No Manual refers to the exploration of music technology in unintended ways, leading to the discovery of new genres, while changing the way we make music forever. Many times in the past, manuals were not readily available (especially for used or borrowed equipment), so becoming one with the instrument was essential.
Pulling from the Blacktronika Archives, we will share clips of many of the innovators discussing their 'no manual' process as well as the manufacturer's intended purpose.
Memorex Cassette (2023-06-29) by BLACKTRONIKA ARCHIVESBLACKTRONIKA EXHIBITS
The medium that started a music revolution
Manual: Cassette tapes were developed as a portable, user-friendly, affordable alternative to reel-to-reel tape recorders.
No Manual: The cassette tape's quick and simple way of recording, early hip hop producers used it to record 'looped' parts from records, rewind, and record the part again, to create original beats. A tedious, but effective process at a time when samplers could only be afforded by larger studios. This was the beginning of a music revolution.
Blacktronika Archives: Hank Shocklee discusses pause tapes
Using only a handheld cassette recorder, a stack of records, and a blank cassette tape, Hank Shocklee created beats that would go down in history.
"One time I was playing with a turntable and the turntable was off and I spun the record backwards and I heard a totally new sound with the same record that I had. Those are the things that got me excited, I guess if you would that would be like my first experience into the iteration of sampling. [The pause tape] was my attempt to refine this process."
- Hank Shocklee (Public Enemy / Rock n' Roll Hall of Fame)
AKAI MPC3000 Blacktronika Archives (2023-07-01) by BLACKTRONIKA ARCHIVESBLACKTRONIKA EXHIBITS
The collaboration that marked an era
Manual: In 1988, Akai in collaboration with Roger Linn released the MPC 60 (Music Production Center), that was an all in one tool for producers working with recording samples, sequencing, and midi instruments. MPC 3000 followed in 1993.
No Manual: Working with its strengths and limitations bred a new generation of producers. Embracing its unique sound resolution and ability to sample & sequence individual drum hits / loops from records became the foundation of modern hip hop production.
Blacktronika Archives: Miss Tahloulah May discusses No Daw
In this clip, producer Tahloulah May explains hardware over software and how the SP404 changed everything.
"I moved on to the MPC2500 because I love the workflow in that one, it’s better in that for me…and so gradually I lost all purpose for my computer.”
-Miss Tahloulah May (Modular Synthesist and Composer)
AKAI MPC2500 Blacktronika Archives (2023-06-29) by BLACKTRONIKA ARCHIVESBLACKTRONIKA EXHIBITS
AKAI MPC2500
Released by Akai 2005 alongside the MPC1000. Although not as acclaimed as the MPC3000, an elusive programmer 'Japanese Jenius' developed the now famous JJOS operating systems. These modifications add additional features and fix bugs in the stock OS.
"Rather than seeing hardware vs. software as opposed to each other, creatively engaging with technology creates one repertoire of tools for different styles of workflow."
- Pablo Dodero (PhD Candidate UC San Diego / Integrative Studies)
Miss Tahloulah May: experimental boom bap
Short video of Miss Tahloulah May in the studio with the E-MU SP1200, Akai MPC 2500, and SP202 /404
ROLAND SP-404 BLACKTRONIKA.012 (2023-06-21) by BLACKTRONIKA ARCHIVESBLACKTRONIKA EXHIBITS
From studio to stage: an LA story
Manual: As demand grew for tools for beat makers and DJs, Roland took note and developed the SP series. The SP-404 was designed for performance driven production styles, portability, and a friendly price point.
No Manual: Innovators like Dibia$e took the studio to the stage, centering their live sets around the SP-404. Using the built in effects, extended sample time and portability, artists turned the SP-404 into their instrument. The LA Beat Scene were the major innovators of this process.
Blacktronika Archive: Dibia$e discussing SP404 live show
Los Angeles' Hip Hop royalty, producer Dibia$e discusses how using the Roland SP 404 for live shows changed his process.
Interview question: Guy Laborde (UCSD Alumni)
“It was made for production. It wasn’t even intended for like doing [live] beats. The approach...I like to have it like turntables. You structure your set like a DJ would have it on turntables or Serato.”
- Dibia$e (Hip Hop Production Legend)
Dibia$e At The Roland Artist Center
Dibia$e live SP404 set... Love to SunRa
Zoom H5 (2023-06-29) by BLACKTRONIKA ARCHIVESBLACKTRONIKA EXHIBITS
ZOOM H5 Audio Recorder
Manual: Audio recorders like the Zoom H5, are used for a variety of purposes like field recordings, audio for video and professional sound design. These handy devices have become a flexible and powerful tool for capturing audio on site.
No Manual: Experimental sound artists pull from a variety of sources to create layers of texture and space in their compositions. Treating the recorder as a musical instrument broadens the possibilities of musical creation.
Blacktronika Archives: Elsa M'Bala on field recordings
Cameroonian sound artist, Elsa M'bala discusses the importance of field recordings in her work.
"I was recording noise in the streets of Yaoundé, and not knowing what to do with it and just wanted somehow to keep it and to make it nice and into a musical track."
-Elsa M'Bala aka A.M.E.T. (Experimental Sound Artist )
UNEXPECTED LESSONS – Sound Performance by Elsa M'bala (2023-07-01) by TALKING OBJECTS LAB and BLACKTRONIKA ARCHIVESBLACKTRONIKA EXHIBITS
Unexpected Lessons: Elsa M'Bala
Blacktronika Archives : KMRU on field recording process
Kenyan sound artist and producer KMRU (Joseph Kamaru) discussing the importance of field recordings within their composition practice and live shows.
"For artists like KMRU, the audio recorder is an extension of their listening practice. By engaging with the spaces he inhabits, his compositions come alive with presence and imagination."
- Pablo Dodero (PhD Candidate UC San Diego / Integrative Studies)
KMRU: Spaces (2023-07-03) by Ableton and BLACKTRONIKA ARCHIVESBLACKTRONIKA EXHIBITS
KMRU: Space [Ableton]
A short documentary on KMRU's field recording process.
Blacktronika : Afrofuturism in Electronic Music, is a course created by Professor King Britt for University of California San Diego. The research honors all the innovators of color that have and continue to contribute to the advancement of electronic music. The growing archive consists of many amazing interviews directly with the iconic, legendary, and contemporary artists. This page will create special exhibits around the archival content.
For more detailed archives: Blacktronika.com
Curated by: King Britt
Produced by: King Britt and Pablo Dodero
Project Management: King Britt and Pablo Dodero
Project Support: University of California San Diego
Interviews appear courtesy of Blacktronika Archives
Special thanks to all of amazing guests and artists that have contributed their love and time to the class and, most of all, to the culture.
