|
ABOUT CHAPTER 1 |
| In
part 1 Messian Dread states very
clearly, that there are prejudices
concerning computer created dubwise.
He explains that the computer is not a
magical tool that will create the best
music especially for you and that this
section is not to be regarded as a
direction to find the symbolical pot
of gold at the end of the rainbow. In
this digital age, making music remains
to be a combination of blood, sweat
and tears. |
|
ABOUT SOFTWARE: |
| Without
software, the computer is nothing. In
the software section of Studio Dubroom
you can read what software you need
and you will also get advices as to
which softwares are good. This section
does not make a preference for one or
the other program in a certain
function, like different sequencers or
audio-editors. The fact is that most
of today's programs are all pretty
good in possibility, and it depends on
your personal choices and character
which software fits best to your
needs. |
|
|
MAIN TEXT |
| The
Computer is my main tool. I have
created many dubs with the use of only
my computer carrying a sound card and
although I have exterior equipment, it
is fair to say that none of my other
devices will allow me to create a dub
track. They will let me either mix
signals, put echo's or other effects
in them, or record music, but there is
no other device that I have, which
will let me do all these things
together. The computer is the digital
"heart" of my set-up and I
think it will remain to be just that
for a long time to come. I use it to
record and to mix. I believe, the
reason why the computer is such a
helpful tool, is because it is a
perfect simulator. The computer can
re-create almost any device in a
digital environment. You need a
tape-recorder, a mixing board,
instruments, and effects in order to
be able to create dub music. And the
computer can "pretend to be"
one or more of those devices. Not only
this, but the computer can go further.
Although it simulates a "real
situation", it doesn't
necessarily have to limit itself to
the physical boundaries. I can mix my
music as if I had 10 or 20 hands, I
can make copies without getting audio
loss, et cetera. I treat my computer
as a simulator in the first place. But
I also know that the computer can do
things not possible in the analogue
field. Yet, if I keep my principle,
that the computer simulates, I think I
create a solid foundation for creating
my music. If you put too much things
in your music that are
"unreal", your music will
become "unreal", and
remember, the goal of making music in
a serious manner is to satisfy your
audience. And they are not digital!
Therefore, your music must always be
connected to reality, because in this
context, people are the reality. And
there are not many people that can
watch three different movies, while
reading a book and conversing with
brethren in the same time. When you
put too many things in your music,
this can perhaps be technically
impressive, but too difficult for us,
"simple humans" to
comprehend. What use is there in a
device that will let you watch 3
movies, read a book and talk with some
in the same time? Nobody wants to have
that. So, to summarize this chapter, I
would say that the computer is a
simulator in the first place, a
simulator with extra possibilities,
and these possibilities have to be
used in doses where the perception of
the human ear and soul are the
measure. |
|
