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OT: Re: flash back quote from a scritti interview that's good fora c huckle

Title: OT: Re: flash back quote from a scritti interview that's good for a c huckle

Agreed that most people overused the stock fairlight sounds (inc art of noise) ad nauseum with little creative input as kind of an elitist "here I'll play chopsticks on the thing because i can and you'll like it because you're forced to hear it every 20 seconds in the world", and though it was/may still be the bes synthesizer in the world, the series II's 8 bit /32khz sampling was frustrating in theory would still rather have it than a prophet 2000.  But I feel PG is was very creative w/the fairlight perhaps more than most w/samplers/synths, scritti was a 16-bit series III w/great production , and in the process of scoring a series III, but other than that I hear you my brother:):):)

just though some might have gotten a chuckle bec Green (vocals for scritti) wouldn't play live(actually had a tour lined up and cancelled it at the last moment with no reason given) during the heyday of mega radio play of Cupid and Psyche '85 and it totally sounded like varispeed(slow down the motor of an analog reel to reel to sing, then speed it back up after you've got the vocal for the edge Michael Jackson uses and scritti would have been lost without) and everyone thought it but i never saw anyone flat out call him on it before finding this article:) Kind of like asking Prince or Leo Sayer "come on man, you still got your cajones or what?":). in any case thanks for the response.

Future fairlight owner/studio bound tosser:):):):):)

p.s. you're really saying "absolute" (the song) doesn't do anything for you?

>>There comes a time in every Scritti Politti interview when Green must be
challenged about his vocals. It's a kind of tradition. So, come clean Green,
is it varispeed or what?<<

blimey, that hasn't aged well, has it? I remember buying the album and junking it almost immediately- I was never a fan of that early 80s technology because you could always tell it was only half the way there (limited bandwidth, bit depth and storage) and no-one could afford it apart from these studio-bound tossers.

the s900 and the prophet 2000 changed all that, and at last it was possible for people with actual imaginations to start sampling slightly more interesting things than dogs barking or tv tubes being smashed. I think peter gabriel did this latter simply because it would look good in the press releases. the fairlight wasn't rubbish but most of it's early users did it an enormous dis-service by treating it as a novelty. to this day, I can't bear the art-of-noise stuff, but I s'pose if they hadn't done it, someone else would've.