Re: [microsound] digital (was Make your own vinyl)

[graham miller <grahammiller@xxxxxxxxxxxx>]

"Mr.D" wrote:

> On May 31, 2005, at 5:24 PM, graham miller wrote:
> >> I'd prefer the 100 page essay, actually.
> >>
> >
> > ask kim.
>
> Ah yes, I've read the 2-3 articles he's written on the subject. I am
> not aware that there was a longer piece tho, is there Kim?
>
> >> In other words, you may not be able to tell from one recording to
> >> another if the artist used digital tools to create sounds, or used
> >> live recordings that have been mixed together. The emotional response
> >> and subjective opinion of that piece has a lot more to do with its
> >> aesthetic than how it was recorded or what plugins were used.
> >>
> >
> > really? how? are you so sure you can tell the difference?
>
> Well that's my whole point, you cannot. I make no claim that I have
> some sort of super power to do so, I doubt anybody does.

okay, now i can't remember what either of our points were:)

>
>
> > would we have rock music if it wasn't for distortion?
>
> Distortion was never digital.

nope. but it was the quintessential glitch... that unwanted product of
extreme volume and amp torture that started the whole rock rolling. one of
the classic examples of how 'malfunctioning' technology or the 'improper'
use of technology yields a whole new genre... i draw the parallels with
glitch, and CDs skipping and all that fun funky  nonsense.

> Maybe that's not your point, but rock
> music doesn't require distortion, it never did. The paths it took
> most certainly do, but as a 'basic' style (speaking in hugely generic
> terms) it certainly doesn't require it.

i'd argue that the distorted signals both caused by  overdriven amps prior
to  preamp distortion,  was a HUGE influence on the aesthetics of rock
music.  complex chords become increasingly dissonant, while single lines
and double stops gain sustain and presence... it also changes technique...
look at van halen whammy work and tapped harmonics, look at hendrix's use
of feedback and noise-sound.  the enduring allure of rock riffs resides in
pure sound. i really don't think harmonic progressions, blues or other
should share the credit of the influence of new sound technologies in the
late 60s and early 70s...

i know i play differently is my PRS is on squeaky clean single coil mode,
humbucker mode, or full on distortion... the sound changes the aesthetics
of my playing and also the different kinds of enjoyment i can dig out of my
axe.

>
>
> > wouldn't the emotive qualities of a
> > guitar solo change depending on what kind of amp its played
> > through? why
> > the need for producers or engineers at all, if the 'music' speaks for
> > itself?
>
> Well we could sit here all night and throw examples back and forth,
> but all we'll conclude is that they're all different for every
> situation. Ergo, it doesn't make a lot of sense to categorically
> condemn music to being a slave to the bit.

don't get you here...

>
>
> > as do i. but i'm more in the béla fleck and his electric midi banjo
> > camp.
>
> Here here, I love Bela! Check out his non-electronic stuff with New
> Grass Revival and his acoustic albums too after the Flecktones got
> started. Such an awesome player, seen him live a few times. The
> Flecktones actually got me into listening to music with 'electronics'
> in it, way back when they first got started and did shows in rural
> North Carolina. :)

i have most of his work, including his lovely acoustic work. i'm a huge fan
of him and also, of course. mr. victor lemont wooten, (whom i taught
everything he know about bass... naturally)

>
>
> All the same, as long as there is folk, there will be folk music. If
> they don't have computers, it won't be digital.

how is techno music not folk music? how are we not engaging in folk
practices right now through this dialogue? global village, that whole sort
of thing... but maybe that's your point...

>
>


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