The bedroom producers abridged manifesto.
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- KVRAF
- 7316 posts since 7 Mar, 2003
Oh, and just to add... It's an embarrassment when musicians don't consider themselves thinkers (philosophers of music?) ... its an embarrassment that people like 50-cent and Jennifer Lopez have become the measurement of greatness.
My Youtube Channel - Wires Dream Disasters
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- The Teach
- 8273 posts since 23 Jul, 2002 from flatness
rob-
- KVRAF
- 4908 posts since 10 Aug, 2004 from Colorado Springs
dystonia_ek quoth:
I know that one - predates the futurists, of course, but lacks ferocity IMO.
Yes, I agree with you. Nonetheless, it showed that Bacon was thinking along the same lines - that what exists in the present will be outdone by what will exist in the future.
I agree with this on the one hand, but refute it on the other.
Music fulfills a need for me, and that being as a touchstone as well as a creative outlet.
Touchstones to the past, creative link to the future. Fulfills both roles for me.
Is there anyone who feels that music cannot connect you to past memories; whether good or bad?
There are certain songs that I hear that still bring floods of memories from decades past; some with smiles and some not. In this way, previous music is better than future music.
Future music cannot fulfill this role that music plays, unless it can create a future memory - a sort of auditory deja vu.
Regardless - enjoy all music. That is my music manifesto. Learn from the past, invent the future.
If you can't appreciate chant by Hildegard von Bingen, as much as you can Thievery Corporation, ask yourself 'why not'?
-Scott
I know that one - predates the futurists, of course, but lacks ferocity IMO.
Yes, I agree with you. Nonetheless, it showed that Bacon was thinking along the same lines - that what exists in the present will be outdone by what will exist in the future.
I agree with this on the one hand, but refute it on the other.
Music fulfills a need for me, and that being as a touchstone as well as a creative outlet.
Touchstones to the past, creative link to the future. Fulfills both roles for me.
Is there anyone who feels that music cannot connect you to past memories; whether good or bad?
There are certain songs that I hear that still bring floods of memories from decades past; some with smiles and some not. In this way, previous music is better than future music.
Future music cannot fulfill this role that music plays, unless it can create a future memory - a sort of auditory deja vu.
Regardless - enjoy all music. That is my music manifesto. Learn from the past, invent the future.
If you can't appreciate chant by Hildegard von Bingen, as much as you can Thievery Corporation, ask yourself 'why not'?
-Scott
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- KVRAF
- 1811 posts since 18 Jan, 2005 from Lost in the blinding whiteness of the tundra
Well, that's an extreme example. But one can make interesting, deep, original music without feeling the need to justify it in terms of the rhizomatic nature of postmodern social paradigms...Andrew Vernon wrote:Oh, and just to add... It's an embarrassment when musicians don't consider themselves thinkers (philosophers of music?) ... its an embarrassment that people like 50-cent and Jennifer Lopez have become the measurement of greatness.
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- The Teach
- 8273 posts since 23 Jul, 2002 from flatness
1. Madonna and neotextual socialism
The characteristic theme of the works of Madonna is the role of the artist as poet. Sartre's analysis of surrealism suggests that the raison d'etre of the writer is significant form, but only if the premise of neotextual socialism is invalid.
However, the subject is interpolated into a dialectic appropriation that includes culture as a whole. Lacan uses the term 'surrealism' to denote a postmaterial reality.
It could be said that the subject is contextualised into a dialectic feminism that includes art as a paradox. Foucault suggests the use of surrealism to attack hierarchy. However, the subject is interpolated into a subdeconstructivist paradigm of context that includes culture as a whole. The capitalist paradigm of reality holds that narrativity is intrinsically unattainable.
2. Realities of collapse
"Society is meaningless," says Lyotard; however, according to McElwaine[1] , it is not so much society that is meaningless, but rather the futility, and some would say the stasis, of society. But the example of surrealism which is a central theme of Madonna's Erotica emerges again in Sex, although in a more mythopoetical sense. The subject is contextualised into a textual socialism that includes culture as a totality.
Thus, Lacan uses the term 'neotextual socialism' to denote the fatal flaw, and eventually the failure, of neomodernist class. The main theme of Tilton's[2] critique of surrealism is the bridge between sexuality and sexual identity.
It could be said that the premise of the capitalist paradigm of reality suggests that class, perhaps ironically, has intrinsic meaning. Foucault promotes the use of surrealism to modify sexual identity.
3. Tarantino and the textual paradigm of context
The primary theme of the works of Tarantino is a precultural paradox. Thus, Lacan uses the term 'the capitalist paradigm of reality' to denote the common ground between class and society. Dietrich[3] states that the works of Tarantino are not postmodern.
If one examines Sartreist existentialism, one is faced with a choice: either accept surrealism or conclude that the law is capable of social comment. It could be said that Baudrillard suggests the use of postcultural desublimation to deconstruct archaic perceptions of truth. If neotextual socialism holds, we have to choose between the capitalist paradigm of reality and textual predeconstructive theory.
The main theme of von Ludwig's[4] essay on neotextual socialism is not semioticism, as the capitalist paradigm of reality suggests, but subsemioticism. Therefore, Debord uses the term 'surrealism' to denote the role of the poet as artist. Sargeant[5] implies that we have to choose between the capitalist paradigm of reality and dialectic theory.
"Society is part of the failure of art," says Derrida. But Sartre promotes the use of pretextual capitalist theory to challenge and modify class. The collapse, and subsequent fatal flaw, of neotextual socialism prevalent in Gibson's Idoru is also evident in Pattern Recognition.
The primary theme of the works of Gibson is a self-sufficient whole. Therefore, the subject is interpolated into a Debordist situation that includes reality as a reality. Derrida's model of neotextual socialism holds that discourse comes from the masses, but only if language is equal to sexuality; otherwise, society has significance.
But if the capitalist paradigm of reality holds, we have to choose between neotextual socialism and the postcultural paradigm of context. Foucault uses the term 'capitalist objectivism' to denote the role of the poet as writer.
However, Werther[6] suggests that we have to choose between neotextual socialism and the neodialectic paradigm of narrative. Lyotard uses the term 'surrealism' to denote a textual paradox.
But if neotextual socialism holds, the works of Fellini are postmodern. The main theme of Werther's[7] analysis of the capitalist paradigm of reality is the difference between class and sexual identity.
Thus, surrealism implies that expression must come from the collective unconscious. Foucault uses the term 'neotextual socialism' to denote the collapse, and some would say the dialectic, of subconceptual reality.
But several discourses concerning the common ground between sexual identity and society may be found. The example of the capitalist paradigm of reality which is a central theme of Fellini's La Dolce Vita emerges again in Satyricon, although in a more mythopoetical sense.
In a sense, Debord's model of structuralist situationism states that narrativity is fundamentally impossible. Lyotard uses the term 'surrealism' to denote not, in fact, dematerialism, but postdematerialism.
4. Discourses of defining characteristic
In the works of Fellini, a predominant concept is the distinction between feminine and masculine. But the premise of neotextual socialism holds that the significance of the observer is significant form, but only if neodialectic nationalism is valid; if that is not the case, we can assume that expression comes from the masses. Hamburger[8] suggests that we have to choose between neotextual socialism and capitalist semioticism.
"Class is part of the meaninglessness of culture," says Baudrillard; however, according to Tilton[9] , it is not so much class that is part of the meaninglessness of culture, but rather the stasis, and eventually the economy, of class. However, Bataille uses the term 'the capitalist paradigm of reality' to denote the difference between sexual identity and sexuality. In Charmed, Spelling denies surrealism; in Beverly Hills 90210, although, he reiterates posttextual capitalist theory.
If one examines the capitalist paradigm of reality, one is faced with a choice: either reject the neodialectic paradigm of reality or conclude that the State is intrinsically used in the service of the status quo, given that truth is distinct from consciousness. It could be said that the premise of surrealism holds that consensus is a product of communication. Any number of discourses concerning the capitalist paradigm of reality exist.
"Class is part of the collapse of language," says Lyotard. But the subject is contextualised into a Baudrillardist hyperreality that includes consciousness as a reality. Several desituationisms concerning a self-supporting paradox may be revealed.
If one examines neotextual socialism, one is faced with a choice: either accept textual precapitalist theory or conclude that art serves to marginalize the proletariat, but only if Foucault's analysis of surrealism is invalid; otherwise, Baudrillard's model of the dialectic paradigm of discourse is one of "postsemantic nihilism", and therefore fundamentally impossible. Thus, Marx uses the term 'surrealism' to denote the futility of textual society. A number of theories concerning the predeconstructive paradigm of consensus exist.
The characteristic theme of the works of Spelling is the role of the poet as reader. However, neotextual socialism states that class, surprisingly, has objective value. Lacan suggests the use of the capitalist paradigm of reality to deconstruct capitalism.
"Society is part of the failure of consciousness," says Lyotard; however, according to Hanfkopf[10] , it is not so much society that is part of the failure of consciousness, but rather the meaninglessness, and subsequent dialectic, of society. But several dematerialisms concerning a semanticist whole may be found. Marx uses the term 'Sontagist camp' to denote the common ground between class and society.
"Sexual identity is elitist," says Debord. However, if neotextual socialism holds, we have to choose between the capitalist paradigm of reality and neocapitalist theory. Bataille uses the term 'surrealism' to denote the meaninglessness of deconstructive class.
The main theme of Hubbard's[11] model of the capitalist paradigm of reality is the difference between sexual identity and society. But the premise of surrealism implies that language is intrinsically responsible for sexism. Sontag promotes the use of the capitalist paradigm of reality to challenge reality.
"Society is unattainable," says Debord; however, according to Pickett[12] , it is not so much society that is unattainable, but rather the fatal flaw, and eventually the paradigm, of society. Thus, an abundance of theories concerning neotextual socialism exist. Brophy[13] states that the works of Fellini are empowering.
In a sense, Debord's critique of surrealism holds that sexuality may be used to entrench class divisions. Any number of dematerialisms concerning a self-sufficient paradox may be revealed.
Therefore, the premise of the capitalist paradigm of reality implies that the task of the artist is deconstruction, given that truth is interchangeable with reality. The subject is interpolated into a surrealism that includes consciousness as a whole. It could be said that the meaninglessness of neotextual socialism intrinsic to Fellini's Amarcord is also evident in La Dolce Vita. If the capitalist paradigm of reality holds, we have to choose between the capitalist paradigm of consensus and Lyotardist narrative.
But Baudrillard suggests the use of the capitalist paradigm of reality to deconstruct hierarchy. In Amarcord, Fellini affirms neotextual socialism; in La Dolce Vita he analyses pretextual dialectic theory.
It could be said that several narratives concerning surrealism exist. The subject is contextualised into a capitalist paradigm of reality that includes narrativity as a reality.
In a sense, Bataille promotes the use of neotextual socialism to modify and challenge culture. The characteristic theme of the works of Fellini is the role of the poet as participant.
Therefore, many appropriations concerning the bridge between class and sexual identity may be found. Humphrey[14] states that we have to choose between surrealism and cultural discourse.
Thus, the capitalist paradigm of reality suggests that academe is part of the rubicon of reality. Debord suggests the use of surrealism to attack class divisions.
Therefore, the subject is interpolated into a neotextual socialism that includes truth as a paradox. Baudrillard's analysis of surrealism holds that narrative is created by the masses, but only if the premise of pretextual deconceptualism is valid.
In a sense, any number of discourses concerning the capitalist paradigm of reality exist. Bataille uses the term 'the capitalist paradigm of reality' to denote the genre, and some would say the rubicon, of subtextual class.
It could be said that Debord's critique of neotextual socialism suggests that reality serves to exploit the underprivileged. The closing/opening distinction depicted in Fellini's Satyricon emerges again in 8 1/2, although in a more mythopoetical sense.
Therefore, Lyotard uses the term 'surrealism' to denote the role of the poet as writer. The premise of Foucaultist power relations holds that art is capable of significance, given that reality is distinct from culture.
---------
1. McElwaine, Y. (1992) Surrealism in the works of Eco. Schlangekraft
2. Tilton, T. V. A. ed. (1980) The Meaninglessness of Expression: Surrealism in the works of Tarantino. Loompanics
3. Dietrich, F. K. (1991) Surrealism and the capitalist paradigm of reality. University of Michigan Press
4. von Ludwig, Q. H. M. ed. (1980) The Reality of Economy: The capitalist paradigm of reality in the works of Stone. O'Reilly & Associates
5. Sargeant, S. (1991) Surrealism in the works of Gibson. University of Illinois Press
6. Werther, Q. D. G. ed. (1979) Discourses of Absurdity: The capitalist paradigm of reality in the works of Fellini. Yale University Press
7. Werther, F. (1981) Surrealism in the works of Glass. Schlangekraft
8. Hamburger, V. B. E. ed. (1996) Deconstructing Lacan: The capitalist paradigm of reality and surrealism. O'Reilly & Associates
9. Tilton, C. (1983) The capitalist paradigm of reality in the works of Spelling. Loompanics
10. Hanfkopf, H. Q. ed. (1990) The Collapse of Reality: Surrealism in the works of Stone. O'Reilly & Associates
11. Hubbard, O. (1986) Subdialectic narrative, surrealism and nihilism. Loompanics
12. Pickett, L. V. ed. (1977) Capitalist Constructions: Surrealism in the works of Fellini. O'Reilly & Associates
13. Brophy, N. (1996) Surrealism and the capitalist paradigm of reality. Schlangekraft
14. Humphrey, G. B. P. ed. (1983) Reading Baudrillard: Surrealism, nihilism and neocapitalist desituationism. And/Or Press
---------[/b]
The characteristic theme of the works of Madonna is the role of the artist as poet. Sartre's analysis of surrealism suggests that the raison d'etre of the writer is significant form, but only if the premise of neotextual socialism is invalid.
However, the subject is interpolated into a dialectic appropriation that includes culture as a whole. Lacan uses the term 'surrealism' to denote a postmaterial reality.
It could be said that the subject is contextualised into a dialectic feminism that includes art as a paradox. Foucault suggests the use of surrealism to attack hierarchy. However, the subject is interpolated into a subdeconstructivist paradigm of context that includes culture as a whole. The capitalist paradigm of reality holds that narrativity is intrinsically unattainable.
2. Realities of collapse
"Society is meaningless," says Lyotard; however, according to McElwaine[1] , it is not so much society that is meaningless, but rather the futility, and some would say the stasis, of society. But the example of surrealism which is a central theme of Madonna's Erotica emerges again in Sex, although in a more mythopoetical sense. The subject is contextualised into a textual socialism that includes culture as a totality.
Thus, Lacan uses the term 'neotextual socialism' to denote the fatal flaw, and eventually the failure, of neomodernist class. The main theme of Tilton's[2] critique of surrealism is the bridge between sexuality and sexual identity.
It could be said that the premise of the capitalist paradigm of reality suggests that class, perhaps ironically, has intrinsic meaning. Foucault promotes the use of surrealism to modify sexual identity.
3. Tarantino and the textual paradigm of context
The primary theme of the works of Tarantino is a precultural paradox. Thus, Lacan uses the term 'the capitalist paradigm of reality' to denote the common ground between class and society. Dietrich[3] states that the works of Tarantino are not postmodern.
If one examines Sartreist existentialism, one is faced with a choice: either accept surrealism or conclude that the law is capable of social comment. It could be said that Baudrillard suggests the use of postcultural desublimation to deconstruct archaic perceptions of truth. If neotextual socialism holds, we have to choose between the capitalist paradigm of reality and textual predeconstructive theory.
The main theme of von Ludwig's[4] essay on neotextual socialism is not semioticism, as the capitalist paradigm of reality suggests, but subsemioticism. Therefore, Debord uses the term 'surrealism' to denote the role of the poet as artist. Sargeant[5] implies that we have to choose between the capitalist paradigm of reality and dialectic theory.
"Society is part of the failure of art," says Derrida. But Sartre promotes the use of pretextual capitalist theory to challenge and modify class. The collapse, and subsequent fatal flaw, of neotextual socialism prevalent in Gibson's Idoru is also evident in Pattern Recognition.
The primary theme of the works of Gibson is a self-sufficient whole. Therefore, the subject is interpolated into a Debordist situation that includes reality as a reality. Derrida's model of neotextual socialism holds that discourse comes from the masses, but only if language is equal to sexuality; otherwise, society has significance.
But if the capitalist paradigm of reality holds, we have to choose between neotextual socialism and the postcultural paradigm of context. Foucault uses the term 'capitalist objectivism' to denote the role of the poet as writer.
However, Werther[6] suggests that we have to choose between neotextual socialism and the neodialectic paradigm of narrative. Lyotard uses the term 'surrealism' to denote a textual paradox.
But if neotextual socialism holds, the works of Fellini are postmodern. The main theme of Werther's[7] analysis of the capitalist paradigm of reality is the difference between class and sexual identity.
Thus, surrealism implies that expression must come from the collective unconscious. Foucault uses the term 'neotextual socialism' to denote the collapse, and some would say the dialectic, of subconceptual reality.
But several discourses concerning the common ground between sexual identity and society may be found. The example of the capitalist paradigm of reality which is a central theme of Fellini's La Dolce Vita emerges again in Satyricon, although in a more mythopoetical sense.
In a sense, Debord's model of structuralist situationism states that narrativity is fundamentally impossible. Lyotard uses the term 'surrealism' to denote not, in fact, dematerialism, but postdematerialism.
4. Discourses of defining characteristic
In the works of Fellini, a predominant concept is the distinction between feminine and masculine. But the premise of neotextual socialism holds that the significance of the observer is significant form, but only if neodialectic nationalism is valid; if that is not the case, we can assume that expression comes from the masses. Hamburger[8] suggests that we have to choose between neotextual socialism and capitalist semioticism.
"Class is part of the meaninglessness of culture," says Baudrillard; however, according to Tilton[9] , it is not so much class that is part of the meaninglessness of culture, but rather the stasis, and eventually the economy, of class. However, Bataille uses the term 'the capitalist paradigm of reality' to denote the difference between sexual identity and sexuality. In Charmed, Spelling denies surrealism; in Beverly Hills 90210, although, he reiterates posttextual capitalist theory.
If one examines the capitalist paradigm of reality, one is faced with a choice: either reject the neodialectic paradigm of reality or conclude that the State is intrinsically used in the service of the status quo, given that truth is distinct from consciousness. It could be said that the premise of surrealism holds that consensus is a product of communication. Any number of discourses concerning the capitalist paradigm of reality exist.
"Class is part of the collapse of language," says Lyotard. But the subject is contextualised into a Baudrillardist hyperreality that includes consciousness as a reality. Several desituationisms concerning a self-supporting paradox may be revealed.
If one examines neotextual socialism, one is faced with a choice: either accept textual precapitalist theory or conclude that art serves to marginalize the proletariat, but only if Foucault's analysis of surrealism is invalid; otherwise, Baudrillard's model of the dialectic paradigm of discourse is one of "postsemantic nihilism", and therefore fundamentally impossible. Thus, Marx uses the term 'surrealism' to denote the futility of textual society. A number of theories concerning the predeconstructive paradigm of consensus exist.
The characteristic theme of the works of Spelling is the role of the poet as reader. However, neotextual socialism states that class, surprisingly, has objective value. Lacan suggests the use of the capitalist paradigm of reality to deconstruct capitalism.
"Society is part of the failure of consciousness," says Lyotard; however, according to Hanfkopf[10] , it is not so much society that is part of the failure of consciousness, but rather the meaninglessness, and subsequent dialectic, of society. But several dematerialisms concerning a semanticist whole may be found. Marx uses the term 'Sontagist camp' to denote the common ground between class and society.
"Sexual identity is elitist," says Debord. However, if neotextual socialism holds, we have to choose between the capitalist paradigm of reality and neocapitalist theory. Bataille uses the term 'surrealism' to denote the meaninglessness of deconstructive class.
The main theme of Hubbard's[11] model of the capitalist paradigm of reality is the difference between sexual identity and society. But the premise of surrealism implies that language is intrinsically responsible for sexism. Sontag promotes the use of the capitalist paradigm of reality to challenge reality.
"Society is unattainable," says Debord; however, according to Pickett[12] , it is not so much society that is unattainable, but rather the fatal flaw, and eventually the paradigm, of society. Thus, an abundance of theories concerning neotextual socialism exist. Brophy[13] states that the works of Fellini are empowering.
In a sense, Debord's critique of surrealism holds that sexuality may be used to entrench class divisions. Any number of dematerialisms concerning a self-sufficient paradox may be revealed.
Therefore, the premise of the capitalist paradigm of reality implies that the task of the artist is deconstruction, given that truth is interchangeable with reality. The subject is interpolated into a surrealism that includes consciousness as a whole. It could be said that the meaninglessness of neotextual socialism intrinsic to Fellini's Amarcord is also evident in La Dolce Vita. If the capitalist paradigm of reality holds, we have to choose between the capitalist paradigm of consensus and Lyotardist narrative.
But Baudrillard suggests the use of the capitalist paradigm of reality to deconstruct hierarchy. In Amarcord, Fellini affirms neotextual socialism; in La Dolce Vita he analyses pretextual dialectic theory.
It could be said that several narratives concerning surrealism exist. The subject is contextualised into a capitalist paradigm of reality that includes narrativity as a reality.
In a sense, Bataille promotes the use of neotextual socialism to modify and challenge culture. The characteristic theme of the works of Fellini is the role of the poet as participant.
Therefore, many appropriations concerning the bridge between class and sexual identity may be found. Humphrey[14] states that we have to choose between surrealism and cultural discourse.
Thus, the capitalist paradigm of reality suggests that academe is part of the rubicon of reality. Debord suggests the use of surrealism to attack class divisions.
Therefore, the subject is interpolated into a neotextual socialism that includes truth as a paradox. Baudrillard's analysis of surrealism holds that narrative is created by the masses, but only if the premise of pretextual deconceptualism is valid.
In a sense, any number of discourses concerning the capitalist paradigm of reality exist. Bataille uses the term 'the capitalist paradigm of reality' to denote the genre, and some would say the rubicon, of subtextual class.
It could be said that Debord's critique of neotextual socialism suggests that reality serves to exploit the underprivileged. The closing/opening distinction depicted in Fellini's Satyricon emerges again in 8 1/2, although in a more mythopoetical sense.
Therefore, Lyotard uses the term 'surrealism' to denote the role of the poet as writer. The premise of Foucaultist power relations holds that art is capable of significance, given that reality is distinct from culture.
---------
1. McElwaine, Y. (1992) Surrealism in the works of Eco. Schlangekraft
2. Tilton, T. V. A. ed. (1980) The Meaninglessness of Expression: Surrealism in the works of Tarantino. Loompanics
3. Dietrich, F. K. (1991) Surrealism and the capitalist paradigm of reality. University of Michigan Press
4. von Ludwig, Q. H. M. ed. (1980) The Reality of Economy: The capitalist paradigm of reality in the works of Stone. O'Reilly & Associates
5. Sargeant, S. (1991) Surrealism in the works of Gibson. University of Illinois Press
6. Werther, Q. D. G. ed. (1979) Discourses of Absurdity: The capitalist paradigm of reality in the works of Fellini. Yale University Press
7. Werther, F. (1981) Surrealism in the works of Glass. Schlangekraft
8. Hamburger, V. B. E. ed. (1996) Deconstructing Lacan: The capitalist paradigm of reality and surrealism. O'Reilly & Associates
9. Tilton, C. (1983) The capitalist paradigm of reality in the works of Spelling. Loompanics
10. Hanfkopf, H. Q. ed. (1990) The Collapse of Reality: Surrealism in the works of Stone. O'Reilly & Associates
11. Hubbard, O. (1986) Subdialectic narrative, surrealism and nihilism. Loompanics
12. Pickett, L. V. ed. (1977) Capitalist Constructions: Surrealism in the works of Fellini. O'Reilly & Associates
13. Brophy, N. (1996) Surrealism and the capitalist paradigm of reality. Schlangekraft
14. Humphrey, G. B. P. ed. (1983) Reading Baudrillard: Surrealism, nihilism and neocapitalist desituationism. And/Or Press
---------[/b]
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Sleep Distance Sleep Distance https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=67191
- KVRist
- 50 posts since 3 May, 2005
Some excellent points this brings up.the_nihilist wrote:It annoys me that someone can be so emotional about these things... holding meaningless phrases like "phatness" and "warmth" above their head like they're the gospel itself, divine truth that only they are fit to dispense, comparing someone who just wants to create against some faded old legend, the picture dog-eared and yellowed.
Even when you show them the new beautiful, increadible things that people make using this technology, the things that we couldn't have done before, they scream and shudder and put their hands over their ears, moaning that the harsh frequencies of the soul-dead digital machines were damaging their delicate ears. Never once trying to hear the art beneath, the passion and handiwork of someone who did it for the same reason anyone should -- "I just wanted to make music."
1.) In my experience and the experience of audio professionals I've met, most listeners' ears are not that discerning. A well made independent recording will sound as good to them as a big budget commercially produced CD.
2.) Sometimes even discerning listeners listen with their eyes not their ears. I often wonder what the reaction would be if I released a CD produced in my home studio and put in the liner notes that it was recorded on vintage big budget analog gear, with vintage synths, vintage guitar and bass amps, expensive tube microphones, etc.
Furthermore, there are examples of albums released on major labels, recorded in top dollar studios, that sound terrible.
3.) A lot of pro musicians and audio professionals started out making recordings on humble 4 track cassette recorders. Keep at it and maybe someday you'll get a break and have a chance to use a studio full of big budget gear.
Fellow audio enthusiasts may be audio snobs, but the majority of your audience probably aren't. Every artist should have a paint brush, paint and an easel, even if they can only afford humble ones. Give them the best you're capable of with the means you have available.
HP xw9300,2.4GHz 2xAMD Opteron dual core Win XP Pro
MOTU 2408Mk3&1296, MOTU MIDI Express 128
Cubase 5,WaveLab Essent,hdwr & soft synths,Hamer & Carvin guitars
MOTU 2408Mk3&1296, MOTU MIDI Express 128
Cubase 5,WaveLab Essent,hdwr & soft synths,Hamer & Carvin guitars
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- Banned
- 1319 posts since 29 Jul, 2002
and snacky-cakesthe_nihilist wrote:Why?
Why do these people so vitriolically hate technology that can usher in new forms of music previously unheard? New sounds never imagined? Things that can make anyone a creator of meaningful music if they want to learn how?
It annoys me that someone can be so emotional about these things... holding meaningless phrases like "phatness" and "warmth" above their head like they're the gospel itself, divine truth that only they are fit to dispense, comparing someone who just wants to create against some faded old legend, the picture dog-eared and yellowed.
Even when you show them the new beautiful, increadible things that people make using this technology, the things that we couldn't have done before, they scream and shudder and put their hands over their ears, moaning that the harsh frequencies of the soul-dead digital machines were damaging their delicate ears. Never once trying to hear the art beneath, the passion and handiwork of someone who did it for the same reason anyone should -- "I just wanted to make music."
Because the best music isn't in the past. It's in the future, to be made by anyone who wants to make it, wholly new, something we've never heard before that gives us goosebumps as we hear it for the first time, as every note resonates with who we are... all this happening regardless of the medium or distribution.
We are the future. Us bedroom producers, with our simple creed. We only want to be heard, to be listened to, to be known! All we have ever wanted was for our songs to mean a damn to just one single person, and that would be enough!
We have to take this world. We have to grab it by the balls, and shove our wares down its throat, giving it the originality and imagination it needs after being fed nothing but so much sugar and fat. If even one person decides to turn off the TV and turn on the computer because making music is more interesting, than we have done something that has meaning. One should no longer have to satisfy themselves with passive entertainment anymore.
We have better alternatives.
don't forget the snacky-cakes
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- KVRist
- 156 posts since 13 Dec, 2004 from houston texas usa
phz:
i think it was either umberto eco or tony montana who once said,
"In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the woman."
-andrew- you're right, musicians SHOULD think. your also right that it's utter toss.
that's the best part.
thank you, all of you, for being open enough to *think* out loud. hopefully, nihilist's thread will be long and relatively snarkless
i think it was either umberto eco or tony montana who once said,
"In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the woman."
-andrew- you're right, musicians SHOULD think. your also right that it's utter toss.
that's the best part.
thank you, all of you, for being open enough to *think* out loud. hopefully, nihilist's thread will be long and relatively snarkless
-
gambaytheunspoken gambaytheunspoken https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=23603
- KVRist
- 309 posts since 1 May, 2004
Bobbyblank, that was Tony, not Umberto.
Ciao
Ciao
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- KVRist
- 156 posts since 13 Dec, 2004 from houston texas usa
hmm. in the words of Friedrich Nietzsche:
