[eng] My past as a music listener

My mother just told me that Alla Pugacheva's Million Alyh Roz is one of the first songs that I've been singing along (with improvised words, of course). I was less than four years old. Now that I listened to the song a few times through, I recognize that this song is indeed a real influence in my life - I think I've always loved the 80's repeating synth-sequencies, and I'm always trying to find similiar patterns from modern music as can be found from Million Roses.

Around the same time I was also listening to Finlandia Hymn by Jean Sibelius. I can clearly remember how my father explained to me, how Finlandia Hymn always reminded him of war and peace, how along the progression of the track the score turns from a brooding atmosphere of restless waiting into a sudden storm of lighting and bloodshed, followed by heroic and triumphant moments and finally into peace with an era of regrowth and blooming flowers. I always loved the parts that sounded like attacking bombers... didn't really care about flowers as a kid. I also liked traffic accidents on television, but haven't really found music about the topic until more recently. Go figure...

I started to listen to music actively when I was an 8th grader, 14 years old. I recieved my first CD-player as a Giftmas present, and alongside I got a few cd:s - Michael Jackson's HIStory, Metallica's Master of Puppets, E-rotic's (whatever that album was called), and N-Trance's Electronic Pleasure. (THEY HAVE GAS MASKS and IMPLANTS!) Of those albums, only the Metallica cd and the N-trance cd still remain somewhere, with the latter only being listened to every now and then, mainly for the comical value. The N-trance album was my first gotta-have-this-record... I heard one of the tracks when I was at Las Palmas, the first time I ever took a step into anything that resembled a night club.

Prior to that I had been listening to some music, but not really passionately. The common motivation was basically "Just because". As far as I can remember, the first band I listened to was NKOTB, again recieving their smash-album as a present for christmas. That was a C-casette, with the super hit Step by step. Which I kinda listen to in secresy even today... it's just that cheesy. (Why the hell is there a huge body builder lifting weights in that video...? One would guess that if this track is mainly directed towards teenage girls who like girly boys, the Incredible Hulk would be a mistake... or perhaps it's about contrasts or something. Or is there some weird link between getting a girl, step by step, and building muscle mass, step by step...? Perhaps I'm taking this way too deep...)

Being a fan is something I haven't really been into that much. There are few, rare exceptions. The first one originally spawned from that "Just because"-attitude. I need to outline this a bit. In the beginning of the 90's my big brother had this celebrity-clone thing going on, he happened to remind one of the 80's superstars quite alot, and he even went to the television to lip-sync one of the said celebrity's songs. I was on third grade, and admired my brother like little brothers do. And what celebrity was he mimicking? Why, Billy Idol of course. And if my brother was big on Idol, it was my duty to listen to Billy Idol, too. So it started with a "Just because (my brother likes it, too)"-attitude, but eventually grew into something reminiscent of fandom: I have all Idol's records on cd's (even the new ones), and I've seen him live once. And I choose the word reminiscent because I'm not into autographs, or activities such as screaming like a little girl and passing out. And next, the top three Idol songs (not the hits, mind you):
1) Worlds Forgotten Boy (I really like the drive in this song when it eventually catches on; plus the pumah growl is epic)
2) L.A.Woman (Yeah, a Doors cover, I like this version alot more)
3) Shock to the system (The guy did a big mistake with the cyberpunk album. He tried something new and original... at least when it comes to being a pop star whose last album didn't sell that well, it's not really that smart to get creative. The whole record is mostly built with an archaic tracker program, Stevie Stevens was taking a breather, and Idol had a massive drug problem. It's amazing that he ever recovered from this stunt, but eventually...)
4) John Wayne (...There was the Devil's Playground album a few years prior to releasing another compilation with a few extra tracks - this track being one of the new ones. The Devil's Playground was a decent album... I think it's more in touch with Idol's roots as a punk rocker, and I don't think he even tried to make millions with it.)

But back to my first CD-player. Around the time I started listening to music for the sake of listening to music (and not because everybody has to listen to something), my friends were basically listening to Metallica, Sepultura, Iron Maiden and nothing else. How ever absurd it sounds, hip hop was somehow regarded as "being gay" - not in contrast with listening to "real music" like metal (that came later), but hip hop was generally just "gay". I remember one of my friends getting alot of flak from wearing those early hiphop pants to school, not the kind that are supposed to be hanging but the kind that were otherwise way too large. (I guess they were evolving from the baggy MC Hammer aesthetic into the show-your-underpants aesthetic, if that can be called evolving in the first place) Yeah we were 14. Things can change a lot in fifteen years.
Within a year, the mainstream metal was out, and people were getting into black and death metal. Bands like Moonspell, Arcturus, My Dying Bride, Emperor, Dimmu Borgir (Stormblåst; Enthrone Darkness Triuphant marked a point in the bands career where they "sold out", and who would know better than a 15 year old satanist, wotanist, communist, or national socialist...? Whatever kids those days deemed important, it always had to do with somekind of an -ist. I consider myself an ist nowadays, plain and simple), Sentenced, Eternal Tears of Sorrow... it was the mid 90's and the black metal craze was at it's peak. Most of the churches in our area are made of stone, which is propably the only reason they are still standing this day... we didn't have enough pocket money to buy bulldozers.
I remember when I first tried to get into the "harder" side of metal. I borrowed Morbid Angel's record from a friend of mine. Before that, I had thought of metal as sounding like Metallica, and used to listen to Michael Jackson too, so you can propably imagine how much effort it took to actually listen to death metal. I think this was one of my first brushes with the genre. (I still don't get it)

Short lists are fun, so here's one for the tracks I listened to back then that I still like:
1) Arcturus - Chaos Path (From the album La Masquerade Infernale, which is propably one of my favourite albums of all time, along with the insanely genious, or just jaded remix album that followed... Now that I listen to this, there are clearly visible breakbeat loops playing at the background, which is kinda interesting in comparison to the music that I like to listen to nowadays)
2) Theatre of Tragedy - Lorelei (I think the whole Aegis album is really cool. I hate gothic metal for the most part, but this record, said to be the first one, is an exception. It's propably the only metal record that I would categorize as goth music... not just "gothic"... there's a difference, at least in my head... I FUCKING LOVE THIS TRACK!)
3) Dimmu Borgir - Mourning Palace (Yeah, I sold out too; I got their VHS for Christmas. How ironic is that? I personally think that EDT is their best record for what it's worth)
4) Moonspell - Sacred (I was struggling between Opium, ...of dream and drama, Erotic Alchemy and Trebunawhatyoucallit, but then I realized that this song is often playing in my head even though I haven't really heard it in ages, I picked this one... this is not actually the Moonspell I listened back then, this is more from the transition period that would end up as being *some say TOTAL:crap but I say* SIN:Pecado.)
5) Sentenced - My sky is darker than thine (Sentenced's "North from here" was one of the first records that I actually bought and kept on listening to until I swapped it with somebody... to Dimmu's sell-out record if I remember correctly. I don't think there could be a more angsty name for a track than this, but I'll try: My black is slightly less cheerful than umm... war and famine)

Eventually I ended up listening to power metal, mostly because of the fantasy roleplaying enthusiasm of my late teenage years. I remember listening to Manowar first, it was a pirated version of the Battle Hymns/Fighting the World split, which one of my friends had bought from Russia. I think Manowar used to be the kind of music that was dumb enough to be really fucking good. I think there is a bit of the same spirit in many electronic music genres today, like for example hardstyle or some of the more commercial drum and bass projects.
The anthemic value of Manowar is insane. I haven't listened to "true metal" for about ten years now, but whenever I hear anybody singing Black Wind Fire and Steel or Hail and Kill, the urge to join in is immense. Now that I'm listening the old favourites again, I think that the sound is simple enough to be timeless. If I compare Manowar to another one of my favourites back then, Rhapsody, Manowar still sounds as delightfully stupid and manly as it ever did, where as Rhapsody sucks big time... I think Rhapsody's tendency to use mid 90's synths to simulate instruments like clavinets eventually made the whole band sound really low-grade... their tracks have a replay value of flat zero.
Another band that is worth to mention is Blind Guardian. I bought their Imaginations from the other side - record and loved it. I listen to few of their tracks even this day, when I feel nostalgic. The record has an Arthurian motif, and I think that the compositions are quite genius. Bright Eyes is one of my favourites... I love the lyrics too, because they remind me of my first girl friend. Another great track: A past and future secret.

I listened to power metal for a few years, but I think I was also listening to some rock and pop bands by the end of the 90's, most of which were from small, localized record studios. Pretty much anything from the label Bad Vugum, like for example the avant garde act Keuhkot.

By the time I was 20 I was listening to Mortiis, which I think was some kind of a bridge between metal and "goth-music" (whatever that means) for me. Mortiis used to play keyboard for the earliest Emperor demos, but left the band early on for a solo-career. Most of his earliest tracks were made of boredom, and It's hard to believe that I have listened to them and somehow enjoyed them - the earliest tracks are basically over extended and seemingly never ending black metal intros. Call it dark ambient if you want, to me it's just somebody playing a synth and possibly feeling really lonely. In a cave. Mortiis - Født til Å Herske.

I think my transition into more electronic music started here, from Mortiis and more importantly, a remix album by Arcturus, called Disguised Masters. It was basically a black metal album that was remixed into a variety of unlikely genres, including jungle and gangsta rap. There was even some kind of a dance remix to one of the tracks. Needless to say, some of the fans didn't quite appreciate that...
At the same time, Ulver was doing the same thing to their fans: Ulver's Nattens Madrigal is perhaps the most influential black metal album of mid 90's... (it was recorded in a forest, and you can actually hear the twigs and sticks snapping under the band members heels; the money that was supposed to be used to record the album in a top-notch studio with top-notch everything was used mostly on top-notch cocaine). The black metal scene fell in love with the record instantly. Ulver, however, had now done their "true evil norwegian black metal"-record and were quite finished with the whole topic, and every record that they released afterwards was less and less metal driven and more and more weird and avant garde combination of acid jazz and dark ambient.

It seemed that the most avant garde of the black metal bands had grown bored with either the music or the fans, or both. I've always loved it when bands start fucking with their fans (and not in the back of a tour bus), and there is nothing quite as delightful as a disappointed heavy metal enthusiast asking the question "Where are the growls, the double bass kicks?" particularly when the facial expression is that of a child who gets only soft packages for christmas.

Speaking of messing with your fans, I had somehow bought all Sisters of Mercy records by the turning of the millenium. I propably bought them for all the wrong reasons, or at least that's what Andrew "We're not a goth band" Eldritch would say... I was also listening to Bauhaus - Burning From the Inside. My roleplaying hobby was taking a turn into Vampire the Masquerade, and once again it influenced the music I listened to. I can remember how in one of the supplement books, I think it was the storytellers guide for vampire, there was this list of music that was somehow suitable for a gaming session, and that list was essentially a playlist to any goth club. I didn't really understand the concept "goth" that well, or perhaps I understood it perfectly: Cool dark music with vampires and demons, dressing up like Edward the Scissorhands and drinking bl*RED WINE. I felt that the goth subculture would be my thing, whatever it was.

I joined the army in 2001, it's mandatory in Finland. I served for 9 months, and I can remember how important it was to carry my cd's with me. Meanwhile, Mortiis had started a new era, which is really just a fancy way of saying "sorry fans, I got bored to the stuff I used to make, and I don't really expect you guys to dig my new shit". Out came The Smell of Rain album, which was a step away from the realm of boring cave-music into a realm of cheesy computer music. My mates at the army were dumbfounded by Mortiis, one of them even borrowed the album from me because it sounded so weird. "It's like techno for satanists" was something I heard him say. I think "You put a hex on me" was the best track on that album.

For the next few years I was listening to more synth-driven metal bands, most of which crossed over to industrial or atleast to industrial metal, which doesn't really feel that much of industrial nowadays, to my elitistic and piss filled purist ears, although most of the "common-people" talk about that particular kind of music when they talk about industrial. Go to any bar for regular folks who watch football, tell them you listen to industrial and they say "Yeah, Rammstein is cool." And then you leave, mumbling something incoherrent about Einstürzende Neubauten, Laibach or The Normal (somebody drinks your stale, untouched beer a few hours later). Nothing wrong with Rammstein (except most of their music), though, nor with bands like Deathstars (Synthetic Generation) or Rob Zombie (Superbeast!).

I think that around 2003 I started to completely turn to electronic music, and the band that did most of the conversion was none other than Hocico. I remember going to a friend of mine who is a goth, one of the gothiest goth ever to goth on goth (propably to the point in which she declares to be everything but), and asking her about goth music in general. I had by then understood most of the rock and wave connections, but the record she gave for me to listen, Signos de aberration, really blew everything up. The part of me which craves to hear something nasty, dirty and outright eeeevil heard something unbelievably nasty, dirty and outrightly eeeevil, or at least that's how I felt. I think the sound felt more brutal than most metal I've heard, without turning into a mess of really hostile and incoherrent noise. I've been listening to Hocico ever since, and I've even seen them live.
Another band that I've listened from 2003 (the same year I started to practice producing music, too), and this is one which people usually haven't heard about, is called Oneiroid Psychosis. A friend of mine used it as background music for a roleplaying game session. Their sound is passive aggressive, a modern variation of dark wave I guess. I love them. I think their tracks influence my own productions a lot, and for a good reason.

A whole plethora of electronic music groups invaded my stereos: Wumpscut, VNV-Nation, Apoptygma Berzerk, Noisex, Assemblage 23, Icon of Coil, Suicide Commando, Front 242 and Das Ich amongst others. Everything dark and techno was called electronic body music, or EBM, for a while, until I started to practice the noble art of genre policing some years later. Nowadays I have wisened enough to learn that the genres are varied between Aggrotech (or terror ebm), electro-industrial (ebm with breakbeats - sounds a bit like Prodigy's Fat of the land, but sounds too good to have proper sales), futurepop ("new" wave of ebm -from the 90s- with crossover to trance, lyrics are more whiny than in old school ebm, tempo is generally faster), and THE ebm (or old school ebm; really really simple 80's music with a primitive 4to4 beat and clean militaristic vocals - like early Depeche Mode but with all the love replaced with I dunno... tear-gas and sweat?). The umberella term I tend to use for all that is Industrial Dance, or just EBM if I'm feeling lazy.

More recently I've been trying to understand industrial in it's original form - the industrial industrial. Some of it is really hard to listen, like for example Throbbing Gristle or The Normal. It's usually too much noise in a form that I cannot appreciate, or the sound is way too simple to have anything in it worth mentioning (no matter how groundbreaking it was in the 70s). But then there are bands like Einstürzende Neubauten and Laibach, which pretty much hooked me after the first (or fifth) listening. The provocation value is hilarious sometimes, particularly with Boyd Rice and songs like "Let's hear it for violence towards women". For the most part my ear is still tilted towards the dancier industrial.

Oh and then there is the stupid music. Like for example Hardstyle. Used to hate it, and there really isn't anything special about it - it's basically simplified stadion trance, it always has a signature lead synth with "a limp" on the last triplet of each 1/4 beat, an over exaggerated kick and bass compression and usually the lyrical genius of a 5 year old mutant bodybuilder who wants to hang out with happy hardcore but is too thick to understand what she's saying. The genre is perfect to listen to when you absolutely do not want to think about anything, because there is NOTHING in it to stimulate other than the saliva dripping from the corner of your mouth. Sometimes it's worth it, I don't mind drooling.

[eng] What this blog is about

This blog is mainly about electronic music, and most of the content will be posted both in english and finnish. Broken Coil is a band project of mine that is currently mostly in the planning phase; I'm still looking for my sound but it's definately going to be something dark and synth-driven. I have been messing around with electronic music production from 2003 onwards. Here are a few links to the tracks I mostly feel suitable to represent the sound that will be produced in the future.

Broken Coil - Fade Away - Darkwave
Broken Coil - Ticking (v2) - Electro Industrial
Broken Coil - Dark Fusion (Total War mix) - Aggrotech

Ideally, Broken Coil - blog would also be about theatre amongst other topics, since music and theatre are basically the two things I do besides eating, sleeping and taking an occasional shower every now and then.

I'm going to be expressing opinions and ideas in my blog, and expect feedback and discussion from any would-be reader, particularly if he or she disagrees with my non-sense. I'm self-taught, so my terminology might be off on occasion when talking about music, and if something I say is complete BS, I expect people to call me on it.

Broken Coil - blogi; Mistä tässä on kysymys?

Nurmiranta viettää joululomaa mutsinsa luona, kaukana pikkuisesta kotistudiostaan. Hän on ollut erossa omasta läppäristään ja sen ympärille kyhääntyneestä piiskuisesta kasasta aloittelijarautaa pari päivää, ja orientoituminen on ollut vaikeaa. Musiikista, sen tuottamisesta, on tullut hänelle jonkinlainen turvaverkko ja tylsyyskarkoitin (usein enemmänkin tylsyysmorfiini, tylsyys on olemassa, mutta siihen ei kiinnitä huomiota): Kun pitäisi nukkua, mutta katossa vilistävät halkeamat ovat tuntuneet liian mielenkiintoisilta jo vajaan tunnin, on helppo ryömiä olohuoneen pöydän ali työpöydälle ja käynnistää Cubase tai Reason, lätkiä kikkejä päällekkäin ja ihmetellä miten helposti sitä saa itsensä huijattua tuntemaan olonsa hyödylliseksi.

Nyt tuolla mamman helmoissa tuo turvaverkko on poissa, kenties korvaantuneena jollain aikaisemmalla, mutta silti hän huomaa ajatuksen harhailevan siihen miten orgastista on reitittää bassolinjan kompuraa huomioimaan pörinässään bassorummun yksitoikkoista jumputusta. Yksi asia johtaa toiseen, ja ennen kuin hän huomaakaan, on hän ottanut muistiinpanovihkonsa esille ja kirjoittanut sivutolkulla epämääräisiä harakan varpaita siitä mitä musiikillista hänen elämässään on tapahtunut kuluneen vuoden aikana. Viimein hän raapustaa lyhyen esseen tyngän konemusiikin ja orgaanisen musiikin miksausprosessin eroista, ja päätyy seuraavaksi ihmettelemään että mitä näillä ajatuksilla tässä vihkonsivuilla oikein tekee.

Ja niinpä perhosen siivenisku ei aiheuta hirmumyrskyä Etelä-Amerikassa, vaan epämääräisen musiikki- ja teatteriblogin perustamisen vuoden 2010 loppumetreillä, internetin ihmemaassa. (Nyt täällä on viimein muutakin kuin pornoa)

Nurmiranta huomaa puhuvan itsestään kolmannessa persoonassa, ja pitää sitä blogimerkinnän neljännessä sarakkeessa jo sangen epäilyttävänä. Hän kuitenkin yrittää jatkaa vielä hetken, säilyttääkseen tekstinsä johdonmukaisuuden, toivoen kattavansa aikaisemman sarakkeen epämääräisen teatteriviitteen vielä kolmannessa persoonassa. Hän kuitenkin tajuaa tilanteen käyvän mahdottomaksi, sillä -

Olet kiinnostunut musiikin lisäksi myös teatterista, ja ideaalitilanteessa näkisit konemusiikin ja teatterin kulkevan käsikädessä, kiikkerän jumputtavassa ja poikkitaiteellisen puhuttelevassa bändioperaatiossa jota kutsut tällä hetkellä Broken Coiliksi. Sehän on englantia, ja koska koet sen jotenkin fiiniksi, haluat korostaa sillä sitä, että vaikka olet suomalainen, et ole yhtään juntti. Teknisesti olet sitä mieltä, että myös suomenkielinen variaatio Katkokela olisi myös hyvin vakuuttava, mutta toistaiseksi haluat pantata sitä nimitystä johonkin erikoistilanteeseen, vaikkapa siihen hetkeen kun huomaat soittavasi bäckmäskättyä valaiden laulua palavassa vanhainkodissa, muna kädessä. Tai edes siihen hetkeen kun uskallat laulaa jotain suomeksi. Jotain folkahtavaa. Muna kädessä. Tai kenties välttelet suomenkielistä nimitystä siksi, että se kertoo liikaa omasta, väsymyksen kautta kumpuavasta - on muuten huvittavaa huomata että ajatuksesi katkeaa juuri sillä hetkellä kun yrität kirjoittaa jotakin tästä nimenomaisesta aiheesta.

*Loppuunkaluttu Pasila-sitaatti!*

Olen harrastanut konemusiikin tuottamista vuodesta 2003 lähtien, aluksi ihan vaan kokeilumielellä, mutta sittemmin (vuoden 2008 joulukuun epämääräisen ahaa-elämyksen jälkeen) vakavammassa mielessä. Ja vakavalla tarkoitan sitä, että revin musajutuissani perseeni nykyään useammin ja tunnollisemmin, uskallan häpäistä itseni nykyään silloin tällöin myös julkisesti, ja lisäksi sitä, että vaivaan ystäviäni "Jaksaks kuunnella hei tän..."-alkuisilla lauseilla enemmän kuin aikaisemmin (jos se on edes mahdollista). Viimeaikoina olen pyrkinyt luomaan nahkaani, tarttumaan useammin mikrofoniin, opettelemaan uusia softia ja jopa tekemään muistiinpanoja havainnoistani mahdollisia tutorointitilanteita varten.
Kuten aikaisemmin mainitsin, olen myös teatteri-immeisiä - menivät vahingossa kelpuuttamaan minut Helsingin Ylioppilasteatteriinkin syksyllä 2010, parivuotisen kansanopistokeekoilun jälkeen.

Ja mistä tässä blogissa nyt olikaan sitten kysymys pähkinänkuoressa, jos en ole saanut sitä tähän mennessä ihan selkeästi ilmaistua: Tarkoitus on puhua musiikista, teatterista, musiikkiteatterista, teatterimusiikista, ja kaikesta muusta mikä minua nyt milloinkin sattuu kiinnostamaan. Pääpaino on toki noilla nimeltä mainituilla.

Miksaamisen suhde-erot synteettisen ja orgaanisen musiikin välillä

Perinteisessä studiomiksaamisessa koneilla pyritään tehostamaan bändin äänittämää biisiä, ja tuotantoprosessin tässä vaiheessa pyritään "luomaan fantasiaa, illuusiota" kuten Roihupellon Bändikoulun opettaja minulle viimekesänä kertoi studiomiksaamisen peruskurssilla. Pyritään ikäänkuin jatkamaan siitä, mihin bändi taideteoksensa kanssa jäi. Tavallaan on kysymys liioittelusta, ellei jopa suoranaisesta huijaamisesta. Siis laitetaan biisi soimaan niin hyvin (niin kovaa) kuin mahdollista, ellei jopa paremmin. Voi helposti kuvitella, että syntyy biisejä ja bändejä jotka toimivat levyllä mutta ovat huonoja livenä, tai toisinpäin - albumi itsessään on mitäänsanomaton, mutta keikalla on meininki kohdallaan. Ne toimivat levybiisit ovat usein lahjakkaan miksaajan tuottamia, kun taas ne toimivat livebiisit sitten puolestaan lahjakkaiden (tai ainakin viihdyttävien) muusikoiden tuottamia. En väitä etteikö kultaista keskitietä ole olemassa, mutta argumentin vuoksi sanon kuitenkin että livenä soitetun biisin ja studiossa miksatun biisin välillä on (ja kuuluu olla) hyvin konkreettinen ero.

Kun puhutaan koneilla alusta loppuun enemmän tai vähemmän kokonaan tuotetusta musiikista, ovat tuotannon eri tasot saumattomammin yhdessä, ja se varsinainen treenikämppäjammailukin voi hyvin jäädä välistä pois. Jos biisi on synteettinen ja kotona/kotistudiossa nuhapumpattu tuotos, en näe syytä kunnioittaa mitään alkuperäistä saundia, sitähän ei tavallaan edes ole. Jos siis heittäydytään oikein melodramaattiseksi, voidaan väittää että orgaanisen saundin ollessa miksaajan jäljiltä "vähemmän aitoa", on konemusiikki alusta loppuun kokonaan valetta. Positiivisempi näkökanta olisi sitten tietysti, että siinä missä miksaajan taikasauva heiluu orgaanisen musiikin parissa vasta äänitysten jälkeen, on konemusiikki alusta loppuun tätä mystistä hiippailua.

Tässä valossa ja näiden ajatusten myötä myös syy siihen, miksi konemuusikkoja kutsutaan usein tuottajiksi avautuu minulle huomattavasti paremmin. Usein, veikkaan että melkein aina, konemuusikko tuottaa biisinsä alusta loppuun itse, tai jos konemuusikoita on useampia, hoitaa yksi heistä miksaamisen, ilman että kehenkään "ulkopuoliseen" turvaudutaan. Ns. oikea muusikko viuluniekka-kitarasankari puolestaan keskittyy omaan instrumenttiinsa (osana kokoonpanoa), sekä siihen että myöhemmässä vaiheessa miksaaja sitten on edes jotenkin samalla aaltopituudella muusikon kanssa.

Koen että konemusiikki on siis alusta loppuun omalla leikkuulaudalla, eikä miksaamisessa voida samalla tavoin eksyä alkuperäisestä ajatuksesta. Missään ei tietenkään lue etteikö tämä alkuperäinen ajatus olisi kohtuuttoman huono tai mitäänsanomaton. Lopputulos on siis automaattisesti "enemmän oma" taikatemppu tai valhe, riippuen jälleen näkökulmasta.