![]() But it can’t be denied that when you find yourself with a polyphonic Melodyne, a real-time pitch corrector like PitchMap, and other wonders that are the result of sound-music-computing research, your reaction is completely different than when you receive the latest version of a compressor or a filter, the new string or acoustic piano library, no matter how well-achieved they are. You can’t expect developers to reinvent the wheel with every new product, the same way you can’t expect its users to revolutionize the music scene with every new chord progression. But to come across a product that is completely innovative, one that revolutionizes its market segment, is pretty rare.īut that’s not really surprising. You can be surprised by the quality or the sound of a sound library, the cunning or the possibilities that this or that script provides, or the design and functionality of an instrument or processor plug-in. The life of a “computer music reviewer, ” regardless of whether you do it occasionally or in a more steady way, can be full of good (and ugly) surprises, although most of the time it’s pretty “normal, ” because it’s rare to find yourself with products that are totally out of the ordinary.
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