Re: Arrrrrrrrrrrrggggg!!

From: Sevag Krikorian (kahlinor_at_nop.yahoo.com)
Date: 03/09/05 

Date: Tue, 08 Mar 2005 22:29:19 -0500

Betov wrote:
> Sevag Krikorian <kahlinor@nop.yahoo.com> écrivait news:394fpfF5tuha3U1
> @individual.net:
>
>
>>The real quality comes from the
>>artists that have an incentive to produce good quality material:
>>The paid artists.
>>
>>As an example, I've listened to "free" productions of
>>the classics and ones done by professional orchestras.
>>The sound and instrumental quality of the professional
>>productions were far better.
>
>
> :)) :)) :)) :)) :))
>
> Typical answer from a flat level consummer, who
> will never understand a thing at anything. 100%
> coherent with you being a Randall Hyde victim.
>
> Of course, when you have a significative amount of
> money to spend, for a professional recording, with
> qualified sound engineers, and all that goes with
> it, you get a High quality _SOUND_.
>

You don't need "significative" amount of money to spend
on preofessional recordings.
Concerts *cost* more! I can buy an entire range of
an artist's recordings on CD for less than it would cost
for one concert. Not only is the sound beter on the CD,
it's also more cost effective.

> Nevertheless, for example, for my own instrument,
> the most fantastic virtuoso i have heard in my life
> is a guy who live in his sleeping room, who will
> never go out, and who recorded his music on a...
> PC... and that you will never hear about.
>

If I never hear of him, he never exists to me. Distribution
is that important. Only the ones with vast distribution
will be remembered for generations to come. That "virtuoso"
may be the best musicion of all time and it's immaterial
if he is a virtual unknown and the memory of his compositinos
will die out with the last of his few fans.

> Such men of exception cannot be distributed by
> Crime&Co, for the simple reason that, if idiots
> like you could hear his music, you would evidently
> not have the cultural backgroud that is required
> for appreciating such performances.
>

Bull***. Everybody has their own taste in music.
What is ambrosia to your ears may be horse*** to
another. Culture is just your training.

What a demented mindset you must have if you think
people are idiots for having a different cultural
background from yours.

My own cultural training causes me to appreciate a
wide range of music from the classical compositions
to modern sounds. Yes, even a few from France
(Charles Aznavour, Edith Piaf to name a couple), but
that's because my cultural background (Lebanon, a
former French colony) has trained me to appreciate
such music.

> Again, this is the drama of all Arts: Real Art is
> a personal quest and a personal long term education,
> that is a 3 main branches tree, for theory, for technic
> and for inspiration. The problem is that, once the
> artist has something interresting to show, he can
> exist socially, only under the condition that there
> could be, at least, a couple of individuals able to
> understand what he has to show.
>
>
> Betov.
>
> < http://rosasm.org/ >
>

Hense the real good ones gain widespread acceptance
where many people appreciate what they have to show,
while some virtual unknown virtuosos go by with only
a small cult following.
That guy you mention may be good or he may suck. I
don't know and only have your opinion to go by. As I
will never hear him, I cannot make any judgement on his
actual music.

Maybe if he was good enough to make a deal with "Crime&Co",
other people may hear and learn to appreciate his works.

In most cases, when you hear of something "free" it
means there is no market to sell it and make money
out of it. 

-- 
[kain]
http://www.geocities.com/kahlinor