The varying qualities of modular based music and performances?

I was asked if i have any Britney whilst playing a Jungle / drillnbass set back in the late 90s.

Hang on i’ll check…:joy: :+1:

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I think the people who get on like that tend to only like electronic dance music/specific genre and not an electronic music festival/gig experience. I think they miss the point a little bit. But sure no matter what you do in life , people aren’t always going to get it. Besides , this is pretty niche stuff , I don’t think we can expect everyone to appreciate it!

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Life, my friend, is all about compromise :wink: :

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hahahahahah :joy:

needs more distortion.

:wink:

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I know there are a lot of bleep blop spaghetti synth videos out there, and at least I know one I visit sometimes because I love how it sounds:

I know this is not a performance per se, but anyway I think it’s a good one.

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I wish I could enjoy this and similar videos…I love what the French were up to at the turn of last century and I love electronic sounds but…

…I just end up hearing a great composition being murdered by lack of expression. No sense of dynamics or phrasing, just a MIDI file played through a synth.

Tomita did some great reimaginings of classics though. You can hear that a lot more effort has gone into his recordings:

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I must say I agree with you regarding that modular Debussy rendition, not my personal cuppa. tho I do very much like a lot of Ann Annie’s original work. she’s ace.

She’s a he. I found out very recently!

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oh yea, so she is :smile:

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Just listened to David Lee Roth on Joe Rogan last night, it was good…
In the interview he talks of 10 hours a day of practice/experience for 10 years for one to truly become a master of any craft. 30,000 hours plus! His dentist has 40,000 hours of experience! Haha… I’m just posting this for something to consider, please remember this is David’s opinion and not mine in case you want to rebuttal… Haha. Just food for thought…
-Your Favourite Podcasts

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Clever

Lee Roth was my idol when I was 5.

Lee Roth and Andre agassi to be exact. musta been the hairdo’s :smile:

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it may be an unpopular opinion, but I can only second that 10/10 rule. Just examine a few masters in different crafts, who can deliver steadily high quality output and you will see that there are tons of experience behind.

And after that 10 years you’re nowhere near to be done. Every craft is an ongoing adventure …

Hmmm … should I call myself jedi after 30 years of experience in my field? :smiley:

Update: But what’s most important is dedication/interest. Never think you know it all. Never stop going forward. Learn. Relearn. Experiment.

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:joy::joy::joy:
-disclaimer: I’m a comedian, this isn’t meant to offend anyone, it’s meant for laughs, I’ll mock myself if I think it’ll be funny…

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I think the Generators series is very musical, not all but most of them, even in a more traditional sense. I also think he exploits some of what is unique about modular. Whereas some use modular to basically get where you can go with a sequencer plus a synth or two.

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I don’t have anything useful to add to this thread as I think it’s all been covered however I do feel that those are sentiments worth echoing!

Reminds me of this series:

I wish the guy would still make them. How to make idm would be nice.

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I was happy to see Debussy mentioned here: his ideas should translate well into modular world. For instance, layering timbres instead of conventional chords, leaving classical rules on harmony and composition etc, but in a coordinated way, not just random patching etc.

This Debussy ‚performance‘ sounds like not practiced to the end, losing most of the expression contained in velocities and note lengths of the Midi file. The synth has so many sources of expression, why doesn‘t he map more on velocity etc., tweak the envelopes a bit… sounds like a week 3 performance or Debussy on a Cembalo (which doesn‘t make sense, requires a grand piano).

When practicing Debussy tracks on the piano with 6 weeks deadlines, my piano teacher told me a rule of thumb: 2-3 weeks to get the techniques right, no mistakes, correct speed etc., at least 3 weeks to put life and expression into the performance.

In general, I think people often stop at the ‚get the technique right‘ stage. Some more efforts and some bleeps/blops may come to life.

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What a great comment.

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