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BlueGreene

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  1. I was moved by that pottery piece so much because I think my best work is the stuff that just comes out in one fluid motion. It was a breakthrough to realize I didn't have to make something on the grounds that it must be good to finish (it sucks). The point was to simply make it. If you aren't in the habit of following through with ideas, what happens when a good one does come along?
  2. Of course! That little thing was only how I interpreted your OP and how it relates to my current musical endeavors. I've been getting inspiration in the philosophy of making music and how it molds our habits. "There are many steps to becoming a prolific artist."
  3. This has been an awesome thread to read and re-read. "Do we care too much how music is technically?" If I may, I'd like to rephrase the question: When is technical ability/obsession a hinderance to our musical creation? With everything, the closer you look, the more you see. The better you get at something, the more details to concern yourself with. The devil is in the details, and that's what separates pros from amateurs. To answer my own embellishment: Whenever spending time on details slows down your creative process to the point where frustration takes root, and one leaves the place of learning. It's hard to expand your mind, it takes work and discipline. The trick is knowing where to draw the line between challenging yourself and getting stuck and frustrated.
  4. "I listen to a lot of older music and often there are imperfections in the recordings." We recently had a classic rock listening session on my system, and one thing was glaring: Classic songs [we all love] next to modern electronic stuff sounds... Bad. Really bad. You can hear the room and the mics and how stifled everything sounds. Over all, noisy and not very intelligible.
  5. 'I would like to hear the work that was done with orchestral libraries that can fool me.' That's because you have an ear for it. People who are good at something obsess over technicality and can pick apart the most minute detail. Do people like that care too much on how it is technically? F** no. That's what makes them good in ways others don't even notice. "This sounds soooo good, how do they do it???" They know things you don't. They see details you don't.
  6. This right here is the whole crux of the topic. It has EVERYTHING to do with what the music is trying to accomplish.
  7. Originally Posted by daddymack if you reported it stolen to the police, all you should have had to do was notify the police. The pawn shop is liable for purchasing stolen property...under California law, they have a legal obligation to make sure they are not abetting the thief by receiving stolen property. That appears to be putting a fair bit of faith in both the pawn shop owners and the police. Does that California law require the pawn shop owners to contact the police to run it through stolen gear databases? I would imagine many people who would steal thousands of dollars worth of gear would be inclined to drive a good distance to unload it. Do those databases, if used, interlink? The only major theft I knew of happened to a DJ. The biggest hit wasn't the gear, it was the records. Better than a decade of collections, BPM marking and the lot. He ended up tracking it down not though any legislation or the police. He did his own police work for well over a month and tracked it down. Maybe an element of luck but he was committed, with good reason. What happens if you buy a guitar from a pawn shop, take it to a gig and some dude comes up to you telling you it's his guitar. You bought the guitar cash. The pawn shop owner is responsible right? But is there any resulting fines for the shop owner for selling stolen gear? Or in California, for not checking it? Can you just go back to the shop with the receipt in hand and demand the money? Does the other person need to be there with a police report? What happens if the person did not fill out a police report?
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