EXS 24 Logic Sampler Users Group

On Sunday, Mar 9, 2003, at 11:03 Europe/Amsterdam, Hendrik Jan Veenstra 
wrote:

> On a fine day, 08-03-2003, Nick Mulder wrote:
>
> >  > I suppose you think that since you're teaching at the 
> conservatory,
> >>  you are entitled to belittle someone who disagrees with you?
> >
> >No, you're wrong again.
> >
> >I suppose I can toy a bit with a person who starts a personal flame
> >without actually knowing his stuff and tries to save his face.
>
> I don't start a personal flame. 

Yes, you did. It was noticed. Don't change it ad hoq.

> I simply responded to the kind of
> argument I've heardnumerous times from 20-year olds who use prefab
> loops and think they make great music because their music is
> sample-accurate.

And you just needed to show you knew it better hm?=)

I also simply responded to such an response, I thought you were such a 
20-year old smartass who asked to be put back in his place.

So I guess you don't mind me doing that.


> If you meant it in a different way than that (which apparently is the
> case) then I apologize. 

I didn't meant it different, it _is_ different.

You simply misread/understood it and can't admit that.

The great difference between analog recording and midirecording of an 
synthesizer is the timing of the notes on playback of a liverecording. 
For this reason many people choose analog recording (in the past) so 
that the inherent quantisation of the computer -the first sequencers 
had a grid of 64 clockpulses!- didn't mess up their groove. Remember 
that, that's important sequencerhistory.

> I still think then though that the original
> statement needs a lot of ifs and buts and clarification and nuance.

That's ok, you're free to do with your time what you want.

> As a conservatory teacher, you surely agree with the fact that
> musical emotion is a matter of harmony, melody _and_ timing, and not
> just timing alone -- and that's the basic idea to which I responded.

Yes, we all know you got the message wrong.

Don't make it worse by stating that your misinterpretation allows you 
to start flaming.

Oops, you just did.

> Hell, you can play a 3-chord top-40 tune with exact timing and have
> no emotion at all, and even if you play Bach in a somewhat sloppy
> way, the emotion is still there -- too strong to be killed by sloppy
> playing.

Nope. That's called 'magical style'. You can even cut up a Bach 
fuga/invention by playing only the 4th quarter of every bar, put all 
those 4th beats together and for some magical reason -wich is called 
'style', 'fundament'- you still hear Bach, even if 75% of the score is 
amputated.

That has nothing to do with timing, that's architecture, composition. 
Wrong again.

We're talking here about musicians who have a certain idea, a certain 
feel about how they wanna play a song, and notice they loose that feel 
when they record it in a computer.

There was a time -really- that for that reason keyboardplayers refused 
to play into a computer, but went straight to tape.

Things even got worse with the first digital synths, who's 
scanninglogics/DSPlatencies were way too slow to allow tight playing.

(that's also important sequencerhistory)


> >Ventje, je zit er gewoon falikant naast en bent te belazerd het toe te
> >geven. Dat valt erg op hoor.
> >[...]
>
> Offending me in a language that hardly anyone can read in a public
> international forum is not what I would call polite.  But that's
> probably just me.


Ouf, you've got me there. I'm very unpolite and you are so right.

Djeez, I'm glad I don't have to feed you every day..

I understand from the LUGforum you're good in cabling environments 
together, that's great, we need people who will do that stuff.

Please stick to your field ok?

NM

>
> --
> Hendrik Jan Veenstra  <h@...>
> Omega Art: http://www.omega-art.com
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