纪录片自媒体解说素材-新闻动态参考-马克·罗森（Mark Ronson）与艾米·怀恩豪斯（Amy Winehouse）的工作/Mark Ronson’s Work With Amy Winehouse, Duran Duran Roots Highlight ‘Watch the Sound’ Series
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0506/24082jr2twksydr.jpg马克·罗森（Mark Ronson）与艾米·怀恩豪斯（Amy Winehouse）的工作
Mark Ronson’s Work With Amy Winehouse, Duran Duran Roots Highlight ‘Watch the Sound’ Series
马克·罗森（Mark Ronson）在7月30日在Apple TV Plus上首映的“观看Mark Ronson的声音”中心舞台。创作者和音乐家在声音领域中查看创新，从合成器到失真，再到自动调谐，及其他地区。，标题为“ Reverb”，看着Ronson与已故艾米·怀恩豪斯（Amy Winehouse）的合作，后者于10年前去世。在接受Variety的采访中，Ronson分享了Winehouse的回忆，并在“观看声音”的灵感中阐述了。自艾米·怀恩豪斯（Amy Winehouse）逝世以来已经有10年了，您对她有最喜欢的记忆吗？我们只一起工作了六天或七天。我希望还有更多，因为还有更多的回忆。她是最好的，她是如此有趣。我记得四处走走纽约的胡说，从录音中休息一下。她会告诉我一个疯狂的故事，然后说：“我的家人过来了，他们试图让我康复。我说，‘不，不，不。’”我们回到了录音室，写了这首歌。她和她在一起的时刻太好了。 …我希望还有更多。我想她。我想念她的声音和她的声音，我们会闲逛的方式。当Apple TV Plus推出时，“观看声音”的起源是什么，他们来到我身边说：“我们想做一个关于音乐教育的节目，有些技术和怪异的东西，但也适合音乐迷。”他们让我与摩根·内维尔（Morgan Neville）（“距离明星20英尺”）保持联系，我喜欢他的作品。他是这个巨大的音乐迷。马克·梦露（Mark Monroe）在船上生产，我什至没有意识到他对“蜜蜂盖斯：你如何修补伤心的心”和“伊卡洛斯”等负责。这个节目是什么，那是我们决定将其分解为六种技术的时候我们认为是革新现代音乐的最重要的事情，并负责我们一生中的声音和歌曲。在第一集，“ Autotune”中，关于现代音乐听起来越来越多的评论很棒数字的。作为一个很长一段时间以来的人，您认为音乐对音乐的情感越来越少了？当我开始时，Autotune已经存在。我正在与艾米·怀恩豪斯（Amy Winehouse）这样的出色艺术家进行所有这些工作，您会想到人类的向往和联系。但是，当坎耶·韦斯特（Kanye West）在2008年出现“ 808和伤心欲绝”时，这改变了我的观点，因为坎耶从未假装自己是歌手，但他找到了这种工具，使他能够摆脱这些出色的旋律。他的头可能无法做到。作为一群听众，我们会为这场音乐所做的一群听众。我肯定是因为一个仇恨而来。我想这也引入了这样的问题，例如：“歌曲很重要，或者是歌曲由于歌手的情感还是由于对您的情感效果而产生的重量？”在某些情况下，某些纯粹由AI创作的歌曲会让某人的感觉与Stevie Nicks的“ Landslide”相同的方式让我感到。那时，这是听众或歌手眼中的美丽？第2集突出了公共敌人和采样的使用，您能谈谈您对样品的早期意识吗？我在抽样时代出现了。我是那个去唱片店里挖掘唱片箱的孩子。如果一首歌像Busta Rhymes一样出来，并“将您的手放在我的眼睛可以看到的地方”，我认为这太酷了。我会出去找到原始样本是什么，然后将其放入我的DJ集中，因为这是在网站之前。我最喜欢的嘻哈制作人是DJ Premier，他正在演出。他做了这一出色的事情，他将拿出一小部分样品，将它们切碎并重播它们，并进行这些惊人的节拍和晕厥。被切成几乎无法识别的稀有样品是如此罕见，我喜欢。然后，您将拥有坎耶·韦斯特（Kanye West）的“束缚”，那里有一个大型样本，很明显它是从旧唱片中取出的，但是他所做的很棒。PaulMcCartney和Beastie Boys不是您的两个艺术家D期望在同一系列中学习，但两者都是他们时代的重要创新者。有一些明确的尤里卡时刻 - 就像保罗在甲壳虫乐队的“明天不知道”的背景下说： .beastie男孩在“失真”情节中谈论他们扭曲的麦克风声音，说：“我们需要那条盔甲。没有它，我们认为我们无法继续。”在“失真”情节中，凯瑟琳·汉（Kathleen Han）开始了Riot Grrrl运动的Na在谈论失真的背景下，“这是“这声音使我觉得自己可以制作音乐。”戴夫·格罗尔（Dave Grohl）说：“在我找到[失真]踏板之前，我不知道有一种表达自己的方法。”我不知道我们会得到所有这些美好的时刻，我被感动了。谁是其他声音的先驱者？我对温迪·卡洛斯（Wendy Carlos）和迪莉亚·德比郡（Delia Derbyshire）有些了解。这些是无名的先驱。当合成器不在主流中时，这些都是制作重要音乐的人。他们是女性作曲家，他们没有得到相同的尊重，所以这是我学到很多东西。有了合成器，当他们出来时，每个人都认为他们会破坏音乐并夺走真正的音乐家的工作。他们是这种局外人的艺术形式。但是随后，赫比·汉考克（Herbie Hancock）和史蒂夫（Stevie Wonder）与他们一起做了这些天才的事情，它们成为主流的声音。它w令人惊讶的是，合成器如何慢慢地努力到达流行音乐的声音，我们无法想象他们面前的时间，这是一种野性。决定要关注什么的挑战是什么？当我们处于“扭曲”之中，我会恐慌地称摩根经历了粗暴的削减。我们没有谈论Pantera，我认为人们会杀死我们。或者我们没有谈论Metallica，但这不是选集。当人们想到合成器时，Duran Duran可能不是第一乐队。有些人可能会去Depeche Mode或Jean Michel Jarre，但对我来说，Duran是我的介绍。我们只是想尽我们所能，然后希望，如果我们幸运的话，我们可以做第二季。
Mark Ronson takes center stage in "Watch the Sound with Mark Ronson,” premiering July 30 on Apple TV Plus.
In the six-part series, the Oscar winning multi-hyphenate (a DJ, songwriter, producer and seasoned A&R) sits down with creators and musicians to look at innovations in the realm of sound, from synths to distortion to autotune and beyond.
T-Pain, Charli XCX, Dave Grohl and Paul McCartney are just a few of the names who appear on this musical exploration.
Episode 3, titled "Reverb," looks at Ronson's collaboration with the late Amy Winehouse, who died 10 years ago this month. In an interview with Variety, Ronson shares memories of Winehouse and expounds on the inspiration for "Watch the Sound."
It’s been 10 years since Amy Winehouse's passing, do you have a favorite memory of her?
We only worked together for six days or seven days, tops. I wish there was more because there'd be more memories. She was the best and she was so funny. I remember walking around Soho in New York, taking a break from recording. She'd tell me a wild story and say, "My family came over and they tried to make me go to rehab. I said, ‘No, no, no.’" We went back to the studio and wrote the song. There were just so many moments with her that were just great. ... I wish there were more. I miss her. I miss her voice and her speaking voice, the way we would hang out.
What was the genesis of "Watch the Sound?"
When Apple TV Plus launched, they came to me and said, "We want to do a show about music education, something tech-y and geeky, but also for music fans." They put me in touch with Morgan Neville (“20 Feet from Stardom”) and I love his work. He’s this huge music aficionado. Mark Monroe was on board to produce, and I didn’t even realize how much stuff he had been responsible for such as “The Bee Gees: How Do You Mend a Broken Heart” and “Icarus.”
We just all started to brainstorm about what this show would be and that’s when we decided to break it up into the six technologies that we thought were the most important things in revolutionizing modern music, and being responsible for the sounds and the songs that are part of our life.
In the first episode, "Autotune," there’s a great comment about modern music sounding more and more digital. As someone who has been in the industry for a long time, do you think there’s less emotion attached to music as sounds veered away from analog?
I come from a slightly more analog aesthetic. Autotune was already around when I started. I was doing all this work with amazing artists like Amy Winehouse, and you think about the human yearning and connection. But, when Kanye West came out with “808s & Heartbreak” in 2008, it changed my perspective a bit because Kanye never pretended to be a singer, but he found this tool, autotune that enabled him to get out these remarkable melodies that were in his head that he might not have been able to do otherwise. We're better off as a bunch of listeners for this music that was made. I definitely came around from being a hater.
The idea of AI creating songs and being indistinguishable from “real music” is a little bit scary. I guess it also introduces the kind of question like, "Is a song important or does a song have weight because of the emotion of the singer or because of the emotional effect that it has on you?" There will be a point at which some song created purely by AI will make somebody feel the same way that “Landslide” by Stevie Nicks makes me feel. At that point it will be, is the beauty in the eye of the listener or the singer?
Episode 2 highlights Public Enemy and the use of sampling, can you talk about your early awareness of samples?
I came up in the sampling era. I was that kid who went to the record store to dig through record bins. If a song came out like Busta Rhymes and “Put Your Hands Where My Eyes Can See,” I’d think it was so cool. I’d go out to find what that original sample was and drop it into my DJ sets because this was before websites.
My favorite hip-hop producer of all time is DJ Premier, who's in the show. He does this remarkable thing where he would take tiny portions of samples, chop them up and replay them and do these amazing beats and syncopation. Rare samples chopped into almost unrecognizable pieces is so rare, and I love that. Then you’ll have “Bound” by Kanye West, where there is a huge sample and it's really obvious that it's taken from an old record, but what he does is amazing.
Paul McCartney and the Beastie Boys aren't two artists you'd expect to learn about in the same series, but both were important innovators of their time.
There were some definite eureka moments -- like when Paul says how, in the background of the Beatles' “Tomorrow Never Knows," his voice was sped up.
Beastie Boys talk about their distorted microphone sound in the “Distortion” episode, saying, “We needed that coat of armor. Without it, we didn’t think we could go on.”
Also in the “Distortion” episode, Kathleen Hanna, who started the Riot Grrrl movement, is talking about distortion in the context of, "This was the sound that made me feel like I could make music." Dave Grohl says, "Before I found this pedal, I didn't know that there was a way to express myself." There were all these lovely moments that I didn’t know we were going to get and I was touched by.
Who are some of the other pioneers of sound?
I knew a bit about Wendy Carlos and Delia Derbyshire. These are the unsung pioneers. Back when synths were not in the mainstream, these were the people making important music. They were female composers who were not given the same respect, so that was something that I learned a lot about. With synthesizers, the fact that when they came out, everyone thought that they were going to ruin music and take the job of real musicians. They were this outsider art form. But then, Herbie Hancock and Stevie Wonder did these genius things with them, and they became the sound of the mainstream. It was amazing how synthesizers slowly worked their way to this place where they are the sound of pop music, and we can't imagine a time before them, which is sort of wild.
What were the challenges in deciding what to focus on?
There were times when we'd be in the middle of “Distortion" and I’d call Morgan in a panic having gone through rough cuts. We didn't talk about Pantera and I thought people are going to kill us. Or we hadn’t talked about Metallica, but this is not an anthology.
Duran Duran might not be the first band to come to mind when people think of synthesizers. Some might go to Depeche Mode or Jean Michel Jarre, but for me, Duran was my intro.
We're just trying to do as much as we can, and then hopefully, if we're lucky, we get to make a second season.
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资源真不错，感谢分享！ 感谢分享，下载收藏了。最喜欢高清纪录片了。 感谢分享，下载收藏了。最喜欢高清纪录片了。 谢谢楼主分享，发现宝藏了。
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