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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