In a recent interview, Damon Albarn of Blur and Gorillaz revealed the origins of the hit song “Clint Eastwood” – the “Rock 1” preset on his Suzuki Omnichord.
This sparked the idea of creating a playlist of hit songs based on synthesizer presets or pre-programmed drum machine patterns. Wayne Smith’s “Under Mi Sleng Teng” from 1985, with its iconic beat from a Casiotone MT40 keyboard preset, revolutionized Jamaican music.
Various acclaimed songs have utilized presets, such as Rihanna’s “Umbrella” powered by GarageBand’s “vintage funk kit 03” loop. The Roland CompuRhythm CR-78 presets featured in tracks by Hall & Oates, Phil Collins, and Blondie have left a lasting impact on pop music.
Discussing presets coincided with the release of Panda Bear and Sonic Boom’s collaborative album, Reset, which creatively samples vintage tracks to craft new compositions. The art of sampling involves transforming recognizable elements into fresh, innovative pieces.
Sampling, when done effectively, serves as a means of creative evolution. It can breathe new life into obscure or classic sources, reshaping them to offer a different perspective. However, the act of sampling must honor and elevate the original idea to avoid artistic stagnation.
Renowned musician Nick Cave once remarked on the concept of creative theft, emphasizing the importance of advancing stolen ideas to drive artistic progress. He cautioned against diminishing borrowed concepts, warning of the consequences of failing to honor the act of stealing.
Warren Ellis, Cave’s collaborator, highlighted the value of using presets as a starting point in music creation. Presets serve as a foundation for experimentation and innovation, paving the way for artists to explore new sonic territories.
Ultimately, the use of presets and sampling techniques in music production reflects a broader trend in the industry. Artists continue to draw inspiration from existing sounds and motifs, reshaping them to craft unique and engaging musical experiences for audiences worldwide.
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