TubularCorporation

I used to keep Insane Clown Posse (don't laugh, I spent $15 on that record less than a decade ago and it has already appreciated to about 3000% the original cost) in the tiny "cults and sects" nook of my record collection, but Juggalsm never really took off so I moved it over into the related section that has general weirdos and deviants so now they live with stuff like The Fugs, and Patty Waters, and St. Nic of Detroit, and Cicciolina, and Kim Fowley, and The Deviants. It's still a grey area, though.

Ugh, I blame chronic pain for putting me in a state where participating in INTERNET DISCOURSE seemed like a good idea. Anyway, colonialism bad. Making DAWs more flexible good, but won't actually solve anything.

Also

The San Francisco Hare Krishnas in the 70s were culty enough to qualify. This album came out about a year before Hansadutta went to jail for getting caught with a machine gun in his car. I still need to find his rock LP:

That's not really what I was talking about at all, though.

It's possible to recognize the one and still be annoyed by the other. The stuff you're talking about isn't primarily a problem with software that will be solved by changing software, it's a symptom of neoliberalism. I'd go as far as saying stuff like the article in the OP actually works AGAINST anticolonial goals. Representation matters, but hyperfocusing on a fairly niche type of representation in the way the article does is a way for the author to get clout and the predominantly white, liberal, upper-middle class Pitchfork readership to feel good about themselves for being ONE OF THE GOOD ONES, while not really addressing any of the bigger, more complex issues that would actually require taking a less marketable stance. I'm not even saying that's something deliberate on the author's part, the author is probably sincere.

Good point.

To get even more pedantic, the electric guitar was originally designed for Hawaiian slack key music and then adopted by country musicians. But the guitar in general is originally Persian, via Spain.

It's some bog standard arranger keyboard, I forget which one. A LOT of middle eastern and slavic pop music uses those. It's all about the pitch bend (kind of like classical Indian music, which is based on the same intervals as a just-intuned chromatic European scale - all the microtonality comes from inflection. If you've ever played a sitar, they're typically fretted to a diatonic major scale. I've only seen him live once and it was great but it also made me think of El Mariachi (which incidentally did a much better job of talking about the colonial nature of music technology in this clip than the Pitchfork article did*): It's worth pointing out that DAWs are garbage for classical string arrangement, too, because they don't easily allow for the mictrotonal differences in ascending and descending scales (a C# and a Bb are the same note on a piano or organ, but with something like a voice or a violin there's a lot more nuance. It's really keyboard instruments and industrial revolution stuff valved brass instruments that screwed everything up (woodwinds are still pretty capable of microtonality). DAWs are just very fancy player pianos. *also if we want to talk about colonialism, I tried to find some clips of ROMpler-heavy 90s banda music but Youtube doesn't understand the search term "banda" - not even enough to give one of those "did you actually mean.." messages, it just searches for "band" instead. I had more luck with Nortec though:

Every version of Logic since 2004 is on that list. Reaper isn't on the list but for whatever reason it often gets left off of lists in general.

Nah, blues guitar was insanely innovative technically and compositionally until it became a white people thing in the 70s. Don't let the Clapton crew detract from stuff like this:

Electro = modified Metal On Metal beat. Techno = modified disco beat.

It's also worth pointing out that the most popular electronic music in the world is probably AR Rahman soundtracks or something. You could choose any random AR Rahman OST from the 90s and chances are it outsold the total sales for the entire Beatles catalog in the first year of its release (and that's not counting cassette bootlegs).

Here's a list of major DAWs with their microtonal capabilities. Turns out other than Ableton and Pro Tools, they mostly have good support for it: https://en.xen.wiki/w/DAWs To be fair, if I was going to unironically accuse a DAW of being colonial, Pro Tools and Ableton would be the top contenders anyhow.

Here's an even bigger, but still very incomplete, list (also they kind of cheat by including theremins): http://www.microtonal-synthesis.com/index.html Logic has supported microtuning since v7.

It would be nice if DAWs made it easier to use mnemonics other than the piano keyboard, though. Colonialism is a real issue, but that pitchfork article doesn't have much to do with it. Also it's premise of microtuning and nonwestern scales being difficult or impossible to use in modern DAWs isn't exactly true.

This is a partial list of instruments with microtuning from the Scala web site (including the microtuning standard built into the MIDI spec): Alphakanal Automat Ashun Sound Machines Hydrasynth BeepStreet Sunrizer Big Tick Angelina, Rainbow and Rhino softsynths Bitheadz Unity softsynth Cakewalk Dimension Pro Cakewalk Rapture Cakewalk Z3ta+ softsynth Camel Audio Alchemy and Cameleon5000 softsynths Casio AT-3, AT-5, CTK-6000, CTK-6200, CTK-6250, CTK-6300, CTK-7000, CTK-7200, CTK-7300, WK-6500, WK-6600, WK-7500, WK-7600 Celemony Melodyne 2 ChucK crusherX-Mac! DashSignature EVE one (not two) DaTuner Dave Smith Instruments OB-6, Prophet 6, Prophet 12 and Pro 2 Devine Machine OTR88 E-mu Morpheus E-mu Proteus series Ensoniq EPS/EPS16/ASR10 Ensoniq TS-10/TS-12 Fluidsynth and Qsynth softsynths FXpansion Strobe2 Hauptwerk virtual organ HERCs series, Abakos Pro softsynths H-Pi Instruments microsynth and Xentone Humdrum hum2mid program Image-Line Harmor Kemper Digital Virus Korg M1, M1R octave tuning dump Korg X5DR octave tuning dump Korg OASYS PCI soundcard (and softsynths supporting its .tun tuning textfile) LinPlug Albino 2, Alpha 2, CronoX, MorphoX, Octopus, Organ 3, SaxLab and Spectral softsynths Manytone ManyStation, ManyGuitar, ManyOne softsynths Marion Systems MSR-2 Mark Henning AnaMark softsynth Max/MSP Max Magic Microtuner for Max/MSP and Pluggo softsynths MIDI Tuning Standard (both bulk tuning dump and single-note tuning change, 3 byte), supported in Timidity and Audio Compositor, E-mu: Proteus 3, UltraProteus, Audity/Proteus 1000 and 2000 series, Virtuoso 2000, Proteus FX, Orbit, Planet Phatt, B3, Carnaval, Ensoniq: ASR-X, MR Rack, MR-61, MR-76, ZR-76, Turtle Beach: Multisound, Monterey, Maui, Tropez, Rio MIDI Tuning Standard 2-byte octave tuning dump MIDI Tuning Standard 1-byte octave tuning dump MIDI to CSound Modartt Pianoteq 4 Modor NF-1, NF-1m MOTU Ethno 2 and Digital Performer Mutagene Mukoco, Macomate 88 Omringen Oblivion OpenMPT ModPlug Tracker Native Instruments Absynth 2 (via .gly file) Native Instruments FM7 and Pro-52, Pro-53 Native Instruments Kontakt 2 (via script file) Native Instruments Reaktor (via semitones file, frequency file or NTF file) Oberheim OB-Mx Plaka Physical Modeling softsynth Pure Data Robin Schmidt's Straightliner softsynth Roland GS & JV/XP families Roland Fantom-X6/X7/X8 Roland V-Synth Version 2.0 Roland Virtual Sound Canvas, SC-8850 Smart Electronix Foorius Spectrasonics Omnisphere softsynth Synapse Audio Orion Pro softsynth Synthesis Technology MOTM-650 Synthogy Ivory ThumbJam Timidity MIDI to audio renderer Tobybear Helios softsynth and MicroTuner VST plugin Togu Audio Line TAL-Sampler, TAL-BassLine-101, TAL-U-NO-LX TransFormSynth Tubbutec 1oh1 µTune TuneLab U-He Zebra2, ACE, DIVA and Bazille UVI Falcon VAZ Plus, 2001 and Modular softsynths VirSyn Cube, Poseidon and TERA 2 softsynths Waldorf Wave, Microwave and Quantum Wallander Instruments WIVI Standard and Professional WayOutWare TimewARP 2600 Wusik Station, Wusik 8000 and Ravernator Xen-Arts IVOR2, XenFont2 and Xenharmonic FMTS Xenharmonic FMTS VSTi Xfer Records Serum Xponaut Voice Tweaker Yamaha DX7II/TX802 Yamaha SY77/TG77/SY99/VL-1/VL-7 Yamaha TX81Z/DX11/V50 (both octave and full keyboard bulk data) Yamaha XG family Yamaha VL70m Zebra 2.0 softsynth Zefer Serum I'd say about 30-40% of the hardware I own supports at least partial microtuning, and more than half of that isn't on this list.

That portastudio was the first 4 track I ever saw as a kid, so I'm always kind of nostalgic about them even though I never had one and didn't even really get to use one. Also, excellent choice on the Behringer Space-C.

Up until somewhere int he 80s when horror went mainstream, it (and to a somewhat lesser degree sci-fi) was the only film genre that had really cutting edge soundtracks. The general rule of thumb is that film score is extremely conservative and typically lags 20-30 years behind (like, this is widely accepted enough that they literally taught us this in one of my film scoring courses in college), but for a while there horror was a rare exception. The original Texas Chainsaw Massacre soundtrack, which is all musique concrete made from nothing but tape-manipulated recordings of chainsaws, is a great example of that.

70s parapsychology stuff has such a great aesthetic, it's too bad everyone who believed in it ended up as antivaxers and Qanon followers.

Spring is the best, as long as you get a big enough tank.

Exorcist III is amazing. But we wouldn't have gotten that if William Peter Blatty hadn't been so angry about Exorcist II that he wrote a novel AND wrote a screenplay based on that novel AND directed the film of the screenplay, all specifically to retcon the second one out of existence. The second one is great too, though.

I can never track down the exact quote because I can't remember the precise wording or who said it, and 19th century European philosophy doesn't have the best SEO, but some famous old dude or other responding to Nietzsche wrote something along the lines of "I may know God is dead but what I'm afraid of is that God doesn't know He is dead" i.e. social context dictates the limits of self determination or something like that. The history of the marketing industry is about 120 years of dumping massive amounts of money and effort into convincing people otherwise, and then selling things to fill the void left between individualism and the real world. None of this is big news.

Self-as-brand has absolutely poisoned human interaction and deleting your social media doesn't help much because no matter how off-grid you go that's still the norm and you're still going to be enganged with it because WE LIVE IN A SOCIETY HUGLAGHALGHALGHAL The obvious solution is to embrace space dolphins and go full Posadist.