Learsfool – I believe that you and I are talking about two different kinds of electronic music recordings. In my last post, I was talking about:
(1) A recording in which electronic sounds are produced by a device, performed in a real acoustical space, and recorded with a microphone to a recording medium.
I believe that you are talking about:
(2) A recording in which electronic sounds are produced by a device and recorded DIRECTLY TO THE RECORDING MEDIUM.
In (1), the recording is just like a recording of an acoustical musical event, except that the sounds are produced from electronic “instruments,” rather than acoustical ones.
In (2), there is no performance, no real acoustical space, and no microphone. There is just the device that creates the sound and the recording medium.
I agree with you that recordings as described in (2) are more likely to be ACCURATE representations of the original electronic sounds. You may be right that this is partly attributable to the fact that electronic sounds are less complex than vocal or acoustical ones. But it is also attributable to the fact that MORE THAN HALF THE RECORDING PROCESS HAS BEEN ELIMINATED. The performance has been eliminated. The acoustical space has been eliminated. The microphone has been eliminated. And in some cases, the need for a “field” recording format (distinct from the subsequent “storage” recording format) has been eliminated. It is no wonder, then, that the resulting recording is MORE INHERENTLY ACCURATE, as you suggested.
However, the kind of accuracy just described is not the same as the concept of “truthfulness” I used in my post on 1/18, which was rather: TRANSPARENCY TO THE MUSICAL PERFORMANCE. In the case of music recordings as described in (2), there quite literally IS NO PERFORMANCE. Therefore, the question of the recording’s truthfulness, in the sense in which I’ve been using the term, does not apply.
But all of this seems like a peripheral matter, since the real goal of my post on 1/18 was not to highlight the difference between acoustical and electronic recordings, but rather to highlight the difference between recordings of REAL events and recordings of VIRTUAL events. I only brought up electronically produced sounds as one example of what, in my view, contributes to making a recording “virtual.” Among the other things that make a recording virtual: Multiple microphones with different perspectives, music editing, and the liberal use of creative mixing techniques.
Perhaps the simplest illustration of what makes a musical event virtual is music editing, that is, editing together segments from multiple takes to create the illusion of a single, continuous “performance.” This is done all the time in popular music, and when it is, the performance that is on the recording is, at least partially, VIRTUAL, in the sense that IT NEVER EXISTED IN REALITY. To use an analogy…
Consider a painting of a landscape that never existed, but is a composite of various landscapes drawn from the memory of the painter. In other words, it is a virtual landscape, in the sense that it never existed in reality. As such, the painting cannot be evaluated in terms of its truthfulness, i.e. its correspondence to reality, simply because there is no real landscape for the painting to correspond to. So the question of the truthfulness of the painting does not apply. Hence the attitude of Objectivism about the painting is unwarranted.
As I see it, the case is almost exactly the same with music recordings. Consider a “performance” edited together from many segments of multiple takes recorded over different days. In other words, it is a virtual performance, in the sense that it never existed in reality. As such, it is difficult or perhaps impossible to evaluate the recording in terms of its truthfulness, i.e. its correspondence to reality, because there is no real performance for the recording to correspond to. So the question of the truthfulness of the recording does not apply. Or more precisely, it applies less and less as recordings are more and more edited (since I understand the distinction between real and virtual events as being on a continuum). Hence the more virtual the event a recording represents, the less the attitude of Objectivism is warranted.
(1) A recording in which electronic sounds are produced by a device, performed in a real acoustical space, and recorded with a microphone to a recording medium.
I believe that you are talking about:
(2) A recording in which electronic sounds are produced by a device and recorded DIRECTLY TO THE RECORDING MEDIUM.
In (1), the recording is just like a recording of an acoustical musical event, except that the sounds are produced from electronic “instruments,” rather than acoustical ones.
In (2), there is no performance, no real acoustical space, and no microphone. There is just the device that creates the sound and the recording medium.
I agree with you that recordings as described in (2) are more likely to be ACCURATE representations of the original electronic sounds. You may be right that this is partly attributable to the fact that electronic sounds are less complex than vocal or acoustical ones. But it is also attributable to the fact that MORE THAN HALF THE RECORDING PROCESS HAS BEEN ELIMINATED. The performance has been eliminated. The acoustical space has been eliminated. The microphone has been eliminated. And in some cases, the need for a “field” recording format (distinct from the subsequent “storage” recording format) has been eliminated. It is no wonder, then, that the resulting recording is MORE INHERENTLY ACCURATE, as you suggested.
However, the kind of accuracy just described is not the same as the concept of “truthfulness” I used in my post on 1/18, which was rather: TRANSPARENCY TO THE MUSICAL PERFORMANCE. In the case of music recordings as described in (2), there quite literally IS NO PERFORMANCE. Therefore, the question of the recording’s truthfulness, in the sense in which I’ve been using the term, does not apply.
But all of this seems like a peripheral matter, since the real goal of my post on 1/18 was not to highlight the difference between acoustical and electronic recordings, but rather to highlight the difference between recordings of REAL events and recordings of VIRTUAL events. I only brought up electronically produced sounds as one example of what, in my view, contributes to making a recording “virtual.” Among the other things that make a recording virtual: Multiple microphones with different perspectives, music editing, and the liberal use of creative mixing techniques.
Perhaps the simplest illustration of what makes a musical event virtual is music editing, that is, editing together segments from multiple takes to create the illusion of a single, continuous “performance.” This is done all the time in popular music, and when it is, the performance that is on the recording is, at least partially, VIRTUAL, in the sense that IT NEVER EXISTED IN REALITY. To use an analogy…
Consider a painting of a landscape that never existed, but is a composite of various landscapes drawn from the memory of the painter. In other words, it is a virtual landscape, in the sense that it never existed in reality. As such, the painting cannot be evaluated in terms of its truthfulness, i.e. its correspondence to reality, simply because there is no real landscape for the painting to correspond to. So the question of the truthfulness of the painting does not apply. Hence the attitude of Objectivism about the painting is unwarranted.
As I see it, the case is almost exactly the same with music recordings. Consider a “performance” edited together from many segments of multiple takes recorded over different days. In other words, it is a virtual performance, in the sense that it never existed in reality. As such, it is difficult or perhaps impossible to evaluate the recording in terms of its truthfulness, i.e. its correspondence to reality, because there is no real performance for the recording to correspond to. So the question of the truthfulness of the recording does not apply. Or more precisely, it applies less and less as recordings are more and more edited (since I understand the distinction between real and virtual events as being on a continuum). Hence the more virtual the event a recording represents, the less the attitude of Objectivism is warranted.