Great musicians in the same room making an album together, relating directly to one another and tracking to analog tape
vs
The one man band making a recording using pre canned samples from a program or the web.
What will history say about this over time?
My prediction is that most here will say something minimal along the lines of "If it sounds good, who cares how it was done."
free-software-to-remix-songs-2.jpgthe-beatles-in-studio-recording-sgt-pepper-at-abbey-road-67-1024x737.jpg
Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?
If it sounds good, who cares how it was done.
My progressive music site: https://pienemmatpurot.com/ Reviews in English: https://pienemmatpurot.com/in-english/
I am repeating.
If it sounds good, who cares how it was done.
If it sounds good who cares how it was done
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If it sounds good who cares how it was done. And that is why I usually prefer stuff that has been done the old way.
IISGWCHIWD
Although I do agree that yes, it IS truly great to get a bunch of musicians in a room making music organically (whether or not one of them plays the organ). In the end, the proof of the aural pudding is in the listener's discerning ears.
I guess you'll continue to create new threads to drive this point home until.... ? Not sure what you're trying to accomplish by all the repetition.
Reading threads on PE is a little like listening to music. Some motifs are interesting, and a certain amount of repetition is good, but there comes a point where it becomes tiresome.
I must admit though that it wil take a while for me to lose that mental image of pudding in my ears.
There is some value to a group of musicians sharing ideas and picking out the best bits to assemble into a song. I would guess that a one-man approach like some of Neal Morse' stuff would not generate a Supper's Ready or Close to the Edge. On the other hand, "if it sounds good, who cares how it was done"
I repeat myself when under stress
I repeat myself when under stress
I repeat myself when under stress
I repeat myself when under stress
I repeat myself when under stress
I repeat myself when under stress
I repeat myself when under stress
I repeat myself when under stress
Ian
Host of the Post-Avant Jazzcore Happy Hour on progrock.com
https://podcasts.progrock.com/post-a...re-happy-hour/
Gordon Haskell - "You've got to keep the groove in your head and play a load of bollocks instead"
I blame Wynton, what was the question?
There are only 10 types of people in the World, those who understand binary and those that don't.
^^^
"With his kisser in a mess
Nogbad seems under stress"
All post-1929 music sucks.
The truth will set you free, but first it will piss you off
Ironically, Skullhead creates these threads by cutting and pasting.Originally Posted by Koreabruce
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<sig out of order>
"Ah, we meet again, my old foe," said the man of La Mancha, as he eyed the windmill and slowly drew his sword.
Good point, he should really be hand-writing his comments on a piece of paper, preferably with a fountain pen, then making thousands of copies to mail to each of us.
The Old Way
https://www.youtube.com/watch?v=EelvKqhu1M4
https://www.youtube.com/watch?v=NhdEUbj0mgQ
https://www.youtube.com/watch?v=FLLJA-sm-z8
https://www.youtube.com/watch?v=nyosA92m5AI
https://www.youtube.com/watch?v=d81G9W8pEno
The New Way:
https://www.youtube.com/watch?v=TU07z8N1V40
https://www.youtube.com/watch?v=FWRsC8FMULM
https://www.youtube.com/watch?v=D2084nQbmvk
Your argument's weakness is that it is far too narrowly formed, because you are attempting to lead to a specific conclusion, as if that were the ONLY possible interpretation of history.
By all means, like what you like. I personally have found tremendous joy from music both old and new, regardless of the approach and/or medium. And I feel little/no need to put down the passions of others in an effort to coax others to adopt my viewpoint.
If you're actually reading this then chances are you already have my last album but if NOT and you're curious:
https://battema.bandcamp.com/
Also, Ephemeral Sun: it's a thing and we like making things that might be your thing: https://ephemeralsun.bandcamp.com
Mike Oldfield
Haindling
Bo Hansson
To name some who basicly worked on their own. Yes, they might have used additional musicians for some instruments, or in a live-setting, but most work was done by one man.
I think of Tod Dockstader and Conlon Nancarrow;working alone in their respective studios,laboring mightily with the tools at hand, and producing music that folks will be listening to and discussing when we're all dead and gone.
"please do not understand me too quickly"-andre gide
I can't really add anything to the discussion.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
As long as there is a band in tow capable of playing the music well in a live setting, I generally don't care how the studio recording was done (presuming that it's something that I would want to hear a band play live).
Good music can come out of any recording technique, if the musician is good.
Bad music can come out of any recording technique, if the musician is bad.
Pro-Tools may make it easier for bad musicians to record music, but that doesn't mean the technique is inherently evil. The higher bar to entrance that existed prior to Pro-Tools also excluded the 10% of everything that wasn't crud.
starting at about 5:25, skullhead talks about the quality of recorded music
I don't like country music, but I don't mean to denigrate those who do. And for the people who like country music, denigrate means 'put down.'- Bob Newhart
Exactly! Very well put.
Thank you.
As my father used to tell me: "If it sounds good, who cares how it was done."
Wise words that I will always cherish. That said, my favorite music was created in the first scenario of "Great musicians in the same room making an album together, relating directly to one another", but I don't see the point of declaring that that's the only way to make it happen. Technology makes it easy to sample and loop and make pretty awful stuff, but it also opens worlds of possibilities.
ProgEars and other prog posters & prints: http://www.michaelphipps.net
.*AWAKEN*. gentleMASS -touch-
Okay, if that room is a good sounding concert venue and there's an attentive audience on board, that's the best way to make a jazz album, or any music that relies heavily on improvisation and spontaneous group interaction. In a recording studio with no audience, it's not ideal for that kind of music because it's a sterile environment in which the band isn't getting anything back from an audience because there isn't one. Analog or digital, I don't care; both can sound great but one is more versatile.
I don't know about the pre canned samples, but great music can be and is made by one person with digital keyboards, loopers (and other digital effects) and ProTools. It's all about the composition, how the composer envisions it in his/her head and how that vision can be brought as closely as possible to perfection, utilizing whatever technology is available.
There's no right or wrong way to make music.
I have to echo it once again, "if it sounds good, who cares how it's done."
"DOH!"
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