Do you prefer a fast workflow over a slower methodical one?

[jancivil]

'red-light syndrome'

That's psychological and I have no prescription for it.
I said I like the "lessened pressure" in being able to delete... in a recording studio with money on the line - and it was never my money so there is a certain pressure there - there isn't going to be wasted opportunity. So when it was my idea, I had to get it or have it discarded, or worse we may go home virtually empty-handed, the money is deterministic.

But, at home we almost always recorded. If it was my impetus, I wouldn't waste tape, I knew from 'strike while the iron is hot'. It boils down to 'I better embrace the record button.'

Now, though: it's a different ballgame a lot of the time, I'm going to create something practically ex nihilo. Not really because I have set up a sound and a palette which has set borders and a sonic worldview to populate. But that doesn't mean I have a single line prepared. To mix metaphors, I'll paint something. And the editability of it all means it's invisible paint, ie., on a wipeable transparency.

The real takeaway here is, when I began with the modern-day DAW, I expected to cut takes, whole takes like I was in a recording studio. But note well: I'm not. I can record it one phrase at a time. I can create compositions out of editing.
(I can create a viable drum track with the pencil tool, because editing; but only because I have the experience in the first place.)

There is such a thing as someone painting something live in realtime. Do we feature that Picasso did? I'd say that's a no.

CF: Constructivist

[BONES]

So what's the important end result for you in having a finished song? Is it having a song that pleases the audience? Or something that pleases you? Or just a happy middle ground between the two.

I can't possibly know what will please an audience so I have nothing to guide me but what pleases us (I have a band mate). The important end result is that I have a song to perform on stage and/or to put on an album.

I personally find that when I follow a formula that pleases others It becomes tedious to me. I pretty much prefer to just focus on my making stuff that makes me go "whoa that was cool"

I think that's what you have to do, you can't fake it. I'm sure people like Madonna and Justin Bieber really like what they do, too, it's just that they have very mainstream tastes so what they are happy with will please a lot of other people. I used to DJ at an 80s night with a guy like that - if he liked something it would pack the dancefloor, guaranteed, where I always had to be more calculating with my choices and just slip the occasional thing in that I actually liked.

This could also explain why I've never actually finished an album or had any real interest in performing my stuff live too.

Live performance is the only aspect of it that matters. Getting up on stage and screaming my lungs out for an hour is incredibly cathartic for me and I never tire of it. If other people in the room enjoy it, too, that's great but it is only incidental.

Releasing albums. I have discovered. is a really good way to allow yourself to move on. Up until my first album in 1989, I used to pretty much perform every song I had ever written at every gig - my typical set was up near 90 minutes by then - because that was the only way they remained alive. Once I had an album out, it ruled a line under that period and allowed me to move on to the next thing.

When we played in Germany in 2017, we didn't play anything off our first two albums, which was kinda cool, although usually we try and play at least one song off each album. Now that we have five albums worth of stuff to choose from, though, it gets very difficult to play everything you want to play, so building a set list is much more heartbreaking now than it used to be. But even that has benefits, as it tends to put things in perspective. i.e. The new stuff sounds so much better that we want to showcase more of it than probably any previous album, which tells us that we've done a good job on it. It's even more stark when I look at my solo stuff from pre-1996 - I have never had the slightest desire to revisit any of that stuff, I am happy to leave it all in the past because it is well enough documented with a single and two albums.

[Hink]

my music is just that, my music. I dont share in the cafe anymore because I dont have enough KvR time to listen to others music so it isn't fair for me to expect others to listen to me. I am realistic about the fact that if I post music elsewhere that the majority of listeners except for those who are close to me will probably listen to pieces if at all. I have no desire to publish music or to release it formally on a cd or something. I really appreciate the advice of people so I might share something with someone for advice but I'm not looking to play to someone elses expectations.

What does that all mean? The rate at which I work is of no consequence to me as it is far more important to me to note personal growth within myself and that has no time limits. I am never as free as when I play, I often say I go there and by the time I'm done tuning I'm already 1/2 way there. When I'm there I'm in no rush to leave (one of the best musical things about a house in the country, no pop ins and very rarely am I interrupted now)

[experimental.crow]

i measure time in epochs ...

[jancivil]

At the, uhm, time I was commenting or about, I saw Sam Andreyev's video 'Explaining Webern in 10 minutes' which was in fact 11:34, but where he said Webern's mature music works outside of time; "A novel in a sigh" and so forth, and of course how it works forwards and backwards. And I think upside down as well. Although the modi operandi isn't necessarily the actual point. But it IS supposed to be very concentrated. But that the postwar avant-garde got a bit distracted by the details. I tell you what, go and study that intensively if you want to get rid of some time. And Webern had a rougher time of things than I knew; not only was he shot and killed by a GI at the end of WWII, his son was shot and killed shortly before that. So he gets offed right before the world gets the picture, which is pretty tragic.

THEN it was a Carl Ruggles work looked at where we learn that, while Ruggles lived over 95 years he only published 12 works. So that's kind of a slow workflow. He apparently would write many, many versions of every bar. And he trashed everything he wrote up til... I forget, age 45 or like that.