Yawn, do you actually know something that I haven't read a thousand times? Each remix demands that one set the proper environment by recording ONLY the sounds that are NOT heard from the equipment SUITABLE for the remix. Get it? My god I feel like I'm in some art logic 101 class or something.Arrested Developer wrote:ghettosynth wrote:I'm working on an EP of 4:33 remixes and I'm having a hard time getting the feel just right. You can get wobble bass all day long for most synths but sound designers seem to ignore the more subtle genres. Can anyone recommend a plugin that would be good for this?
i don't want to be the killjoy, but if you would know what was behind John Cage's conception of this (non-)piece of music, a realistic answer to your question could be given.
Cage had the idea to this piece after he visited an anechoic room. This was a catalysmic experience for him which - facing a "total" silence - made him realise, how many noises are going on all the time, without you realize them.
While most people think that 4'33 is about "silence", it's just the opposite:
The piece in fact is not the part of the non playing piano.
Which of course, would be VERY different for a record. Sorry, you fail, you miss the point of recording a record of 4:33. Cage's point of view DEMANDS that the listener focus his attention on all of the sounds in the room while PLAYING THE RECORD. So putting any sounds of coughing/etc ON THE RECORD, is not a proper remix of 4:33.The "acoustic" piece - as intended by Cage -is all the noises going on, while the pianist is not playing.
So much for Mr KillKoy, aka the pseudo-expert!
Do you mind now, the true arteeests in this thread want to get back to talking seriously about this work.
