Re: Re: LOOPING a DRY CLEANING SHOP

[Rick Walker <looppool@cruzio.com>]

On 7/22/64 11:59 AM, Rainer Straschill wrote:
> *: linear processing means - in building blocks of the digital domain 
> - a combination of adders, amplifiers and the hallowed delays 
> (Richardson). Every sound has some sine wave hidden in it (Fourier). 
> Now using your building blocks, build a filter and get one sine wave 
> from your source sound. Feed that into a delay, then into other delays 
> which you then modulate, and modulating amplifiers after them, you can 
> do additive synthesis. And if you just use enough delays, the result 
> becomes as close to the thing you want it to sound like as you care 
> (Fourier again).


This reminds me of the humorous anecdote I heard about Aphex Twin.

Some really big band (like Depeche Mode but not necessarily them) sent 
him all their
tracks because he was the 'it' guy in remixing at the time.

He didn't like the song at all,  so he double the speed of the song 
while retaining it's original pitch
and then repeated this process over and over and over until he used the 
entire song as
a back beat sound;    wrote his own track using it and put it out as the 
'remix'.
I heard they paid him a lot of money , too.

LOL,  he had a history of this.......before he was really famous,  Trent 
Reznor sent him tracks to
remix for the Further Down the Spiral EP.    Again,  Aphex Twin (aka 
Richard James) didn't resonate
with the tracks and just sent him back one of his own tracks instead.

Reznor loved it so much that he just put it out on the remix album.
Paranethetically,  my own roady at the time,  Sue Cole was a huge Reznor 
fan and was always playing
me obscure EPs and mixes when we would have long drives to SF for 
gigs.    She played that
song for me and it changed my whole life.     Literally,  as soon as I 
could afford a PC computer I
went out, bought one and jumped into the beautiful world of digital 
sound design.

I hear Rainer when he decries that anything can be manipulated, 
digitally, rendering it, essentially boring,
  but I still think that there are very, very beautiful (and disturbing 
as well) things that can be created by either synthesizing sounds from 
scratch or manipulating sounds so that they take on entirely new musical 
context.

I think it's easy to become technically jaded because so much is 
possible,  but there is much beauty
left in our digital and acoustic world and in their potential mixing.