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All of us on the audiobus forum, it is safe to assume, are engaged in some way in the making of stuff to hear. Stuff we hear, stuff other people might hear, stuff that can be heard.
I know some of us are also involved in the visual arts — photography, painting, animation, 3Ding, etc.
What I’d very much like to know, and it’s a bit hard to express the precise point I’m aiming at, but, what I’d like to know is how many of us conceive of a work of music — an entire opus, a song, a verse or middle eight, a motif or riff or figure — with a specific visual analogy in mind, from the beginning. In other words, the whole unit is both sound and vision and motion and color and space and emotion and direction, and maybe the sonic side gets laid down first and the visual comes along after, but the conception was both, integral, as one.
Not every time, of course, a lot of time we’re only doing sonics, completely free of visuals. But when we’re doing both, as an integral whole, is that a thing that people are conscious of, or strive to give freedom for it to happen, or make intentional? Do you know what I’m getting at?
Comments
Yeah, I know what you are getting at.
I think Pink Floyd had this at the front of their minds when they made The Wall.
Trouble is, how many of us here have the time and money available to create that vision?!
I used to day dream of how bands would be visually while listening to favourite songs when I was younger. I think much of it fame from the lack of actual availability of footage pre internet days.
This sort of carried on to when I imagined making music but at times was unable due to lack of an instrument.
To this day, I still see dramatic scenes while I make sound. Even just listening to one key on a synth, makes me imagine
I think you have to administer micro doses of lsd and wait and see if the visual side coalesces with the audio... just saying
I usually approach music with visuals in mind, mostly pinterest boards. I spend my day in 3D programs / Unity and would love to to take the music and 3D into VR but alas time/money/energy etc.
I think this is the easiest route. Drop some acid, fire up Model 15/Animoog, press some keys, twiddle some knobs and Bobs your uncle.
I often start with finding an image or a picture/photo that sets the mood for what I want my music to sound like, which I then use as a visual reminder as I’m putting things together. That also often excludes including that image in the final product as I can have gotten it from anywhere, which means I possibly can’t publish it if it is the work of someone else.
I think it is a great way of composing though, and I have been in discussions with an extremely talented photographer about setting up the audio part of her photo exhibitions, which is an idea she likes. We have yet to follow through though.
I always play with visuals attached, for years now. The only thing is, the visual setup takes a bit more pre-thought (for effects/switches), and I like to go into my sessions completely (=as much as possible) free. I‘m improvising, and that’s where ios really shines, in my opinion.. .
(The other thing is, though, i arrived at a totally lonely place with my musicmaking, since none of my musicianfriends are interested in visuals, and vjs aren‘t really into audio...)
One of our number actually composes, the alchemy of knowing stuff, others have what the Buzzcocks termed ‘harmony in my head’ and/or a specific theme. Often, just playing around with thousands of samples serendipitously produces something interesting. As the lyrics guy, I’m just trying to tell stories, then edit down to what sounds good with a voice. We all play with visual expression, but this is always after the song is at least well on the way.
There has been some recent talk about people taking micro doses of LSD to improve creativity.....Steve Jobs being one of the mentioned who used lsd and since we use Apple products it’s pretty well mandatory at least one trip....just kidding not promoting drug use here
It’ no secret that most of the famously creative people throughout history messed with creativity supplements. So I am not offended at all by your drug references. Good times!
Absolutely zero consideration of visualization here. I have no talent whatsoever in the visual arts and all that matters to me are the sounds and the emotions they evoke.
Most often, I write the music of my stuff first. If I’m able to come up with a melody I like, the next step is verbs and images, which turn into the lyrics. Most of the time, the visuals inspire the lyrics, not the music. So yeah, kind of.
tbh I was a big David Bowie fan for years (often didn't know the track was by him) without ever seen a picture of the dude... unbelievable situation today. But the songs worked their way deep into my heart and memory.
On topic I seem to be more in a situation like @supanorton describes, but I'm a much less successful creator than he is - usually considering things not finished, too crappy and such.
Visual is quite important today, as a lot of stuff is just plain boring if reduced to it's sonic part only - right the opposite of the DB experience mentioned above.
Things like Wizibel really drive it over the top for me - it's the digital plague imho, trying to polish the turd in most cases.
I'd apply my favourite quote from Motown bassist James Jamerson (if you don't feel the note, don't play it) to the publishing of tracks.
Some of my experimental music projects are going to be linked up with future arty painted stuff. I haven’t quite worked out how yet, but a lot of my ‘music’ comes from the same place as my visual work so it’s all part of the same pot of soup. Probably the ambient/droney stuff will work with forthcoming abstract landscape work I’ve been chewing over in my sketchbooks. Maybe I’ll bundle in a CD to accompany a painting, or scare the punters with it as background music for exhibitions.
To answer your question though, no. It’s usually the other way around, and I paint to music I’ve alread created.