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Re: [thewire] laptop composition questions

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  • Peter Wyeth
    your point on fennesz is a interesting one. I use a mac for stuff and to me his live work does sound like he s running a couple of sound files through some
    Message 1 of 6 , Aug 6, 2003
      your point on fennesz is a interesting one. I use a
      mac for stuff and to me his live work does sound like
      he's running a couple of sound files through some plug
      ins and fiddling with some of the parameters. In
      essence i guess this is no different to soundclash
      dj's running sevens through phasers and delays, though
      technically it may not be 'computer music'. Either way
      i'm stuck with how beautiful the stuff sounds.

      mmmmm...the emperors' new clothes?


      i'm pretty sure oval uses a mac tho.
      --- "... ..." <flashram000@...> wrote:
      i think oval uses a pc. i'm not sure about that
      though. but audiomulch, in
      my opinion, is one of the better programs available
      for pc that is not a
      sequencer/tracker program that can be used for
      algorthmic compositions and
      for playing more abstracted music. audiomulch's
      strength is in its
      compatability with free VST plugins. a lot of "big"
      computer musicians use
      these. but herein lies an interesting split within
      the laptop/computer
      music "scene". fennesz has been quoted as saying
      something to the affect
      of, "people want to hear yr music. not yr [computer]
      patch." but here's
      the thing: when innovators of experimental music began
      to incorporate
      computers in making music the programming/process
      played a very very
      integral part in the overall composition. my problem
      with fennesz
      specifically - but a general gripe with a lot of
      "laptop music" - is that,
      as a musician who uses a computer, his music doesn't
      sound like pretty
      guitar glitchery. instead of hearing christian
      fennesz's patch (he actually
      doesn't program any of his own) i hear whatever
      plug-in he's using. not
      that programming ability should be the only
      prerequisite for computer music,
      but for an aesthetic approach towards music that is so
      based in "the glitch"
      and the "post-digital" it is strange to me that these
      musicians would take a
      stance where being pro-music means you are
      anti-programming. [that last
      sentence was probably the biggest assumption i've made
      all week] there are
      plenty of musicians who use laptops that don't have so
      much invested in the
      "laptop" aesthetic (merzbow, aube, john wiese, etc.),
      and those people i
      have no problem with. if yr playing a computer and
      making it sound like a
      computer i think you should at least be able to
      understand what the computer
      is doing.

      sorry for the long-winded response. i'm a musician
      who incorporates
      computer into my own music. so i have a lot of
      issues with the
      "post-digital/glitch" aesthetic.

      "This is because knowledge is not made for
      understanding; it is made for
      cutting." - M.F.

      >Message: 4
      > Date: Mon, 04 Aug 2003 11:19:37 -0500
      > From: "Kristopher S. Handley"
      >Subject: Re: laptop composition questions
      > >From: Peter Wyeth <barepierre@...>
      > >Heard a track from the new fennesz live cdlast
      > >on radio 3 - it rocks. But my question is how are
      > >these tracks put together? does anyone anyone know
      > >any links or resources to how the likes of
      > >fennesz,oval, o'rouke (admmitedly the only
      > >of 'laptop composition' i'm familiar with) actually
      > >make this music?
      > >Cheers,
      > >barepierre
      >There is a relatively new website for Fennesz, put
      together by Touch, I
      >Looks like there will be a subscription based
      membership service with live
      >recordings, etc. There are also sites for Chris
      Watson and Oren Ambarchi.
      >As for how he makes his music, the earlier stuff
      (HOTEL PARAL.LEL, etc.)
      >made with a sampler with like 4 megs of memory, a
      guitar and various
      >electronics. The music from the first Touch album
      onward is more software
      >based. He might use the program MAX-MSP
      (http://www.cycling74.com), which
      >is for the moment a Mac-only application; people like
      Fennesz and Jim
      >O'Rourke and others have used MAX a lot because even
      though the learning
      >curve is a bit steep, it allows you a great deal of
      flexibility in
      >your own virtual tools for making music a processing
      sound....you can
      >build things from the ground up. However, there are
      free programs for PC
      >which are quite similar, including Pure-Data aka PD
      >(http://www.pure-data.org/about), which will also run
      on Mac OSX, and JMAX
      Of course, there are
      >so many ways to make these kinds of textural music,
      you don't even need a
      >computer, but if you have one, there is a lot of
      freeware and shareware
      >is more than capable of helping you make interesting
      sounds. There is a
      >Windows-only piece of cheap shareware called
      >(http://www.audiomulch.com/), which is a great little
      program, really
      >powerful and intuitive, esp. for a beginner in
      digital signal processing.
      >lot of people like the
      sequencer/looper/multitracker/dsp program Live, by
      >Ableton, and the synthesis program Reaktor by Native
      Instruments, both of
      >which work in Windows and Mac OS, but both of those
      programs are quite a
      >more expensive than programs like Audiomulch.
      Anyway, that is probably a
      >lot more info than you wanted....
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