Re: [LAU] Bitwig: what we can learn from it

On Tue, 2014-04-01 at 13:19 +1100, Simon Wise wrote:
> On 01/04/14 00:22, Chris Bannister wrote:
> > On Mon, Mar 31, 2014 at 02:21:26PM +0200, Ralf Mardorf wrote:
> >> Music has less to do with the skills to use a computer or the skills
> >> about music theory and skills to play an instrument. Creativity is
> >> independent of those skills.
>
> Creativity, tools and toolmaking are tied very closely together. You want to
> make stuff (anything ... music, a good meal, a picture ...) you'll most probably
> want tools and then want to learn how to use them well. And a bit of theory,
> some understanding of the medium you are using, doesn't hurt either. Finally to
> communicate with others there is the matter of language, a shared vocabulary, a
> shared set of references, a body of work already in existence to build on.
> Understanding and using this is also part of theory.

There's the need to distinguish what abilities are needed at what stage
of _making_ music. You can't take drugs when doing a mastering, but
drugs might have pleasant results when making pop/rock music, likely bad
results for classic music.

Regarding to the used vocabulary, did I mention that I like Spencer
Tracy films?

"Inherit the Wind", OWTTE "use that kind of language people are
intuitive able to understand correctly". IOW take care about the
audience.

"Tracy drank heavily during his years with Fox, and gained a reputation
as an alcoholic." - https://en.wikipedia.org/wiki/Spencer_Tracy

Seemingly he used drugs at the right time, but not when doing his job.

Resume: What is the target group? What and how important is your message
assumed there should be a message?

When producing your _own_ music you can do what ever you want to do, but
when recording and mastering the art of somebody else you need to care
about the intention of this/those artist/s.

There isn't a reference! You need to be empathetic!

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Received on Tue Apr 1 08:15:02 2014