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Messages - ffcal

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721
Everything and Nothing / Re: Projekt wants you to fight piracy!
« on: February 19, 2010, 10:25:46 PM »
The problem with a returns policy, at least when it comes to CDs, is that some will abuse it by simply making a digital copy.  Also, I don't see how you compensate a label for having opened up the CD and returned it.  Yeah, I've wasting money buying CDs (and albums) that I ultimately didn't like, but that's why I would check for reviews or hear what my friends thought of new releases.  Re the "music wants to be free" strain, there seems almost a naivete about the concept that ignores the economic realities of releasing a visually and aurally interesting album that people would want to keep.

Forrest

722
Everything and Nothing / Re: Questions for artists and labels re: Piracy
« on: February 19, 2010, 01:56:05 PM »
I pretty much agree with what Mike said, so I don't have much to add, except to concur that the overall situation sucks.  As for major label stuff, that argument about the quality of releases has been around for some time.  I'm not sure that the quality of major label releases is any better or worse than it was 15-20 years ago.  That said, I think that the majors took more chances in the 70s, and I prefer some of the non-commercial music that came out of that era.

Forrest

723
3. Now you're duking it out with classical music fans (and only a percentage of them) and film score fans. Of course quite often to reduce our chances even further we like to mess with or eliminate the structure for good measure(pardon the pun) so we get moved further to the back of the popularity line.

Steve

I actually find ambient and classical to be very compatible musics with substantial overlap in certain areas (like longer form pieces with expositions that take some time (and patience) to develop, and elements of repetition and minimalism, or ambiguous tonalities).  There's no reason for a listener to have to choose, unless you're making a desert island list. I think, though, that an ambient piece could suffer by comparison if not enough attention is paid to creating an interesting structure or form.

Forrest

724
Everything and Nothing / Re: RQ015 - what are the "rules" of ambient music?
« on: February 17, 2010, 01:44:16 PM »
What I want to know is what Brenholts would've had to say about this.  This thread has his name written all over it;)

Forrest

725
Other Ambient (and related) Music / Re: Mastering from The Masters?
« on: February 17, 2010, 01:41:10 PM »
Blackinfinity, I don't you'd find many who would disagree with your last statement.  But I think it's important not to confuse a distaste for absolutes with shutting down the learning process.  As the cliche goes, you only realize how much you know by knowing how much you don’t know.  I agree it can be counterproductive to turn music-making into a chore, but if can also be worth it if you see a benefit in the results.  What I don’t like about the “good enough for ambient” ethos is the way it seemingly encourages beginning artists to treat their preliminary doodles as a finished product, instead of taking the time to shape and re-shape the form and sonics of their music.

Forrest

726
Now Playing / Re: Currently listening, part 1
« on: February 17, 2010, 08:29:18 AM »
The brilliant thing about a forum like this is what Forrest just said...   "Fabio Orsi--there's one guy who oversaturated the market with his ambient releases."   

Humorously - I've hever heard of Fabio Orsi. 

;-)

Maybe I should have qualified that last comment.  I'm talking about the number of releases (some 10-15 in the last 2-3 years).  No, you won't see a Fabio Orsi CD at Best Buy.  John, I'd have to say that you're at the other end of the spectrum.  When's your next one?

Forrest

727
Other Ambient (and related) Music / Re: Mastering from The Masters?
« on: February 16, 2010, 08:43:55 PM »
What really hacks me off is the oft-stated opinion that standards themselves are relative.  I think at worst this exposes lazy thinking, which seems to be a particular hazard of our genre.

Forrest

728
Now Playing / Re: Currently listening, part 1
« on: February 16, 2010, 08:41:01 PM »
Gianluca Beccuzzi & Fabio Orsi - Please Don't Count The Clouds - 3x3" CD-R's
(Super limited release from 2007 but for me the best moment from either artist....three long pieces one from each and one collab....the collab piece is my favorite...this from what I remember was one of the best from 2007)

Fern

Fabio Orsi--there's one guy who oversaturated the market with his ambient releases.  His work on Please Don't Clouds is probably among my favorites of his, too.  Haven't liked too much of what he's released more recently--at least, since his Audio For Lovers compilation (which had some very good pieces on it, too).

Forrest

729
Hypnos Label Releases / Re: RELEASE: Jeff Pearce - Daylight Slowly
« on: February 16, 2010, 08:35:12 PM »
Nice to hear that this disc is back in print.  It's probably my favorite of Jeff's ambient releases.  Two other limited releases of Jeff's that deserve the reissue treatment are Summer Solstice and Songs For The Gathering.

Forrest

730
I think the mentor concept makes more sense if you are just starting out.  Otherwise, I think you'd be better off speaking with your peers, especially ones that are geographically closest, and getting a feel for what techniques and setups that they prefer, then listening to see if your ears agree.  That said, one of my most valuable lessons was listening to and observing Bob Ohlsson master my Gongland record at Hearts of Space.

Forrest

731
Now Playing / Re: Currently listening, part 1
« on: February 13, 2010, 01:12:55 AM »
Having recently seen Richard Goode perform some Haydn, I've been on a bit of a Haydn kick lately:

Haydn - Complete Piano Sonatas (Carmen Piazzini)
Haydn - Piano Trios 27-30 (Ensemble Trazom)

Forrest

732
I'm not a big fan of third-party loops, especially if they are not processed to the point of becoming something else.  It's like cutting and pasting from different artists that you like.  Maybe good enough for one's own entertainment, but probably not worth unleashing on the world.  Seems about as lame as it sounds.  In a similar vein, I came across this 2006 article in the NY Times about "composing" in GarageBand:

http://www.nytimes.com/2006/04/02/arts/music/02walk.html?8hpib

Forrest

733
Everything and Nothing / Re: One Thousand Pulses home concert series
« on: January 29, 2010, 07:32:25 PM »
Congratulations with the series, Darren.  Sounds very cool.  BTW, Tom Hamilton was my electronic music teacher in college.

Forrest

734
A very early memory for me was going with my family to a neighbor's house (who apparently was in the record industry) and getting a stack of 45s to take home with me!  I must been all of 4 or 5 at the time.

Forrest

735
Now Playing / Re: Currently listening, part 1
« on: January 25, 2010, 11:09:16 PM »
Mystified - Primal Mystification (some nice subterranean vibes from Thomas)

Viridian Sun - Infinite In All Directions (like this one quite a bit; would fit right in with the Symphonies of the Planets CD; the sound of supernovas quietly imploding)

Carl Weingarten/Walter Whitney - Dreaming In Colors (my friend Carl's reissue of a mid-80s album of pleasant guitar + keyboard vignettes; very Frippish in places)

Forrest

736
Everything and Nothing / Re: RQ009: Your desert island instrument.
« on: January 21, 2010, 11:02:18 PM »
A toughie.  For sentimental reasons, I'd have to go with the violin.  My second choice would probably be mandolin.

Forrest

737
This actually hasn't to do with mixing, but I'd say a very important point is the ability to discard stuff. I think it's always good to have a healthy rate of wastage. If you discard too many ideas, it is an indicator that you should develop further in the current direction, if you discard too few ideas, you probably should try another direction.

Many good ideas here.  I agree with this one especially.  As Austere pointed out, mothballing is a decent option, too.  There may be a good germ of an idea that does not sustain itself over 6 minutes, but may make a good 1-2 minute transitional section or added layer to a different piece much further down the road.  Another problem with not critically self-editing one's output is that you make the listener work too hard to find the good stuff.

Forrest

738
I prefer being present for the mastering, because sometimes you are given options that may emphasize or deemphasize different aspects of the sound, or it may be something as minor as improving on the fade-outs (mine tends to a bit on the long side).  It's also easier to hear how the mastering is improving the sonics as you go along.  Of course, if the person doing the mastering is someone you know (in my case, it is), it also can be fun, too.

Forrest

739
Sundummy-

I saw Grapes of Wrath open for 10,000 Maniacs at the I-Beam in SF in the late 80s.  I agree, their harmonies were flawless and they sounded even better live than on record.

Loren--

I saw Glenn Branca at New Music Chicago in 1982 (the same night that John Cage heard him play).  My ears were ringing for at least a week afterwards, but it was worth it.  The music (9 very loud guitarists and a even louder drummer) was performed in a very echoey Navy Pier, which was particularly memorable because you could heard the thunder going on outside at the same time.  Branca's music had an apocalyptic quality to it that I could only compare to mid-70s King Crimson.

Forrest

Forrest

740
Everything and Nothing / Re: New interview with Eno
« on: January 20, 2010, 08:39:23 PM »
Thanks, Mike.  Though I find myself disagreeing with much of what Eno has to say, I like the different perspective he brings to a topics as seemingly mundane as records and pop music.  Have to really take issue with him on the point about Steve Reich--Reich's 70s recordings were the pinnacle for me (both musically and production-wise), especially the DGG box that included Drumming, and his recordings for ECM such as Music for 18 Musicians.  Didn't care for the production on Reich's later recordings and re-recordings for Nonesuch, though.  Maybe Eno preferred Philip Glass' more souped-up production values, which included overdubbing of parts.  Was surprised to hear about Eno's indifference to vinyl, given his apparent interest in music and art that engages multiple senses.

Forrest

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