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ZeroZeroZero

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  1. Upon reflection I'm really seeing the Truth in this. I was reviewing some quick phone recordings of tracks I did during the quarantine and I was amazed at how quickly and distinctly my life energies were made present. Like all these subtle parts of me from that time (feelings, expectations, etc) were in the music and I had forgotten about them until I saw the video. It was striking. It makes me consider if one can really decide what one puts into their music? I assume that putting together an album (like the above first post) must have SOME type of road map, but that is an assumption on my part. Those albums are a high bar in my opinion and it's easy to think that when falling short in the pursuit of making art at such a level that I might be "missing something". But this can start to sound like whining to me and I don't go there. I'm just really curious to hear from composers with top level experience (especially the ones using tools like computers that are basically infinitely abled, like you find in electronic music) what all they do to to keep things sounding cohesive enough to be called an album. I would honestly be amazed if it was secondary to the song creation process itself and more of a byproduct. Anyway, I hope this conversation more fertile than futile.
  2. I've been obsessed with this music for like 2 years. It's masterfully done.
  3. I've set a few conditions for myself like this. Such as exactly what you described above. Then also certain hardware choices etc. My Interest is really in compositional choices and restraints. Musical forms and any other number of musical variables one might assign to oneself as parameters. For those of us with experience and who find value in such a methodology. As technology doesn't restrict us the way it used to I've noticed a tendency to think that "this makes anything possible" yet in practice there are actually only a handful of identifiable compositional approaches I end up taking (unconsciously) when working without formal intention. So my thoughts have turned back to the music that inspires me and I wonder how much intention was being put into it upfront (sans gear and method based restrictions) and if there was perhaps however many sub layers of logic to it and how they interact to bring about cohesive musical playgrounds as opposed to idiosyncratic pieces. Or if not, also. For instance *for the next 3 months I'll use rhythms and song forms lifted from seventies funk *I'll use the harmonic language of Debussy how and where I can *Use conciously restricted pallet of sounds or instruments *I'll use a mix approach from 60's psyc rock Then track the results like a chemist or researcher. Hopefully synthesizing something with breadth greater than the "song". Maybe in some years I could find territory that I could uniquely occupy. Or maybe I'm lost in my mentations wasting precious creative energy.
  4. I like the "just do it" attitude this answer embodies. I really think there's something to that. This is why I ask experienced members to chime in though(not that you're not, just that's my line of thinking). There must be real practical aspects of the craft at play and I'm wondering how much the pro's are cogitating on that level. Or is what I'm looking at purely byproduct, and a waste of time to develop personal theories towards this aspect. I'm an INTP and can't seem to escape the need to theorize about almost every such thing.
  5. right on There must be something about the cultural movement pictured that people find value in. I keep seeing it crop up around me. Also I appreciate the thoughtful responses in this thread. Quality. ?
  6. This is what I have been doing and my results are so disparate. Thus now I'm thinking maybe with intention I can try to identify some quantifiable boundaries (in musical form, equipment, methods) that would be helpful. Maybe I'm balking at the length of such a path as having to experiment my way through it can seem daunting. I'm considering how it might be fortuitous to discuss why and how people consciously choose (or otherwise) to set up those boundaries. Although this ^ is also true and I'm thankful for your sharing. Would you elaborate on this?
  7. Something that's been turning around in my head for a while. what kind of parameters are addressed when trying to keep cohesion on an album level. Some examples So I take it as naturally occurring (from experience) that inside of any musical (or any artistic) form an artist chooses to work in, their idiosyncrasies will naturally present themselves in terms of their "voice" or what have you. But, I can't help wondering what kinds of considerations are going into keeping the tracks that one writes in some sort of stylistic bounds enough to constitute cohesion on the album or larger level. The above albums as examples due to their distinctness and contrast. Also as using the aforementioned as opposed to some of Richards stuff as I think Tom's is much more rooted in traditional musical orthodoxy and this is why it's so easy to get the "sounds like Aphex" feedback the further you go from the more maybe standard forms. People who have accomplished or are working on this would you mind sharing? How can or does one consider this? Strict rules about timbre, song form, and mixing? Perhaps people use other albums as templates to apply their visions of music over? Or perhaps for you it happens naturally through sheer quantity of output and recognition of patterns? I'd love to hear from some of the more experienced members. Suggestions for possible reading on this topic?
  8. I think I've resolved for me to just be more intentional whenever I get into my studio. The Problem of missing all these little goodies like potential samples, takes, instrumental playings and the like would probably be resolved easiest by just remembering to always hit record. Probably quicker than editing out all the fluff.
  9. wow, thanks for deep diving! Yeah the sound of it is absolutely great. Why it's hard to imagine going backwards in terms of quality for this one feature. Sometimes diligence is the only way forward! There's also stuff like this https://maxforlive.com/library/device/7331/auto-record Which if I wanted to keep the laptop open and running... I don't. But it's an option also
  10. @J3FF3R00 Have you used that zoom unit? I am currently using a Sound Devices Mix-pre 10m and it's got a great sound.
  11. There's an idea! I'm just so sporadic sometimes. Like I leave my gear all set up and it's hardware only. I'll be on my way to bed. stop off and hit play, jam through some mutes and like THERE IT WAS. I'll get a process dialed in at some point.
  12. I like to keep a recording box hanging off my mixing desk. only problem is I keep missing the record button when I come back from a break or what have you and lose that un repeatable take. Or I forget to turn off record and I have these huge files to deal with. I emailed the makers of mine but we will see how far that gets me. Anyone know of something with good audio quality AND sound activated recording?
  13. what a cool vid. Yeah I was stagnating because I wouldn't want to drag my entire setup out to do a gig, but then wouldn't want to simplify my tunes (I really enjoy heavily edited and intentionally complex stuff) just to stem them out or whatever. I'm realizing though I could mix live "jams" with dj elements. They don't have to be one and the same. This is great advice! thanks.
  14. wow. I'm actually surprised to hear that. Nice work!
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