Sampling is a common technique used in Knight’s productions – however rather than drawing from the hip-hop ethos of sampling which has heavily and positively influenced house music, most of Knight’s techniques can be considered as closer to those found in the early 20th century musique concrète and it’s later offshoots.
Many sounds used are typically non musical – recordings of household objects being struck, dropped and scraped; the screeches of bus brakes and other incidental sounds recorded on purpose or inadvertently. Through a heavy dose of computer manipulation, these ‘concrete’ sounds can be re-sculpted into usable building blocks for a piece of music – a repitched clash of cutlery may form a sizzling hihat, while a stretched out floorboard creak could yield a deep bass. When working with sounds in this way, the production process often brings up unexpected and surprising results – which can be inspiring in itself. The unanticipated result of a small ‘found sound’ can influence the whole production process – it could be said that often the productions are led by the sounds contained within them – rather than the other way around.