Self-imposed technical limitations in music production can hurt so good

A few days ago I picked up a copy of No Better Than This, the new Rounder Records debut album from John Mellencamp (AKA “Johnny Cougar,” “John Cougar,” “John Cougar Mellencamp”). I definitely wouldn’t describe myself as a fan of the Coug, but this particular collection of recordings was produced by T-Bone Burnett.

I would buy a $300 box set of audio test patterns if it was produced by T-Bone Burnett.

What’s intriguing about No Better Than This is that all the tracks on the album were recorded at historic locations with a single microphone on a 1955 Ampex portable recording machine (with no overdubs).

We’ve written before about the benefits that self-imposed limitations can bring to creative work. In the particular case, the low-tech (and deceptively simple) approach to the audio production lends many of the songs on the album a raw and honest quality that you don’t usually hear on modern recordings.

Over the years I’ve actually noticed that quite a few of my favorite studio recordings were produced this way, direct to tape with only one or two microphones:


The Trinity Session by Cowboy Junkies (1988)

It’s mind-numbing to think that this whole album was recorded (under false-pretenses) at the Church of the Holy Trinity in Ontario in just over a day with a budget of $250.

They even ended up with so much good material that not everything from the session ended up on the original Latent Records release.


A Meeting by the River by Ry Cooder and Vishwa Mohan Bhatt (1993)

This impromptu recording actually won the the Grammy Award for Best World Music Album in 1994. All the tracks on the album were entirely improvised by the four musicians involved in project. If you have any affinity for acoustic slide-guitar recordings, this Water Lily Acoustics release is a must-have. It’s also possibly the “warmest” sounding recording that I’ve ever heard.


How to Grow a Woman from the Ground by Chris Thile & the How to Grow a Band (2006)

Single-mic recordings aren’t all that uncommon for bluegrass bands trying to capture the same sound that’s present on early Bill Monroe and Flatt & Scruggs recordings. It is, however, quite rare to hear that kind of unvarnished production on bluegrass covers of angst-ridden songs by The Strokes and The White Stripes.


If anything, these recordings should definitively prove that you don’t need the newest or most-technologically advanced tools to produce great music.

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PadFoot – stand for iPad

PadFoot is a stand for iPad, designed to match the iPad’s simplicity and elegance.

Can Gili Footbridge by Alfa Polaris

Can Gili Footbridge by Alfa Polaris

This sloping Corten steel footbridge by Spanish civil engineers Alfa Polaris straddles a main road to connect two parts of Granollers, Spain.

Can Gili Footbridge by Alfa Polaris

The Can Gili Footbridge provides a direct route between the densely populated area of can Gilli and the greener Terra Alta, which were previously only connected by a bridge on their outskirts.

Can Gili Footbridge by Alfa Polaris

Terra Alta on the north side sits 4.3 metres higher than can Gili on the south with the bridge sloping between the two.

Can Gili Footbridge by Alfa Polaris

The asymmetric bridge is finished in weathered steel, illuminated by LEDs and has a treated timber decking.

Can Gili Footbridge by Alfa Polaris

The steel structure took four days to assemble from components manufactured off-site.

Can Gili Footbridge by Alfa Polaris

Here’s some more from the architects:


CAN GILI FOOTBRIDGE OVER THE BV-1432 HIGHWAY IN GRANOLLERS

Introduction

The construction of this footbridge is an old claim of the inhabitants of the two neighbourhoods separated from one another by the trench of the BV-1432 road. These two residential areas, Terra Alta on the south bank and can Gili on the north one, have a different nature: can Gili is a dense zone with shops and community services, but no green areas, and Terra Alta is a low density urban area, with a community park, but with no services.

Can Gili Footbridge by Alfa Polaris

So far, people from one neighbourhood wanting to go to the other one had to make a detour, crossing the road through a highway bridge, placed at the east border of these urban areas, with a single narrow footway in one of the sides of its deck.

For these reasons, at the beginning of 2001 the Granollers Borough Council commissioned Alfa Polaris (http://bierot.net) to carry out the concept design and the detailing document of a new link between these two urban areas.

Can Gili Footbridge by Alfa Polaris

Concept design

The design of the proposed link, a footbridge next to the junction of the Sant Ferran St. with Verge de la Mercè St. and Sant Marc St. at the Terra Alta side, was strongly conditioned by the asymmetric shape of the cross section of the road trench. The team, led by structural engineer Xavier Font, looked for a design that highlighted this asymmetry marked by the different level of the two banks —Terra Alta’s bank is 4.3 metres higher than can Gili’s one— and the presence of a small platform in the middle of the south cutting of the trench.

Can Gili Footbridge by Alfa Polaris

The client and the designers looked for a solution with reduced whole life cost and environmental burdens. This is the reason why we chose Corten steel —whose rusted skin protects itself from further corrosion— for the structure, LED lamps —with long life span and energy efficiency— for the street lighting over the deck, and polymeric timber —with almost no maintenance— for the decking over the structure.

Can Gili Footbridge by Alfa Polaris

The client was also very interested in reducing the possessions of the road to the minimum. This was another reason why we chose steel as a material for the deck. Steel components can be manufactured offsite, easily transported and put into place very fast by a small number of skilled personnel, reducing disruption and disturbance around the site. Four one-day possessions —two to erect the structure, one to dismantle a temporary tower and the forth one to carry out the static load test of the deck—, with traffic diverted through alternative routes, were necessary to built the footbridge.

Can Gili Footbridge by Alfa Polaris

We proposed a cranked shape beam, varying in width and in depth, spanning 32.7 metres, formed by two Corten steel longitudinal hollow box girders. Over the main span the footpath is channelled by this two box girders which are linked together at bottom flanges by transversal beams. The latter, in turn, give support to the two metre wide polymeric timber decking through longitudinal joists.

Can Gili Footbridge by Alfa Polaris

Over the north foundation, placed on the mentioned platform, the main cranked beam takes a V shape, the top ends of which give support to a small deck. This, linked to the main structure by means of two sets of steel hinges, spans 13.9 metres. Doing this way, we avoided to build a foundation on the top of the south cutting of the trench, which had very bad ground conditions. At this V shape section, the two girders that form the main beam are linked together through transversal diaphragms hidden by external plates, so that the beam seems to be a single bow girder.

Can Gili Footbridge by Alfa Polaris

In this project, steel also allowed us to easily achieve the sculptural forms the proposed design required. Moreover, its high strength-to-weight ratio resulted in a very light structure and the consequent savings for the foundations. Using steel for the deck permitted us to manufacture the deck in the controlled environment of the fabrication workshop, so that, meanwhile the foundations, the piers and the abutments of the footbridge were made on site, the steel structure was being fabricated. This helped us to increase the quality of the product and speed up the construction process.

Can Gili Footbridge by Alfa Polaris

Taking into account future needs, below the timber decking, seven pipes were provided for utility services to be installed. For this reason, the webs of the transversal beams that link the two main girders and the transversal diaphragms of the south side deck, have seven holes to allow pipes to pass through them.

On the deck the street lighting is provided by means of twelve LED lamps, supported and protected from vandalism by means of Corten steel shelters fixed to the inner webs of the main structure. Additional lamp columns, with stainless steel stems, were installed on both approaches.

Can Gili Footbridge by Alfa Polaris

Click above for larger image

Construction

In 2009 the Granollers Borough Council got the necessary funds to build the scheme, and subsequently Alfa Polaris was commissioned to carry out the site supervision.

The construction of this footbridge started in June 2009. The upgrading of the south approach, at the Terra Alta’s side, as well the micropiled foundations of the abutments were first made. Next, the stems were built. Meanwhile the steel deck was being fabricated in Ripollet, 20 kilometres away from the site.

Can Gili Footbridge by Alfa Polaris

Click above for larger image

When the abutments were finished and the bearings put into place, the steel structure was transported to site and lifted. Eventually, meanwhile the north approach was built, the polymeric timber paving was placed and the street lighting as well as the street furniture installed in order for the footbridge to be open to the public at the beginning of 2010.

Client: Granollers Borough Council
Ricard Ros Puig
Daniel Barrachina Rodríguez

Can Gili Footbridge by Alfa Polaris

Click above for larger image

Architectural design firm: Alfa Polaris S.L.
Xavier Font Solà

Structural engineering firm: Alfa Polaris S.L.
Xavier Font Solà
Ernesto A. Williams
Joan Julià Riera

Street lighting engineering: GESA Gestió d’enginyeria, serveis i arquitectura
Jordi Rodríguez Martí
Daniel Ruano Rubia
Josep Barberillo

Can Gili Footbridge by Alfa Polaris

Click above for larger image

Site supervision: Alfa Polaris, S.L., Xavier Font Solà

Main contractor: ACSA, Obras e Infraestructuras, S.A
Albert Font Palomera
Francisco Javier Castilla Marañón
Andreu Iglesias Navarro
Steel contractor Talleres Plain, S.A.
Simón Fernández

Cost: 574,400 €
Location: Borough of Granollers
Typology: 40 metre long continuous cranked structure with a main span of 32.7 metres

Main materials:

Deck: Corten steel
Abutments: reinforced concrete
LED lamp supports on the deck: Corten steel
Lamp columns on the approaches: Stainless steel
Handrails: Stainless steel and painted steel
Litter bins (street furniture): Galvanized steel and painted steel
Deck paving: polymeric timber


See also:

.

Trestles Beach footbridge
by Dan Brill Architects
Nanhe River Landscape Bridge
by WXY Architecture
Pearl River Necklace
by NL Architects

Hurley x Dalek

Exploring Dalek’s work on Hurley fixed-gears, workspaces, surfboards and more
hurley_dalek_2_2.jpg

With surfing at another high fashion moment (see the artful film our own Greg Mitnick recently shot for Proenza Schouler on the topic), Hurley’s invitation to check out the U.S. Open of Surfing (of which the brand is the main sponsor) earlier this month seemed like a good idea. Other than swarms of teens crowding Huntington Beach, BMX events, skaters and performances by Weezer and Hot Hot Heat—not to mention the actual surfing itself—checking out the Hurley “campus” was a revealing look at the brand that most Southern California surfer kids have grown up wearing since Hurley introduced clothing in 1999.

hurley_dalek_3.jpg

Other than the California feel—Hurley’s corporate HQ is actually a handful of single-story buildings in Costa Mesa, CA—the most notable and persistent theme of the offices are the geometric shapes and bright hues of Dalek’s (aka James Marshall’s) artwork throughout, so we decided to take a closer look at the collaboration.

hurley_dalek_1_2.jpg

While the formal collaboration started more recently, Marshall’s connection to the company dates back to when Hurley evolved from shaping surfboards into a lifestyle brand for the “modern surfer [who] also loved fashion, skate, snow, music and art.” The first project official project bringing the two together came in the form of a large-scale painting for the retail concept 225 Forest that Hurley opened in Laguna, CA in July of last year.

While those familiar with Marshall’s trademark cosmic mouse will notice the little creature’s absence in the work he’s done for the label, the new direction for the artist sees him keeping with a recognizable use of colorful kaleidoscopic shapes. For Hurley, who call print and color “a pillar of the brand’s foundation,” these playful combinations work well for applications that include a floor-to-ceiling treatment of their cafeteria (including the fridge, pictured above), as well as patterns on their Phantom board shorts.

To see these images and more representing the partnership, including my pics of Hurley’s workspace, Dalek fixies, a gallery show, check out the gallery below.


Itay Laniado’s Farm Tools for your Garden

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pBack in March, we a href=”http://www.core77.com/blog/object_culture/in_tension_itay_laniados_ladder_walking_stick_and_wooden_wallet_16126.asp”wrote/a about Israeli designer a href=”http://itay.designgroup.co.il/”Itay Laniado’s/a wooden ladder, walking stick and wallet. Expanding on his explorations in wood and simple mechanisms, he recently completed an investigative study on the material, aesthetic and functional properties of what he calls a href=”http://itay.designgroup.co.il/gardentools”garden tools/a (but which seem to us to be more historically-minded farm tools). The result is a group of six oak and stainless steel tools, all with the pop of red twine-wrapped handles. /p

pFor the six tools (machete, sickle, spade, shovel, scythe and bow saw), Laniado developed a technique of bending and stretching the oak into what he found to be the most appropriate functional and simple form for each object. He also experimented with methods for bending and shaping the steel blades, along with their forms. His aesthetic is serious but subtle, with a nice contrast between the get-down-to-business blades and the approachability of the wood handles and red twine. You’ve gotta have quite the garden (and maybe some pent-up aggression…or just a farm and some Amish pep) to warrant some of these. br /
/pa href=”http://www.core77.com/blog/object_culture/itay_laniados_farm_tools_for_your_garden_17255.asp”(more…)/a
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AOL to Award $25,000 to 25 Creative People

25for25.jpgIf you’re reading this, you may well consider yourself an artist, an innovator, or a journalist, and, on your good days, maybe all of those things at once. Well, then listen up, because AOL would like to give you a grant for $25,000. Part of the company’s Project on Creativity, launched earlier this year with the help of artist Chuck Close and an epic 25th-anniversary bash at the New Museum, AOL’s “25 for 25” Grant Program will award 25 $25,000 grants to “tomorrow’s groundbreakers and visionaries—individuals with a creative spark to ignite.” Spark your chance to win by going here to request an application no later than Wednesday, September 1 (it probably wouldn’t hurt to use your old AOL e-mail address). You’ll then receive more information and a special 25-for-25-branded envelope in which to return the requested work and documents by September 20. An advisory board including Close, Andy Spade, AOL chairman and CEO Tim Armstrong, and experts from an array of creative fields will select the grant recipients.

Previously on UnBeige:

  • AOL Throws 25th Birthday Bash with Chuck Close, Launches ‘Project on Creativity’

    New Career Opportunities Daily: The best jobs in media.

  • Sean David Bradley

    mideast3

    Photos from the Mid East.

    Thanks for the link Sean, I really loved this album (many others to be seen on his site).

    SELCO Case Series: Reflections on how a broader case study scope can inform both design and business

    div style=”align: right;”img src=”http://s3files.core77.com/blog/images/2010/08/selco_header.gif” width=”468″ height=”119″ alt=”selco_header.gif”//div

    pReading a business text explain that while the Indian economy is growing rapidly, the vast bulk of the populace still engages in subsistence work might dryly get the idea across. To really understand an economy, however, prospective students would be well served to look at both macro and microeconomic issues. That’s why clicking the multimedia links in the first case of the Yale School of Management’s emDesign and Social Enterprises Series/em provides a more modern approach to the case study method of learning. Hearing SELCO’s Thomas Pullenkav explain that, “For about 90 percent of SELCO’s individual clients, the solar system they purchase is the most expensive system in their household, and will probably be the most costly item they have ever owned in their entire lives,” contextualizes household spending power in a way that a per capita income figure in Rupees never could./p

    pobject width=”467″ height=”288″param name=”movie” value=”http://www.youtube.com/v/Z0MFJS7_q3k?fs=1amp;hl=en_US”/paramparam name=”allowFullScreen” value=”true”/paramparam name=”allowscriptaccess” value=”always”/paramembed src=”http://www.youtube.com/v/Z0MFJS7_q3k?fs=1amp;hl=en_US” type=”application/x-shockwave-flash” allowscriptaccess=”always” allowfullscreen=”true” width=”467″ height=”288″/embed/object/p

    pHistorically, the case method of studying business was pioneered at Harvard Business School. Early teachers found that there were no business textbooks, so they examined existing businesses and their problems by interviewing executives. Out of that primary research, they built case studies as historical narratives describing the business’s past and then asking a series of questions about what it should do in its operations to better prepare for the future. Nowadays, Harvard’s cases include exhibits and multimedia links, but remain focused on business and management issues. We at Core77 (perhaps because industrial design is a multidisciplinary craft) tend to see things more holistically. For a teacher or student in a design field then, Yale’s Design and Social Enterprises Series will be a very welcome tool, and an intriguing step forward in how the intertwining strands of business and design can be articulated and shared. In partnership with a href=”http://www.designobserver.com”Design Observer/a and with funding from Rockefeller Foundation, the first case, a href=”http://nexus.som.yale.edu/design-selco/”on Indian solar lighting company SELCO/a is now available under a Creative Commons license for free noncommercial use. (More backstory from Design Observer can be found a href=” http://changeobserver.designobserver.com/entry.html?entry=15118″here/a and a href=” http://changeobserver.designobserver.com/entry.html?entry=15128″here/a.)/pa href=”http://www.core77.com/blog/business/selco_case_series_reflections_on_how_a_broader_case_study_scope_can_inform_both_design_and_business_17246.asp”(more…)/a
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    Gap x 10 Corso Como

    Fashion’s unlikely pairing of an Italian concept shop with ’90s Americana
    gap-10corso1.jpg

    Pairing its classic American style with a niche Milanese retailer, Gap is set to launch a European expansion with a shop-in-shop collection at 10 Corso Como this fall.

    The capsule collection is the work of Gap and American artist Kris Ruhs, who oversaw the original creative direction of first 10 Corso Como shop in Milan, from the furniture to displays and overall image—as well as that of their successive stores in Tokyo and Seoul.

    gap-10corso2.jpg gap-10corso3.jpg

    The collection consists of two styles of limited editions T-shirts, sweatshirts and canvas shopping bags. One series is decorated with the signature circles of 10 Corso Como, while the other one boasts a selection of Ruhs’ illustrations, handpicked by 10 Corso Como founder Carla Sozzani.

    The collection will be available for men and women at 10 Corso Como during Milan Fashion Week, beginning 25 September 2010.


    London Design Festival 2010 Preview: Korea Design Pavilion

    div style=”align: right;”img src=”http://s3files.core77.com/blog/images/2010/08/Simple-Idea_Time-Saving-Clock_1.jpg” width=”468″ height=”392″ alt=”Simple-Idea_Time-Saving-Clock_1.jpg”//div

    pemSimple Idea: Time Saving Clock./em/p

    pThis year at the London Design Festival, the a href=”http://www.londondesignfestival.com/events/100-design-london-korea-design-pavilion”Korean Design Pavilion/a will continue to showcase a selection of Korea’s top designers. They have selected designers based on the platform “Innovative Design through Advanced Technology,” focusing on how new materials, new techniques and an experimental mindset can “introduce a whole new way of coexistence between the people and the environment.”/pa href=”http://www.core77.com/blog/featured_items/london_design_festival_2010_preview_korea_design_pavilion__17254.asp”(more…)/a
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