posted 26 July 2006 12:18            

Part 1 http://www.youtube.com/watch?v=9w5mLHv0nNY

Part 2 http://www.youtube.com/watch?v=TaYuj38I3Xg

Part 3 http://www.youtube.com/watch?v=xEnge9e90_A

posted 27 July 2006 10:45            

[btw, my favorite scene in that film is the "mad scientist" gleam in that guy's eye as he forces Bach to play faster and faster with the twist of a knob! Was that FR Moore?]

posted 27 July 2006 14:20            

The most important thing that has changed is democracy. Technology for all the people!
Today is more easy to create electronic/computer music because you don't need to have a master in programming or electronics. I agree with the narrator when he says that the composer that work with electronic music is like a painter or a sculptor because she/he works directly with the medium: the sound. That's very important.
The time and effort that you put in battles against technical issues you loose it in creativity. That's why I like Kyma, drag an icon, write a hot and you are ready (no need to connect cables like modulars...!!).

posted 28 July 2006 05:08            

quote:

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Originally posted by SSC:
Interesting to reflect that in 1983 they had oscillators, envelopes, keyboards, fingerboards, live envelope following and processing, computer-controlled analog, computer-synthesis, sampling, light pens, alternative controllers, additive synthesis, physical modelling, granular synthesis, Smalltalk-80 (those last two were not shown in the film but already existed)...

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One issue for me, is that the rate of software development and the creation of new features rapidly puts pressure on the host cpu. The latest worst case in my studio, is the update of Ableton Live from 4 to 5 which now runs out of cpu quite often, leading to a break in the creative process.

This is also mirrored by the way in which the business of software updates has evolved. There used to be free incremental updates for Logic (in the good old Emagic days) but now Apple charges €50 per .1 increment! Thus the free Kyma updates are even more appreciated and remarkable.

I wasn't making much music when the film was made - it would be interesting to know if composing practices have changed very much for composers who straddle this technological era. (E.g. the idea of working with a light pen seems so cumbersome in comparison with a mouse or a dedicated controller.) Has the creative process become smoother through easier access to countless synthesis techniques or is it hindered by the countless possiblities of their permutations and knowing where to start or end?