i would probably agree that music created from scratch is more valuable (to
wit Fatboy Slim), however i think there may be room in this definition
haha!
to
include sampling artists (i think you would agree with me here JT?, perhaps
with someone like MMann...) who construct interesting new music from stolen
chunks of previously recorded music. it seemed such a powerful and
from a listening standpoint, i can udnerstand your view...moodymann and
others make great, very soulful, personal music using samples!
liberating force 10/15 years ago (sampling, digital revolution, that is). i
guess i don't like to linger on method too much - i.e. 'if it's good, it's
good.' Having said that I know that i've listened to records before and
gone
through the following process :
exactly! this is what i think it comes down to. as a listener, who cares
about method. But as a producer, you do get to care about these things;
being able to sample and not rely on musicianship IS liberating, but at the
same time it's stifling - you got these sounds that inspire you so much but
you always have to hunt them down and re-arrange them, and try to fit them
to the sounds in your head...it's really hard. in a way the only option then
is to learn how to do it from scratch yourself (especially if you really
admire the production of disco and (older) house....).
1) hey i love that track X,
2) hearing the original that track X heavily sampled and thinking, jesus
the
original is far superior i don't like X anymore...
hahaha i dont think you necessarily have to be that drastic, but i think it
puts track X in it's proper perspective a bit :P
and finally
3) realising that actually i like them both and that X has added an extra
angle - like a remix (there is an issue of properly crediting the original
producer).
yeah..!
jt
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