4 ms·

I'm not saying anything negative about repetitive music. I'm saying that tools like live coding are going to constrain the kind of music you can produce reasona

by solomonb 10mo ago

I'm not saying anything negative about repetitive music. I'm saying that tools like live coding are going to constrain the kind of music you can produce reasonably.

tialaramex 10mo ago
I mean, sure, art has constraints. My sister likes to work with [checks notes carefully to avoid the wrong words] old textiles. This of course constrains the kind of art she can make. That's the whole point. I see live coding the same way as the harp, or a loop sampler, an instrument, one of an enormous variety of tools which you might find suits you or not. As performance I actually enjoy live coding far more than most ways to make music, although I thought Amon Tobin's ISAM Live was amazing that's because of the visuals.
- bigiain 10mo ago
  I saw Amon Tobin about 15 years back. Still one of my favourite shows ever - and I see a _lot_ of shows. And year, your music tools/instruments constrain you. There are only so many music genres you can reasonable play or compose on an acoustic guitar. Or an oboe. Or modular synths. I suspect it's _possible_ to compose and play altrock or country music using live coding instead of a guitar - but why would you?
  - egypturnash 10mo ago
    Bleep country feels like it's maybe an idea that could go somewhere.
  - defrost 10mo ago
    > but why would you? For the end result .. which we've yet to hear. Before it landed a country(?) banjo(?) cover of Eminem's rap classic Lose yourself was a but why would you. And then Kasey Chambers owned it.
    - tialaramex 10mo ago
      I have to say that I still feel the same way about a country cover of "Lose Yourself" after listening to it. I've never had great love for country, but then I'm not a huge rap fan either, yet to me that cover/ version is only good for the same reason as the original, lyrically this still works even if I don't believe Kasey whereas I did believe Marshall, that this was (or at least seemed) their only way out, but, nothing new was brought to the table IMHO. Johnny Cash's "Hurt" is an example where the performance was transformative. Reznor's "Hurt" is a song by a 20-something addict feeling sorry for himself. However Cash is a man who knows he actually doesn't have much time left†, and so almost identical lyrics ("Crown of shit" is changed) feel very different. † Cash died about a year after his recording was published.
      - defrost 10mo ago
        The point of the comment wasn't to persuade you to like a particular cover. I'm only aware of it myself because of an unusual number of vocal coaches being overly enthusiastic about it. "Country" is a an odd label for it given the transition midway. The thrust to the comment was to remind the GP to not limit their expectations about what others might do. You yourself highlighted Cash's cover as something you deem of value, it's another example of an unexpected product. Live coding my or may not progress in any particular direction or genre, I'd prefer to not make any predictions myself and leave open the possibility of being pleasantly surprised.

I'm not saying anything negative about repetitive music. I'm saying that tools like live coding are going to constrain the kind of music you can produce reasonably.

tialaramex 10mo ago

I mean, sure, art has constraints. My sister likes to work with [checks notes carefully to avoid the wrong words] old textiles. This of course constrains the kind of art she can make. That's the whole point. I see live coding the same way as the harp, or a loop sampler, an instrument, one of an enormous variety of tools which you might find suits you or not. As performance I actually enjoy live coding far more than most ways to make music, although I thought Amon Tobin's ISAM Live was amazing that's because of the visuals.

bigiain 10mo ago
I saw Amon Tobin about 15 years back. Still one of my favourite shows ever - and I see a _lot_ of shows. And year, your music tools/instruments constrain you. There are only so many music genres you can reasonable play or compose on an acoustic guitar. Or an oboe. Or modular synths. I suspect it's _possible_ to compose and play altrock or country music using live coding instead of a guitar - but why would you?
- egypturnash 10mo ago
  Bleep country feels like it's maybe an idea that could go somewhere.
- defrost 10mo ago
  > but why would you? For the end result .. which we've yet to hear. Before it landed a country(?) banjo(?) cover of Eminem's rap classic Lose yourself was a but why would you. And then Kasey Chambers owned it.
  - tialaramex 10mo ago
    I have to say that I still feel the same way about a country cover of "Lose Yourself" after listening to it. I've never had great love for country, but then I'm not a huge rap fan either, yet to me that cover/ version is only good for the same reason as the original, lyrically this still works even if I don't believe Kasey whereas I did believe Marshall, that this was (or at least seemed) their only way out, but, nothing new was brought to the table IMHO. Johnny Cash's "Hurt" is an example where the performance was transformative. Reznor's "Hurt" is a song by a 20-something addict feeling sorry for himself. However Cash is a man who knows he actually doesn't have much time left†, and so almost identical lyrics ("Crown of shit" is changed) feel very different. † Cash died about a year after his recording was published.
    - defrost 10mo ago
      The point of the comment wasn't to persuade you to like a particular cover. I'm only aware of it myself because of an unusual number of vocal coaches being overly enthusiastic about it. "Country" is a an odd label for it given the transition midway. The thrust to the comment was to remind the GP to not limit their expectations about what others might do. You yourself highlighted Cash's cover as something you deem of value, it's another example of an unexpected product. Live coding my or may not progress in any particular direction or genre, I'd prefer to not make any predictions myself and leave open the possibility of being pleasantly surprised.