SRCFLP [ sôrsflip ] ソースフリップ
Beatmaker/ Sound artist/ Spatial sound researcher
Massachusetts Institute of Technology Spatial Sound Laboratory
ビートメイカー・視聴覚アーティスト
マサチューセッツ工科大学 立体・空間音響研究員
Beatmaker/ Sound artist/ Spatial sound researcher
Massachusetts Institute of Technology Spatial Sound Laboratory
ビートメイカー・視聴覚アーティスト
マサチューセッツ工科大学 立体・空間音響研究員
#sampling #spatialsound #projectionmapping #videosynthesis #visualization
#サンプリング #空間音響 #プロジェクションマッピング #ビデオシンセ #可視化
#サンプリング #空間音響 #プロジェクションマッピング #ビデオシンセ #可視化
[scroll down for English]
音を紡ぐ。
幼少期からロサンゼルスで育ち、物心着いた頃にはヒップホップ文化（DJ, MC, ブレイキン, グラフィティー）に囲まれ、地元の音楽シーンとベースミュージック、レイヴカルチャーを吸収する。ブレイキンから入り、MC、ビートメイカーへと足跡を刻み、SP404、MPC、Octatrack、Abletonがメインツールとなる。
デビューアルバム「Hours」にはFlying Lotusのエンジニアでも知られるDaddy Kevがマスタリングを施す。2016年は飛躍の年となり、 LAのビートシーンの最高峰と言われたLow End Theoryをロックする。
その後、西海岸はバークレー、オークランド、東はボストンへと活動の幅を広げる。2021年パンデミックの余波から回復し始めた頃、ボーカル作品を削ぎ落とし、ビートだけにスポットを当てたセカンドアルバム 'EKG' をリリースする。移民というマイノリティーの立場から得た経験を素に独自の「音」を探求し続け、甲斐あって、シーンを牽引するローカルミュージックメディア（Boston Compass, Vinyl Index, Union Sound, WMBR FM "Near&Far"）に評価される（「ビートテープ的な構成とストーリー性がヒップホップミュージックの創生と本質を再認識させ、「音圧と質感がJDillaの「Donuts」、前衛性はMadlibとFour Tetのペアを彷彿させる」）。
アートとテクノロジーの交差点
’EKG' のリリースによりもう一つの転機が訪れる。マサチューセッツ工科大学の空間音響研究室の所長、イアン・コンドリーの耳にとまり、談話とコラボを重ねる機会へと発展する。この機会はSRCFLPにとって新たな局面をもたらす。所長と共に多数のイベントをオーガナイズし、スペーシャルサウンドシステムをクラブ環境で再現する他、「ヒップホップ文化とメインストリーム社会から疎外された人々との関連性」をイマーシブアートに落とし込んだインスタレーションを主催（「アメリカに問う、スペース・インベーダーは誰？」）。2022年、研究所から正式な研究員として招かれ、クアドロフォニックとビデオシンセシスの研究に没頭する。そして現在、沖縄に在住し、ビートメイキンの傍、「視聴覚アート」の分野でも試行と実践を行っている。
幼少期からロサンゼルスで育ち、物心着いた頃にはヒップホップ文化（DJ, MC, ブレイキン, グラフィティー）に囲まれ、地元の音楽シーンとベースミュージック、レイヴカルチャーを吸収する。ブレイキンから入り、MC、ビートメイカーへと足跡を刻み、SP404、MPC、Octatrack、Abletonがメインツールとなる。
デビューアルバム「Hours」にはFlying Lotusのエンジニアでも知られるDaddy Kevがマスタリングを施す。2016年は飛躍の年となり、 LAのビートシーンの最高峰と言われたLow End Theoryをロックする。
その後、西海岸はバークレー、オークランド、東はボストンへと活動の幅を広げる。2021年パンデミックの余波から回復し始めた頃、ボーカル作品を削ぎ落とし、ビートだけにスポットを当てたセカンドアルバム 'EKG' をリリースする。移民というマイノリティーの立場から得た経験を素に独自の「音」を探求し続け、甲斐あって、シーンを牽引するローカルミュージックメディア（Boston Compass, Vinyl Index, Union Sound, WMBR FM "Near&Far"）に評価される（「ビートテープ的な構成とストーリー性がヒップホップミュージックの創生と本質を再認識させ、「音圧と質感がJDillaの「Donuts」、前衛性はMadlibとFour Tetのペアを彷彿させる」）。
アートとテクノロジーの交差点
’EKG' のリリースによりもう一つの転機が訪れる。マサチューセッツ工科大学の空間音響研究室の所長、イアン・コンドリーの耳にとまり、談話とコラボを重ねる機会へと発展する。この機会はSRCFLPにとって新たな局面をもたらす。所長と共に多数のイベントをオーガナイズし、スペーシャルサウンドシステムをクラブ環境で再現する他、「ヒップホップ文化とメインストリーム社会から疎外された人々との関連性」をイマーシブアートに落とし込んだインスタレーションを主催（「アメリカに問う、スペース・インベーダーは誰？」）。2022年、研究所から正式な研究員として招かれ、クアドロフォニックとビデオシンセシスの研究に没頭する。そして現在、沖縄に在住し、ビートメイキンの傍、「視聴覚アート」の分野でも試行と実践を行っている。
Excursion for Sound
Raised in Southern California, immigrant and shaped by its cultural crossroads, SRCFLP (ソースフリップ)
began his musical excursion in South Central Los Angeles, where the open mics of Project Blowed became
an early point of entry. There, he encountered the raw, experimental side of LA’s underground Hip Hop culture
and began developing his voice as an MC.
From there, the path widened. Hip Hop became more than a genre—it became a way into a broader world
of underground music, from local sessions and record culture to the city’s rave and sound-system scenes.
These encounters would continue to shape SRCFLP’s approach to rhythm, sampling, turntablism, and live performance.
ILL Legal Alien
As his involvement in LA’s Hip Hop community deepened, another pull began to emerge: making beats.
The verses that once occupied the center of his practice gradually gave way to machines--
the SP-404, MPC, Octatrack, and Ableton—and to the possibilities of working without a conventional
MC at the front.
Sampling became another form of voice. Found sounds could be chopped, rearranged, and placed
into new contexts, carrying the kind of tension and suggestion that words once had. It also opened a
way to work through his own experience as an immigrant—an “Alien,” in the language that would
eventually become central to ILL Legal Alien.
In 2016, this developing approach brought SRCFLP to Los Angeles’ Low End Theory, a significant
meeting point for the city’s beat scene. By then, the shift from MC to beatmaker was no longer
simply a change in technique. It was becoming a different way of communicating.
After Hours, the trajectory continued east. SRCFLP became increasingly immersed in the Bay Area’s
bass music scene while also connecting with beatmakers and visual artists in Boston. Following the
disruption of the pandemic years, he returned with EKG in 2021, an album that pushed further into
texture, rhythm, and genre-crossing experimentation.
Local coverage reflected that expansion, with Boston Compass highlighting its blend of genres and
textured production, while Vinyl Index pointed to its wide-ranging sonic exploration.
Sound Research Calibrated For Live Performance
As SRCFLP’s beatmaking moved deeper into the world of machines, his path began to intersect with
a wider network of artists, producers, and spaces where Hip Hop, rave culture, and sound system
experimentation overlapped. In San Francisco, working at Robot Speak on Haight Street—one of the
city’s longstanding destinations for synthesizers and electronic instruments—brought him further into
the hardware and synthesis world. Around the Low End Theory scene in Los Angeles, someone working
behind the scenes at Alpha Pup Records offered an insider tip: when you’re in Oakland, check out the
Wormhole parties. The suggestion opened another door into the Bay Area’s bass music and experimental
electronic scene as it was taking shape around that time.
These encounters were not isolated stops. They belonged to a cultural network that had already shaped
SRCFLP’s path through Hip Hop and the underground beat scene, from the Low End Theory orbit to the
wider world of bass, rave, and sound system culture. Over time, the machines themselves became a way
of moving between these worlds.
That trajectory eventually brought him to spatial sound.
When SRCFLP connected with Ian Condry, director of the Spatial Sound Lab at the Massachusetts Institute
of Technology, the meeting opened another dimension of the same investigation: what happens when the
sound system itself becomes part of the instrument? At the furthest edge of that lineage, spatial sound
offered a new territory for exploring how sound, technology, and human decisions interact in real time.
His 2021 album EKG helped initiate the conversation with Condry, which developed through discussions
and collaborative sessions and eventually led to an invitation for SRCFLP to join the lab as a researcher.
At MIT, his practice expanded into quadraphonic sound, spatial mixing, and video synthesis—bringing research
back into the live environment rather than treating it as something separate from performance.
Raised in Southern California, immigrant and shaped by its cultural crossroads, SRCFLP (ソースフリップ)
began his musical excursion in South Central Los Angeles, where the open mics of Project Blowed became
an early point of entry. There, he encountered the raw, experimental side of LA’s underground Hip Hop culture
and began developing his voice as an MC.
From there, the path widened. Hip Hop became more than a genre—it became a way into a broader world
of underground music, from local sessions and record culture to the city’s rave and sound-system scenes.
These encounters would continue to shape SRCFLP’s approach to rhythm, sampling, turntablism, and live performance.
ILL Legal Alien
As his involvement in LA’s Hip Hop community deepened, another pull began to emerge: making beats.
The verses that once occupied the center of his practice gradually gave way to machines--
the SP-404, MPC, Octatrack, and Ableton—and to the possibilities of working without a conventional
MC at the front.
Sampling became another form of voice. Found sounds could be chopped, rearranged, and placed
into new contexts, carrying the kind of tension and suggestion that words once had. It also opened a
way to work through his own experience as an immigrant—an “Alien,” in the language that would
eventually become central to ILL Legal Alien.
In 2016, this developing approach brought SRCFLP to Los Angeles’ Low End Theory, a significant
meeting point for the city’s beat scene. By then, the shift from MC to beatmaker was no longer
simply a change in technique. It was becoming a different way of communicating.
After Hours, the trajectory continued east. SRCFLP became increasingly immersed in the Bay Area’s
bass music scene while also connecting with beatmakers and visual artists in Boston. Following the
disruption of the pandemic years, he returned with EKG in 2021, an album that pushed further into
texture, rhythm, and genre-crossing experimentation.
Local coverage reflected that expansion, with Boston Compass highlighting its blend of genres and
textured production, while Vinyl Index pointed to its wide-ranging sonic exploration.
Sound Research Calibrated For Live Performance
As SRCFLP’s beatmaking moved deeper into the world of machines, his path began to intersect with
a wider network of artists, producers, and spaces where Hip Hop, rave culture, and sound system
experimentation overlapped. In San Francisco, working at Robot Speak on Haight Street—one of the
city’s longstanding destinations for synthesizers and electronic instruments—brought him further into
the hardware and synthesis world. Around the Low End Theory scene in Los Angeles, someone working
behind the scenes at Alpha Pup Records offered an insider tip: when you’re in Oakland, check out the
Wormhole parties. The suggestion opened another door into the Bay Area’s bass music and experimental
electronic scene as it was taking shape around that time.
These encounters were not isolated stops. They belonged to a cultural network that had already shaped
SRCFLP’s path through Hip Hop and the underground beat scene, from the Low End Theory orbit to the
wider world of bass, rave, and sound system culture. Over time, the machines themselves became a way
of moving between these worlds.
That trajectory eventually brought him to spatial sound.
When SRCFLP connected with Ian Condry, director of the Spatial Sound Lab at the Massachusetts Institute
of Technology, the meeting opened another dimension of the same investigation: what happens when the
sound system itself becomes part of the instrument? At the furthest edge of that lineage, spatial sound
offered a new territory for exploring how sound, technology, and human decisions interact in real time.
His 2021 album EKG helped initiate the conversation with Condry, which developed through discussions
and collaborative sessions and eventually led to an invitation for SRCFLP to join the lab as a researcher.
At MIT, his practice expanded into quadraphonic sound, spatial mixing, and video synthesis—bringing research
back into the live environment rather than treating it as something separate from performance.
