After a series of videos (and also
taking advantage of the traditional end/beginning of the year
review...), it is now time to take a step back and submit to some
small reflections. Regarding creation, the use of modular synths is
not free of traps. But let's say it right away, the modular is not
alone in the face of these traps: let's transpose without waiting the
reflections that will follow to all the audio production equipment...
Among these traps, I will distinguish
here 3, illustrated by the latest videos posted.
Let's first clarify the context: Aleq
is a project that aims to make music (sic).... and as much as
possible, personal music. This seems silly to note, but the choice,
then the use of a tool (whatever it is) will differ depending on the
objective. (Conscious objective or not, by the way...)
For example, if it is a question of
setting up a sound design company, or music for films, it will be
necessary to meet the very varied expectations of customers, and
therefore acquire skills and equipment sufficiently vast and / or
versatile to meet all these requests.
You can also simply have fun, or have
fun recreating your favorite songs.
But, if it is a question of creating,
as an artist, the problem is different. So, yes, what art and
artistic creation is, is a question in itself, which is not going to
be debated here. I don't want to, and don't have the knoledge. Let's
say that what follows is not intended to be a generality, but a
particular case arising from my perception of this question.
This problem, therefore, is different
because it is in this case, a personal concern. No idea of "doing
like this artist", or having all the possible techniques
available. It is a question of revealing, perhaps growing, a personal
universe. And in this case, you have to choose your tools according
to what they will be able to bring to this universe that you want to
develop. It is therefore necessary to be wary of what can make
deviate its original project (yes, okay, it is good to remain open,
and to a certain extent to let deviate, but let's move on...).
Yes, I like the sound of the TB-303,
but does this sound make sense in my project.
Yes, this module 'x' is fashionable,
but for my use, is it useful?
For the Aleq project, the problem is in a sense simpler, but also more difficult. Because it's about confronting my sound universe with the "modular synth" tool (OK, yes, there are also effects in the story like the H90 ...). Easy because it limits the hardware problem to modular only.... But difficult because it mixes artistic project (a certain sound universe to be defined) and tools (which must allow to shape this universe). Especially since I must admit, I also have a certain attraction for the technique as such. And precisely for audio to explore the different synthesis techniques, and therefore the tools implementing them. All this blurs the choices...
But then, to conclude this long preamble, here are 3 traps, among many others. These are reflections that are not intended to be applicable to all, far from it. But which I hope will make you think. (Yes! and also disagree at all).
- The wow effect: Well known in the world of new technologies. It is the strong impression that one feels in front of something new. Easy to do with a good demo video! But that quickly collapses once the blindness of the 1st meeting has passed... This is also what happens when you connect for the 1st time a new machine and you review the presets (if they are well done ...). This is typically what can be blamed on the video on the H90. Effects machine Wow guarani!!!
Luckily, once
mastered, it turns out to be a very creative tool that goes far
beyond all the good impressive presets.
And so a lot of features
match exactly what I'm looking for (yes, also the big reverbs so
flattering).
Just to say, I already had the H9, whose sound suits
me, but I had never managed to get used to its ergonomics. With the
H90, I find (richer) what I loved about the H9, with ergonomics that
finally suits my way of working. When the H90 arrived, I already knew
what to expect in terms of sounds.
In the video, we can notice a
recurring flaw: an exaggerated (and invasive) use of a tool that
impresses. The reverb, the pitch shift is too forward. But hey, in a
way, that was the goal too... At least, for a "real" piece,
we would have to review the copy!
Because yes, it is so easy to
create an exciting sound with these effects!! Any "poc" in
a "Blackhole", and we almost have a piece of ambient ready
for engraving!
Which leads to the next point:
- The
appropriation of what happened alone. In the case of the H90, I might
think, "Wow! The sound is great! Just record and it's in the
box!"
And it holds up, that's for sure... But what is his
personal contribution to this story? having the good taste to have
chosen the right reverb preset? …
More detailed, to return to
the world of modular : there are these patches made randomly,
and that gives "a nice thing". We don't really know how,
but it sounds good, or original.
And very quickly, the temptation
is to appropriate it and say: "well yes, it corresponds to what
I wanted". No... It's just a stroke of luck... All the easier to
have as the modular tool seems made for that. (and that's his
strength!).
No, you have to
take a step back. Listen again, and put this unexpected sound in
parallel with what you wanted in the first place.
In a
professional context, the question does not arise: "OK, the
sound is interesting, but it's not what the client wants: forget it"
(or puting aside for another project...).
For an artistic project,
you have to know how to do the same: Yes, the result is interesting,
but does not correspond to the aesthetics (or the sound universe, the
project ...) sought. So leave aside.
On the other hand,
the technique is very useful for learning. Nothing better like a
little session of "Monkey testing" like the video...
for:
1- Relax
2- learn and go
beyond what you know how to do (or need to know)
3- And also, all
the same, question his universe with regard to this new element found
at random.
- The last point. Which in a way stems from the
previous one: The error of technicality.
The more you
advance in learning a technique, the more the risk is to be satisfied
with your technical competence (with the risk of locking yourself
into it).
We must never forget that the goal is to create a work
of art, and in this perspective, technical performance is secondary.
(Well, this is debatable, but in my opinion, it remains indeed
secondary)
Whether the piece is made with machine 'x 'or 'y'
ultimately does not matter. What counts is the result, what we listen
to.
I don't care if
what I hear was done through a virtuoso use of a given tool, if the
result doesn't interest me...
Example: I have the Tiptop/Buchla
281t quad function generator. With 2 elements, we can build an ADSR
envelope... But why, since I already have ADSR envelopes...
The video about
the Falistri is a good example: Given the other modules I have, using
the Falistri to build a full synth voice is not very relevant. Except
to show that I know done? (bof...)
In the specific cases of this
video on Falistri, the objective was to validate the quality of the
module in its different aspects (Yes, validated : it's a good
module !) . And knowing how to make a complete synthetic voice
with just this module is good to know, in case of.
Like the 2nd
point, enriching your technical skills allows, among other things:
1-
To get closer to the sounds we are trying to create, therefore to our
universe.
2- Especially to
enrich this universe, which will go from a vague idea to something
more precise as we will know better how to use his tool.
3- To be
more flexible. (I lack an ADSR, no problem : I know how to do it
differently...)
Suffice to say
that in other contexts, knowing how to use your tools in depth is
essential, simply to be credible...
4- All the same, try to do
differently, with a patch a little twisted allows you to change the
angle of view of the sound you want to create. And thus allow to
discover other ways of playing with the original idea.
So why did I still make these videos? In addition to being a logbook
of this Aleq project, which it seems useful (at least for me) to
document the stages and mistakes of the evolution of this project,
there is another reason to make tests that can seem so external to
the project.
Letting yourself be fooled by a new product is the
first step, certainly essential, before taking a step back. This is
especially evident with the H90. Once you have been amazed by the
extraordinary effects of the machine, it is time to question several
points:
- It's beautiful,
but what are the sounds that really suit the sound universe I want to
develop?
- By building this new piece, with this beautiful and
deep reverb, am I not doing Eventide, and not Aleq?
- Am I not
fooled by all my stored culture? Am I not, in other words, recreating
what already exists? Forgetting my primary goal.
The technique is
important to understand the tool and realize its usefulness. Then you
have to appropriate it for your personal use and learn to leave aside
solutions that are outside your project.
And in any case, it is
important to manipulate to create your vocabulary.
Try, aimlessly,
just test: This is another way to enrich your vocabulary, and
question your universe by confronting it with these sounds that are
not necessarily part of it a priori.
Always have your world in mind: when you choose your gear, you try it and use it.
That's a lot of "open doors" that have just been broken! Which seems to me nevertheless useful to recall. (At least for me...)
From there, hm... Now I am setting the bar high. I will have to assume the content of this post and propose songs at this level!