ilovefuzz.com

Sonic Crayon = Bill Sienkiewicz
Frostwave = Geoff Darrow
Hexe = Moebius
Walrus = Tim Bradstreet
Keeley = Steranko
Fulltone = Neal Adams
Fuzzhugger = Warren Ellis
Moog = Jack Kirby
Freekish Blues = Rob Liefeld
No way there's a Stan Lee, or Alan Moore either. Mike Matthews is Jim Starlin at best. Malekko is Todd McFarlane.

So if you can just assign builders to writers and novelists, you'll have covered pretty much
all of my bases. Talk about idea sex.

No, malekko is not Todd!

Polarizing figure, lots of loyal fans, lots of haters...broke away from the pack for solo success. Undeniable talent despite whatever drama, but a little corny sometimes...

Eivind August wrote: Also, Montreal Assembly = Shane Carruth

Nah he's more like Sonic Crayon. Mystical and camplicated and hardly releases anything but when he does its like whooooaaaaa.

ApeLincoln wrote:Maybe OBNE?

Almost too hip but still making an interesting enough product to exist beyond the aesthetic.

OBNE = OBNE.

Warpsmasher wrote:

Invisible Man wrote:Holy shit, this is amazing. Please don't stop.

MOOG IS KUBRICK.

Jackson = Wes Craven

R.I.P.


This thread is awesome, by the way.

Eivind August wrote:Remember reading this futurist manifesto written by some guy in the roaring twenties, where he stated that noise would become a part of popular music because it was becoming a greater part of our surroundings; traffic, construction sites, electrical appliances...

Russolo's The Art of Noise: http://www.artype.de/Sammlung/pdf/russolo_noise.pdf

Manifesto for Futurist Musicians by Pratella and John Cage's Silence are good reads too. From Pratella:

"To destroy the prejudice for “well-made” music—rhetoric and impotence—to proclaim the unique concept of Futurist music, as absolutely different from music to date, and so to shape in Italy a Futurist musical taste, destroying doctrinaire, academic and soporific values, declaring the phrase “let us return to the old masters” to be hateful, stupid and vile."

ChannelingHemingway wrote:

Eivind August wrote:Remember reading this futurist manifesto written by some guy in the roaring twenties, where he stated that noise would become a part of popular music because it was becoming a greater part of our surroundings; traffic, construction sites, electrical appliances...

Russolo's The Art of Noise: http://www.artype.de/Sammlung/pdf/russolo_noise.pdf

Manifesto for Futurist Musicians by Pratella and John Cage's Silence are good reads too. From Pratella:

"To destroy the prejudice for “well-made” music—rhetoric and impotence—to proclaim the unique concept of Futurist music, as absolutely different from music to date, and so to shape in Italy a Futurist musical taste, destroying doctrinaire, academic and soporific values, declaring the phrase “let us return to the old masters” to be hateful, stupid and vile."

This was a really really interesting read.

^ It sure is. You should check out the reader Audio Culture. It has some Russolo stuff in it as well as a bunch of other cool sound studies work.

For sure! Thanks for the heads up, I'm always looking for new things to read.

Having had some time to process I Dream of Wires, and this: https://www.modulargrid.net/e/racks/view/87696
I am now committed to modular. 12u max, depending on what else is out there by 2020.
I am no longer vulnerable to it...or anything else. We can't run and hide from it anymore, so turn and face it. Know that you have plenty of time, and that someday you will be a master over it.
I have succumbed to the body snatchers.
The spaceship is landing, and I am breathing in all the Gas it discharges.
Guess I talked myself right into the gas chamber.

BUILDERS: The landscape is changing, and a war is coming. Well, the war is old and pedals always survive it, but a new battle is coming. The euros are coming for your pedalbux, and they are going to get some. If you see your sales drop, this could be where the business is going. The boutique pedalboard aesthetic has been completely assimilated, and transplanted into a fresh new medium, complete with expression jacks and tentacle graphics.
Remember what got you here. How it felt in the beginning. When it was still the beginning. That is what's happening to eurorack now. It's still new and growing, just like pedals were once. And a nicely boutiqued eurorack can make all the same statements as a pedalboard that has one of yours on it...with the added edge of being some crazy new shit that nobody has ever seen before. That alone could keep it growing until it reaches the size of the pedal scene at least. More racks surface, more guitar & vocal & dj-friendly modules appear, so everybody can have a eurorack full of stylized boutique gear that reflects their taste, style and convictions like tattoos and haircuts. Malekko is ready. How you doin'? Dwarfcraft is ready. There is even a MASF module out there. ILFcash magnets abound in the new arena, snatching your loot from afar, uncontested. It might be time for you to adapt and survive, maybe even expand and thrive. The game is already being played, you can make a move whenever you're ready or feel the need. Just pay attention, and stay competitive. And take some back if you can. I am pleased with my new overlords...for now...

Can't say I see it knocking pedals out. Too big, too heavy, too "complicated" for guitarists who loved the Ditto because it wasn't scary or have features they couldn't figure out how to use.

Racks didn't do it. Sophisticated digital stuff didn't do it. Modular I'm curious if it'll even be around in five years as a significant thing.

Well, it is a frivolous thing and far from a necessity, and mainly for guys who want some of that spaceship wall of computers look, and R2D2 sounds. The art of the system is the sub-hobby I'm focused on, and I've just reached a place where I have room for things that are new and different.
Pedals are a necessity, and nothing knocks them out. Euro is just another wormhole to vacuum away a man's madmoney after he completes/overcomes/gets bored with the frivolous side of pedalworld. A fetish project for serious gearheads, that requires a commitment. Bro shit, on the nerd level. The worst that it can do to pedals is take a bite from a piece of their pie, the piece that's full of people looking for their own new thing. I'm just getting into the new thing, following that fire. Being able to build my own custom instrument/control panel is the most appealing part to me, and another reason that it will keep growing. It's already being dumbed down for guitarists and DJs, because expansion causes that, and increased accessibility basically demands it. It's cool and fun and full of builders who know how to keep it that way, and it's a new gear medium to create in, with all the colors and textures of pedalworld (and others) in the palette now. It's not relentlessly overtaking anything, but it is a strong new species so far, so I just want to add it to my studies and benefit from it's powers. That's the appeal for me, and the reason my madmoney will be going there for the forseeable future. Plus FART NOISES.

Also, just like pedalboards: compact, sensible modular systems = italian sports cars with 007 secret weapons, and ridiculous huge ones = monster trucks. Bro shit all day long...

The thing is that the electric instrument industry is built on curated nostalgia: bar band and bedroom players who want to plug into an od, a reverb, and sound like SRV or whomever. Which is fine, but builders and players who want to do cool/degraded/fucked up stuff are very much on the fringe, with modular being even more niche. I guess the big obstacle with modular is that there's really no getting your feet wet: the cost of entry is too high for someone who isn't wholly committed from the get-go. Plus there's the whole having to re-tool the production side of things builders would have to consider. Unless I was specifically targeting that segment, I probably wouldn't bother. Besides, anyone halfway competent with a soldering iron could do a rehouse.