macbook air and fcpx- the new portable edit suite

[Chris Harlan]

[David Lawrence] “Think about the branding for Avid’s flagship NLEs… They’re named that way for a reason 🙂
“

LOL. True.

[David Lawrence]

Hey All,

This is a super interesting conversation! How about we move it to it’s own topic? I feel like there’s a lot of rich ground we’re just starting to cover and we’re way way off this thread’s original subject. Wouldn’t want people to miss out!

_______________________
David Lawrence
art~media~design~research
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[Jeremy Garchow]

[TImothy Auld] “Forgive me but what the hell are you talking about?”

Yikes. Slow down. It was a joke, kinda. I guess I shouldn’t be a comedian, either. I guess everyone is claiming that FCPX is dumbed down, I was likening it to an orchestra in a box (like a synthesizer). Never mind, bad joke.

I guess I didn’t get your analogy and it didn’t answer my question.

Yes, the language of FCPX is a bit different, this is true. Did you look at the timeline and not understand it? It’s an oversimplified timeline, but it’s an example. Here’s a direct link: X Timeline

I used to play instruments. I don’t anymore, but I can still read sheet music, (although only in the treble clef).

So to take this out there, I guess you are asking what would I think if I came in to work and the sheet music was different? Instead of notes on the staff it had letters in a stack, but bflat was still bflat? The tempo had to be adjusted by choosing a different key instead or writing Andante at frame zero? But I wouldn’t have to blow as hard for as long, I wouldn’t have to soak my reed for as long, my 18 keys just went to 2, the timbre of the sound improved, and the end result is still wonderful music?

I guess I would decide if it’s worth it, if not go to another orchestra that supports sheet music. Better?

[Timothy Auld]

No, not sheet music. Music theory is as it has been notated for more than an thousand years. I am not really sure what you are getting at about this.

bigpine

[Jeremy Garchow]

[TImothy Auld] “Music theory is as it has been notated for more than an thousand years. I am not really sure what you are getting at about this.”

Help me understand.

This is your quote, it’s kind of vague:

“Admittedly this may just be my perspective but just consider if you were a musician in a symphony orchestra and one morning you came in to work and someone, completely arbitrarily, mandated that the conventions you had been used to all your life, the conventions that everyone else in your profession knows – conventions that in the case of music have been around for the last thousand years or so (and have worked fine during that period) all had different names and they all functioned a bit differently and – wait – some of them just didn’t work at all anymore and they never would. ”

Please clue me in to the conventions of a symphony orchestra musician, that’s all I need. We had been talking about tracks as sheet music before, so I took it there. Is that not what you are saying? Or are you talking about classical music as a convention or not just the musician as you mentioned here?

[Timothy Auld]

And yes, Ace, I understand the timeline. It is not that difficult to figure out;

bigpine

[Timothy Auld]

You responded to something way down a thread. But if you don’t get it by now then music has had conventions for a thousand years. Any musician understands them. No one is changing them. No one has changed them for a very long time. What part of that do you not understand?

bigpine

[Craig Seeman]

[TImothy Auld] “Does it change how music is notated and understood?”

Have you followed some of the debates over the tunings for original chamber music. The intonations (tuning) may have been significantly different. The modern tunings are not what they were using. To pout it another way, tuning itself has changed. Yes the “understanding” has changed.

[TImothy Auld] “The synthesizer? Do you think these guys read different music?”

Not all synths are keyboard synths. Serge Modular is one example that’s been around for over 30 years. Eric Drew Feldman (of Captain Beefheart) used one (and his day job was as a technician at Serge)

Also listen to many of Brian Eno’s pieces.

Maybe FCPX is a “different” instrument but it may be quite capable of telling a story that can be conventionally understood.

Maybe another example is the ground broken with midi sequencers which allowed one to go beyond traditional scoring techniques. Think of Dr T’s KCS (Emile Tobenfeld who I think works at BorisFX now)

Breaking away from “traditions” may become niche or may develop into new standards. At some point someone risks breaking away.

[Timothy Auld]

First and foremost it is not about the individual instrumentation it is about the orchestra. And point me toward any scholarly discussion about chamber music or any other kind of music that diverges significantly from current (and I mean right now) music notation. This is all about a language that everybody understands. Tell me definitively that what Mozart wrote over two hundred years ago should be played any differently now.

bigpine

[Christian Schumacher]

We are just scared.

In the future, we won’t be gently riding the wives through

Eastern Europe and chasing ancient ballets playing in old houses…

Instead we’ll be wildly riding in the back of Tuk-Tuks and

watching HD files of a plagiarized Blue Men’s concert!

Boy, that’s scary!