Re: [microsound] mastering glitch

[play@xxxxxxxxxxxxx]

Three words: exploit, exploit, exploit

When making glitchcore I take a hackers point of view.  Take the
limitations and/or blatant malfunctions of hardware and software and
exploit them.  Prettying it up afterwards is simply a matter of taste.  I
don't.  I like 'the red'.  I think it's great when you put a CD on and
people almost forget about it and then all of a sudden someone has to leap
to the stereo to save their speakers.

There have always been people making new sounds by breaking things.  At
times I like controlled 'breaking' (re-mastered) but I think it is
exemplary of a lack of vision (not always, don't get huffed :).  I think
that even in the microsound world most artists don't know that much about
professional mastering and it becomes sort of oppressive for that reason. 
"Oh, well...I want it to sound professional so I'd better do what the
audio engineers do."  I haven't heard a lot of people doing crazy stuff
with final cuts.  That's ok, that means there's actually a new frontier to
explore.

Joe Milutis wrote:
>
>
> Somebody a little while back mentioned an article on microsound and
> mastering that was to be posted here soon, but I'm too curious and
> thinking
> about it myself to wait, so I wanted to open up two questions about this
> issue, theoretical and practical.  Hopefully the author himself can hop in
> on this, as these may be issues he is already exploring in depth.  When I
> do
> listen to readily available glitch works, I am struck by the fact that
> while
> there is the exploration of digital error, it is the digital
> mastering--among other things--that takes of the edge of that error, makes
> it "listenable" and even ambient.  So it's a simple paradox whereby the
> sabotaging of the machine is aestheticized by the machine itself (Live
> environments probably make this less possible).  For example, sounds that
> result from digital clipping can be remastered so that they are no longer
> in
> the red, but still retain their distressed sonic texture.  Not necessarily
> a
> bad thing, but I'd be interested to know how different artists approach
> this
> theoretically.  And also practically.  Typical mastering techniques are
> based on a value system that is perhaps related but most times remote from
> glitch, so I'm interested in the techniques that people have developed.
> Or
> are there trends towards anti-mastering.  Perhaps a completely simplified
> question for the masters out there, but hopefully one to start a
> conversation. (and not a flame war between pop glitch and punk glitch.)
>
> Joe
>
>
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