On Sun, Jan 16, 2011 at 04:24:07PM -0500, Paul Davis wrote: > On Sun, Jan 16, 2011 at 4:14 PM, <fons@xxxxxxxxxxxxxxx> wrote: > > On Sun, Jan 16, 2011 at 09:39:15PM +0100, Jörn Nettingsmeier wrote: > > > >> i guess my point is this: being a gearhead doesn't make you a good > >> musician, composer, arranger or mixing engineer. most of the commercial > >> audio world is targetted at gearheads. it has to be, because audio > >> technology has been "good enough" now for a few years, so what can we do > >> to sell new stuff? invent bs. > > > > An accurate summary. This started in the 'consumer' (hifi) world some > > 25 years ago, and today it has reached the 'pro' segment of the market > > as well. > > well, yes and no. > > there have been quite a lot of developments in the last 10 years that > represent phenomenal improvements in workflow for people who are paid > to create music on demand. their impact on aesthetics is less clear, it's very clear if you ask me > and probably negative, yes > but if you're someone who writes soundtracks for ads, tv shows or > films, the tools available now totally outshine what was available > 10-15 years ago. and that part is not BS. True, but these are tools targeted at one particular type of output, whatever marketing demands at any time. People are already getting tired of overcompressed audio, re-aligned drums, and the endless repetition of the same cheap effects. Much of this will be obsolete sooner than you'd expect. Ciao, -- FA There are three of them, and Alleline. _______________________________________________ Linux-audio-user mailing list Linux-audio-user@xxxxxxxxxxxxxxxxxxxx http://lists.linuxaudio.org/listinfo/linux-audio-user
