Right, I\'ll cut to the chase... where does it leave real talents (keyboard, drums, guitar etc..) if technology continues to progress like hellfire and in a certain amount of time giving every single NONMUSICAL person the opportunity to play like the best drummer/guitarist/keyboard player with the press of a singe button?????
Meaning where does the appreciation stays for those who can really play and compose?
Everything is getting more realistic daily (56 Stratocaster, drum series 1 etc...) but one small thing is forgotten and that\'s when you come on stage in a stadium and people see a computer that plays a concert, you are getting laughed at and not taken seriously.
So, even if you reach the level of reality even Pink Floyd, Clapton or whoever thinks it\'s real, the masses tell you .... yeah... but everybody can do ultra realistic music these days.
Your visions please, I\'m feeling that in a couple of years when computers get 50/60 Ghz we (musicians) become discriminated by our own beloved technology!
Who the hell wants to go to the Royal Institute of Music when a 4 year old child plays licks better then Steve Howe/Clapton/Hendrix with the press of a button????
[This message has been edited by pendragon (edited 02-05-2002).]
Peter, but what if the mastering becomes dead simple? we all have spend years to master the midi complexity...
Dus Peter, you think that in order to create a masterpiece the individual talent will overcome? But how are you going to present your masterpiece when globally the appreciation of computer generated tracks is close to zero?
Once again thanks for your insights in this serious subject
I don\'t think this discussion is going anywhere... IMHO
I just don\'t see a fundamental difference between
- learning to master an electronic studio for making inspired music and
- learning to master any \'old-fashioned\' instrument for making inspired music.
Both require the same human assets, like musicality, dexterity, persistence, inspiration, etc.
Peter toch, snap nu eens dat als het zo doorgaat met de software je geen zak meer hoeft te weten/kunnen of talent te hebben.
Die klote DJ\'s die heel de muziekscene verkut hebben maken megahit na megahit met hun crappy fruityloops en dat soort **** software.
Discussion is still open .....
Suppose you are a talented bassguitar player and you listen to some computer generated pieces that is impossible for you to play and has a sound ten times better then your real life bass, how do you feel?
The bassline is generated by random composition software that generates all styles, all blends and used articulations, aftertouch/velocity switching etc... Plus it\'s done by a A-musical person, how do you feel?
Pendragon, who are talking about generating random basslines using stuff like \'Band in a Box\' or something? I think only hobbyists do that, because they can\'t really compose (yet?). Anyway I agree that a rockconcert performed by a computer would not be very interesting. However, techno concerts and stuff is where you HAVE to use computers for much of the stuff, if it is stuff with a lot of things happening all the time. And in the other direction, computers have given me the possibility to fool around with orchestral film music - a style that I was brought up with through moviemaking and got interested in pretty early in my life. However I am not kidding myself and pretending to be a good composer in the way the way I regard the big Hollywood (and non-HW) filmcomposers. Eventually I would like to be able to write partially on paper, since I also thinks it makes you focus more on composition than technique. But thankfully there are people like Danny Elfman who has gotten a long way without any formal training, so I can always look at him and say \'See - it can be done!\'
No, I think Pendragon makes a good point, in whichever language he wants to express it. Millions of records are sold, produced by technicians with only a modicum of musical talent, freqently by raiding the results of talent from the past. I think this is leading to a dumbing down of the audience, a loss of appreciation for the art of the master composer and exquisite musicianship, and the \"verkutting\" of the music scene. Is this not threatening? Is the audience for real talent contracting? (I feel aggrieved by what hip-hop has done to soul music)
I think this is true in the (mass) pop market, but not in film/TV music market and definitely not for the serious music audience. It takes enormous talent to satisfy these markets, irregardless of the medium: I think anyone who can make computer generated music that has the same expressive nuance and emotive effect as a real top flight orchestra is a maestro indeed.
I think it’s the other way ‘round. The less demanding audience doesn’t know the difference between a master musician and the musical technocrat. And, because the master musician may not have a great a**, or dance well on stage, people might have to pay attention to the music itself. Attention Deficit Disorder is the disease of the new age.
These same arguments were made when the piano was first introduced hundreds of years ago. As it was then, and as it is now, talent and hard work will always be the key ingredient for becoming successful in the music business just as it is in any creative endeavor. The new technology is only a tool for those inclined and equipped to use it. However, those that refuse to embrace this new technology they will surely be unable to compete in the future just as were those that refused to accept the piano long ago.