[silence] prepared piano samples

[Glenn Freeman]

I agree with you 100%, but please consider the following ...

All recordings are samples. In terms of sound itself (Cage's main  
concern), there is little difference between what is being described  
here and making/listening to a recording of Cage's prepared piano  
music. The process is simply different. A recording of a prepared  
piano being performed live is also a sample, just a longer sample.

Of course, hearing a prepared piano performed live is always best if  
possible. But if a recording is made/heard, there are different ways  
to go about making a recording.

Valério Fiel da Costa wrote:

> Is impossible to reproduce, with a sample, the sound
> richness (and uniqueness) of a preparation, that,
> between other caracteristics, can be manipulated 'in
> loco' for "tunning" the sound object for a especific
> musical reason.
>
> The close contact with the real instrument behind the
> keyboard (the strings, the hammers and the soundboard)
> is essencial to operate a proper preparation and "to
> compose" the sound objects (that are uniques).
>
> But everyone knows this: the synthesiser is a
> instrument radicaly different of a real piano: that is
> only a collection of "on-off" keys. Depending of its
> utilisation, there's no problem, but it will never to
> substitute the proper prepared piano. It is clear to
> me.
>
> I just don't understand the necessity of 'close
> imitation' of Cage original preparations when one
> prepares a piano (the same objects, the same
> dimentions, the same sources), even when the piece is
> cage's. With a few hours of experience on preparing a
> piano, is easy to understand how it soundly works and
> one can prepare it obtaining very good results. We
> don't need to be slaves of a single archive of ideal
> sound objects. This is so un-cagean...
>
> Valério Fiel da Costa

Glenn Freeman
OgreOgress productions
http://cdbaby.com/group/ogreogress