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Comments
This all reeks of existential crisis.
This sounds more like a mental meltdown.
I was thinking about this last night, and going to post something similar.
Most of the waves, genres, whatever were shaped by drug use, location, and rebellion.
You wouldn’t have had The Beatles without the Liverpool scene and that local support. The Bohemian beat culture without cafes and pills. Psychedelia without dope and acid. Punk without New York, speed and glue, and kicking against music that had gone before it. Disco - certain clubs, poppers and pills. The coke fuelled 80’s. Industrial electronica from cities like Sheffield. Ecstasy fuelled raves and acid house. All that awful guitar stuff that came from Manchester. Etc.
These were picked up by the mainstream, copied, and monetised.
But without those initial sparks - it won’t happen. The mainstream doesn’t create, it repackages.
So it’s not the fault of synths, or guitars that we’re not being hit with new waves of music. It’s a population sedated by online distraction, and a focus blurred by unlimited possibilities.
That one is a truly profound thought. You kinda lost me after that, but this resonates for sure.
I hadn’t thought about location, but you’re dead-on with that one.
The internet has significantly diminished that impact now. Local music scenes, studio enclaves, and the like are pretty much a thing of the past. As soon as something begins to emerge it can be had on streaming media anywhere. There is no ”there” there anymore. But it did indeed used to be a defining thing.
Very interesting thoughts. I remember it would take time for fashions of all kinds to ‘filter’ to us in Lincoln, when I used to live there. I choose the word ‘filter’ for a reason, as by the time some fashions had mad their way to us, they had changed somewhat - like being filtered. That filtering by locations, travel, time, people, clubs etc etc no longer happens in the same way. I am not saying that there is no longer any kind of filtering, but it has changed dramatically since the internet.
Yep, I can see it from a local perspective too. A couple of decades ago I was in countless bands, and there was a real scene, even out here in the sticks. We’d hold benefit gigs where ten local bands would play, host our own festivals etc. Another place I lived near here was a hotbed of folky/ethnic music, and again countless bands and combinations of local musicians and activists meant there was live music on every night of the week. My first electronic teen band - Basildon, that cold, synthesised response to living in a bleak, violent, new town. Environment, community, having to go out to discover new music rather than tapping a few keywords into YouTube.
There is still live music here, but most of it is cover bands earning a wage, most bands aren’t local, and gigs are few and far between. You can go to a pub and hear a really crap version of All Right Now, or I'm Too Sexy For My Shirt, followed by a fight with pissed up rugby fans. But you're unlikely to enjoy a mix of local, and non-local folk/jazz/dub/rock musicians jamming out on stage a new blend of music you've never heard before.
It’s not dead, but it’s a pale shadow of what it was.
I will add one thing, and that is that so many new hardware synths coming out today have their own sequencer.
(of some sort – this seems to be glossed over, and it’d be interesting to see a few reviews compare the different sequencers, bringing that aspect alone to the fore. All I see is rows of buttons and I assume they must all be about the same as each other)
What’s happening is that individual synths are reaching out and grabbing a bit of the DAW back into themselves. Ultimately if this continues all you need is a clock gen at one end, all the synths in the middle, and a mixer at the other end. That’s it, that’s the performance. Any desire to record the event sits outside of that process, after it, added on, isolated from it.
I think this “every synth has it’s own sequencer now” is more important than I thought.
Why is this thread still not on page one!?
https://www.youtube.com/watch?time_continue=30&v=2CvnajExX-A&feature=emb_logo
https://laughingsquid.com/bar-code-reader-musical-instrument/?fbclid=IwAR27muSv06OejaDHPsWH0yUCm8nlX7KqtuVYuwI2uOmB8yhakoGlrgu0yAY
Synthesizers will replace acoustic instruments. They are obsolete.
Obsolete? They’re bloody everywhere!
Until EMP weapons are perfected or a big enough solar flare hits.
But then we’ll be in too deep shit to care about music much.
But on the bright side then we can get back to killing each other with rocks as God intended.
The endless circle of mankind.
threads like this are why i ♥ this forum
(well, along with all the info and possibilities offered by the wonderful apps)
jokes, wisecracks, mind moving thoughts
🤣🤣
QED
Nah that’s not going to happen soon. Even with scarcity of the original materials there will still be all sorts of artificial resins that will work as trombones, drums and guitars. Where I live (Oxford UK) there is a great appreciation for traditional music (I’m not talking classical) but new generations here mix stuff up to great effect.
Independently of the title of this thread which I find silly yet thought provoking I think combining the two is most satisfactory. Nothing will replace nothing.
Everything that’s magical as acoustic or electronic, and give pleasure to humanity (as long as it continues) will continue.
Yes, 100%, that's how business works.
When you can be sure that the acoustic instruments are shredded, you invent the new stream that acoustic instruments will celebrate a revival and replace synthesizers.
An endless loop of simple but working moneymaking 🥳
Of course that was not serious. As great as physical modeling has come it is still lightyears away from hearing a good player. But i adore organic sounds from synths. Sounds which has the organic vibrations, uncontrollable randomness and could be some out of space acoustic instrument
Otherwise the future looks like this (i mean i love ThumbJam).
But how knows in a decade physical modeling might be nearly 99% there but then you need performers which need to learn these like an acoustic instrument anyway.
So same thing in a new form
Futur is augmented things. Working on the creation of new instruments is obsolete cause we know we have reached a limit there. We are already able to produce any kind of noise the human ear can actually perceive. Companies are investing a lot in Virtual and augmented reality, at least for the visual things. I am sure that ”augmented listening” will be the next trend and this will open new fields of exploration for musicians who will produce musics that will be compatible with the required devices. Not very sexy but so is the futur...
I still wait for the holophone.
Perhaps we’re almost there:
Sounds really bad. But springs, not sure. I hate spring reverbs. I never heard any spring reverb making a sound better. Most obsolete FX ever.
But if you have time better build something like this. At least you also get a workout on top
God and rocks are obsolete. Synths live.
I do enjoy a @u0421793 thread. They remind me — this one in particular — of Brian Eno's published diary, "A Year* (With Swollen Appendices)." Erudite, cranky observations by a guy whose innovations may be behind him but still has a lot of shrewd, contrarian wisdom. But the best thing about it is the supplemental material. Very happy to read about imagined communities and invented traditions.
*It's a great book somewhat marred by a credulous view of the band James, the project he was working on at the time.
Ian - If you don't get some art out of these feelings then you're still need to drop another floors on the down elevators to your true potential: then it's fight, flight or just surrender to the void.
I think changes are afoot. I’m viewing stochastic, random, externally influenced as something I might allow, and perhaps let take over. I‘m feeling authorship is old hat, and might simply steal other people’s work instead, that’s valid. I like the sound of no particular planned structure, so might not bother to compose anything, simply post a few seconds here and tweet a few seconds there, every few weeks, entirely out of context.
Actually, the real and definite change that has occurred is that I will abandon my distrokid account, that’s a sad remnant imitation of the 60s way of getting the product out and sticking it to the person. Any form of faux-capitalistic “imitation record company” activity is simply not where things will be going in the future, for me, for us, for anyone. It’s obsolete.