Post #2053820

@zweikreise@ravenation.club Yes, I like this too! Nicely put by you. I think it’s a tension zone of disparate elements collaging together that we like?; delicate but tough, tight but loose, deep, dense, but not overworked, extreme sounding but not harsh on our ears. A holding of the space between seemingly impossible sonic opposites. It seems beneficial to do it with pairing quite different sources/approaches too (generative, live playing, step-recorded, etc.) Doubling up a relatively untouched-organic with the synthetic - with bridges between them. In further connection with what you said, I love it when sounds have a rubbery, fast transient attack, and flare out via other sounds that are opposingly soft in all respects - with the stereo spectrum on each treated very differently but the whole coming together like a single liquidity scrunch, lol. Building your parts from sets of opposites. It may seem like a strange example, but a friend who is now an orchestral arranger (from a background completely opposite to that interestingly) just told me how Ravel innovated orchestral by having pizz and woodwind play the same part; the pizz supplied this attack, and then the oboe the “tail” (to use modern vehicular haha!)