Guy Elden, Jr. wrote:
quoted 2 lines I think if you>I think if you
>try to take things too seriously, you can't be as creative.
i think that is a disrespectful comment, and a slap in the face to artists
that really throw themselves into their work. you should see the
dedication that some artists have. freaky chakra & single cell orchestra
(being the two guys i know the best) are NUTS... the amount of attention
they can bring to bear on a single detail is incredible. i have been known
to get very obsessive about one particular drum sound. to the point where
it drives my wife nuts. "didn't you mix that already? god i'm sick of
that track!" "i have to keep doing it until it's right!"
Maarten D. Schermer wrote:
quoted 6 lines And often the fact that they were produced in bedrooms>And often the fact that they were produced in bedrooms
>on cheap equipment, mastered on cassettes, etc. has given them that raw,
>noisy edge that makes them (even more) interesting. It's like with brightly
>lit rooms - you can see everything clearly, but when you turn off the light
>and replace it with a candle, the wavering light makes you guess at the
>things you can't really see beyond the depth of the flickering shadows.
I disagree, again. If you are really interested in your sonic palette you
can't be happy with ONLY flickering shadows. If there's not even one
brightly lit moment all you have is a pile of mud. Personally, I like the
fact that I have the OPTION of making perfect 16/44/stereo digital mixes,
or crudding everything up with distortion and low sample rates.
Contrast is important, and if you stick with cheap gear and cassettes for
mastering you won't have the option of getting a clean sound when you want
it.
quoted 2 lines Are we listening to music or are we actually admiring how perfectly,>Are we listening to music or are we actually admiring how perfectly,
>digitally, totally silent the pauses inbetween are?
i have no trouble doing both, actually.
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Jon Drukman jsd@cyborganic.com
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