Astral Ppojection but not recommended. Your vessel will be left open without warding. Or buy a plane and just fly.

 

But the cost per that plane is around $350 million.

 

Soon we won't need trolls anymore, ChatGPT will do all the work to keep us entertained.

 

Don't be bothered. ChatGPT, yadda, yadda, yadda in the field of art is like something rustling in the undergrowth. Scary, but when coming out from behind the bushes, nothing more than a small bunny rabbit. Who do you think are the makers of these no-hopers?

 

Notes are not necessary for real musicians.

 

How to be a real one?

 

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So, let everything be as it is, because if ordinary people never make any special transformations to anything (you should be ashamed of yourself for expressing such prejudice again and again), the same can be said about someone like you, who comes to an Audio Forum to proclaim a series of useless provocations (just read the comments to understand that you are not unanimous here). In a way, part of us recognizes our purposes/deficiencies/qualities, others are in the process of discovery and others may reach the end of life without being aware of it. The biggest problem with your prejudiced attitude is that, despite saying that you use your artistic conception as an instrument of social change, you contribute very little (when you try to talk about different layers of musical knowledge) being a pedant who does not even present a practical and/or pragmatic example that proves the effectiveness of what you defend (I wonder if your objectivity would be lost amid your egoic daydreams). In your response to thecollapse, you list several absolutely vague statements like "a musician must do this, not that, must make thousands of changes to his product to create a true work of art" as if you were passing on a very generic cake recipe. Since when do other people's lives and choices concern you? Your ideologized and deformed thinking that a real artist must continually discover new note relationships does not apply to all contexts. Why should ordinary people care about this? Or better yet, why should ordinary people listen to advice from someone who lives in the shadows of anonymity, without clear preferences and examples and, moreover, doesn't hide his disdain towards them?

I think the other thing, very sad here in this post, is that you don't realize that you need to free yourself from your egoic daydreams to appreciate the idea that, after us, the world and music will continue to exist and that, little by little, we will be forgotten, but that doesn't mean our existence and our legacy are devoid of value, regardless of whether you are an ordinary person or someone with a degree in music.

 

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@The King decrees that music creation must only be a purely cerebral activity, practiced in universities and research labs by learned professors and doctors, else he'll periodically turn-up here, set out his recruitment stall and (yet again) convert nobody to his 'pure' version of music culture, a sterile abstraction that benefits nobody anyway.

In reducing music to mathematical calculus @The King would not only rob music culture of its 'soul', but also all organic imperfection in its activity.

The saddest part about music for @The King is that His Royal Highness neither understands or even appreciates the domain he demands sovereignty over - which is undeniably wretched and pitiable.

 

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Has everyone been taking notes?
I am asking because you all let FOSTER troll six pages out of your life.

 

Hi, there,
quite a successful first post! a good debate....I share your observations along the thread, as I share some of the responses,yes the range of notes is immense, the musical adventure is always very open, what the music industry imposes is mediocre, the rest to come is much better, but it's true that knowledge of the basics, as in any activity is the key.

 

Why don't you want to accept the simplest reality of music? What are you defending? Sticking up for their defense even for a thousand years will not help you understand music better. In the end, all these unreliably faithless thoughts and opinions that you take their sides and sympathize with, will leave you alone.

 

Donald Strong from the Donald Strong Jazz Tendency enters the discussion, drawn by the strange declarations of the King.

After reading for a while, Donald looks up and smiles kindly.

'Thinking? That's for the young cats. You have to feel it brother.'

He picks up his detuned bongo, lights a cigarette and does a freeform 14 minute solo that expertly deconstructs 500 years of western harmonic language.

 

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You evocated deep and interesting subjects calling directly the most motivated ones to tell about their direct relation with music.

You provoked indeed very interesting responses from people in here.

But I still don't get clearly what you are saying, and I would like to take part of this discussion, I don't miss the desire to.

Even if some evident trajectories are observable from an multiple decades history perspective (let's say since the year 2000) on how occidental (and indirectly worldwide) culture producing and consuming is evolving, to keep it simple, there is an multi-subjectively observed “artistic quality” degradation (quotes because I don't have any academic background on art history nor musicology) on the ever expanding mass of cultural objects, this still can be qualified without any great risk as a side effect of the induced productivism of hyper liberal and capitalist global economy, an ever acceleration of production of goods, as much seen in entertainment, armament, infrastructures, or food production. More quantity less quality.

Those side effects always put a tension manifesting materially in a form of a competition, hence, resulting in the known satire in the marvelous Phantom of the Paradise (1974), from the ever going race to success for emerging artists, to the race of releasing the new audio plug in commercial success, and a very rich array of side topics implying this mechanism : communication strategies provoked self-image awareness, communication technologies rush created information liberation, ect...

I just want to say that this tension creates a lot of problems, but the accessibility of (to my perspective of someone into audio production since the early 2010's) unbelievable quality tools is also to my sense part of it. The two sides of the same medal. The competition put tension in the market and technology boundaries were pushed, always, to the very same goal, producing more, with less. The music industry is a pretty good example of this mechanism as we're witnessing this industry's evolution to this day. This impacts everyone. Big multi-million dollars studios to 15 years old cracking fl studio in their bedroom.

Ok so what is producing ? I think this is the question that can establish a base for ethics and how to address the bad excesses - and when I say bad, I literally say poisonous or toxic as an element being part of a cultural landscape - of this sick hyper liberal market rules, as I repeat myself, that also brought by the force of its global movement, miracles to me.

This is not the subject and can an opportunity for another debate. If I could sum this up, to what extent an artistic object (record, lp, track, but it can be anything ?) can be considered as a production. What are the "standards". The ever going production tension tends to eat, day after day, some “hard rules” (and gives the illusion of “no rules”), undeniably tied to a sociocultural state, so inherently prone to evolution anyway, but this smooth operation (yes) in time tends to be invisibly perverse because it is ending to eat up the “soul”, the “artistic quality” and there I'm ending being precise : what is told - pop music always revolved around the same topics, ok but stop with this excuse all the time please, there is an OBVIOUS mark of much more anchoring and engagement to more warm pop songs from the past than our musical colder pop culture, I am still amazed by how younglings still give interest in songs that begin to become honestly old, and how our present contextual musical pop culture is (mostly) forgettable, replaceable, and skippable, (this personally saddens me the most I think); how is it told - the technical aspect; what's used and working, the already known and expected writing and production techniques and formulas, and what's new - what is fewer seen or never seen before; what can we perceive to what do we want/are invited to perceive from the author - I might say the originality, the bane of musicians in the post modern era, and, as a factor of both : the story. This is an ambiguous but voluntary ambiguous theme, as it should blend between a narrative contained in the artistic object, so usually a work of a fiction or an exaggerated vision but not always; and its bleed to the culture, the listeners life, the socio-cultural reality, and by the works of time, history.

To me a production should embody such qualities, because a production is a proof of time, of involvement, of dedication. A trace of a lifetime. We could even say a trace of a human lifetime. This should overcome the classic Marxist definition of a production of simply being considered as such when “consumed”. Accessibility (digital audio, dsp, cheap electronics mostly) inevitably broke the established rule of the stake of producing. Nowadays onefiger producers are proudly showing their “deconstructed” 4 presets tracks lol.



This one question cleared up, we're ending in your “notes” perceptual / spiritual realm. This is exciting, as someone who never had any (serious) theory course on classical harmony and solfeggio, I'm interested in “understanding the relationships within notes”. Like learning a new language as your said, so being able to express a closer, purer musical expression from an idea form the mid, or an emotion form the soul.
And here it lacks examples, your references of “good music”, your ideas in order to solve this educational issue, your reference books, thinkers, ect.

Personally I just attach emotions with rhythm and frequencies. Literally like a language. But I never formalized it. Just having a common sense, like everyone in here, of which timbres (so a precise organization and association of frequencies), or rhythms, beatings, brings what feelings, perceptions, and use it as a emotional language.

And to be a little clear about my philosophical orientations I'm rather a technology maximalist, I deplore the drifts and abuses of such new tools and technology, but I still think this is a road to sane autonomy and self awareness and wisdom. Diffusion models is a great actual example, it's an extreme revolution and it's pretty exciting to see this tech evolving and inevitably, killing its elders.

 

Wait. Back up. Foster is The King now?
I have this weird feeling this entire site was created by the universe to bring and enlighten him. And us.

 

Why don't you want to accept the simplest reality of music?
And what would it be?

What are you defending?
Anything more objective, pragmatic and less prejudiced than the nonsense you preach here!

Sticking up for their defense...
Them who? Who knows, maybe this time you'll be able to name names...

(...) even for a thousand years
Have you ever had one of those conversations where you lose track of time? Hello?

(..) will not help you understand music better.
And who understands music better here, you?
“Vesti la giubba e la faccia infarina (...) Tramuta in lazzi lo spasmo ed il pianto; In una smorfia il singhiozzo e 'l dolor!”

(...) all these unreliably faithless thoughts and opinions that you take their sides and sympathize with, will leave you alone.
Wow, what's up oddball? You are the one who has lost hope in music here, because all you do is condemn current practices without even presenting a measly practical example of what you defend (either due to a lack of objectivity or a lack of courage). Be alone? I don't think so, I have family, friends and, what's more, for those who love what they do, those who have music are never alone! But, it seems to me that your place of speech must be a very lonely place, 'cos you come here, again and again, to fight windmills! So:

“Ridi, Pagliaccio
Sul tuo amore infranto
Ridi del duol che t'avvelena il cor!”

NOTE: you really play this role very well... I just don't know if it's good for you... I hope so, in the end!

 

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Amen to that!

 

Maybe astral poojection in his case?

 

The typo was supposed to be subversive because something seems missing. And you are the Batman to his Joker @Mynock