I took my exodus in 2004, when hyperacusis got me down. 4 years later, my hearing no better but my resilience increased, I'm happy to see what's out there on the market.
by tombola2004
And yes, there've been innovations, like Korg catering to the needs of laptop/mobile musicians with the nanoSERIES — of which I'll be getting the nanoKONTROL soon — but by far and large, the look and sound of the market hasn't jumped a great distance. Here are some examples to illustrate my point:
Breath control, where art thou?
In my old home studio, my Yamaha BC3 was one of my fave gadgets. In response to wind pressure, it output a MIDI data stream, ideal for simulating woodwinds. I got some brilliant flute performances out of it.
In 2008, breath controllers are harder to find! A risk you run with alternate input devices is that either certain companies patent the heck out of them — like Roland's D BEAM — or they don't reach a critical mass market, so they flounder as interesting "experiments", but experiments nonetheless.
Yeah, you can find various bits 'n' bobs on eBay, but this is far from newcomer-friendly. And in an era of USB convenience, the same MIDI Solution Breath Controller I saw years ago appears to have not changed, not in features nor price.
I'd like to see a total breath control package for under US$100. If that can't be arranged, there are creative alternatives: with so many plentiful headsets and mics, what about using your voice's amplitude to modulate another signal? (Not unlike a vocoder.) I haven't yet found a way to do this for realistic, as opposed to robotic, effects. Maybe it's out there and needs to be popularized so I can know.
Embarrassingly slow hardware rehashing
The major synth lines I'm seeing are either refreshes of previous years' — nothing surprising in itself. What makes marketing this easier is angling it as a return to vintage design, as Roland's JUNO-G none-so-subtly exclaims. What I inevitably notice for reasons of cost and backward compatibility is: previous years' soundsets are included while new ones are added on. That in itself ain't wrong, but check this out from the specs:
Wave Memory 64 M Bytes equivalent
64 megabytes? I saw that in synths half a decade ago. And what the heck does "equivalent" mean here? (Some engines use linear compression to further fold samples: say, 128 MB gets compressed into 64 MB of actual ROM.)
Long story short, this is primitive and puny, and a huge gap from how big computer-based soundsets are — a piano library can run in the multi-gigabytes! (Or be physically modelled, another synthesis technique which is complementary for breath control, and which I wish had more widespread acceptance.) There must be better ways to include big sound libraries on hardware synths. To its credit, even tho it doesn't support multisampling — which should be a more common standard — it does say:
External Storage Device PC Card: 1 slot (supports SmartMedia and CompactFlash using a PC card adaptor)
But I'm surprised unlike digital cameras, more consumer synths aren't using Secure Digital, which is a far better deal than SmartMedia in terms of cost-per-megabyte.
Specs don't tell the full story and the actual sound is what's to be judged — so after I was at Guitar Center the other day (which has a great synth showroom), I'll agree the sounds are as sufficient as they were years ago, but not much that excites me in its expressivity.
By the way, I referred to a "huge gap" earlier: if you're really rich, an Open Lab OpenSynth will cost you more than a high-end computer — starting at US$3,699. Definitely a premium instrument for professionals, and priced far out of the hands of most enthusiasts.
Many hobbyists may not need such power, but I'm still sad we haven't come further. And I'm not singling out Roland: Yamaha, Korg, and even Kurzweil's workstation product lines haven't evolved much. Alesis is still selling its SR-16 drum machine which dates back to 1991 — I wonder if residual sales discourage the cost of product upgrades. At least Korg's been branching out with the aforementioned Nano, DS-10, Kaossilator, etc. But these are exceptions, not general expectations.
Stale styles
by Suzanna
I've listened to many hot trance singles of 2008 — and they sound effectively the same as hot trance singles of 1998. Similar melodies, chord progressions, and arpeggiation patterns create the false impression that one or a few people are producing a large portion of what we know as "trance music", or "McTrance" to the haters, and this is ridiculous. The same is true for trance's at-times stylistic opponent, drum 'n' bass. I'm not saying to ban staple ingredients like supersaws and Amen breaks, but to put them into new contexts.
Yes, fresh things are happening in their own scenes like dubstep. But where… is all the dubtrance?
In short, I'm hearing a lot that sounds like it was made by a small group of producers, which indicates a lack of unique voices. Too many Tiesto and Deadmau5 derivatives. Conversely, I'm not finding enough developments in promising styles that should have more movement.
Blame for this goes to no one in particular: it's like a lot of comfort zones have worn out their welcome. Here's a specific example: I really enjoy Hybrid, and can't fault their steady progress on combining orchestra + beats. But with their excellence, I'd expect to find more copycats. I'd really can't, and I think it's not just because they're exceptional: it's also really hard to master the "two worlds" of classical + electronic that's required! Finding someone who's skilled in both camps is undoubtedly rare. I've known numerous virtuoso breakbeat programmers and many talented classical soloists. But to get the two together (and overcome snobbery) is still an enormous challenge, let alone to find someone who can do both.
Thus, when it happens in a wonderful way, it really stands out.
Get me right: I don't mind tributes to classic rock 'n' roll. I'm not a hardass about stuff sounding "dated". But I do love hearing music that expresses an original earnesty that couldn't be mistaken for anyone else.
Also, a lot of tools have become largely democratized: there are far more VST effects & instruments than there are Photoshop plugins. But the skills to use them haven't necessarily increased in leaps 'n' bounds.
Perhaps I've become too critical, and need help opening up to new sounds — got recommendations? I don't buy much music at present, but had to give Trifonic (as featured on Hybrid's recent mix album) my attention after enthusiastically devouring their sound. Not only do they have their own special blend of rock, glitch, and snarling basslines — with vocals and melody! — brothers Brian and Lawrence Trifon also seem to be really nice guys (I emailed 'em once). They offer their album, Emergence, as a free download. And if you want to support them, you can pay up to the max. of US$20, which I did. Thank goodness for Creative Commons and an absence of DRM.
Music recommendation engines continue to disappoint me, but I shouldn't be that harsh. After so much looking, maybe the fact is, the music I'm really, really into just happens to be rare. Even though that's counterintuitive to its core elements: infectious melodies marry experimental techniques. And that's a personal preference, not a knock against whole scenes.
An absence of iconic leaders
by The700Level
The press creates heroes and tears them down — or neglects them. Perhaps after the heavily-marketed Stateside electronica wave in the late 90s, things just got too fragmented to easily pigeonhole. The public at large knows about Moby, but even his recent album was largely a return to his early sound, with no curveball surprises. The Prodigy's upcoming album, Invaders Must Die, was just announced, but even this is being announced as "old-school but cutting edge". At least Daft Punk is robot rocking on!
Newer names like Pendulum and Justice have a great sound and even greater videos, but I'd argue aren't as known on a name basis as the groups and individuals who led in 1997. Maybe, like A-list bloggers fading out, there's too much diversity to be dominant.
However, there's always opportunity to lead and make a difference. Much as how Jamie Olivier's gotten attention for his "Learn to cook and pass it on" mission, electronic music's many budding aspirants stand to learn from heroes who will enlighten them. Indeed, sites like AUDIOTUTS provide higher quality tutorials than I've ever seen before, but it's not clear how much they're doing to convert listeners into active participants of electronic music production. Some testimonials — true human stories — would help.
Again, get me right: the world doesn't just need superstars, but as music and celebrity have always been intertwined, a few iconic personalities can do a lot for popularizing what was fairly obscure and unappreciated, just like what Michio Kaku's doing for physics.
Your thoughts? And feelings?
I decided to pen the above after observing over several weeks, then gelling my impressions into something I could share. It's intended as a beam of hope, to show what's being forgotten. Loath of armchair activism that doesn't go further and time willing, if I do dive back into electronic music, you can bet I'll be hoping to contribute to what I've just said.
Remember that my point here isn't about a complete dearth of innovation. I'm not such a binary extremist. Infact, as I write this, I look tenderly at my M-Audio Torq Xponent, and find it fascinating how the traditional vinyl experience has evolved into a new analogue of digital, so to speak. I call out gems whenever I spot them, and urge for more.
If you're experienced in electronic music, how does the zeitgeist look to you? And if you're a newcomer, does it really matter as long as you're dancing and having a good time?
{ 10 comments… read them below or add one }
Between musicthing: http://musicthing.blogspot.com/ and making music http://making-music.blogspot.com/ and deviantsynth http://www.deviantsynth.com/ and DIY circuit bending http://en.wikipedia.org/wiki/Circuit_bending we have the tools: respectively hardware, software, crazyware and DIY.
Now all we need is inspiration.. which from what I gather happens on the fringes. Inspiration comes from all fronts.. for messiaen http://en.wikipedia.org/wiki/Olivier_Messiaen it was transcribing bird song… for Coil an archaic russian light based synthesizer http://en.wikipedia.org/wiki/ANS_synthesizer or for Pole cutting dub down to it's most basic components http://www.bleep.com/?bleep=SC54BUNDLE … but I think in a world of infinite options true art comes from narrowing ones-self down to restrictions.
There's plenty of folk doing it… but they're hard to find.. as it should be… That was always the case and I think will remain so. We can democratize all the arts to the point where anyone can scratch their mark.. but there'll always be folk who choose to scratch a deep mark which echoes longer.
@Pavig: I like a lot of circuit-bending and the life that continues to be breathed into old sound chips like the SID!
Most of my favorite artists take what's hard-to-find, popularize it, then move on, shining a light on arts & culture and showing great respect — and fun! — while at the same time not being overly possessive of it.
I realize some see themselves as "defenders of the underground", but I believe that's misguided and flawed: if you really enjoy music without ulterior motives, you'll like it whether or not all your friends do. (Granted, social acceptance is important for many.)
Intriguing who you references: Hrvatski saw fit to take Messaien's avian inspiration into DnB, and Pole later added more structure to make his dub crackles accessible. Fine examples!
That's _exactly_ what i was getting at. In the last fourty years or so the means of making electronic music have been democratized to the point where most folk already have an entire studio in their home, even if they don't know it (in the form of a computer). Artistry though has always been about refinement.
I remember the incredulous reactions by studio folk to Scissor Sisters when they started to make it big, with pretty much a backyard band, a mac, a sense of humor, strong pop sensibilities, and a lot of refinement. The studios and "doing it properly" came later. Truly these days the tools are within reach of almost anyone.
Like all artistry however, one only produces something of enduring quality by following a thread to it's natural conclusion. I believe this is still happening everywhere… but we're not aware of it. We all know some folk who work brilliance, and think they "should be famous" but their stuff is created out of passion, for the tiniest audience.. their friends and those they meet on the way.
I don't think that's about any real underground politics… it's just the local. Fame only shines a light on those who both innovate and engage in good PR or work with those who do. But in the wierd nooks and crannies of SL arts and sounds and Myspace music, there's plenty of diamonds active all the time.
I think what I was trying to say in my previous post is – follow your own vision, even if it's strange. Now that we have the internet connecting us there is a social network to grow solid arts and music, even if the infrastructure to pay for it isn't yet optimal. We are now though very aware of those finding their feet in areas that interest us. Everyone has something to contribute – not always a joyous noise… but wherever ones focus lies one becomes an expert.
The hard thing these days is sorting the noise from the music.. and this in all areas. Some folk are musicians by nature and will find their voice eventually. Some are networkers.. some visual, some conceptual.. Sometimes we know more our friends strengths than our own. Now we're living in this global internet meritocracy of sorts it's hard to find our own place, or find others that interest us… but we're sorting it out by degrees.
My examples of this in music were all folk who were fiercely original and only understood in retrospect, as this is the way I see the world. Idealistic to be sure – that one's own internal vision in it's purest and most hubristic sense probably has the most to offer the world. It may seem deliberately oblique and "underground" but it is those personal elements which I think show the most value to reveal. We all have a unique vision (all our own), and a unique vision is so seldom revealed to the world, that it is a precious thing when found. The best we have to offer the world is ourselves un-edited and in our basest forms – with our ideals, our innermost convictions, intact..
………… but I digress
I thought this was supposed to be about music 
))
Music in general I think is lacking in that sense, not just electronic, but as far as a known genre of music, people do not even consider it anymore and it is a shame.
I make a living as a visual artist (graphic designer) but over the past few years my interest in music has skyrocketed, starting with a year stint with a local punk band (keys). I got the Juno-G and yes I agree that it is outdated as hell, even though it sounds great.
After quitting that band (dickhead drummer) I've been gravitating more and more to electronic music, DnB & Jungle mainly, but I'm open to exploring everything. I'm a beginner at the production process and my home studio is bare bones right now.
My next step is going to be an audio interface and a soundcard upgrade. Baby steps lol!
Making music for me is much like painting or sculpting, and I believe that they are the same fundamentally, they come from the same realm of inspiration. Heaven, no jk. Some things I will keep in mind will producing are 1. Originality 2. Quality 3. Having fun
I don't plan to make money with it, but I love it and life just wouldn't be the same without music. In regard to SL, I think it is a kickass artist connection among other things, no matter what the haters may say, because they don't understand it.
@Pavig: You've been thinking a lot about this! I've often observed that successes need to barrel past being afraid their ideas are too weird for others. Others may be able to relate if you lead, but if you aren't findable, they'll never be able to appreciate you.
@Concrete: Thanks for sharing, and you can do a lot with a little equipment. Re: music + sculpting, when I was arranging layers, I felt the same way about a kind of "audio clay", refining it in successive passes: a knead here, a pinch there.
As long as you've got your passion, that's what'll keep you going! Maybe you've thought of performing live in SL too?
A thought about breath control…. I don't have any statistic to backup me here, but as former trombone player I'll say that many (that is like 90%+) wind instrument players are not fond of transfering their playing into MIDI file. They will say that it is never the same. And it isn't the same, of course. But it's not supposed to be the same, it's supposed to be new and different kind of fun and expression, combining one technique and approach to playing with technology from the other side from the spectrum. But then… if there is not enough players, manufactirers won't produce good stuff.
Other problem is that many producers or electronic music are familiar with keyboards and not with wind instruments. For many reasons: from price to convenience. You can pack your small MIDI keyboard with batteries and play anywhere (bed included), save the file, edit it later. Try doing that with horn.
@Torley This is true – success needs a lot of dominoes lined up. But if you trust yourself and do your own thing and (in this case) the music is primary.. then integrity is ensured.. but sucess.. that's dependent on other qualities entirely. Music is an ephemeral thing… about vibrations in the air in a certain time and space.. and as you listen to it it desolves. You can document it fr shrr… using the wonderful technologies we have now, but (unless it's created entirely in the studio) you are listening to an archive of a moment which has passed,
In the modern period where reproduction of these elements – like an audio slide show of your uncles holiday – became the norm for listening, we saw a brief surge of the DJ as musician…. someone who could play the previous moments which echoed the moment of the now. Though a bit maligned from some corners, it was – in my mind – a homecoming for the temporal and reactive qualities of sound… "this music is for you people right now." The means are now democratized but the source material archival.
Recorded music will only ever document a moment which has passed.. Some of those moments – like the "amen break" http://youtube.com/watch?v=sj0vfU0vFSs – will last forever. The real music, and real progression, will always be local.
Music is the most immediate medium available to us – something which disolves in the air as it happens, is ephemeral in the extreme. I'd argue that electronic music has progressed immensely.. but unless we're there, we're not witness to it in it's purest form….. the shaking of molecules of air right now, made by people among us that can read our feelings.
These days kids are mashing everythinhg.. so if you're not there in the moment then you need to find the combination of moments that constitutes your references, your approach, your sense of the now. Depending on your age, culture and sensibilities that innovative "now" can be created using a completely different vocabulary……
Now that i've ranted enough i'll leave you with two extremes
First memory – by way of mashes: http://www.binarybooty.com/Go-Home-Productions-Wrapped-Detective-download-xH-G6HIs_UuJVAdBYrpNVg.htm – a collection of memories and moments tuned into something sublimely anachronistic – for more politically incorrect nostalgia see http://www.illuminoids.com/lugosimongoloid.swf – all music is about memory and texture.. we have a strong memory for texture which maps onto other things. Moments are physical. (More memory as music: http://marvin.kset.org/~starvin/razno/slow_angel.mp3 )
The process of listening to mashed familiar items is very similar to the creative process many musicians go through when composing…… the way one listens to familiar elements and refocusses.. riffs off the available material… personally I feel this is very close to the creative process of music creation. All music is listening.. some make a compatable noise.
A bass player once told me the secret of his style was not the notes he played, but the memory of the notes he had played that were now playing in the heads of the audience which he didn't play.
So… I think music has progressed… but maybe progressed music is hard to find.
…. and the second example: well that's whatever you've heard that's surprising and … yaknow…. really feels like you've never heard it before. That's different for everybody.
But anyways if you wish to listen to what I find surprising you'll find me on http://www.last.fm/user/pavig/
Ack! my hubris is immense lol
Oh…. PS
Not super modified and advanced… but if you would like to hear some electronica that's super-refined.. try Alva Noto.
@dandellion: Historically, I think part of the problem has been limited bandwidth for MIDI continuous controllers — I know I sent so many simultaneous events that my old Opcode Studio 4 would lock up! But nowadays, we have more expressivity. Some pianists I know still complain 128 levels of velocity isn't enough, but I've yet to find one who can tell the difference between those steps in an actual, well-done performance.
I think you've got it right that there aren't more electronic musicians who see things from a woodwind or brass player's perspective. One can hope we'll have more innovators who "get" both fields.
@Pavig: Thanx for your continued sharing! That Amen break documentary becomes increasingly potent every time I hear the Amen break in use. I like how sampling is kind of like a time machine, taking bits 'n' pieces and recontextualization.
Cool you should mention Alva Noto — his collabs with Ryuichi Sakamoto are among my faves, and that's exactly why I requested remixes that are inspired by them. Thankfully Max Fowler came along and… http://torley.com/gymo-a-tribute-to-alva-noto-ryuichi-sakamoto
I'd like to see more experimental artists collaborate with pop stars. I like how Richard Devine has been getting a higher profile with all his sound design, but that's more textural than melodic.