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 Now online (1)big ...and 644 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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... were 15 years younger and just getting into music making now? How do you think things would be different? Would they be recognised to anywhere near the same degree at all or would they be lost amongst the deluge of netlabels? Would BoC be able to do amazingly atmospheric tracks in fruityloops? Are people using free/pirated softsynths now nearer to the original spirit of techno in terms of production (using whatever gear was going cheap) than dance acts with racks of akais and vintage analogue gear? Discuss. |
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i think it's pretty incredible that twoism for example is from '95. when i heard it for the first time, it sounded so absolutely timeless that for me it was almost impossible to place it in that time. It was the time of cheap euro-dance crap, for goodness sake. sorry if this is off topic. |
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If they were all 15 years younger then they'd probably sound like 2 Unlimited |
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No no, no. . no no no, no. . no no no, no no! |
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If present day music was same as it is now warp superstars would have to invent smth rather different and better to become as famous as they are. If their effect on music is not overrated, then it wouldn't perhaps be like what it is without them and if they started it now, they would be stars. or, maybe, someone else could have invented such musics. I don't think what I just typed makes sense or contains clever thoughts no one ever thought, so maybe better answer this question please: question: do BoC use fruityloops indeed? |
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wow great idea |
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like muppet babies only warp superstars? lol! |
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there's no limits! |
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good music will continue to come out, regardless of what people are using. i do see your point and often wonder the same thing. if more people are given access to creating music, will the quality of the music decrease? if people do not have to earn the money to buy equipment and learn it inside out instead of just downloading a few programs and reading step by step turorials on the internet, will their music suck? i think that there will by more music, a lot of it will suck, but there will continue to be good stuff. now, if 'they' were 15 years younger and just now getting into music, what would their influences be if they weren't there to make the music that influences 'us', which is who they would be? i often wonder what MC Escher or Dali or old Jazz musicians would be able to do in these times using technology. would their creative product/output be more amazing due to the easy access and overall simplification of the processes? do we have modern Eschers and Minguses and Coltranes? are any of 'us' one of 'them'? |
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the Smashing Pumpkins have a song withthe lyrics What if what is isn't true... and bla bla bla and What if the Sun refuse to shine and more bla bla bla. new lyrics can be added now, singing this song to an acoustic guitar accompagniementh: What if the warp superstars were younger by fifteen years (sorry, this is stupid.) |
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I don't know! |
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By a happy coeincidence, the 'pumpkins have use electronic instruments (eg 707 and 303). Whilst it'll be a cold day in hell before I shave my head and cover my face in makeup, this thread's opening post could indeed be used for some introspective lyrics in a song questioning the state of eye-dee-em... |
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*buzz* WRONG! The correct answer is, they'd all be signed up to BIYC and destroying the established scene. Never mind The Prodigy; WE are the digital punks. |
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pump up the jam pump it x5 |
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A LITTLE MORE! |
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i hope you are not angry because of that offtopic post. I feel I'm lucky that Corgan used 707 and 808. |
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Not at all! I could see what you were saying :) I was just chucking a bit of music trivia into my reply. |
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that's a relief to me ) |
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this is an interesting thread. it's a bit too hypothetical for me right now, but it does raise some realistic questions: - how much does technology dictate the development of music? - is electronic music too limited by the progress of technology and is there a cap to the progress that can be made? |
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-Are there truly any "new sounds" left? -Does it matter if there aren't? Bach et al put up with a very limited sound palette for centuries and still churned out some stuff that still sounds good today. -Are fancy VSTs and Ableton Live too much of a crutch for talentless people? -Is the now comparative ease of getting into making music a good or a bad thing? -Once CPU power gets good enough, pro soundcards cheap enough and analogue emulation accurate enough, will anyone other than real masochists still value vintage gear? |
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It's like asking if Elvis could compete with Elvis imitators. It's silly - there wouldn't be Elvis imitators if he hadn't come around when he did. But to answer the question, fat Elvis would have to struggle to compete with thin impersonators but thin Elvis would do okay. Arfur raises some interesting points: - how much does technology dictate the development of music? - is electronic music too limited by the progress of technology and is there a cap to the progress that can be made? I think in the past technology did indeed limit what could be done, but now musicians have a hard time keeping up with technology the way it was intended to be used, never mind pushing its boundaries by abusing it in unthought of ways. Therefore many electronic musicians, instead of pushing into deep new waters, are paddling in the shallows. And it's certainly easy to do impressive things and imitate what was once difficult. In some ways what's happening is the creation of a spectrum or gradient between creators and consumers instead of a black and white separation between the two. On the simplest level you play a CD or an MP3 playlist. Then maybe you have folks who try out Traktor and create sets and beatmatched playlists. And so on up the scale of musical and technical ability. And the scale has always been there. What's different now is the audience remixes and spits back what it consumes. I predict the road ahead will consist of interactive compositions, where the audience can choose how deeply they want to get involved in manipulating the playback of the work. This is already happening in unofficial ways that don't spoon-feed the remixability to the audience (anyone with the time and curiousity can learn to do mash-ups). The next step is to develop media and players that have this inherent collaborative functionality. |
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well, i don't believe in this notion that there can be too many amateurs clogging up the works or that music should be an exclusive group of those who can afford it. if you don't want to hear independent artists, they're easy to avoid. i don't think this form of music is different from other popular musics in that regard. technology should be made affordable to everyone. everyone should have access to creative tools. if there's a problem, i say it's that synths are too damn expensive. i think what we're seeing is a widespread hindering of artists to make good music more than anything else. there will always, in any genre, be a whole lot of mediocre or garbage music, and a tiny fraction of great music. that's just the way it is. the problem is that the best artists are rarely recognized either critically or commercially, and their music or art reaches very limited audiences. i know i'm not saying anything everyone doesn't already know here, but... |
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i think you hit the nail on the head with that post (except for the speculation at the end, which i don't agree or disagree with, necessarily)... |
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Duh, then BOC would be ripoffs of Tycho. |
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Yes, yes, the democratization of technology creates a meritocracy - the greats will not be the ones who possess rare technology (analog, vintage gear) or instruments but the ones who can do something with technology. But let's have some recognition for the fact that some guy's first or even hundred and first foray into fruity loops isn't worthy of dick sucking fandom. I've said it before and I'll say it again - we need to have more Simon Cowells and fewer Paula Abduls judging this stuff. Does something suck ass? Say so, and either the musician will either improve or find a more rewarding hobby. I'm just ever so sick of being misled by Plantre-style slobbering over even the most mundane pissings that I'm reluctant to hear anything anyone recommends. |
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Um, that bit about IDM dicksucking adoration was not aimed at you, arf. I'm continuing my standard themes is all. :D |
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oh, i didn't take it that way until you just said that. ;o i feel i've always been honest, personally. i just don't think i need to be the one who throttles someone's failures as much as attempt to give constructive criticism. |
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we probably wouldn't have any Incanabula or Polygon Window stuff. I imagine the music would be faster and more noisy. |
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I reckon they'd rather rip off BIYC's "Pycho". That is one of the funniest/best tongue in cheek acts I've seen and it's actually suprisingly good music for a pisstake. |
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:) |
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And what if the Warp supastars were 15 years older? |
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if that's true then they'd be in competition with BIYC, and they'd have to die. |
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Pensions? |
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deafs? |
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Winner! |
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But let's have some recognition for the fact that some guy's first or even hundred and first foray into fruity loops isn't worthy of dick sucking fandom. what if it sounds awesome? |
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not to say id jock the artist or nothin but if it sounds or looks good then hey im a fan |
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GET THE PARTY GOIN ON A DANCE FLO |
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what if it sounds awesome? They have surely already been discovered by BIYC management in such a case. |
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OR WILL BE |
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