Subject: Re: future of music essays
From: Richard Wentk (email@example.com)
Date: Sat Apr 16 2005 - 19:01:20 EDT
At 23:27 16/04/2005, you wrote:
>As for composers not knowing how their software works, I can attest that
>there's never been such a wealth of information about any application as
>there is today. A quick visit to any of the Logic, Cubase, DP, Live, etc
>forums will offer encyclopedic amounts of posts addressing problems
>related to a variety of usage of these applications.
I think a bigger problem is the sheer volume of information about the
technology, and the relentless upgrade cycle.
In Chopin's time you'd buy a piano and then ten year's later you *might*
buy a slightly better one. Today it's likely you'll have at least a few and
very possibly a few tens of software tools (including plug-ins) in your
studio. Many of them will be on an annual upgrade treadmill, and not
infrequently they'll morph into completely new shapes over a period of a
And that's not even getting into the underlying hardware and operating
There's also the issue of the musical breadth of knowledge required. In
Bach's time once you'd learned the basics of harmony, counterpoint and
simple orchestration there was nothing else to know. From then on it was
all practice. Every so often someone might do something interesting and
genuinely novel, but that was a relatively rare event. So your musical
universe really wouldn't be very big by modern standards.
Today there are tens of different genres and an entire planet of
instruments and traditions to familiarise yourself with. It's a much wider
and more amorphous environment in which to try to produce interesting work.
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