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JTRiff Wrote:well. Studies were done on pure electronic music, and the results were kinda disturbing.
Your brain tries to identify things. Hit with stick. String vibrate. Etc.
So... when it's all electroid - even if it sounds like real instruments -
it promotes unease and even, bion, violence. Truth.
This is complete utter crap. If I ever want to relax and induce sleep I only have to put on 'Oxygene' and I drift off into a very serene sleep. Everytime. I would like to see the results of these studies.
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JTRiff Wrote:well. Studies were done on pure electronic music, and the results were kinda disturbing.
Your brain tries to identify things. Hit with stick. String vibrate. Etc.
So... when it's all electroid - even if it sounds like real instruments -
it promotes unease and even, bion, violence. Truth.
JT why do you alawys make these statements which you can't back up with any evidence?
"Studies were done on pure electronic music, and the results were kinda disturbing."
Who did them ? Can you quote the results ?
Nice to be able to go back to trust and friendship!!!!!!!!!
It's a mixed up sensation this being alive
Oh! it wears a man down into the ground
It's the strangest elation
I can't describe it
Oh it leaves a man weary
It makes a man frown..............................Chris Simpson ( "Mixed Up Sensations" 1975 Martin's Cafe )
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21-07-2011, 20:48
(This post was last modified: 21-07-2011, 20:50 by Thetyari Estévez.)
I like electronica best because what I find is the movement in any given song is different from any other genre -- the interest for me is in things like filter sweeps, how thick the layering is over the track, how samples or patches are manipulated from moment to moment and not necessarily the melodies and harmonies they're playing. When it's great, a 2 hour set flies by in no time.
Whether it's "real" or not is immaterial as far as I'm concerned. "Real" strikes me as one of those loaded buzzwords that can mean anything. It has to get out of one person's head into another (seems I saw Pink Floyd on film talking about this very same thing in defense of their needing all their amplification).
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22-07-2011, 02:37
(This post was last modified: 22-07-2011, 02:42 by SteveO.)
John Cage ... early pioneer of electronic music is one of many favorites of mine.
For me, electronic music is real !
The ultimate connection is between a performer and its' audience!
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Thetyari Estévez Wrote:I like electronica best because what I find is the movement in any given song is different from any other genre -- the interest for me is in things like filter sweeps, how thick the layering is over the track, how samples or patches are manipulated from moment to moment and not necessarily the melodies and harmonies they're playing. When it's great, a 2 hour set flies by in no time.
Whether it's "real" or not is immaterial as far as I'm concerned. "Real" strikes me as one of those loaded buzzwords that can mean anything. It has to get out of one person's head into another (seems I saw Pink Floyd on film talking about this very same thing in defense of their needing all their amplification).
Great description - could not have put it better myself.
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I do think Jerome has found his kindred spirit
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Music Head Wrote:I do think Jerome has found his kindred spirit
You read my mind.......
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Jerome Wrote:Great description - could not have put it better myself.
And you have also solved a problem I have had for some time now. Been worling on a private music project (when I can) for a while now and no matter how many different ethnic musicians I try or how much money I throw at it (I'm a normal working stiff), I just cannot get people to deliver quality work when it comes to these intruments. Drums no problem, bass no problem, strings no problem, piano no problem - ethnic instruments - a total disaster. They can talk about it but they can't do it. Your statement 'whether it's real or not etc. etc.' has just provided me with the answer. Bugger the purists - I am going to use samplers for this otherwise I am going to end up in the nuthouse. Thank you!
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You reminded me of a story in one of Bill Drummond's books about working with Tammy Wynette on the KLF's "Justified & Ancient" (an absolutely brilliant record). He said that she was so used to having the musicians follow her rhythmically that she couldn't cope with the click. She never hit the beat through the entire verses she sang. The engineer turned to him and said "what do we do?" And his partner Jimi Cauty said "don't worry, we'll fix it." They went through it beat by beat and basically quantised her voice so that she hit with the beat, and that's what you hear. Most people have no idea how commonplace this is. :-)
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Have to say quantisation is the one process I have NEVER used - not ever. The musician (whether myself or a hired hand) either gets it right or it's not used. I just tried a track with a session musician a day ago and his phrasing was off so I abandoned his efforts (at a price). If someone wants to call themselves a pro session musician the very least they can do is get the timing right. Now if he plays off the beat but does it creatively - that's a whole different thing. But if he can't even play the right notes in the vacinity of where they are supposed to go it's a bad day. You would be amazed at the quality of work being churned out by 'professional' musicians. They're a dime a dozen. For every one part I get down on disk there must be anywhere between 5 and 7 that are worthless. Adds up pretty quickly. But over time you start sifting out the ones who can do and have the 'ears'. And of course the ones who use technology to hide their mistakes are soon revealed when they have to play live. It all comes out in the wash, as they say. Can't hide a bad ear!
