Quote:
Originally Posted by Careyn  Can't you just ****ing give me an answer about why should anybody choose expensive digital gear that costs **** to make over expensive analog gear that is expensive to make? F*ck....you keep saying this. "For some people this technology works well." How hard is it to answer my question Blue?
You are complaining about shameless marketing bullshit yet you are willing to defend expensive digi gear that is built on that very attribute and that very attribute only!
And that, my friend, is moral relativism for you because you are talking from a position of hypocrisy. Blame me for being absolute but at least people know what I stand for.
You are just hiding your superficial posts behind 10 cent words and I am sorry to tell you ''dude'' it is not working.
Here...
I could could ''flower it up'' too if I wanted:
The premise that supports your declarative proposition is in a state of incorrectness because you are postulating the pragmatic truth that electronic equipment built on capacitors, resistors, inductors and transistors offers more tangible value to the potential purchaser because the the sum of the cost of the raw material resources that went into producing it is of greater monetary value than that of digital equipment.
You have not met the objective of offering any rebuttal to nullify this pragmatic truth. Instead you resort to attacking the characteristics of the person presenting you the evidence, rather than by addressing the substance of the evidence presented to you.
Your intellectually shallow style over substance and appeal to ridicule arguments however cannot deduce the truth.
And the undisputed fact you are constantly trying to divert attention from on your witch-hunt is that
analog gear offers more tangible value to potential musicians and studio owners than digital because the raw material resources that make the analog product what it is are of greater monetary value that those of digital and software gear.
I presented you this bulletproof fact. You are arguing the merits of it. |
No, actually, you didn't.
Not only that, you attributed to me a number of positions and conclusions of which even a moderately careful reading of my posts would disabuse any
clear-headed thinker.
Now, I have
no interest in persuading
you to see or do things my way -- in the slightest -- but I
am concerned about your many extremely dubious, often misleading and sometimes just downright boneheaded public statements -- because they may confuse impressionable newbs.
I'm not sure what
your experience base is.
I, myself, grew up with (analog) tape recorders, a love affair that began when I was under 5; I did my first 'serious' overdub project when I was 14; in the early 1980s, I went through two commercial music/recording programs and worked on many score projects from classical to jazz to punk to advertising in analog tape studios. I've owned 10 analog reel tape recorders, five of them multi-tracks. (I stopped counting the number of cassette decks I'd owned when it topped 25.)
While I was still in school, I began my continuing involvement with electronic synthesis, initially learning to patch synths on a Moog Model 15 modular synth where you used real patch cords to connect modules (similar to the system used by Wendy Carlos on her seminal
Switched on Bach album from the late 60s [when Wendy was still Walter]). I learned to sequence on pre-MIDI voltage controlled sequencers.
Like I said, I don't know what
your experience base is, but I
really don't need
you to tell me
anything.
Even if you
could.
_________
I would suggest you take Batchainpuller78's excellent advice: live and let live.