Appendix A: A Sample-Based Exploration of the Selected Sounds Interviews

This dissertation involves an ethnographic investigation into the sampling and mixing practices of a group of Montreal sound artists. Seven composers (in one case, a composing duo) each contributed a single piece of digitized sound to the project. Each was free to submit any sound they liked, with the one requirement that all samples be selected from sources discovered around Montreal (at used or new record shops or thrift stores, recorded from the radio, or in the field, or at home, etc.). Copies of all the audio files were distributed to every participant. Each composer then put together a track drawing on this sample-pool exclusively for source material. The resulting mixes are featured on this page through a playback engine located at the bottom of the screen (html version).

All the artists were interviewed regarding the evolution of their knowledge of digital audio production methods as well as their thoughts on audio sampling. These interviews took place after the samples had been distributed, during the period where each artist was working independently on their composition. While the interviews were open ended, they were based around 10 specific questions asked to each participant.

Interview answers have been formatted into a database which is navigable through two different means, by KEYWORD and by QUESTION. Each link in the following two lists opens a pop-up window featuring an answer to the question under consideration (html version). In the case of the keyword taxonomy, specific elements of interview answers have been colour-coded so as to correspond with one of the seven selected keywords. Hints at the content of each link have been provided in the form of mini-phrases attached to each of the colour-coded keyword entries. A briefer, linear exploration of these keywords and the insights revealed in the interviews can be found in Chapter 5. For a more in-depth introduction to the participants in this project combined with a discussion of the interview questions and the non-linear structure of this chapter, please consult

Chapter 4: An Introduction to Appendix A--A Sample-Based Exploration of the 'Selected Sounds' Interviews

BY KEYWORD:

Sampling as "TECHNOLOGY"...
1. and "noodling around" with audio software. (A.Friz)
2. with different technologies enabling different types of creativity. (J.Gallant)
3. including hybrids of analog and digital. (A.Moskos)
4. that changes over time. (J.Morris)
5. and how looping practices affect instrumental playing styles and vice versa. (R.Williams)
6. chosen for reasons beyond the simple fetishizing of the new. (B.Houde)
7. and the practice of mixing analog and digital media. (O.Chapman)

Sampling as COMMUNITY...
1. with RadioLand as a sound source. (A.Friz)
2. and the difference between playing alone or with others. (J.Gallant)
3. and distribution through independent means. (A.Moskos)
4. and overcoming shyness through technology. (J.Morris)
5. and becoming aware of one's sonic environment. (R.Williams)
6. and the surprising reactions of one's audience. (B.Houde)
7. and moments of unanticipated sharing. (O.Chapman)

Sampling as MEMORY...
1. in how it harvests our particular sensitivities. (A.Friz)
2. and how sound sources affect one's production attitude. (J.Gallant)
3. and broadening one's definition of music. (A.Moskos)
4. and a record of personal expression. (J.Morris)
5. and the lingering effects of the work of others. (R.Williams)
6. and a relationship to performance that depends on one's past. (B.Houde)
7. and the exploration of one's own taste in music. (O.Chapman)

Sampling as LISTENING...
1. through radio transmission. (A.Friz)
2. and the explosion of expectation. (J.Gallant)
3. and liking the way it sounds. (A.Moskos)
4. and responding to cues from video or a state of mind. (J.Morris)
5. and being affected by what we hear. (R.Williams)
6. and different expectations when it comes to DJs vs live musicians. (B.Houde)
7. and the nuances of the loop. (O.Chapman)

Sampling as COLLECTING...
1. through recording unusual sound sources. (A.Friz)
2. old favorite sound sources. (J.Gallant)
3. music and influences. (A.Moskos)
4. through capture and exploration. (J.Morris)
5. and the passing down of influences through record collections. (R.Williams)
6. and working with concepts. (B.Houde)
7. where the line blurs between records and gear. (O.Chapman)

Sampling as ETHICS...
1. and the pursuit or obliteration of indexical relationships. (A.Friz)
2. and different levels of purity. (J.Gallant)
3. and how there's no turning back. (A.Moskos)
4. and the intuitiveness of transforming source material. (J.Morris)
5. and the subtleties of making it sound good. (R.Williams)
6. in the face of copyright. (B.Houde)
7. and acknowledging one's limitations. (O.Chapman)

Sampling as RECORDING...
1. with software and hardware. A.Friz
2. live versus programming. (J.Gallant)
3. and making it sound good. (A.Moskos)
4. sounds one likes. (J.Morris)
5. with careful selection of sounds in order to avoid too much density. (R.Williams)
6. with possibilities limited mostly by one's experience. (B.Houde)
7. and other paradigm shifts. (O.Chapman)

BY QUESTION:

1. How would you describe yourself in terms of what you do with sound?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

2. What equipment do you use?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

3. What kind of sound-sources do you generally work with?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

4. How long are these sources?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

5. How long are the pieces that you make from them?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

6. How did you come to make music in this way?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

7. How would you distinguish performing live from working in the studio, if at all?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

8. How does your source material affect your work, if at all?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

9. Describe the process of choosing your submission to the "Selected Sounds" project.
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

10. Briefly, what is "sampling", in your opinion?
A.Friz J.Gallant A.Moskos J.Morris R.Williams B.Houde

Listen To The Mixes!