从踏板演示到专辑：斯科特·哈珀（Scott Harper）探索他的首张专辑作为旋钮，

公平地说Knobs始终超越了踏板演示频道的简介。斯科特·哈珀（Scott Harper）对踏板的扭曲音调探索就像他的非杀戮编辑一样，这是一种乐趣。现在，他的音乐小插曲在吉他，模块化合成器和其他奇怪的乐器被凝结成专辑：点画。

• 阅读更多：“I kind of hate my guitars”: Ezra Furman on strangling her six-strings and searching for community

点画旋钮频道的观众听起来很熟悉 - 但是现在斯科特·哈珀（Scott Harper）的音乐插图与使您真正想要一个奇怪的调制踏板的目的分开。他们仍然是他们的核心，通过大量的踏板和另类装备来表演哈珀的声音：卧室 - 环形jam升高到美丽，怀旧的高度。“I think it’s very okay to make music just for yourself,” Scott tells us over Zoom, which we’re pleased to hear: Knobs’ videos have inspired countless guitarists to put together the freakiest signal chain they can imagine and noodle away for countless unrecorded hours.

“这样做我很满意，并没有真正思考最终产品，或者我正在做的任何事情都是歌曲，还是可以表演或可重现的。这些都没有想到。”他补充说。但是显然，某些变化使斯科特想把他发出的声音放在他的工作室里。在他的情况下，这是简单的好奇心。“我达到了一个我只是想知道那会是什么样的地步。就是这样，”他实际上说。

But there’s a big difference between what works to demo a pedal and what stands up to repeated listens. This was the challenge at the core of the record: “using that same kind of very free and personal improvised format and turning it into a release. Everything you hear in the demo videos is improvised. I’ve completed music and other forms with other people in my life, but never in that style.”

There’s a lot of freedom in the kind of music Scott makes – often without tempo, with a focus on texture more so than structure. But working without the constraints of traditional song craft just added to that core challenge. “It made things really hard,” he says. “But I just wanted to know what that would sound like, to have a nonsensical challenge at the heart of the record. I wanted to know, can I make songs with distinct beginnings and ends and middles, without a tempo to fall back on? Songs that feel shapeless and formless, but then when it all comes together, they make sense.That’s我正在追逐。”

室内乐团

To augment the improvisations further, Scott worked with chamber orchestra of sorts, adding clarinet, Wurlitzer, double bass and more. “I knew four local musicians who would play宠物的声音经过the海滩男孩充分，作为室内乐团。因此，我真的很喜欢他们能够支持我的工作 - 他们都是即兴演奏者。因此，在这一点上，记录中没有很多其他乐器。我带来了他们所在的州中的每一首歌，我们一起在录音室里，只是整整一天的即兴演奏了。”

“The majority of the ideas were definitely from my own spur of the moment stuff. When I got the other musicians in, that was the point in the process where I was getting a little bored of myself. I needed some outside input, because I was finding that at that time, when I was adding layers to what I was making, there wasn’t enough contrast in those layers. And I guess that was also part of the challenge: this is definitely being released as a solo record, but so many of the sounds on it are from other people. I think that was also just a good check in with myself that I didn’t have to make all the sounds myself, that wasn’t important. It was a good way to get away from that.”

It’s a neat parallel to the original Knobs concept – Scott has spoken about it being an “egoless” review channel. “Knobs was never supposed to be a person. People just call me that now, but that was never the idea,” Scott says.

乐队加入专辑之前点画但是，斯科特（Scott）的事物仍然很大 - 使专辑的大部分基础都录制在一个文字岛上。确切地说，多伦多岛。“那里有一些居留权。我呆在一个老派的便携式上。我在记录此过程中两次做到了一个月。”

我们很好奇它的真正孤立感 - 尽管是一个岛屿，但它仍然很容易进入，而不是在海洋中间有些吹着风吹动的碎屑，这是多伦多市一箭之遥。“在夏天，它不像一个岛屿。但是在冬天，当我在那里时，这可能是我一生中最安静的月份。我真的没有看到任何人。”

“我认为故意做类似的事情会很尴尬。真是事物这一点。但是我确实喜欢一个人。我爱安静的时光。因此，从这个意义上讲，我确实确实接受了它。他们整个学校都变成了艺术家中心 - 我本可以与之互动的视觉艺术家和作家。我不想。在那段时间里，我确实一直在自己。我想说这是好是坏。我认为有室外的投入，我学到的越来越多，对我来说至关重要。但是当时，我不想要它。 I just wanted to solve everything myself.”

Blooping

毫不奇怪，鉴于斯科特（Scott）帮助设计了它，有很多追逐幸福Blooperon点画。“I’ll use Blooper as a hands-on editor to try and just figure out what I’m not satisfied with in a performance, because the loops are improvised. I use a lot of layers, so sometimes there’s things I want to be slightly different. And that’s where, for me, Blooper is a lot of fun: you can add a lot of bizarreness to an otherwise straightforward guitar loop. And edit it while staying in a very physical, in the moment place – instead of loading it onto a computer. If I’m already editing a song and I need to record some extra layers, they’re always going to be so bad – because my brain is fixated on a computer by that point, I’m thinking ‘like an editor.’”

这是斯科特打击DAW引起的创意障碍的方式之一。另一个？“One of the things I really wanted to do with this album was to use a lot of old recordings that I didn’t have a purpose for, that’s partly why it ended up being such a mashup of things, I would have all these snippets. I would occasionally reach a point in a song where I found my attention starting to waver. But by then I was already thinking like an editor, so trying to record something new to match with it always kind of wound up boring me. Instead I organised all my old recordings by key, and figured out which ones would blend naturally with the part that needed something else.”

As for getting things going in the first instance, there was one synth with that job. “The ‘song starter’ for me was the Organelle from Critter And Guitari. I really like that thing, and I was often running it through Blooper, too. That would always be my fallback when things just weren’t interesting as a starting point – the Organelle would more often than not get me somewhere that I wanted to develop.”

专辑中也有模块化。“但是有了模块化的合成器，当我记录这些起点时，我并不真正了解它们。因此，您在专辑中听到的是我学习如何使用模块化。稍后我会记录一些斗篷，我知道自己在做什么，但是里面有一些。因此，这些元素特别是混乱的。”

因此，除了合成器和踏板外，哪些放大器和吉他混合在一起？“我似乎从未能够留下的老忠实吉他是DanelectroDead On 67. It wasn’t my first electric guitar, but it was the one where I became comfortable. I was pretty sure that I would just find a better guitar eventually, but I didn’t realise that I was so dependent on it. And then I got another one, a custom guitar made byBaranik吉他，以与Blooper相同的淡蓝色阴影完成。这是Danelectro的改进版本。因此，从这个意义上讲，我只有两把吉他是同一吉他的版本。”

“然后对于放大器，这里的许多吉他是通过挡泥板布鲁斯初中。现在，我有一家名为Otis的公司的放大器，这是一家我个人认识的小型公司。而且现在没有回头路了。我使用的那个称为Trudeau。这绝对只是我弹过吉他的最幸福，就是与我那糟糕的老Danelectro一起度过的放大器。”

追逐幸福

Chase Bliss制造的Blooper是Knobs与公司合作的最引人注目的结果。但是，蔡斯·布利斯（Chase Bliss）的乔尔·科尔特（Joel Korte）和斯科特·哈珀（Scott Harper）之间的友谊就在Blooper之前就开始了。

“这是渐进的。我像其他任何人一样为他188金博提现们制作了一些视频。我想一个区别是，很早就我在乔尔（Joel）制作了纪录片 - 我去了明尼苏达州，在他的家中拍摄了他，以及公司的状况。然后我们一起去了纳什维尔。这只是一个非常快速的友谊。因此，从那时起，任何涉及旅行的东西，我通常都会随身携带拍摄。我们只是彼此非常熟悉，并且在某个时候进行合作是有道理的。

“我不是公司的员工。这仍然是“旋钮X Chase Bliss合作”。但是我在那里做各种各样的事情，现在大部分时间都占用了我的大部分时间。

“这基本上迫使我把我的狗屎放在一起。我不能生活在纯粹的创造力状态，因为它是制造业，对吗？我们正在制作创意产品，但我们正在从头开始制作它们。因此，其中很多与制造水瓶或其他东西一样。有些事情只需要制造和发货。

“一开始，Chase Bliss只是模拟踏板。而且我没有 - 我仍然没有真正的东西 - 在模拟域中，太多喜欢想法，我总是想做数字化的陌生人。但是，一旦Chase Bliss开始制作数字踏板，我们就在Blooper上一起工作。到那时，我认为这就像一个艺术家的签名踏板，从某种意义上说，我不会真正工作[笑]。你懂我的意思吗？

“I mean, the way I’ve explained it to people in the past is that I made a concept. So I made a document that was like ’this is what the looper should do and why’. I thought I was gonna slide that under Joel’s door, and then be like, ’seeya in testing!’ – but that never happened. I submitted the concept. And then it was just: ‘Okay, so what happens next?’

“基本上，我必须迅速弄清楚我是否是产品开发人员。感觉很容易。不容易。就是这样 - 感觉自然的。因为在某些方面，您正在做与设置工作室或踏板时相同的事情。只要我能牢记最终目标，就很容易决定在其他人的帮助下需要做什么。就是说，事实证明，一起踏板实际上是有道理的。即使我没有培训，也不是工程师，但在整个过程中，我仍然有用。因此，我们只是继续这样做。”

作为一件装备的Blooper体现了许多Scott的音乐哲学 - 不仅仅是一个循环，它还可以让您真正地使用以粒状，怪异，数字方式录制的东西。即使将单个音符与Blooper循环循环，您也可以将踏板用作特质仪器。斯科特说：“我通常会因为那种音乐哲学而归功于我的朋友。”“我不是一个吉他手。我开始从音乐拼接样本和类似的东西开始 - 我想这是我解释为什么我吸引吉他的方式。因此，当我结交我的第一批音乐家朋友时，他们在吉他上的表现要比我更好，他们对音乐上有趣的想法充分形成了想法。这就是我吸收即兴创意的地方。我一直对它着迷 - 能够做一些新的事情，而不是一遍又一遍地播放同一首歌。至少对我来说，这是您音乐身份的核心部分，这使您从一些更平凡的部分中借口。”

对于斯科特（Scott）即兴创作，成为一种使音乐在音乐中保持活力的方式。“我一直想知道一个非常成功的乐队如何觉得500次播放同一首歌。我认为这不会感觉很好 - 但是，我不知道，我显然不是那个人。但这就是为什么我想承诺每次从头开始做事。总是制作something instead of trying to recapture. It also seems, I guess, more honest. What you’re doing at any given time is more ’true’.

“我正在和一位昨天即兴演奏的歌手说话 - 在那里，您更容易受到伤害，您必须在即兴演奏时选择单词，然后您reallyputting yourself out there. You don’t have the ability to plan everything out and present your polished, perfect self, you just have to do your best at any given moment. For me that’s such a shortcut to what your actual musical personality is instead of the personality you想您知道，您认为您会令人印象深刻或有趣。这就是你是。”

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