This thing would be so useful for very specific genres & sound designers. What a cool instrument; it's so utterly different to what features you normally look for in an instrument
I played a show with a band once that used sounds like this (plus drums and really loud bass guitar) but the guy had a whole bunch of old TV and monitoring equipment to get this sound.
I've been eyeballing this critter for quite a while, it would definitely fit in with what I do since my style is definitely more experimental I think I need to start setting money aside for one, I'm imagining the idea of running vocals through it.
Hey man I'm definitely going to look into gettin' this thing before I do anything else again & as usual udabest Doty wish everyone on Y-tube was as cool as u again thanx dude.
I used to think this was a bit gimmicky, bordering on pointless, but that was before I got into making experimental music myself. Now, after watching your brilliant video series on it, I think it's one of the coolest things ever - and way more fun than trying to find noise on the radio to use in my music. Finding radio noise is a relatively passive thing, and with only one user controller (the frequency dial) whereas this is active, expressive and even more interesting sounding. And that's even before considering the possibilities of running audio through it or CV out of it. I was watching some of your Buchla series the other day, which is probably why this video got recommended to me by The Algorithm, and I must say your videos are really well made too. Good filming and editing, great narration, interesting content. I am subscribing now so I can keep up with whatever new videos you post, as they seem to be highly likely to be my cup of tea (as we say on this side of the Pond).
@@automaticgainsay You're welcome. And thanks again; I got myself a Stereo Field now, inspired by your videos and a few others I've watched. I received it today, and - as expected - it firmly puts the "mental" in "experimental. But in a good way... th-cam.com/video/LAgAHFUEpAY/w-d-xo.html
i love mine. i have always wanted something to generate these sounds, and it is so playable. musically, it adds quiet atmosphere, or can add powerful distortion in the climax of a song. both are things i look for new sources of for my music.
Thanks for unpacking this machine; as always, your enthusiasm is totally infectious, and your presentation is really clear. Great stuff! The high frequencies are, as someone else already mentioned, pretty relentless on this thing, though. Would love to hear it through a harmonizer, pitch-shifted down an octave or two. Guess that's what the outputs are for...
I was worried about this, and I should have looked deeper into it. It's weird to have lost those frequencies in my hearing! I'm playing the old age card. :D
I had to ride the volume control listening to this one Marc... the headphone mix was a little brutal! Great review as always though.. "Exploratory sound design"... nice! 👍🎶
I really like the sounds you can create with this and I would totally be able to make good use of it, but I'm not going to lie; I've used radios to get exactly the same kinds of sounds, playing with the tuning dial especially in the shortwave spectrum. It's still cool that some one is making those kind of sounds accessible in a more instrument-form though.
All I'd say is that I enjoy playing this more than the radio! :D But yes, it's a lot of the same content. But it's an immediate access to those sounds whether you have a good radio or not!
Im a Shortwave radio listener and have thought how cool it would be to intergrate the random noise from that into a musical instrument. I think Kraftwork usd a lot of random shortwave radio sounds on am album years ago. I definitely want one of these.
Yesssssss I feel like we are working towards a full on 200e tutorial here. At least 100 videos! But can it play notes? How can it be functional when you can never predict the outcome? Is there any way to tame it?
That is such a hugely important question! It is the question that kept me away from Don Buchla's performance concept. But now that I have a lot of experience with Buchla instruments and the Buchla concept, I finally understand how creativity works when you're exploring unpredictable outcomes. Even if you didn't PLAN the outcome, your INTERACTION with the outcome is the creative part.
@@automaticgainsay while i understand the impact that can have on the musician, do you feel the same way when listening - especially when not spectating?
Really cool. I've been on the fence about whether I wanted to pick one of these up ... I know you mentioned that we need to keep watching, but I'm curious if you tried patching it into both a quantizer and using it as an envelope or envelope trigger. I'm really curious how this could be used as an ambient pad controller for a multi-osc setup. (Hopefully this makes sense.).
I'm kinda divided on this.. From a consumer point of view I really cannot see any useful, musical use for this at all.. From a manufacturer's point of view it's pure genius as nobody is ever going to know if it's broken
From a composer's point of view who has grown up in the traditions of tonal music and classic Electronic Music (as opposed to popular electronic music), I can't even find the boundaries of usefulness for this device. It allows you to expressively manipulate, re-imagine, and perform whatever you put into it. If you're interested wholly in traditional, tonal music and have no place for noise, etc., I can see how this may not be ideal for you.
I wondered if that was going to happen. Some of the high end bothered me, but I suspected that more high end than I knew was there might be bothering someone else. I have lost some of the upper frequencies of my hearing with age. When I saw the waveform that this thing was making in some of these videos, I was like "good heavens, I hope this isn't a massive 18k screech that I can't hear..."
@@gloverelaxis I’m 59 but I can hear tones up to 15.7khz. I’m not sure how l’ve managed it but my ears seem much more youthful than my body. That said, to me the high end enhances and develops the overall timbral qualities of the sound. Merzbow does some things with that I find quite interesting.
man I really wish someone would explain the basics, such as where all those two output cables go.... My amp only have one input jack, is it okay to run a cable from the L output of my stereofield to the mono output of an amp?
I wish they had just added something that always dialed in to pitch - that way you could find the interesting sounds and then adjust pitch on the back end to tune it, to play three blind mice so to speak
My inclinations towards traditional music would probably enjoy this, too... I would really love to be able to make more melodic or harmonic outcomes in the noise. But I do enjoy what it does.
I'm concerned about the potential for damaging external equipment. For example, if you patch the outputs of several Eurorack oscillators to the inputs and then directly bridge them together, it seems to me that they could potentially damage the modules, depending on the quality of their design.
I've been wearing that ring since 1987, and I was a lot thinner back then! My finger has sort of absorbed it! But it still works, and seems to be okay! The ring is almost worn away, it probably won't last much longer.
Hey Marc! I have a video posted of the street fighter 2 video game that I recreated with the model D and prophet 6. Can you check it out and give me your thoughts ? It’s a really long video but it’s got the 12 characters and bonus stage sounds. Would love to get your feedback or a comment on the video ! Would mean a lot! Thanks P.s you the man Marc!
Based on the name, and the intersecting wave pattern graphic, I figured this thing must take two input signals and allow you to weave the signals through panoramic space, manipulating both stereo locations independently under touch control.
@@andrewclevine maybe, but just patch point inputs-- your signals aren't gestured through panoramic stereo space as the name and graphics imply. There's nothing stereophonic about it. It's a dual craklebox with a pretty design.
@@ghostexits Four dedicated inputs and four dedicated outputs = quad in & out. You'd need four Crackleboxes-which only generate audio as there is no external signal input option.
@@andrewclevine there maybe 4 independent in/outs (?), but there’s no crossfading. You’re just patching ins and outs. That’s why the name and marketing are misleading imo.
@@ghostexits Have you spent some time playing it? As the plates are capacitive the amount of cross-patching is dependant on the pressure and-individually / momentarily distinct-conductivity of any and all body parts touching the respective patch points You are _not_ toggling switches-unless you want to play the instrument like this.
I didn’t enjoy this too much, sadly. The video was great, the sounds were just a little too unfocused for my tastes. It looks pretty though! Maybe when you get to the external input, that’ll be better, I heard cool trashed drums in the intro :)
Yeah, it is certainly a unique device, and the sounds it makes may not align with various tastes or intentions. I'm totally cool with that, and I'm sure Landscape is, too. Horses for courses! But yes... if you're not into its wacky sounds, you might be into what it does to other sounds... the drum part is directly from a video where I employed it on some programmed drums.
Well, that's kind of a personal question, but I guess you've outted me. I am NOT a flat-Earther. Although, I do enjoy throwing a little philosophy at people who get particularly certain about any scientific premise that they have not personally engaged in any empirical experience of. :D
Generate new outcomes he says.. After a 22 minute video of the exact same sound.. this is the most predictable musical instrument ever made, no matter what you do with it you are guaranteed to make sh*t
Your assumptions, portrayal, and conclusions are as flawed as your baffling desire to be mad about it. This avenue of creativity is not for the likes of you.
Holy shit "Landscape" is 2/2 on expensive shit that serves no ACTUAL useful purpose other than to make really shitty and/or horribly timed noises that could easily be created by other means... Can't see myself ever looking up this brand again. Damn.
How am I, a person who has made several videos celebrating these instruments (and am about to make several more), supposed to respond to this comment when I have said exactly the opposite of everything you said? How am I to process the disparity between my experienced exploration and appreciation of these instruments, and your utter disdain and suggestion that they are useless? As a person who has made a great deal of music with at least one Landscape instrument, how am I to compare my inspiration to your dismissal? What, SpaceTimeManipulator, am I to do about the fact that you and I so astoundingly disagree about this?
@@automaticgainsay LOL this is the best comment of the week!!! Amazing! I just got mine yesterday and you are one of the 2 artists that inspired me to get it. Yeah, it's expensive. Sure. That $400 could go towards literally anything else but I can say the same about every single dollar I've ever spent. I do not regret my purchase, and in fact it's going to be one of those instruments that I will most likely sample the shit out of and inject it into every lil experiment I have. Well done.
It’s horrible. Just get a broken A.M. radio. This type of non-musical random non-sense is propagating everywhere. Oh it’s “noise art” ohhhh how hip...shit, I thought I just wasn’t hip enough to get it! I better go buy some modular gear too or I won’t be cool enough to hang out with all the “artists” out there. Pfffft
Hi, Charles. If you are incapable of perceiving music outside of traditional boundaries, that's perfectly okay. If you don't see a use for these sorts of sounds, that's perfectly okay. I also think a lot of people make garbage sounds and excuses citing uncommon compositional styles as a justification for their clueless noisemaking. But beyond all of that, your post seems to suggest that you're not very happy about something. :)
AutomaticGainsay Well Mr. Doty it is indeed a complex issue but yes, you’re right. I am unhappy with the segment of people you articulated so well. I spend a lot of time listening to and creating music created with electronic instruments...the doofuses that pretend it’s “non-traditional” or an “alternative approach” to traditional music are just covering for total cluelessness and propping up their own bad decisions to spend $5-$10K on gear...gear that sounds like you shut your car door on a piece of debris and are dragging it down the road. I mean what’s it hurting me? I’m guess it’s not...but it’s still annoying.
For the record I watch your videos because I like your personality, your love of old gear, and also because I look up to you because you’re way more knowledgeable regarding synthesis than me. However, your musical taste always disappoints me...story of my life...I just need to figure out what you’ve figured out so I can run around and disappoint people with my superior musical taste. 😉
That's fair, Charles. But see, the whole thing about Electronic Music (the classical category, not EDM) is that composers were trying to find new ways to be expressive with new musical paradigms and new timbres. And those composers went to great effort to find new ways to say new things. And almost the entirety of music listeners in the 20th Century felt alienated by the efforts. The reasons why have to do with why we, as humans, actually appreciate sound that is organized into music. Some huge part of the population was unwilling to go along with the efforts of talented composers because they simply couldn't connect with the sounds they were making. And that's fair. And yes, people who can't discern the difference between the valid efforts of composers and random noise, assign "RANDOM NOISE" to everything they can't understand. But that's wrong. The listener's lack of skill, discernment, talent, etc. is not the fault of the composer. And, admittedly, it's sometimes hard for the INFORMED to connect with abstract pieces. The wholesale dismissal of anything that isn't consonant and traditional is no way to comment on abstract music or timbres.
That's also fair, Charles... if you don't like the music I do... that's totally reasonable. The pleasure people derive from musical efforts, even if they are educational, is important. If I do things that annoy you, you're less likely to come away from what I'm doing with knowledge. It's hard for me because I am a composer, and I'd MUCH rather be creating complex compositions... tonal or otherwise... in order to demonstrate the potency of these instruments for interested parties... but the average of my viewers have specific musical interests.
Love that you're covering this little creature - and enjoying it.
This thing would be so useful for very specific genres & sound designers. What a cool instrument; it's so utterly different to what features you normally look for in an instrument
I played a show with a band once that used sounds like this (plus drums and really loud bass guitar) but the guy had a whole bunch of old TV and monitoring equipment to get this sound.
What a cool thing to have sitting in your studio for people to ask about! So weird and awesome.
Just ordered one. Looking forward to patching this through a pile of effects.
I've been eyeballing this critter for quite a while, it would definitely fit in with what I do since my style is definitely more experimental I think I need to start setting money aside for one, I'm imagining the idea of running vocals through it.
I am loving this "thing". Thanks Marc
I’m a big fan of the stereo field and it’ll be a blast watching your videos. Thanks so much!
This triggered an "Indiscipline" response. The more I look at it, the more I like it.
Hey man I'm definitely going to look into gettin' this thing before I do anything else again & as usual udabest Doty wish everyone on Y-tube was as cool as u again thanx dude.
These videos convinced me I need this box of weirdness. Thank you for feeding my GAS!
I used to think this was a bit gimmicky, bordering on pointless, but that was before I got into making experimental music myself. Now, after watching your brilliant video series on it, I think it's one of the coolest things ever - and way more fun than trying to find noise on the radio to use in my music. Finding radio noise is a relatively passive thing, and with only one user controller (the frequency dial) whereas this is active, expressive and even more interesting sounding. And that's even before considering the possibilities of running audio through it or CV out of it.
I was watching some of your Buchla series the other day, which is probably why this video got recommended to me by The Algorithm, and I must say your videos are really well made too. Good filming and editing, great narration, interesting content. I am subscribing now so I can keep up with whatever new videos you post, as they seem to be highly likely to be my cup of tea (as we say on this side of the Pond).
Thank you very much!!
@@automaticgainsay You're welcome. And thanks again; I got myself a Stereo Field now, inspired by your videos and a few others I've watched. I received it today, and - as expected - it firmly puts the "mental" in "experimental. But in a good way... th-cam.com/video/LAgAHFUEpAY/w-d-xo.html
Awesome! Just started the video but I'm already glad you've branched out with your series.
i love mine. i have always wanted something to generate these sounds, and it is so playable. musically, it adds quiet atmosphere, or can add powerful distortion in the climax of a song. both are things i look for new sources of for my music.
It’s unique for sure. I dig it for certain genres. Wouldn’t use it all the time but it would be great for live shows.
Thanks for unpacking this machine; as always, your enthusiasm is totally infectious, and your presentation is really clear. Great stuff!
The high frequencies are, as someone else already mentioned, pretty relentless on this thing, though. Would love to hear it through a harmonizer, pitch-shifted down an octave or two. Guess that's what the outputs are for...
I was worried about this, and I should have looked deeper into it. It's weird to have lost those frequencies in my hearing! I'm playing the old age card. :D
This thing amazed me when I checked it out at a friends gig. Peace Christo 👽
This is really intuitive. Peace Christo 👽
I had to ride the volume control listening to this one Marc... the headphone mix was a little brutal!
Great review as always though.. "Exploratory sound design"... nice! 👍🎶
Yeah, I'm sorry about how uneven it is! But thanks for watching!
I really like the sounds you can create with this and I would totally be able to make good use of it, but I'm not going to lie; I've used radios to get exactly the same kinds of sounds, playing with the tuning dial especially in the shortwave spectrum. It's still cool that some one is making those kind of sounds accessible in a more instrument-form though.
All I'd say is that I enjoy playing this more than the radio! :D
But yes, it's a lot of the same content. But it's an immediate access to those sounds whether you have a good radio or not!
I saw it at andrew huangs channel, and now yours... :D like it
Im a Shortwave radio listener and have thought how cool it would be to intergrate the random noise from that into a musical instrument. I think Kraftwork usd a lot of random shortwave radio sounds on am album years ago. I definitely want one of these.
Yesssssss I feel like we are working towards a full on 200e tutorial here. At least 100 videos! But can it play
notes? How can it be functional when you can never predict the outcome? Is there any way to tame it?
Don't ask those questions!! You'll trigger the west coasters ;)
That is such a hugely important question! It is the question that kept me away from Don Buchla's performance concept. But now that I have a lot of experience with Buchla instruments and the Buchla concept, I finally understand how creativity works when you're exploring unpredictable outcomes. Even if you didn't PLAN the outcome, your INTERACTION with the outcome is the creative part.
@@automaticgainsay while i understand the impact that can have on the musician, do you feel the same way when listening - especially when not spectating?
AutomaticGainsay a music easel series, please!
@Aaron Foltz Four voice polyphony :-)
This is the only piece of gear I own that has never been back in the box. It has never done the same thing twice.
....including being in the box!
Really cool. I've been on the fence about whether I wanted to pick one of these up ...
I know you mentioned that we need to keep watching, but I'm curious if you tried patching it into both a quantizer and using it as an envelope or envelope trigger. I'm really curious how this could be used as an ambient pad controller for a multi-osc setup. (Hopefully this makes sense.).
I'm kinda divided on this..
From a consumer point of view I really cannot see any useful, musical use for this at all..
From a manufacturer's point of view it's pure genius as nobody is ever going to know if it's broken
From a composer's point of view who has grown up in the traditions of tonal music and classic Electronic Music (as opposed to popular electronic music), I can't even find the boundaries of usefulness for this device. It allows you to expressively manipulate, re-imagine, and perform whatever you put into it. If you're interested wholly in traditional, tonal music and have no place for noise, etc., I can see how this may not be ideal for you.
"pure genius as nobody is ever going to know if it's broken" rofl :D
Makes me think of the Kraakdoos Michel Waisvisz invented in the seventies.
Definitely! But at least two of those ;-)
Instant Merzbow box.
Sounds like Yar’s Revenge, that ol’ Atari cart.
The high end is wrecking my ears, ouch! Interesting machine though if it could be maybe gated or something. I'm off to listen to static radio.
I wondered if that was going to happen. Some of the high end bothered me, but I suspected that more high end than I knew was there might be bothering someone else. I have lost some of the upper frequencies of my hearing with age.
When I saw the waveform that this thing was making in some of these videos, I was like "good heavens, I hope this isn't a massive 18k screech that I can't hear..."
Yeah there's a 15-17k screech that is absolutely brutal
@@gloverelaxis I’m 59 but I can hear tones up to 15.7khz. I’m not sure how l’ve managed it but my ears seem much more youthful than my body. That said, to me the high end enhances and develops the overall timbral qualities of the sound. Merzbow does some things with that I find quite interesting.
Thanks! :)
Nice
man I really wish someone would explain the basics, such as where all those two output cables go.... My amp only have one input jack, is it okay to run a cable from the L output of my stereofield to the mono output of an amp?
Sure. Beware of the extreme level jumps though!
Great overview! Been curious about this device and it is on my list. Can you control modular gear with it?
Yes! Video coming up.
I wish they had just added something that always dialed in to pitch - that way you could find the interesting sounds and then adjust pitch on the back end to tune it, to play three blind mice so to speak
My inclinations towards traditional music would probably enjoy this, too... I would really love to be able to make more melodic or harmonic outcomes in the noise. But I do enjoy what it does.
You could quantize the CV…
Part 2?
I'm concerned about the potential for damaging external equipment. For example, if you patch the outputs of several Eurorack oscillators to the inputs and then directly bridge them together, it seems to me that they could potentially damage the modules, depending on the quality of their design.
Hmm... someone else will have to weigh in on this... I don't know!
I'm interested in what it does to input audio, but as a standalone I don't see much of a use for it :-/
IMHO it is a lot of fun played standalone.
Very reminiscent of the devices Ciat-Lonbarde offers.
Interesting.
Marc the ring on your right index finger looks too tight . Are you good?
I've been wearing that ring since 1987, and I was a lot thinner back then! My finger has sort of absorbed it! But it still works, and seems to be okay! The ring is almost worn away, it probably won't last much longer.
AutomaticGainsay hahaha damn man. That ring probably gave this stereofield machine some 30 odd years of special something or other
Hey Marc! I have a video posted of the street fighter 2 video game that I recreated with the model D and prophet 6. Can you check it out and give me your thoughts ? It’s a really long video but it’s got the 12 characters and bonus stage sounds. Would love to get your feedback or a comment on the video !
Would mean a lot!
Thanks
P.s you the man Marc!
As far as how it reacts, seems much like a Theramin.
Based on the name, and the intersecting wave pattern graphic, I figured this thing must take two input signals and allow you to weave the signals through panoramic space, manipulating both stereo locations independently under touch control.
You have four dedicated inputs.
@@andrewclevine maybe, but just patch point inputs-- your signals aren't gestured through panoramic stereo space as the name and graphics imply. There's nothing stereophonic about it. It's a dual craklebox with a pretty design.
@@ghostexits Four dedicated inputs and four dedicated outputs = quad in & out. You'd need four Crackleboxes-which only generate audio as there is no external signal input option.
@@andrewclevine there maybe 4 independent in/outs (?), but there’s no crossfading. You’re just patching ins and outs. That’s why the name and marketing are misleading imo.
@@ghostexits Have you spent some time playing it? As the plates are capacitive the amount of cross-patching is dependant on the pressure and-individually / momentarily distinct-conductivity of any and all body parts touching the respective patch points You are _not_ toggling switches-unless you want to play the instrument like this.
Okay, I just got this thing in the mail,...without a power supply. I know it requires 9V but what's the polarity? Does it matter how many milliamps?
I actually just had the power source in my hand last night, but now I’m on the way to NAMM. Landscape is on IG and responsive to messages!
@@automaticgainsay The brick included is a 12v Regulated (tip +) grounded power supply (100-240V AC)
I didn’t enjoy this too much, sadly. The video was great, the sounds were just a little too unfocused for my tastes.
It looks pretty though! Maybe when you get to the external input, that’ll be better, I heard cool trashed drums in the intro :)
Yeah, it is certainly a unique device, and the sounds it makes may not align with various tastes or intentions. I'm totally cool with that, and I'm sure Landscape is, too. Horses for courses!
But yes... if you're not into its wacky sounds, you might be into what it does to other sounds... the drum part is directly from a video where I employed it on some programmed drums.
1 dog disliked this video.
Nice demo Marc :) except i coudnt listen to it since it sounded like an appointment at the dentist....
Ha ha ha, sorry, Bob!
yikes. People paying top dollar for something that's possible to accomplish with a guitar cable and 5-watt amp. Beyond a novelty.
I feel bad about the depth of your misunderstanding, or dismissiveness.
@@automaticgainsay I feel bad for the diminishing frequencies you have put your ear drums under.
@@brandlessheadphones fair
Too much noise for my taste.
It is all noise! :D
@@automaticgainsayExactly.
random fart machine
Are you a flat earther ?
Well, that's kind of a personal question, but I guess you've outted me.
I am NOT a flat-Earther.
Although, I do enjoy throwing a little philosophy at people who get particularly certain about any scientific premise that they have not personally engaged in any empirical experience of. :D
Generate new outcomes he says.. After a 22 minute video of the exact same sound.. this is the most predictable musical instrument ever made, no matter what you do with it you are guaranteed to make sh*t
Your assumptions, portrayal, and conclusions are as flawed as your baffling desire to be mad about it. This avenue of creativity is not for the likes of you.
Holy shit "Landscape" is 2/2 on expensive shit that serves no ACTUAL useful purpose other than to make really shitty and/or horribly timed noises that could easily be created by other means... Can't see myself ever looking up this brand again. Damn.
How am I, a person who has made several videos celebrating these instruments (and am about to make several more), supposed to respond to this comment when I have said exactly the opposite of everything you said? How am I to process the disparity between my experienced exploration and appreciation of these instruments, and your utter disdain and suggestion that they are useless? As a person who has made a great deal of music with at least one Landscape instrument, how am I to compare my inspiration to your dismissal?
What, SpaceTimeManipulator, am I to do about the fact that you and I so astoundingly disagree about this?
@@automaticgainsay LOL this is the best comment of the week!!! Amazing! I just got mine yesterday and you are one of the 2 artists that inspired me to get it. Yeah, it's expensive. Sure. That $400 could go towards literally anything else but I can say the same about every single dollar I've ever spent. I do not regret my purchase, and in fact it's going to be one of those instruments that I will most likely sample the shit out of and inject it into every lil experiment I have. Well done.
It’s horrible. Just get a broken A.M. radio. This type of non-musical random non-sense is propagating everywhere. Oh it’s “noise art” ohhhh how hip...shit, I thought I just wasn’t hip enough to get it! I better go buy some modular gear too or I won’t be cool enough to hang out with all the “artists” out there. Pfffft
Hi, Charles.
If you are incapable of perceiving music outside of traditional boundaries, that's perfectly okay.
If you don't see a use for these sorts of sounds, that's perfectly okay.
I also think a lot of people make garbage sounds and excuses citing uncommon compositional styles as a justification for their clueless noisemaking.
But beyond all of that, your post seems to suggest that you're not very happy about something. :)
AutomaticGainsay Well Mr. Doty it is indeed a complex issue but yes, you’re right. I am unhappy with the segment of people you articulated so well. I spend a lot of time listening to and creating music created with electronic instruments...the doofuses that pretend it’s “non-traditional” or an “alternative approach” to traditional music are just covering for total cluelessness and propping up their own bad decisions to spend $5-$10K on gear...gear that sounds like you shut your car door on a piece of debris and are dragging it down the road. I mean what’s it hurting me? I’m guess it’s not...but it’s still annoying.
For the record I watch your videos because I like your personality, your love of old gear, and also because I look up to you because you’re way more knowledgeable regarding synthesis than me. However, your musical taste always disappoints me...story of my life...I just need to figure out what you’ve figured out so I can run around and disappoint people with my superior musical taste. 😉
That's fair, Charles.
But see, the whole thing about Electronic Music (the classical category, not EDM) is that composers were trying to find new ways to be expressive with new musical paradigms and new timbres. And those composers went to great effort to find new ways to say new things. And almost the entirety of music listeners in the 20th Century felt alienated by the efforts. The reasons why have to do with why we, as humans, actually appreciate sound that is organized into music. Some huge part of the population was unwilling to go along with the efforts of talented composers because they simply couldn't connect with the sounds they were making. And that's fair.
And yes, people who can't discern the difference between the valid efforts of composers and random noise, assign "RANDOM NOISE" to everything they can't understand. But that's wrong. The listener's lack of skill, discernment, talent, etc. is not the fault of the composer. And, admittedly, it's sometimes hard for the INFORMED to connect with abstract pieces.
The wholesale dismissal of anything that isn't consonant and traditional is no way to comment on abstract music or timbres.
That's also fair, Charles... if you don't like the music I do... that's totally reasonable. The pleasure people derive from musical efforts, even if they are educational, is important. If I do things that annoy you, you're less likely to come away from what I'm doing with knowledge.
It's hard for me because I am a composer, and I'd MUCH rather be creating complex compositions... tonal or otherwise... in order to demonstrate the potency of these instruments for interested parties... but the average of my viewers have specific musical interests.