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Re: old thread +



hi

this is a belated response/follow up to the various people who responded to my last deep anaylitical post + a few thoughts from ploughing through the last weeks digests

thanks for suggestions of bands to check out

different (software) toools might well hav there own distictive sound, be better at somethings that others (& like that maybe there is some hype as 2 how useful any of this stuff is - the freedom of the open road or gridlock?)

as the list illustrated - using these toys can devalue ur work - reaktor (et al)

all this cool stuff might be making it harder to say anything?

disposable music - anyone on this list & 100 other lists can get these toys & make some of this noise thats not going to make it any more precious and indispensible

& with 'microsound' being a vague space of the subtle, difficult, contextual - why invest your listening time in the derivative copy of a copy of an idea?

oe maybe u just have to cast aside ur expectations, maybe we need new templates for how we listen to & evaluate music


good stuff?

remixing snippets of Madonna - recipe for more music to avoid? - disguiseing samples - why

no output

better would a cd of diff artists doing the same track using the same reaktor material, the objective being a cd of dential tracks, possibly a close relation of no input music (no output music?)

better still the track released across these artists regular cd's so pretty much when ever u pick up a cd of electronic music u get the track, this could be something cool like 'Getting Started with Reaktor Tutorial' or just something throwaway and banal 'Symphony in X-Ray Orange, new templates in sound for the gulag generation'

what is ms?
the coolest thing about 'microsound' is its vagueness - imagined invisible music


I can imagine (but I cant hear its so quiet & 'conceptual') some full on weird abstract shite so churned up, fuck filtered, probably lousy with calculus (?) that it blows the compression/cp on every minidisk on the planet?

marko

marko@xxxxxxxxxxxx