Hi - I think it would be quite difficult to program the noise elements - which are signifiers of organism, of the physico-inert world of material labor, production, and living-in/inhabiting music as an ongoing activity - for a number of reasons. You won't be able to find _any_ sample able to reproduce them; they're different for every note (i.e. noise changes as valves change); they're different because the same note can be played with different fingerings; they're different because every time the same note is played with the same fingering, it's: a. coming off perhaps of a different note, and b. coming off of different breathing, etc. This is Benjamin's 'aura' in a sense at its worst, but in some jazz, I'd say people like Coleman Hawkins or the Aylers or even Coleman, it's critical; jazz is a lived experience. I know even in the 60s that changed w/ things like the Boston School of Music producing a lot of session people, and one of the ideas of session of course is more or less exact reproducibility which is why so much programmatic music and even 'fusion' is digital.
For myself, maybe it's one area, i.e. guitar, where I can step away from the computer, where I'm dealing with the material world in real time, where an error remains an error (if I'm recording, of course even if not, but then it's only my own), where I'm shape-riding as if falling down a vortex and swimming at the same time. So we have different approaches to sound; when I was recording the different recent cds, I recorded each piece directly on the heels of the other; they're completely improvised but there's going to be an 'influence' from one to another, and less and less from the outside. It's a kind of breathing - Alan For URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt . Contact: Alan Sondheim, [EMAIL PROTECTED], [EMAIL PROTECTED] General directory of work: http://www.asondheim.org .
