Rus White replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"Wow! I just made a whole discussion about this on another forum by asking this question:

Humanizing music or Computerizing People?

Now, there seems to be this idea that music that comes from something other than a live human is robotic (which…"
Jan 22, 2012
Joshua Morris replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"There's a recording and then there's a score. 
For a score I don't technology has had any impact on a composers ability to approach perfection in the documentation to give to a performer, only the tools of the trade have been modified. 
 
To make a…"
Sep 15, 2011
Spiros Makris replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"Software has given us the ability to listen to things in an exact way- a 13 note tuplet over 4 notes has never been more precise-and yet so boring. Because this is what makes a performance-the human behind it. Even for instruments easier to capture,…"
Jul 3, 2011
Mike Leghorn replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"That's excellent advice Lennart. I think I'm going to try that in the near future.
 
MikeLennart Östman said:
I sometimes quantize everything when composing , and then replace the quantized music with unquantized when the composition is finished.…"
Jul 3, 2011
Lennart Östman replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"I sometimes quantize everything when composing , and then replace the quantized music with unquantized when the composition is finished. it's sometimes very good to separate the composition, the recording and the mixing phases, even if you use your…"
Jul 3, 2011
Mike Leghorn replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"I've struggled with this in my electronic compositions. I find that perfectly quantized music is easy to edit and work with in general, i.e. you can copy it around to various tracks, stretch it, shrink it, etc.. (I'm talking about MIDI here). I've…"
Jul 3, 2011
Beth Patterson replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"I struggle with my music sounding 'rigid'. It happens all the time - very frustrating. On the other hand, if it wasn't for the mass of music software available, those of us who will never have a career in music, doing what we love doing would never…"
Apr 26, 2011
Doug Lauber replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"Very true, Jerry.

Jerry Gerber said:
I dislike the term "mockup". The term "MIDI Mockup" came into being in the 90s, when film directors couldn't imagine what an orchestral score would sound like when a composer would play it on the piano.  The…"
Apr 10, 2011
Doug Lauber replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"Everything I do is within a tempered scale. ...and perfect time sounds too rigid. Now a perfect concept is a worthwhile goal."
Apr 10, 2011
Lennart Östman replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"Another important question is what kind of music are we talking about? I know that a lot, if not most people in here are into orchestral music and spotless digital mockups, but the idea of a "perfect" Bruce Springsteen recording is somewhat…"
Apr 9, 2011
Simon Godden replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"   "Can a being be omniscient? A hypothetically omniscient consciousness would, by definition, never know the experience of not knowing. Similarly, one can only arrive at the conclusion that "not knowing" is not a part of knowledge, but rather of…"
Apr 8, 2011
Lennart Östman replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"True! A lot of the problematic stiffness in a sequencer recording comes from the tone itself having a very limited variation. If one could build an electronic instrument that had the same ability to vary the tone as a acoustic instrument have, it…"
Apr 4, 2011
Lennart Östman replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"A melody is a melody, but the performance of it can make a huge difference. It's all those small nuances and shiftings in timing that makes a melody come alive. If you record it in a sequencer and quantize it, you will flatten it to various degrees.…"
Apr 4, 2011
Doug Lauber replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"Good ideas. I find it difficult implementing tempo changes. I need to experiment and work on that area."
Apr 3, 2011
Doug Lauber replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"I agree totally, Lennart.  I also use a similar quantization strategy.  A good groove is always a little bit loose, sloppy... Today's music technology is a collection of amazing tools."
Feb 6, 2011
Lennart Östman replied to Bill Ricci's discussion How much imperfection should we allow in "perfect" music?
"Recorded electronic music can be quantized and fiddled with to death. Music is something organic and there is nothing to state that electronic music can't be organic too. I never quantize anything to 100% because then it will not be organic any…"
Feb 5, 2011
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Comments

  • GREAT Works
  • Hi Bill Good work I like your ideas. Stay Creative!
  • Deep, quiteness, full of positiveness, energizing & joyful! great work, Bill!
  • Yea, the blues is in my soul for sure. I taught myself harmonica, play piano, drums, and I sing. Sing primarily and piano as a secondary (right now, a year ago I would have said harp was my primary). I'm just starting to 'compose' really. I mean I've got my share of songs and progressions, but I am just now starting to think about parts and notation and whatnot. I've been much more about improvising than composing up till now. But yea if it grooves or has soul I'm a fan of it pretty much...funk, fusion, swing, big band, latin, r&b, etc. Right now John Medeski is my lord and personal savior, he's just like on whole other plane of existence ha. Let me know next time your in and I'll try and make it out to see you. Theres a bunch of bars in my neighborhood too, I could try and set you up something if you want... At the very least I could tell you my opinion of the better bars to play and do some grass-roots type promo for ya. Cheers!
  • Hey hey Utica! I like your stuff very tasteful on the melodic side, very tasteful. You gig in the city much? Your probably out to the quad cities a lot too. I used to go to school in D-port.
  • Hi Bill, just listened to ''Jack's Planet'' (now on ''Around Third Movement''). When you say you've gigged for the last 10 years, am I right in assuming that you're a drummer. The middle section of ''Jack's Planet'' is very detailed percussion-wise and really lifts the melody. It sounds as if you really know your way around a trap-set. Although it sounds very incidental (which I think is possibly your intention as you say you wish to be a media composer), I enjoyed it. It is certainly original, with some great poly rhythms. There wasn't really enough of ''Around Third Movement'' to get to grips with, but I look forward to hearing more of your work as time passes.
  • Thanks for the add Bill. I'll take a listen to your music when I have time. Feel free to listen to mine whenever you have a spare moment. I'd be happy to know what you think.
  • The final recording device is a 24-bit sound blaster, but all my synths and effects are patched with 1/4 inch cables through a Mackie mixer before being sent to the computer.
  • All the music and effects are produced by hardware synthesizers and digital effects units. The only 2 things I use the computer for are the sequencing / notation software and to record the final track for release. Both the Roland D-20 and the Roland VJ-1080 produce some nice analogue style sounds, and I used both synths in "Soames Hill".
  • Thanks Bill, I appreciate your kind comment. =)

    Your music is nice and relaxing, kinda reminds me of Kitaro infused with a little Tangerine Dream or Animusic a bit.
    ~ Jason
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