Alex

because it communicates something to me on some level.

oh come on. post one worse than that above

Kylie Minoise is ace.

I built an electronic sensor->midi interface with a washing up glove drum programmer.

I think I may hold off having a wank 'till my boomkat order gets in.

hopefully called team amazing or something that's not as crap as...

These guys are decent as fuck. And they're from livingston. Odd, aye?

they went down a storm in glasgow last night. Have fun!

I have no exams! But I do have the last thing (ever. EVER!!!) to hand in for uni on tuesday and my brain refuses to acknowledge it's still a fucking student. Hence I'm on here, for no reason I can make out.

www.tourcal.co.uk

Friend Craig made this, thought I'd see if anyone else likes it.

if you boost a (parametric for preference) eq to highlight ssibilant sounds then chuck it through the sidechain of a compressor it forms a de-esser. Filter out any low frequency nonsense. I sometimes boost around 600-1.2khz slightly. If there's popping sounds you could always do a cheeky bit of gain editing. Nearly all the interviews i've done in odd situations have involved a bit of cutting and pasting. Plus, you can mix up the sounds and make them say rude things!!!

(assuming it's recorded already. If not, get the mic slightly off the line of fire)

lightning bolt - crown of storms

tomahawk - mayday

made out of babies - gut shoveler

system of a down - shimmy

knut - bite the bullet

botch - frequency ass bandit

blood brothers - fucking greatest hits

refused - summer holidays vs punk routine

these arms are snakes - big news

craw - space is the place

iron monkey - house anxiety

old man gloom - 'tis better to receive

-skullstorm

converge - you fail me

ghengis tron - arms

P.S:: Anyone in GLASGOW - I've finally got bored of moaning about shit noisy nights, and I'm starting one (probably called Dissonance) playing this kind of stuff either summer gradually or august to see how many other people wouldn't mind listening to this kind of music. More noise and banging electronic stuff, too.

To an extent sound posibilities of an instrument can be expanded by the equipment available to the performer. This is the case with any instrument and not just digital ones.

Equipment should never be looked upon as a limiting factor ... what is more musical than the voice?

Even if you don't want to look on equipment as a limiting factor' date=' IT IS! Can you make your voice sound like a cello? Stretch 5 octaves? Sound like Britney (please?)? All I'm trying to say is that it's pushing these limitations and trancending the capabilities of the instrument that are creative. Machines are absolutely the same. The descisions you take on the instrument are defined [i']by the possibilities of that instrument

The last paragraph is far from reality. Most musicians improvise. Some merely at the level of creating an interpretation. Some will change the structure' date=' notes and even key of the music, on the spot, live. [/quote']

You didn't actually refute any of my arguments and I think you may be mostly agreeing with me there. I was saying the emphasis should be on where the choices are made. Better improviser -> more choices to be made = more (possible) creativity, which is about taking descisions, preordained or not. You seem to think a good level of improvising frees you from entropy and reliance on what you've written. Balls! You're not likely to rip a blistering solo in a key you've never heard, and not likely to improvise outside of the sphere in which you can create music. There are exceptions, but they're bastards.

fucking A!

it's tedious because people won't accept other peoples opinions bar their own. we're all on the same side yet are using different tools. it's not us and them with traditional instruments vs computers' date=' it's everyone creating music using instruments which vary in method yet which are all ultimately doing the same thing. it's just different interfaces.[/quote']

hear hear that man! the opinions on this thread i've thought had the wrong idea all seemed to think that using a computer automates functions. They can, but a guitarist can just go on what they've learnt. Both ways generate pretty sterile music, the fun part is fucking up the automation. It seems that a lot of people fear computers as ursurping the position of the musician, when the real music's created when the musician is being creative with the tool, same as any other form.

Now that I think about it' date=' pure computer based music is about the only form of music where a performance of some kind isn't required.

[/quote']

Do you think this is wrong?

Purely because this thread has touched on electronic music, go listen to an artist called THE FLASHBULB.

Providing they are played with a keyboard (or a guitar?)' date=' they remain a real instrument.

[/quote']

If that's an exclusive list, you could do with reading up a bit about how electronic synthesis works. Or pay me 500 for a sensor to midi interface?

I think a lot of concern over digital things is that you're using preset recreatable capabilities of the instrument. The point at which my head gives up with the maths calculating partials in FM synthesis is the same point as it gives up describing the guitar as a method of solving complex differential equations though. They're just totally different methods of control. I find there's as much unpredictable creativity on electronic gear as there is guitar.

I think there are loads of traditional (sic!) musicians who feel that unless something's being recreated from new every time it's played, it loses live authenticity. Traditional musicians are limited by their reliance on what they've already written coupled with inertia both personal and external in affecting changes. Electronic musicians still have these, but a far more dialectic method of interacting with their creations live with the affordance of electronic kit . If electronic music is being discussed as a recreatable form, shouldn't the focus be on where the choices begin to be made?

that sounds tasty as fuck

That's the most touching sales pitch I've ever heard.

I plan on a verandah and a shotgun. Then I'll go on an oap reign of terror against postmen and "damn yoots". Finally I'll forcibly ingest dynamite, take heroin on a massive scale for the first time, hire some hookers and cork it and be the first posthumous mass murderer when they cremate me.

my favourite is...

for every animal you DON'T eat, I'm going to eat three! (shamefully stolen from maddox.xmission.com)

Monoday Forecast is the shit. In the pocket!

mmmmmmmmmmlondonyesay??

I never play drunk. Playing on other substances is fine as long as I'm in the groove. Unfortunately, if something goes wrong, the whole thing's usually fucked. Which is why I keep that kind of malarkey to the bedroom.

lovely but completely pointless?

can we see your work' date=' for comparison?

ps, liked the bit about going on to explain why you though it was naff...

ah, sorry, you didn't post that bit, did you.[/quote']

Sorry, visual art appreciation is NOT my strong point. I thought it was a bit wanky, like a more concentrated version of that point in a trip when someone cries out that they need a pencil. The artwork doesn't raise any strong emotion in me, other than puzzlement when I work out that THAT represents THAT, that means THAT, but I'm still wondering what that squigly line connecting the two is supposed to infer.

Anyway, the argument is now OBSOLETE, as I have taken it upon myself to humble you with my own artwork.

http://www.aberdeen-music.com/galleries/files/2/5/5/art.JPG