Interesting subject.
As someone who has moved from an analogue realm to a digital one in my work, I can see how the "highly measurable" numbers game has become of "importance". Remember the show "Max Headroom"?
When I had to make the switch from film to digital, I was all concerned about the "numbers". Then there was a job that came along that caused me to through all the math out the window and trust my eyes - as I had been doing for decades prior.
Lowest common denominator = biggest market
I can remember being at the TSO watching a performance of Beethoven's 9th. I found it to be lacking in impact - dynamics. This until, Ode to Joy happened. And I realized the conductor had left something in the bag. Realizing the limitations of the hall, and the size of the choir, he left room for the moment of "impact". Granted the only reference I had to this was the Karajan two symphony, double choir recording. No shortage of range there should you want it.
I also remember seeing a documentary on a painter who always mixed white into every color. So, if he needed more red, he has it. Bore blue... You get it.
The secret I think is to not put white in everything and forget that there is still more color to be had.
Depeche Mode has always felt like that for me. All of it running at the same intensity. Mr Bungle on the other hand - not the case.
p
As someone who has moved from an analogue realm to a digital one in my work, I can see how the "highly measurable" numbers game has become of "importance". Remember the show "Max Headroom"?
When I had to make the switch from film to digital, I was all concerned about the "numbers". Then there was a job that came along that caused me to through all the math out the window and trust my eyes - as I had been doing for decades prior.
Lowest common denominator = biggest market
I can remember being at the TSO watching a performance of Beethoven's 9th. I found it to be lacking in impact - dynamics. This until, Ode to Joy happened. And I realized the conductor had left something in the bag. Realizing the limitations of the hall, and the size of the choir, he left room for the moment of "impact". Granted the only reference I had to this was the Karajan two symphony, double choir recording. No shortage of range there should you want it.
I also remember seeing a documentary on a painter who always mixed white into every color. So, if he needed more red, he has it. Bore blue... You get it.
The secret I think is to not put white in everything and forget that there is still more color to be had.
Depeche Mode has always felt like that for me. All of it running at the same intensity. Mr Bungle on the other hand - not the case.
p