Endless whining and lack of music!

Ffs, you guys, put on your big girl panties and deal with it!

- THIS place is all about *music*, and it's production. You know, MAKING microtonal music? Not lists of books, not lists of numbers, etc.

- You want to talk math? Go to tuning math. That group was a perfectly intentioned spinoff from the main tuning list with the mathematical waters got too deep and involved for the majority to deal with. In a very adult manner, they created a new list. No one holds a gun to your head to join up there. If the math is too arcane, or seems divorced from *your* particular reality of microtonality, don't go there.

- Tuning: I don't know what it is anymore, except the oldest list and the catch-all. Go or don't go, there is no try.

- Anyone else's list: if it has a good purpose, fine, make it work for all the people involved.

- The 'take it outside' list: we set up a list quite a while ago, meta-tuning I believe it was, and most people got used to taking their convos to that list when they got really off-topic, or tangentially related to tuning, etc. Just a modest amount of self-policing in this way reduced to a great degree the bickering and nonsense posts.

But for gods and goddesses' sake, stop all this crying! Especially HERE, where we should see pointers to pieces of music, and descriptions and discussion of how it came about, or tales of works in progress. Carlo is a shining example.

*****

And, in case you wouldn't think so, I'm profoundly aware of the irony in this post, and my response is this: you have my word that I won't post another single word UNTIL and UNLESS my post contains something about a new piece of music I've done. And I'll hold myself to that.

With regards from the guy who started this dump,
and has a few regrets,
Jon

Jon>"Ffs, you guys, put on your big girl panties and deal with it!"
If only it were that easy as if we could ignore it and watch it "resolve
itself". I get 20+ messages from the tuning list everyday, and far less from
MMM (here) and Tuning-Research...and see consistently more useful (to actually
making micro-tonal music) info coming from "these" two lists.
If I'm complaining about anything, I'm complaining about people
(especially Carl, but also a couple of others) whining on things like the Tuning
list (all the while generating tons of outgoing messages/"interest") and the
corresponding lack of output and focus on lists like this one. IMVHO
something's got to give, something's got to change...and best we get the good
people out of there before they get so discouraged they just give up interest in
making microtonal music from their bad experiences.

>"
>- You want to talk math? Go to tuning math. That group was a perfectly
>intentioned spinoff from the main tuning list with the mathematical waters got
>too deep and involved for the majority to deal with. In a very adult manner,
>they created a new list. No one holds a gun to your head >to join up there. If
>the math is too arcane, or seems divorced from *your* particular reality of
>microtonality, don't go there.
>- Tuning: I don't know what it is anymore, except the oldest list and the
>catch-all. Go or don't go, there is no try."

Right. But apparently if you go on tuning and don't basically restrict
yourself to tuning-math, you get flamed. IMVHO people who want to talk tuning
math should stick on that list instead of complaining about the lack of tuning
math on other lists. I don't know what Tuning really is supposed to be
either....perhaps "Carl (and Gene?)'s Academic Microtonal E-mailling List"
(CAMEL) would be more appropriate.

>"- THIS place is all about *music*, and it's production. You know, MAKING
>microtonal music? Not lists of books, not lists of numbers, etc."
Right...and I, for one, am writing these messages in hopes of getting THIS
list more active...namely getting the people who post productively on the Tuning
list to post here and on other new/less-whiney groups like tuning-research more
often.

>"Carlo is a shining example."
Agreed...and that song sounds great. I don't think I can name much anything
from either Carlo Serafani or Cameron Bobro (IE from this list in particular)
that I haven't thought sounded/sounds great. Same goes for Jacky Ligon and
Marcus Satellite (though they aren't on this list so far as I know). As for me,
I wish I had more to show...but all my effort (as it has been for the last month
and a half) is going into tweaking my Untwelve entry and making the melodies not
repeat at all for all of its 5 minutes IE creating a true "journey track". That
and exploring constant modulation between Arabic/Persian-type chords involving
things like neutral second and diminished fifths and the typical 31TET "quarter
comma meantone-like" common-practice-theory purity in a scale that includes lots
of both interval types all played in tall and sustained chords. Begs the
question: how many of you have experimented with using both "common practice
theory" 31TET chords and more Arabic-style non-common-practice chords in a
single song?...I'm eager to hear what others have done on that front as I'm sure
I'm not the only one who has tried this trick....

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