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Salt

And then there's gourmet and artisan salts, sea salt, etc. What music is low-sodium?

Modern Indie Rock.

What's the best salt for metal?

Black Lava Salt
220px-Black_Salt.jpg


or Kala Namak
220px-Black_Salt_%28crystals%29.jpg


Depending on the type of metal though, of course. :D
 
a new study contradicts the CDC claims of less salt is better !

http://www.webmd.com/food-recipes/n...elines-too-low-for-good-health-study-suggests


this report claims there is a healthy range .... so

you get too much you get too high .... not enough and you're gonna die .... like ... uhhhh oxygen ?
There's a healthy range for anything. Salt, fat, carbs, protein, WATER. There is no such thing as Less is better...unless we're talking radioactive isotopes or heavy metals.
 
If I find a cool transition line between verse and chorus, for example, it's often better to use it once or twice in the song rather than every time it comes around. I have found that playing a moving bass part is often contraindicated when the vocalist is singing a "wordy" part of the song. And yes, rhythm is extremely important.

OTOH, I find riding the root and fifth synched to the kick all night to be deadly dull and boring, both to play and to listen to.

There is middle ground in there somewhere.
But this is the essence of what makes music, music. The composer/player creates expectations, by playing a repeated pattern or referencing a well known form, and then walks the tightrope of fulfilling those expectations often enough to create comfort while thwarting those expectations often enough to create surprise or tension. If your brain correctly predicts every note, it's boring muzak. If your brain can never predict the next note, it's noise.

The tricky bit is that different people have very different thresholds of psychoacoustic comfort. I grew up listening to Stravinsky (my dad was a fan), so while "Larks Tongues in Aspic" was too weird for a lot of people, it falls right in my comfort zone.
 
But this is the essence of what makes music, music. The composer/player creates expectations, by playing a repeated pattern or referencing a well known form, and then walks the tightrope of fulfilling those expectations often enough to create comfort while thwarting those expectations often enough to create surprise or tension. If your brain correctly predicts every note, it's boring muzak. If your brain can never predict the next note, it's noise.
True. Years ago I read an article in the Scientific American that studied people's response to music and what makes "good music" to the study subjects. The bottom line is that it always came down to a fine balance between the expected and the unexpected.
 

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