"The Root Of FMT's Style" Page Continued on LIFE IN HANNO & SGEL
This text has been added to "The Root Of FMT's Style (FMT Classic)."
The period of FMT’s composition shift continues, when monophonic construction was developed in “Life In Hanno” and basically just one chord was used in “Mercury.”
Furthermore, FMT featured such particular artists every piece as Tchaikovsky, Debussy and The Beatles: “Corps De Ballet”, “Saint-Germain-En-Laye” and “Lovesome Liverpool”, respectively, all released in early 2019.
Life In Hanno
TI: The way of making sounds I established in Scale Music is virtually the same as today’s. I opened the file of Life In Hanno, and found it very easy to check the mixing. We began to use new-version Studio One and that resulted in far improved sounds.
One of the biggest differences between Scale Music and Life In Hanno is that I operated the waveforms in the latter while not in the former track. That is the same as today’s way of ours, too.
TM: Several things we did in “Life In Hanno” had a large impact to me as well. Firstly, we structured similar motifs on various parts in a canon-like form, which might be our very early work to apply a counter-point.
Secondly, the original motif is another monophonic motif that TI hallucinated and we treated it as an intermediate phrase. That sounds dramatic to me.
Thirdly, as for the beat, we aimed at a mechanical beat with a little bit human one, but it’s not easy in general to make such a groove on 80 BPM with drum machines. There is, moreover, no rhythm pattern and the percussion is entwined with the monophonic phrases. That was very new to me.
"Saint-Germain-En-Laye", the track of FMT's homage to Claude Debussy, was another turning point.
Saint-Germain-En-Laye
TI: An impact of Saint-Germain-En-Laye (SGEL) on us was the use of the phrase generating function of Studio One and the dub methods like a heavyweight bass of sine wave.
I used the phrase generating function just for extra groove, rather than for generating a phrase. But it was finely manipulated after generated automatically. It was our very first time to realise that sort of groove.
I had heard about the technique of supplementing the bass with heavyweight sine wave, but I learned at this timing. The key is managing the bandwidth.
Similarly, I set a one-off delay for a particular waveform for the first time, which is also a dub method. It’s very interesting that the dub methods fit our music very well. If they are applied radically, comprehending the acoustics logically is an essential requirement. It’s hard to deal with them intuitively, actually.
TM: SGEL is also important to me. There is only a single tempo and beat, but there are two types of momentum at the same time: The piano (with strings) and rhythm parts like the bass, drums and gamelans. Since SGEL I have taken a structure like that for such tracks as Vista At Takeoff/Landing, Deconstructing Motown, It's Sticking Around & Worked In, and Hyper Chase For The Ruins.
For the other details please see the notes on SGEL.
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