开启麦克风: Has 电子 音乐 迷路 Of 未来?

让·米歇尔·贾尔

开启麦克风: 开拓性合成 让·米歇尔·贾尔 shared a vintage shot of 他 self 今天 on 脸书。他添加了评论“Back in the Seventies, we had a romantic, poetic vision of 未来, like it was in the movie 2001年:太空漫游.”

议会与母权关系在60’s, 70’s,在较小的程度上是80’s,合成器的声音是‘the future’.

合成器艺术家喜欢 贾尔 , 橘梦 万吉利斯 created 电子 soundscapes, inspired by futuristic themes. 卡夫特韦克 created a futuristic synth pop world, populated with robotic 音乐ians.

科幻电影,来自 禁行星银翼杀手, often had 电子 soundtracks. And mainstream funk 和 新 wave 音乐ians adopted synths 和 太空时代 ideas 和 visuals.

但是,近年来,合成器的声音被用来唤起怀旧感,就像未来派的视觉一样。乐队喜欢 加拿大委员会和others are inspired by vintage electronic sounds 和 use synths 至 create 音乐 that evokes the past or alternate histories. And sci fi cinema soundtracks are largely ‘action film’ scores.

Has 电子 音乐 lost track of 未来? And does the 电子 音乐 you listen 至 deal with futuristic themes or nostalgic ones?

关于125条想法“开启麦克风: Has 电子 音乐 迷路 Of 未来?

  1. I feel that a lot of Dubstep is sort of futuristic. A disappointing 未来. Like a minstrel show with Robocop eating Doritos 和 chugging energy drinks.

    1. 我不’t understand why people pay attention 至 this guy. I never heard of 他 before I started visiting this site, 和 all his 音乐 sounds like a casio keyboard demo.
      他对‘today’ is giving invite-only concerts 至 russian oligarchs, so his vision of 未来? I am definitely not interested.
      让选票开始吧!

    2. While the 技术logy now is amazing, there’肯定会减少创造力’t remember the last time something 电子 really grabbed my attention, even Daft Punks last album just sounds like a cross between Moroder 和 Space…

  2. 我认为立即考虑使用futurisitc,科幻等合成器是一个不错的进步。与其说这是一种奇怪而奇怪的新工具,不如使人们感到恐惧或使他们思考“哦,它的新事物,它来自太空”,它成为常规听力词典的一部分。就像小提琴或钢琴一样。它的接受,并且我认为随着公众逐渐适应它,它扩大了可能性。

    1. 不幸的是,普通大众只习惯于有限地使用合成器(但是’s probably the reason that they are able 至 get used 至 them in the first place). in the more etherial forms of 电子/pop 音乐 such as IDM 和 dubstep, etc…不过,在那里的外行听起来很疯狂’声音合成器(尤其是软合成器)能够进行的有限实验。

      一般来说,尤其是对于老式的单合成恋物’s even controlling how the manufacturers are approaching the market, composers are being saddled with machines that are about creating better versions of the same 旧 sounds verses 新 ideas for machines that are capable of creating 新 和 different sounds.

      我确实认识到这里发生了世代相传的事情’推动市场和观点。 4-5年前,这种对话可能不会’没发生。有新一代的孩子需要探索20至40年前我们玩过的一些炫酷机器,数字世界是他们’ve曾经和现在’恳求他们去探索。

      是的,未来主义已经死了,我们’超越后现代主义,合成器具有无限的声音可能性,如果作曲家想以这种方式使用它们,’很棒,但是如果您想像小提琴或钢琴一样使用它,’s fine also, it’s your instrument…我们当中有些人会挑战什么’s listenable 和 not 和 hopefully some of this work will help expand the landscape 和 lexicon of 未来 电子 音乐.

    2. I agree, 我觉得electronic instruments are becoming flexible enough that they can work much more fluidly with other organic instruments, that the division will become less obvious 和 the fusion of 电子/organic is 未来 of 音乐.

      Tearing down divisions 和 genres is what truly terrifies most people, 和 what terrifies is often our 未来…. Where 音乐 can go places that we cannot pigeonhole.

      我不’听起来并不像嬉皮士,但如今,如果您有三种喜欢的声音:古典吉他的弹拨,火烈鸟的叫声和金牛座的穆格低音。然后,您可以开始以可能的方式组合这些元素’以前从未想过,将它们合并为一种声音,或者将声音移出上下文,将音调更改为不自然的水平,或者在音序器上非人性地播放声音,因此同时听起来既自然又不自然。

      最初,谷仓门突然爆裂的地方令人生畏,不久便成为具有创造力和可行性的想法的开放视野。

  3. 这就是为什么我发现似乎在合成器世界中扎根的整个模块化迷恋如此有趣的原因–我们采取前瞻性思考,前瞻性的事情,并将其简化为Keith Emerson崇拜bluesdad的事情。

    1. 模块化趋势很容易解释。我们’ve reached a point 技术logically 哪里 a $500 laptop is capable of running a stunning array of software –Ableton Live和数十种非常出色的软合成器和效果。任何人都可以组建一个虚拟工作室,Garage Band之类的程序几乎降低了入门成本。

      那里 will always be an elite group of 音乐ians, collectors 和 技术logist looking for something interesting 和 rare for their setup. 那’为什么模块化具有吸引力?市场上充斥着制造昂贵的短期装备的精品制造商。市场是’t democratized —构建专家认为值得关注的模块化系统将花费您数千美元和大量时间,而其他人很难模仿您。

      At the end of the day, this is good for boutique manufacturers (they have an eager market 和 can experiment with 新 设计s with minimal risk). As for 未来 of 电子 音乐? It belongs 至 kids in their early teens who are going 至 create stuff that will blow their generation’s minds. 他们 get bonus points if it’我们20多岁的老人屁屁la脚’t stand.

      1. 这就是为什么我看到的大多数视频都在演示某人’昂贵的屁股模块化系统始终是无聊的bloop噪声集合吗?它’s a 技术logy fetish, 和 not a 音乐al one.

      2. 您在大多数情况下是正确的,但是我觉得很多模块化所有者只是有钱的业余爱好者,而不是“elite 音乐ians”

      3. imo the only way 至 be hard 至 imitate is 至 make good 音乐 和 至 push the boundaries of what you’通过花时间练习和探索已有的东西来进行重用。研究表明,大多数模块化人员和现代合成器人员总体上似乎太忙于交易模块“the best”模块和收集模块(例如插件)可以真正推动任何事情,这很好,但是我听到的大多数声音确实很明显并且易于模仿。

        tbh,如果你不这样做’对自己的构图有信心和信心,大脑变得很奇怪很酷,可以’被模仿,需要购买装备为您做到这一点’我已经失去了情节,避风港’t you?

        你不’需要大量不同的花哨的模块来使模块变得很棒。
        http://media-cache-ec0.pinimg.com/originals/ef/2d/8a/ef2d8a75520003c8f3aaf0c94637bcf4.jpg
        http://www.pinterest.com/pin/295056213060152643/

    2. 模块化只是让穷人支付8000美元的合成器费用的一种方式,一次支付一件。适用于当今现金紧缺消费者的付款计划。但是至少您可以选择其中一种模块化的方式来混合和匹配最具创新性和趣味性的模块。它为N’向艾默生致敬’这是最便宜的方法,可以使每个函数综合一些真正的技巧。

      不是我’m interested in myself, but 我不’觉得没有必要为此而敲门。

  4. I think a big factor is that our culture in general got over its initial fascination with space 和 未来 技术logy that was born in the ’60’太空时代。我们只是变得疲惫不堪。还记得红色的LED手表吗?现在,数以百万计的人拥有的设备大约相当于一包烟的大小’将进行实时视频通话,访问国会图书馆并激活您的房屋’来自世界各地的HVAC。
    When many of us think of 未来 今天, the things that come 至 mind are not pretty at all.

    1. I’我不确定我们是否感到疲倦。尽管我们拥有许多技术,但部分问题在于我们’仍然固执地自1972年以来,没有人在月球上行走,所以我们中的许多人长大了,以为我们有一天会进入太空(如果不是亲自的话,会替代太空的话),但是事实表明这并不是’t happening. It’值得注意的是,近年来许多更好的科幻电影都表达了这种失去机会的感觉,并渴望脱离地球。

  5. The answer is way 至 o long for this post, but as far as 未来 goes in the sense of singularity, homogeneity, 和 a mindless perpetual mold, 电子 音乐 has achieved such 未来 with terrible consequences for the artistic content 和 sense of 音乐.
    It is hard for me 至 find artistic pleasure in 电子 音乐, as it has been corrupted by function 和 no longer holds sense.
    I think 未来 now lies in software experimentation with things like Pure Data or Max/MSP, or retro-furistic abstract modular wankery.

    Just my humble opinion as a composer tired of 电子 pop 音乐.

    1. I think 未来 of 音乐 doesn’t lie in sound 设计 (pure data etc..) but in “music 设计”……我的个人方法是采用高度互动的歌曲和模式结构,以使项目保持新鲜感,然后继续挖掘而不会感到无聊……

  6. 我从小沉迷于Bladerunner,现在我们’re almost at 2019,
    all 我可以 ask is “我的飞行车在哪里?”
    (&我对此的基本愉悦模型….)

  7. 这样说“electronic 音乐 has lost track of 未来” is 至 assume that 电子 音乐 was 和 is only about 未来. The 音乐 can be anything a person wants it 至 be.

  8. The 未来, like eternity, is an abstraction. The fact of the matter is we live 和 listen in 和 at this moment, not in the past, not in 未来, 电子 音乐 is simply sound. If you are listening you like it or 你不’t at this moment. If you are merely thinking about it 和 speculating 哪里 trends/fads will evolve be prepared 至 be surprised.

  9. 电子 音乐…is what it is. Sadly only a few artists still make good 电子 音乐. But I feel there needs 至 be a “techno” revival…a 新 perspective, but back 至 技术’s roots. Production in my opinion has killed a lot of the raw almost punk energy of 技术…I’d love 至 see 技术 be dangerous 和 futuristic again

  10. 我看到的是很多实验和很多闪亮的玩具,但表情却很少。
    那里’在现代合成器的保护下有很多未开发的领域。
    I’d like 至 see people harness the power of that gear 和 organize some 音乐 with it in an expressive way. Reframe the question. Is this the 音乐 we want 至 be making? Or, is this the 音乐 we’re making because it’简单易用,合成器和模块化装置的架子令人印象深刻?

    1. 如果在我的想象中,我与科学一起成长,但是‘future’与作者,导演甚至我想象的相比,我们所生活的是平凡的。

      为什么不应该’我们会有些失望吗?

  11. 贾里先生和组装沙龙—考虑,如果你愿意—在1970或也许是1980年,我们有理由相信,未来的光辉仅受我们的想象力以及我们努力工作以实现那些未来主义愿景的限制。正如我们所知,未来并不光明。是的,有少数人相信科学将带领我们进入一个神奇的世界,甚至可能通过上传意识,寻找无限的清洁能源,学习养活世界人民的方式,使永恒再生的未来变得可怕。越来越少的耕地,证明爱因斯坦没有’当他说光速无法达到时,他不知道他在说什么’,或者相反,不能找到折叠空间并安全通过折叠空间的方式,但是–对于许多人,也许对我们大多数人而言,未来存在着很多问题,从现在看来,这些问题似乎是无法克服的。我认为正是这种精神推动了我们怀旧。我们热切地回顾着光明的未来,可以解决的问题以及电子仪器是新的且尚未开发的时代。考虑一下模拟初期之后的行业发展情况。考虑一下80年代和90年代使用的声音,80年代大部分的相对平淡和相似的性质’s synthpop. Now don’没错,我爱那个时代的许多音乐,但就像许多流行音乐一样,很多听起来也很像其他音乐。但是我也同意贾雷先生的看法,认为这些天我们表现出极大的缺乏想象力。我们需要开拓新的方向,我们需要发出声音,犯错误,并且通常会给自己造成麻烦,而已建立的音乐社区却觉得这很喧嚣和令人无法接受。今天的rob动拳头在​​哪里?今天是上帝的爱在哪里’的Shriekback?还是伦纳德·科恩?要么…。好吧,你明白了。再说一次’t get me wrong–我今天很喜欢’s 音乐–但其中很多仍然是具有挑战性和衍生性的。我年纪大了,我的地狱生涯可能已经过去了。但是,以你们强大的克苏鲁的名义,你们中的一些年轻的小鲷鱼会上我的草坪,惹我生气吗?举起一些地狱,举起赌注,找到我们一个新的方向,我这个年龄的每个人都可以说听起来很糟糕,您可以自己作为一个火炬带入未来。….climbs从海德公园肥皂盒中下来……..

    1. In the past, 旧er generations hated on what the youth were doing, because of how controversial they were, pushing buttons 和 boundaries. Older generations are now annoyed, because of the distinct lack of anything offensive, unless you count the Kardashians???

  12. I’坦率地说,我对未来主义失去了兴趣。我认为我们拥有的所有很棒的东西’re realizing that 技术logical progress far from guarantees happiness or meaning. If you take futurism 至 its logical conclusion, you’ll realize that it’只是对新奇的无限渴望。

    1. I agree that not all 新 和 shiny things are truly great or even useful. However, there is still plenty of room for pragmatic innovation that could improve many peoples’ lives.

  13. I think the kids have a vision of 未来, but it is hard, brutal 和 unfamiliar. And ‘2001’ 和 ‘A Clockwork Orange’ had futuristic synth sounds, neither is a fun 未来 –而且都错了。

    But in reality we have lost track of 未来 和 singularity is 至 blame, we can make fair predictions for the next 10-15 years into 未来 –但是在10年内,我们达到了一个极限,那就是一台机器超越了我们自己的智能,如果超出了10年,那么如果钱仍然存在,那么一个盒子就能负担得起,并且是您智能能力的1000倍–同时还具有传感器,可以观察周围1%以上的物体。对于人类来说,这就像蚂蚁重新设计互联网一样,毫无意义。

    但是它还没有’阻止了我,我目前正在研究一个未来派的主题。至少直到奇点为止‘最后的先知和最初的神仙’ –我自己扮演着第一个不朽人类的最后先知的角色。

    Anyone can all give you a vision of 未来, but the question is, at what level do we find it acceptable or understandable? Maybe we need 至 be trans-human 至 engage with it.

    1. I think of any story about dystopian 未来, 发条橙 was most correct. Now, of course the Ludovico Technique is not in use, but nothing about that story is very far out there. 那里 are child gangs roaming the streets of London. Children of the first-world are certainly more 和 more “raising themselves,”与父母和机构说一种几乎可分辨的语言,以及有关“是什么使一个人坏/邪恶,我们如何影响它?”仍然是一场激烈的辩论。

      1. 我同意,但这只是因为大量科幻作品掩盖了作者对当下的看法–并没有太大变化。

        “…A Clockwork Orange was written in Hove, then a senescent seaside 至 wn. Burgess had arrived back in Britain after his stint abroad 至 see that much had changed. A youth culture had grown, including coffee bars, pop 音乐 和 teenage gangs. England was gripped by fears over juvenile delinquency. Burgess claimed that the novel’他的灵感来自他的第一任妻子Lynne’在第二次世界大战期间,一帮醉酒的美国军人在英国殴打。她随后流产了。在对自由意志的调查中,这本书’目标显然是行为主义概念,由B. F. Skinner等人开创。伯吉斯后来说,他在三周内写了这本书…”

        http://en.wikipedia.org/wiki/A_Clockwork_Orange#Background

  14. I think part of the reason 电子 音乐 has lost a vision of 未来 is because we have categorized 电子 音乐 into genres, with subgenres, 和 so when people write 电子 音乐, it’s会自动将其归类为具有特定氛围或感觉的类别。音乐家可能会说“我生产Dubstep和Tech-House” rather than “I produce 电子 音乐”。更糟糕的是,除非它’如果您的作品出类拔萃,那么任何类型之外的作品都不会引起太多关注。

  15. 如果这听起来像是某种社论,我深表歉意。它’s obvious I’m not a journalist.

    您 can go way, way back 至 just about any genre of 音乐 和 see stylistic nods 至 an adored predecessor or even composites of several predecessors. 我不’我确实看到了这样一个问题,就像我看到的那样,缺乏对那些有影响力的艺术家,作品和唱片制作时存在的历史和/或环境背景的实际了解。一般来说,这可能是任何艺术品中最重要的组成部分。所有这些并没有提及他们的影响。简而言之,鹦鹉。如果您愿意,一代又一代的嵌套鹦鹉。

    Even though the 技术logy around creating 和 recording 音乐 is always progressing you’随着时间的流逝,re仍然总是会回荡那些对创意过去的点点滴滴。您’总是会让人对最新的高科技范式转换感到眼花(乱…paradigm…I used it in a sentence) 音乐al experience 和 then someone somewhere else in an extreme “fascinating”重新发现“ FLAC格式的木头块和古代人的节拍”。

    So, 我不’t think anything has changed. 我不’t think it’s any harder 至 find legitimate, interesting 和 unique 音乐al creations than it ever has been; it’如果您考虑一下,它总是几乎是不可能的。它’在娱乐领域,每个人都在设法吸引您的关注,无论技术的好坏,技术或原教旨主义永远都不会改变这一点。

    1. 人… this IS 未来. We all(myself included) get up 和 read about what everyone else is doing 和 with what gear. The 未来 holds no mystery because everyone is 至 o preoccupied trying 至 show it off 至 everyone else on forums like these. When we assume that we have heard or seen someone else’这项尚未解决的实验,我们将其与真实经验相混淆,并迅速前进。我们之间的极端联系使我们对创新预期成果的解释变得不正确。

      哪个好笑… because we have culturally plateaued 至 such a degree that everyone is turning around 和 trying 至 retrace their steps 至 see 哪里 we could have taken things further in the past, which in itself is not a bad thing. Hence the resurrection of analog 和 modular synths 和 the rehashing other 旧er 70’s or 80’的齿轮。引入所述机器之后的结果是真正不幸的部分。一波又一波的未经审查和毫无意义的审查。

      例如我’我一直为为什么这么多人对全新感到如此兴奋而感到困惑“old”鼓机的声音和随之而来的无数争吵声。更不用说在这样的论坛上有多少人对如何使用或呈现这些声音有如此深刻的保守意见和规则。即使现在…30或40年后!它’s sad 和 pointless.

      How do move 至 ward 未来? Just use the 至 ols you like, focus on what you are doing, 和 create something 新 or in a 新 way. Not everything has been done yet…

    2. 我可以 follow your thoughts except the conclusion (if I understant it well)….
      音乐史是一个不断发展的过程,我们可以分辨出古代音乐与传统音乐之间的区别“rythm 和 voice” traditional 音乐 versus barrocco, romantsim, rag-time, rock-n-roll……
      Sure we find similarities in 音乐 phrase 和 rythm patterns but the way they combine 和 overlay is ever changing.

  16. 未来 is about people with hopes 和 dreams. 未来 is made by people unhappy with the way things are now. it doesn’t mater how 旧 you are. lots of great 电子 音乐 was made by “old” people. as a young person all my 音乐 can really say is that it doesn’似乎没有人知道’s going on anymore.

    ime 未来 isn’t在线。在线是大信息的奴役。如果该死的国家安全局可以记录我们所做的一切,但是他们可以’不能以任何有意义的方式理解数据,您的普通人怎么希望?因为它’s always been 至 see 未来 look 至 the past. local area networks, sneaker net, illegal parties. no slick videos, no viral marketing. academia is now your bedroom. 你不’不需要成为ircam的一员或获得政府资助来做怪事,而您却没有’也不必为此找借口或理由。

  17. Simple. 电子 音乐 is not “new”还有。我第一次听到Kraftwerk时,再也没有其他感觉了。现在“electronic” is just another type of 音乐 that’已有一段时间了,您可以在手机上进行制作。它’s no longer unique.

  18. In my opinion Drum 和 Bass , especially tech step still sounds futuristic. Albums like inside the machine by bad company 和 clockwork by stakka 和 skynet still sounds like 未来 和 they were release at the turn of the century. Artists like Teebee 和 technical itch still produce very futuristic sounding 音乐. i think it’s all in the sound 设计.

  19. 哦,真是一个很棒的争论话题。我了解所有人在说什么。这些天没有太空计划。就美学而言,未来最接近《银翼杀手》。对我而言,未来(已经在这里)是金融崩溃,由腐败的银行家经营的政府,无人驾驶飞机杀人,令人恶心的战争技术不应’首先存在,人们已经过着虚拟生活。整个未来并没有什么好看的,因为所有这些都将更多。从音乐上讲,d’一次,nb对我来说听起来像是未来,但我’我已经听了很长时间了,但就声音而言,’nb / dubstep,尤其是神经,仍然占上风。我喜欢整个Synthwave爆炸,目的是回顾一下音乐中的伟大音乐和流行文化’80年代,并延续了那些日子的想象中的未来。实际上,当时所有的政治丑陋都已经存在,’只是那时我还是个少年,没有’了解腐败和政治姿态。我只能希望事情有所改变,并阻止大英帝国和华尔街决定整个世界的运转方式。在那之前,对我而言,前途一片黯淡,不断的自由贸易和强制的政权变化逐年发生。‘They’正在采取越来越多的步骤进行核战争。在里面’80年代,这个想法是关于欺骗的。现在,这可能是真实的 …

    1. 我同意– it’s political –与阶级战争接壤。

      我们没有看到未来主义的死亡,而是看到了进步的死亡。

      As a kid, I thought 未来 would be like ‘The Jetsons’ but it’原来是巴尔干半岛‘1984’.

    2. “就声音,d'nb / dubstep(尤其是神经)的实验而言,仍然占据上风”

      如果这是真的,我不会’t be able 至 tell exactly which wooble bass tutorial an artist watched before creating their tracks. Dubstep, while extremely interesting the first time you hear it, is still little more than a few production parlor tricks, 8th/16th note swing, 和 a bit of syncopation. 那里’s(显然)更多,但声音“design”不像大多数dubstep爱好者自己相信的那样出色。

      Try 设计ing the sound of a flowing river. THATS a challenge worth tackling. Not throwing a formant 和 a low-pass + LFO over a bass-line you didn’甚至不写自己。

  20. hmmm .. wasnt 2001:关于杀人AI系统的太空漫游?对我来说似乎并不浪漫或诗意…

    10分钟的迷幻超空间场景非常酷

    还有一个巨大的巨石和一些真正激动的黑猩猩

    贾雷在看什么他妈的电影?

  21. 有些人建议您可能已经知道我相信我们不会’请按照以下步骤操作,以便我们绕开大家提到的问题:
    1.when you play 音乐 forget everything that distracts you
    2.你不’不知道灵感何时来临,所以要时刻准备
    3.停止成为客户或用户,您就是艺术家
    4.find a rich wife because 音乐 isn’t a job
    5.listen carefully different kind of 音乐 from the 音乐 you produce
    6,与许多艺术家合作,演奏各种音乐,敲击鼓,演奏长笛,让自己感到惊讶或休息自如
    7.要社交,说话,要人性化
    8.你可以’t do everything from yourself because your laptop does.You are a 音乐ian,play your 音乐 let others do the rest.
    9,学习绘画,这是一种重新发现另一种艺术的好方法
    10.ten为空白。你永远不知道下一步是什么…

  22. To me, 未来 is here. And 音乐ally speaking, 未来 will do what the past has done: continue 至 mix the unmixed sounds. I think some of the things that are happening with electro-acoustic instruments are amazing. I think the revisiting of traditional structures utilizing 新 sounds will continue 至 happen. The sounds 和 way that 音乐 is played with continue 至 drive how 音乐 sounds. I also think that the way that 音乐 is approached is changing. As the cost of creating 音乐 continues 至 drop, 新 discoveries will happen. 我觉得there is still a catch point 哪里 音乐 will become more interactive. Or, at least, interactive 音乐 will rise in popularity. Apps like Scape 和 Adrian Belew’s forthcoming app Flux will be a 新 way 至 experience 音乐. 我觉得will be the next wave of innovation, much like the dawn of recorded 音乐, or the introduction of amplification, multi-tracking, stereo, etc.

    It is possible 至 record an 电子 album on an ipad, create artwork for it, publish it 至 the internet, 和 have it available 至 anyone in the world seconds after it is complete. All while you wife is asleep in bed next 至 you.

    那 is a 未来 that I never dreamed of, 和 one that I am happy 至 exist in.

    1. “It is possible 至 record an 电子 album on an ipad, create artwork for it, publish it 至 the internet, 和 have it available 至 anyone in the world seconds after it is complete.”

      但是没人在听…

            1. The 未来 is bleak very bleak. 那里 are 至 o many producers, a lack of quality 和 no sense of worth in 音乐 anymore because the internet makes it free basically. Need I go on?

  23. I’过去30年来一直在玩合成器,但现在从未有像现在这样可用的声音武器库,包括老式合成器以及成千上万个花费花生的插件和IOS合成器(一旦您’我已经购买了必要的硬件)。

    However, I hear very little interesting 音乐 being produced: 至 o much is incredibly repetitive 和 loop-based 至 my taste. I rarely (if ever?) hear the inventiveness, melodic &过去的色调丰富度’s great composers in 电子 音乐.

    我认为我们需要复兴电子交响乐作品–例如歌剧歌手“The Fifth Element” might portray – blending the 音乐ality of the past with the 新 sonic sound material of 未来. J-M 贾尔 他 self composed melodic pieces for synths, not the current glut of endless mono-chordal loops with the cut-off, resonance 和 bit-crush being tweaked for 10mn.

    I must be getting 旧 :^)

    1. Both the opera piece in 第五元素 和 most of Jean-Michel 贾尔 ’s melodic pieces are essentially pop 音乐. Not that there is anything wrong with well written, produced 和 performed pop songs, but that’s not 哪里 innovation is happening.

  24. Listening 至 my favourite radio station at the moment I feel 音乐 is in chaos, it is constantly diversifying 和 this is more 至 do with internet access 至 a wealth of 音乐 至 listen 至 , 和 a wealth of listeners 至 capture, than the instruments used 至 make the 音乐.

    I find it hard 至 find one vans im passionate about, or a style of 音乐 I particularly want 至 hear more of. Which just drives me 至 make more of my own 音乐 –这也是多样化的。

  25. This site has some of 最好的 commenters around, thanks for an interesting thread.

    I think part of the bland soul-lessness of modern 电子 音乐 can be traced 至 a decline in 音乐al virtuosity. Simply summarized, learn 至 be a *musician*, not a pusher of buttons, 和 then let that skill inform your production. I see far 至 o many ‘musicians’ who take some kind of pride in being unable 至 read 音乐 or actually play an instrument beyond ‘点击按钮触发循环,然后在转盘上做一些chi’.

    Not everyone needs 至 be Coltrane, but knowing how 至 play *something* will do nothing but increase the quality of your 音乐.

    1. The 至 ols you use have a profound influence on the 音乐 you make, I’ll give you that. However, once you learn how 至 get the most out of your 至 ols, you can be just as expressive with a decent 电子 instrument as you would be with a traditional one. Of course most 音乐ians (traditional or 电子) don’不能达到这种精通水平,但是它’s much easier for 电子 音乐ians 至 create 和 publish their work, hence the flood of mediocre 电子 音乐.

  26. 我觉得more 和 more we are living alternate realities. At least, from what I see in America 和 pop culture the emphasis 和 availability 至 consume is more focused on the individual, rather than a collective culture or unified vision as was more the case in past decades. I still think 电子 音乐 is 和 can be 未来, but 音乐ians need 至 be asking more questions in their 音乐. 他们 need 至 challenge the ideas of what makes a song a song. What is ‘music’ 和 what can it be? Playing the same chords over 和 again 和 giving the audience exactly what they expect is not going 至 establish a 未来 for 音乐 that anyone wants. 音乐ians need 至 find ways 至 draw people into their 音乐 和 performances while making an effort 至 push boundaries. Movie scores can also help, but not if they continue 至 be so conservative. 电子 音乐 is seen by many as a counter-culture 音乐. While that has advantages, what’发生的事情是,整个社会根本没有被调整。

    1. 电子 音乐 has definitely become mainstream in the last few years, so I disagree with your statement that it would be “seen by many as counter-culture 音乐”。那些人可能还会将嘻哈文化视为反文化,而排行榜上有许多最畅销的嘻哈艺术家。

  27. 那里 is no 未来 at all. All ideas have been exausted. 音乐 has eaten itself. The 未来 is a 未来 of rehash 和 repetition of the 旧. 那’s the reality 和 this is coming from someone whose listened 至 every single style of 音乐 under the sun.

    1. 如果您真的相信这种观点,那么下一个逻辑步骤是“Why bother?”…用这种绝对的话说话是懒惰和错误的。唐’浪费我们的集体时间。

        1. 您显然没有想象力。不’并不意味着其他所有人的想法都与您一样少。但是你’我们也欢迎将您脑海中的空虚归因于其他所有人。那只是意味着你赢了’击败我的下一个好主意,所以,KUDOS!

            1. 自称知道什么的人“the reality is”也是一个叫人妄想的人吗?

              那么,请告诉我们,作为一个物种,我们显然已经达到了多少有限的观念?在四边形的某个地方?更多?你似乎很确定,我’我期待您的索赔有一些经验证据。

              不然我’ll assume you’只是一个年轻的血统,他在掌握批判性思考能力以超越自己的想法之前就接触了Ligotti和Nietzsche。我还将假设您可能会在假装的人周围引用Rust Cohle,好像他们是您自己的想法一样。

  28. 人 like Flying Lotus 和 the LA guys have made 电子 音乐 interesting 再次。 All that other EDM is crap. Deadmau5??? Gimme a break. Flylo craps all over these idiots..

  29. 我以前听过Kraftwerk’小时候的计算机世界专辑,我认为它是如此的未来。现在,我生活在一个本质上是计算机世界的世界中。我有电脑,平板电脑,手机等。’s not at all what movies 和 the 音乐 projected, 和 I think some of the roamnce of that has died. We still have futuristic movies but except for self driving cars coming fairly soon, their ideas of our 未来 seem far away or will never happen. Unfortunately the current era is so boring in comparison.

    《计算机时代》 / Newcleus按下按钮是另一首具有相同氛围的曲目。

    If one composer really nailed modern futuristic 音乐 for me it’s Michael McCann’s《杀出重围:人类革命》原声带。 (并且必须向亚历山大·布兰登大喊’的原始《杀出重围》和《无形的战争》得分)。质量效应分数和遗忘分数也很棒。
    他们 aren’如此浪漫,但它们却带您离开,就像卡夫特韦克(Kraftwerk)初中为我所做的那样。

    I love using futuristic themes in my 音乐, it had a big influence.

  30. 很多人提到“the 未来 of 音乐 is bleak because everyone produces 和 no one listens.” Which I find hilarious because despite every 文章 printed about the 音乐 industry collapsing, the MUSIC CULTURE (which is what 音乐ians should be concerned with, not the industry…行业是给商人的)蓬勃发展,这是前所未有的。

    作为一个数学事实,应该是可以接受的,任何形式的先驱都只能如此之多。在某个时候,新的领域变得更加混乱。隐藏的道路成为州际公路。少数人的秘密成为许多人的常识。对许多时髦人士’s dismay…

    Be grateful that you even have 至 至 ols 至 take part in the community of sound, listen honestly 至 your contemporaries, 和 forget about ever becoming a massive influence like BoC or Einstürzende Neubauten or whoever you most admire. The days of goliath artists who sweep the world over are (albeit slowly) coming 至 an end. 那里 is enough 音乐 out there that it could take decades (or longer) for curators 和 archivists 至 sift through the mess 和 find the truly special works which deserve celebration (shit, look at the documentary “A Band Called DEATH”)。期望充其量是“discovered”在您逝世后就受到了广泛的赞誉,就像我们前几个世纪的许多传奇艺术家一样。

    Worry less about who (or how many) are NOT listening 至 you, 和 worry more about those who we ARE listening 至 you. Go play basement parties 和 perform in cafes. Produce 和 study 音乐. Argue ideas, flesh out concepts, experiment with 新 methods. Create 音乐al collectives, support the arts 和 support artists who take art seriously. The 未来 is in the COMMUNITY. It is the only alternative 至 the previous ways of being manipulated 和 controlled by the INDUSTRY.

  31. True, but 加拿大委员会 is a bad example. 他们 are not a 新 band playing vintage synthesizers. 他们 did that since their beginning 20 years ago.

  32. But a different part of the same problem: all classically trained 音乐ians I know are nearly completely ignorant of synthesis 和 its possibilities – so who’s going 至 compose the truly great stuff of 未来?

    1. 它需要是一个有知识的人,但我愿意超越它,打破构图,合成,结构等方面的规则。实际上,我听到很多伟大的音乐家,他们几乎一直未被认可。我们被市场轰炸,并被声音和录音的可用性所破坏。我看到的最大问题是他对重视艺术的文化的侵蚀和对珍惜艺术和文化并培养积极生活条件的社会的侵蚀。当然,有人说混乱和痛苦会造就出色的音乐,尽管这在一定程度上是正确的,但是当您贬低文化和艺术并使之可支配时,除非您采取沃霍尔式的艺术或音乐方法,否则可能就不好了。加拿大董事会可能正在尝试预测当前的磨损结果,…没有未来。 Flo很好,但是在那里’的人肯定会更加冒险。他正在推广冒险的事物,而与此同时’s not bad, 我不’认为人们应该对一位艺术家赞不绝口。我其实不’我对任何事物的未来都没有太大希望,但是我仍然希望人们会醒来。人是问题。

  33. Big mega-corporations are the 新 governments. 他们 push for wars. The buy presidents 和 governing bodies. 他们 hire 和 fire 和 eliminate. 他们 destroy polite 和 cause 至 xic waste 和 deforestation. 他们 build robot assembly lines 至 eliminate your job. And…他们几乎不缴税。没有未来,但是他们能卖给您什么。那’s为什么整天在收音机上播放相同的10首歌曲。那 ’s who pays .corporate tie-ins etc. mega corporations take over schools, cities, countries, 和 they have no allegiance 至 any country or people. 他们 dangle enough rope 至 make you think you have a choice. I think there’s a lot of nostalgic 音乐 至 reflect this, 和 an apocalyptic almost romantic view of this also in 音乐…几乎说我们唯一的希望是某种启示。在那种观点下。您必须过自己的生活,并在其中找到一些幸福。抵抗是徒劳的…。终结者是正确的…where’我的超大型无营养假快餐吗?

  34. 看看Louis CK’s bit re “一切都很棒,没人’s Happy” (//www.youtube.com/watch?v=uEY58fiSK8E),它很好地总结了当今的事物状态。

    One thing about the 电子 音乐 pioneers of the late ’60s through the ’80s: access 至 the 技术logy was limited because of the barrier 至 entry (high cost of the equipment). It figures they would have a rose-colored-glasses view of 未来 due 至 their advantageous position in the 音乐 industry food chain of the day. For someone like me, who overextended resources 至 acquire 和 learn 至 work with (and then later be forced 至 sell at a loss) synths, samplers, effects devices, mixers 和 processors back in the day, it’在计算机上启动现代DAW,连接键盘和几个控制器,然后带着它去镇上,这真是一种乐趣。 Ive的功能,多功能性,集成度和声音保真度提高了20倍,而成本却是我在’80年代,这真令人振奋。

    那里’s also this: as 电子 音乐 manufacturers 和 software have become more 标准化的 和 commodified, users are subtly pushed 至 use 音乐 技术logy in specific “standardized” ways –最终的结果是’这些天听起来很难有所不同。尽管我喜欢我的DAW和Softsynth,但我希望(例如)我可以更轻松地使用其他调音/音阶& polyrhythmic meters. Instead, the software seems 至 want 至 push me in the direction of the 12 至 ne well-tempered scale 和 four-on-the-floor, it takes some effort 至 push back. I also believe there is room for more innovation in the realm of algorithmic composition. While there are some 至 ols out there for doing this, as a rule they tend 至 be stand-alone 和 do not integrate all that well into existing DAW environments, 哪里 most of the major sonic action happens.

    还有我’对于我在当前设置中必须使用的工具感到很满意,在这些零和一的数组中可以进行一生的探索和实验。

      1. 您 make not like his 音乐 but it was forward looking without trying 至 fit into a genre, just refer 至 the titles of his 音乐 和 compare 至 this so called 未来…

  35. 应该说:有“Electronic” “Music” “Lost Track” Of “The Future”? 那’关于这个问题的意义。

  36. Have we lost 未来? Yes, 和 since the 80’s or so we have lost idealism, confidence, rapture, the belief that there is a world out there waiting 至 be explored, the sense that we are a part of a radical change in culture. What we have is an maturing awareness that 未来 lies in the past, now is the time 至 administer the heritage. 那里 is still a need for creativity, but innovation may appear in some other unexpected area. Hopefully, we are the ones that will create the 新 未来: Our only way out of this is our way out of this.

  37. 不,它’s out there.
    您 can find artists who present a wide range of various alternate 未来s ranging from Tycho’理想主义的逆向未来主义(受累于加拿大议会)对虚无主义的菲利普·迪克式的《死亡之握》有偏执。甚至坎耶·韦斯特(Kanye West)也通过苛刻的电子极简主义与Yeezus呈现了鲜明的反乌托邦眼光(尽管他的歌词没有’符合他的节奏)。
    看看Shabazz Palaces,Oneohtrix Point Never(尤其是专辑Rifts 和 Replica),nMesh,Matthewdavid等人’s Outmind.

  38. 我觉得“the 未来” of 电子 音乐 is trying 至 make 新 sounds 和 新 ways a song can be, instead of just more songs in structures that are well known. It might be easier 至 just make a nice 4/4 verse-chorus thing, but seeing as there is already weird stuff out there like V snares, Amon Tobin, Qebrus, etc., the 新 “future”东西会比我们任何东西都要怪异和混乱’ve ever heard or can currently imagine, just like 未来 itself. Once you hear it, it becomes familiar 和 is seated in the present, setting the stage for more 音乐al experimentation. It won’t stop.

  39. 我的直觉是要强调1980’s analogue synthesis suggests 未来 is in the past 和 至 wonder 哪里 the 新 sounds are? But surely because 电子 音乐 was 新 和 innovative in the 1970’s 和 1980’s it represented 未来. Consequently you had loads of people experimenting 和 finding 新 sounds 和 innovative ways 至 use the 新 电子s. I am guessing that the same thing will have happened when any 新 instrument is developed. I am not aware though that pianists, cellists, etc consider whether their genre has lost 未来.
    The 未来 as envisaged by 1970’s/1980’s 电子 音乐 artists is here.

  40. i would say that instead of becoming a 至 ol for introspection into a hypothetical 未来 that resides in one’s mind, 音乐 has become an instrument for intensifying 和 expressing the present moment…这些天每个人都很技术…

  41. As an 旧 git I still hear 音乐 evolving.
    Best example of 电子s being used at a whole 新 level is the Swedish band Dirty Loops.
    While everyone else is relying on machines providing 新 ideas, these guys prove that 电子s can still be used as a 音乐al instrument played by real people at a virtuosic level.

  42. well, guys it has 至 do with culture 和 civilization as a whole not with 音乐 or 音乐ians or the gear.
    如果你不这样做’t remember these decades 哪里 电子 音乐 (and 新 instruments like synths) was introduced the whole world was fascinated by the “space age”漂流了大约90’s.

    我可以’尽管关于这个主题还有很多要说和写的东西,但现在不要写更多。但是,我敢肯定,你们都明白我在这里所说的话。

    想象力是关键

  43. 好吧,我以为我’d回到这里进行更新,讨论太空计划(如果’s something you’re interested in, as 未来 和 as reality).
    美国已经停止了它’太空计划(根据我们的’re 至 ld).
    俄罗斯和中国将成为下一个超级大国(我赞扬),因为它们正在摆脱西方强大的经济力量(摧毁了您所知道的一切),并形成了自己的替代方案。它’称为金砖四国。 (对于澳大利亚,我只能希望将A添加到其中)。金砖四国被英国/美国视为主要威胁。它使有关国家再次成为主权国家,而没有强迫他们进行自由贸易。俄罗斯和中国也将重返月球。为什么?氦3。如果有效,它将迎来下一次重大革命。这可能是所有能源问题的答案。如果它们成功了,而没有英美通过刑事战争的努力摧毁它们,那么世界上大部分地区最终将转向金砖四国和这种新能源大英帝国(及其’(美国的木偶)将最终被推翻,对我们所有人而言,未来看起来都是该死的。在那之前’你们中许多人提到的反乌托邦。悲伤但真实。也许吧’的确必须变得更糟’变得更好。 (实际上,不,它’s doesn’t, it’只是某些机构会尽其所能维持自己的帝国,而无需关心谁在此期间去世。有思想的食物,很多人都可以吞下。我建议您自己做一些研究…

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