by 'they' i assume the nebulous hordes of aforementioned 'resistors'. i would argue there is no real problem here, imitation has always traditionally been part of the early stages of formal artistic education, it is an excellent entry into any artistic endeavor on any level irregardless of schools or genre, etc. it invokes an essential primary motivator, 'fun', and it engages all the correct heuristic modalities. further progress will quite naturally necessitate the need for formal theory in order to advance. 'resistors' will not last the curve of attrition, but serendipitously may even find further interests in the general 'audio' sphere.

"Taking steps in the contemporary-styles region doesn't teach great musical concepts and mentalities", this is just incredibly vague and poorly worded, but i think i know what you mean. please refer to what was said above.

is post-modernism stupid, or are some of the more excessive concepts (granted, there are some, but the same can be said of most any broad ranging methodology) within the many cyclic revisions of what is known as post-modernism 'stupid'?. i will assume the former.

i have observed the fairly recent hysterical demonization of post-modernism most of it is quite frankly, idiotic and in some cases entirely self-serving. post-modernism, is simply, a reaction to modernism and an (arguably insightful and brilliant) expansion of the methods of traditional critical analysis for the modern age. as it relates to art, it has mostly beneficial and a overall a net gain. i could offer rather poetic explanation of: art becoming conscious of art while observing the act of creating art and all it entails, on all levels. never-the-less, it has very little relevance here. life has been conscious of, and critical of life for quite some time now -- we will just have to deal with it.

new things may threaten or scare you but be brave in the face of the constant impending doom of art and life, of mice and of people. [n.b. reader, dare not take this as any thing but ironically]

if art has a natural life cycle through the attendant stages of growth and maturation, such as self-awareness and ultimately the process of death, c'est la vie, all good things must come to an end. panicked, alarmist: constricting, shoe-horning, stretching, manipulation; generally any artificial method of willful ignorance will not help. observe it's path and process, then pray for reincarnation.

the subtext of some of these posts does not escape me. i will state categorically -- it is sheepish, moronic, intellectual cowardice. just boldly, succinctly state your views and let those with the skills calmly eviscerate you ;)

apologies to the OP, i will try to not hijack the thread further for the sake of this rubbish, but this discussion seems to have brought up some, not entirely unrelated, outstanding issues that may as well be addressed now.

 

Disagreeing with all of your sentences. You need to get re-refixed but please don't do it by yourself.

 

lol... just for future reference you do not have to actually state that you disagree. your post is there for all to read what your opinion is. it is a given that you disagree.

 

Post-Modern art is just a cheap alternative to the genuine art.

Genuine art is based on contemplation, transcendental meditation and absolute pureness but the post-modern one on randomly adding, removing, polishing. You know why randomness? Because post-modern artists can not think in terms of absolutenesses. They choose their needed materials unconsciously to complete their artworks and the reason behind this is the easy and wide availability of the stuff.

 

you are proposing a false dichotomy, 'postmodern' art as opposed to 'genuine' art. it would be ridiculous to try and respond.

it is a very hard task to actually distinguish a postmodernist from any other contemporary thinker as they rarely identify as postmodernists, furthermore most people who are characterized as post-modernists actually staunchly disagree with each other, much the same as calling someone an existentialist. postmodernism as to how it relates to art, especially art that is produced long after the postmodern era, is an even more tenuous link.

there is no concrete 'postmodern' process.

there is no true randomness in the terms of which you speak.

you may have been influenced by self-serving thinkers who choose to scapegoat certain concepts to their own ends. i suggest you engage with primary sources.

 

Your phone is best friend. I record every Idea I have in my phone.. sing it play it whatever... never fails

 

Another technique I have been experimenting with lately is to do all the sound design first, then using these pieces as a pallette. Seems to be a popular technique among glitch/neuro producers and you can make really huge, dirty sounds this way, if thats your cup of tea.
Take your original recording of a sound you make in a soft [esp wavetable] synth with lots of modulation/automation. Compress, saturate, ableton waveshaper, turn up all the volume, gain knobs, try all possible overdrive, distortion fxs on it. add huge reverb etc distort more. obviously you will need to eq, turn down chain volume etc to not destroy your ears.
This way some really interesting harmonics and artifacts will start to come through and these make great sound design material, ready to cut and paste, resample etc. Then put a different synth through the chain you just made, repeat process. It's a great way to make original sounds if you like this kind of thing.
If not, then at least try and understand that from a technical perspective, using overdrive or abusing plugins to look for material that is musically related to the source material because of the nature of the process is not wrong...it's just different to what you like. I'm not stopping anyone listening to dead people while saying there are no brilliant musicians anymore on a planet full of billions of people.......Here is a tutorial describing the above process and more-from someone who understands music theory, sound design and computer programming and is able to share knowledge on the subject

and a shorter set of sound design tips:

and this is worth a watch if you are feeling uninspired

 

so basically you are telling us to commit all sorts of evil postmodernisms and destroy the the future of music forever.

 

It would to be hard to destroy a planet's worth of artistic expressions of sound forever but i would encourage others to experiment with the amazing digital tools available to see if it possible to create something beautiful or unpleasant or both at the same time...not to accept the boring standardized pop or "edm" and not to harken for a great past when everything was better...There is so much good new music out there from all over the globe it baffles me to hear people say it's all terrible...to me a big dirty bass sound is more interesting than all the classical music i've ever tried to enjoy...and i have tried, because i think awareness of loads of different musics and techniques is important for getting better at music. I guess i am an uncultured scumbag for being more interested in world music than western classical music too.....

 

The devil thinks but postmodernists don't, they just do. I wish postmodernism was evil but unfortunately it's only an adverse reaction to cogitation.

 

yep, that's the stuff...

 

you obviously have not read Derrida.

 

Man, are you writing to us from a Monestary!? Besides, the devil writes the best tunes, everyone knows that.

Anyways, aren't 'we' - i.e. the fractional % who chuff this stuff - onto post-postmodernism these days?

Look, don't struggle, just offer-up your soul to the Horny One right now - fame, fortune & finest of everything can still be yours**

** Easy payment terms available. Term & conditions subject to change.

 

Last edited: May 2, 2019

Get thee behind me Satan!

 

.

 

Last edited: May 2, 2019

1? 2? 3? None of the above ...I get inspired by the sounds of silence and nature. Take a walk in the woods, in a barren desert, on the beach. If you can. You'll hear the music

 

many many pages of "nothing" . The thread started great, but i guess its like "real worl" where assholes and clowns and orther paratistes always smell the good vibes MILES away, and decides to show up and spread their odour around to everyones discomfort and displeasure.

Rock on :O

 

Here is a fun creative way to expand an idea.

To use it ,you take a section with a chord you are working on.

There are 4 types of chords you can use it with.
( So any place you gave a chord for 4 bars etc )
Major
Minor
Dominant
Half diminished


Let's say we have C major chord.

First when we use it for major we make it a C6
CEGA
Step one take our maj6 and create 4 inversions.

CEGA
EGAC
GACE
ACEG

Step two
We add the appropriate dominant V chord
In this case G7 GBDF , but we modify it to be a Diminishedth by sharpening the root.
G#BDF
Step three
Make the 4 inversions of our dim7 chord.
G#BDF
BDFG#
DFG#B
FG#BD

Step 4 combine both sets if four inversions where the root notes form a scale.

CEGA
DFG#B
EGAC
FG#BD
GACE
G#BDF
ACEG
BDFG#
CEGA

This brings us to our main structure.
We know have an alternating V to I structure which repeats acsending or descending an 8 note scale .

This allows us to attach a chord to each note of the scale ( harmony to go with melodies )
Everything we use it for is still just a Cmaj chord playing .( V to I repeating)

Part two

Now that we have our structure let's start off with traveling up the first chord then back the next chord.
Play this one note at a time.

Forward
C E G A
Backward
B G# F D
Forward
E G A C
Backward
D B G# F
Forward
G A C E
Backward
F D B G#
Forward
A C E G
Backward
G# F D B
Forward
C E G A

We can now have access to unlimited options all over our simple chord we began with ( c major)

Here is another use.

Take our C6
C E G A

Wrap the dim7 chord notes around our 2bd note in C6

C FDE. G A


Another is to play our Bdim7
B D F G#

At the end wrap our C6 notes a round the last g# note

B D F AGG#

How about breaking into 3 notes for triplets?

A G E D F G#
C A G G# B D

Try out for yourself

CEGA
DFG#B
EGAC
FG#BD
GAEC
G#BDF
ACEG
BDFG#