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Re: [microsound] usefulness of compressors/mastering in experimental music/glitch
I've found that often times the glitch style of production /
composition that's so popular these days tends to be more about the
aesthetic of mistakes, and less about the actual mistakes themselves.
That is, it's about making the listener feel like something's gone
awry, like there's a wrench in the gears of the song. Taking that into
consideration, it certainly makes sense to polish and massage the
mistake-ness of a song to perfection.
The punk aesthetic / ethic is perhaps too big a can of worms to open up
without scores of the same old arguments about what is and isn't Punk.
I will say this, though: Avril Lavigne is without a doubt the Only True
Punk Rocker Left. Absolutely no question.
Anyhow, I find the idea of altering a composition in any way to give it
a more "authentic" aesthetic to be kind of pretentious, unless your
goal is to stick to the tradition of a particular genre. However, with
such a young and varied genre as electronic music, I dunno if that
really applies, since there's no real tradition to remain true to.
Unless you count dance music. Ugh.
-QF8
http://scatterbrain.raygunarmy.com/
On Nov 10, 2004, at 09:20pm, graham miller wrote:
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.
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