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Forums - Live / PA / gigging
Subject: Define "Live"
Original Message Date: 04-Apr-02 @ 04:21 PM - Define
What I'm on about has been touched on in a lot of threads of late. Just what constitues "live" in the sense of an electronic performance? Is playing a DAT live? How about using a DAT for backing while you play live bits over the top? How is using a sequencer all that different? How much manipulation of yer bits does it take before you're "live?"
I know there's a lot of differences, including artist vs audience perception. Just wonderin' what y'alls take on this was...
From me own perspective what satisfies my definition of "live" is no pre-recorded songs or backing, no individual sequence in excess of 32 measures in length, and doing something a little more involved than hitting a button or a knob once every ten minutes. That's not to say if you don't meet my "criteria" that you'd get no respect, far from it actually... I'm just giving out my own definition of what makes it LIVE for me, and that ain't necessarily what makes it good by any means....
Peace
I know there's a lot of differences, including artist vs audience perception. Just wonderin' what y'alls take on this was...
From me own perspective what satisfies my definition of "live" is no pre-recorded songs or backing, no individual sequence in excess of 32 measures in length, and doing something a little more involved than hitting a button or a knob once every ten minutes. That's not to say if you don't meet my "criteria" that you'd get no respect, far from it actually... I'm just giving out my own definition of what makes it LIVE for me, and that ain't necessarily what makes it good by any means....
Peace
Message 21/79 07-Apr-02 @ 11:35 PM - RE: Define
will someone describe what a jam session with electronic music would consist of? especially if not everyone can actually play the keyboards that well?
not taking the piss, just never done it
not taking the piss, just never done it
Message 22/79 08-Apr-02 @ 01:55 AM - RE: Define
textural 
or you could be like my friend gian who has several dozen x0x boxes.. what a bloody racket. textural works there too really.
also might check out some of the more esoteric functions of your modules, ie. the nord lets you trigger amp and filter envelopes with specific messages, so i could set up tracks of trigger patterns on my q80 to punch.
or you could be like my friend gian who has several dozen x0x boxes.. what a bloody racket. textural works there too really.
also might check out some of the more esoteric functions of your modules, ie. the nord lets you trigger amp and filter envelopes with specific messages, so i could set up tracks of trigger patterns on my q80 to punch.
Message 23/79 08-Apr-02 @ 05:05 AM - RE: Define
Jamming w/ electronic stuff can take many forms, depends a lot on the musos you're workin' with. For the dark ambient type jams, it's waaaaay freeform, people just go off and you look to find something to compliment, contrast, or otherwise flow with what's goin' down.
With dance stuff, it's not all that different, but you occasinally get everyone synced up to a single tempo, which makes it a lot easier to get everyone on the same page, even if they're not great keys players... but even running unsynched, you can generally "herd" the equipment in the right groove, you just have to stay on top of it and listen more than you play... even when you play....
You really dunna have to be a great keys player either. That's what arps and sequencers are for...=) Seriously, if you can wrap your head around synthesis, even one-note can become a "living thing" with a few tweaks here and there. Remember, there's no reason you have to limit your thinking to "traditional" jamming, if you can make noise, there's bound to be a place that you can provide background sound, accents, and general weirdness, all good things IMHO...
Peace
With dance stuff, it's not all that different, but you occasinally get everyone synced up to a single tempo, which makes it a lot easier to get everyone on the same page, even if they're not great keys players... but even running unsynched, you can generally "herd" the equipment in the right groove, you just have to stay on top of it and listen more than you play... even when you play....
You really dunna have to be a great keys player either. That's what arps and sequencers are for...=) Seriously, if you can wrap your head around synthesis, even one-note can become a "living thing" with a few tweaks here and there. Remember, there's no reason you have to limit your thinking to "traditional" jamming, if you can make noise, there's bound to be a place that you can provide background sound, accents, and general weirdness, all good things IMHO...
Peace
Message 24/79 08-Apr-02 @ 06:25 PM - RE: Define
yeah, jamming electric doesn't need to be like 3 hour takes of "truckin," "hey jude" or "a love supreme." think more drum circle except your djembe has a cutoff knob and a rez knob.
Message 25/79 08-Apr-02 @ 06:46 PM - RE: Define
well put. That's one good way to approach it, btu you have to listen way hard, cuz your drums can get out of hand really easily.
Ape
Ape
Message 26/79 08-Apr-02 @ 09:07 PM - RE: Define
Wow, I just realized how much I've taken my own musical background for granted - I really never suspected that people knew so little about what I've come to know as the foundation of the styles I work in. I'm not saying that to be derragatory - just never realized it before. I've played rock and jazz and big band and show tunes, played with orchestras and solo.. I suppose I never thought of what I'd done but how much I still have left to do
I'd love a jam session with any one of you cats. It's got nothing to do with ego either - I'm sure I'd learn more in 2 hours jamming with you guys than I have in quite some time.
-Craig
I'd love a jam session with any one of you cats. It's got nothing to do with ego either - I'm sure I'd learn more in 2 hours jamming with you guys than I have in quite some time.
-Craig
Message 27/79 08-Apr-02 @ 09:07 PM - RE: Define
Pongoid - listening.. You hit it right on the head. The key to improv isn't in what you play, it's in what you hear
-Craig
-Craig
Message 29/79 09-Apr-02 @ 12:15 PM - RE: Define
...and silence is the one thing an artist can't create... you can make space for it, but you can't actually manufacture it...
...course, ya know, if you had a mad crazy fast sampler with an infinite frequency range, you should be able to effectively "cancel out" all sound with a sample of itself played back in reverse phase.... that'd be cool. Anytime someone started giving you lip, you could just "tune them out..." =)
Peace
...course, ya know, if you had a mad crazy fast sampler with an infinite frequency range, you should be able to effectively "cancel out" all sound with a sample of itself played back in reverse phase.... that'd be cool. Anytime someone started giving you lip, you could just "tune them out..." =)
Peace
Message 30/79 09-Apr-02 @ 12:43 PM - RE: Define
It's funny you mention this as just yesterday on the news they said something about a project with a machine that can cancel sound, prototype is supposed to be done in about a year or three if I remeber correctly. Think I'll have that installed in neighbours' house
-M-
-M-
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