Re: Re: Is the Karma any good to...

Hi Eric
You know I had just heard about prepared piano recently regarding the so called
avante gard musicians that modified standard instruments.  That must have 
been fun.
When I was young, I had a cheap Farfisa that well was so tinny that I could 
not play it long, so I got
a guitar buddy to put it through his echo plex. Reverb and sustain all at 
once, hmmm it was good.
We did Santana like music and it was fun.  I do agree with you on the real 
instrument stuff.  For me
my small accordions not only give me music satisfaction but the resonation 
of the sound from the box
on my chest is also another funny high.
Thanks for continuing this part of the thread a bit more.
Greg
At 09:53 PM 7/16/2005, you wrote:
>Thanks, Greg.  That's fairly well how I think too.  I remember
>experimenting with an old piano.  I put thumb tacks into the hammers
>and dropped aluminum foil behind the strings where the hammers hit
>and I even detuned strategic strings. Added a few beers to the belly
>and stayed up all night recording to an old wire recorder.  What an
>experience.  But when synthesizers came out (I started with the old
>Juno 6), it was amazing. I found my new toy. I didn't want to
>replicate real instruments.  I was in love with synthetic sounds.
>Now that doesn't mean I won't or can't appreciate virtual
>instruments.  They have their place in my scheme of things, but they
>are not the here all and end all.  Finally, nothing replaces
>strapping on an old worn Honer accordion and jamming away seated
>facing into a corner for stereo effect while playing long
>minimalistic passes - intoxicating....LOL
>Cheers,
>Eric
>
>
>
>--- In [email protected], Greg Krouse <gkrouse@s...> wrote:
> > Hi
> > Eric you are the consummate even voice on this.  The deal is
>pretty
> > simple.  It is about what you plan
> > to do with the music.  If you are trying to mimic traditional
>instruments
> > then going to an instrument that
> > has great samples makes sense. But for me the name of the
>instrument tells
> > all: synthesizer.  I have had the
> > wonderful opportunity of hearing composers who take their
>instruments to
> > new depths because they understand
> > as traditional performers that you have to find the means of using
>a voice
> > appropriately.  My first exposure was listening to
> > composers who made music for modern dance and it enthralled me.  I
>have
> > never forgotten the personal deep space I found myself in .
> > Meanwhile good old Eno came out with Music for Airports. I have
>gone to
> > different planes on his repetitive music. It is like the
>simplicity of
> > say music of a great vocalist with a minimalistic band.  At the
>same time
> > one might seek complexity.  The key is
> > to step beyond the thrill of so many voices and develop a musical
>image of
> > what one wants and then to go for it.
> > For me the synth is about taking unnatural voices (not generated
>in a
> > traditional way) and finding a new path. Clearly
> > we will go down similar paths of rhythm but there are new sounds
>to be
> > found.  It is again the difference between
> > a great composer of synth sound and one who applies it to
>traditional
> > music.  Pat Methany has created a synth sound
> > that is unique but can be compared to elevator music for those who
>are not
> > listening. His music is so tight one can say it
> > was programmed yet it is not other than arranging Midi postions to
>move
> > through.  I have seen art that looked like paper bags crumbled.
>The art
> > teacher told a student tap the bag. It rang as it was ceramic.  So
>what you
> > might say, why not get a paper bag.? It is about being able to do
>it. The
> > fact that Metheny and others can create that music right now
>anywhere is
> > impressive to me.
> >           I have heard Digeridoo players who play traditional and
>others
> > who go elsewhere with the instrument.  That for me is what a synth
>is
> > capable, yet it is also an incredible tool for realizing a
>compostion or
> > hearing something that would take lots of rehearsal or could not
>be heard
> > without lots of great musicians.  I am anxious to hear the music
>that has
> > flutes that sound like flutes but frankly, for this medium, this
> > only minorly impresses me as I have friends who play flute, guitar
>and
> > pianos that well sound great together.
> > But each instrument has its unique way of pushing it, making it
>ambient,
> > stretching a note, adding vibrato, bending it down, plucking it
>etc. It is
> > all about what you want to do with your Synth.  For me personal,
>it is
> > about realizing music in my head that is traditional but I do not
>have
> > musicians clamoring at my door and it is about exploration down
>the new
> > voice and new application path. If I can give my friends a window
>to the
> > music in my head through a synthesizer so they can get close to it
>without
> > the hand waving and replays, that is what it is for me. Imagine
>what it was
> > like to pick up a new instrument, like the saxophone or the flute
>before
> > anyone used it? That is what this instrument is about to me.
> > Yes I understand the timing, the percussion, the standard bass,
>etc but for
> > me it is about surpassing that and exploring to do what?
> > Make novel music, become the new wizard of tunes or just to
>explore? For me
> > it is the last.
> >          Finally, I do not understand what you are trying to do by
> > comparing the other keyboards here. We all got our instruments
>because we
> > like them.  It is like coming into a Mormon church and trying to
>convert
> > everyone to become Jews.  Why? Obviously those who are Mormans are
>settled
> > in their church.  One might get a few who are not settled but why
>disrupt
> > the rest who are content? I am settled in my synth.
> >          Thanks however for giving us sites to listen to.  This is
> > inspiration, to hear different ways these instruments are used.
> > Greg
>
>
>
>
>
>Yahoo! Groups Links
>
>
>
>



 
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