Re: [microsound] politics of digital audio redux

[Xdugef <info@xxxxxxxxxx>]

> aside: what strikes me funny is that most of the new age studio's  
> compliment of technology can now be found on a Powerbook running Max/
> MSP and Pro Tools (except for the speakers of course -- which are the
> most important tool for composing music I find)...and that his  
> equipment only gained him a fleeting moment of 'perceived power' in  
> the breakneck paced marketplace of digital audio...

This certainly is not limited to the audio realm.. having spent time in
high video production the same kind of machismo has been expressed in
the purchaces of Onyx's and Flames etc.  The Onyx at one time being the
size of a refrigerator I have heard stories of production people
pointing to an actual refrigerator and clients being impressed that it
was a super computer.

Apple as you have pointed out has leveled the playing field for many
including editors with Final Cut etc.

More power to the people... right?

As for distribution the internet has also leveled the playing field for
digital distribution thus allowing anyone and everyone to create sound
and find listeners.

Steve Albini's statement seems to be contrary to these liberating
technologies. I don't know if it's because he feels that being ols
skool gives him a unique sound or if if not buying modern equipment is
somehow sticking it to the man. 

<edit> Okay perhaps Steve sees it as an archival solution but I guess
that depends on how far into the future you want to go.


> again see the  
> Wikipedia article on the SACD vs DVD-Audio format wars...
> it was this experience that made me smile when I first came across  
> Oval's track 'The Politics of Digital Audio' -- as I knew exactly  
> what Marcus was critiquing right off the bat...

I suppose he has confirmed that this is true? Not having heard the
specific track ... if the track was not titled that woudl it have the
same meaning? Couldn't you put that title on any number of works by
various artists and possibly come to the same conclusion?

If my track "Pussy Face" was titled 'The Politics of Laptop Music'
would that assert that I think there is a problem with laptop music?


> but it raises certain questions:
> - what is the role of 'perceived quality' in a musical artifact?

Is trhis specifically in regard to remastered versions of classic
albums? Or is all music published ina  phyical format an artifact?

There has been threads about packaging on some noise forums liek
iheartnoise.com about what has come to be known as the "sharpie attack"
artifact. This being a CDR that has been labeled using a sharpie. The
implication here is that the artist really doesn't care to make a
presentation and wether or not the contents are good this type of
packaging should be sold for less.

I think that qualifies as an example of perceived quality. 

Of course if it were a sharpie attack CDR by merzbow you could probably
find somebody on ebay willing to spend $100 on it whereas some kid in
his bedroom making noise might have a hard time selling it for $5.


> - can digital audio technology (or analog tech) lend a fetishistic  
> veneer/false value to an artifact?

Obviously both do, collectors may spend crazy money of something to
perceive as being unique or highend even if it is old. All the
purchases of analog gear with real wood panels I have ever made were
sound buys because they retained their cash value even if they were at
times unstable pieces of equipment.

Some times the packaging of a CD is more interesting or collectable
than the CD itself and vice versa.

The real question is wether or not this is wrong. Do I think teen girls
today should be listening to Britney Spears or to Merzbow? I dunno..
both are fetishised but different groups of people.

> - does something like SuperAudio augment or diminish an artists work?

I think this depends largely on the system it is being played on. If
you only published using this format you'd probably emliminate most of
your listeners.

> - does technology such as Super Audio or DVD-Audio perform as a type 
> of advertising?

Perhaps to audiophiles it would be inticing. My personal interest in
the DVD-Audio format is for releasing compilatiosn on one disk instead
of tow or three or four.

> - is the display of expensive technology merely a device to attract  
> potential consumers?

It generally is in the commercial production world but as far as the
typical artist goes I don't think so.

However you might say this about circuit bending.. although it's going
in sort of the opposite direction where the display of "worthless"
technology attracts potential consumers.

> - how is something like 'glitch' a political statement w/r/t digital 
> audio?

The first thing that comes to mind is that glitches can be used as
satire. The McDonna project or I know some people who are doing cutups
etc of Paris Hilton. By messing somethign up adn robbing it off it's
high production value you literally degrade it and mock it.

> - did Marcus (Oval) succeed in making a political statement with his 
> music?

Perhaps but not a very big success( I say this without knowing his
whole catalogue).

I guess I might have to knock off a few points because I swear I saw a
perfume ad with Oval as the soundtrack.


> there are other aspects to this I find interesting from a Marxist  
> perspective...e.g. the roles of exchange vs use value...does digital 
> audio add an illusory exchange value to an object? does it add use  
> value?, what does a fetishistic collector get when they buy a  
> SuperAudio mastering of Pink Floyd's 'Dark Side of the Moon'? what  
> type of status does that sort of object afford her?
> etc etc...

What about convienence? Digital is easy to use .. there is no need to
use tapes and vinyl or even CD these days for casual listening.

What about the "fetishistic collector"? Let's define different levels
of "fetishism" because there has to be at least several levels..

A. Music Buyer - a person who buys music of mp3's so that they can
enjoy music they like
B. Music Downloader/Ripper - a person who only downloads music or will
buy a CD , rip it to mp3 and then sellt eh original CD
C. Music Collector - a person who spends extra money to get artists
editions etc who buys items that they think may increase in value.
D. Completist- a person who religious collects a certain special bands
and who may spend more money on something despite actual collector
value.
E. Audiophile - a person who wants to build hte perfect audio
reproduction system and of course needs recordings that will make the
most of it.

But simply buying a SuperAudio CD of Pink Floyd is probably only going
to buy you so much status... I might impress other Pink Floyd fans and
these days I doubt that the extra cost in owning a SuperAudio CD
players is all that much more than trivial. Please note I am not making
generalisations such as anyone in the world can afford a cd player or
any kind.

I guess taking joy in owning such a thing is supposed to reveal the
larger looming issue. 

Adrian



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