Inspiration

conny · Post by **conny** » Tue Feb 15, 2005 8:27 am

About GW
http://www.location1.org/artists/whitehead.html
Thanks for the tips.
// C

conny · Post by **conny** » Tue Feb 15, 2005 9:10 am

supster said:
"The credit is not taken for the inspiration, which is a gift. The credit should come for consistantly recognizing the 'good' inspiration from the merely ok, or even crap" - agreed. And that ability to recognize is a matter of work, of time, of learning, of knowing your self, of being receptive - right?
As for Live, as you mentioned, things may fall into place very fast. Good. But also a possible trap because when it's there I may get stuck with it sounding promising "by itself" but I did not take all the steps "myself" to get there and then it can be tricky to go further for me at times.
[Edit: Not blaming Live, blaming myself.]

// C

supster · Post by **supster** » Tue Feb 15, 2005 2:40 pm

conny wrote:... a possible trap because when it's there I may get stuck with it sounding promising "by itself"

but I did not take all the steps "myself" to get there and then it can be tricky to go further for me at times.
[Edit: Not blaming Live, blaming myself.]

// C

hmm think I lost you there ..

what i was saying is that everything (i think) starts with the abililty to recognize what you're hearing and make choices on it.

for instance: a note is either in tune with a chord or not.

1

If you can hear the difference and tune it, you are hearing whats there and making a choice

2

you can choose to leave it and keep it dissonant. If that 'works' for what is going on, than fine. leave it out of tune

3

you can also be someone who really doesnt hear the fact that the note is out of tune.

The difference between #2 and #3 is - if you are making decisions to leave things dissonant and you do that consistantly it is probably part of your 'style' and you might end up with some interesting music

If its #3, you still might ... but more than likely it will be just noise because all of your decisions will not be based on much musical skill

Its the case of #1 ... regardless of how you arrive at a sound coming out of your speakers ... do you just "know" whether it is right or not, or does
it need to change somehow?

doesnt matter how you arrrived there .. its recognizing what you have and deciding what needs to be done.

am I making sense?

conny · Post by **conny** » Wed Feb 16, 2005 9:48 am

Sense, yes, and so it is. Maybe I was talking about something about energy or endurance. As you put it, it's lika a project you take from start to end making decisions, listening, judging. I was kind of sidestepping into the realm of actually taking the steps or letting things remain in the "OK" or "interesting" state, which in my experience may arrive quite fast with Live (and me). So then it comes to if that state will "inspire" me to go further with things at hand.
Taking a jump between sets may be a way to get loose (it ought to be easier to do such exchanges between sets...), to slaughter a set is another way, messing it up and then reducing the remains to some bare bones, a single, broken tooth.

onnomon · Post by **onnomon** » Fri Feb 18, 2005 12:37 am

It's amazing how things you've captured on tape (DAT in my case) can be coerced into a viable musical form. The thing I love about Live is that there is no piece of audio I can't shape into a rhythmical form- much of my music has a strong rhythmic component. My favorite thing is to capture large ambiences, such as at airports and train stations- a sample with it's own built-in reverb. Recently exploited the Tel Aviv airport and it's noisy elevator! By using unlinked envelopes on the clip volumes I can get very organic rhythmically phrased parts which repeat very little...even without having to use the warp markers.

Recently i've found myself doing most of the sound-design and arrangement using Live rather than my old Logic workhorse. Can't get as many tracks out of Live yet (compared to Logic), but there are ways to sub-task (by rendering and creating a separate Live set to create new part overlays, then fly them back into the original...basically another palette).

-dz

conny · Post by **conny** » Fri Feb 18, 2005 9:56 am

Yes, I found Live to be the tape machine I could just dream of when I only had a 4 track cassette porta. Now I dont have any live recording equipment so I "tape" from films and various other sources. But I feel I got to get it in from the real world soon, it's also a good reason to take yourself out for a walk.
So, what's best? Haven't heard of DAT's for a while. Do people use video cams nowdays? A small recorder with USB seems the best choice but the mics have to be pretty good. Any suggestion?

// C

Liam · Post by **Liam** » Fri Feb 18, 2005 5:05 pm

There is a hilarious mp3 featuring The Troggs in a studio receording session. Unaware they were being taped.

Go to Negativeland web site and search for that.

Its a large file but worth a listen.

The file does contain some mild language.

If you are easily offended by the occasional profanity do not go there!!

Inspiration

Inspiration?