Download Tape Op, Issue 101 (May/June 2014) PDF

Tape Op factor No. one zero one May/June 2014

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From the Preface :

This booklet illustrates a suite of tune manuscripts which used to be made in recent times to learn the basis for modern functionality Arts. the gathering was resolute by way of conditions instead of any means of choice. therefore it exhibits the various instructions within which tune notation is now going. The manuscripts should not prepared based on types of track, yet alphabetically in line with the composer's identify. No explanatory details is given.

The textual content for the ebook is the results of a method utilizing I-Ching probability operations. those decided what number phrases concerning his paintings have been to be written via or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specifically written for this ebook, they're preceded through a paragraph signal and by means of the author's identify. different comments have been selected or written by means of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all decided by accident operations. This technique used to be to be able to reduce the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.

A precedent for the textual content is the Questionnaire. (The composers have been requested to write down approximately notation or some· factor appropriate to it. ) A precedent for the absence of data which characterizes this e-book is the modern aquarium (no longer a dismal hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass residence with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this publication. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century tune notation attainable.

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Extra info for Tape Op, Issue 101 (May/June 2014)

Sample text

But it sounds like a typewriter. o. co m That’s such a typical product of that technique. You get to the point where your metal mix sounds awesome, and then you listen to that intro and the drums, played by themselves, sound stupid. My belief is you can get something that’s somewhere in the middle. If you take the purist approach to recording most metal bands, especially extreme metal bands, it doesn’t quite work. It is kind of unnatural music. It’s not supposed to sound like a blues band; it’s supposed to sound bigger than it is.

I remember my first week: I cleaned an oven and punched a lead vocal. One was scary and the other was annoying. I had just turned 17. I’ve never had another job besides working at a recording studio. I moved to another studio in town and worked as the house engineer there. It was a 24track studio with a Soundcraft console, and a Tascam MSR-24, 1-inch machine. got everything sorted out, and I was living here four Were you scrambling for work? months later. There were studios all over town back Yeah!

Well, even with those recordings, if I can even think of some, I rarely like everything. There’s usually one thing about it I would change. I think that’s a healthy thing, or at least I hope it is! It means you’re never satisfied, and you’re Oh no. always trying to push yourself. I remember There’re too many factors. There’s the drum itself, there’s hearing the Neurosis records [Steve] Albini [Tape the player, the way it’s being hit, the room it’s in, the Op #10, 87] did and thinking he nailed that.

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