Re: [microsound] the great depression of experimental music?

[Praemedia <praemedia@xxxxxxxxx>]

> > You keep adding commercial to my arguments. 
> 
> Sorry, I thought you had been making the case that
> without commercial 
> distribution, muscian's would be too poor to either
> practice or 
> distribute their own material.
> 
> > i prefer to leave the door open for
> > exiting capitalism 
> 
> If that happens, wouldn't the entire set of
> motivations for distributing 
> music as a commodity be somewhat different anyway?

I think my response to both the point above would be
that I am trying to look for something more dynamic
than the all-or-nothing argument (which, as with most
discussions, this one seems to be heading). I'm
looking for that third, fourth, fifth or sixth way
which may or may not incorporate parts of previous
incarnations.

It is one reason why I started a label. An effort on
my part to really dig in and find what is or isn't
inherrently evil in the 'commodity' form of music. At
the level i'm working on now, the only thing evil I
see is the real lack of support (and yes, sometimes
that means buying a damn cd).

> you /may/ be right - but not for much longer. Open
> source DAWs, editors, 
> plugins and plug-in fraemworks are now good enough
> for people to work 
> (and rely) on them. There are open-source projects,
> e.g. SuperCollider, 
> that have no commercial equivalent at all. 

A note to tack on to this. For 'effects' in my own
music (especially when played live) I'm using pretty
much 99% free vst plug-ins developed by wonderful
people all over the world. 

So I am not an enemy of community development. I don't
think its an all-or-nothing or one-is-better
proposition. Leaves out the good bits of both.   

{I do however find things which are primarily
programming languages (such as supercollider or Pd) to
be more than inefficient to the task of making music
(though certainly not useless to its further
development).}

lance



		
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