siliconvortex wrote this:
quoted 1 line but your lexicon costs more than many people's whole setups.> but your lexicon costs more than many people's whole setups.
so. if you're not prepared to spend tons of dough you don't belong in
the electronic music biz. :)
quoted 2 lines and besides, there's a lot to be said for nasty metallic reverbs -> and besides, there's a lot to be said for nasty metallic reverbs -
> if king tubby were around, he'd be able to explain better than i
no no no no... he used tape delay! WORLD of difference. the irony
now is that a good tape delay can cost many hundreds of
bucks... almost enough to buy a good lexicon digital unit... (totally
different sounds of course... i would kill for a nice Space Echo.)
quoted 1 line no-one needs a lexicon!> no-one needs a lexicon!
no one needs a sampler either but it makes some things easier.
quoted 6 lines those who have the talent to make music that people want to hear can do it> those who have the talent to make music that people want to hear can do it
> on anything, regardless of cost or sophistication. those who do not, we
> generally find spending more and more money, surrounding themselves with
> complicated gear, while their music becomes more two dimensional, less
> human, more sterile, until no-one at all takes any notice of them, and they
> give up.
the musicians i respect the most know what to do with a studio full of
expensive gear. it is easy to spot those who are overwhelmed by their
gear list.
quoted 2 lines the classified section of your favourite music magazine is full of> the classified section of your favourite music magazine is full of
> failed musicians selling their expensive studios.
heh, most of the people i find selling stuff like lexicon pcm90s for
half off retail are either junkies trying to score a fix or gigging
musicians trying to make the rent. my friend bought a drum machine
off some kid on haight st who was clearly jonesing
quoted 2 lines some of the more interesting musical ideas in the past have come from> some of the more interesting musical ideas in the past have come from
> mistakes - why should we always avoid bad engineering?
i didn't say we should. i just said a lot of people use distortion to
hide the fact that they don't know how to make a clear mix.
quoted 3 lines in a lot of people's records these days, it's the unintentional, the> in a lot of people's records these days, it's the unintentional, the
> background fizz and clips, that are more interesting than the
> composed music itself
these people should give up and learn how to write proper tunes then,
dammit. :)
quoted 2 lines what's right today is invariably wrong tomorrow. it's much better to be> what's right today is invariably wrong tomorrow. it's much better to be
> 'different' than 'right'. it's best not to have too much control.
difference of philosophy. for me, music is *all* about control. if i
introduce a chance element it's cos i WANT it there, not because i
don't know how to work my gear. note that i am not talking about
systems music and algorithmic composition. i like that stuff and will
happily set up systems or whatever. but the end result is because i
MEANT for that sound to be there, one way or the other.
--
Jon Drukman jsd@gamespot.com
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Plan: Eat right, exercise regularly, die anyway.