Wiardgroup

At 04:08 AM 6/29/04 +0000, "konkuro" <konkuro@aol.com> wrote:
> >Some of us carry them to gigs, you know (this is nothing new ...
> >... Moog modulars contained the designation "p" ...
>
>Only because there was no practical choice at the time.  Modulars on
>stage are essentially window dressing.  And that is NOT a troll.

Not taken as one, it's a very legitimate assertion (bands LOVE it when I 
bring the Wiard with all the flashing lights).  But it should be clear by 
now that our musical interests are very different, perhaps to the extent 
that's what is a valuable tool to me might be worthless epherma to you (and 
vice-versa).

For me, the analog modular synthesizer (especially in the Wiard format) is 
the ultimate performance tool.  Granted, I could do most of what I do with 
one with an analog monosynth or decent VA (perhaps I'm the only person who 
hears the difference, but since I am not a professional, who am I making 
music for except myself?).  But neither of those allows me the freedom to 
spontaneously create such a broad array of sonic textures (generally not 
notes - but never say never).  Like I said, you wouldn't like what I do, 
which I can best describe as being the "bug" musician in a rock (or 
"improv") band, interacting with other musicians in real time.  And yeah, 
for that purpose, I use the dual joystick controller (an integral part of 
the overall Wiard *system* - an aspect of the Wiard that several people 
have commented on that IMHO sets it above the other modulars, in my 
experience, excellent as they are), no keyboard, don't give a rat about 
tracking (but visual feedback - in the form of flashing leds - really helps 
on dark stages).  I have even also successfully used it to play melodies 
in-tune in the studio :^).  To me, for performance purposes, "modular 
synth" is as legitimate a choice as violin, "keyboard", bass, guitar, 
"electronics", monosynth, piano ... all different instruments (that I can 
more-or-less play) which have their own individual uses.

But modular synthesizers have a lot of uses, more than just what I use them 
for (and I haven't even begun to describe all the things I use them for).

> >(John, I find it amusing that you complain about Chris selectively
>quoting you after you turned my statement that:
>"99% of the repertoire of symphony orchestras was written 150+ years
>ago" (6/24 4:58PM) [snip]
>into:
>"no orchestral music being written within the last 150 years" (6/25
>12:17AM);<
>
>Um... do you have the number of those posts?  I honestly couldn't
>find them.

1231 and (oooooh, good numerology!) 1234
(I wrote something or another in response to 1234 - about my piano teacher, 
who was a contemporary of Clara Rockmore and a stunning Thereminist, and 
some other stuff, but I realized there was nothing remotely Wiard in it ...)

I hope you understand that what I meant was the "popular" (not "pops"!) 
repertoire of civic philarmonic orchestras, which is mostly painfully 
conservative - because that's what the audience wants.

         -Doug
          jasret@mindspring.com

P.S. Just because a record sells a lot doesn't mean it's not a novelty 
record.  And some serious artists' only big sellers are "novelty" records - 
which doesn't make them any less serious or artistic.