My mom worked for Shamrock Foods and was at a restaurant supply show and ended up meeting, of all people, Vic Firth, selling pepper grinders. She knew I owned Vic Firth sticks and he generously signed a pack of sticks for her to give to me. Said he was absolutely delightful. (This was probably ~15 or so years ago.)
as a recording studio engineer and drummer, a secret about Zildjians is that while they may not sound the best in the room, their recorded sound still has something special that others don't. whether it's the right sound for the song is a different question, but when you need it, you'll be hard pressed to find it with another company.
This is something I've found new drummers struggle with. They get a kit and cymbals, even nice ones, and they are dissatisfied that the live drums in the room don't sound as "good" as what they hear on the albums they're used to.
Recorded drums sound very different from live drums. It's just something you get used to after a while, but for years as a young drummer it really bothered me until I finally mic'd my kit and was like "oooohhhhh".
Great point. That's one of the many reasons I recommend earplugs or muffs, especially to new drummers. Even cheap foam earplugs cut out lots of midrange frequencies and can make your drums sound more like a record.
I don't really care for AI in google search results or email. It's often wrong and not what I'm looking for. I would like a much better Siri, so hopefully that's part of what we get.
Residency certainly seems like an elaborate hazing ritual. I believe there is something to be said for errors made when handing off patients between doctors at the end of a shift, which is why you would want to train physicians to maintain good performance even over long shifts. But in general, modern residency was invented by a morphine- and cocaine-addicted surgeon who decided, hey, I want you to undergo a grueling residency for an arbitrary number of years and you'll be a doctor when I say you are: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7828946/
I encourage everyone interested to check out Dr. Bruce Greyson's book After. It's a scientific look at various NDE cases. This study mentions patients being unable to identify images on an ipad, but the book mentions other cases where patients were indeed able to describe imagery they wouldn't have otherwise been able to observe. I find NDEs to be a real frontier of science, no matter what's actually happening - whether it's hallucination or real consciousness outside of the body (e.g. nonduality, Advaita, etc). Fun stuff!
One of the problems with the study is the expectation that the patient, in their hypothetically discarnate state, will pay any attention to the tablet, which is just one of many artifacts in the room.
I certainly don't pay attention to many such details in mundane life. I just made myself a cup of tea and put the cup onto my nightstand, but without looking, I cannot tell you which cup I chose and how is it decorated. I was distracted by something else when preparing it.
And dying people are probably more distracted than people who make tea. Most people who describe their NDEs in hospitals tend to concentrate their narration on other people, e.g. the team trying to resuscitate them.
Plus the headphone audio setup seems extra wrong to me. If you want to test hearing abilities of people who claim that they are outside their bodies, why use a device that sits on their ears?
Me too, my friend (although a hardcore nonduality person would say you don't get your head around the ideas so much as experience them directly).
This is all anecdotal but a lot of NDE/OOB experiencers describe feelings of oneness and a singular connection with all matter and beings that they gain upon "leaving" the body and lose upon re-entering it. A lot of modern day non-dual seekers similarly describe their locus of perception post-awakening as being distributed through the entirety of the room that they're in as opposed to just the spot behind their eyes. Even MPSimmons' description of his experience in another comment mirrors what teachers like Angelo Dilullo (himself an anesthesiologist) describe.
In other words, nonduality says that there's just one consciousness/point of view that we falsely interpret as fragmented (ie mine, yours, the surgeon's, the table's, the chair's). People who report NDEs/OOBs use language that suggests the same.
In a very non-woo way, I think nondual perception and this line of experience is truly fascinating and I wish there were more scientific resources devoted to its study.
This doesn't track for me at all, and I'm wondering if I'm misunderstanding the point.
The mere presence of another person in the room, whether they're contributing and providing feedback or not, generates idea after idea for me. Some of the best ideas I've had have come from sitting in my living room watching my roommate play Rocket League, with us occasionally discussing the game. It feels so difficult and pointless and uninspiring alone that I've considered hiring an intern or apprentice just to sit there in the studio with me.
> As painful as it is, any creation happens in isolation without any signals or external validation until it’s complete.
This is the exact opposite of my experience writing lyrics. We're all constantly bouncing ideas off of each other, immediately and repeatedly. Speaking the lyrics out loud to someone else to gauge how they'll be received in a song is a go-to method in my circle. And if that's just revision and not creation, well, most of my song ideas stem from random phrases spoken out loud to someone in conversation.
> While you’re reading this, creative people are working hard now across the world on the next novel, movie, or song you’ll love, and yet, you don’t know anything about it, and they don’t know if you’ll like it either.
I guess this is saying that artists generally don't share half-complete ideas, which is true, but that's because audiences don't do well with filling in the gaps on their own, not because "creation happens in silence". Creation is collaborative and chaotic.
If you think I'm misreading this article please let me know! It's a real head scratcher.
edit: one exception comes to mind - I'm only inspired around others, but when there's a musical problem to be solved (e.g. how do we go from the chorus to the bridge), we all tend to retreat into our heads to work out possible ideas instead of playing them out loud for people and seeing what sticks.
As you rightly point out, creators don't operate in total isolation: you're constantly taking in the world around you, even in solitude. However, as you've surmised at the end of your comment, there's a difference between sparking an idea and following through on its creation (though they often work in concert).
I don't think you're misreading the article: I think the author is very arrogantly extrapolating his own creative process to all of humanity's creative process.
Playing as a dance/cover band as they did (compared to, say, classical music), they had plenty of space to experiment. The critical aspect that's different from practicing with your band in a rehearsal space vs on stage is that you get to see how an audience actually responds to what you're doing, which is the whole point of the game. Every audience is different. A musician who's played 100 sets of songs alone in a room will have nowhere near the same level of insight as a musician who's played the same number of shows for an audience.
As an instrumentalist, I can choose to play my part ahead of the beat, behind the beat, right on time, I can choose to embellish my part or play it as written, I can improvise a solo vs play something pre-planned, I can subtly vary the intensity of my playing, all while my bandmates are tweaking their performance in real time, too. There's also the telepathy you tend to develop with your bandmates when you're unable to stop a show and yell about mistakes or forgotten parts :)
