In the context of producing a quality audio sound design and music composition based on Trap House music, the percussive development and intelligence in placement and sequencing of a standard motivic idiom - based on what might appear to be seemingly simple, yet which the pros would attest to: a four-on-the-floor beat is one of the most difficult drum tracking and drum session gigs to play out. Not only is the beat quite obvious, and naked, in its simplicity, rendering mishaps and slip-ups most apparent and uncomforting, to the listener. It is a bold and challenging rhythm, requiring much timing, insightful progressive design, in choicing the splices of the beat, as it develops, and stands, on its own. Drums and bass are known as the backbone of a song. Moreover, the drums and the bass are aught to live off of each other, and for each other, oftentimes picking up slight syncopations and touches upon one another, as bass can also lead several lives; sometimes, a percussive element about it.
Good and well-placed drums and percussive elements, within a track, are notoriously difficult to pull off, given stock virtual instrument patches on a beat-making sequencer machine, drum synth, etc. - in general. For one thing, drums and percussive elements are tunable instruments. A live percussive or drum set has some give to it, in that the live instrument can be malleable in its tuning, given the nuance of the performer and performance that is played out. Somewhat similarly, yet less organically, designed drum beats and sequences can be tuned, with individuality to the notes, when using MIDI, and, as well, in audio, although pitch-shifting or transposing audio supposes a bit more of destructive editing and computing resource. In addition, having to tune a drum sound individually is a very non-present tense mind-mode activity - I find that the creative process is easily abandoned, or that it becomes an ineffable debacle of becoming bored, or apathetic upon the subject, this being the creation of a fuckworthy track dance music piece.
Somewhere (recently), along the way, “bunchie” got introduced to me. The semiotics of bunchie are obvious, in common usage in higher analytical standard American English: its bunch, it’s an active, present-tense descriptor, it describes a subject, or topic - it’s easily adapted to the comically [attempt] insulting, yet for me, over a short while in tossing “bunchie” around, in my head, and that it had floated by others, in the confines of my mind, and here and there, I’d let it leak out that bunchie had been developing in other people’s | smells, etc., | eww, umm. BunchieApHff way off calibration meter, on this one. Take some care towards others; few things, at this point in time, are truly as hermitic as we might appreciate, given that “no man is an island” happened long ago, in literature, and we live in a techno trap house bwopp-down dance-off, at least sometimes, and it’s a hard to live down and abandon pop and electro scene musical form, and it gives rise to more advanced, more chill, more future, more fancy, through its simple and rudimentary primitivistic design and demand - a promise of a relentless four-on-the-floor bass kick, and a BPM that can be extensible, modular, and transient, and with mixtapes online being a significant distributor of musical supervisory taste and disposition on aesthetics and preference, a lot of ground can be covered, and trap house beats commonly set the feature of much of what I consider to be well supervised mixes.
The bunchie, though, simple and dumb as it might seem, is actually a resonance freedom declaration, of a departure from octaves and A=440 Hz common and standard music theory: it is the sound of our anything; here, in my case, for my bunchie, I chose the bunchie of my recyclables-collection bag, with bunches of smushed plastic bottles, cans and glass in it, as I jogged down the beach boardwalk earlier this afternoon. It is the resonance of me, myself; I bunched up and smushed the cans and bottles, and the glass containers are made at a standard size that suits our Imperial system standards, our measures of our selves, as human form, and for that sake, there are elements of individuality, as well as community, within a bunchie bag of recyclables being jogged out, spliced up, and sampled, for bunchie scrum, of drum tracking in a basic trap house music beat, as the aspiration and inspiration towards a banger track.
 |
| The bunchie carry-alongs of an of on bum. |
My other source audio comes from the Metro train’s sounds, as I can appreciate the hums, chugging, whistling, poofs, and struggle of the great force of weight being compelled, via locomotion, as it were, of a massive and deeply resonant source sound element.
The sound of a bunchie tracking design, or for a build-up or break-down development or bridge element in a song is well, when it’s tuned | appropriately |, yet it can stand on its own, with a complementary tuning, unique to the song itself, given that it resonates, or develops well, within its own context and for the other elements of a completed music production piece, or song.
Bunchie just happens, in life, sometimes. The dance floor gets bunchie. People get bunchie, too, all on their own, although a bit less distasteful, of the preferably notion, moving on, in life. At some point, I’ll compose a new track with my new bunchie beat-making concept, fresh in my mind. Hopefully you’ll become inspired, as well, to exercise your musical intelligence and resourcefulness, through the node of bunchie.
