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  • I suppose that this is just a general/last gasp/ attempt at posting here

    Is there anyone here interesting in less traditional gear?

    Ciat lonbarde, blippoo, gotharman, even Serge, etc, in the context of non harmonic, 'experimental' music?

    Discussions on more philosophical subjects like what music really is, and in what general context the question can even be interpreted?

    There used to be a number of people here who liked discussing such issues. I even have a strong recollection (back when he considered me to be other than subhuman) of Gus passionately defending John Cage here.

    Even trolls like ADSR could inspire heated arguments that did center around some important issues.

    Does any of that still exist here, or is it simply all 'community' and nothing of topical substance? In spite of myself, I have an affection for this place, but I realize that mods and former mods would rather I just leave. I don't post here now (except off topic) because there is generally nothing at all that is interesting to me. But still I persist. Perhaps that is just indicative of my psychosis.

    I don't even start threads anymore (except occasional spam threads which tend to be ignored anyway) because my perception is that no one is interested here in anything but the most popular gear, and traditional electronic music. (well, I know at least one person who has some interest, but that's not enough, really).

    I don't even know why I"m posting this. I suppose I don't even care much now whether I"m banned again, though I'm not trying to be, and I don't think that this thread is close to making that threshold anyway.

  • droolmaster0
    replied
    No. I was not defending him. I am saying that posting a totally unrelated personal story about the guy when he is not here to defend himself is just unethical. Sorry EP - I can't just sit by and not comment on this. My comments are not about the ban at all.

    You were defending him, I was stating background information why his outburst is not an isolated matter. The relevance of my post is reflected in your attempt to defend him.

    Besides, the topic was a "general last gasp attempt at posting" that wandered all over the place before entering into a conversation about experimentalism.

    Leave a comment:


  • ElectricPuppy
    replied
    He's banned. That's the end of it. No further evidence or defenses are needed or wanted.

    Move along, please. Thanks guys.

    Leave a comment:


  • Suilebhain
    replied
    You were defending him, I was stating background information why his outburst is not an isolated matter. The relevance of my post is reflected in your attempt to defend him.

    Besides, the topic was a "general last gasp attempt at posting" that wandered all over the place before entering into a conversation about experimentalism.

    Leave a comment:


  • droolmaster0
    replied
    I think that it is important to mention that Diametro is not here to defend himself, that what you say below has simply nothing at all to do with the events that led to the banning, etc.

    I think that it is very bad form to post personal stuff like this when the person cannot defend himself (and it might be argued that even if here were here, this is very bad form).

    I would go so far as to say that the post should be deleted.

    I love communicating on this board but find that I often have nothing to add to what has been said, so I don't.

    However, the one time I could have added and didn't was that thread where Diametro got out of hand. I didn't want to add fuel to the fire that was already out of control.

    RANT ON:

    He tends toward contrariwise actions no matter what, making a tempest in a teapot out of things that should run smoothly.

    My one attempt at being in a band with him was a total disaster. The other members, being family men with jobs, were only able to come to consensus on one night a week for rehearsal. Diametro felt that one night a week did not represent a "commitment" on their parts, so he refused to actually learn the songs, which could have been easily learned on one's own and then put together in our one rehearsal night.

    So instead, he would only consent to jam. The jams were a mixed bag, as well,as he would wear headphones through most of it, and occasionally something would slip out that was enormously loud because he couldn't hear how it fit into the mix, only what he was doing and at the level set in his over the ears headphones. He would complain about things being too loud when it was his contribution that was the loudest.

    We offered to learn his songs, which he would dangle before us like bait, then pull quickly back. When we tried to get him to either "put up or shut up" he would do neither. Even after I told him that we wanted to start seriously working on material (which the other three of us learned and could have played without him) he would show up unprepared, this from a guy who was not even working at the time. Finally enough drama was generated that one of the other guys, the one with the space, said that he was "too busy" to continue, which was a nice way of saying that he had enough.

    What could have been a pretty cool band was dashed on the rocks as a result. I have no pity for Mr. Diametro.

    :RANT OFF

    Leave a comment:


  • Suilebhain
    replied
    I love communicating on this board but find that I often have nothing to add to what has been said, so I don't.

    However, the one time I could have added and didn't was that thread where Diametro got out of hand. I didn't want to add fuel to the fire that was already out of control.

    RANT ON:

    He tends toward contrariwise actions no matter what, making a tempest in a teapot out of things that should run smoothly.

    My one attempt at being in a band with him was a total disaster. The other members, being family men with jobs, were only able to come to consensus on one night a week for rehearsal. Diametro felt that one night a week did not represent a "commitment" on their parts, so he refused to actually learn the songs, which could have been easily learned on one's own and then put together in our one rehearsal night.

    So instead, he would only consent to jam. The jams were a mixed bag, as well,as he would wear headphones through most of it, and occasionally something would slip out that was enormously loud because he couldn't hear how it fit into the mix, only what he was doing and at the level set in his over the ears headphones. He would complain about things being too loud when it was his contribution that was the loudest.

    We offered to learn his songs, which he would dangle before us like bait, then pull quickly back. When we tried to get him to either "put up or shut up" he would do neither. Even after I told him that we wanted to start seriously working on material (which the other three of us learned and could have played without him) he would show up unprepared, this from a guy who was not even working at the time. Finally enough drama was generated that one of the other guys, the one with the space, said that he was "too busy" to continue, which was a nice way of saying that he had enough.

    What could have been a pretty cool band was dashed on the rocks as a result. I have no pity for Mr. Diametro.

    :RANT OFF

    Leave a comment:


  • Metrosonus
    replied


    The EM-1 video was very interesting. I wonder if that was sequenced (externally) or performed in real time. That shows a remarkably deep understanding of the synth engine. Makes me think (as usual) I have way more gear than I really need and should spend a lot more time figuring out what it can really do, eh?


    It was real time. Everything was internal to the EM1 and I only edited the recorded audio to cut out some mistakes / bad parts. Thank you for you compliment.

    The funny thing is, I've heard many synth demos and heard nearly the exact same sounds as I made on the EM1. I'm tempted to think I could just stick another synth image in the video (maybe an arp or something) and I'd probably have 1000x times the amount of hits and comments on the video.

    Leave a comment:


  • Franz Schiller
    replied
    Well, I usually only post here when I'm slow at work, and I haven't been slow at work for a while.

    I used to love experimenting with sounds, and doing tape and sound collages. I still dig making wild programs on my Kurzweil.

    However, I've become markedly less interested in timbral experimentation and more interested in compositional experimentation.

    So I've been really listening to (and inspired by) Eric Dolphy, an amazing jazz innovator who delicately balances listenable melodies with freakouts, and Maurice Ohana, a totally weirdo French composer.

    Maurice Ohana is really fascinating to me. When you first hear his works, you almost want to laugh because they are frankly ludicrous. But then they sort of become scary.

    His writing seems random, but you realize after a while, that there is craft to what he's doing.

    Leave a comment:


  • Meatball Fulton
    replied
    Calling anything overpriced is subjective, not objective.

    I don't consider Serge or Buchla overpriced, I just consider them unaffordable for me. If I had over $10K available for buying a synthesizer, I'd be looking at them rather than a vintage ARP 2600 or VCS3.

    Detractors of those instruments do not appreciate the alternative approaches they take to sound design and user interfacing. Someone used to dialing up squelchy bass sounds on an SH-101 is going to have trouble figuring out a Serge oke:

    The EM-1 video was very interesting. I wonder if that was sequenced (externally) or performed in real time. That shows a remarkably deep understanding of the synth engine. Makes me think (as usual) I have way more gear than I really need and should spend a lot more time figuring out what it can really do, eh?

    Leave a comment:


  • girevik
    replied
    I listened to Paskal's stuff for the first time last week - it was on one of the Octatrack threads on MW. I like what I've heard so far. Will check out the other artists. Thanks!

    Leave a comment:


  • droolmaster0
    replied
    oops - am I conflating two threads? I need more wine.

    Leave a comment:


  • droolmaster0
    replied
    Ultimately, in issues like this (and forgive me, I was a philosophy guy and had a fondness for Wittgenstein) you have to be aware of different uses of a word, and whether everyone is really talking about the same thing. I suppose (just throwing this out there) that the usage that I'm thinking of, is in the response to a question 'what kind of music do you do'. There are people who experiment in various ways, but I don't think it's really correct to say that they do 'experimental music' in this context. This includes groups like the Beach Boys, and that folk singer (daniel johnson) linked to earlier. I mean - that just isn't experimental music in any sense that I"m familiar with. I suppose that my point of idiocy is I"m not entirely sure what that sense is exactly - but I can hear that this isn't it. It doesn't just mean following a genre, but going a little outside of it. At least to my mind. And that's not intended to put down the guy's music, or that of the Beach Boys (though I've never really gotten them, I suppose). Then again, I don't listen to the Beatles anymore either.

    Leave a comment:


  • droolmaster0
    replied
    Not me. Most of the gear you refer to, I haven't heard of before, and have to do a search just to know what it is.

    I'm content to use more mainstream gear.


    ok.....

    Leave a comment:


  • droolmaster0
    replied
    Liking is not required, only listening - and that was directed more at someone with less familiarity with "experimental" modular music, like CR. I figure you already knew about Subotnick and the other usual suspects.

    What "experimental" modular music do you dig?


    The answer may seem like a copout, but most of the stuff I've listened too recently has been from people that I've found because they've followed me on soundcloud, or I've met them otherwise on forums. I tend to pay little attention to how the music is made ...so I'm not sure what is made with a modular and what is not. I also have the world's worst memory, so I'm always forgetting whom I like (and don't).

    I'll throw out some people. Not that these are the best - just people that I've met in the last couple of years, and who make music that I like. I'll add one other artist, whose cd arrived yesterday from a recommendation from someone - I'm really enjoying Jason Lescalleet - Songs about Nothing. And **************** it - while he wasn't as experimental as some, I just love his stuff - Muslimgauze.

    But - various people that I know:
    Richard Scott - I very much like http://richardscott.bandcamp.com/album/the-magnificence-of-stereo

    Don Hassler - he's on soundcloud, and some other places that I forget. He does use lots of EMS and Buchla. His stuff is very pure, and I really like it. In some ways he inspired me finally to get the courage to 'go public' with my own.

    Oh yeah - I really like Nurse with Wound - pretty much everything that I've heard.

    I went through the obligatory Merzbow period, but I got kind of tired of him.

    I really like this guy's stuff - Paskal: http://soundcloud.com/mododd (and a bit of a future plug - I'm going to be putting out a release on his label www.gameoflifeproject.com)

    Lots more. Can't think.

    Leave a comment:


  • Re-Member
    replied
    One thing that I think makes for truly novel experimental music is that it's not self-consciously experimental. In other words, it's not necessarily made with the guided intention of being not-this or not-that. It just springs from independent creativity, and does not attempt to fit in with genre expectations.


    The Shaggs "Philosophy of the World" comes to mind as well. A father of three girls decided to record an album just for fun and it somehow turned into a cult record.

    Leave a comment:













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