Forums - Music-theory
Subject: Live techniques?
Message 41/65 19-Mar-02 @ 05:32 PM - RE: Live techniques?
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Message 42/65 19-Mar-02 @ 06:37 PM - RE: Live techniques?
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so far, what I have heard of Duo Electro, marianimal sounds quite good thank you
pongoid brought something up..I DO like vocal samples..cuts, edits, whatever...then it stays in the realm of "fringe" music...
I just..one thing that irks me is that MANY of the producers I have really dug in the past all end up doing vocal tracks
and the interviews are all the same:
"I wanted to broaden my musical horizons..."
SO YOU GO *BACK* TO CONVENTIONAL METHODS? what..you think that because you threw some fucking cliche'd lyrics over the top of your watered down beats you are PROGRESSING?
fuck off with that shit. its called "MY RECORD LABEL WANTED TO GET A BETTER SECTION OF THE TARGET DEMOGRAPHIC TO BUY THEIR RECORD SO WE TRIED THE CROSSOVER ROUTE"
FUCK YOU with that shit
Message 43/65 19-Mar-02 @ 06:44 PM - RE: Live techniques?
For me the distinction between lyrics and literature is usually that lyrics suggest or poetically represent something, tending to work more in the subconscious, which is affected by symbols and suggestions; while literature is more straightforwardly expressive of the idea, and works more in the conscious mind. Of course plenty of things blur those distinctions. There's some very poetic literature, like Faulkner, and certainly a writer's ideas can work their way into your subconscious. And some lyrics are really straightforward while being poetic at the same time, like Lynton Kwesi Johnson's. Then there's epic poetry, wherever that fits in. I'm not sure I would want to dance while listening to Beowulf. Maybe though, if the bass was decent.
Message 44/65 19-Mar-02 @ 08:53 PM - RE: Live techniques?
thought a little morre about this last night...
lyrics tend to be a little more vague then say a
book or novel. in about five minutes someone
is trying to express an idea or story as
opposed to over 200 pages. that said, i think
the job of a lyricist is more difficult to express a
meaningful thought in such a short time. and
then when you factor in having to repeat parts
(chorus in some cases) it's even less time.
i guess that's what makes a good lyricist to
me. someone who can express a new idea
and sound good doing it.
Message 45/65 19-Mar-02 @ 10:51 PM - RE: Live techniques?
When I'm writing music I often feel like I want the human voice in there somewhere...spoken, a conversation, sampled and mangled, something. I enjoy music without vocals though.
Message 46/65 20-Mar-02 @ 12:17 AM - RE: Live techniques?
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Personally, I enjoy working with live musos of any sort. It can be a bit more hassle to sort out details, but it's a lot of fun to do. I've went out with as many as five performers in my crew. I've done shows with live vox, guitar, synths, drums/percussion, etc., and aside from technical details and lots of extra practice, it was worth doing..... Main thing, as with any live performance, is practice, practice, practice. You sort out the likely causes of feedback, timing, etc., and you make adjustements. Thank the darkness for feedback eliminators....=)
As for vox in trax, I'm basically with Pongoid. Vocals are another instrument. In my world, the track is god, egos mean nada to me. Thus, if "god" wants a vox, "god" gets a vox. If "god" doesn't want a vox, "god" doesn't get a vox. I certainly don't think having a vox in a track "adulters" the music in any way. Vox was probably the first instrument after all...
That said, I tend to enjoy "vocalizations" more than lyrics (and for me vocalizations can include lyrics done in a language I don't understand....). I'm quite fond of what Sheila Chandra does for instance. Very talented instrument, she is...
I do understand your take, Influx, but methinks it has more to do with the ratio of crap to the ratio of innovation. Good vox, lyrical or not, adds to a track in the same way a good synthline does. Least that's my perception.
I've been wanting to put together a tight crew to do live stuff for a long time. Just can't seem to find people who have the necessary amount of commitment and talent. I'd like to have a crew that knows enuff about the various pieces of kit that we could switch back and forth with who is doing what. Like the keys player hopping on a set of congas, or a guitarist playing keys or sampler, or a vocalist that tweaks a synth, etc., etc. Twould be fun for the players and methinks the crowd would dig it too.
And a final note about the "stand and watch" types at shows where you have live players: It's been me experience that if the groove is on, they'll stand and watch for a bit, but the if you're using the right mojo, it's inevitable, the bodies begin to move, the deed goes down, and the set is over before you realize....
Message 47/65 20-Mar-02 @ 01:48 AM - RE: Live techniques?
Message 48/65 20-Mar-02 @ 03:04 AM - RE: Live techniques?
Message 49/65 20-Mar-02 @ 03:24 AM - RE: Live techniques?
Message 50/65 20-Mar-02 @ 03:25 AM - RE: Live techniques?
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