i hear you, man.
although i would eventually like to incorporate a computer into my
(ahem) "studio," i work with a single piece of equipment: the Yamaha
SU700.
it's a relatively new sampling workstation that has 4 kinds of sweepable
filters, lfo editing, time compression, 43 internal effects (all of which
are changeable), resampling, etc. etc. it is very user-friendly and i have
been very happy composing with it.
i can go on and on about it, and i recommend if you are interested in a
wonderful sampler/sequencer to check this one out. from my experience with
akai's mpc, i'd take the Yamaha unit over it anytime; but hey, the mpc is
great for hip-hop and techno, and millions of people aren't
complaining! :)
zachary
zim200@is7.nyu.edu
On Wed, 8 Mar 2000 ajwells@ix.netcom.com wrote:
quoted 57 lines Date: Wed, 08 Mar 2000 11:45:41 -0600
> > Date: Wed, 08 Mar 2000 11:45:41 -0600
> > To: International Damage Machines <idm@hyperreal.org>
> > From: Ernesto Ikerd <IkerdEA@lmtas.lmco.com>
> > Subject: Re: (idm) lets talk equip.
> > Message-id: <200003081745.LAA05850@cliffy.lmtas.lmco.com>
> >
> > >I think the dream setup for me
> > >would be entirely software based with nothing but knobs, faders and midi
> > >instruments atached to the computer. Currently I'm programing some stuff
> > >in Csound (I'd upgrade to jMax but my machine is too slow). With a little
> > >knoweldge in Csound and the possibility of jMax, I wonder why anyone buys
> > >retail outboard gear at all.
>
> Well there are plenty of electronic artists who either hate the matrix
> that working in a computer environment throws you into or dont use them
> much because they play live and understand the problems that one can get
> into with excessive reliance on computers...
>
> I know that some people work with computers and love them... and buy
> into the myth that you can do "anything" with computers... but one of
> the reasons for all of the sameness in electronic music at the moment is
> because working in a computer sequencing environment does not present
> the opportunity for things to fuck up in an interesting way and it also
> removes the artist from the reality that sound emanates from THINGS
> vibrating, not numbers approximating waves... that physical quality of
> sound is often lost or changed in a computer environment...
>
> Of course computer audio environments do make it possible for a large
> segment of the listening public to create as opposed to consuming, but
> when you see the glut of "electronica" currently polluting the stores,
> you have to wonder whether that is a good thing... there has always been
> a finite amount of true substance in any artistic field, and that
> percentage doesnt change with advances in technology...
>
> Many artists at the forefront of modern music are rejecting the
> sequencing environment for more of a hands on approach because they feel
> constricted by the "limitless possibilities" of the computer... in art,
> unlike most other areas of life, more choices does not equal a better
> situation... art usually thrives on limitation, and I think we are going
> to see more and more artists moving beyond the computer in the next few
> years... the more you TOUCH a piece of art the more you empart yourself
> onto it... and you cant touch anything inside your Logic environment
>
> I mean just look at the continued and even increased popularity of
> analog equipment and hardware sequencers... an Expander or an MPC3000
> hasnt lost any value despite all of the computer emulations... there
> will always be something about the "thingness" of musical instruments
> that computers cannot touch...
>
> Of course your experience may vary...
>
> A.
>
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