Re: [microsound] usefulness of compressors/mastering in experimental music/glitch

[graham miller <grahammiller@xxxxxxxxxxxx>]

the whole issue of mastering/perfecting is interesting considering the
glitch aesthetic.. this idea of dwelling in mistakes.. the idea of
perfecting or polishing off a mistake seems counterproductive. i mean,
look at punk music... as i've always said, my definition of grunge is
punk with a budget. it becomes something else, maybe not something
desirable, but certainly something else. part of the authenticity tied
to punk is low or intentionally low production values... can the same be
said of microsound, particularly the glitch aesthetic?

g.

John McCaig wrote:

> On Wed, 10 Nov 2004 18:20:13 -0500, graham miller
> <grahammiller@xxxxxxxxxxxx> wrote:
> > what techniques are those exactly? more attention to EQ rather than
> > compression, i'm guessing?
>
> i tend to try to respect the dynamics of the piece i am mastering,
> which a lot of ambient/microsound music uses as its theme at times,
> with too much compression some quiet parts could be mistakingly
> brought to the fore.
> For me mastering is really about presenting a final set of works as a
> cohesive release and statment -- as mp3s, CD, or etc, and i find it
> rather difficult to master just one song.  i suggest mastering only
> when the release/work is completely finished.
>
> and i do recommend bob katz book as well.  :)
>
> --
> john mcCaig | www.johnmccaig.com
> freejohn@xxxxxxxxx
>
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