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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  • Hi bill, how're you? I hope you're fine! It's no problem to give you some audio files. Most projects are finished. Next day I will upload new music regarding film music. Tell me what scores do you like. Then you can download the audio files from my website or via e-mail. Regards Ben
  • Hi Bill! You're welcome :) I use a combination regarding real instruments and libraries. The main problem with libraries is that it sounds sometimes "perfect". But real instruments "live & breath". Sibelius 6.1 is my notation sofware; Cubase 5.1 myDAW. Most sounds are arranged in respect of EQ, Reverb and Plugins like Limiter, Compressor, etc. The piano sound with the single vocal line is a real steinway grand piano Regards Ben
  • Hi Bill! Thanks for your kind words. In every score I try to use my own language. I like your work as well - very gentle and sensitive. Keep up the good work! Which libraries do you use in your scores? Regards from Muncih, Ben
  • That patch is sweet. Excellent patch design and your use of it is great- not too cliche at all. It's nice to hear a synth used in a such an organic way. and Thanks for appreciating my work. -doug
  • Welcome aboard! What is that lead instrument on the tune you posted?
  • Welcome to the Composer's Forum!
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