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Author Topic: Ethics  (Read 2152 times)
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Tony
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« Reply #20 on: October 20, 2004, 09:00 AM »

Of course there have been musical "acts" since the 50's that have been more of a show than anything else.  Especially in the pop genre as mentioned in the Bandstand realm.  But if you look back, for instance, at the 1969 Woodstock concert, how many of those acts were propped up by prerecorded vocals, drum tracks, etc?  Unless I'm mistaken, it was mostly pure raw musical talent being played on stage (whether you like that kind of music or not is a different issue).  When I saw Huey Lewis and the News in concert back in the 80's, I saw Huey singing, his lead guitarist ripping through blazing solos, and the Tower of Power horn section blasting away.  It was all real as far as I know.  I felt like I got more than my money's worth.

I don't know if this is true, but the rumor is that Cheap Trick got its name by using backstage prerecorded music to aid in their concerts.  If so, they certainly aren't the only ones.  I've seen many concerts where all the music coming out of the sound system is not being produced by the three or four guys on stage.  I'm still not sure that Geddy Lee is getting help from someone behind the scenes when trying to juggle keys and bass.  Is it unethical to have someone backstage filling in on bass or keys for a song or two?  Does the audience care, or even know what's going on?  In most cases, I think not.

Well, ask any 14 year old girl (or their Daddy, for that matter Grin) if they got their money's worth when they went to the last Brintney concert.

Pure raw talent?  I can name a dozen local alt rock bands that are full of pure, raw talent.  That doesn't mean they are more legitimate to me then an entertainer like Britney, and it certainly doesn't mean a record company is going to take notice of them.  Unfortunately, talent is only a small factor in the decision making process when it comes to the entertainment industry, in which music is a part of.  

As for Geddy Lee, he used footpedal driven keys live in the past, now all their keyboard parts are sequenced.  But Neil's drum tech actually has control of the sequences; they are intergrated into his V-Drum setup.
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The techniques, though they play an important role in the early stage, should not be too restrictive, complex or mechanical. If we cling to them, we will become bound by their limitation.  Any technique, however worthy and desirable, becomes a disease when the mind is obsessed with it.
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« Reply #21 on: October 20, 2004, 09:06 AM »

Unfortunately, talent is only a small factor in the decision making process when it comes to the entertainment industry, in which music is a part of.  

That's one statement I'm sure we can all agree on.  Unfortunately.   Cry

I will say one thing, though.  During the Britney concert, there was about a five minute interlude between songs when the dancers were changing costumes backstage.  The drummer filled the time by doing a wicked solo, much to my surprise.  That was the highlight of the concert for me.  I guess talent still counts for something these days!
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Poser
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« Reply #22 on: October 20, 2004, 09:19 AM »

Mr Squeeze...

My point was not about using studio musicans.  The point was that the guy was a "center piece" of this group yet he doesn't really play or sing on the albums or in concert.  
In Nashville you get hired to learn the parts of a session player.  That's fine, IF you are really playing.   This guy is pretending that he's really singing and playing.  Milli Vanilli lost their Grammy.

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Christopher
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« Reply #23 on: October 20, 2004, 09:46 AM »

I think it all boils down to what we value.

We, as muscians, generally value the ability to play. We hold the players to a higher standard than the average listener. We know what it takes to play a certain part, hit a certain note, etc. And, the honest work that goes into honing the ability to pull those things off.

The audience values the experience of the musical end product, the show, the record, the DVD.

I view Britney pretty much the same as a can of soda. She's a product. I'm not surprised to hear of her lip syncing or using backing tracks, etc.

Take AC/DC on the other hand. There's a band of musicians. I personally hold them to a higher standard and would be very surprised if I heard Brian Johnson's vocal start to skip during a live version of "Back in Black" for example.
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« Reply #24 on: October 20, 2004, 09:52 AM »

Poser,
Those URL's don't go anywhere.  Cry
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DougB
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« Reply #25 on: October 20, 2004, 10:11 AM »

I think it all boils down to what we value.

We, as muscians, generally value the ability to play. We hold the players to a higher standard than the average listener. We know what it takes to play a certain part, hit a certain note, etc. And, the honest work that goes into honing the ability to pull those things off.

The audience values the experience of the musical end product, the show, the record, the DVD.

I view Britney pretty much the same as a can of soda. She's a product. I'm not surprised to hear of her lip syncing or using backing tracks, etc.

Take AC/DC on the other hand. There's a band of musicians. I personally hold them to a higher standard and would be very surprised if I heard Brian Johnson's vocal start to skip during a live version of "Back in Black" for example.


Excellent points!

If I were to watch my Led Zeppelin concert footage DVD, and noticed that Robert Plant's lips were not matching the song, or that Bonham's solo was being supplemented somehow, I'd be really ticked (and shocked) because I hold them to a higher standard.  However, if I watched N'Sync in concert, I would EXPECT some of this to be taking place, because I don't hold them to much of any standard.
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563
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« Reply #26 on: October 20, 2004, 11:27 AM »

So intent has nothing to do with art?

Not at all ... not sure how you got that from my comment (posted below).    Please quote specific sections of my comment to illustrate what youre talking about.

Ethics are an entirely personal thing, and as far as art is concerned, I personally only think it applies to interpersonal relationships and business.   I don't believe the things youre talking about are an ethical issue.   Who's being wronged?  Audiences want to hear music.  No matter how 'faked' the creation, the  audience gets the music.  

If you have an objection to a practice THATs what makes it an ethical issue, not the practice in and of itself.    

What I was attempting to say was that its about creating art, and ethics dont really come into play in that regard.
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« Reply #27 on: October 20, 2004, 11:53 AM »

But if you look back, for instance, at the 1969 Woodstock concert, how many of those acts were propped up by prerecorded vocals, drum tracks, etc?  Unless I'm mistaken, it was mostly pure raw musical talent being played on stage (whether you like that kind of music or not is a different issue).

I'm pretty sure they didn't have autotune or most of the other technological advances that let the entertainers of today slide by without having to do what they appear to.  But yeah, different times.  Pink Floyd was once the biggest band in the world right?  Would they have done this?  I think not.  They built the show around the music.  Now we have Britney who's music works around the show.  

If you told every kid at a pop show that their favorite singer wasn't doing what it seemed, would they denounce them on site?  Most wouldn't.  Most wouldn't pay any attention, or believe you, or care.  It's a fantasy environment.  It's their Batman or Superman or Wonderwoman.  There was a point when you Knew they weren't the reald deal, but you didn't care.  You don't flip off every guy in a santa suit, and he's pretending to be more than he is right?
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« Reply #28 on: October 20, 2004, 12:02 PM »

Pink Floyd was once the biggest band in the world right?  Would they have done this?  I think not.  
Pink Floyd have used a lot of pre recorded material live!
They took their recording studio engineer out on tour to make sure it worked every night.
They also toured with an enormous band of session musicians, backing up Gilmour and Mason.
Do I think they were concsiously trying to cheat the audience?
Nope, they were (are!) perfectionist guys who wanted the live show to be as close as possible to the recorded work. Due to the complex nature of the material, they couldn't achieve that without a large backing band and additional portions on tape.
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DougB
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« Reply #29 on: October 20, 2004, 12:32 PM »

They also toured with an enormous band of session musicians, backing up Gilmour and Mason.


That is quite common.  Many bands these days hire session musicians to supplement the "original" or key band members on tours.  Sometimes it is because original band members are no longer around or available.  Sometimes they need session musicians because their studio recordings were performed mostly by studio musicians, not band members that also tour with them.  Steely Dan is a case in point.

I watched the Bee Gees One Night Live DVD (I know, I know...) and they are another band that relied heavily on studio musicians during their recordings.  During the concert they had about six supplemental session members (mostly from the Miami area) on stage, including Barry Gibbs' son on guitar.
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« Reply #30 on: October 20, 2004, 12:45 PM »

Quote
In Nashville you get hired to learn the parts of a session player.  That's fine, IF you are really playing.  

Exactly was my point. I don't know of one act in Nashville on the national stage that isn't really playing. Are sequencers used at times to add percussion? Of course. You imply as if the players here don't really play.

Do pop acts such as Britney, and Jason Timberlake use sequencers with pre-recorded lyrics and music? Yes. It is a combination of live music and sequenced. This is nothing new. With the overhead involved with some of these acts, they cannot afford to carry 20 piece bands to cover all of the parts.

This does not mean that I support this sort of thing, but as a working musician, it is a part of lilfe.

Quote
This guy is pretending that he's really singing and playing.  Milli Vanilli lost their Grammy.

Again, my point exactly. I know MV lost their Grammy, that is why I brought it up.

Do I think the audience is being ripped off? No- as Mr. A pointed out, it is entertainment, and the audience comes to hear their favorite singer,or band, the way they hear them on the CD. This of course is not true in every genre, but more so in the pop-rock category.
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Dave Lemonds
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« Reply #31 on: October 20, 2004, 12:49 PM »

but pink floyds prerecorded material was mostly background stuff right?  It wasn't vocals to use in place of a real singer while a person lipped it right?  And all their session musicians were used to enhance the music not to replace any worthless band members.
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DougB
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« Reply #32 on: October 21, 2004, 05:33 AM »

How much of the Monkees music was written, sung and performed by the guys on the TV show?
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« Reply #33 on: October 21, 2004, 06:11 AM »

How much of the Monkees music was written, sung and performed by the guys on the TV show?

That's a completely different issue.  We're talking about live performances.
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« Reply #34 on: October 21, 2004, 06:14 AM »

There's a side to this that is being missed ...

Playing along to tracks, loops, sequences, etc., is part of re-creating the sound that was achieved on the albums. That's the biggest reason why you'll see artists and bands use technology to support their performance. To re-create the entire studio album in a live setting would be too costly. In a sense, over producing an album can cause real problems when it comes to the live performance.

Are some people using technology as a crutch? Yes. But that doesn't mean, or at least shouldn't be assumed, that EVERYONE is using it for the same reasons. Today's audience basically expects to hear live what they hear on the album.

Some artists, such as Britney, Madonna, etc., use vocal tracks to cover for them because they are doing so much choreography (dancing) that it's tough to sing JUST like it is on the album. For the other musicians, technology allows them to play the same show, night after night, with the same sound and polish.

One particular Rock band I toured with (twelve years ago) used tracks. The lead singer (artist) was not able to go night after night and hit all these high notes. If he was tired on one particular night, the vocal track was added into the mix, and he would just sing (live) down an octave. There BGVs (background vocals) were also on tracks. The band members were singing and playing, but the BGV tracks were added to give the same vocal fullness as on the album. It's a reality of live performances ... depending on the genre. It's tough for an artist, especially a vocalist, to perform night after night, and sound like a million bucks every time.

Yes, artists and musicians can use technology to make them sound better than they really are. However, just about every major act you'll see perform live CAN do it just like the album. Whether you like her or not, Britney (as one example) CAN sing. As far as ethics ... I have a greater concern for those making albums who either can't or don't perform live. But on the other hand, if you like the album, who cares ... right?
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« Reply #35 on: October 21, 2004, 10:09 AM »

This whole discussion is kind of ugly.  Because what it really points out it that it is getting tougher and tougher to perform live in a way that will appeal to the mass audience without using technology to cover the inadequecies of the human body.  I'm not talking about enhancing the performance.  Because this kind of technical argument could be used against amplification, or any other electronic aid.  Rather, I mean things such as voice overs that actually cover for singers who are just tired.

Pretty soon the little musicians at the corner bar are going to be held to this standard.  And, in many ways we already are.  How many of you know DJ's who get as much money if not more for "performing" in a club on a Friday night.  That's because their music "sounds just like the record".

I suppose this is just me whining, because it is what it is, and there really is no way to change it.  Boo Hoo.  Angry
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« Reply #36 on: October 21, 2004, 10:14 AM »

Quote

What I was attempting to say was that its about creating art, and ethics dont really come into play in that regard.

563,
this is the sentence that led me to intent.  I do believe that intent has a lot to do with art despite your disagreement.  Let me explain:

Let's take Jazz for example.  Jazz has two primary characteristics:  it swings and there is improvisation involved.  Both of these characteristics can be found in other music, but most will agree in order to be Jazz there must be some improvisation prsent and it must have a swing feel.  If it doesn't have these two elements then it must be another type of music.

Let's have the Bill Evans Trio play a piece of us.  Let's say its standard ABA form with 32 bar choruses with solos.  It's Jazz- it swings and they imrpovise their solos.  So let's have that piece transcribed accurately (solos too).  

Now let's take a different ensemble of players and have them play the transcribed tune note for note.  The solos are not improvised, they are played as transcribed.   That's not the intent of Jazz.   It has become something else, I don't know what it is, but its something else.  Intent.

Jazz musicians hold themselves to a certain ethic that is tied to their intentions.  Often times, they will play completly different solos with different thematic material each time they play a chart.  That's intentional.  That's setting a standard to cahllenge themselves and express themslves differently each time they play.

Public Enemy had something to say when they emerged.  I think that was art becasue of where their intentions were.   I don't want to be dropped off in Compton, but I understand where they were coming from. Fifty Cent has different intetnions.  His intentions were to get rich and be a thug-star.  I call Bullsh*t on him.  

Using technology to enhance your performance is different from faking your performance in order to be a star.  I also call bullsh#t on the guy  who didn't sing or play on his album and who fakes his singing and playing live.  His intentions are questionable.  How is he expressing himself as an artist?  He's faking it from every angle.  he's a fraudulent artist.

The question emerges, how much of a role does intent play in art?
At the end of the day maybe it does matter.  Nat King Cole to Fifty Cent.  You call that progress?   Robert Johnson to a guy having his guitar playing be done for him and then faking it live.  You call that progress?
Hank Williams didn't need auto tune and Tim Mcgraw reportedly can't perfrom live without it.  You call that progress?  Ray Charles never lip synced and Usher probably always does.  You call that progress?


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DougB
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« Reply #37 on: October 21, 2004, 11:09 AM »

One particular Rock band I toured with (twelve years ago) used tracks. The lead singer (artist) was not able to go night after night and hit all these high notes. If he was tired on one particular night, the vocal track was added into the mix, and he would just sing (live) down an octave. There BGVs (background vocals) were also on tracks. The band members were singing and playing, but the BGV tracks were added to give the same vocal fullness as on the album. It's a reality of live performances ... depending on the genre. It's tough for an artist, especially a vocalist, to perform night after night, and sound like a million bucks every time.

I've heard a few live albums where I wished the band used vocal tracks to help out.  Sometimes the live vocals just sound lame compared to the studio version, and it takes away from the performance.  I always wondered how some of these singers can keep banging out high notes by the end of a year-long tour (guys like Geddy Lee, Brad Delp, Barry Gibb, etc).  So there are cases where I can understand that live vocals need help from time to time.
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« Reply #38 on: October 21, 2004, 11:20 AM »

Using technology to enhance your performance is different from faking your performance in order to be a star.  I also call bullsh#t on the guy  who didn't sing or play on his album and who fakes his singing and playing live.  His intentions are questionable.  How is he expressing himself as an artist?  He's faking it from every angle.  he's a fraudulent artist.

The question emerges, how much of a role does intent play in art?
At the end of the day maybe it does matter.  Nat King Cole to Fifty Cent.  You call that progress?   Robert Johnson to a guy having his guitar playing be done for him and then faking it live.  You call that progress?
Hank Williams didn't need auto tune and Tim Mcgraw reportedly can't perfrom live without it.  You call that progress?  Ray Charles never lip synced and Usher probably always does.  You call that progress?

I think we have to be careful at pointing the finger at someone unless you know for a fact. Many assume the worst, but don't have all the information in place to make a clear call on this. Perhaps you do have all the evidence. Making accusations without factual evidence doesn't help your case. I understand that perhaps you can't be specific, or simply don't want to ... to maintain your own privacy. In either case, it's hard for us to consider anything as being truthful when there is no disclosed evidence to support the claim. If there is, it has not been shared or revealed in this thread.

All of this starts sounding like a bitter, vicious attack ... even though I'm sure that's not your heart on the matter. If we can't have the facts ... perhaps we should just drop the topic. All that has happened thus far is spread (or start) rumors.
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« Reply #39 on: October 21, 2004, 11:39 AM »

563,
this is the sentence that led me to intent.  I do believe that intent has a lot to do with art despite your disagreement.  

I dont disagree at all ... thats why Im confused.   Intent is what makes Duchamp's "Fountain" art and not just an uninstalled urinal.  

Using technology to enhance your performance is different from faking your performance in order to be a star.  I also call bullsh#t on the guy  who didn't sing or play on his album and who fakes his singing and playing live.  His intentions are questionable.  How is he expressing himself as an artist?  He's faking it from every angle.  he's a fraudulent artist.

His intentions arent questionable at all.  They are to entertain the audience.   He is expressing himself as an artist in the creation of the music from the beginning.  He is presenting that creation to the audience in a way they will appreciate (figuring lowest common denominator).

I have a habit of playing unpopular music.  So the question often comes up, why?  If Im writing entirely for myself, then why leave the bedroom?  Because I want to share that stuff with the public.  Therefore, I DO have to take the audience into consideration.   If you ignore the fact that your music will be put in front of an audience, then you might as well just stay in the bedroom.   So you do, to some intent, have to make decisions with the audience in mind.  

People creating popular music are often the ones called into question, because they have a larger audience to cater to which makes for larger decisions.   Are they making "ethical" decisions?  Maybe.  If their personal belief system finds no wrong in it, then they are doing what they feel is right.   Which gets back to my initial point that ethics are a grey and totally personal area.
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Making bad art.  Saying stupid things.  Implimenting my master plan to be forgotten when I'm gone and forgettable while I'm here.

The Luna Moth
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