05-12-2012 08:51 AM
05-12-2012 02:19 PM
05-12-2012 07:06 PM
05-13-2012 03:30 PM
Do you agree? Should we adamantly be searching to find the new place of the synthesizer in the world? Where might that place be? Is it time for an entirely new breed of musical device to emerge and once again wiggle its way into our common musical landscape?
05-13-2012 04:32 PM
05-14-2012 05:06 AM
There has to be something new out there, and we must explore it.
05-14-2012 06:00 AM
Interesting. So instead of just new forms of synthesizers, perhaps a sax with an EWI built in, where you can play the synth part, the sax part, or both? Or even further, things like the Moog Guitar with add to the initial abilities of the instrument (infinite sustain, etc.)
But for people who like holding and playing instruments, this could be a frontier.
05-14-2012 06:00 AM
I've been hugely disappointed by the scarcity or even lack of synthesizer recitals and changing this has become my dream.
05-14-2012 04:26 PM
For the second time in my life, and for the first in the life of my little brother, we watched BBC's Synth Britannia documentary, which charts the path of the earliest form of electronic and synth-pop acts such as The Normal and The Human League, and traces its growth into the end of the 1980s.
Before that, I had watched What the Future Sounded Like, which outlines the development of the earliest synthesizers in the 1940s and beyond, and the technologies being developed, as well as the disdain by the musical world for "not being music".
Now, history aside, I want you to think about something: where must we, as synthesizer players, performers, developers, and devotees go from our current standing? It's true that the synthesizer has penetrated its way into every form of popular music today. Our pop music is nearly all synthesized, even down to the vocal performances, at times. When the synthesizer was new, it was a fight for acceptance. When it began to gain popularity, it was a time to experiment with it in everything from hair metal to pop, even coming from punk roots.
I feel like it is our duty to once again explore the full functionality of the synth. And I don't just mean dig into that dark place of the menu you've never been and see what stuff does. There has to be something new out there, and we must explore it. I wish that I could offer insight into what that might be, but I can't seem to, even in my recent thoughts on the matter, which is why I come here. Do you agree? Should we adamantly be searching to find the new place of the synthesizer in the world? Where might that place be? Is it time for an entirely new breed of musical device to emerge and once again wiggle its way into our common musical landscape?
05-15-2012 02:15 AM
there's tons of new music around. One problem is that the people who clamor for it generally hate it if it is not close to what they usually listen to.
05-15-2012 06:14 AM
05-15-2012 06:51 AM
I personally think electro-mechanical relationships haven't been pushed as far as they might go. We have the electric guitar and the Rhodes-type keyboards, as well as a variety of other things. But integrated synthesis and acoustically or mechanically generated sounds could go in all sorts of directions. I imagine the obstacles here are economic rather than anything else. But for people who like holding and playing instruments, this could be a frontier.
05-15-2012 07:40 AM
What exactly is a 'new sound', btw? Music doesn't need harmonic structure. It is only much easier to create "new sounds" if you don't understand them.
No there doesn't. And no we mustn't. It's fine to reach for new sounds. But it is not necessary. If you want to really change things, change the harmony and proportion. Attack Pythagoras - not Mozart, not Bach. But other composers have tried that. It is much easier for weenies to try to create new sounds and not escape the harmonic structure of two-thousand years. It's much easier to create new sounds. That's why I'm a Romplerista. I don't need new sounds. I'm still learning what soundsBach, Hayden, Mozart and Beetoven gave us. Yes, I love a sine wave. But ultimately, I'm working within the framework that was given to me. I have no desire to change it. After I'm finished with that framework, maybe I'll start fishing around for new sounds.
05-15-2012 11:16 AM
I agree that we should search for a new place for a synthesizer in music. I've been hugely disappointed by the scarcity or even lack of synthesizer recitals and changing this has become my dream.
05-15-2012 11:28 AM
Go bother your local coffee/bookshop owner or your local community center. Be prepared to play to a few empty rooms and get a lot of strange looks. If you can do that, you may find yourself in the midst of some likeminded people.
05-15-2012 06:48 PM
If you don't get lots of strange looks, you're really not doing anything new.
05-15-2012 09:52 PM
05-16-2012 12:47 AM
05-16-2012 07:18 AM
05-16-2012 08:22 AM
This is why (myself included) that i think certain types of people seek solitude. How can you develop your inner voice and vision when most people are content to sit down and compartmentalize themselves into cultures and lifestyles? the expectation of a rebuttal from you is proof that people merely enjoy the accolades and comradeship that come with group membership. and i agree, constant discussion is pointless. stop making excuses, accept no limits and work as hard as you can. that's how i want to live my life. not sitting down, taking an instagram and spending more time talking about how great it was. I normally feel a drift as my coworkers talk about movies and all sort of music I don't listen to. mainly because 99% of is pop, churned out hollywood stuff and no i'm not pulling a "too mainstream" thing, but really, if you're just doing what everyone else is doing, you're missing life. there's more to life than the inside of bars, the same movie (or music) repackaged and resold. turn it off. give your mind a chance to think for once.
Thank you Droolmaster and Praxisaxis. I am with you guys. I often find myself dissenting from the overly-homogeneous group of people that gathers around my usual lunch table at work. I will often say that I respectfully disagree with the overwhelming opinion, even if it is against a particular genre for which I have no love. I then get expectant looks waiting for an argument. At that point I say that I realize the group is waiting for a rational argument but that I am merely disagree and think it is pointless to go any further (because it is). It disappoints me when people that I respect for multiple other reasons are not willing to take a step outside of themselves and listen - to music, to an opinion, or to an idea. As for me personally, I am exploring the idea of the patch as the music and/or performance on a modular. This is not a new idea, but it is new to me. I have normally thought of the patch as a tool to fit into a larger piece or as combined with other patches an recorded to make a composition, but now it is just one patch.
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