Deconstructing Brian Eno’s Music for Airports

In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music. Although it wasn’t the first ambient album by any means, it was the first album explicitly released as an ‘ambient music album’. The album was essentially a continuation of Eno’s experimentation with the tape machine as a compositional tool, as well as his exploration of generative music, music created by systems. In this article I’ll discuss how Music for Airports was created, I’ll break down and recreate the tracks 2/1 and 1/2, and hopefully give you some ideas about how to adopt this approach yourself.

Eno’s experiments with tape loops go as far back as 1973’s (No Pussyfooting), a collaboration with King Crimson’s Robert Fripp that employed an early experiment in sound-on-sound tape looping. For the recordings, Fripps’s guitar was run into two tape machines feeding into each other. The musical material runs back and forth between the machines, creating longs delays akin to modern loop pedals. The length of the delay was set by the physical distance between the two machines.

Frippertronics Dual Tape Machines

Eno’s tape experimentations continued with Discreet Music in 1975. The album’s 30 minute long title track is composed of Eno’s EMS Synthi AKS run into a similar dual tape machine system, with simple musical phrases repeating over a long period of time. This system utilised an EQ and delay effect before the tape machines, allowing Eno to add variations to the sounds in real time.

Diagram from the ‘Discreet Music’ liner notes

For the recording sessions of Music for Airports, Eno’s approach involved using several small pre-recorded snippets of music; single notes or 3-4 note phrases, mostly piano, choir and synth. The phrases are all set to loop at different rates, determined by the length of tape they are recorded on. The differing tape lengths played simultaneously cause the relationship between the musical phrases to constantly shift. On each round, phrases will intersect differently, sometimes appearing to coalesce into new phrases and variations on existing themes. Eno himself puts it best:

“The particular piece I’m referring to was done by using a whole series of very long tape loops, like fifty, sixty, seventy feet long. There were twenty-two loops. One loop had just one piano note on it. Another one would have two piano notes. Another one would have a group of girls singing one note, sustaining it for ten seconds. There are eight loops of girls’ voices and about fourteen loops of piano. I just set all of these loops running and let them configure in whichever way they wanted to, and in fact the result is very, very nice. The interesting thing is that it doesn’t sound at all mechanical or mathematical as you would imagine. It sounds like some guy is sitting there playing the piano with quite intense feeling. The spacing and dynamics of “his” playing sound very well organized. That was an example of hardly interfering at all.

Music for Airports liner notes contains a graphic score designed by Eno himself. Not a trained musician, and unable to read or write sheet music, Eno instead used graphic symbols to denote each musical phrase, or loop. Look closely and you can see individual symbols on each row, each spaced apart differently, reflecting the recording technique used to craft the album.


Music for Airports second track, 2/1 consists of a choir singing shapeless harmonies. There are no real melodies present, and the voices occasionally form chords, but there is no discernible structure. This song is composed of seven loops, all of different lengths, with each loop playing back a single, sung note. In the graphic score, you can see Eno’s use of rectangles to represent looped tracks, with the spaces between them varying.

These loops have been recreated below, along with the approximate times that each loop repeats. Note that these times aren’t perfect, and the timings actually fluctuate throughout the piece, likely due to the way they were looped (the tapes were apparently wrapped around chair legs). Some things to note here are that:

  • The C and high F loops are very close together to each other in duration (20.1 seconds and 19.6 seconds, respectively). They start out with the notes playing separately, and over time the notes gradually get closer together until they play back at the same time, almost as a chord.

  • The Db loop has the longest length by a significant margin, and Db is also the most dissonant of all the notes in the piece, as it creates a semi-tone clash with C every time the two play together. The longer loop length for this note may have been a conscious decision by Eno, or the composition may have just come out this way through experimentation.

Click on the play icons below to start each individual loop. The dice button triggers loops with randomised loop times.
Choir 1
High Ab, 17.7 second loop
Choir 2
C, 20.1 second loop
Choir 3
Db, 32.8 second loop
Choir 4
High F, 19.6 second loop
Choir 5
Eb, 16.2 second loop
Choir 6
Low Ab, 21.3 second loop
Choir 7
Low F, 24.6 second loop


For the second track on Music for Aiports, 1/2, Eno uses eight short piano phrases recorded to tape to create the sense of a bigger composition, one that is again shapeless and without structure, but one that continually evolves as the piece progresses. Some of the loops are just single notes, and others consist of simple 3 or 4 note snippets, with one loop being an arpeggiated chord. These loops overlap in different places upon each repeat, creating the illusion of new phrases and melodies, which are simply different combinations of the eight snippets. Looped for long periods, like the tracks 11:36 running time, allows for many variations and themes to emerge.

Piano 1
17 second loop
Piano 3
23.1 second loop
Piano 5
29.5 second loop
Piano 7
31.1 second loop
Piano 2
20 second loop
Piano 4
28 second loop
Piano 6
30 second loop
Piano 8
38.04 second loop

Ambient Approach

  • The best way to get into this style of composition is to start using tape. If you can’t commit to getting big reel-to-reel machines, you can always start with cheaper cassette players. Some great online resources for this cassette tape loops are Amulets, Hainbach, and Gemini Horror.

  • If you want to work with this style in your DAW, turn off the grid and start creating loops in seconds/milliseconds instead of bars/beats. In Ableton Live you can press + 4 (Ctrl-4 on Windows) to turn off the grid, allowing you to create unquantized loops that work in a similar way to the tape technique. Create several clips of different lengths, set them all to loop simultaneously, and record the results.

  • To dig deeper into this style of tape loop ambient music, check out William Basinski’s The Disintegration Loops. Basinski used a similar concept to Eno, only the tapes he used rapidly deteriorated upon playback, causing the musical material to degrade over the recordings length.


Thanks for reading! In the download button below you can find the WAV files of all the loops created for use in this article to play with at your own leisure. Experiment and enjoy!

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33 thoughts on “Deconstructing Brian Eno’s <i>Music for Airports</i>”

  1. electricmusicbox

    I have listened this album over and over since I first heard it in the 90s. This deconstruction is very nice and great and clear explanation what’s happening in the song. Thanks you for this.

  2. Very inspiring article about very inspiring music and techniques. I shall now go and dabble with this in my VCV Rack, where the possibilities for this kind of music are endless.

  3. Pingback: Looping in FL Studio | Lars Lentz Audio™

  4. This gives me a newfound appreciation for Eno. Also, does the 1/2 loop ever end? I feel like it’s been playing for 10 minutes now… ;0

  5. Great article and wonderful to have the loop players to experiment!! Eno continued to use this generative approach I think, his gallery installations during the 1990s, for example, used several minidisc players with different loop lengths, and even his more recent ambient albums (such as Reflection) are still "systems music" based. It would be interesting to analyze in what ways his approach evolved over the years

  6. This is great, and got me to become a supporter on Patreon! Thanks so much for putting this together. Like your previous commenter, some of this I knew, but not set out so clearly like this in a way that could be easily replicated, So I was messing around with this and tried putting the loops you provided onto different tracks of an Octatrack MkI, setting them to loop and not timestretch, triggered each sample, and I think it worked! Is that really all there is to it? Samples of varying lengths, looping continuously mixed together? Still not entirely sure about the "echo unit" part of Eno’s diagram. Is that just to say the original piano samples had a delay effect applied before they were looped? Or was the echo unit set up so that it re-effected the loop every time it looped, with the echo unit being "played" by Eno, manipulating settings slightly over time?

    1. Yes, as long as your Octatrack isn’t quantising anything, that’s all there is too it! I only have the Digitone, which doesn’t do sampling, but it seems the Elektron sequencers are really good for this kind of music. I think the echo unit in the Discreet Music diagram is more of a reverb effect, to create that big, spacious sound.

      1. This should all work the same on the Digitakt too. You can also do phase looping by taking the same sample, doubling it up, and then shortening one of the samples. This will move you into more of the Steve Reich types of loops.

  7. For me, Eno is one of the most important producer alive. You explained very well how he was working, some things I knew, others were completely new to me. Its great that you dive into the ambient pool. There is so much to discover. What I love about Enos albums from that time is the special sound they have, which probably owns a lot to the tape machines which where involved. Thanks alot, sir.

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