Sorry, this is just nonsense. Logic and Digital Performer are well-regarded, and they are mac exclusive. Pro Tools is cross-platform but doesn't really like VSTs - you have to use a wrapper. Add the fact that the top commercial plug-ins (Native Instruments, Arturia etc.) are cross-platform and it really isn't that persuasive a problem. You can pick whichever platform you prefer, and people do. I'd rather have Core Audio than Synth1.
That's fairly simple. You improvise within songs while staying in time with the click track. You have free time improvisations between the songs.
There is staying in time well enough that nobody notices, and then there is staying in time well enough that you can introduce complex keyboard and guitar sounds half-way through a song and be perfectly in time with them.
Why? Because any beat that contains more than four sounds simultaneously is not worthy to be called music? Because if something is too fast to be physically played it should not be allowed to exist? Because there is no artistic use for being able to trigger arbitrary sounds?
And yes, I can play guitar. But 'keeping in time' is not the only important skill in music. Neither is singing perfectly in tune. And if you think they are, you'd be shocked by the number of top live bands that use click tracks and autotune.
A friend of mine was likewise very excited about the DAW-controlling possibilities, until I pointed out that he could already buy a 19" touch screen for less than £200 and make a custom Logic environment or three. This has been an option for years, and very few people have gone for it... Maybe a lot of creatives just like to have their tools pre-configured and aggressively sold at them. Not completely unreasonable, but that's one heck of a premium. And this is the same guy I've spent hours with drawing spaghetti in Max/MSP to design new performance rigs... I can see a few advantages to the iPad (portability, ability to move more than one fader at a time,) but it's hardly a revolutionary step. It seems like yet another "this is the shiny new thing that will make your studio PERFECT!" On closer inspection the main thing that's "new" is the branding and support. Yes that is worth something. But I'll be buying a bigger touchscreen, and spending the change on another guitar or something.
Out of interest, how do you decide which CDs to buy and which to download?
I agree that there is an amazing amount of good music out there, and it is certainly possible to consume more than one can afford at commercial pricing. One option is to 'top-up' the paid CDs you can afford with music that is free or cheap. There is quite a lot out there, and then not only is nobody getting hurt, but nobody is getting upset either! If the majors are going to whine about your support you may as well take it to somebody that appreciates it.
At least give us a citation, I'm having difficulty understanding how a "hint" can ever be "an outright lie". "Misleading", perhaps. The conservative party were going to resist completely repealing a bill that they supported just weeks ago. Perhaps if there were more Lib Dem MPs they would have had a stronger basis for negotiation. Given their weakness they did fairly well at the negotiating table.
I really shouldn't rise to this, but... It's a "them" problem. I can play. I just don't see how that makes me more worthy than somebody who is a better composer.
This is of course the correct answer. It's important to recognise that 'live performance' isn't the right *sparkly* for every musician, but there are alternatives out there at the moment. Hopefully this will remain the case.
I wasn't expecting quite such a big response to my post, so I would add that I do agree that people aren't and shouldn't be automatically entitled to compensation just because they produce something wonderful. It's just a bit of a shame.
Those people should be buying Photoshop Elements, Pixelmator, Paint Shop Pro and other software pitched around that price point. There are plenty of alternatives to piracy.
Trent Reznor is a very talented man. What about musicians who are weak performers while a genius in the studio? People who suffer from serious anxiety problems? People whose target demographic is small and distributed across the world? There are plenty of very capable live bands out there who are having trouble pulling in big enough crowds ends meet, and we're supposed to believe that every niche electronic act can put a show together and do the same?
I'm unconvinced. Sarcasm is usually associated with exaggeration or an extreme position, for maximum effect. "I could care less" => "I'm not as dismissive as I could be" => "I do care about it but I'm not going to say how much". It's quite a broad position to take, to the point of being meaningless... If one was being sarcastic, one might say "Oh, I really care about this!" or "clearly this of life-and-death importance!"
If you watch the debate and look at the votes... They didn't even turn up!
There were 189 votes for and 47 against. 184 of the votes "for" came from the Labour party. The 9 conservatives and a handful of minority parties who showed up split more or less evenly, and 16 Liberal Democrats showed up to vote against. Pathetic, this isn't making anyone look good.
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Beat me to it. As used in Carmina Burana - 14. In taberna quando sumus
Best. Explanation. Ever.
It can mean "too complicated for us to deal with" or "too complicated for us to explain this to your puny little mind".
I actually find L's approach a strangely comfortable way to hold a phone, even if it does attract odd looks...
Sorry, this is just nonsense. Logic and Digital Performer are well-regarded, and they are mac exclusive. Pro Tools is cross-platform but doesn't really like VSTs - you have to use a wrapper. Add the fact that the top commercial plug-ins (Native Instruments, Arturia etc.) are cross-platform and it really isn't that persuasive a problem. You can pick whichever platform you prefer, and people do. I'd rather have Core Audio than Synth1.
That's fairly simple. You improvise within songs while staying in time with the click track. You have free time improvisations between the songs.
There is staying in time well enough that nobody notices, and then there is staying in time well enough that you can introduce complex keyboard and guitar sounds half-way through a song and be perfectly in time with them.
Ok, I know it's bad to feed trolls, but...
Why? Because any beat that contains more than four sounds simultaneously is not worthy to be called music? Because if something is too fast to be physically played it should not be allowed to exist? Because there is no artistic use for being able to trigger arbitrary sounds?
And yes, I can play guitar. But 'keeping in time' is not the only important skill in music. Neither is singing perfectly in tune. And if you think they are, you'd be shocked by the number of top live bands that use click tracks and autotune.
Citation? All I know is donkey.bas...
A friend of mine was likewise very excited about the DAW-controlling possibilities, until I pointed out that he could already buy a 19" touch screen for less than £200 and make a custom Logic environment or three. This has been an option for years, and very few people have gone for it... Maybe a lot of creatives just like to have their tools pre-configured and aggressively sold at them. Not completely unreasonable, but that's one heck of a premium. And this is the same guy I've spent hours with drawing spaghetti in Max/MSP to design new performance rigs... I can see a few advantages to the iPad (portability, ability to move more than one fader at a time,) but it's hardly a revolutionary step. It seems like yet another "this is the shiny new thing that will make your studio PERFECT!" On closer inspection the main thing that's "new" is the branding and support. Yes that is worth something. But I'll be buying a bigger touchscreen, and spending the change on another guitar or something.
Out of interest, how do you decide which CDs to buy and which to download?
I agree that there is an amazing amount of good music out there, and it is certainly possible to consume more than one can afford at commercial pricing. One option is to 'top-up' the paid CDs you can afford with music that is free or cheap. There is quite a lot out there, and then not only is nobody getting hurt, but nobody is getting upset either! If the majors are going to whine about your support you may as well take it to somebody that appreciates it.
+3 Informative?!
At least give us a citation, I'm having difficulty understanding how a "hint" can ever be "an outright lie". "Misleading", perhaps. The conservative party were going to resist completely repealing a bill that they supported just weeks ago. Perhaps if there were more Lib Dem MPs they would have had a stronger basis for negotiation. Given their weakness they did fairly well at the negotiating table.
Not quite the same, but still oddly familiar...
Yes. Nobody really understands why. If you use the wrong emoticon you get several pages of heavily-compressed LOLcats.
BLASPHEMY!
As opposed to the majority of Insightful posts, which "boil down to": "It's complicated."
Most things seem empty if you ignore their contents...
Never ran into one of those "I'm here for the $$$!" people at school?
Of course. They were planning to be lawyers, accountants and investment bankers. Only idiots go into a creative job simply in order to get rich.
The way I see it, businesses don't make games because of a principle. They do so because you want to make money.
Corporations as a whole, maybe. But how many programmers and artists are only in it for the money?
If only they could offer a $50 edition for people who can prove they were otherwise going to crack it anyway...
I really shouldn't rise to this, but... It's a "them" problem. I can play. I just don't see how that makes me more worthy than somebody who is a better composer.
This is of course the correct answer. It's important to recognise that 'live performance' isn't the right *sparkly* for every musician, but there are alternatives out there at the moment. Hopefully this will remain the case.
I wasn't expecting quite such a big response to my post, so I would add that I do agree that people aren't and shouldn't be automatically entitled to compensation just because they produce something wonderful. It's just a bit of a shame.
Those people should be buying Photoshop Elements, Pixelmator, Paint Shop Pro and other software pitched around that price point. There are plenty of alternatives to piracy.
Small bands should perform on smaller tours like restaurants, hotels. No matter what, if their music has wide appeal, they will get paid.
FTFY
Trent Reznor is a very talented man. What about musicians who are weak performers while a genius in the studio? People who suffer from serious anxiety problems? People whose target demographic is small and distributed across the world? There are plenty of very capable live bands out there who are having trouble pulling in big enough crowds ends meet, and we're supposed to believe that every niche electronic act can put a show together and do the same?
Sorry, but as a disinterested third party, I have to say that the position you just advocated kinda does make you an authoritarian pig:
Seconded. Due process should not depend on the victim of crime.
I'm unconvinced. Sarcasm is usually associated with exaggeration or an extreme position, for maximum effect. "I could care less" => "I'm not as dismissive as I could be" => "I do care about it but I'm not going to say how much". It's quite a broad position to take, to the point of being meaningless... If one was being sarcastic, one might say "Oh, I really care about this!" or "clearly this of life-and-death importance!"
If you watch the debate and look at the votes... They didn't even turn up!
There were 189 votes for and 47 against. 184 of the votes "for" came from the Labour party. The 9 conservatives and a handful of minority parties who showed up split more or less evenly, and 16 Liberal Democrats showed up to vote against. Pathetic, this isn't making anyone look good.