Nord User Forum

[analogika]

With all due respect: that’s horseshit.

Playing expressively, grooving “in the pocket”, is all about control and precision.

Learning that is a lifeless and boring task, but so is sitting down and learning the melody for “Freedom Jazz Dance”.
It’s just gotta happen, because in order to play it “with feeling”, you’ve got to be able to play it at all.

[CountFosco]

All I saw was a subjective evaluation of the timing precision achievable with a particular instrument, as a reflection on what the required timing resolution for listenable music is. Whether it was right or wrong, it didn't deserve that. Perhaps there was some more baggage behind that response that I didn't bother to scroll up to find. I would point out though that timing precision and tempo precision are quite different things.

[Quai34]

All I saw was a subjective evaluation of the timing precision achievable with a particular instrument, as a reflection on what the required timing resolution for listenable music is. Whether it was right or wrong, it didn't deserve that. Perhaps there was some more baggage behind that response that I didn't bother to scroll up to find. I would point out though that timing precision and tempo precision are quite different things.

Ok, not sure I understand what you wanted to say with timing precision and tempo precision are different things, could you elaborate on that? (Might be my English finesse that is the culprit on this one tough...)

[CountFosco]

Timing precision as in sitting off the beat or pushing ahead of the beat (without tempo change). As opposed to tempo precision, ie rubato, ritard, accel etc

[analogika]

Yes. And both of those things (playing a feel against a beat — pushing or pulling, etc. — as well as having a feel for steady tempo) can be trained by playing with a metronome (or a programmed beat or loop, I guess).

[analogika]

Yes. And both of those things (playing a feel against a beat — pushing or pulling, etc. — as well as having a feel for steady tempo) can be trained by playing with a metronome (or a programmed beat or loop, I guess).

A metronome may help develop an inner sense of rhythm, but once that is established, the metronome must be relegated to the trash heap if you want to play expressively.

I think the question of whether it is possible to play expressively to a metronome has been conclusively settled since the click-track recording discussions of the 70s.

This is music. Any absolutist argument has already lost as soon as it is made.

[Tracii]

This is music. Any absolutist argument has already lost as soon as it is made.

Haven't you been listening to the drummers who insist that B8 cymbals can NEVER sound as full as B20s? Or the guitarists who swear to God that solid state amps will ALWAYS sound harsh and/or dull?

It's just human nature.

[analogika]

So, you’re saying that Dire Straits is not something worth aspiring to, or that they just never advanced beyond steady timing into “expressive playing”?

And that “Strange Meadowlark” is a better piece than “Take Five”?

I’m a little confused about what your point is.

[CountFosco]

Pretty cool that your first post nailed the OP's DAW latency problem though.

[analogika]

Pretty cool that your first post nailed the OP's DAW latency problem though.

Heh, yeah. Thanks!

This thread was actually done after two replies.

The rest of the thread has been questioning of why one would play to a click, which has morphed into “well, some kinds of music work better without a click”.

No s***, Sherlock.

For all the other music on the planet, the OP has a training method that works, whose effectiveness is easily checkable (since it’s recorded), and that he had a technical issue with, which has been resolved.