Steph Richards composes in ways that standard notation could never document. To make “Brooklyn Machine,” she yanked out one of her trumpet’s valves — some air escapes where it ought to be, making the muffled, sometimes warping sound you hear in your right speaker. The tinnier tone coming from the left emerges when Richards covers the valve and air passes through the horn’s bell, like usual. The bell, in turn, is covered with a mute, helping her create the fuzzy mumble at the beginning of the track. GIOVANNI RUSSONELLOPaul McCartney, ‘Get Enough’

Source: New York Times January 04, 2019 17:15 UTC