[microsound] Re: i know this has been said before but....

[Matt Davignon <mattdavignon@xxxxxxxxxxxxx>]

I think for many people it's a combination of how the
music is made and the final result. Literally, the
instruments used for a piece aren't an indication of
its merit, but sometimes they let you peek into the
creative process of the musician. If you listen to a
disc modern bleepy bloopy music, then find out that it
was all generated acoustically with an oboe, I think
that's pretty frickin amazing. Then there's the other
side of it, which is making it something that's still
musically interesting once the surprise wears off.
Fortunately the oboe player I saw last night is good
at both. 
 
> that said right now i am real sick on the sound
> of the line 6 delay unit used live.
> 
> robert horton

Specifically the Line 6, or loopers in general? I
think looping units have been used rather
formulaically in most live contexts - build rhythm
loop, chord loop, solo over it, re-record chord loop
at half speed so its chipmunky at normal speed, etc. I
still see some amazing stuff done with these units,
usually by musicians who won't let the hardware limit
what they're able to do. I use a Line 6 myself, but
one of the most freeing aspects of it is that I can
simply decide ignore it. 

Or another response to your comment - sometimes I'm
ready to say the same thing about laptop computers
used in live improv contexts. They have such amazing
potential, but I see many of the musicians stuck in
the possibilities of what they can do that they turn
out entire sets of neat sound effects, with little
musical content. (An acoustic equivalent would be
someone who brings every instrument they can to a
performance, and then has the urge to interact with
each and every item, rather than focusing on a small
number of the available elements to reach a certain
point of musical depth.) Then there are the
exceptions, who are always a blast to watch or work
with. 

Matt Davignon
www.ribosomemusic.com

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