An interview with Ben Grayson
From digital sampling and appropriation to remixing and the affordances of technology
DOI:
https://doi.org/10.1558/prbt.36226Keywords:
music production, music technology, electronic dance music, sampling, affordance, appropriationAbstract
In this Riff article, Gene Shill speaks to Australian musician Ben Grayson, the founding member of The Bamboos and internationally acclaimed session keyboardist and electronic music producer. The conversation covers crate digging, sampling, ownership, authorship, musicianship, approaches to creating electronic music and how the affordances of technology assist the creative process.
References
Harkins, P. 2009. ‘Transmission Loss and Found: The Sampler as Compositional Tool’. Journal on the Art of Record Production 4. Online at https://www.arpjournal.com/asarpwp/transmission-loss-and-found-the-sampler-as-compositional-tool/.
McLeod, K., and P. DiCola. 2011. Creative License: The Law and Culture of Digital Sampling. Durham, NC: Duke University Press. https://doi.org/10.1215/9780822393528
Metcalf, C. 2011. A Compulsory License for Digital Music Sampling: Historical Context and Future Guidelines. Master of Arts thesis, Michigan State University, Michigan.
Quigley, R. 2007. ‘What the GRM Brought to Music: From Musique Concrète to Acousmatic Music’. Organised Sound 12/3: 1. https://doi.org/10.1017/S1355771807001902
Shill, G. 2017. ‘Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production’. Unpublished Doctor of Philosophy thesis, Queensland Conservatorium, Griffith University, Australia.
Zeilinger, M. (2014). ‘Sampling as Analysis, Sampling as Symptom’. In Sampling Media. Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199949311.003.0012
McLeod, K., and P. DiCola. 2011. Creative License: The Law and Culture of Digital Sampling. Durham, NC: Duke University Press. https://doi.org/10.1215/9780822393528
Metcalf, C. 2011. A Compulsory License for Digital Music Sampling: Historical Context and Future Guidelines. Master of Arts thesis, Michigan State University, Michigan.
Quigley, R. 2007. ‘What the GRM Brought to Music: From Musique Concrète to Acousmatic Music’. Organised Sound 12/3: 1. https://doi.org/10.1017/S1355771807001902
Shill, G. 2017. ‘Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production’. Unpublished Doctor of Philosophy thesis, Queensland Conservatorium, Griffith University, Australia.
Zeilinger, M. (2014). ‘Sampling as Analysis, Sampling as Symptom’. In Sampling Media. Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199949311.003.0012
Published
2019-12-04
Issue
Section
Riffs
How to Cite
Shill, G. (2019). An interview with Ben Grayson: From digital sampling and appropriation to remixing and the affordances of technology. Perfect Beat, 19(2), 161-171. https://doi.org/10.1558/prbt.36226
