Re: Le matériau Sonore, hidden place

Subject: Re: Le matériau Sonore, hidden place
From: Morgan Sutherland (
Date: Mon Sep 12 2005 - 23:32:12 EDT

Sometimes I wonder about this also. As a musician myself (a lazy
procrastinating one at that),
I however find it hard to concentrate on texture. I think one of the main
reasons for this
is that the equipment that most of these artists use is not geared towards
exploring and
pushing the limits of sound. For instance, it's hard to do inventive things
with a basic 1 oscillator
subtractive synth. You mention composers stuck with instruments, however
they do not have a
set number of sounds defined by variables, they behave erradically based on
how they are played.
Also, these musicians often combine their instruments while electronic
musicians work alone. As far
as IDM is concerned, a lot of people also have fetishes for "analog sound".
Electronic music is very
similar to rock music in that most rock bands aren't pushing the limits of
they are trying to make there amps and guitars get "that sound", something
unique that sounds great,
but not terribly different. Other electronic musicians have a fetish for
other sounds, for isntance, the label
Tigerbeat6 is completely based around a fetish for a combination of digital
degredation, retro, and other things.

I know what you mean however. I'm dissapointed with the lack of attention to
detail in even those who are
considered to be "pushing boundries". Another thing I see is people pushing
boundaries, but forgetting the
entire purpose of doing so! Much of the reveared "noise" I've heard loses
site of the goal of sounding good,
cool, or anything other than "trying to hard" or simply being annoying!

I think everybody can be in agreement with the fact that computers are not
at all being used to their potential
in regards to music.

On 9/12/05, Louis Dufort <> wrote:
> I've been buying a lot electronica (minimal, IDM, microsound, electronic
> experimental) music in the last few years and one thing that's strike me
> most, is the lack of interest for the sound. The musical ideas are
> sometime
> great, but I do miss (and this is mainly why I don't buy as much anymore)
> the sculpting of the sound, it's organic unity, it's texture, it's
> malleability. I'm just trying to understand why those sound artist are
> missing out on this?
> Could it be mainly due to the fact that the "electronica" music scene is
> much more aware of the Electronic Music tradition that the French music
> concrète?
> About 2 years ago I started to get into instrumental modern music (musique
> contemporaine) and I found that those guys are much more pushing the
> limits
> of sound material than any experimental electronic artist, me include.
> Is the computer, and it's unlimited software and possibilities just made
> us
> forgot about the essential? The instrumental composer are stuck with their
> acoustic century instruments, but still have to found ways to make it
> sound
> different and since tonality is no longer the main drive, they really have
> to search some nice combination to make it happening.
> Is electroacoustic music is in it's golden age? What would be the next
> step? Is the surround format could have any part in the renewing of our
> sound pallet bringing more intimacy with the sound and by the same way
> bring
> more sound immersion?
> louis

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