seriously. what a brilliant disguise, using 'Tom' in both usernames...[jur] wrote:Thanks to him?TomKern wrote:Weasel words. Of course you hide your malice behind pedantic word games again.Machinesworking wrote: I think you have a slight ESL issue going on here, forgive me if I'm wrong about it, but I've never called you masochistic or patently insane, I've called your contempt of M4L and your frustration with it's development in Live being put to the forefront for all these years those things.
Fact is you needed to attack my argument with those words because you can't address them with actual counter arguments. So you ridicule them with play ground insults. Quite the class act you are.
And with the ESL again, huh?! My English is just fine thank you very much.
So you harbor no malice towards me, but you publicly divulge suspicions that you must know will get me banned again?!I've never addressed you as a person, I don't know you other than that you're obviously tomviolence, and that you have strong opinions. I harbor no malice towards you, you're only words on a screen to me.
No need to answer btw, because by the time you read this I will be banned again thanks to you (and me not hiding and thus "admitting" it to Tarekith)
Btw, play it cool and it should be fine... you know the rules.
Discussion of anything not related to audio or music production
badbrainz wrote: I'm a drummer, so I'm already at an intellectual disadvantage here
Reading this thread makes me reflect on Ableton's maturing concept of "Live". Obviously it's grown beyond the original laptop DJing thing. But to what? It's not really a battlefield for stage vs studio. I suspect it's more about "Live" being an environment for radical manoeuvres, instinctive control and exploring compositional vectors; the same modalities that electro-acoustic types performing just with Max/MSP have down... And there are a ton of those, if ever you fail to escape the arm-restraints at an EA festival. As modern electronic music so easily become sterile - so pristine, so perfect, so dead - this concept of liveness should be embraced. Ableton always had that, for composition, with its session view. I used to think they missed a trick by not linking/pooling session clips in the arrangement, like the way seq24 did it. But it's that exclusively immediate, real-time thing about session view which makes it so vital. With a deepening embrace of M4L, I think that 'Liveness' can permeate new areas of timbre, rhythm, input, etc. For posterity and practicality, there will be a point where mad scientist experiments that are made *with* mad scientist experiments get frozen, rendered, printed into arrangements. Where things become fixed, predictable, stable, sane. But until that point, it's game on.
Last edited by lowshelf on Fri Jun 16, 2017 5:15 pm, edited 1 time in total.