I'm not really a music snob, or so I'd like to think, but that jarring moment when you're nine minutes into a well-produced ambient track, and ONE note/transition reveals that the composer probably knows nothing about music theory or composition (or, best-case-scenario, has a moment of incredible clumsiness) is something else.
(you could, on the other hand, claim that I just don't get the brilliant dissonant devices utlilized by the composer, but... nah!)
This leads me to another thing on my mind lately: I think we're living in what will be regarded as a sort of pioneering / golden age in #soundDesign and #soundTextures.
These things are undoubtedly more important in music than ever before, and I think it will change the way we regard #composition and musical qualities even more profoundly (more so than #AI!) than it already has.
Obviously far too big of a topic for a toot, but hey, stream-of-consciousness! #composing #musicProduction #music
@mcmullin I'm sure you'll do just fine, though 😁
But I am curious how tech affects a composer like yourself.
Like with commissions, are there expectations in terms of presentation - sample lib mock-ups showing your progress, etc.?
And when you compose, is it purely with the concert hall in mind, or do you ever have thoughts on what it might sound like processed & recorded with super-close mics capturing every little detail.
And if so, could that affect how you might write for an instrument?
@mcmullin Excellent, I look forward to that!
I was thinking just after I posted the questions, there's probably a David Bruce video about this on YouTube, haha!
Terje Fjelde
David McMullin