Contemporary pop music is almost solely composed in the DAW. Through expansion of use and intricate intersection of techniques, this has meant that tools that were not intended as spatial stagers are increasingly influencing spatiality in pop. This paper seeks to explore how compression, gate, envelope and sampling are used as spatial manipulators. Using the song 'XXXO' by M.I.A (2010) as a case study, the paper explores how these new space makers create unusual spatial experiences and discusses the aesthetical results of this development.
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