I bet this kind of debate took place in the realm of music recording as
well when studio production started to take off and a "recording" became
more than a live capture of what went down in a studio. I can respect that
point of view, and "live" tracks can have something special going for them
that's hard to invoke in a track which is assembled and manipulated in a
studio. That doesn't make the studio method less valid or interesting,
just different.
On Wed, 30 Jul 2003, N. Graham Worthington wrote:
quoted 31 lines On 28 Jul 2003 dj m <djm_freebeats@yahoo.com> wrote:> On 28 Jul 2003 dj m <djm_freebeats@yahoo.com> wrote:
>
> > couldn't disagree with you more. i consider a DJ mix
> > more than the sum of its parts- it's a live recording
> > of a performance. as soon as i find out a mix was
> > done on the computer i completely lose interest in it.
> > and part of the fun of studio mixes is doing it over
> > until you get it the way you want it! :) dave
>
> "as soon as i find out a mix was done on the computer i completely lose
> interest in it."
>
> Are you implying you are less than perfect at detecting if a mix was done
> on a computer through listening alone? If so, what does that say about
> your decision-making process?
>
> Call me old fashioned, but I have always decided what music interested me
> by my own subjective emotional and intellectual response to the audio
> itself. I have never decided what interested me by evaluating how it got
> from the artist's or DJ's head into my ears.
>
> Maybe, if I heard the best track _ever_ and then found out the sample
> material was derived from the sounds of dying children, or some really
> cute puppy dogs getting run through a meat grinder, or something else
> involving uninvited violence, I might change my mind on that position.
>
> N.
>
> PS Whoever has that tagline that says "when dogma enters the brain, all
> intellectual activity ceases" (or something like that) -- you're dead on,
> mate.
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