and then "fully rinse" it and do everything you can w/it and most of all make tracks. regardless of any features/percieved limitations. Ps they've spent a fair chunk of cash (computers to run max(software licenses too?), nords, mpcs, elektrons, rs integrator) and my reading of it wasn't about the $$$ for modules so much as doing "x" be it money, whatever in place of (forcing yourself?) flexing your creative muscles. The most honest write up since The Manual by the KLF. I think it's sweet, they did a huge favor to kids getting into electronic music that are looking for social proof in who to take advice from, when most of the other prominent figures are buying tons of stuff, if they give advice at all. One of them did a recentish interview where they said along the lines of, early on they got access to a friends well equipped studio and basically having access to all that stuff at once wasn't their style. Jonah wrote:people really think they're misdirecting or fronting? what's that about? There'd be much easier and funnier ways to misdirect people. how many people here over the years have jumped ship from euro because there's just too much of it and they want something "complete"? so many FS posts of parting out the euro and "getting off this merry go round"īut yeah. i think what they said about "people going shopping" isn't untrue. perhaps seeing a forest of pics of modulars and studios etc is a bit different.īlah. they make/release music for a living though obviously have the same love of exploring sound that lot's of people have (including rich lazy people who don't write tracks). some people buy sports cars and others buy modular synths to noodle on when they have the time.Īe is in a different place when it comes to gear/music relationship. Improvising and learning the nuances of CV and sound processing.Įxactly! as said many times. I'd be perfectly happy if I just continued to get my kicks out of playing and performing with my system as a simple act of catharsis. Besides, not everyone's goal is expressly to release music. I wouldn't trade it for any magical max patch in the world. That said, building up a modular and getting away from the computer has been far more rewarding for me than any software synth experience. Honestly, I think the point is to get on with music and not buy gear thinking it will get you "there." That's why wendy carlos and tomita are so good, cos they didn't have that list of techniques getting in the way, they found most of it thru trial and error in a lot of ways things were more interesting before it all got formalised The actual list of techniques that you're supposed to learn is weirdly limited and doesn't really cover what's possible. You can make a wide array of vowel sounds using a combination of pwm and fm, but it's only considered formant synthesis is you're using a collection of bpf's but i guess describing those things an non-linear processes is a bit much for some people this idea that physmod is only a few techniques is a bit of a new thing really. Not implying we were the first at all obviously, wendy carlos and tomita were running rings round anything we did before we even knew what music wasīut like, there are literally tons of ways you can make fake things out of other things. We've been blagging sounds for years, way way before we heard anyone using the term physical modellingĮven just using a 202 you can make really mad 'bonk' sounds by tuning the resonance and using the res env a certain way (think of voodoo ray by gerald) Lot of loaded questions here tbh but i'll say this
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