innovation in aberdeen

[Sky]

to be totally honest' date=' and i SWEAR im just putting my opinion forward here and not wanting a huge argument.

Sky your views in this thread annoy me quite alot...you constantly talk like someone who has a good knowledge and understanding of the local scene when in fact you rarely attend gigs...if at all...as far as i know you dont go to Moshulu on club nights either.

Your views seem to have been formed from this site when the only true way to gather knowledge on the local scene is (rather obviously) to go to gigs and listen to local band releases.

I dont think there are many people on here who would actually know who you are if you were to go to a show. What I mean by this is that you have very little or no presence in relation to the kind of views you put in text on here. Most people on here will know who each other are even if they havent spoke just by seeing them regularly at shows.

Im not picking on you (I SWEAR ON MY TAMA DRUM KIT THAT I LOVE DEARLY) its just your posts bother get up my nose a bit coming from a non regular at local shows.[/quote']

Whilst not wanting to start I fight, I do find it most interesting that you chose to pick up on my argument over anyone else's. This, of course, could just be sheer accident, and I'm willing to put it down to that.

I freely admit that I rarely attend gigs; most I stumble upon by accident, by being in the venue prior to the band's performances. As for the last gig I went to deliberately, that would have been one that Claire Hamilton performed recently, in a bar that's name escapes me. I went because, as her friend, I was there as a show of support; I also went because, from a totally unbiased view, I think that the girl has talent. Of course, with this admission, I open myself up to cries of, "hypocrite! you only went because she's your friend! you only like her because she's your friend!", but this I am prepared to deal with. I don't think that it's inconcievable that someone can be friends with a member of a band/act/whatever and still not unbiasedly appreciate their music. Having said that, though, I do feel that many people in Aberdeen don't adopt this stance, and merely praise a band because their buddy is lead singer/guitarist/drummer/triangle-player and they don't seem to realise that part of being a friend is being trusted enough to offer constructive criticism.

As for Moshulu, you're rightI'm not a regular attendee. I used to go more frequently, but the sameyness of the nights really began to wear thin, and the people there, by and largeand this isn't a broad generalisation: there are exceptionstend to be very unwelcoming to those who don't look and act the part (and I freely admit that I do neither). Also, as my music tastes broadened off from being just rock, I found that it no longer satisfied me in this respect. But, as allsystemsfail pointed out, why does attendence at Moshulu actually matter? I was unaware that, to offer opinions on Aberdeen's music "scene" I had to be a card-carrying Moshulu-ite.

On the subject of people recognising me at gigs, is this really that important? To be honest, I enjoy having a low-profile at these things. I don't see why my visibility, or in this case, lack of, would have any impact on my ability to offer valid criticism. (Also, I appreciate that you have refrained from using my name in this threadI prefer to choose those to whom I disclose that information, rather than allowing it to be freely distributed by others. This, again, is to do with my preference for a low-profile.)

As I said before, none of the above is intended to provoke an argument; they're merely my observations based upon your posts.

I don't go to gigs either' date=' and I don't intend to. Do you have to be a regular scenester to be able to put forward an opinion? Maybe a lot of you are too "close" to the scene to be able to rationally criticise it. You should value external viewpoints, not try and silence them.[/quote']

I feel that the way the "scene" stands, to put forward an opinion, many people do expect you to be a regular at gigs. This is something of a natural reaction: it's very galling to see someone who isn't part of the same group as yourself and those you associate with offering up negative views on something that you care about. But it also closes off a valuable entry-point for criticism, which I feel is dangerous. No man, or group of men, is wise enough to be above criticism from those external to the situation.

I feel that many are too close to the "scene" to be able to step back and examine it dispassionately; but I feel that more are unwilling to do so, as they fear they may not like what they discover. What people need to recognise is that just because someone offers criticism, it doesn't mean that it's a personal attack.

There are plenty of bands out there who don't sound anything like you describe' date=' maybe you should try finding the ones that are different and ignoring the ones you don't like, it seems like the easy option.

I've stopped worrying about it, it'll never change because as soon as something becomes popular (e.g. this innovative music of which you speak) it is no longer innovative cos every fucker wants a slice of the action and will copy it, then we'll be looking for something innovative again once we're sick to the back teeth of that.

I find it best to let innovation take it's course naturally, not to try to force it, because the innovators are normally rebelling against the norm and quite often the music shows the passion. Basically leave people to it and it'll happen when it needs to.[/quote']

I worry that the amount of sand I'd have to sift to get a nugget of gold is overwhelming; I, too, am deeply afflicted by a microscopic attention span, and that kind of labour-intensive, and potentially futile, course of action doesn't appeal to me.

I agree with your statement regarding the commoditisation of innovation; but I feel that this is a narrow viewpoint on what "innovation" is. To me, innovation is not just about doing something totally outside the bounds of established practise, but also about taking the established order and altering it slightly, whilst still playing within the bounds of said established pattern. This approach can be just as innovativeand is, indeed, much more difficultthan simply going completely outside the bounds of a defined genre or style.

I also agree with your point on forcing innovation; it just doesn't work. But I disagree that if we "leave people to it ... it'll happen when it needs to." I don't think that this is so; too few people have the drive to innovate because it is not required to be successful within the context of the local "scene", and in this we have a catch-22: until people begin innovating, it will not be a compulsory thing to do to attain success; untill people stop attaining success, innovation will not take place.

fuck it' date=' music is music.good music is good music, bad music is bad music and innovative music is innovative music.[/quote']

I never stated anything other than the above, nor did I imply that something has to be innovative before I can consider it good. But I feel that the innovation argument, justifiably and necessarily, digressed into one of quality, and this I feel is a valuable and important discussion that needs to take place.

Thats a common mis conception Ive noticed too

I went to Moshulu (by accident) once. Or was it twice. Dunno. The music was ok. Safe MOR alternative stuff. Anyway' date=' all I really saw was a bunch of very drunk posh kids trying very hard to be different. Thing is, they all looked EXACTLY the same. So I dont think the Moshulu club nights have any bearing on the local music scene or its INNOVATION at all. Some people who own guitars go there. That all. Some people who have guitars go to lots of other clubs too. Does that make sense?[/quote']

I feel that, if anything, the current climate of Moshulu exerts a counter-innovative force on the music scene. These, by and large, are the people who get up week-in, week-out to dance to the same songs, over and over, and these are the people who buy Kerrang! and follow its musical advice and recommendations. Because these people are, as I have said on many occasions before and will undoutably say again, xeroxes of the people that fill the Priory, Liquid, et al, with only marginally different musical and stylistic preferences, but just as fundamentally conservative and unadventurous as their more "mainstream" counterparts.

I will, of course, be shouted down from the roof-tops for this, but I feel that it holds true: nearly everyone I met in Moshulu was of this template, and I can think of only one I know well enough to speak to that doesn't fall completely within the bounds of this definition.

[Guest Stripey]

I don't think that it's inconcievable that someone can be friends with a member of a band/act/whatever and still not unbiasedly appreciate their music. Having said that' date=' though, I do feel that many people in Aberdeen [i']don't adopt this stance, and merely praise a band because their buddy is lead singer/guitarist/drummer/triangle-player and they don't seem to realise that part of being a friend is being trusted enough to offer constructive criticism.

Very very true.

I also agree with your point on forcing innovation; it just doesn't work. But I disagree that if we "leave people to it ... it'll happen when it needs to." I don't think that this is so; too few people have the drive to innovate because it is not required to be successful within the context of the local "scene"' date=' and in this we have a catch-22: until people begin innovating, it will not be a compulsory thing to do to attain success; untill people stop attaining success, innovation will not take place.

[/quote']

Very succinct. Take any of these bands out of the context of Aberdeen, and they are largely irrelevant. I think with any "Scene" and I don't mean local scenes, i mean if you think in general of sport, or music, or painting - there is always a sort of heirarchy, with clueless but aspiring wannabes, people who have done so much and think that is good enough and get complacent, and people at the top who are really calling the shots, who are really passionate about what they are doing, and who actually try and push the envelope. Of course, money and marketing can subvert that, thus the pop industry, the big money sporting clubs, and artists like vettriano and hurst.

My own experience of this (I'm not talking about music), is that everyone starts out without a clue, with a whole string of reasons for wanting to get into the subject. Some lose interest straight away after failure, some keep at it. The ones who keep at it, learn from whatever sources are available to them, and eventually will come to be at the same level once they have absorbed that publically available information.

Many stop once they have reached that stage, believing that they have reached the same level as those who are at the top, when infact they have just become trained mimes.

The true artists, the true painters, the true sportsmen, are the ones who reach that level and then use what they have learned to take it beyond that, and start exploring new ground and using what they have learned, and their own intuition, to innovate.

Not everyone is cut out for this. It requires a special kind of mentality which most people don't have.

When you reach that stage, you can't help but have contempt for the people who have gained a little skill and then rest on their laurels and think of themselves as shit hot.

When your chosen field of expertise, the art you dedicate your whole life to, becomes commercialised and turns into an industry, you can't help but be sickened by that, and the clowns that think they are the real deal, when really they aren't.

It gets to the stage where you just have to realise that's how it is, and you have to ignore the idiots and clueless fools and the industry parasites exploiting what you love.

Brand new beginners deserve a little encouragement and a bit of a shove in the right direction, because thats how you got to be where you are.

Idiots who have learned a bit and sit around thinking they are the shit, maybe coz their mates are all impressed, deserve to be told they are nobodies, they need to be told the reality of the matter. If anything, getting a bit of harsh but realistic criticism ought to spur them on to try harder.

It's not cruel to do this, it's how things develop.

I feel that' date=' if anything, the current climate of Moshulu exerts a counter-innovative force on the music scene. These, by and large, are the people who get up week-in, week-out to dance to the same songs, over and over, and these are the people who buy [i']Kerrang! and follow its musical advice and recommendations. Because these people are, as I have said on many occasions before and will undoutably say again, xeroxes of the people that fill the Priory, Liquid, et al, with only marginally different musical and stylistic preferences, but just as fundamentally conservative and unadventurous as their more "mainstream" counterparts.

I will, of course, be shouted down from the roof-tops for this, but I feel that it holds true: nearly everyone I met in Moshulu was of this template, and I can think of only one I know well enough to speak to that doesn't fall completely within the bounds of this definition.

So true. There is no difference between the kind of people who go to the ministry, liquid and all these other places, and the people who go to moshulu and wherever. They both have disdain for the other, when really they are just different sides of the same coin.

Underground scenes have always been where the real action occurs, and I think it is sad when the "mainstream" begins to co-opt these scenes and eventually wring them dry of any meaning and value. It is especially sad when people who buy into the product of that co-option actually believe they are "underground".

[Guest lime ruined my life]

has anyone pointed out that portishead use guitars quite extensively?

[Guest Stripey]

has anyone pointed out that portishead use guitars quite extensively?

I don't hate guitars. I hate the boring mindless uncreative way in which they are used 90% of the time.

[Guest Ibid]

Stripey can talk such good sense sometimes and yet can also say things like everyone in Aberdeen is illiterate!

[Dead_Fashion]

hookers green are on the nomad A|M compilation you'll see it in one up somewhere. they kinda sound like 33.3 as well. but still really nice to listen to.

i myself am going to start playing shows, i tink you can do a lot with guitar, a lot moer than you think... i discovered a couple of things myself which sounds interesting they may have already been found but i guess i've got my own angle on it.

im really looking forward to people experiencing dave lovell. me and him are recording each other, sort of producing... his stuff is sounding so good, i think hes a really great musician. writes really nice songs, he sounds like bright eyes with a flash of sort red house painters style guitar, its really nice.

another band to watch out for if they do get into the swing is sandcastles. i heard a snipit about 15-20 seconds and i loved it. duno if they are planning on having a show or not. i think aberdeen lacks pop. sort of alt indie pop. the shins then to another side PULP. twould be great to see something else apart from heavy guts.

[Pierre Von Mondragon]

and artists like vettriano and hurst.

QUOTE]

All that on top of his cursed 1966 goalscoring. Didn't he do some abstract work after the style of Barnett Newman?

Seriously, Stoner Rock?? I'm stoned and we rock, does that count?

[Guest Stripey]

and artists like vettriano and hurst.

QUOTE]

All that on top of his cursed 1966 goalscoring. Didn't he do some abstract work after the style of Barnett Newman?

Seriously' date=' Stoner Rock?? I'm stoned and we rock, does that count?[/quote']

Got any mp3's of your stuff online?

[Pierre Von Mondragon]

Nah, we're so retro we keep it strictly wax cylinders and 78's...distributed by pigeons. Only purebred Aberdonian pigeons mind. Thats why our laptop runs on my eponymous fuel (thats Peat, obviously)

[Guest Stripey]

Nah' date=' we're so retro we keep it strictly wax cylinders and 78's...distributed by pigeons. Only purebred Aberdonian pigeons mind. Thats why our laptop runs on my eponymous fuel (thats Peat, obviously)[/quote']

Why not just say "yeah" or "no" instead of some patronising, unfunny, sarcastic bullshit?

[bryn]

and artists like vettriano and hurst.

QUOTE]

Seriously' date=' Stoner Rock?? I'm stoned and we rock, does that count?[/quote']

Hehe, 'stoner rock' is a totally misleading term.

[Pierre Von Mondragon]

Thats Aberdonians for you, we are just waiting on our first consignment of "The Wheel", should be wicked.

I prescribe Marijuana for your touchiness, after all, does this place not exist solely for the talking of shite?

[Guest Stripey]

Thats Aberdonians for you' date=' we are just waiting on our first consignment of "The Wheel", should be wicked.

I prescribe Marijuana for your touchiness, after all, does this place not exist solely for the talking of shite?[/quote']

I quit smoking weed last year, because it fucking sucks, as do the pricks who make a hobby of it. Why talk shit when you can discuss things like an adult.

Why don't you have any mp3's online?

[Pierre Von Mondragon]

All is explained.

Might as well answer this one.

As you should know, if your frequent quoting of SOS reflects an awareness of its content, the last place a music PC should be is anywhere near the fucking internet, and as our own PC's are all mainly used for audio then thats the last thing they will ever be connected to. Only public or non-essential computers should be used really. And lets face it much of the internet is a pile of shite, mainly the result of too many people with delusions of relevancy. When we can do something sharp and aesthetically pleasing we will, until then people must continue downloading themselves into live venues where, sometimes, we will be flogging CD's (I tried sourcing those wax cylinders so hard).

You must try to calm down or all that bile will choke you, and castigating people for being Aberdonian in Aberdeen seems remarkably lacking in awareness. Generally as a longtime slave to the digital interface I would sympathise with many of your points, were it not for the teenage frame of reference within which they are placed, and the fact that you are not particularly funny when ranting. Now if it made me laugh....

[Pierre Von Mondragon]

Of course pricks never snort coke

[Guest Stripey]

All is explained.

Might as well answer this one.

As you should know' date=' if your frequent quoting of SOS reflects an awareness of its content, the last place a music PC should be is anywhere near the fucking internet, and as our own PC's are all mainly used for audio then thats the last thing they will ever be connected to. Only public or non-essential computers should be used really. And lets face it much of the internet is a pile of shite, mainly the result of too many people with delusions of relevancy. When we can do something sharp and aesthetically pleasing we will, until then people must continue downloading themselves into live venues where, sometimes, we will be flogging CD's (I tried sourcing those wax cylinders so hard).

You must try to calm down or all that bile will choke you, and castigating people for being Aberdonian in Aberdeen seems remarkably lacking in awareness. Generally as a longtime slave to the digital interface I would sympathise with many of your points, were it not for the teenage frame of reference within which they are placed, and the fact that you are not particularly funny when ranting. Now if it made me laugh....[/quote']

I'm not trying to be funny, I actually like to take things seriously.

My production boxes are connected to the internet, even if they weren't I would still be making mp3's and putting them online. Don't get your pc/networking advice from SOS, because it's mostly naive rubbish. I upload my stuff to a webserver in the states anyway.

Yes, the internet is mostly a pile of shite, like the crap that the kids talk on here for example, but there are little exceptions to that.

"Once we do something sharp and aesthetically pleasing"? You mean you haven't already, and you are inflicting that on an audience in a venue, yet you don't want to put mp3's online? That should be the other way round surely.

I don't like most of the locals, and most scottish people for that matter. Infact, I don't like most people in general, and I think it's better that I am honest about that.

I am not a teenager either. I don't see the point in being funny when I am ranting about stuff. If we can't talk seriously about things, then what is the fucking point. I can't stand people who don't take things seriously.

HEHEH WE ARE JUST DOING IT FOR FUN ITS ALL A LAUGH LOL MY AIM IN LIVE IS TO HAVE A LAUGH EHH#EHHEHEH#H#H#EH#Heh

[Pierre Von Mondragon]

Oh well its your aneurism.

Aesthetically pleasing as in website, not music as it is pleasing to us already.

Connected to the net for long enough your PC WILL be corrupted and run slower, now thats serious. If you cant see the blatant absurdity of the human condition then thats fine- Life is funny, deny it at your risk "you cant hide from yourself, everywhere you go, there you are" (Hmm should have put that in favourite lyrics section)

Better than MY AIM IN LIFE IS TO HAVE A GIRN GnashgnashggnnashhwhydomybloodvessellskeepBURRSting (expire in corner)

Hmm.

[Guest Ibid]

Oh dear Stripey I thought you were reasonably clever. Connecting a computer used in music production to the internet is an amatuer's mistake. Seriously, Stripey, I'm not having a go, it will get fucked up. Especially if it goes through a US server. The web is crawling with kids a hundred times smarter than you and even more people hating and they will break through your firewall at some point and fuck you up. Is it really worth losing all your data on a point of pride? I'm sure you put a lot of work into what you do, will you lose it all just because you consider yourself superior to the rest of the human race?

Even the morons that work on SOS will tell you that. (They're the some of the best in their field but let's not let facts get in the way of ego, eh?)

[Guest tv tanned]

Whilst not wanting to start I fight' date=' I [i']do find it most interesting that you chose to pick up on my argument over anyone else's. This, of course, could just be sheer accident, and I'm willing to put it down to that.

I freely admit that I rarely attend gigs; most I stumble upon by accident, by being in the venue prior to the band's performances. As for the last gig I went to deliberately, that would have been one that Claire Hamilton performed recently, in a bar that's name escapes me. I went because, as her friend, I was there as a show of support; I also went because, from a totally unbiased view, I think that the girl has talent. Of course, with this admission, I open myself up to cries of, "hypocrite! you only went because she's your friend! you only like her because she's your friend!", but this I am prepared to deal with. I don't think that it's inconcievable that someone can be friends with a member of a band/act/whatever and still not unbiasedly appreciate their music. Having said that, though, I do feel that many people in Aberdeen don't adopt this stance, and merely praise a band because their buddy is lead singer/guitarist/drummer/triangle-player and they don't seem to realise that part of being a friend is being trusted enough to offer constructive criticism.

As for Moshulu, you're rightI'm not a regular attendee. I used to go more frequently, but the sameyness of the nights really began to wear thin, and the people there, by and largeand this isn't a broad generalisation: there are exceptionstend to be very unwelcoming to those who don't look and act the part (and I freely admit that I do neither). Also, as my music tastes broadened off from being just rock, I found that it no longer satisfied me in this respect. But, as allsystemsfail pointed out, why does attendence at Moshulu actually matter? I was unaware that, to offer opinions on Aberdeen's music "scene" I had to be a card-carrying Moshulu-ite.

On the subject of people recognising me at gigs, is this really that important? To be honest, I enjoy having a low-profile at these things. I don't see why my visibility, or in this case, lack of, would have any impact on my ability to offer valid criticism. (Also, I appreciate that you have refrained from using my name in this threadI prefer to choose those to whom I disclose that information, rather than allowing it to be freely distributed by others. This, again, is to do with my preference for a low-profile.)

As I said before, none of the above is intended to provoke an argument; they're merely my observations based upon your posts.

I feel that the way the "scene" stands, to put forward an opinion, many people do expect you to be a regular at gigs. This is something of a natural reaction: it's very galling to see someone who isn't part of the same group as yourself and those you associate with offering up negative views on something that you care about. But it also closes off a valuable entry-point for criticism, which I feel is dangerous. No man, or group of men, is wise enough to be above criticism from those external to the situation.

I feel that many are too close to the "scene" to be able to step back and examine it dispassionately; but I feel that more are unwilling to do so, as they fear they may not like what they discover. What people need to recognise is that just because someone offers criticism, it doesn't mean that it's a personal attack.

I worry that the amount of sand I'd have to sift to get a nugget of gold is overwhelming; I, too, am deeply afflicted by a microscopic attention span, and that kind of labour-intensive, and potentially futile, course of action doesn't appeal to me.

I agree with your statement regarding the commoditisation of innovation; but I feel that this is a narrow viewpoint on what "innovation" is. To me, innovation is not just about doing something totally outside the bounds of established practise, but also about taking the established order and altering it slightly, whilst still playing within the bounds of said established pattern. This approach can be just as innovativeand is, indeed, much more difficultthan simply going completely outside the bounds of a defined genre or style.

I also agree with your point on forcing innovation; it just doesn't work. But I disagree that if we "leave people to it ... it'll happen when it needs to." I don't think that this is so; too few people have the drive to innovate because it is not required to be successful within the context of the local "scene", and in this we have a catch-22: until people begin innovating, it will not be a compulsory thing to do to attain success; untill people stop attaining success, innovation will not take place.

I never stated anything other than the above, nor did I imply that something has to be innovative before I can consider it good. But I feel that the innovation argument, justifiably and necessarily, digressed into one of quality, and this I feel is a valuable and important discussion that needs to take place.

I feel that, if anything, the current climate of Moshulu exerts a counter-innovative force on the music scene. These, by and large, are the people who get up week-in, week-out to dance to the same songs, over and over, and these are the people who buy Kerrang! and follow its musical advice and recommendations. Because these people are, as I have said on many occasions before and will undoutably say again, xeroxes of the people that fill the Priory, Liquid, et al, with only marginally different musical and stylistic preferences, but just as fundamentally conservative and unadventurous as their more "mainstream" counterparts.

I will, of course, be shouted down from the roof-tops for this, but I feel that it holds true: nearly everyone I met in Moshulu was of this template, and I can think of only one I know well enough to speak to that doesn't fall completely within the bounds of this definition.

Ladies and gentlemen, I give you the unequivocal post of the year.

[spellchecker]

Oh well its your aneurism.

Connected to the net for long enough your PC WILL be corrupted and run slower' date=' now thats serious.[/quote']

Yes, I am here solely to nitpick. I just wanted to clarify:

Connected to the net for long enough your (Microsoft Windows) PC WILL be corrupted and run slower, now that's serious.

I'm not trying to be arrogant, promise, but I can and do use Linux as an internet PC as well as an audio workstation. Internet Explorer and Outlook Express are the scourge of the internet however, and having spent most of yesterday re-installing my mum's laptop with windows xp and associated applications, i truly can sympathise with your sentiment. Her only fault (even though running antivirus and a firewall) is that she used Internet Explorer and Outlook Express. It's a tough world.

[Guest Ibid]

Yes' date=' I am here solely to nitpick. I just wanted to clarify:

Connected to the net for long enough your (Microsoft Windows) PC WILL be corrupted and run slower, now that's serious.

I'm not trying to be arrogant, promise, but I can and do use Linux as an internet PC as well as an audio workstation. Internet Explorer and Outlook Express are the scourge of the internet however, and having spent most of yesterday re-installing my mum's laptop with windows xp and associated applications, i truly can sympathise with your sentiment. Her only fault (even though running antivirus and a firewall) is that she used Internet Explorer and Outlook Express. It's a tough world.[/quote']

So you don't experience any problems using Linux with the web then? I've not used it and if you're using it with no problems then I'd be very interested. Does it integrate OK with your audio programmes?

[spellchecker]

So you don't experience any problems using Linux with the web then? I've not used it and if you're using it with no problems then I'd be very interested. Does it integrate OK with your audio programmes?

None whatsoever. The web and the internet are not bad things that kill your computer - however, the applications that you use to access them can be.

All my audio software runs natively on Linux, that is, I don't use Cubase/Logic/Reason/SoundForge or anything like that on my PC. Programs written for Microsoft Windows in general will not run on Linux, so if you depend on specific software that requires Windows, then Linux is probably not for you.

However, with Linux, I am currently able to use multi-tracking software with my delta-66, use my midi keyboard with soundfonts downloaded for free from the web to generate instrument sounds (e.g. pianos/harpsichords/rhodes/flutes/oboes/clarinets/violins/violas/cellos/horns etc. etc.), use software drum machines, use analog synth modellers (for making sounds that can be quite nord-like), and some other things too.

I was thinking of speaking to dave at aberdeen foyer about setting up a demo machine that people can get used to linux with, and use for proper multi-tracking. The benefit being, that all the software is completely free.

The main problem with linux is that you need a bit of experience to set it up. It's getting easier all the time though.

[Guest Stripey]

Oh dear Stripey I thought you were reasonably clever. Connecting a computer used in music production to the internet is an amatuer's mistake. Seriously' date=' Stripey, I'm not having a go, it will get fucked up. Especially if it goes through a US server. The web is crawling with kids a hundred times smarter than you and even more people hating and they will break through your firewall at some point and fuck you up. Is it really worth losing all your data on a point of pride? I'm sure you put a lot of work into what you do, will you lose it all just because you consider yourself superior to the rest of the human race?

Even the morons that work on SOS will tell you that. (They're the some of the best in their field but let's not let facts get in the way of ego, eh?)[/quote']

Hahah you condescending idiot. I am a IT security professional, it's my career. I run a home network of 8 R+D machines running a mix of Solaris, HP/UX, TRU64, Linux and 1 windows machine for audio work, they are all connected to the internet and I know how to look after them.

Since you refer to the internet as "the web" you obviously don't have a scoobie.

[Guest Ibid]

None whatsoever. The web and the internet are not bad things that kill your computer - however' date=' the applications that you use to access them can be.

All my audio software runs natively on Linux, that is, I don't use Cubase/Logic/Reason/SoundForge or anything like that on my PC. Programs written for Microsoft Windows in general will not run on Linux, so if you depend on specific software that requires Windows, then Linux is probably not for you.

However, with Linux, I am currently able to use multi-tracking software with my delta-66, use my midi keyboard with soundfonts downloaded for free from the web to generate instrument sounds (e.g. pianos/harpsichords/rhodes/flutes/oboes/clarinets/violins/violas/cellos/horns etc. etc.), use software drum machines, use analog synth modellers (for making sounds that can be quite nord-like), and some other things too.

I was thinking of speaking to dave at aberdeen foyer about setting up a demo machine that people can get used to linux with, and use for proper multi-tracking. The benefit being, that all the software is completely free.

The main problem with linux is that you need a bit of experience to set it up. It's getting easier all the time though.[/quote']

Excellent. Thanks for the info.

You Stripey can fuck off. Professionals of any kind don't speak to other people like that.

I think you are a 14 year old fantasist with a personality disorder who plagarises all his info off web sites.

I've tried to be fair and even nice to you but you cannot relate to anyone or anything so I will henceforth ignore you. Die alone you adolescent muppet.

[Guest Sundaram]

Excellent. Thanks for the info.

You Stripey can fuck off. Professionals of any kind don't speak to other people like that.

I think you are a 14 year old fantasist with a personality disorder who plagarises all his info off web sites.

I've tried to be fair and even nice to you but you cannot relate to anyone or anything so I will henceforth ignore you. Die alone you adolescent muppet.

So I take it your not a professional then?