Quote J.A.S:Quote Exalted Wombat:
You kind of embarrassingly tied yourself up in knots in the end
Is that what you've told yourself in the mirror? I can't believe I'm even bothering but...
If I elaborate on my original (un-cherry-picked) post... the reason for not limiting myself to a tambourine sample is that it will be devoid of life and colour, because natural human rhythms that occur from shaking the thing contribute a lot of extra material and dynamics to the part (from that imposed limitation), because there is a subtle 'swing' to human rhythm that is important, and because it's probably easier to just record it in.
You're trying to interpret this as minimalism, i.e. imposing extreme limitations. I wasn't suggesting we do that, I merely offered an example of what might be the extreme end of the spectrum (i.e. "what you can do with a tin can and a contact mic").
Quote Exalted Wombat:
But wouldn't you have preferred them to use one colour? And paint in a monotone?
Why do you (pretend to) restrict your interpretation of this as extreme limitation? Painters who used four colours (red ochre, yellow ochre, [dark blue] black and white) could derive all the required colours, the result being a more homogeneous effect (since all the colours grow out of just four). Four is enough of a limitation. Why do you think it has to go down to one colour to remain faithfull to the idea of imposing/working within limitations?
At what point do you suggest we curb our limiting? Four colours? Three? Is that too much? Real tambourine with more sounds / performance variables over the more limiting samples? Monophonic intruments but not restricted to one note? Or two? Or three? Or....
You get my drift I'm sure.