RE: RE: [313] fuel to the fire : was "hawtin hawtin everywhere"
Yikes!!! Less skill than pop huh? (or opera ) ... .. >In other words, good thing about electronic music is that it comes from your >heart and your mind right to the computer, with much less skill involved >than, let's say, opera or pop. > >>so. To perform live I have to put everything in the computer (I'm not moving >my whole studio) and the result is much worse than the original. >WHY DO IT THEN ? >What I've done sometimes is to record a "live set" at the studio and just >play it, and I don't think it's cheating. >YOUR NOT THE ONLY ONE WHO DOES THIS , SOME PEOPLE MARKET 'RECORDED LIVE ' SETS THIS WAY ..HEY THEY WHERE BREATHING AT THE TIME RIGHT? >Let's forget about the pop/rock stereotype, electronic music is different > > >daweed __ Your favorite stores, helpful shopping tools and great gift ideas. Experience the convenience of buying online with [EMAIL PROTECTED] http://shopnow.netscape.com/ Get your own FREE, personal Netscape Mail account today at http://webmail.netscape.com/ - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] fuel to the fire : was "hawtin hawtin everywhere"
> >>so. To perform live I have to put everything in the computer (I'm not moving > >my whole studio) and the result is much worse than the original. > >WHY DO IT THEN ? That's my point, the reason a lot of electronic music producers do lives is because people are used to go see live artists, and they expect performing skills. This is the type of skill i refer to hen I compare it to pop or opera. Midi is there so you don't have to be a pianist in order to record a melody > > >What I've done sometimes is to record a "live set" at the studio and just > >play it, and I don't think it's cheating. > > >YOUR NOT THE ONLY ONE WHO DOES THIS , SOME PEOPLE MARKET 'RECORDED LIVE ' > SETS THIS WAY ..HEY THEY WHERE BREATHING AT THE TIME RIGHT? > > > >Let's forget about the pop/rock stereotype, electronic music is different > > > > > >daweed > > > > __ > Your favorite stores, helpful shopping tools and great gift ideas. Experience the convenience of buying online with [EMAIL PROTECTED] http://shopnow.netscape.com/ > > Get your own FREE, personal Netscape Mail account today at http://webmail.netscape.com/ > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] fuel to the fire : was "hawtin hawtin everywhere"
That's my point, the reason a lot of electronic music producers do lives is because people are used to go see live artists, and they >expect performing skills. People, in general, also expect the 'look' of someone performing (ie. strumming the strings of a guitar, pressing down on the keys of a synth, etc)... it's just a shift in the paradigm that is required. The performers have made it (by using laptops and such), it's time the audiences make it. But they are always going to be slower than the performers in making the switch (or even giving up their expectations of what "live" means). If a performer is using a keyboard to play over some prearranged track are they playing live anymore? If they spin a record in their "live" set are they a DJ or a "live" performer? Do you like the music? Then what the f~ck does it matter how they go about bringing it to you. Change your paradigm and your ass will follow. MEK _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] fuel to the fire : was "hawtin hawtin everywhere"
Do you like the music? Then what the f~ck does it matter how they go about bringing it to you. then what's the point of playing live at all? If the performance side of a live performance artist doesn't really matter, then all we should have to bring is a DAT, plug it in to the main board, hit play, and go sit at the bar. Essentially isn't that what many of you are saying? That we have to give up the 'paradigm' that electronic artists need to add any semblance of a performance? is it more important that an artist plays everything 'live' than for the audience to actually think he's playing live? please don't use any examples of artists who bring in other performance elements (keyboardists, sax players, etc) while also using laptops. I'm talking about artist who essentially do everything on their computer, and maybe a single controller. _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] fuel to the fire : was "hawtin hawtin everywhere"
I guess the one question you are not address is how much control does a performer have over their music as an indicator of liveness. I think 4 guys with guitars and each one of them randomly naming a genre and a key to play before they improvise the music in is a lot more live than say a guy with a song-based sequencer pressing play. It is not a "paradigm shift," it is common sense. The more random chance/spontainious decision making can play a role in your performance the more live you are. I think there is something innately more live about a jazz trio improvising on a standard than there is in a guy pressing play on a DAT, or the sequencer equivalent. It is not rockist predjudice, it is just a common sense bench-mark for all musicians. Playback is always less live than perfomance, and as electronic musicians dealing with midi and sequenced audio we are somewhere between being truly live and being playback, depending on the interface a performer chooses to use. I have always said that I would rather hear a bunk live act with good songs, than somebody playing live who doesnt have songs. And as for delivery, it is just a matter of principle. If you are claiming that you are live, and you aren't, you are going to be called out. The future of this music is not DJ's, it is post-techno perfomance. I am going to go as far to say that in 10-15 years techno is finally going to become the future jazz that it has been promising for years now. The real future of this music is in played, customizable, interactive music interfaces. Rather than playing a midi sax, or a keyboard to control synths, the future will be controller interfaces that are hardware and software customizable that act as both controllers and sequencers. A live act will include 2-4 people improvising with non-standard electronic instruments jamming with some kind of computer based AI music system. Instead of buying new synths every couple years, you are going to program a new interface on your control hardware. Instead of playing back pre-recorded sound or note information, the music will be written and manipulated on the spot. Alan Kurzweil(formerly of Kurzweil Music Systems, inventor of the K250) has some very interesting insights into the future of music and creativity in general. If you are interested in ideas about possible futures in electronic music, his last book "The Age Of Spiritual Machines" is an excellent read. Sorry for yet another rant. Take care, Mike From: "M Elliot-Knight" <[EMAIL PROTECTED]> To: 313@hyperreal.org Subject: RE: RE: [313] fuel to the fire : was "hawtin hawtin everywhere" Date: Wed, 24 Oct 2001 17:06:38 + That's my point, the reason a lot of electronic music producers do lives is because people are used to go see live artists, and they >expect performing skills. People, in general, also expect the 'look' of someone performing (ie. strumming the strings of a guitar, pressing down on the keys of a synth, etc)... it's just a shift in the paradigm that is required. The performers have made it (by using laptops and such), it's time the audiences make it. But they are always going to be slower than the performers in making the switch (or even giving up their expectations of what "live" means). If a performer is using a keyboard to play over some prearranged track are they playing live anymore? If they spin a record in their "live" set are they a DJ or a "live" performer? Do you like the music? Then what the f~ck does it matter how they go about bringing it to you. Change your paradigm and your ass will follow. MEK _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] fuel to the fire : was "hawtin hawtin everywhere"
- Original Message - From: "Mike Taylor" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Wednesday, October 24, 2001 11:55 PM Subject: RE: RE: [313] fuel to the fire : was "hawtin hawtin everywhere" > Alan Kurzweil(formerly of Kurzweil Music Systems, inventor of the K250) has > some very interesting insights into the future of music and creativity in > general. If you are interested in ideas about possible futures in electronic > music, his last book "The Age Of Spiritual Machines" is an excellent read. Yeah. He has a cool website too, with lots of info on AI, Nanotech, and the like: http://www.kurzweilai.net/index.html?flash=2 Pay Ramona a visit while you're there. She couldn't answer too many of my questions about the future of music just yet though. Tristan -- http://ampcast.com/phonopsia <- Music http://phonopsia.tripod.com <- Mixes, pics, thought, travelogue & info http://www.metatrackstudios.com [EMAIL PROTECTED] <- email <- AOL Instant Messenger - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
