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Ed Chang wrote:
> Anyway, my theory is that 'alien/possibly great' sounds/concepts can
> sound bad even to the genius-composer at the time of creation because
> doesn't fit comfortably in his/her familiar sound-world...
Exactly, Ed. It's that uncharted territory thing. I
sometimes hear something i've just worked on, be it a loop
or something else (but usually a loop, since other
pieces and parts happen more slowly, a little more
methodically, or are perhaps more premeditated), and
i'll think, no, there isn't enough high end in this
to make it sound all nice and balanced. It sounds dull,
lo-fi, swampy. It isn't until later that i realize,
i've never heard something so damn swampy--this is stinky
swampy, and it's scaring me, not boring me. IT'S HAVING
Often a good clue early on about what is effective, what
has impact musically is when i find myself either
laughing or proverbially scared shitless. Sometimes both.
But if i can immediately sense the humor in a piece, or the
terror, these are probably reflexes to something that
doesn't quite sit easily with that sound-world with which
i'm familiar and all to comfortable.
Unfortunately, i KNOW i'm much better at the scarey stuff.
At least that's a reaction others often have to my
material, especially my looping.
Can anyone suggest how to invoke more humor in the looping
process? Either the kind of humor that brings with it
tears; or the kind that pulls out that Cheshire grin to
the listener's lips, like yeah, i get it.
Torn can do it. During the Polytown sessions, he would
pull schitt out that had everyone in the control room
laughing themselves silly. And he knew it. And i think
he may have even been aiming for that. Or maybe he was
just trying to crack himself up.
Suggestions on how to bring humor (even the nervous kind)
into the loop?