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peretsky Profile picture
@la_meme_young
Apr 6, 2021 • 6 tweets • 2 min read • Read on X
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what is it to be dank as far as sound goes?
my students call it earrape, despite me telling them to find a new word for it.
but what we do agree on is that for some odd reason, the louder it is, the funnier it is.
the more we move beyond the initial source, funny on its own or not, and deep fry it to the point of digital artifact, the closer we get to achieving some sort comedic sweet spot embedded within internet culture.
what gives @benshapiro ?
i am a serious artist and musical pedagogue

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More from @la_meme_young

peretsky Profile picture
Nov 14, 2021
a history purism as demonstrated by centuries of music technology, a thread.
“Back in my day we didn’t just play those pianofortes all willy nilly, we stuck to dynamic stagnancy on the harpsichord for a real challenge.”
“Back in my day we didn’t allow for these reed organs in homes and pubs like a bunch of dirty peasants. We played pianoforte in the Duke’s salon and had organ recitals in the chapel of course, obviously we had a much higher standard back then.”
Read 7 tweets
peretsky Profile picture
Nov 13, 2021
Music tech people are fucking weird. We have the world at our literal fingertips, when it comes to hardware and software devices capable of creating whatever sound we could possibly imagine, and at a fraction of the cost of what it did two decades ago.
And yet we’re more divided than ever, plagued by consumerism, even when it’s become abundantly clear it’s possible to compose and record a professional and forward thinking album on something as commonplace as a smartphone or tablet.
The issue now seems to not be whether it’s possible to make cutting edge sounds with the tools we have available to us already or at little to no cost…
Read 6 tweets
peretsky Profile picture
Apr 19, 2021
time and time again as a sonic arts educator, without fail, i have been able to gently introduce non-musical art students to experimental noise, ambient, and other electroacoustic music through the topic of sound design.
everyone can name a famous sound effect from a movie, show, or video game favorite. but historically speaking, much of these sounds have been created by a handful of individuals throughout the years that were either aware of or directly involved in experimental music themselves
take the BBC radiophonic workshop for example, folks like Delia Derbyshire and Annea Lockwood, both themselves experimental musicians and artists, were employed to explore the blossoming art of interactive foley and analog synthesis to create SFX for BBC radio dramas.
Read 12 tweets
peretsky Profile picture
Apr 18, 2021
from the strictly sonic perspective, this is one way of viewing techno vs. ambient, and even noise music theory from afar
we’re all using the same tools, hardware software etc, what matters is the intent of the tools and the organization of their output.
the “lushness” of ambient music can be traced back to their slow tempo, multi length loop production technique pioneered by brian eno with Ambient1. you got a bunch of loops in 65 BPM, one is 2 bars long, one is 3, one is four, etc.
Read 10 tweets
peretsky Profile picture
Apr 13, 2021
i mentioned Barry Schrader last week in regards to his definition of electronic music that i hold near and dear to my heart: the idea that if your music requires any electrical transduction of signal, then that falls under definition umbrella
i love this definition, it’s quite liberating to think that all that it takes to create signal flow is a bit of amplification, it very much paints the picture of a literal *electro**acoustic* music, a pick-up attached to your orchestral instrument opens up a whole newww wooooorld
personally i have found more pleasure in the nuances and implications of amplified everyday objects and common instruments, rather than spending thousands on fancy synth and fx gear for the sake of creating abstract sound designs and unique spacious musical practices.
Read 10 tweets
peretsky Profile picture
Apr 13, 2021
interactive media and game design are some of the purest forms of presentation for ambient music. it allows music that is, by design, composed to be ignored in some regards, to blend in with a virtual space of the artist’s choice
erik satie would’ve KILLED to be able to present furniture music in a salon he had 100% control over. he always complained that despite him insisting the audience ignore the performers and simply *exist* together in a room, people would always hush and crowd ensemble members.
pauline oliveros saw the power of amalgamating game design and deep listening with her second life concert series, these works in particular were something i took deeply into account when planning out “music for painting” last year

newart.city/show/musicforp…
Read 11 tweets

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