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Re: [microsound] momus and glitch
Hi!
Thanks! That's an interesting article. I especially love the frankness
of Momus' writing e.g. in
"I added analog crackle to music ... To summon an idea of authenticity
(and yet underline, ironically, the fakeness of all such summonings"
sounds very "classic" post-modern.
But I am a bit in doubt about the relationship to the aesthetics of
failure. D-12 "Analog crackle" is not an error, rupture or violation -
it's crackling by intention without hurting anything (a CD or digital
file structure). Maybe one c/should call this "fashion of failure"?
I see what he'd doing as a method to simulate audio from a specific
context. So I can see how it could be a tangent to "the aesthetics of
failure", from what I know of it. I agree that I'm in doubt as to it
being a really valid example. As he says himself, his idea it seems
is closely related with the aesthetics of (in)authenticity. (Can's
Ethnologic Forgeries anyone?)
For what it's worth, I myself come from a film music background (with
a short career in non-musical film sound during the mid 1980s). I
very much see this specific example in relation to the standard
telephone filter "effect" or recipe. That is to EQ a sound, primarily
voice and mix in audio sound effects to simulate the origin of
normally recorded material, be it telephone, CB Radio, or old record.
Btw: it would be very interesting to write a cultural history of said
Korg D-12 patch "Analog crackle". Any starting points?
Well from a technological history standpoint I first encountered a
commercial tool like that in the 1998 release of Opcode's Fusion
Vinyl plugin. On the other hand, it didn't meet my standards when I
needed the "authenticity" of a 78 disk. So after getting it on some
sort of discount deal and trying it I then wound up having to rig up
a 78 turntable and examining shellac discs for long lead outs to
compile into a track to be mixed with an EQed and compressed original.
nicholas d. kent
http://nickkent.net
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