RE: PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC (PCCOM)

From: Philip Sherburne (philip@askjeeves.com)
Date: Tue May 08 2001 - 23:35:19 CEST

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    Elson,
    I think you're being a little harsh here. Herbert's not trying to get all
    highfalutin on people who operate in other ways; he's limiting himself to a
    kind of constraint-based system (cf. Oulipo, Dogme95) as a means of escaping
    certain technological traps (eg, the ease of using presets) and also as an
    ideological choice, privileging the "mistake" ( la John Cage) as a
    resistance to the fetish of technological perfection which pretty much
    defines late capitalism...

    I realize this is shorthand, but mainly I'd encourage you not to be so quick
    to slam him for incorporating a theoretical strategy with his music-making.
    Having spoken at length with him, I believe that he's neither being coy nor
    snotty. If you're interested in reading further, he elaborates quite a bit
    in the recent article I did for XLR8R.

    Cheers
    Philip

    > -----Original Message-----
    > From: Elson Trinidad [mailto:elson@westworld.com]
    > Sent: Tuesday, May 08, 2001 2:06 PM
    > To: Shane Schaetz; acid-jazz@ucsd.edu
    > Subject: Re: PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC (PCCOM)
    >
    >
    > At 11:09 AM 4/29/01 -0700, Shane Schaetz wrote:
    > >interesting stuff from www.matthewherbert.com
    >
    > WTF?
    >
    >
    > >1. The use of sounds that exist already, subject to article 2, is not
    > >allowed. In particular:
    > >
    > > 1.. No drum machines.
    >
    > Oh come on, no one uses drum machines anymore! It's all
    > sequenced drum hits
    > now...
    >
    > > 2.. All keyboard sounds must be edited in some way: no
    > factory presets or
    > >pre programmed patches are allowed.
    >
    > "Gasp! You used patch A62 on the Roland JP-8000! You should
    > be sentenced to
    > death for that!"
    >
    >
    > >2. Only sounds that are gernerated at the start of the
    > compositional process
    > >or taken from the artist's own prevously unused archive are
    > available for
    > >sampling. The use of, ordering and manipulation of
    > noise-sound/found-sound
    > >is to be held as the highest priority in composition.
    >
    > Okay, I'll admit, sampling yourself is a cool idea.
    >
    > >3. The sampling of other people's music is strictly forbidden.
    >
    > "Uh! Hitmeh! Yeahboyyyee! I know yo gonna dig this!"
    >
    > >4. No replication of traditional acoustic instruments is
    > allowed where the
    > >financial and physical possibility of using the real ones exists.
    >
    > But if the financial and physical possibility DOESN'T exist...
    >
    >
    > >7. All fx settings must be edited: no factory preset or
    > pre-programmed
    > >patches are allowed.
    >
    > "Oh no!! Not that Lexicon "Hall Reverb 3"! Anything but that!"
    >
    > >8. Samples themselves are not to be truncated from the rear
    > since extra
    > >audio and recording information is often heard at the end.
    >
    > <click! pop!>
    >
    > Well, I guess he doesn't do 2-step garage then.
    >
    > >9. A notation of every sound, its source and a full
    > description of all
    > >technical equipment used per track to be taken and made
    > available at a
    > >future date.
    >
    > So where can we see this?
    >
    >
    > >10. Remixes must be completed using only the sounds provided
    > by the original
    > >artist including any packaging the media was provided in.
    >
    >
    > And the horse they rode in on.
    >
    >
    > Elson / e:trinity
    > Hey, I've never used an "Amen" break on any of my recordings.
    > Should I put
    > that in writing too?
    >
    >
    >
    > - 30 -
    > : . elson trinidad, los angeles, california, usa
    > : . elson@westworld.com : www.westworld.com/~elson
    > : . groove to the futurethnic beats of e:trinity at
    www.e-trinity.org and
    www.mp3.com/etrinity



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