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Re: [microsound] Getting started
Well too bad you can't run software without hardware.. anybody wanna
buy a vintage fairlight for $10-20k?? it's a bargain!
--- craque <craque@xxxxxxxxxx> wrote:
> Oh YES he did.
>
> ;)
>
> Graham I have many thoughts to your longer reply, coming soon.
>
> On May 14, 2007, at 5:53 PM, Xdugef wrote:
>
> > oh no you didn't!
> >
> > --- Graham Miller <grahammiller@xxxxxxxxxxxx> wrote:
> >
> >> that's true. mostly because there are a lot of suckers out there
> that
> >>
> >> still think hardware is better than software;)
> >>
> >> On 14-May-07, at 7:28 PM, Xdugef wrote:
> >>
> >>> Well one thing is for sure is that it's much easier to sell
> >> standalone
> >>> gear for what you paid for or even more in some cases if it was
> >> custom
> >>> gear etc. Good luck getting your investment back on 3-4 year old
> >>> software. ;-)
> >>>
> >>> AD
> >>>
> >>>
> >>>>
> >>>> in music, both academic and popular. music that uses presets is
> >>>> largely deemed inauthentic and therefor has less cultural worth.
> >> and
> >>>>
> >>>> it is quickly exposed.
> >>>>
> >>>>>
> >>>>> I guess what I mean to say is that to 'start' in microsound
> >>>>> shouldn't necessarily mean finding the right software package
> >>>>> first. Is this too idealistic of an approach to creating music?
> >>>>
> >>>> you mean by making a kazoo out of wax paper instead of buying a
> >>>> computer? or maybe recording the colliding beads of an abacus?
> >>>> microsound is digital music. it is computer music. at the most
> >> basic
> >>>>
> >>>> level, you need to be able to either manipulate or generate
> >> digital
> >>>> data. for that you need a digital computer. if you are getting
> >> into
> >>>>
> >>>> microsound as a genre, then i might add the need to manipulate
> >> music
> >>>>
> >>>> at the microsound level, through some kind of granular
> synthesis,
> >>>> let's just say. so any software should have these elements.
> >>>>
> >>>>>
> >>>>> Maybe this has nothing to do with the original question
> (surely,
> >>>>> there are many more answers to be questioned when starting to
> >> make
> >>>>
> >>>>> this kind of music than just what software is in use), but I
> just
> >>>>> have this uneasy feeling in my gut when it comes to music
> >> software
> >>>>
> >>>>> these days. Everything is trying to be everything to everybody,
> >>>>> which is probably why stuff like max, sc and pd are in such
> large
> >>>>> use with people on this list (at least), because they are
> >>>>> programming languages, not software packages.
> >>>>
> >>>> there is definitely a kind of elitism here. just because
> someone
> >> is
> >>>>
> >>>> an expert programmer certainly doesn't make them a brilliant
> >>>> musician. programming can be music. but it can also just be
> >>>> programming. in this kind of community there is often a sense of
> >>>> authenticity that comes from writing all the code oneself. but
> >> what
> >>>>
> >>>> really counts is the end result. one could spend years learning
> >> how
> >>>>
> >>>> to program an ableton live style program in max/MSP. or you
> could
> >> buy
> >>>>
> >>>> the software and spend a year making music on it.
> >>>>
> >>>> and learn how to take something designed by another and make it
> >> your
> >>>>
> >>>> own. just like playing the trumpet.
> >>>>
> >>>> adolf sax and joh coltrane don't have a hell of a lot in common
> >> other
> >>>>
> >>>> than the saxophone. coltrane didn't have to built one from
> scratch
> >> in
> >>>>
> >>>> order to revolutionize music, push boundaries, and express his
> own
> >>>> individuality and human spirit. the same goes for software.
> >>>>
> >>>>>
> >>>>> The point was hit home with me when I was (thoroughly) enjoying
> a
> >>>>> listen to Download's new album, "FiXeR", with a friend of mine.
> >> In
> >>>>
> >>>>> the middle of some really cool section or break or something,
> he
> >>>>> pipes up "HA he's using Live for that, i've used that same
> exact
> >>>>> pattern" and it kind of ruined the listening experience for me
> at
> >>>>> the time.
> >>>>
> >>>> live doesn't have a sound, per se (although in the past i have
> >> argued
> >>>>
> >>>> heavily that software environments lead to particular musical
> >>>> aesthetics, particularly in loop based music, such as techno).
> >> maybe
> >>>>
> >>>> he was referring to one of the effects, such as beat repeat.
> >>>>
> >>>>>
> >>>>> My buddy isn't at fault for this, but it proves there is a
> >> certain
> >>>>
> >>>>> approach to listening to electronic music these days that is
> more
> >>>>> "how did he do that?" than just plain listening.
> >>>>
> >>>> see glenn gould on this and why he stopped playing live.
> >>>>
> >>>>> My friend personally knows better, but I think there are a lot
> of
> >>>>> people that just want to replicate what they hear instead of
> >> being
> >>>>
> >>>>> inspired to create something new.
> >>>>
> >>>> yes. but these are the first steps to learning a musical
> language.
> >>>> imitation might be the sincerest form of flattery, but it is
> also
> >> the
> >>>>
> >>>> way language is learned, mastered, and, ultimately, evolves.
> just
> >>>> think how a child begins to speak a language. eventually they
> may
> >> go
> >>>>
> >>>> on to write a great novel.
> >>>>
> >>>>> Folks too often seem to want to know why 'technically'
> something
> >>>>> was done instead of what creative process on the back-side
> >> inspired
> >>>>
> >>>>> that something to be done.
> >>>>
> >>>> true. but what is more useful and interesting? the story of
> newton
> >>>> getting hit on the head with an apple? or the actual theory of
> >>>> gravity? i'd say, both:)
> >>>>
> >>>> graham
> >>>>
> >>>>
> >>>>>
> >>>>> -m
> >>>>>
> >>>>>
> >>>>>
> >>>>
> >>
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> >>>>> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
> >>>>> website: http://www.microsound.org
> >>>>
> >>>>
> >>>>
> >>
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> >>>> website: http://www.microsound.org
> >>>>
> >>>>
> >>>
> >>>
> >>>
> >>
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> >>> website: http://www.microsound.org
> >>
> >>
> >>
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> >>
> >>
> >
> >
> >
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> >
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