From: <eric@synthesizer.org>
quoted 3 lines Oh come on. I don't know what school of music making you're trying to
> Oh come on. I don't know what school of music making you're trying to
> apply to the musicians you speak of, but isn't it possible they don't
> subscribe to your rules?
You have some good points here...
quoted 3 lines If there's an insult to be had, it's in the myriad of musicians trying to
> If there's an insult to be had, it's in the myriad of musicians trying to
> get their piece of a stylistic cash cow, not those who are putting
> the wrong sounds in the wrong places.
That's very true. I'm not trying to dis anything that sounds rough; one of
my favorite albums is rather poorly produced electronic music but the energy
and the enthusiasm there more than compensates.
quoted 3 lines Maybe the insult you perceive is that they know why those sounds are
> Maybe the insult you perceive is that they know why those sounds are
> there, and you can't figure it out. It's not personal, they don't know
> you.
Well you're quite right about it not being personal. I was trying to refer
to the feeling you sometimes get when you listen to a record and get a clear
feeling that the artist has just not bothered. Imagine a track where there
was some very smooth silky pad that clipped a bit as it peaked. If it
doesn't relate to anything else going on in the track, and there's no
exploitation of the aural contrast between smoothness and the harsh
clipping, then you can make a fair guess that it was just overlooked.
I suppose that doing my own recording makes me less tolerant of sounds that
I would regard as errors in my own stuff. On the other hand, it's hard to
dispense with one's own listening experience when forming value judgements
about what sounds good or bad. If a track has a gritty or choppy feel,
great. If it's meant to be smooth, then why not polish it?
Anig Browl
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