Why so much hate from the older generations?

These historical observations are general and do not necessarily hold true in every case (as is true with most subjects).

It is telling that old school originators of many music genres, would not know how to operate modern computer based music production. Neither would they, even if they could. Technicians are the ones who undermined these originators and their respective genres. Most people call these technicians: Nerds, geeks and disk jockeys. Once technology allowed technicians to produce music, a revolution ensued that systematically made musicians “obsolete”. Progressively pushed out of their own scene while the technicians built an empire using the works of the old school “obsolete” musicians.

This revolution was facilitated by industry executives and certain consumers, who, preferred music made by people who are “more tech savvy than musical”. Music that can be theoretically made by anyone with a computer. Music that is more based on sampling/copying than the creation of original material. Music better controlled by executives and which can be expressed in a corporate formula. Music setting an atmosphere favorable for abolishing copyright, once the industry can fully mechanize music production.

Some old school musicians, did attempt to join the nerds in the revolution. Many did not. This is why there are still those who harbor hatred for genres such as: EDM, hiphop/rap/pop/modern-rock/metal. They are a progression of genres now dominated by “nerds”. People who, in many cases, can not compose a complex melody or play it on a piano, let alone perform in a live band with physical instruments.

Some of the “old schoolers” who joined the revolution, later showed disappointment in it’s direction, calling it unmusical, unimaginative, superficial, and corporate (among other things). You can imagine my disappointment finding my old school “heroes” had contempt for much of my favorite childhood music.

Similarly certain tech is also hated. Drum machines, auto tune, quantization, sequencers, Al assist programs, turntables and of course loop libraries. Libraries very often containing works by those same old school “obsolete” musicians.

Production techniques of EDM/hiphop/pop/modern rock are also hated for favoring sampling/ripping, loudness, gimmicks, brick wall processing and production polish over musical depth. These techniques are hated further for forcibly imposing themselves upon other genres via the loudness war or social pressure. By nature, producing loud allows less dynamics, fewer instruments, less reverb (atmosphere) and requires more homogeneity. This runs contrary to many other genres outside the realm of EDM/hiphop/pop/modern-rock/metal. Other genres that do not/can not follow such techniques without severely compromising themselves.

People who are able to turn a volume knob, don’t benefit from music devoid of dynamics/detail from the nerd’s loudness war. People who can actually play an instrument, don’t benefit from machines allowing technicians to create cheap imitations of their playing. People who can compose original works, don’t benefit from Al sampling said works just so the Al can create a superficial mimic. People who can produce original music, don’t benefit from other people sampling their works without compensation or lobbying copyright be abolished to legalize theft.

In all this, a personal takeaway point is: The hared for the nerd, their gear and techniques, has nothing to do with their production talent. They have plenty of it from my experience. Instead the hatred seems to stem directly from these technicians (and soon Al) forcibly claiming the title/roll of “musician”. All the while making money off the works of the “obsolete” old school musicians. Audiences hear bits of the “obsolete” musician’s works/performances copied sampled cut/pasted into tracks, yet the technician gets the credit (and the money). Most audiences remain unaware the technician can’t compose/perform a significant portion of the music in their own tracks (regardless of how good it sounds). These technicians certainly can not create what’s in the samples. Otherwise, they wouldn’t need to use the samples in the first place.

Occasionally audiences do become aware of these issues. Sometimes calling it theft, exploitation and even commercial slavery. Like clock work however, corporate backed influencers and fanboy mouthpieces swoop in to assure everyone: No wrong has been done and the technician is indeed a legitimate musician of their own merit. In this day and age, this belief is widely accepted thanks to years of financial backers social lobbying the term “musician” be changed to include:
The DJ
The sequencer artist
The “noise artist”
The word smith
The MC/rapper
The EDM producer
The sampler (ripper)
The classical copycat movie scorer
The manufactured pop star
The technician (the nerd).
The Al.

Similarly the term “compose” has been changed to include a computer creating for you.

A significant portion of the newer generation treats these technicians as greater musicians than people who can compose original works or play a physical instrument. The technician “nerd” is now generally called producer/artist/musician with zero consideration of objective terminology. Their social identity built on terms born of trend and fashion.

Revenge of the nerds some might call it.

I would agree, were it not for surprising levels of hatred thrown at anyone, including fellow nerds, who point out: Technology doesn’t make someone a musician or an original composer. Removing copyright removes incentive to innovate. Path of least resistance rules. That’s why laws were invented in the first place. It is more than obvious who would want laws removed that stop theft.

For those who don’t take anything too personally, it can be argued: If musical talent heavily requires technology, it’s questionable whether it has much if anything to do with actual musical talent and likely much more to do with social/technological talents. Talents for sure but not of the musical kind.

Regardless of the contempt, I remain calm in the knowledge that, even without a computer, I can create music of notable stature. I think a lot of people can too, even if they might not yet know it. In the end, the history is interesting but the music is what that matters to me.