mudpeople
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Posted : Aug 20, 2011 19:06
I just don't understand how someone cna stand onstage for a full set, pretending. Seems like a lot of effort without a lot of enjoyment, I mean, personally, I'd rather be messing around with stuff than standing there with proverbial thumb sodomization
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Trevon
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Posted : Aug 20, 2011 21:43
imo the artist should try to add something new, when possible.
people go for the emotion of knowing that a big producer/big name is behind the decks playing stuff for them..
personally I demand quality from the top artists.
Lale
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Posted : Aug 20, 2011 23:26
Quote:
On 2011-08-10 19:20, zero_the_hero wrote:
Quote:
On 2011-08-10 07:42, jonsta wrote:
Faking that live act like steve angello did is good but faking the producing is even better
The best is faking a whole concern and make a lot of money:
rofl
daio
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Posted : Aug 23, 2011 18:24
Quote:
On 2011-08-20 15:55, vector_0 wrote:
if you went to a showing at an art gallery for your favorite painter would you expect him to paint all your favorite pieces in front of you while you?
it takes months to make a good track, so just enjoy that you're hearing it on a big system. when electronic artist try to actually make music live it usually sounds like shite.
well if they can't do nothing in a live set they could just dj one,for just doing something!in other scenes like dnb for example the term live is rare.artists come to mix various styles and throw their tunes inside!
Colin OOOD
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Posted : Aug 23, 2011 18:45
Quote:
On 2011-08-20 13:03, Kryten wrote:
From the other side I can understand the critics very well, if someone is labeled as Live on a gig, he should be live. I dont know how much the payment is different between dj&live but its just unfair for those who don't fake it.
It's difficult to be exact because fees depend on the event and the artist/DJ, but it's not uncommon at all for live acts to be paid 10 times what a DJ gets.
Quote:
On 2011-08-20 15:55, vector_0 wrote:
if you went to a showing at an art gallery for your favorite painter would you expect him to paint all your favorite pieces in front of you while you?
Of course not. Painting /= music duh! However, if I was there because I'd been told my favourite painter WAS going to be painting live, I'd want to see him painting live.
Quote:
it takes months to make a good track
Er... actually sometimes it only takes a weekend.
Quote:
when electronic artist try to actually make music live it usually sounds like shite.
Upavas
Upavas
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Posted : Aug 24, 2011 02:10
Quote:
On 2011-08-20 19:06, mudpeople wrote:
I just don't understand how someone cna stand onstage for a full set, pretending. Seems like a lot of effort without a lot of enjoyment, I mean, personally, I'd rather be messing around with stuff than standing there with proverbial thumb sodomization
Tell that to Gil, he does it 24 hours in a row
I am going through this process right now, as I am thinking of how to make my live set happen.
I don't want to be the dork who stands next to a controller that is not even plugged in. I want to make it nice, and real.
Whenever a track takes me months, it is usually a bad one and I end up discarding it most of the time. The faster they come together, the better they often seem to be... it is strange... but true ! Making an album however does seem to take months...
Upavas - Here And Now (Sangoma Rec.) new EP out Oct.29th, get it here:
http://timecode.bandcamp.com http://upavas.com http://soundcloud.com/upavas-1/
mudpeople
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Posted : Aug 25, 2011 08:51
Personally it doesnt matter to me if anyone else is even there, I just do it because I have tons of fun rocking out to music I personally think is cool. Its a bonus if others have fun too, but pleasing or impressing others doesnt matter to me at all. I figure, if I get booked, that means the promoter likes my mixing or music enough to want me to play. So I pretty much see that as an invitation to just... Have fun.
Its a good habit to cultivate, getting ideas out as quick as possible while they're still vibrant and fresh. The longer you take the more opportunity you have to get distracted and lose the idea. You can always make it perfect later, first, you gotta make it Music comes partially from deep, primal places in your soul, the trick is to let your soul, not mind, do the work ;P
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minddoctorsmakeacid
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Posted : Aug 25, 2011 14:40
Sometimes people ask me why I am so serious most of the time I'm playing...
Well, the answer is easy:
I actually do something to my music when I'm on stage and that keeps me from just jumping arround like crazy all the time but it looks like people dont really care, they rather watch well know names with they're arms up than someone actually doing something musical on stage.
This sucks.
Is it because everyone is so fucking high?
I guess that the artists who do fuckhole on stage are tired of watching they're fellow Artist/DJs doing the same and so they decide to do it 2.
Maybe I will someday reach the same state of mind, who knows?
But really... I dont think so, because I feel twice the pleasure when I actually do something on stage.
http://www.MindDoctorsMakeAcid.com
mudpeople
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Posted : Aug 25, 2011 17:16
Well, the best assumption to make is that everyone is whacked out of tehir gourds, in the time ive been into electronic music its become pretty apparent that people in general, not just ravers or hippies, like to get TORE UP. But thats their business, so long as no one drools, pukes, ejaculates, or smears vicks on me theyre welcome to alter their neurochemistry.
The question you really need to ask when talking about lives getting paid more, is whose money are they getting? If those people had no desire to spend whatever to go see whoever then logic says there wouldnt be any money, and if the promoter didnt think that some form of return on their investment was likely they wouldnt be so generous.
I feel its a great treat to get to play music that I love on a big system, and that alone has always kept money far from my mind.
And Im beyond shocked at the interesting and complex sounds Ive been able to somehow make just working on setting up a live set, not even really getting into it, I always thought that something of a compromise was necessary to play a live set solo; less variation for more improvisation and spontaneity, but its not half as bad as I feared
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jekvan
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Posted : Aug 25, 2011 17:33
It ain't only because people has branworms,lol.
Seeing your artists,and favorite at that enoy his shit makes the show twice as fun.
Yea,sometimes seeing the artist dance to his own shit adds to positive wibes, at least more then looking up and seeing dude with his face in the laptop.
From all the things I lost,that sandwitch cost me most :)
Freeflow
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Posted : Aug 27, 2011 00:22
I dont really understand why you wouldnt have time to both wave your hands in the air, Twist knobs and tap buttons, play instruments and smile... Of course some tasks takes for some serious looks and you cant wave your hands in the air all the time..
A good artists should be able to step up on stage without nothing premade and make a magical thing anyway, If you have a laptop and a synth, Some other instrument and a mic, A good mixer. Some well arranged Sample library´s and of course your favorite sequencer or loop-station or whatever you prefere to work with.
Now in this case you would not have time to wave your hands in the air so much, But really if you have a planned live set with stuff mapped and things arranged a bit for a good work flow. You should have some time to interact with the crowd
Also there is nothing wrong at all to play a track, from CD, while configuring and setting up lets say a live drum session or whatever you gonna play. Also i think when live instruments is involved its always best to be two persons, so one can handle the computer, mixer and midi controllers. And set levels, so the one playing a instrument can relax and fully concentrate on his thing. Thats very important.
To me what matters most is good music, which is subjective, but thats most important, good music and good flow, if you beat sync in traktor, its okey. Everyone loves a perfected synced mix. You cant really argue with that. You still need to mix it clean and smooth. Now if you are a beatmatch freak and have your hands down totally, then you be just as good as the sync button and no need to argue on that. But it takes practice and good music ear, Which you need anyhow if you gonna use the sync button.
But i think it boils down to you as the artists, that you can amuse your self behind the gear and have a good time and feel proud and that you are creative, cause thats whats matters most. I Really dont understand someone who fakes it. That must feel totally silly, Now i can understand if you must test twist a knob to feel your movement, but thats that, otherwise it should happen something when you twist and turn or play on keys
meat battery
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Posted : Aug 31, 2011 09:31
This is a vid of what one of my friends does for live shows. He makes experimental glitchy electronic music using button pad interfaces, playing percussion with left hand and bass, melodies etc (samples) with right hand.
PoM
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Posted : Aug 31, 2011 19:17
we are a bit old fashioned in psytrance but all these new tools seems difficult to integrate when everyhting is sequenced right with extreme care.
with some work and good preparation it could probably work geat i dont know but it seems psytrance producers haven t open their arms to the technology progress,old fashioned is maybe the right word .
a reason why the sound stagnate since years, some amazing music can be done taking avantage of the todays tools (and i m not talking about glitchy stuff for the kids , there is lot of room for killer sound that is not explored yet ,i can t wait some producers go in the experimental futuristic abstract bizzare psy trance )
gust@vo
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Posted : Sep 17, 2011 03:36
i love play guitar!
with the amps simulation its endless.
we play sampler percussion too.
Music comes partially from deep, primal places in your soul, the trick is to let your soul, not mind, do the work ;P
