum programming software and

digital guitar amplification setups; djent would not have existed. The same could also

be said for modern electronic music genres such as dubstep as both genres have a

dependence on technology.

!28

Bibliography

Adam Nolly Getgood. (2013a) Axe-FX II Presets by Misha Mansoor and I. [Online Video]. 21, January. Available at: http://youtu.be/6Rer-ZMIEWg. [Accessed: 7 November 2014].

Adam Nolly Getgood. (2013b) Gear Rundown - Nolly of Periphery - Live Rig 2013. [Online Video]. 5, December. Available at: https://m.youtube.com/watch?v=lMxbP1V3WBo. [Accessed: 3 March, 2015].

Bayer, G. (2009) Heavy Metal Music in Britain. Surrey: Ashgate Publishing Limited.

Bloustien G, Peters M et al. (2008) Sonic Synergies: Music, Technology, Community, Identity. Hampshire: Ashgate Publishing Company.

Borthwick, S and Moy, R. (2004) Popular Music Genres. Edinburgh: Edinburgh University Press Ltd.

Eno, B. (1948) The Studio as Compositional Tool. In: Cox, C. & Warner, D. eds. (2010) Audio Culture. London: The Continuum International Publishing Group Ltd. pp. 127-130.

FMSone82. (2012) Periphery - Make Total Destroy (Live in Toronto, ON at Heavy T.O. - August 12, 2012. [Online Video]. 25, August. Available at: http://youtu.be/aG8BFag1d_A. [Accessed: 9 November 2014].

Frith, S and Zagorski-Thomas, S. (2012) The Art of Record Production. Surrey: Ashgate Publishing Limited.

Gould, G. (1966) The Prospects of Recording. In: Cox, C. & Warner, D. eds. (2010) Audio Culture. London: The Continuum International Publishing Group Ltd. pp. 115-126.

got-djent.com. (2010) 8 String Tunings. [Online]. Available at: http://got-djent.com/content/8-string-tunings. [Accessed: 16 January 2015].

got-djent.com. (2011) How to Play Djent with Bass?!?! [Online]. Available at: http://got-djent.com/content/how-play-djent-bass. [Accessed: 3 March, 2015].

got-djent.com. (2012) Euroblast vol. 7 interviews – Sybreed. [Online]. Available at: http://www.youtube.com/watch?feature=player_embedded&v=oBLb9BU3bDc. [Accessed: 6 January 2015].

!29

got-djent.com. (n.d.) About got-djent.com. [Online]. Available at: http://got-djent.com/about. [Accessed: 7 November 2014].

Hamilton, A. (1990) The Aesthetics of Imperfection. In: Anon. eds. (1990) Philosophy. s.l: Cambridge University Press, pp. 323-340. [Online]. Available at: http://www.jstor.org/stable/ 3751429. [Accessed: 22 February 2014].

Holm-Hudson, K. (2002) Progressive Rock Reconsidered. London: Routledge.

ITB Studios. (2009) Creating Vocal Harmony with Melodyne - Part 1. [Online Video]. 16, July. Available at: https://www.youtube.com/watch?v=VXIRS04HKEQ. [Accessed: 10 March, 2015]. Katz, M. ed., (2010) Capturing Sound. 1st ed. London: University of California Press, Ltd.

Kealy, E. (1979) From Craft to Art. In: Frith, S. & Goodwin, A. (1990) On Record. London: Routledge. pp. 207-220.

Mansoor, M. (2010) Marc Okubo (Veil of Maya) & Misha Mansoor (Periphery) Interview. Interview with Mark Okubo. [Online]. 12, November. Available at: http://www.guitarmessenger.com/ interviews/marc-okubo-veil-of-maya-misha-mansoor-periphery-interview/. [Accessed: 8 November 2014].

Mansoor, M. (2011a) Djent, the metal geeks microgenre. Interviewed by Jamie Thomson [Online]. Thursday 3 March 2011, 22.45. Available at: http://www.theguardian.com/music/2011/mar/03/djent- metal-geeks. [Accessed: 8 November 2014].

Mansoor, M. (2011b) What is Djent? Interviewed by: Rob Laing. [Magazine]. Total Guitar.

Mansoor, M. (2012a) Periphery interview part 3 of 3 by freethinkers.at. Interviewed by Jörg [Online Video]. 18, February. Available at: http://youtu.be/8bE0Q_9nQ9U. [Accessed: 8 November 2014].

Mansoor, M. (2012b) All of the studio updates for Periphery II: This Time It's Personal!. [Online Video]. 31 August. Available at: https://www.youtube.com/watch?v=8qsFAYNjWQ4. [Accessed: 22 February, 2015].

Mansoor, M. (2014) Juggernaut Studio Update! Drum Doing. [Online Video]. 2 July. Available at: https://www.youtube.com/watch?v=y3a6gAdj774. [Accessed: 22 February, 2015].

!30

MetalSucks. (2006) TesseracT's Acle on the Birth of TesseracT and the Djent Movement. [Online]. Available at: http://www.metalsucks.net/2010/10/06/tesseracts-acle-on-the-birth-of-tesseract-and-the-djent-movement/. [Accessed: 2 March, 2015].

MetalSucks. (2007) CANNIBAL CORPSE’S ALEX WEBSTER ON THE PROS OF METALCORE. [Online]. Available at: http://www.metalsucks.net/2007/10/26/cannibal-corpses-alex-webster-on-the-pros-of-metalcore/. [Accessed: 16, January, 2015].

MetalSucks. (2015) The Debate Rages On: Is “Djent” a Genre? [Online]. Available at: http://www.metalsucks.net/2015/01/06/debate-rages-djent-genre/. [Accessed: 16, January, 2015].

Moore, A. (2001) Rock: The Primary Text. 2nd ed. Surrey: Ashgate Publishing Limited.

Moore, A. (2002) Authenticity as Authentication. In: Moore, A. (2007). Critical essays in popular musicology. Aldershot, Hampshire, England: Ashgate, pp.131-145.

Moorefield, V. (2005) The Producer As Composer. London: Massachusetts Institute of Technology, pp. 1-35.

Periphery. (2008) Bulb Playing "All New Material" with an EBMM JP6/VHT CLX. [Online Video]. 13, July. Available at: https://www.youtube.com/watch?v=tjEiOu9Bkuk. [Accessed: 22 February, 2015].

Periphery. (2015c) Matt Jams on his Juggernaut tour kit. [Online Video]. 18, January. Available at: https://www.facebook.com/video.php?v=10153077258878217&set=vb.19059968216&type=2&theater. [Accessed: 22 February, 2015].

Periphery. (2015d) All of the studio updates for Periphery II: This Time It’s Personal! [Online Video]. Available at: https://www.youtube.com/watch?v=8qsFAYNjWQ4. [Accessed: 10 March, 2015].

Skrillex. (2012) Skrillex Talks Dubstep and More. Interviewed by Alex Chapman. [Online Video]. No date. Available at: http://www.youtube.com/watch?v=d_EPt6L0llg. [Accessed: 10 November 2014].

SteveTerreberry. (2014) How To Be DJENT! [Online Video]. 25, January. Available at: https://www.youtube.com/watch?v=wfPOANlbyWw. [Accessed: 22 January 2015].

Thomson, J. (2011) Djent, the metal geeks microgenre. [Online]. Available at: http://www.theguardian.com/music/2011/mar/03/djent-metal-geeks. [Accessed: 8 November 2014].

!31

Top Secret Audio. (2014a) Misha Mansoor's Guitar Recording Tips. [Online Video]. 26, February. Available at: http://youtu.be/er9VhozNHNk. [Accessed: 8 November 2014].

Top Secret Audio. (2014b) Part 1 of 2: Misha Mansoor's Drum Programming Tips. [Online Video]. 20, April. Available at: http://youtu.be/Bge36qT8VpI. [Accessed: 8 November 2014].

Top Secret Audio. (2014c) Part 2 of 2: Misha Mansoor's Drum Programming Tips. [Online Video]. 26, April. Available at: https://www.youtube.com/watch?v=y_MaHsxa0JM. [Accessed: 22 February, 2015].

Weller, D. (2015) 'Dissertation Questions'. Interviewed by: Josh White. [In Person]. 24, February.

Widmer, G. and Goebl, W. (2004) Computational Models of Expressive Music Performance. Journal of New Music Research, 33(3), pp.203-216.

White, P. (1995) MIDI Basics, Part 2: Sequencing. [Online]. Available at: http://www.soundonsound.com/sos/1995_articles/sep95/midibasics2.html. [Accessed: 22 January 2015].

White, P. (2001) Advanced Gating Techniques, Part 1. [Online]. Available at: http://www.soundonsound.com/sos/apr01/articles/advanced.asp. [Accessed: 22 February, 2015].

Zak III, A. (2001) The Poetics of Rock. London: University of California Press Ltd.

Zak III, A. (2009) Painting the sonic canvas. In: Bayley, A. eds. 2010. Recorded Music. UK: Cambridge University Press, pp. 307-321.

!32

Discography

Asking Alexandria. (2009) Stand Up and Scream. [CD]. UK: Sumerian Records.

Animals as Leaders. (2014) The Joy of Motion. [CD]. UK: Sumerian Records. August Burns Red. (2009) Constellations. [CD]. UK: Solid State Records under exclusive license to Hassle Records.

Breaking Benjamin. (2006) Phobia. [CD]. UK: Hollywood Records Inc.

The Devil Wears Prada. (2009) With Roots Above and Branches Below. [CD]. UK: Ferret Music.

The Devil Wears Prada. (2011) Dead Throne. [CD]. UK: Ferret Music.

DJ Babu. (1996) Super Duck Breaks. [CD]. USA: Stones Throw Records.

Grandmaster Flash and the Furious 5. (1982) The Message. USA: Sakkaris Records.

Hacktivist. (2013) Hacktivist. [CD]. UK: Elevate Rights Ltd.

The Helix Nebula. (2014) Meridian. [CD]. UK: The Helix Nebula.

King Crimson. (1969) In the Court of the Crimson King. UK: Island.

Northlane. (2013) Singularity. [CD]. UK: We Are Unified.

Parkway Drive. (2010) Deep Blue. [CD]. UK: Resist Records, under exclusive licence to Epitaph.

Periphery. (2010) Periphery (Special Edition). [CD]. UK: Periphery LLC.

Periphery. (2012) Periphery II. [CD]. UK: Century Media Records Ltd.

Periphery. (2014) Clear. [CD]. UK: Century Media Records Ltd.

Periphery. (2015a) Juggernaut: Alpha. [CD]. UK: Century Media Records Ltd. under exclusive license from Periphery.

Periphery. (2015b) Juggernaut: Omega. [CD]. UK: Century Media Records Ltd. under exclusive license from Periphery.

!33

Pink Floyd. (1979) The Wall (2011 Remastered Version). [CD]. UK: Parlophone Records Ltd.

Rush. (1974) Rush. [CD]. UK: The Island Def Jam Music Group Inc.

Rush. (1981) Moving Pictures (2011 Remaster). [CD]. UK: The Island Def Jam Music Group Inc.

Rush. (1982) Signals. [CD]. UK: The Island Def Jam Music Group Inc.

Sikth. (2003) The Trees Are Dead & Dried Out Wait For Something Wild. [CD]. UK: Gut Records Ltd.

Skrillex. (2010) Scary Monsters and Nice Sprites EP. [CD]. UK: WEA International for the world outside the United States.

Skrillex. (2011) Bangarang. [CD]. UK: Big Beat Records. TesseracT. (2011) One. [CD]. UK: Century Media Records Ltd. TesseracT. (2013) Altered State. [CD]. UK: Century Media Records Ltd.

Meshuggah. (1991) Contradictions Collapse. [CD]. UK: Nuclear Blast GmbH.

Meshuggah. (2005) Catch ThirtyThree. [CD]. UK: Nuclear Blast GmbH.

Meshuggah. (2014) The Ophidian Trek. [CD]. UK: Nuclear Blast GmbH.

Monuments. (2012) Gnosis. [CD]. UK: Century Media Records Ltd.

Monuments. (2014) The Amanuensis. [CD]. UK: Century Media Records Ltd.

Wishbone Ash. (1970) Wishbone Ash. [CD]. UK: UMG Recordings, Inc.

Wishbone Ash. (1972) Argus. [CD]. UK: Wishbone Ash.

Yes. (1969) Yes (Deluxe Version). [CD]. UK: Warner Music Group.

!34

Appendices

1.0 - Recorded Material

1.1 - Track 1 1.2 - Track 2 1.3 - Track 3 1.4 - Track 4

2.0 - Demo Recordings

2.1 - Track 1 (line 6 guitar, default Superior Drummer kit, without intro track) 2.2 - Track 2 (line 6 guitar, default Superior Drummer kit) 2.3 - Track 3 (line 6 guitar, default Superior Drummer kit) 2.4 - Track 4 (line 6 guitar, default Superior Drummer kit)

3.0 - Additional Audio Samples

3.1 - Non-gated guitar 3.2 - Gated guitar 3.3 - Bass tone 3.4 - Glitch effect clean guitar 3.5 - Default superior drummer setting 3.6 - Periphery superior drummer setting 3.7 - Quantised programming 3.8 - Manually humanised programming 3.9 - Un-dynamic drum sample 3.10 - Dynamic drum sample 3.11 - Solo digitally composed vocal harmony 3.12 - Lead vocal with pitch correction (flex pitch) 3.13 - Lead vocal without pitch correction 3.14 - Reverse crash cymbal as a “riser” 3.15 - Vocal glitch 3.16 - Clean guitar chord 3.17 - Low G drone note 3.18 - Filter sweep intro 3.19 - Filter sweep into chorus 3.20 - Breakdown with dubbed pinch harmonic 3.21 - Original breakdown 3.22 - Digitally composed guitar rhythm

!35

4.0 - Electronic Music Production Techniques (Screenshots)

4.1 - Filter sweep

!

4.2 - Stutter effect

!

!36

4.3 - Flex Pitch

Tuned vocal

!

Untuned vocal

!

4.4 - Reverse audio

4.5 - Glitch effect

!

!37

5.0 - Guitar Editing (Screenshots)

5.1 - Manual gating (to remove unwanted fret noise/harmonics)

A - Guitar phrase with gating

!

B - Guitar phrase without gating

!

5.2 - Sample replacement (IE recording pinch harmonics separately and moving them into position)

!

5.3 - Creating a drone note with using a looped guitar sample

!

!38

5.4 - Digitally composing rhythms by re-sequencing guitar phrases

!

!39

6.0 - MIDI sequencing (Screenshots)

6.1 - Un-dynamic groove example (without ghost notes)

!

6.2 - Dynamic groove example (with ghost notes)

!

!40

7.0 - An Interview with Dan Weller:

Q1. What is your definition of the term "djent". A1. A metal movement that has taken huge influence from Swedish band Meshuggah.

Q2. Do you class "djent" as a genre/sub-genre under the metal umbrella? Why? A2. I don't use the term djent. Clearly it's one of many sub genres that are created online these days.

Q3. Sikth have been labelled to be "djent" by its audience and even by the media. In your opinion, what defines a band as being "djent"? A3. I'm always baffled by our association wife [sic] 'djent'. I have no idea.

Q4. Some "djent" artists/producers use audio and midi sequencing to programme drum performances and "fix" guitar phrases. Were these techniques used in the creation of any Sikth recordings? A4. No drum programming was used. Though there was some protools tidying here and there.

Q5. In your own opinion, what studio production techniques "dehumanise" a performance? Are there any that are specific to djent? A5. Programming the drums would be the clearest example of 'dehumanising'. The 'djent' community is built upon a shared love for 'clinical' production and 'perfection' so lots of editing is implemented to achieve that sound.. Which all sucks out a lot of soul and 'human' feel.

Q6. Can "djent" be created without the manipulation of audio? IE a live recording. A6. With extremely good musicians yes.

Q7. What effect has the home-recording studio had on the "djent" production process? A7. It's created it - simple. Djent wouldn't exist without drum programming and DI's.