On Oct 6, 10:50am, Jon Drukman wrote:
quoted 10 lines Subject: B12, autechre, timbre, groove and YOU.> Subject: B12, autechre, timbre, groove and YOU.
> Tony writes:
>
> > But then there's a lot to be said for music that isn't technically
> > perfect in terms of compositional style, rhythm programming, or
> > whatever.
>
> oh i certainly have a LOT to say about that sort of music... how about "it
> sucks" for starters.
>
"Yeah, huh-huh,heh-huh and it really SUCKS too!"
- Chapter 3 Verse 10, Book of Beavis.
I don't know -- Strength in one area CAN make up for weakness in another.
Burning Spear gets an F for harmonic complexity, a B+ for lyrical content
and an A+ for drums & bass groove. Motion in timbre can be enhanced by
cutting back on harmonic and rhythmic complexity, by bringing it to the
foreground.
quoted 3 lines i'm much more interested in the tension generated by taking one chord, with> i'm much more interested in the tension generated by taking one chord, with
> a really dynamic, changing pad sound and seeing how the rest of the track
> rubs up against it. that's interesting harmonic motion, to me.
Friction between sounds. A really good bit of advice I got from DAC Crowell
was NOT to overuse the computer sequencer -- use the 4track to put sounds
up against each other to see what happens when they rub. Any more, I always
try and have some stuff unsynced on some time scale, because if it is regular
enough, interesting phase relationships in the rhythmic domain evolve.
quoted 2 lines i'm not so sure about this "superior because it goes beyond sequencing" thi> i'm not so sure about this "superior because it goes beyond sequencing" thing
> though. i mean, there's nothing inherently wrong with a sequencer, other
than
quoted 2 lines that it tends to become a crutch. i've been trying to use mine in ways that> that it tends to become a crutch. i've been trying to use mine in ways that
> i'm unaccustomed to. it helps because i wind up making mistakes that i end
up
quoted 1 line liking a lot.> liking a lot.
Yeah, well, if you'll pardon me tweaking your employer, Vision is a series
of accidents waiting to happen, sad as well as happy.
I guess my view on the issue is that if the real time performance involvement
for a particular piece of music is pushing the 'start' button, then something's
been lost from the music. Sometimes the best thing about music is that it
is an irreproducible result. That's why that guy followed Charlie Parker
around for a year with a wire recorder, recording all his solos.
To go back to the example of Underground Resistance, most of their stuff is
fixed rhythmically by DIN Sync, but everything else is a live performance.
--
kent.williams@cadsi.com
[Kent Williams/CADSI/2651 Crosspark Rd/Coralville IA 52241/(319)626-6700]
"It is a good world, generally (and especially when you totally ignore detail)."
--Darwin Grosse, who did NOT invent Eckankar.