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Does anyone else here feel like synthesizers quit being interesting after about 1979? Keyboard Synthesizers
Old 4 weeks ago
  #121
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Quote:
Originally Posted by StupidDisco View Post
Nonsense. There is actually a lot of good, new stuff available in all sorts of areas, music, science, culture.

Of course if you go by youtube algos you will probably end up with crap, but there is a lot of good stuff for free / low costs these days.
The thing is, there are now more good stuff to be found than ever before, but finding it becomes more and more difficult because there is increasingly more **** stuff being published than good stuff.
And the internet has a very leaky memory. Try using a 5 year old URL and big chance that it won't work and the information it provided is gone.

So not only does it get more difficult to find good stuff, the good stuff you have already found will be wiped at some point unless you somehow copy it.

Anyway, enough internet rant.
Old 4 weeks ago
  #122
And free funky substances
Old 4 weeks ago
  #123
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Quote:
Originally Posted by StupidDisco View Post
Yeah exactly. The tools available have never been better and never been as affordable as they are today. It’s how people use them. Obviously it’s also a matter of knowing where to look in terms of new music you find appealing.
Yes, although I made those comments about production and mixing, there is still more great new music out there than I can possibly keep up with. I still get that 'oh what a great album this is, I will now listen to it far too much' feeling quite often, although a proportion of that comes from finding stuff from decades past that I missed at the time.

About the only thing I really miss from my youth when it comes to music is not having the same range of peers that I am in contact with in person on a regular basis, sharing the discovery of new albums with much joy. I can compensate for that using the internet but its not quite the same.
Old 4 weeks ago
  #124
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Quote:
Originally Posted by NawSon View Post
It’s not synthesizers exactly that is the problem.

The early 80s began the music video era where looks took on an even more dominant role in deciding what music is successful. Along with a media that is eager to hype up “THE NEXT BIG THING”, this led to music made by less and less skillful “artists” who were just trendy crap that moved units for greedy labels.

The 80s and then the 90s still had something to be said for the overall musical output but since then it has been beyond dire.
The major label gatekeeping era is over now. This is an awesome time for artists who just want to make what they want and find an audience (if it is good enough, of course).

Time to stop lamenting the past and either make what you like or stop complaining. Being this negative all the time accomplishes absolutely nothing.
Old 4 weeks ago
  #125
Gear Nut
 

Quote:
Originally Posted by Jabberknobby View Post
Does anyone else here feel like synthesizers quit being interesting after about 1979?

I'm not trying to troll despite the flame-worthy title.

The synth music I loved was the proggers, Switched on Bach, Tomita and Bernie Worrell [...] Guess i'm just wondering if anyone else feels like this and how you have felt about people using terms like old-school and classic and vintage-sound for something to your ears is very modern?
For me, prog got a hell of a lot more interesting in the 1980s and 1990s, specifically thinking of acts like Yes, Kansas, Rush, Asia, Supertramp, Emerson Lake & Powell, Genesis, even the "prog-adjacent" bands like .38 special, Chicago, The Tubes, Styx, Toto ... the list is as long as it is talented.

And that last word "talented" is the key. You can take any of this boring, lifeless, soul-destroying "EDM" so prevalent today and just draw a straight line from conversations you can find in abudance here that essentially (and proudly) proclaim "I have no musical talent, no desire to learn how to play an instrument, but I'm a sound designer/EDM producer/performer" to the narcissistic, self-indulgent, entitlement that permeates society and is not only enshrined in, but encouraged by EDM.

So for me, it wasn't 1979, it was 1994. Interestingly enough, that's also when the HTTP protocol exploded and became "the internet" along with the unchecked red tide of mobile phones.

I don't believe it was the synthesizers themselves that became uninteresting, just the people and what they did with them. Or more to the point, to them.
Old 4 weeks ago
  #126
Gear Addict
 

It's certainly not the tools in my opinion.
I agree it is a taste thing. There are some interesting synth based stuff but it is rare, very rare. (IN MY OPINION IN MY OPINION IN MY OPINION).

Last time I had a "wow" moment was when Dubstep came out (10 years ago?) with every single note mangled and processed and stuff trying to be interesting and evolving.
I have goosebumps every time I hear that synth solo on "Welcome to the machine". Love Massive Attack, Boards of Canada, and enjoyed many DnBass/Jungle/Trance stuff in the past.
So I am not anti synth/electronica in principal.

I unfortunately get to hear a lot of synth stuff that sound all the same.... Really boring and mono-dimensional.

Here comes the drone on the excessively long intro, than the arpegiator comes in with the cut off and res slightly rising, then you got a couple of LFO mangled whines, then the kick comes in then the extremly annoying melody line played with the most shrill and brain drilling sound they could have thought of, then OMG! a break! The drone comes in again with some white noise modulated with a bit of delay on top and then incredible! the whole thing comes back but this time with the synths pumping, I never heard that before!

Even a good 'ol blues has a very very - very predictable way of developing but at least (when it's good) every single note is coming from somewhere human, fallable, interesting...
In my opinion in MOST synth-music the tech leads the human musically more then the other way around. While its sometimes nice to have a bit of inspiration from random stuff happening, when it's the main driving element, I don't find it fulfilling nor as a musician nor as a listener.
The thing with MOST electronica and its sub genres as well is it often pretends and poses as the most modern and cutting edge thing while it actually obeys to self imposed rules and end up sounding the same in most cases.

Maybe that is why the OP isn't attracted by synths since 1979...
For me synths are the new "old". They don't excite me any more then watching paint dry.
Every one with a laptop can open a preset. Even many guys with all those euroracks and walls of stuff will sound very similar between them...

Give me a nice not-autotuned voice sang on top of a well arranged string part or even 3 simple guitar chords any day....

Again this is my opinion and it referes to MOST recent "synth-music" and not generally to everything and not a truth-declaration of any sorts so don't get offended please!
Old 4 weeks ago
  #127
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Quote:
Originally Posted by Methlab View Post
The major label gatekeeping era is over now. This is an awesome time for artists who just want to make what they want and find an audience (if it is good enough, of course).

Time to stop lamenting the past and either make what you like or stop complaining. Being this negative all the time accomplishes absolutely nothing.
It's not about complaining. I see nothing wrong in airing an opinion.
ESPECIALLY when it is against the mainstream, especially when it is going the opposite direction of where everybody else is going...

As for labels "gatekeeping", well I consider it more "filtering out the irrelevant stuff" in most cases.

In my opinion, the internet "democratization" has lowered the bar instead of being only beneficial, in most cases.
Old 4 weeks ago
  #128
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Quote:
Originally Posted by audioloud View Post
It's not about complaining. I see nothing wrong in airing an opinion.
ESPECIALLY when it is against the mainstream, especially when it is going the opposite direction of where everybody else is going...

As for labels "gatekeeping", well I consider it more "filtering out the irrelevant stuff" in most cases.

In my opinion, the internet "democratization" has lowered the bar instead of being only beneficial, in most cases.
Opinions are great. Constant negative energy (all music sucks, this sound sucks..etc) is what I am speaking towards.

People can say whatever they want. But after a while they will be speaking to a small echo chamber because everyone else will have seen the same song and dance enough and ignored them. Negative energy and creativity is a bad combo for a lot of people.

Labels did not filter out irrelevant stuff if we are talking major labels here. I know because I worked with 4. They were indeed focused on age, looks, star quality of vocalist. If you were a producer, you got a spreadsheet with what music the label wanted and what it should sound like in order for them to buy the song/beat. It still is like that but you have the options to make whatever you want and find a global audience now. That was not really the case in the past like it is now.

What happened was labels basically used or acquired indie labels as their farm team and either grabbed acts from that were hugely successful or sometimes just shelved acts that sounded like other ones. So in terms of filtering out irrelevant acts, I would say it depends on how you define irrlelevant. There are many incredible acts that found much more success after getting out of their label deal.

Also what is irrelevant to you means nothing in terms of the general public. For example you could tour the southeast region of the US and be a superstar act drawing 10k people and then go out to LA and pull in 100. Does that mean you are irrelevant? To the Major label it does, but not to hundreds of thousands of people in 5-6 states who will come see you perform and probably provide you with solid income in doing so.
Old 4 weeks ago
  #129
*adjusting monocle* Synths just haven't been the same since 1971, when Moog began selling dumbed-down mass produced portable synths to the masses. It had really been on the decline since the first Buchla in 1963, which led to a generation of musicians too lazy to properly hand-splice their electronic fart noises on tape. I do say.
Old 4 weeks ago
  #130
Here for the gear
I'm the same age as the original poster and it is fair to say I can relate a bit to the statement about "after 1979" but I really think it has more to do with the music/artists than with the synthesizers.

In general, I hated the music of the 80s and pretty much still do. Of course there were exceptions to the rule. But even as a teenager and college student of the 80s I found myself more drawn towards music of the 60s, 70s and even classical music. I was never really drawn towards music with simple hooks or simple structure. I preferred more complex rhythms, layered sounds and a whole lot of funk. Progressive music was right in my wheelhouse.

But I never stopped looking for new music. Despite have a very broad spectrum of interest, I kept forcing myself to explore outside of it. As the 2000s rolled around I started getting bored of the music of the 70s. It wasn't so much that I didn't still love it. It was more that I had heard it all so many times. By this time music distribution had changed and I had really given up listening to radio long before. To find new music I had to pester friends about their latest interests. I would sample music from "recommendation lists" from forums etc. for hours on YouTube just to find one new artist that interested me.

My tastes have changed somewhat. I still prefer more complex, orchestrated layered works but now prefer synthesizers to guitars. I prefer subtlety to sheer power. I know I don't like what "those crazy kids" like but I still add new artists to my interest list as quick or quicker than most of the younger crowd.

Bringing this back to synths and the original poster. It sure sounds like he doesn't like the sound of digital synths and there is really nothing wrong with that. I can't say I'm too found of a lot of the popular music created with the DX7 in the 1980s although I personally use the NI's DX8 a lot in my own creations.

I think making the statement "synthesizers quit being interesting after 1979" says one of two things:

1. The original poster simply hasn't explored enough. He hasn't had a lot of first hand experience with the huge number of synths (both hardware and software) that have been released since 1979.

2. The original poster has a fairly narrow "comfort zone". There is nothing inherently wrong with that but I would urge him to break down those walls a bit if he really wants to find something new or interesting.

I'm surprised no one has mentioned modular synths and especially Eurorack as a counterpoint to nothing interesting since 1979. Surely there is something there that is different/new that would appeal to someone of the 70s. It sure did to me.

I also find it hard to fathom that some would make such a broad statement when I think about my latest purchase, the Waldorf Quantum. Ignoring the cost issue and any limitations one might see in the platform, it is difficult to say this synth doesn't offer many new things in the hardware arena. I would urge the original poster to look at it in depth (some of the early videos even turned me off). If you can't find something interesting there perhaps your interest in synthesizers has truly waned. Yes, it is digital (although with analog filters) but it can sound dirty or bright. It's not going to sound like a Moog but it isn't supposed to. What is does sound to me is VERY interesting.

FWIW, prog rock has even evolved a bit since 1979 with Dream Theater and Muse some of the bigger torch carriers. Take a look at what Jordan Ruddess or Matt Bellamy use and you'll find a lot of post 1979 gear.

Finally as a huge King Crimson fan (my daughter is actually named Crimson). I guess I'm not alone at seeing post 1979 as some of their best work. Admittedly I love Belew's influence on the band. Discipline and Beat are among my favorites.
Old 4 weeks ago
  #131
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Quote:
Originally Posted by Cpl. Punishment View Post
What blows the Integra 7 out of the water?
The sound quality of JV 1080.
Something with a 20 years older digital technology. Yet is much better than Integra 7.

The Integra 7 sounds like a toy in comparision.

Old 4 weeks ago
  #132
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I haven't seen it all. I've seen EDM played by hand on buckets and pans (BnPDM I guess), but I'd shart my pants if that guy started singing in the style of extreme autotune-as-an-effect, with the tone and the artifacts, quantization. Maybe some style of throat singing could get there. Completely human touch, no synths or computer at all. It would be the same modern genres of dance music, only without all the annoying modern-style synths creating the sounds.

So, is it "modern synth sounds suck" or "modern dance music styles suck"?
Old 4 weeks ago
  #133
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Quote:
Originally Posted by grasspike View Post
When I was 14 this album dropped. I took some money I made from mowing lawns and got the record. Hearing the synths made me greatful that my parents forced me to take piano. I knew that synths were far cooler and if I could play piano I could play this.

My first band Vengence used to play Rainbow in the Dark and Last in Line!

I had just bought my first synth, a Juno 106, during the summer before I was a senior. There was no piano in the house, but I could read some music (trombone for 6 years), everything else was self-taught by ear and rewinding the cassette player, lol. When there was no keyboard in a song I either doubled the bass guitar or played the rhythm guitar part using wide open saws.

We had a pretty good set list for being seniors in high school, thanks to an EVH shredder and drummer brother, and a blond tenor drunk. Bass player was mediocre, but his dad was a pastor and we practiced in the little church they had (and we always played max volume!). Our best and last gig was just before graduation at a Lake Buena Vista hotel insurance convention in Orlando, $300.

Ah, the memories...

songs with keys:
Vengence (original and band namesake)
Rainbow in the Dark
Last in Line.... choir part was *awesome* cranked
Separate Ways
Subdivisions... had a Rush songbook
1984/Jump... had sheet music
Call to the Heart (Giuffria)
Nobody's Fool (Cinderella)
Heaven (Bryan Adams)... had sheet music
Can't Fight This Feeling (REO)... struggled on this one, no sheet music
Mr Crowley
Turn Up the Radio (Autograph)
Home Sweet Home... everyone loved this one
Little Runaway (Bon Jovi)... I always butchered the intro
Spellbound (Triumph)
Only Time Will Tell (Asia)... had an Asia songbook
Heat of the Moment
Don't Tell Me You Love Me (Night Ranger)... no songbook
Sister Christian.... decent, considering it was a Juno 106 piano

songs without keys:
Run to the Hills
Number of the Beast
Ain't Talking 'Bout Love
Eruption
Running with the Devil
Foolin' (Def Leppard)
Too Late for Love.... made wind sounds with the Juno 106
Alone Again (Dokken)
Breaking the Chains
The Price (Twisted Sister)
I Wanna Rock
Crazy Train
Immigrant Song
Communication Breakdown
Round and Round (Ratt)
Lay It Down
Looks that Kill (Motley Crue)
Bang Your Head
(and other hair metal classics I don't recall offhand)


Check out the Memorymoog and modular rig in this hairfest:

Old 4 weeks ago
  #134
Quote:
Originally Posted by ponkine View Post
The sound quality of JV 1080.
Something with a 20 years older digital technology. Yet is much better than Integra 7.

The Integra 7 sounds like a toy in comparision.
The 1080 is more "synth-ish" sounding, definitely. And that could be interpreted as better for some. I prefer it too.

But I don't like ROMplers in general. I think the effect can be described by the concept of the uncanny divide. The samples in the Integra are indeed higher quality, better recordings. But when played back in a mechanical fashion like any set of multi-samples will be, it breaks the illusion. The 1080 does not have such an illusion, it just screams "I'm a synth attempting to play a piano sound".
Old 4 weeks ago
  #135
Gear Maniac
 

Quote:
Originally Posted by Cpl. Punishment View Post

And that last word "talented" is the key. You can take any of this boring, lifeless, soul-destroying "EDM" so prevalent today and just draw a straight line from conversations you can find in abudance here that essentially (and proudly) proclaim "I have no musical talent, no desire to learn how to play an instrument, but I'm a sound designer/EDM producer/performer" to the narcissistic, self-indulgent, entitlement that permeates society and is not only enshrined in, but encouraged by EDM.
"The children now love luxury; they have bad manners, contempt for
authority; they show disrespect for elders and love chatter in place
of exercise. Children are now tyrants, not the servants of their
households. They no longer rise when elders enter the room. They
contradict their parents, chatter before company, gobble up dainties
at the table, cross their legs, and tyrannize their teachers."
-attributed to Socrates

~

Sure we all age, but it's people with this attitude who get old. As exemplified above, "these kids and their new-fangled ways are degenerating our culture" is literally a sentiment that goes back to at least Greek antiquity; perhaps try broadening your perspective beyond that of a stereotypical crotchety old man if you want to remain relevant.

Also consider that an average instrumentalist, even a talented one, probably has no idea what "pulse-width modulation" entails, yet any decent synthesist can give at least a rough explanation of what it does to a pulse wave. That's because production and performance are two different skill-sets that don't always interplay, and perhaps your preconceptions of what music "ought to be" keeps you from seeing this.
Old 4 weeks ago
  #136
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Quote:
Originally Posted by audioloud View Post
I unfortunately get to hear a lot of synth stuff that sound all the same.... Really boring and mono-dimensional.

Here comes the drone on the excessively long intro, than the arpegiator comes in with the cut off and res slightly rising, then you got a couple of LFO mangled whines, then the kick comes in then the extremly annoying melody line played with the most shrill and brain drilling sound they could have thought of, then OMG! a break! The drone comes in again with some white noise modulated with a bit of delay on top and then incredible! the whole thing comes back but this time with the synths pumping, I never heard that before!


Quote:
In my opinion in MOST synth-music the tech leads the human musically more then the other way around. While its sometimes nice to have a bit of inspiration from random stuff happening, when it's the main driving element, I don't find it fulfilling nor as a musician nor as a listener.
The thing with MOST electronica and its sub genres as well is it often pretends and poses as the most modern and cutting edge thing while it actually obeys to self imposed rules and end up sounding the same in most cases.

Give me a nice not-autotuned voice sang on top of a well arranged string part or even 3 simple guitar chords any day....

Again this is my opinion and it referes to MOST recent "synth-music" and not generally to everything and not a truth-declaration of any sorts so don't get offended please!
While there are definitely some great exceptions, even on SoundCloud, I find this to be generally true as well.

And as far as "synth-music" where it's the human expression leading more than the technology, I find my favorites are Juno Reactor, old NIN and other industrial rock, Shpongle, etc. Even synth-era Rush has a lot of great creative moments with synth lines and landscapes.
Old 4 weeks ago
  #137
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"Get off my lawn!" (also attributed to Socrates)
Old 4 weeks ago
  #138
Gear Nut
 

Quote:
Originally Posted by thehighesttree View Post
... try broadening your perspective beyond that of a stereotypical crotchety old man if you want to remain relevant.
Well, aren't you just absolutely precious!

One could reverse your statement and bid you to broaden your own perspective beyond that of the stereotypical arrogant, selfish, entitled millennial or the even more concentrated Gen Z. One might even politely request you at least consider the possibility that "my generation" has seen five, maybe even six tectonic shifts in societal norms and the resultant influences on music, meaning we have perspective a-plenty.

But of course, those requests would fall on deaf ears because narcissism and entitlement don't lend themselves to introspection or empathy. And requesting someone broaden their perspective first requires one to have it in the first place, so I won't do that.

What I will do is draw an equivalence. You're entitled to your opinions and are free to express them; what in your mind makes you think I don't deserve the same consideration?
Old 4 weeks ago
  #139
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NawSon's Avatar
 

Quote:
Originally Posted by Methlab View Post
The major label gatekeeping era is over now. This is an awesome time for artists who just want to make what they want and find an audience (if it is good enough, of course).

Time to stop lamenting the past and either make what you like or stop complaining. Being this negative all the time accomplishes absolutely nothing.
I make and release exactly what I want. Why should I stop complaining? Why does my thinking that music sucks now (it does) so offensive? What does being positive accomplish?

If everything sucked less I would complain less. None of this is up to me though.
Old 4 weeks ago
  #140
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Quote:
Originally Posted by NawSon View Post
I make and release exactly what I want. Why should I stop complaining? Why does my thinking that music sucks now (it does) so offensive? What does being positive accomplish?

If everything sucked less I would complain less. None of this is up to me though.
I’d like to hear your stuff. Can you DM it? I’m always down to check out what people are doing on here. I have linked up with some great producers on here.

I wont get into what being positive accomplishes. If you don’t get that piece, I’m not going to change your mind, and it’s not worth the time to discuss.
Old 4 weeks ago
  #141
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Quote:
Originally Posted by Cpl. Punishment View Post
And that last word "talented" is the key. You can take any of this boring, lifeless, soul-destroying "EDM" so prevalent today and just draw a straight line from conversations you can find in abudance here that essentially (and proudly) proclaim "I have no musical talent, no desire to learn how to play an instrument, but I'm a sound designer/EDM producer/performer" to the narcissistic, self-indulgent, entitlement that permeates society and is not only enshrined in, but encouraged by EDM.

So for me, it wasn't 1979, it was 1994. Interestingly enough, that's also when the HTTP protocol exploded and became "the internet" along with the unchecked red tide of mobile phones.

I don't believe it was the synthesizers themselves that became uninteresting, just the people and what they did with them. Or more to the point, to them.
Early dance music and hiphop were still good mostly because the people making them were listening to actual music made by real people who could sit down and play a song in one take. These artists were not really the problem.

Fast forward a couple generations where you have every dance and hiphop artist listening mostly to other dance and hiphop music and you can see how this downward spiral went totally out of control. And when you add the ever increasing “personality” aspect of social media, you get these “artists” like you’re talking about today.

It’s a ****ing sham being run on music mostly by corporate and PR interest in milking money from every aspect of life that they can.
Old 4 weeks ago
  #142
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Old 4 weeks ago
  #143
Gear Nut
 

Quote:
Originally Posted by NawSon View Post
Early dance music and hiphop...
I'm hard pressed to express my feelings about rap and hip-hop. I detest it on the grounds that it's almost exclusively based on sampling someone else's work. Even the first "hip-hop" song, the one that coined the term was Sugarland Gang's "Rapper's Delight", and that was just whole cloth taken from Chic's "Good Times". But as much as I hate the idea of using someone else's original music, I still freaking love "Rapper's Delight" -- always puts a smile on my face when I hear it!

There are still awesome gems to be found -- Jamiroquai is amazing to me (and yes, I love disco; my first touring rig was a Rhodes, Clavinet and RS-505 -- anyone with a problem with that can just imagine my middle finger). It's just that finding the gems is harder as the mountain of **** keeps getting deeper and wider.
Old 4 weeks ago
  #144
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Quote:
Originally Posted by Methlab View Post
I’d like to hear your stuff. Can you DM it? I’m always down to check out what people are doing on here. I have linked up with some great producers on here.
I maintain total anonymity because I want what I say on here to be considered strictly on its own merits. What I’ve done or who I’ve worked with or anything else doesn’t matter.

The fact that so many react the way they do tells me a lot.

Quote:
Originally Posted by Methlab View Post
I wont get into what being positive accomplishes. If you don’t get that piece, I’m not going to change your mind, and it’s not worth the time to discuss.
Being positive accomplishes nothing. My negativity is not based on anything other than my feelings about music.

I’m sure many people would think “ah he is jealous of other peoples’ successes“ but that’s not really it. I’ve had my own successes. More than most, less than some. But what it means to me in the end is nothing.

What matters to me is waking up in the morning and hearing other people’s music that makes me feel something. My own music can never be a substitute for that. And I find it beyond frustrating to have to look backwards to find music that satisfies me in any way.

I am not by nature a nostalgic person. I am always looking forward. I am not yearning for my teenage days. I am looking for an attitude, a methodology, an ideology, etc that pushes music forward. But most of what I see (and I look very deeply) is surface bull**** and fewer and fewer people exploring the realms that actually lead somewhere interesting for people who actually enjoy and care about music, not people who do it for social reasons or listen as background noise.
Old 4 weeks ago
  #145
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NawSon's Avatar
 

Quote:
Originally Posted by Cpl. Punishment View Post
I'm hard pressed to express my feelings about rap and hip-hop. I detest it on the grounds that it's almost exclusively based on sampling someone else's work. Even the first "hip-hop" song, the one that coined the term was Sugarland Gang's "Rapper's Delight", and that was just whole cloth taken from Chic's "Good Times". But as much as I hate the idea of using someone else's original music, I still freaking love "Rapper's Delight" -- always puts a smile on my face when I hear it!

There are still awesome gems to be found -- Jamiroquai is amazing to me (and yes, I love disco; my first touring rig was a Rhodes, Clavinet and RS-505 -- anyone with a problem with that can just imagine my middle finger). It's just that finding the gems is harder as the mountain of **** keeps getting deeper and wider.
There are people who were quite visionary in reframing and adding to the ideas they sampled. Pete Rock, Large Professor, etc. And then these guys like them who really cared were also adding their own playing or working with people who would add playing. And then you had J Dilla who took all of this to another level along with guys like Madlib.

But there are the exceptions of course. But there are fewer of those kinds of people who could take something someone else did and mould it into something totally new and interesting.

But the other problem is that not enough people have learned to make and play music on instruments as good as the music the original sampling hiphop producers made. So now you have 8 billion idiots trying to rip off the same sounds those guys did well twenty to thirty years ago. That’s why it’s stagnant.
Old 4 weeks ago
  #146
Lives for gear
Quote:
Originally Posted by NawSon View Post
I maintain total anonymity because I want what I say on here to be considered strictly on its own merits. What I’ve done or who I’ve worked with or anything else doesn’t matter.

The fact that so many react the way they do tells me a lot.



Being positive accomplishes nothing. My negativity is not based on anything other than my feelings about music.

I’m sure many people would think “ah he is jealous of other peoples’ successes“ but that’s not really it. I’ve had my own successes. More than most, less than some. But what it means to me in the end is nothing.

What matters to me is waking up in the morning and hearing other people’s music that makes me feel something. My own music can never be a substitute for that. And I find it beyond frustrating to have to look backwards to find music that satisfies me in any way.

I am not by nature a nostalgic person. I am always looking forward. I am not yearning for my teenage days. I am looking for an attitude, a methodology, an ideology, etc that pushes music forward. But most of what I see (and I look very deeply) is surface bull**** and fewer and fewer people exploring the realms that actually lead somewhere interesting for people who actually enjoy and care about music, not people who do it for social reasons or listen as background noise.


The main reason I wanted to hear your music was to get a point of view of what you consider to be great or creative.

Yes it is easy too pop in anonymously and slag everyone. Thats a layup and a great way to release your frustrations when you are in a dark place. If that is the only reason you are here, than to me you don’t bring much value and Ill probably just ignore you. Nothing personal, but this place can be toxic enough already. I like guys who are critical as hell about things but can at least show a point of reference and bring some background to why they are so jaded about certain music or gear.
Old 4 weeks ago
  #147
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Old 4 weeks ago
  #148
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Quote:
Originally Posted by psionic11 View Post




While there are definitely some great exceptions, even on SoundCloud, I find this to be generally true as well.

And as far as "synth-music" where it's the human expression leading more than the technology, I find my favorites are Juno Reactor, old NIN and other industrial rock, Shpongle, etc. Even synth-era Rush has a lot of great creative moments with synth lines and landscapes.
Juno Reactor !
Old 4 weeks ago
  #149
Lives for gear
The "good stuff" for synths was when everything was analog. Samples did not exist yet. FM was a cross over tech. We went from all true analog w/ oscilators to FM to Samples.

So the term moderm as applied to synths is anything post true analog.

When you record something and play it back. Some magic is lost. Samples are already an approximation of the desired sound. That's what kills the magic.

Samples are very attractive from the usability and cost standpoint. So they get used all the time.
Old 4 weeks ago
  #150
Lives for gear
 

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