Because I’m personally so influenced by Nick Cave and Leonard Cohen, I’ve spent a lot of time reading poets like Sappho, Auden, Berryman, and T.S. Eliot, and listening to Jewish and Christian liturgical music, which were all major influences on them. Cohen’s “Suzanne” oozes with classical, religiously steeped references.
For example, if you are a solo performer singing along to tracks and all you bring on stage is your phone or iPod, you’re focusing all the attention on yourself as a performer. If you choreograph dance moves, or play into this isolated, “artist in the spotlight” vibe, perfect. But if you’re only doing this because you haven’t yet figured out how to play this music live, it’s a mistake to get up there in the first place. People look at that stuff, believe me.
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Music creation software follows a few different interface metaphors: the multitrack mixing desk (Pro Tools), the rack of modular synths (Reason), the sheet of staff paper (Sibelius, Dorico, Noteflight). There are also hybrids of all of the above (Logic). Ableton Live is in a category by itself, because it’s organized around a kind of performable spreadsheet. Serato’s metaphor is two turntables, a crate of vinyl records, and a DJ mixer.
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