Edit: that came across as much more surly than I meant it to! Anyways, I'm assuming that we are talking about expression as a form of modulation as opposed to expressing yourself via music.
https://www.soundonsound.com/people/autechre
Edit: that came across as much more surly than I meant it to! Anyways, I'm assuming that we are talking about expression as a form of modulation as opposed to expressing yourself via music.
And their White Noise record. Love thatwhyterabbyt wrote: ↑Thu Feb 29, 2024 10:47 amDave Vorhaus's Kaleidophon was pretty fecking 'expressive articulation' embodied. 1970s.Bunny_boy wrote: ↑Thu Feb 29, 2024 10:42 amBut what about all the stuff on Warp records in the 90s? Autechre, Black Dog, Apex Twin. Or the stuff on Planet Mu?
Edit: and of course all the ircam stuff, Pierre Schaffer, etc. Delia Derbyshire, Daphne Oram
Yes yes, we are talking about the same thing. All the timbre, velocity, or effect change coming to transform a main melody over time, such like a violinist can do in a stronger manner than a pianist.Bunny_boy wrote: ↑Thu Feb 29, 2024 11:19 amEdit: that came across as much more surly than I meant it to! Anyways, I'm assuming that we are talking about expression as a form of modulation as opposed to expressing yourself via music.
https://www.soundonsound.com/people/autechre
Thanks for the reference and I am sure you are right about autechre. It is just that.... I am really not a fan of their sound... Just not suites my personal tastes.Bunny_boy wrote: ↑Thu Feb 29, 2024 11:19 amEdit: that came across as much more surly than I meant it to! Anyways, I'm assuming that we are talking about expression as a form of modulation as opposed to expressing yourself via music.
https://www.soundonsound.com/people/autechre
Sorry I forgot one comment in your post.soundmodel wrote: ↑Thu Feb 29, 2024 8:29 amIt has been done in the 90s though already. Because it only takes editing and automation. It just takes a lot of patience and skill. I think contemporary millenial producers lack in the first one. They are not willing to sit hours and hours editing 16 bars of drums, but they take Stylus RMX and press a few buttons.Jac459 wrote: ↑Thu Feb 29, 2024 12:08 amI think the direction the music is going to nowadays is expressivity. It was lost for a few decades with electronic music but it is coming back strong with things like MPE and CLAP (where you can edit every voice of a chord the way you want). I feel some people will invent very creative way to use it.soundmodel wrote: ↑Wed Feb 28, 2024 6:27 pm Regarding instruments, I forgot it. I think Mutable Instruments was very novel.
Also a series of artist where given to you a few posts back, did you try listening to them. I believe they are quite innovative, or VERY innovative. Maybe you are listening too mainstream music?
But yes, I've heard a few tracks that even made the very worn-out amen break sound new. Just because the creator decided to edit it so that it sounds like it's newly recorded.
All genres have room for novelty. However, a lot of dubstep is not novel. Some is.Jac459 wrote: ↑Thu Feb 29, 2024 11:49 amSorry I forgot one comment in your post.soundmodel wrote: ↑Thu Feb 29, 2024 8:29 amIt has been done in the 90s though already. Because it only takes editing and automation. It just takes a lot of patience and skill. I think contemporary millenial producers lack in the first one. They are not willing to sit hours and hours editing 16 bars of drums, but they take Stylus RMX and press a few buttons.Jac459 wrote: ↑Thu Feb 29, 2024 12:08 amI think the direction the music is going to nowadays is expressivity. It was lost for a few decades with electronic music but it is coming back strong with things like MPE and CLAP (where you can edit every voice of a chord the way you want). I feel some people will invent very creative way to use it.soundmodel wrote: ↑Wed Feb 28, 2024 6:27 pm Regarding instruments, I forgot it. I think Mutable Instruments was very novel.
Also a series of artist where given to you a few posts back, did you try listening to them. I believe they are quite innovative, or VERY innovative. Maybe you are listening too mainstream music?
But yes, I've heard a few tracks that even made the very worn-out amen break sound new. Just because the creator decided to edit it so that it sounds like it's newly recorded.
Even if I am not a fan at all of Dubstep, I do recognise that it is a complex genre to do and often generating a lot of work.
See, this is it right here. The world needs this sound right now. Wake up from history, people!
i did, for university
you could notice a pattern, where a lot of techniques are first invented using "manual means". E.g. a bass resampler is just samplers. Then some developer figures to package to process into an algorithm so that one doesn't have to do it with samplers. This:
Another example is glitch plug-ins. They were originally made using manual edits and the "process audio" function. Yet, with the glitch plug-in you can now do the work of e.g. 50 sample slicers and process audio functions.
- broadens knowledge about the technique to new producers
- allows building more complex instruments by basing on the new one, rather than the old ones.
Definitely! It is not only growls, the expressivity of the lead is in general very rich. Plus the way the drum and the bass play together is different.soundmodel wrote: ↑Thu Feb 29, 2024 5:49 pm Are there dubstep tracks that innovate in some other aspects than synth growls?
Yeah the first lot of Dubstep tunes by Benga, etc that were played at FWDsoundmodel wrote: ↑Thu Feb 29, 2024 5:49 pm Are there dubstep tracks that innovate in some other aspects than synth growls?
Then why the f**k are you asking other people how to be original?soundmodel wrote: ↑Wed Feb 28, 2024 10:36 am I make music in order to invent something new, not reiterate on something that people have already heard.
I didn’t know that about Bjork, but I do remember being impressed with the Reaktable.Uncle E wrote: ↑Thu Feb 29, 2024 5:55 amRemember when Bjork started using a Reactable table on stage? Now we all carry miniature versions of that exact device in our pockets (literally, it's a $4.99 app).zerocrossing wrote: ↑Thu Feb 29, 2024 5:27 am We need some hot shot artist like Taylor Swift or Beyoncé to use one in concert so the world takes notice.
Yeah, I put Radiohead in that boat too.Jac459 wrote: ↑Thu Feb 29, 2024 6:17 amWell, if you take artists like Amon Tobin or even Skrillex (with simple melodies), I see a huge work on the sound and how sound evolve over time (or shall I say "after touch" when played).zerocrossing wrote: ↑Thu Feb 29, 2024 5:27 amIs it, though? I like to believe it is, but I’m wondering if we’re seeing a small but novel technology get an oversized amount of attention. Believe me, I hope it’s the beginning of a trend. I’ve got a Rise 49 that I love, and I’ll probably pick up an Osmose or Linnstrument too at some point. I just bought a Kontrol S61 for its polyphonic aftertouch. But in the grand scheme of things, I still think it’s going to be a tiny market. We need some hot shot artist like Taylor Swift or Beyoncé to use one in concert so the world takes notice.Jac459 wrote: ↑Thu Feb 29, 2024 12:08 amI think the direction the music is going to nowadays is expressivity. It was lost for a few decades with electronic music but it is coming back strong with things like MPE and CLAP (where you can edit every voice of a chord the way you want). I feel some people will invent very creative way to use it.
So I am kind of optimistic.
After maybe not on super mainstream artists but it was never really where the most innovation were. (I think sweet spot are Portishead: reasonably successful yet at the cutting edge of innovation (imho)).
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