David Schuyeteneer wrote:

> > This one's for those of you who've expressed interest in or are working
> > with 3-D sound.

> Imagine a pale layer of meadowsounds beneath you while
> abstract cylindrical shaped textures float and fly above you
> performing a vulometric choreographic ballad in the sky.
> You slowly start flying upwards and joining the turbulent
> dance of the textures.
>
> That's 3D-sound at its best.
>
> David.

And Godzilla's feet resonating on the floor and low walls while his cry
screams in the air over your head--is 3-D sound at is worst. I do think its
the future of concert electronics, but its hard to separate it at this stage
from the misplaced money and hype of Pink Floyd and Hollywood.
And for those of you who care (maybe most subscribers would prefer this next
thread continue privately--that's fine) I'm disturbed by the persistent
trend in digital music toward the most expensive presentation, an evolving
aesthetic curve on the algorithm better technology=better art. The IRCAM
syndrome, where only the chosen may enter. I realize I'm preaching mostly to
the converted (Csound . . . . FREEEEEEEE). Do any Csounders turn to
professional mastering studios for their CDs? For instance? How many people
get the sounds all arranged and then take them to a professional studio for
mixing (pre-master)? How necessary is that to you? (Are any of those people
actually on this list?)
And for this alone, I love the junk-technology improvisation groups that are
the current wave in NYC. And I love the Csound community. It has a romantic
nobility.
I am becoming famous for tangents. Have no fear however. In another day or
two I will be off the list for a long while, while I sort out the new
technical demands of my studio. May you continue in peace and joy.
BTW, I enjoy you guys. And I have profited greatly from our interaction.
--
Carlton Joseph Wilkinson
http://excaliber.net/alex/wilkwrks.htm