16 Jan
2011
16 Jan
'11
10:42 p.m.
On Sun, Jan 16, 2011 at 04:24:07PM -0500, Paul Davis wrote:
On Sun, Jan 16, 2011 at 4:14 PM,
<fons(a)kokkinizita.net> wrote:
it's very clear if you ask me
On Sun, Jan 16, 2011 at 09:39:15PM +0100, Jörn
Nettingsmeier wrote:
well, yes and no.
there have been quite a lot of developments in the last 10 years that
represent phenomenal improvements in workflow for people who are paid
to create music on demand. their impact on aesthetics is less clear, i guess my point is this: being a gearhead
doesn't make you a good
musician, composer, arranger or mixing engineer. most of the commercial
audio world is targetted at gearheads. it has to be, because audio
technology has been "good enough" now for a few years, so what can we do
to sell new stuff? invent bs.
An accurate summary. This started in the 'consumer' (hifi) world some
25 years ago, and today it has reached the 'pro' segment of the market
as well. and probably negative,
yes
but if you're someone who writes soundtracks for
ads, tv shows or
films, the tools available now totally outshine what was available
10-15 years ago. and that part is not BS.
True, but these are tools targeted at one particular type of output,
whatever marketing demands at any time. People are already getting
tired of overcompressed audio, re-aligned drums, and the endless
repetition of the same cheap effects. Much of this will be obsolete
sooner than you'd expect.
Ciao,
--
FA
There are three of them, and Alleline.