Listening to the new Shinichi Atobe album, aptly named “Discipline.” It’s remarkable how consistent his core sound is from album to album. I think people not into it would say “samey.” But as an aspiring producer it’s kind of cool to think of having a signature sound that is yours and immediately recognizable.
Some other artists I think of with signature sounds without being quite as confining as Atobe would be BoC (obviously), Sigur Ros, Andy Stott and Ulla. You almost always know it’s them without having to confirm it.
Do you try to cultivate a signature sound and if so, how do you do it? Is it a sound design ethos, tempo, use of effects, something else? Or do you prefer to make completely different sounds from project to project?
I think like a lot of people I’m somewhere in the middle. I envy artists like Shinichi Atobe who have such intense discipline with their sound palette.
There are certain things (minor add9 chords, dub techniques, heavy bass) that are almost always there, it’s like I can go back to the well forever.
But, in general, I tend to rinse a particular set of gear and techniques into the ground over a year or three and then get bored.
Among the thousands of videos on my play-along website, all but a few audio tracks were made on the OG Digitone. The few created on some other kit…offend my ears by sounding different and lifeless. The Digitone and FM have contributed to my signature sound.
A huge contributor to my signature sound is the way I split up the eight voices / four tracks of the Digitone. The harmonized melody takes three voices in track one. I try not to give it too much character; I want it to support but not overtake the sound of the kids playing their violins over it. Another three voices / one track plays three-note chords, mostly on offbeats. One track for bass, one track for drums. Electronic hurdy-gurdy music. I almost never deviate from this scheme.
I don’t use presets, however, on the Digitone (except for a few drum sounds). If I were more interested in a signature sound, maybe I would re-use the same bass sound I loved so much in another track. But I’m not sure success on the DN even works this way. For me, the beauty of a song is how the parts complement one another, and I’m skeptical that a “sum of the parts” approach is a real path to success.
I recently bought an M8 and created a dozen projects using it. Within a couple weeks, I was frustrated at the sound of my M8 projects, particularly in the classroom with students playing along. I re-recorded the projects using the Digitone. I will be playing with the M8 over vacation, trying to get it to sound more like my DN.
I love love his work. New album is excellent. His track “Red Line” is probably my favorite. I think you can trace this kind of thing across genres, too — probably a famous example would be a producer like J Dilla. A personal favorite in this category… maybe Theo Parrish? There’s certainly variation in his catalogue but I do think there’s a recognizable Parrish sound.
Somewhat related is a quote from a Fluxion interview that I can’t get out of mind – in describing listening to a demo from some other artist he said (paraphrasing): “I don’t hear him, I hear his machine.” I love the idea of taming the machine(s) you work with to make them conform to “your sound.”
It’s interesting idea - I suspect for most producers that a “signature sound” is really just the culmination of making music with the use of the same inputs (machines, techniques, workflows etc) over and over that leads to this.
In other words, I think most producers aren’t chasing a signature sound deliberately; it just happens. There are probably some at the top of their game who are deliberate about this though and probably pursue the craft from a particular philosophical perspective.
I really don’t like a lot of modern production techniques of around the last 10-15 years, to me a lot of it sounds sterile, samey and boring, the vast majority in fact… So I actively avoid that. To clarify, I’m mostly talking about generic dance/commercial music, rather than any respectable artist doing their own thing.
I have a definite sound in mind when recording but it is on a project/album basis rather than my whole output, although I guess I must somewhat have an overall signature sound due to gear and techniques used and certain habits and preferences, but I try to be conscious not to just keep remaking the same thing over and over. Sometimes a piss in the woods can give a fresh perspective.
For me it is one of the most important things to be content with what I’m doing, if not then there is no point to any of it. This involves making choices all the way through, from gear used, notes played/not played, sound design, mixing, arrangement/performance, and anything else necessary.
I can’t tell if you want a Shinichi Atobe discussion here or a Signature Sound one but;
People who aren’t into it is negative, no point focussing on that… but people unfamiliar with him, like me, might say it sounds a bit genre generic; I don’t hear a signature sound that’s unique as a glancing listener.
To me, artists that are instantly recognisable tend to have consistent/repeated voices rather than an overall sound. So, I’d think ‘Signature Voice’ is way more important than ‘Signature Sound’ if you want to cultivate something new.
Radiohead are probably the best modern example… they have many consistent (familiar to listener) voices across numerous albums/tracks that vary a lot.
I never listened to Shinichi Atobe, but I’ll check him out! To me, having a personal, recognizable sound/voice as a music producer is probably the most important thing one could strive for.
Personal growth in your sound is of course great, but I often feel like producers who always choose to sound like the latest trend dictates are more like craftsman than artists. Its a great skill to be able to make music sound the way the artist you work with or the audience wants it to, but having a sound of your own is what makes you have your own voice and stand the test of time.
Hiphop producers who come to mind are DJ Premier (sounds like himself for 35 years now) and 9th wonder.
I guess it’s a bit like Marmite music. I find it lovely for zoning out to, but no đoubt others will find it monotonous and boring. But in terms of gaining interest, it’s probably better for an artist musical or visual to stick to a style. Also, you’re more likely to master your craft if you stick to a formula.
Maybe “samey and generic” but at the same time exemplary and inimitable; hardest to achieve imo.
Like Rythm&Sound or SND/Mark Fell which are less generic and would be extreme examples!
Mike Parker has that relentlessly consistent sound aesthetic. Fantastic producer and visual artist.
There’s a great interview with him here, shared from where he talks about his music: https://youtu.be/Bv18U-JZpTM?feature=shared&t=335
