{"id":1523,"date":"2012-03-08T19:41:39","date_gmt":"2012-03-08T18:41:39","guid":{"rendered":"http:\/\/digital-citizen.co.uk\/wordpress\/?p=1523"},"modified":"2012-03-12T23:21:41","modified_gmt":"2012-03-12T22:21:41","slug":"software-for-musicians-the-art-of-engineering-art","status":"publish","type":"post","link":"http:\/\/digital-citizen.co.uk\/wordpress\/?p=1523","title":{"rendered":"Software for musicians – the art of engineering art"},"content":{"rendered":"
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“There is no versioning – there is just the now” says Robert Henke<\/a>; likening the true expression of digital music-making to the elder days of analogue mixing.<\/p>\n

As tools and instruments overlap, what does that mean for how we generate music in the digital age using software? <\/p>\n

He spoke insightfully, introduced by Gerhard Behles, another of the co-founders of Abelton, who also joined in the question session at the end of Robert’s prepared remarks. <\/p>\n

And it was good thought-provoking stuff. But not one single musical example – which no-one seemed to find odd; and no examples of code or approaches to coding; ditto. <\/p>\n

And a very interesting way of thinking about the issues – an expression of the psycho-philosophy of making music through coding – the constraints and complexity; inevitable compromises and how to code music without losing the point in the programming and the process. <\/p>\n

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Liveblog:<\/p>\n