“Music,” “Sound Design,” and “Musical Sound Design”

“When we started out, we just wanted to make strange noises.”
—Mark Mothersbaugh, Devo

My connection to music-making began early, rooted in self-directed explorations with our home stereo system at age seven or eight. Using a Panasonic all-in-one console (radio, turntable, cassette), I would record songs off the radio, attempting clean edits, anticipating the moment, following a commercial break, when the music would start again. If I did not like the song, I'd stop, rewind and re-cue.

A turning point came when I became interested not just in the songs, but in the cassette tape artifacts, or glitches, caused by the mechanical limits of the cassette recorder, and the unintended sound collages created by recording over tape. Being slightly late on the record button produced pitch and speed ramping; pressing the controls partway introduced more extended distortions—what is commonly called tape modulation or warble.

These interactions revealed a range of effects—uneven speed, layering, bleed—sometimes described as print-through, ghosting, or sonic shadowing. While I developed some control, the results remained inherently unpredictable. These experiments were compelling enough that I pursued them even when told not to, often repurposing my father’s tapes and continuing in secret.

Steeped in classic rock through my older brothers, I later recognized similar techniques in the Beatles and Pink Floyd. By my mid-twenties, I discovered the deeper lineage of musique concrète which predates these artists by a couple of decades.

Inspirational Quotes on the problem of music:

“These talking machines are going to ruin the artistic development of music in this country…”
—John Philip Sousa

“Geez, Andrew, you’d really have something there if you just added a little music.”
—Producer, Steve Daffner

“Yeah, but who cares?”
—Producer, Mark Bingham

Original music and sound recording archive:

(Renaissance of intimacy …12 tracks / mastered)

https://www.processartifact.com/renaissance-of-intimacy

Fanfare For the Compromised Man (…7 tracks / mastered)

https://www.processartifact.com/fanfare-for-the-compromised-man

Within Feedback (…16 tracks / mastered)

https://www.processartifact.com/withinfeedback

Industrial Witchcraft (… 10 tracks / working mixes/ not mastered)

https://www.processartifact.com/industrial-witchcraft

Laundry room Session (… 11 tracks / working mixes/ not mastered)

https://www.processartifact.com/laundry-room-session

Cloud Confucian (… 23 tracks / including some excerpted, working mixes/ not mastered)

https://www.processartifact.com/cloudconfucian

Wasteland Skirmish (…37 tracks / mostly excerpted, working mixes,/ not mastered)

https://www.processartifact.com/wasteland-skirmish

War or Sex Scene (Your Pick!) (… 36 tracks / mostly excerpted, working mixes, not mastered)

https://www.processartifact.com/war-or-sex-scene-your-pick/

The Wedge (… 14 tracks / All excerpted, working mixes, not mastered)

https://www.processartifact.com/the-wedge

One Vast Quarry (… 12 tracks / Noise Rock, not mastered)

https://www.processartifact.com/one-vast-quarry

Rug Hour is #1 (… 10 tracks / Multi- lingual digital Dada- Funk)

https://www.processartifact.com/rug-hour-is-1

Pushing All The Buttons At Once (… 9 tracks / The Lost Noise- Rock Album, not mastered)

https://www.processartifact.com/pushing-all-the-buttons-at-once

After Clock (… 13 tracks / not mastered) soundtracks)

https://www.processartifact.com/afterclock

Bamboo Brigade (… 5 tracks / not mastered) soundtracks)

https://www.processartifact.com/bamboo-brigade

Phillip St. (… 10 tracks / by Stephen G. Smith, produced & arranged by Andrew, not mastered)

https://www.processartifact.com/phillip-st

Diatom Club (… 8 tracks / by Nate Tabor and Andrew Smith, not mastered)

https://www.processartifact.com/diatom-club

Hooligan Hoop (… 7 tracks / Hyper- Wank Glitch Techno/ Vol. 32, not mastered)

https://www.processartifact.com/hooligan-hoop

Additional:

Evil Nurse Sheila!

Music Boxing

Click Dings

Incredible Sons Of Scarface

Accounting for Analogous Glints

Constance Street Studio