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    Posted January 16, 2013 by
    deejayiwan

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    DUCK DUCK PUNCH : FUTURE OF ELECTRONIC MUSIC

     

    1. Analog gear or digital? MP3 or Lp?
    Bryan Rudell: Well, analog synthesizers for sure. I don't have anything against digital synths, but I've never really connected with any. You feel the electricity when you're tweaking an analog filter, or trying to keep your oscillators in tune—it just feels like a real instrument. However, digital has made the recording process attainable for everyone. Certainly us. I don't know that we'd ever want to record without a DAW. MP3 v LP? I prefer the convenience of MP3, but appreciate having something physical to experience - which is why I usually buy CDs.

     

    Trent Waterman: I think analog and digital both have their place right now. DAW is so convenient and quick, especially for electronic music. I record to tape for some acoustic recordings, too, for specific projects where I want to take advantage of tape saturation, etc. I probably listen to more music on vinyl right now than mp3. I'm not a huge audiophile, but the fact that I have to be physically present to drop the needle on an album & flip it over halfway through usually means that I'm more mentally present, too. I like that listening experience.

     

    2. How did analog synths changed music?
    BR: Analog synths brought an entirely new element to music. By literally manipulating electricity into pitches and tones—we could create sounds that hadn't been created before. Of course they were only originally attainable by mega-musicians with tons of money, but by the late 70s when average-income people could afford them—that's when some of the best synth records were created. And let's not forget, most importantly, synthesizers made it cool to be geeky.

     

    3. Your biggest influence in music?
    BR: Freezepop. I was young and impressionable when I discovered them, and they opened the door for me to truly appreciate synthpop history in all its glory. I found my niche and never looked back.

     

    TW: Beatles. And generally all 60's-era rock and folk music. That's what I listened to when I was growing up.

     

    4. Will Online music kill audiophile-listening .....does vinyl have future? Does CD?
    BR: I think, on the whole, online music is a good thing—it's a great tool for discovery. Sadly, I don't think most people have the speakers to notice a difference, but higher quality digital files catered to the audiophile are gaining momentum—you can download FLAC & ALAC from Bandcamp pages, for example. Vinyl will live on forever—pair it with a digital download, and you've got a nice physical package that meets your digital requirements. Win-win. As for CD… I think they've got a good many years left—they're physical, easily ported to a digital library, and WAY cheaper to manufacture than vinyl.

     

    5. How to use music as a public activism....
    BR: I don't think I'll ever want to be blatantly preachy in my lyrics, but if something has to be said I'll say it. For example, "Degenerate Public" is me talking about how ashamed I used to be about being gay—and how so many people try to keep it their 'dirty little secret.' It's addressing a social issue, but in a way that isn't shouting "ACCEPT GAY PEOPLE." Anybody could interpret the song in their own way.

     

    6. You are electronica or electronic music? Where is electronica heading...
    BR: I think of "electronica" as the blanket term for all electronic music. The last few decades brought about many distinct electronic genres, and I think there are a lot of musicians blending genre lines. I want to say we're synthpop, but we don't always fit the classic mold. I think electronic music will always be evolving, as will the technology used to create it.

     

    7. How did your music making process changed?
    BR: Our album, "Human Chemistry," was recorded all over the place. I think I worked in 5 different bedroom studios within the 4 years it was recorded. The fact that we can record at home, and send mixes back & forth while we're in two different cities—it's great. I honestly don't know what indie artists did without computer-based recording.

     

    TW: Yeah, we're incredibly really lucky to be making music in this time period when it's so possible and affordable to make great sounding records at home studios, and so quick to share ideas remotely. A big thank you to Al Gore for inventing the internet!

     

    8. Whats the best thing about Live gigs?
    BR: I love GOING to live gigs—the high you get from seeing a band you love, playing the songs you love, in person. Playing gigs? Well, when we were just starting with a few shows here & there, I was always insecure about it. We were nobodies playing unknown songs. Now that there's been so much work put into this album, these songs have become my babies. Now I feel like I've done my time, and earned the right to be comfortable on stage.

     

    TW: The great thing about live shows is that they don't ever get obsolete. Audio formats and the way people listen to recordings has always changed and will continue to change, but that live experience is still just as impactful and relevant now as it was 50 years ago.

     

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