music | Platypus

Hip Hop Sampling and the Akai MPC as a Platform for Spatiotemporal Discourse

 Jonathan Givan  March 5, 2026

The Akai Music Production Center (MPC, formerly known as the MIDI Production Center) is a series of sequencers/samplers/interfaces first designed by Roger Linn and released in 1988 to critical acclaim. The MPC series soon became one of the most influential technologies in modern music production. The flagship model, the MPC60, included many features that made it an immediate hit with artists: a 4 by 4 layout of comfortable pressure sensitive pads, 16 voice polyphony, 13.1 seconds of sampling, frequency response of 18kHz, and MIDI (an acronym for musical instrument digital interface, a protocol that allows electronic instruments to communicate with each other). These feature allowed for easy connectivity to other MIDI devices found in studios at the time like synthesizers and other samplers, high quality sampling and playback, and an instrument that feels good to play. (read more...)

From the ‘Grid’ to the ‘Field’: Visualizing the Chipscene

 Marilou Polymeropoulou  December 16, 2025

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“The Grid. A digital frontier. I tried to picture clusters of information as they moved through the computer. What did they look like? Ships? Motorcycles? Were the circuits like freeways? I kept dreaming of a world I thought I’d never see. And then, one day I got in…” Kevin Flynn, Tron Legacy In Autumn 2008, while studying in Athens, I happened to attend an event called Error Code. The event’s poster lured me in as it depicted a Nintendo Game Boy connected to another electronic device and a keyboard. During the event, the three performers played their chiptunes – compositions which they had created live on Game Boy. Although the overall umbrella term for chiptunes would be electronic music, they all had very distinct styles, ranging from noise to electropop. (read more...)

Being Heard as Experimental

 Jonathan Givan  June 11, 2024

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Hip Hop is a musical genre and cultural movement that has been the birthplace of ingenious creativity and novel methods of music making that incorporate new and old technologies (Driscoll 2009). These technical innovations can be seen in the redeployment (Fouché 2006, p. 642) of the turntable through moving the record backwards and forwards to generate new sonic textures and generate hypnotic repetition through breakbeats. The MIDI Production Center (MPC) by Akai and Roger Linn—a MIDI sequencer, sampler, and drum machine that was initially designed to give musicians and producers an easier way to create more natural sounding drums in their recorded music—was almost immediately taken up by Black Hip Hop producers in the United States and used to sample longer pieces of audio from a variety of sources and then re- sequence them to create new melodies and drum rhythms. However, the histories of marginalized people’s exploration of new sounds and technologies for the sake of creative music making seems to largely diverge from the histories of what is traditionally labeled experimental music within the western musical canon. In this post, I want to explore histories of experimental music and contrast it with histories of Hip Hop to better understand who is allowed to be labeled as experimenting within music and how the answers to these questions exist along particular lines of race, space, and time. (read more...)

Feeling Fieldwork: Affectivity, Co-creativity, and Multimodality in Ethnographic Music Production

 Jamie Glisson  November 2, 2023

Jamie Glisson · TUNDRA Listen to ‘TUNDRA’ Ethnographic work is an affective experience. While anthropological research methods have often focused on cataloging ethnographic moments through field notes and interviews, most ethnographers will agree that the written word can’t quite capture what it feels like to be in the field. As a musician, filmmaker, and producer in my work alongside anthropology, I decided to explore how skills associated with my songwriting and sound engineering might further explicate the effervescent quality of what fieldwork feels like on an embodied register. Much like an ethnography, an album comes together through a process of refinement, of connecting what may feel like disparate ideas into a narrative whole. The analytical aspect of ethnographic work also bridges the hemispheres of the brain in a similar way that recording music does. The process of translating emotions, interactions, and expression through sound relies on a basic understanding of (read more...)

Platypod, Episode Six: An Anthropology of Algorithmic Recommendation Systems

 Ana Carolina de Assis Nunes  April 6, 2023

Também disponível em português.

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Download the transcript of this interview. On the morning of Friday, March 10, 2023 Nick Seaver and I met over Zoom to talk about his new book Computing Taste: Algorithms and Makers of Music Recommendation, which was published in 2022 by the University of Chicago Press. In that meeting, we recorded an episode for the Playpod podcast, which is available at the link above. (read more...)

Uncovering Ethnography in Creative Practice Research with Machines

 Oliver Bown  December 6, 2022

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This blog post comes out of a discussion with Ritwik Banerji about the ‘hidden’ role of ethnography in the work involved in creating new experimental systems for music improvisation. Ritwik put it to me that “it seems that a lot of work … involves a kind of ‘implied ethnography’ – that is, it’s clear that the author/designer has lots of personal experience with the domain they’re designing for, and yet the technical documentation of such systems makes scant mention of it.” This was a welcome invitation to reflect on my past practice since I had once been a student of social anthropology and am now, as an associate professor 25 years on, re-engaging with ethnography as a methodology. Have I been implicitly using ethnography all along, and could/should this component have been more explicit in the presentation of my work in an academic context? I will begin with some scene setting. (read more...)

Abu Dhabi Soundmarks: Building Community in the Midst of the Pandemic, One Voice at a Time

 Kristina Jacobsen  May 19, 2020

هذا المحتوى متوفر أيضًا باللغة العربية

Editor’s note: This post is the fifth in our five-part series “COVID-19: Views from the Field.” Click here to read an introduction written by series organizer Rebekah Ciribassi. Editor’s note: Click the links throughout the article to experience the soundscape of Abu Dhabi under COVID-19 In March 2020, I arrived in Abu Dhabi from the island of Sardinia, Italy, to shelter in place with family members, here. As I recently documented elsewhere, after the lockdown was imposed in Italy, the soundscape of that place, and especially the culture of talking, physical contact and making face-to-face music, changed significantly. (read more...)