Drew
Forum MVP
Preach.In all honesty, all Tech death bores me to hell and back.
I'm with you. I like my players to sound human.
Preach.In all honesty, all Tech death bores me to hell and back.
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Holy shit dude, PtH is legitimately one of my favorite bands of all time, I'm not telling them off for it. It's a discussion point since the nuances after the fact are different but composition wise they used their tools to write music outside of their scope in the same way I some of these modern guys are but they are being disingenuous in their presentation of their product. The orchestra thought was nice to begin with but also a terrible comparison since generally flashy and fast musical pieces aren't associated with Orchestra compositions (although they can be).
It just seems like you missed my point, clearly Charles is writing music and riffs/leads he can't cleanly play but by metric is it ever acceptable?
This was my point a few pages ago, consistency in an argument matters and some of the people responding are 100% against the use of any technology to facilitate writing. And in this discussion being about Berried Alive most people here aren't really invested or longtime fans, so no loss and mostly everyone couldn't give a shit about it. You throw a more beloved band in the mix and there's suddenly more leniency and flexibility in the argument, it's just not consistent and THAT was my point in bringing up PtH. They did nothing wrong, but they BEGAN doing the same thing I'm sure Charles is doing. People can be against tool assisted musical performances, but if you're not against all of it then the argument falls flat IMO. Lying after the fact and being deceptive does not go hand in hand with someone writing overly complex music and using different tricks and methods in the studio to perform/record their tracks.
This discussion was never about composition, it was about execution and a lack of transparency regarding the execution. I don't see the two as comparable by any means. One is conceptual and one is pragmatic. The whole point of this thread is not "why are people writing such cRaZy music??" It's "Why are people blatantly lying to the public about their physical actions?" Compositional tools and genuinely playing your instrument are not at all related on any ethical grounds. And your whole "argument" is based on that parallel....The fact that you keep equating the facilitation of writing and the facilitation of playing makes me think that YOU are the one that's missing the entire point of this discussion.
Just because you don't associate flashy music with orchestral/classical pieces, doesn't make my comparison "terrible". People were shredding their asses off before electricity was invented, dude. Listen to this (skip to 13:20 for the 3rd suite which is the one with most shredding):
This piece was written by Ravel, but he never performed it. The guy probably wrote this out on paper with an ink jar and quill, without the intention of ever playing it personally. Does that make him a hack in your eyes? The blatant answer is no. Because there's a total fundamental difference between composing and playing.
a terrible comparison since generally flashy and fast musical pieces aren't associated with Orchestra compositions (although they can be).
You keep saying PtH was doing what Charles is doing, but....they never did this hyper-edited quantized garbage. They did what 99% of musicians from all history did: they wrote music, they practiced it, and then they recorded it. And the fact that they're butchering those songs live now means that they're taking full responsibility of at least trying to play it for real. No backing track crutches, etc. Just pure human mistakes, which I'll take any day over a band that tours with backing tracks in place of members.
They did nothing wrong, but they BEGAN doing the same thing I'm sure Charles is doing. People can be against tool assisted musical performances, but if you're not against all of it then the argument falls flat IMO. Lying after the fact and being deceptive does not go hand in hand with someone writing overly complex music and using different tricks and methods in the studio to perform/record their tracks.
Something I thought about last night, what are people's takes on Protest the Hero?
writing music that you can't play and then working really hard to play it well = trying.
writing music that you can't play and then punching in notes/layering with MIDI/recording in half speed, and then lying about the process = not trying.
It has nothing to do with preferring one artist over the other, PtH falls into the first category, Berried Alive falls in the other. They're not similar, in fact, they're opposites. If you don't see that, then we're going to be talking in circles about this over and over, and I'd rather just end it here rathen than beat a dead horse.
Originally the point was "oh its fine when a band you like does it, but no when these guys do it." then it turned into "I guess they don't do it AS much, so maybe its not the same thing" and now its "how is not being the same mean its not the same?". At least with my limited reading comprehension skills, anyways.That's the same point that he's been making, though.
If I could go back in time, I'd find the guy who said "mAkE sUrE yOu CaN pLaY iT sLoW bEfOrE sPeEdInG iT uP~~~" and slap him across the face. Playing "beyond" your comfortable speed is a super-critical part of practicing to be able to play better, playing fast engages the muscles differently than super-slow clean, and just trying to stay in super-clean slow zone will stunt development like crazy until you start going faster.I would practice stuff like Michael Romeo string skipping tapping and like never progress beyond like 40bpm or something because I needed to have no string noise at all to consider myself able to play it
That's the same point that he's been making, though.
Something I thought about last night, what are people's takes on Protest the Hero?
Specifically Kezia, because although that's a beloved album by anyone who really digs that band, they openly admitted to writing stuff that was above their paygrade and practiced until they got it tight. That album might not have existed without tools for tabbing to lay out their creative minds down and write what they truly wanted to write, at worst they probably played a few months worth of shoddy live renditions of the songs and by the time it came to record they were most of the way there. It's far more mild obviously, but curious what folks think considering how binary some people's thoughts on the topic are.
If I could go back in time, I'd find the guy who said "mAkE sUrE yOu CaN pLaY iT sLoW bEfOrE sPeEdInG iT uP~~~" and slap him across the face. Playing "beyond" your comfortable speed is a super-critical part of practicing to be able to play better, playing fast engages the muscles differently than super-slow clean, and just trying to stay in super-clean slow zone will stunt development like crazy until you start going faster.
If I could go back in time, I'd find the guy who said "mAkE sUrE yOu CaN pLaY iT sLoW bEfOrE sPeEdInG iT uP~~~" and slap him across the face. Playing "beyond" your comfortable speed is a super-critical part of practicing to be able to play better, playing fast engages the muscles differently than super-slow clean, and just trying to stay in super-clean slow zone will stunt development like crazy until you start going faster.
If I could go back in time, I'd find the guy who said "mAkE sUrE yOu CaN pLaY iT sLoW bEfOrE sPeEdInG iT uP~~~" and slap him across the face. Playing "beyond" your comfortable speed is a super-critical part of practicing to be able to play better, playing fast engages the muscles differently than super-slow clean, and just trying to stay in super-clean slow zone will stunt development like crazy until you start going faster.
If I remember correctly his name is John Petrucci. Regardless of who it actually is, I've never agreed with something so much on this website. Eff that guy.
Was it? Cause that's not what Jonathan's first post sounded like:
Yeah, how is openly admitting something the same as blatantly lying about it?
My 2 cents:
1. Starting slow helps getting the intonation, string muting and hand synchronisation down.
2. Increasing tempo gradually helps your brain get used to all the info in point 1.
3. Playing at the limit of your abilities (i.e. near the threshold where things fall apart) helps progress.
In my technically oriented practice sessions, I try to cover all these points and not stick to point 1 exclusively, i.e. it’s kinda dumb not to try to see where your limit is and not to practice near it, which I think is your point.
That being said, shit intonation, crap string noise muting and bad hand sync at slow speed will obviously carry over to higher speeds.
I think this is a great video and reminds me of that one awful "band" that was posted on here a year or two back. Faking your guitar abilities is pretty lame, and I'd much rather listen to a "messier" solo like Friedman's at the end of the video than some perfect solo that sounds bland, soulless, and fake. The sad thing is that even guitarists in the 80s were doing this, and I'm sure most of you can name one right off the top of your heads.
I don't think "fake" solos are prevalent enough to justify 15 pages of discussion.