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Old 2 weeks ago | Show parent
 
Quote:
Originally Posted by KBSoundSmith ➡️
Stop thinking abstractly about tech and instead think about what was actually available to people in their particular life circumstances. How many kids making music in the 90s had access to a Synclavier? People use what is practically available to them, and they'll use those things with whatever level of musical knowledge they do or don't have, in whatever way that tech facilitates.

Here's a simple case of "think like them" for you. If I listen to a hip hop track and try to analyze it with the lens of classical music theory, I would conclude "hoW iNteResTinG!! tHeY arE utiLiZInG sIgNiFicAnT aMouNtS oF cHroMatiC pLaNinG..." where in reality they had one sample of a chord which transposes when they hit another key -- thoughts about music theory are irrelevant when that's the only sound they could make with the sample.
The Synclavier wasn't all over the place, but those Akai S Samplers (among else) most certainly were.
My point in highlighting the Fairlight and Synclavier first was more just as a historical note that from the get go things were predominately catered toward chord play not being much of an issue.
Samplers of the monophonic variety were and always have been in a rather deep minority in relation.

My only real wonder was if I was missing something and if anyone had any idea how and/or why the sampled chord thing had happened.

Loops, I've never been overly into but I can understand....
all the more given how things 90s hit in the advent of things like Sonic Foundry's "Acid", "Mixman", and of course things like the Yamaha SU-700 (the real fore-father of Ableton Live).

"Pads" are a great example though.... the amount of commercially released "pads" that aren't some single note or something being worked in something like a 5th that can still scale the range is just astronomical and I was just wondering why such would even come about as it always struck me as counter intuitive. (note of exception to things like orchestra hits)

It's hard for me to imagine that it was dominantly the fault of hip-hop (or even house/techno) culture going mainstream as
1. Hip-Hop, notably in the later 80s into 90s went very phrase/loop sample driven and otherwise remained more "traditional" play driven (as it remains to this day). That's not really a chord thing.
2. Sampled chords start sounding weird when scaled even faster than regular single note samples.

But maybe that's what it was......
just a bunch of non-players in spite of the prevalence of samplers that facilitated such as a norm and they for whatever reason found it more ideal by a significant amount to not have to hit 3 (or more) notes at once when doing their thing. It's just hard for me to imagine finding it easier to lock ones self into some ultra limited range and playable chord than it is to open the range up and being able to make and play just about any chord when desired.

Now mind you for similar though none the less different reasons as the loop issue, with synths, I can once again understand how all these artist emerge playing locked in chords because there really was a bunch of monophonic synths out there that none the less still had enough Osc available to make a chord out of.... and of course there was also the emergence of things like "chord memory".
But that's a different case than the sample.

*shrug*
other than a deep minority of people into tracking having pretty feasible reason to find them desirable, i remain lost. =P