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Hi Marc,

Thanks for your comments. Always difficult to understand through the limits of the medium.

Merci pour les clarifications, Marc, et pour ta patience. Je comprends beaucoup mieux maintenant de ce dont tu voulais parler. J'arrête le français, sinon les autres vont croire je suis en train de de traiter de noms d'oiseaux  ;D

I used to have an Korg M1, and everything coming out of it made me relate to a particular moment, song, etc. If I hear an M1 piano sound in a song, I have to concentrate to get past the sound and all that it reminds me. Likewise, If I hear a song with a voice or instrument that reminds of another song, then, my brain will tend to recall the orginal experience instead and bypass the new one.

I get the point. It barely happens to me. Part of the explanation is that I was never a "synth" guy. I started "computer music" with a drumbox and a TB303. No real choice of sounds, that was just an automated backup band. When I moved to a sequencer and an expander, that was still, initially, a glorified version of the previous. I only gradually started to become interested in other sounds than bass and drums from my expander.

But your post made me also reflect on the way I listen. The same way I'm no graphist (at all), and not very sensitive on colours, I must be slightly "sound blind" also. I go very fast past the sound themselves, to the notes behind.

That's obviously something I must improve: not the ability to supress the sound to appreciate a melody or an arrangement, but the ability to chose the best sound available for a purpose.

But that can be usefull to recreate a particular mood, using a collectively shared or cultural "sound", you can get to a desired result by reproducing it in a new creative context.

Get it, and useful comment.

It was a comment on your gear and not your songs: I like your songs. All of your songs have been on my hard-drive for a time now.

Sans cette discussion, je n'aurais jamais su ça :)

Thanks for the comment on my songs. I understand, if you clearly recognise such and such sound in my songs, how distracting it must be.

My point was only that ideas have a colour.

Hence, my "sound blind" analogy.

Having a broad pallette may paint a paysage in new and interesting ways and provide even new ideas, a new approach, a new technique! That's what I like a PC compared to MIDI-only gear: a wide pallette of sounds is readily available, and new ones are constantly being developed.

My new sampler is a (albeit low-tech) little move toward that direction.

Obviously, I'm slow on catching with technology (for my music use. I've been in "high tech" software companies for the last 15 years).

Didier

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You know, I had the strangest dream once, hearing a sound and seeing the colour it produces... Not the colour, quality or conotation of the instrument but the colour of the frequency itself. It was so convincing that I started documenting myself on the subject. I found out that such correspondance had already been attempted! And Fa really was green...

And then this leads to another field that has been studied scientifically: the effect of colour on the mind.

And what about how certain sounds re-organise matter in complex geometrical shapes, which also has been studied by science.

Maybe we're getting closer to explaining the effect of music on people, objectively! I'm sure all of that could a musician attain specific effects with the listener more easily.

"Fascinating" as a vulcan would say!

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Was there any data on colour blind people? Do they percieve music differently than others?...

That's an interesting question...  I guess it's a question of determining the activated region(s) of the brain when one listens to music, and see if they correspond or are dependent on the same one(s) that process colour. But what I'd like to know is it only the eye that is colour blind, but a region of the brain as well, and one leads to another? I have no idea.

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