I have a confession to make, pan people.
I've come to realize that my perceptions on the steel pan are derived from my relationship with the pan, and I'm thinking that the same applies to just about everyone else on this forum.
I "beat pan" from the mid sixties into the early seventies, until circumstances prevented me from continuing.
During that time, I played the cellos, and tenor bass pans, and always saw myself as a member of a band, or team.
I was not a "crackshot"
So when I think of pan, I think of the steelband first, and the individual player secondly.
I get the distinct impression that many of the members of this forum played lead instruments, instruments that are capable of standing alone, and therefore see themselves as individual players , not necessarily associated with, of dependent on the steel band.
Some. and I emphasize some of these individuals , see themselves capable of being successful panists with or without the steel band, and it may be that some of them see such things as synthesizers and samplers not as potential threats to the very existence of the traditional steelband, but as tools to be used to enhance their individual performances and careers.
As a result, in discussions an subjects such as the afore mentioned synthesizers and samplers, their interests and mine tend to diverge.
I, too, bought Indigisounds as soon as it was launched. It is a huge advancement in the reproduction of the sound of pan on the computer.
Yes, very sensitive area, indeed, and good explanation on the danger of the technology. I agree with you completely.
It would be helpful if you were to examine your analysis of the use of the new pan tones with the PanKAT, as much debate revolves around the capabilities of a similar product (in that it too can be used as a MIDI controller, although it has embedded sounds). Some would like us to believe that the technology is harmless. We have all heard recordings made with Indigisounds. Actually using the sounds with a Pan MIDI Controller should open some eyes. Thank you. Nice video you shared as well.
Werner, I love the German expression " MIDI makes you lonely"
How about "MIDI makes you Money" ?
And this very deep, very sarcastic Trini saying that I love," Man have to eat a food" ?
Greetings: The Rasta man has his own terminology; We created pan and we have our language too. I grew up saying : "beating pan, Duduup, ping pong." So I too, agree with you that we should use the terminology that goes with pan. Guidance Dr. Lance Seunarine
I believe Indigisounds (man, they getting lots of chatter here lately lol) still has room to improve. There is one part that makes their sounds less than perfect, and that is the (almost perfect) isolation of notes in the pan... the bleeding you get when you play a sequence of notes in the pan. Indigisounds tones are quite sterile, maybe impossible to muddy it up. Using the computer to make steelpan tracks this way, however, might lead to the tendency for the writer to give the pannist four hands, playing chord structures that would be impossible for a player to strike on a pan. Realism can be lost. What scares me about Indigisounds is the potential for music to be released, claiming to be a steelband recording, when in fact nobody touched a pan at all. In a live setting, it would be a benefit to someone wanting the true pan sounds.
But Sidd, with my microphones, large groups hear me just as clearly as the amplified bass guitar or the lead singer. I don't need an E-pan, P.H.I. or panKat to compete out there. I invested in microphones to get the real thing to the audience. (Hmmm, I guess I should do a post about the mics I use... maybe compare notes with others).
"There is one part that makes their sounds less than perfect, and that is the (almost perfect) isolation of notes in the pan... the bleeding you get when you play a sequence of notes in the pan"
Corey: That is the most insightful comment I have read on the topic of electronic pan music. I have been musing on that weakness for some time now and you put into words. I love the electronic music and and as Sidd insists, the human ear cannot tell the difference -- but if you listen long enough, the sterility creeps out.
I think that you are at right distance from the pan to make VERY OBJECTIVE comments. I think that Cecil Hinkson should give you some POSTING ASSIGNMENTS since he is the executive director and marketing agent of the forum.
Thank you. I'm honoured. I have much to learn, but I will contribute if my knowledge helps the community and the music.
You read my mind Claude, what Corey pointed out here are some of the fears that people like me have about electronics like "giving the player four hands, playing chord structures that would be impossible for a player to strike on a pan" The cat is out de bag now, we all know that people will use this technology to produce music without a panist. One man in his house with his computer replacing 100 players with instruments, that's progress Trini style.
Corey you are good for this site, you love the Pan and want what is best for it, you have earn the respect of most members because you know your stuff and don't get intimidated, keep up what you are doing.
I let the cat out? Haha. Thank you for the compliments.
"One man in his house with his computer replacing 100 players with instruments, that's progress Trini style."
Cecil: Yuh forget PRINCE and VANGELIS do that already decades ago. But all they did was add new tributaries to the MUSIC.Corey is meh new pardner now; I eh have no more time to talk to you. Leh we write ah calypso, nah ...
WE DOH WANT NO E-PAN in the BAN'.
Yes, I agree.
Very insightful comments, Corey.
And Claude, That is why I made the distinction between amplification and synthesizers / samplers.
Glenroy, We all beat pan back in the day, remember now no one showed you how to play the pan, they taught you the tune, so you beat the tune. These days things are different they teach you how to play the pan.
You are correct about the Steelband, my concern is also about the Steelband, these days it looks like some people are caught -up trying to promote the "instrument" and are not too enthusiastic about the "orchestra"
Cecil: Go down to Trinidad and get three good good tenor men and one good good double second player and then add four more good players and teach them the E-pan and then add I good drummer and one great arranger and all of ah sudden you have your ORCHESTRA ready to tour the world and spread PAN MUSIC to the far corners of the globe.