I'm working toward the first Lemurian Congress album, tentatively (but with much certainty) entitled "A Storm Targets Your Childhood Home." A few rough mixes are already up on my SoundCloud account, and here's the newest, "Deep Wide Open" (with another great picture by Patrick):
I'm calling these "rough mixes" because they are unmastered, and because the mixes themselves still need some work...I've decided to do the final mixes when I've finalized everything that is going on the album, because I discovered with the Pico and Alvarado EP that remixing (and then mastering) everything in sequence was a great way to unify the songs (this may be less of an issue for those who have settled into a good production method).
I'll spare you the postmortem on this particular song, except to say it's my first real use of Five12's "Numerology 3" plugin. "Numerology 3" is a real amazing creature, but every method of applying it to a song results in some type of problem: either you can't record the MIDI, or you can't use third-party plugins with it, or you suffer sync problems. Each method will allow you to do SOME of those things, but you can't do all of them at once.
Monday, July 04, 2011
Sunday, July 03, 2011
Hot!
Our city is a sinkhole, falling under the weight of industry and families and new steel buildings. Our gravity pulls us so deep that we can only fill our skies with smog...it has to go somewhere! We want it gone but it won't go away!
Two city's worth of blacktop and pollution broils us in our clothes. We have sore shoulders from hugging the shady spots, and when those places reach critical mass, we fight or we retreat to our fridges. The sun has made us needy, every citizen is a gatekeeper of boats, curtains, private routes to heaven. Instead of love we have our own burning weight; we will not be tricked into embraces which only make us sweat. Sweet nothings are lost in the whir of fans and patio stereos. There is no room in our brains for sex or tipsiness when everything about us is pain.
Two city's worth of blacktop and pollution broils us in our clothes. We have sore shoulders from hugging the shady spots, and when those places reach critical mass, we fight or we retreat to our fridges. The sun has made us needy, every citizen is a gatekeeper of boats, curtains, private routes to heaven. Instead of love we have our own burning weight; we will not be tricked into embraces which only make us sweat. Sweet nothings are lost in the whir of fans and patio stereos. There is no room in our brains for sex or tipsiness when everything about us is pain.
Friday, July 01, 2011
Canada Day!
Flowers are entirely Canadian on Canada Day; nobody in any other nation has these yellow flowers pollinated by RGB finches who wear spotless feather-robes! We've owned these flowers since we arrived in this country. Before that they were untamed and savage...their water came from streams bounded by beavers and soil and sparse human excrement. But then we came in ships with our rats, and we imposed order on savagery, and today these flowers bloom in coordination with us, fed by nutrients and liquids that we have previously inspected (or at least touched gently with smokestacks), and when these flowers bloom for us they shout "CANADA DAY!"
Tuesday, June 28, 2011
"Interfering Waves" for Download!
The EP that Kevin Cogliano and I have been working on (as "Pico and Alvarado") is available for download from Bandcamp! It's $2 for 25 minutes, and if you think you've already heard most of the songs, I've got news for you: they've been thoroughly remixed and remastered. Plus there's an extended remix in the style of the typical '80s twelve-inch dance mix...I think you'll like it!
Oh, and about those figures on the cover...they are -- you guessed it -- Pico and Alvarado themselves. Knit-vixens Annissa and Lydia have spent the last two months destroying their fingers to make those things. I wish we could give you a free pair with every album because they're terrific!
Oh, and about those figures on the cover...they are -- you guessed it -- Pico and Alvarado themselves. Knit-vixens Annissa and Lydia have spent the last two months destroying their fingers to make those things. I wish we could give you a free pair with every album because they're terrific!
Saturday, April 09, 2011
"Big King Thief"
I'm going through a furious stage of musical experimentation: techniques, tricks, plugins, the world of digital audio is a huge one and I've only just scratched the surface.
Hopefully all future experiments turn out as well as "Big King Thief!"
This song was, from beginning to end, a test of iZotope's "pHATmatik PRO" plugin. I created five separate instances of it, and mutilated five bars of a George Clinton song, and the inevitable result was something that just CRIED funky.
But before we get to that, here's a quick evaluation of pHATmatik PRO: like many of iZotope's acquisitions from other software companies, it's buggy and dated and wonderful. The GUI obviously hasn't been touched since 2002 and the simple movement of MIDI items can result in all your samples being transposed in pitch. It's also easy to find yourself with sample-clicks that cannot be easily removed; the volume envelopes and the filters are coarse and clumsy, which highlights a basic shortcoming of the plugin: it's for extreme sample mangling, not for subtle effects.
Also, WARNING: pHATmatik is NOT fully compatible with Logic 8. You can't drag MIDI information out of the plugin and into Logic (though you can drag the MIDI to your desktop and import it from there), and -- more damning -- you cannot instantiate a multi-output pHATmatik under any circumstances, which is TERRIBLE and is not mentioned ANYWHERE on the iZotope site. You need to create a multi-instance in a version of Logic 7, then save it as a channel strip which you can use in Logic 8.
If you don't have a copy of Logic 7 around, here's a multi pHATmatik channel strip I made myself...it allows the plugin to actually live up to its "Pro" name!
All that said, you can hear the results in this song. Other than a simple Ultrabeat kick/snare and some recurring iDrum hats (and cowbell!), the spectacular beats are all courtesy of pHATmatik. It's an amazing plugin...it just needs to be updated (or price-reduced to compensate for the migraines it might cause).
Here's the "Big King Thief" project (click for a larger version):
So what else is going on in the song? Some string machine from the awesome Loomer String, a Moog-style bassline from IKMultimedia's SampleMoog (a patch I find myself using over and over in these songs), a lead and a pulse from Logic's own ES1 and ES2, a funky bassline that is really a funk piano run through CamelPhat and a bass amp, a bit of Nusofting's daHornet for the deliberately sparse bridge...
...and a lot of samples (including an oboe) that I'll leave for trivia buffs to figure out. I can't get over my love of tremolo!
This was also the first time I've worked really strategically with compression. I put sidechain compression across the pads to allow the samples to cut through, and also used a tip from a recent copy of Computer Music: a copy of Audio Damage's free RoughRider compressor on an effects send, with all the drums sent to it...it dramatically increased the "sludgy" sound of the beat (though maybe too much?)
Then I was ready to mix it and master it...and everything went to hell. All sort of melodic conflicts started showing up in the second verse, and in desperation I began shuffling bits and pieces around until I was hopelessly confused. I eventually tracked the problem down to my IKMultimedia SampleTank plugin, which had deauthorized itself FOR THE SECOND TIME and was behaving in mono mode, playing only the highest note in every chord. I've spent a week with their tech support and they still haven't resolved the issue, but I worked around the problem by recreating the patch in SampleMoog.
Next I started noticing the sample clicks...funny how you don't hear these things until they're so integrated in the song that you can't really fix them. Many of them were due to truncated samples in pHATmatik PRO, but the others -- which you can hear in the garbled speech during the bridge -- are actually from a soft ambient noise in the sample itself which turns into a harsh click when sent through a tremolo effect. By rearranging the tremolo a bit I managed to minimize it, but it's still there...I decided it was minor enough to not worry about.
Some light mastering, some agonizing, a photograph of a lusty dwarf by Patrick, and the song was done! "Big King Thief," not suitable for 17th Century workplaces.
Hopefully all future experiments turn out as well as "Big King Thief!"
This song was, from beginning to end, a test of iZotope's "pHATmatik PRO" plugin. I created five separate instances of it, and mutilated five bars of a George Clinton song, and the inevitable result was something that just CRIED funky.
But before we get to that, here's a quick evaluation of pHATmatik PRO: like many of iZotope's acquisitions from other software companies, it's buggy and dated and wonderful. The GUI obviously hasn't been touched since 2002 and the simple movement of MIDI items can result in all your samples being transposed in pitch. It's also easy to find yourself with sample-clicks that cannot be easily removed; the volume envelopes and the filters are coarse and clumsy, which highlights a basic shortcoming of the plugin: it's for extreme sample mangling, not for subtle effects.
Also, WARNING: pHATmatik is NOT fully compatible with Logic 8. You can't drag MIDI information out of the plugin and into Logic (though you can drag the MIDI to your desktop and import it from there), and -- more damning -- you cannot instantiate a multi-output pHATmatik under any circumstances, which is TERRIBLE and is not mentioned ANYWHERE on the iZotope site. You need to create a multi-instance in a version of Logic 7, then save it as a channel strip which you can use in Logic 8.
If you don't have a copy of Logic 7 around, here's a multi pHATmatik channel strip I made myself...it allows the plugin to actually live up to its "Pro" name!
All that said, you can hear the results in this song. Other than a simple Ultrabeat kick/snare and some recurring iDrum hats (and cowbell!), the spectacular beats are all courtesy of pHATmatik. It's an amazing plugin...it just needs to be updated (or price-reduced to compensate for the migraines it might cause).
Here's the "Big King Thief" project (click for a larger version):
So what else is going on in the song? Some string machine from the awesome Loomer String, a Moog-style bassline from IKMultimedia's SampleMoog (a patch I find myself using over and over in these songs), a lead and a pulse from Logic's own ES1 and ES2, a funky bassline that is really a funk piano run through CamelPhat and a bass amp, a bit of Nusofting's daHornet for the deliberately sparse bridge...
...and a lot of samples (including an oboe) that I'll leave for trivia buffs to figure out. I can't get over my love of tremolo!
This was also the first time I've worked really strategically with compression. I put sidechain compression across the pads to allow the samples to cut through, and also used a tip from a recent copy of Computer Music: a copy of Audio Damage's free RoughRider compressor on an effects send, with all the drums sent to it...it dramatically increased the "sludgy" sound of the beat (though maybe too much?)
Then I was ready to mix it and master it...and everything went to hell. All sort of melodic conflicts started showing up in the second verse, and in desperation I began shuffling bits and pieces around until I was hopelessly confused. I eventually tracked the problem down to my IKMultimedia SampleTank plugin, which had deauthorized itself FOR THE SECOND TIME and was behaving in mono mode, playing only the highest note in every chord. I've spent a week with their tech support and they still haven't resolved the issue, but I worked around the problem by recreating the patch in SampleMoog.
Next I started noticing the sample clicks...funny how you don't hear these things until they're so integrated in the song that you can't really fix them. Many of them were due to truncated samples in pHATmatik PRO, but the others -- which you can hear in the garbled speech during the bridge -- are actually from a soft ambient noise in the sample itself which turns into a harsh click when sent through a tremolo effect. By rearranging the tremolo a bit I managed to minimize it, but it's still there...I decided it was minor enough to not worry about.
Some light mastering, some agonizing, a photograph of a lusty dwarf by Patrick, and the song was done! "Big King Thief," not suitable for 17th Century workplaces.
Thursday, April 07, 2011
"Against the Day" by Thomas Pynchon
I've spent over a month reading Thomas Pynchon's massive novel "Against the Day." I have lugged it from home, to work, to lunch counter, with little regard to the damage it was causing to my shoulder. I've gotten lost in it and become frustrated with it, I've gone back and forth to reread parts that I'd missed, I've visited Wikipedia to learn about Iceland Spar and the quaternions, I have struggled to stay awake and I have struggled to put it down, and I have thought "I am spending far too much effort on this goddamn book."
Now that I've finished it, I can sum it up by saying...well, it's certainly "Pynchonesque," and it's as complicated and annoying as everybody says it is -- an endless parade of major characters, diversions into dozens of apparently unrelated topics, too much movement from place to place, no real thread to hold it all together -- but it also has a greater proportion of Pynchon-gentleness and enlightenment than I've come to expect. The payoffs -- oblique as they can be -- are so bittersweet and human that you don't mind the coldly scientific obsessions so much.
Unfortunately, these "human" moments are all bundled together during the last 150 pages, and the more interesting and clear-headed moments are in the first 500. The 400 middle pages are somewhat tiresome, when you realize that MORE subplots are being introduced, one of which -- the onset of the first world war -- is a non-stop machine-gun of politics, places, and personages. It's simply too much to handle after the mathematics, strikebreaking, and empire-busting that you've already been through. The characters start to seem like bits of leaves thrown into world events and just blowing around, to Venice and back, to Venice and back, to Venice and back again.
All these criticisms could perhaps be applied to "Gravity's Rainbow," and I'm not sure if my less enthusiastic reception of "Against the Day" is due to the fact that Pynchon "already did it once before," or that "Against the Day" feels like a "Gravity's Rainbow" in which everything -- the paranoia, the dark-mystery-which-cannot-be-comprehended, the sexual escapades, the slapstick -- has been duplicated several times over to fill out an excessive page length, with all these things happening to multiple characters in sequence instead of just to Tyrone Slothrop.
Basically, my impression is that "Against the Day" is five or six novels that Pynchon started writing years ago, all subsequently linked together by unions, WWI, the drift from Victorianism to modernism, explosions, light, and the Tunguska event.
But that's not necessarily a bad thing. "Against the Day" is FULL of wonderful detail and characterization, and -- as I said earlier -- there's a growing gentleness to Pynchon's writing that is absolutely welcome. Whereas "Gravity's Rainbow" culminated in uncertainty and confusion, the characters in "Against the Day" seem to find comfort in companionship, children, and purpose, and the novel doesn't judge them; they did wild things and struggled for noble causes when they were young, and now they're settled down and are raising their children and getting a bit mellower. And that's pretty much The End.
When I was wallowing through 400 Pages of People Just Running Around Europe, I felt like I was reading a really crappy book. Now that I've finished it, however, I look forward to reading it again someday, so I can get a feel for what REALLY matters in the novel: the little moments like Cyprian's trajectory from hedonist to (I won't spoil it for you), the complex interweaving of the Webb and Rideout families, and -- floating high above it all -- the aging airship children who are struggling to find meaning when the "Boys Adventure Story" days are gone.
Now that I've finished it, I can sum it up by saying...well, it's certainly "Pynchonesque," and it's as complicated and annoying as everybody says it is -- an endless parade of major characters, diversions into dozens of apparently unrelated topics, too much movement from place to place, no real thread to hold it all together -- but it also has a greater proportion of Pynchon-gentleness and enlightenment than I've come to expect. The payoffs -- oblique as they can be -- are so bittersweet and human that you don't mind the coldly scientific obsessions so much.
Unfortunately, these "human" moments are all bundled together during the last 150 pages, and the more interesting and clear-headed moments are in the first 500. The 400 middle pages are somewhat tiresome, when you realize that MORE subplots are being introduced, one of which -- the onset of the first world war -- is a non-stop machine-gun of politics, places, and personages. It's simply too much to handle after the mathematics, strikebreaking, and empire-busting that you've already been through. The characters start to seem like bits of leaves thrown into world events and just blowing around, to Venice and back, to Venice and back, to Venice and back again.
All these criticisms could perhaps be applied to "Gravity's Rainbow," and I'm not sure if my less enthusiastic reception of "Against the Day" is due to the fact that Pynchon "already did it once before," or that "Against the Day" feels like a "Gravity's Rainbow" in which everything -- the paranoia, the dark-mystery-which-cannot-be-comprehended, the sexual escapades, the slapstick -- has been duplicated several times over to fill out an excessive page length, with all these things happening to multiple characters in sequence instead of just to Tyrone Slothrop.
Basically, my impression is that "Against the Day" is five or six novels that Pynchon started writing years ago, all subsequently linked together by unions, WWI, the drift from Victorianism to modernism, explosions, light, and the Tunguska event.
But that's not necessarily a bad thing. "Against the Day" is FULL of wonderful detail and characterization, and -- as I said earlier -- there's a growing gentleness to Pynchon's writing that is absolutely welcome. Whereas "Gravity's Rainbow" culminated in uncertainty and confusion, the characters in "Against the Day" seem to find comfort in companionship, children, and purpose, and the novel doesn't judge them; they did wild things and struggled for noble causes when they were young, and now they're settled down and are raising their children and getting a bit mellower. And that's pretty much The End.
When I was wallowing through 400 Pages of People Just Running Around Europe, I felt like I was reading a really crappy book. Now that I've finished it, however, I look forward to reading it again someday, so I can get a feel for what REALLY matters in the novel: the little moments like Cyprian's trajectory from hedonist to (I won't spoil it for you), the complex interweaving of the Webb and Rideout families, and -- floating high above it all -- the aging airship children who are struggling to find meaning when the "Boys Adventure Story" days are gone.
Sunday, March 20, 2011
"Sruel Quay" Released!
Many years in the making, "Sruel Quay" is finally here...a last scraping together of UPhold music that's been languishing during the last few years. You can get it as a free download from Bandcamp, including some beautiful cover and back artwork (photographs by Patrick, design by Dave McEwen), or you can just listen to the whole thing online if you're so inclined!
So what's the story? When I first started to use Logic Express 6 in 2003, I went through the usual learning curve of trying out a whole bunch of grand concepts that I couldn't complete at the time. As my knowledge and skill increased I started newer projects, which eventually became the "Damage" and "Roade" albums. Meanwhile, those early songs languished, getting further and further down the date-sorted list of "Multitrack" projects on my hard drive.
Then I bought a new, spiffy iMac, and while I saved money to eventually buy Logic Studio 8 for it, I decided to go back to the old eMac and finish off those songs before the hard drive disintegrated. I spent about a year dredging up 6-year-old songs and reworking them with the new experience and distance I'd acquired: "Bomb," "Devil Woman!", "Foozebox," "Humpback Forty-Four," and "The Swive (Part One)" were the results, and I planned to finish off a few more and release them as "False Memory Syndrome."
The problem was, by the time I'd finished these songs I'd finally started work with Logic 8, and I was no longer satisfied with how those dinosaurs sounded. They all relied on plugins I could no longer acquire (Pluggo and Mode) so I couldn't continue working on them with the new computer...they were frozen in time and technology. To make them even marginally better I'd need to spend more effort on them than I felt they deserved.
In the meantime I'd created some soundtracks to little video experiments ("Phonebox/Lunchbox," "Lightbox," "Boxcar," and "Caboodle"), and contributed to a compilation (a remix of "Icebox" on "Powdered Heaven Dressed in Plastic") and a split release with Infant Cycle ("Folded Memory Syndrome" and "Shut The Fuck Up Delia/Dmitri" on "Our Past Present").
In addition, I'd created a remix ("Roadbird") from the "Roade" album, and a remix of THAT remix with Chad Faragher. I also had a new song ("The Voyage of HMCS Thumpy") that I was spending so much time working on a video for that I simply got sick of it.
These were the bits and pieces I had lying around. What they all had in common was that they either couldn't be further improved due to technological limitations (both "Roadbird (Metal Mix)" and "Voyage of HMCS Thumpy" had ham-fisted mastering attempts so burned into their original tracks that they'd be very difficult to rescue) or had appeared on CDs from other venues (eg. "Shut the Fuck Up Delia/Dmitri," which I think is probably the best thing I've ever done...I wouldn't change a note).
In short: they were good enough to release, but generally fell short of what I'd expect people to PAY for. Like I said, I COULD improve them if I spent a lot of time and effort, but the improvement would be so marginal that it wouldn't justify the work.
With all that in mind, I hope you enjoy these oddities! They're a farewell to "UPhold" and the old ways of doing things. They sum up six years of my life: a time of personal exploration, sudden world experience, half-assed notoriety, and -- most obvious in many of the songs -- a degree of self-destructive too-much-fun behaviour that peaked and then subsided.
I'm surprised at how well "Sruel Quay" holds together as an album, and I look forward to what the first "Lemurian Congress" release will sound like!
So what's the story? When I first started to use Logic Express 6 in 2003, I went through the usual learning curve of trying out a whole bunch of grand concepts that I couldn't complete at the time. As my knowledge and skill increased I started newer projects, which eventually became the "Damage" and "Roade" albums. Meanwhile, those early songs languished, getting further and further down the date-sorted list of "Multitrack" projects on my hard drive.
Then I bought a new, spiffy iMac, and while I saved money to eventually buy Logic Studio 8 for it, I decided to go back to the old eMac and finish off those songs before the hard drive disintegrated. I spent about a year dredging up 6-year-old songs and reworking them with the new experience and distance I'd acquired: "Bomb," "Devil Woman!", "Foozebox," "Humpback Forty-Four," and "The Swive (Part One)" were the results, and I planned to finish off a few more and release them as "False Memory Syndrome."
The problem was, by the time I'd finished these songs I'd finally started work with Logic 8, and I was no longer satisfied with how those dinosaurs sounded. They all relied on plugins I could no longer acquire (Pluggo and Mode) so I couldn't continue working on them with the new computer...they were frozen in time and technology. To make them even marginally better I'd need to spend more effort on them than I felt they deserved.
In the meantime I'd created some soundtracks to little video experiments ("Phonebox/Lunchbox," "Lightbox," "Boxcar," and "Caboodle"), and contributed to a compilation (a remix of "Icebox" on "Powdered Heaven Dressed in Plastic") and a split release with Infant Cycle ("Folded Memory Syndrome" and "Shut The Fuck Up Delia/Dmitri" on "Our Past Present").
In addition, I'd created a remix ("Roadbird") from the "Roade" album, and a remix of THAT remix with Chad Faragher. I also had a new song ("The Voyage of HMCS Thumpy") that I was spending so much time working on a video for that I simply got sick of it.
These were the bits and pieces I had lying around. What they all had in common was that they either couldn't be further improved due to technological limitations (both "Roadbird (Metal Mix)" and "Voyage of HMCS Thumpy" had ham-fisted mastering attempts so burned into their original tracks that they'd be very difficult to rescue) or had appeared on CDs from other venues (eg. "Shut the Fuck Up Delia/Dmitri," which I think is probably the best thing I've ever done...I wouldn't change a note).
In short: they were good enough to release, but generally fell short of what I'd expect people to PAY for. Like I said, I COULD improve them if I spent a lot of time and effort, but the improvement would be so marginal that it wouldn't justify the work.
With all that in mind, I hope you enjoy these oddities! They're a farewell to "UPhold" and the old ways of doing things. They sum up six years of my life: a time of personal exploration, sudden world experience, half-assed notoriety, and -- most obvious in many of the songs -- a degree of self-destructive too-much-fun behaviour that peaked and then subsided.
I'm surprised at how well "Sruel Quay" holds together as an album, and I look forward to what the first "Lemurian Congress" release will sound like!
Monday, March 07, 2011
"Kaffe Katt" by Pico & Alvarado
Several months ago, Kevin Cogliano -- the "Alvarado" in "Pico & Alvarado" -- sent me a demo titled something like "That's What I Call 80s!"
And he was right. It was a perfect distillation of the fun pop songs we'd grown up with, all jangly and bouncy and downright carefree.
My task -- as I saw it -- was to maintain that feeling while simultaneously beefing up the song and over complicating it, adding enough twists and turns to make even the most ADD listener happy. One reason I wanted to do this was because I felt that "Style Kitchen" had never gotten the loving care it had deserved (an opinion -- I realize now -- more to do with overexposure to the song than to any actual defects), but also because I know I shy from experimentation...I don't like throwing in big changes, moving things around a timeline, or trying anything new.
So consider the final result -- "Kaffe Katt" -- as a journey outside my comfort zone. And while I'm still too close to it to give it an honest evaluation, I think it's pretty darn good.
(Photograph "Awning" by Patrick!)
Want to know more? Here's the finished timeline:
You'll notice a LOT of guitar tracks this time. The first track is the ongoing "cha-cha-chung" with a nice flange, and many of the rest are Kevin's experiments with doubling. The final four guitar tracks are more recent versions that he sent along during the course of the project, but I loved the rougher ones in the original batch...the cleaner tracks (including a nice delayed guitar) provide a good gentle conclusion.
My first real bombastic addition was the "G Blast" guitar, which coincides with a hyperactive series of crashes at the end of every verse. Kevin's guitar was already going manic during those segments but I really wanted to bash them out...so "G Blast" gets the "Modern UK Stack" treatment with Guitar Amp Pro, and the "crashes" are just a re-routed track from EZDrummer boosted all the way to heaven.
EZDrummer provides the main beat, while Ultrabeat provides a non-stop 4/4 kick and iDrum adds a snare and -- during the high point -- all those cheap drum effects. Lots and lots of drums in here, but I think it works.
Kevin's original tracks had included a Hammond-ish organ and a synth bassline...I kept the organ (augmented with the EVB plugin) but used his MIDI files with the same Minimoog/Taurus IK Multimedia "SampleMoog" preset I'd created for an earlier song. Also from IK Multimedia is the choir in the third section and the recurring pizzicato violin that I hope is "interesting" instead of "annoying."
This song's big additional experiment: Loomer's brilliant "String" instrument, which emulates 70s string machines WITHOUT eating all your CPU (and all your money). I'm totally in love with Loomer String and I highly recommend it.
The really abrasive portamento synth is Tal-Elek7ro, based off the "LD Club Saw XS" preset. There's also some Ensoniq ESQ in there with the organ stabs and the bells, and some really inconsequential DOD pitch/echo modulation on the plucky violins.
And there you have it!
And he was right. It was a perfect distillation of the fun pop songs we'd grown up with, all jangly and bouncy and downright carefree.
My task -- as I saw it -- was to maintain that feeling while simultaneously beefing up the song and over complicating it, adding enough twists and turns to make even the most ADD listener happy. One reason I wanted to do this was because I felt that "Style Kitchen" had never gotten the loving care it had deserved (an opinion -- I realize now -- more to do with overexposure to the song than to any actual defects), but also because I know I shy from experimentation...I don't like throwing in big changes, moving things around a timeline, or trying anything new.
So consider the final result -- "Kaffe Katt" -- as a journey outside my comfort zone. And while I'm still too close to it to give it an honest evaluation, I think it's pretty darn good.
(Photograph "Awning" by Patrick!)
Want to know more? Here's the finished timeline:
You'll notice a LOT of guitar tracks this time. The first track is the ongoing "cha-cha-chung" with a nice flange, and many of the rest are Kevin's experiments with doubling. The final four guitar tracks are more recent versions that he sent along during the course of the project, but I loved the rougher ones in the original batch...the cleaner tracks (including a nice delayed guitar) provide a good gentle conclusion.
My first real bombastic addition was the "G Blast" guitar, which coincides with a hyperactive series of crashes at the end of every verse. Kevin's guitar was already going manic during those segments but I really wanted to bash them out...so "G Blast" gets the "Modern UK Stack" treatment with Guitar Amp Pro, and the "crashes" are just a re-routed track from EZDrummer boosted all the way to heaven.
EZDrummer provides the main beat, while Ultrabeat provides a non-stop 4/4 kick and iDrum adds a snare and -- during the high point -- all those cheap drum effects. Lots and lots of drums in here, but I think it works.
Kevin's original tracks had included a Hammond-ish organ and a synth bassline...I kept the organ (augmented with the EVB plugin) but used his MIDI files with the same Minimoog/Taurus IK Multimedia "SampleMoog" preset I'd created for an earlier song. Also from IK Multimedia is the choir in the third section and the recurring pizzicato violin that I hope is "interesting" instead of "annoying."
This song's big additional experiment: Loomer's brilliant "String" instrument, which emulates 70s string machines WITHOUT eating all your CPU (and all your money). I'm totally in love with Loomer String and I highly recommend it.
The really abrasive portamento synth is Tal-Elek7ro, based off the "LD Club Saw XS" preset. There's also some Ensoniq ESQ in there with the organ stabs and the bells, and some really inconsequential DOD pitch/echo modulation on the plucky violins.
And there you have it!
Tuesday, February 08, 2011
Creepy Pedro Reviews "Generation X Video"
I arrived early to Mistress Quickly's tavern and found Dr. Johnson, as anticipated, already arguing and drowning in his cups.
"A theatrical performance can be appreciated only from the height of a man's two eyes!" he was shouting at Quickley's dog. "Your opinions lack stature, in every sense of the word! The day I take seriously the theatrical criticisms of a BEAGLE is the day I deign to piss in the cup of a Scotsman!"
To this the dog expelled a fart so enormous it should have filled the very halls of Pandemonium (if not it had a natural inclination toward ascension), and so gusty that the lamps flared in a dangerous fashion, and so rank of gas that Madame Quickly must have feared for the health of her customers if she were not lost in merriment, cackling wildly, dugs a-heaving, one hand slapping the unfortunate Dr. Johnson's recently-singed peruke.
"Oh dear Samuel!" she whooped. "Put that dog's arse-trumpet i' your dictionary, under the letter BRAPPP! It hath twice the politic of all the Beedle's bollocks you've wrote so far!"
"'That fart was wise indeed," Dr. Johnson admitted. "Mingere cum bumbis, rec saluberrima est lumbis."
"Where be our guest tonight?" I asked the silent tapper, and the he nodded to the tavern door. A man of great distinction stood on the threshold. "Two bags of oats for my mount, and don't forget the sauce!" he yelled to the Hostler. "My mare doth love the sauce!"
"Dearest Pedro!" cried Dr. Johnson, raising his bulk and motioning to Mistress Quickley for another bottle of sack. "You've tarried so, we half expected to find ye lost or slain!"
"Only one of those briefly, and I charge each of you to divine which," he said, and even the Tapper laughed at so clever a jest.
"Lost, I gather! How now, Boswell, this shifty rogue in the sheepskin doublet is weaver Pedro, a man of wit, a master artisan, and the creepiest fellow I have ever had the fortune to meet."
"I have heard of you, slimy toady," said Pedro pleasantly as we shook our hands.
"A weaver you say?"
"Aye, the halls from St. Peter's to far off Araby are graced with my warp and woof."
Mistress Quickly, having arrived with the sack and seeing entry for another fulsome jest, shouted, "A better treat then we experienced not 'alf an hour hence, which were this doggie's FART and woof!" All fell about in that curious British way so often acted in Shakespeare's bawdy "Carry On, Dead King," of holding wide the mouth and turning head from viz to viz, accompanied by a scattershot laughing as loud and regular as Antwerp's artillery fire.
"Mistress!" Dr. Johnson wiped a tear from his eye. "I grant you, though art quick!"
"How could one doubt it...'tis my proper name!" And once again we cackled, as was our comick nature. But throughout the merriment our weaver, Pedro, had been wiping something from his eye, and afore long Dr. Johnson made note of his sad countenance.
"Enough of these quibbles. Pedro, what troubles you? Why the creepy frowning viz?"
Pedro shook off Dr. Johnson's embrace and rose from the table, commanding the attention of all in the tavern. "I mourn the death of an idea, a dream, the final passing of culture, the end of the most companiable banter on our old and noble isle...the closing of our beloved entertainment vendor, Generation X!" Pedro collapsed to the table and sobbed, schoolgirl-like, into his sack.
"Have you not grown reconciled, dear Pedro?" asked Dr. Johnson. "It has been sad for us, true, but 'tis no reason to cry in your drink. For everything there is a season and an allotted time. Even the jolliest of men shall die before he wish. May we all go in the manner of Generation X -- in our hearty primes -- before we descend into ignominity and penury, our metaphorical halls and stages used only for wenching and bear-baiting and games of 'Throw The Apple at The Captured Esquimaux.'"
"Oh, the porn, which I so craved..."
"Man can live without porn, and without arty foreign films too. I have explained all this to Boswell."
"Mr. Johnson is right," I said. "There is peer-to-peer file sharing."
"Pah!" said Pedro. "Barely 300 baud in my wattle-and-daub hut so far from the city. It's trouble enough for a man to play a full game of Hunt The Wumpus or Schmoo, let alone to download the entirety of 'Michael Palin's Dugs-a-Plenty' in high definition."
"Patience, Pedro...drink of my sack."
"And where will I see YOUR films?" cried Pedro. "This latest--"
Dr. Johnson slapped his brainpan, sending his peruke into the fire. "Blast it man, I told you, I am not that blackamoor actor you prate upon!"
"Snakes On An Omnibus, Dr. Johnson! 'Twas your finest role! Ever since I first set my viz 'pon the premiere performance of Pulp Fiction at the Globe--"
"I have said time and time again--"
"Three encores! And John Travolta dancing!"
"Enough!" Dr. Johnson bellowed, and the babble of anachronistic cross-generational dialect ceased. "My peruke is in flames once again, Pedro, as is so often the way when we meet. I will trade all the porn in the world if you will stop this tiresome contrivance of mistaken identity."
"I shall consent, Dr. Johnson, if only you would enact a bitter moment from 'Do the Right Thing.'"
At this the enraged Doctor lurched into the thousand ticks and vapours to which he was subject in times of distress. "A turd i' your teeth!" he shouted. "Johnny Bums in Scratchland!"
Pedro rose from his seat. "Gentlemen, it has been a pleasure, but I must be off...Generation X is disclosing its wares and I must secure 'Michael Palin's Arsey-Turvy' before it is gone. You will excuse me." I tilted my hat, and Dr. Johnson, unable to cease his strange hopping perambulations, merely scowled from beneath his armpits.
"Let's rob a carriage and dominate a play!" shouted the fat knight in the corner, but for once nobody was listening to him.
"A theatrical performance can be appreciated only from the height of a man's two eyes!" he was shouting at Quickley's dog. "Your opinions lack stature, in every sense of the word! The day I take seriously the theatrical criticisms of a BEAGLE is the day I deign to piss in the cup of a Scotsman!"
To this the dog expelled a fart so enormous it should have filled the very halls of Pandemonium (if not it had a natural inclination toward ascension), and so gusty that the lamps flared in a dangerous fashion, and so rank of gas that Madame Quickly must have feared for the health of her customers if she were not lost in merriment, cackling wildly, dugs a-heaving, one hand slapping the unfortunate Dr. Johnson's recently-singed peruke.
"Oh dear Samuel!" she whooped. "Put that dog's arse-trumpet i' your dictionary, under the letter BRAPPP! It hath twice the politic of all the Beedle's bollocks you've wrote so far!"
"'That fart was wise indeed," Dr. Johnson admitted. "Mingere cum bumbis, rec saluberrima est lumbis."
"Where be our guest tonight?" I asked the silent tapper, and the he nodded to the tavern door. A man of great distinction stood on the threshold. "Two bags of oats for my mount, and don't forget the sauce!" he yelled to the Hostler. "My mare doth love the sauce!"
"Dearest Pedro!" cried Dr. Johnson, raising his bulk and motioning to Mistress Quickley for another bottle of sack. "You've tarried so, we half expected to find ye lost or slain!"
"Only one of those briefly, and I charge each of you to divine which," he said, and even the Tapper laughed at so clever a jest.
"Lost, I gather! How now, Boswell, this shifty rogue in the sheepskin doublet is weaver Pedro, a man of wit, a master artisan, and the creepiest fellow I have ever had the fortune to meet."
"I have heard of you, slimy toady," said Pedro pleasantly as we shook our hands.
"A weaver you say?"
"Aye, the halls from St. Peter's to far off Araby are graced with my warp and woof."
Mistress Quickly, having arrived with the sack and seeing entry for another fulsome jest, shouted, "A better treat then we experienced not 'alf an hour hence, which were this doggie's FART and woof!" All fell about in that curious British way so often acted in Shakespeare's bawdy "Carry On, Dead King," of holding wide the mouth and turning head from viz to viz, accompanied by a scattershot laughing as loud and regular as Antwerp's artillery fire.
"Mistress!" Dr. Johnson wiped a tear from his eye. "I grant you, though art quick!"
"How could one doubt it...'tis my proper name!" And once again we cackled, as was our comick nature. But throughout the merriment our weaver, Pedro, had been wiping something from his eye, and afore long Dr. Johnson made note of his sad countenance.
"Enough of these quibbles. Pedro, what troubles you? Why the creepy frowning viz?"
Pedro shook off Dr. Johnson's embrace and rose from the table, commanding the attention of all in the tavern. "I mourn the death of an idea, a dream, the final passing of culture, the end of the most companiable banter on our old and noble isle...the closing of our beloved entertainment vendor, Generation X!" Pedro collapsed to the table and sobbed, schoolgirl-like, into his sack.
"Have you not grown reconciled, dear Pedro?" asked Dr. Johnson. "It has been sad for us, true, but 'tis no reason to cry in your drink. For everything there is a season and an allotted time. Even the jolliest of men shall die before he wish. May we all go in the manner of Generation X -- in our hearty primes -- before we descend into ignominity and penury, our metaphorical halls and stages used only for wenching and bear-baiting and games of 'Throw The Apple at The Captured Esquimaux.'"
"Oh, the porn, which I so craved..."
"Man can live without porn, and without arty foreign films too. I have explained all this to Boswell."
"Mr. Johnson is right," I said. "There is peer-to-peer file sharing."
"Pah!" said Pedro. "Barely 300 baud in my wattle-and-daub hut so far from the city. It's trouble enough for a man to play a full game of Hunt The Wumpus or Schmoo, let alone to download the entirety of 'Michael Palin's Dugs-a-Plenty' in high definition."
"Patience, Pedro...drink of my sack."
"And where will I see YOUR films?" cried Pedro. "This latest--"
Dr. Johnson slapped his brainpan, sending his peruke into the fire. "Blast it man, I told you, I am not that blackamoor actor you prate upon!"
"Snakes On An Omnibus, Dr. Johnson! 'Twas your finest role! Ever since I first set my viz 'pon the premiere performance of Pulp Fiction at the Globe--"
"I have said time and time again--"
"Three encores! And John Travolta dancing!"
"Enough!" Dr. Johnson bellowed, and the babble of anachronistic cross-generational dialect ceased. "My peruke is in flames once again, Pedro, as is so often the way when we meet. I will trade all the porn in the world if you will stop this tiresome contrivance of mistaken identity."
"I shall consent, Dr. Johnson, if only you would enact a bitter moment from 'Do the Right Thing.'"
At this the enraged Doctor lurched into the thousand ticks and vapours to which he was subject in times of distress. "A turd i' your teeth!" he shouted. "Johnny Bums in Scratchland!"
Pedro rose from his seat. "Gentlemen, it has been a pleasure, but I must be off...Generation X is disclosing its wares and I must secure 'Michael Palin's Arsey-Turvy' before it is gone. You will excuse me." I tilted my hat, and Dr. Johnson, unable to cease his strange hopping perambulations, merely scowled from beneath his armpits.
"Let's rob a carriage and dominate a play!" shouted the fat knight in the corner, but for once nobody was listening to him.
Thursday, December 30, 2010
"The Mortal Enemies of Rock and Roll" by Lemurian Congress
Another solo Lemurian Congress song, this one has been in the pipes for a while.
This began as an experiment with Camel Audio's Alchemy, using one of the basic exercises in the manual. I put the closing bars of "Somebody Super Like You" from "The Phantom of the Paradise" into Alchemy, modulated its "location" setting with a Ramp Up LFO, and then modulated that LFO with a bunch of other LFOs to make the playback slide around in a bunch of different ways...
...then, I sent the output through all of my effects processors sequentially, tweaking them as I went along. The result was eleven minutes of howling "DONG!" noises.
I've learned over the years that eleven minutes of howling "DONG!"s does not necessarily become an interesting audio composition. Granted there's value in chill-out ambient or extreme "deep listening," but the flipside is downright tedium.
When I first started making music I was happy to -- literally -- load up two samples into my sampler and then put a lead ingot on one of the keys and let them just play, to find out what sorts of convolutions the samples would get up to. While working with Eli McIlveen at CKMS, however, I became intrigued by his more disciplined approach of cutting longer pieces together to make a single MORE INTERESTING piece.
That's why in "The Mortal Enemies of Rock and Roll" you get a six-minute composition with only NINETY SECONDS of howling dongs, and everything looking like this.
At the same time I was working on the music video for "Sandbar," and I had a bunch of film clips with audio recordings made near a local wastewater facility: crickets, cataracts...and some kids who stumbled upon me crouched in the weeds. Just before the "breakdown" you can hear the kids, a girl who is laughing at a South Park joke her brother just told, then notices me there with my tripod, then yells "Let's GO!" in some sort of complex human response to embarrassment and surprise (afterward one of the kids said "I didn't think old people came down here.")
The source recordings were the hardest to deal with because they were never intended to be used. They were recorded by my crappy little camera and contained a devious bunch of clicks and hums which I struggled to remove...particularly bad were the clicks in the "Let's GO!" sample, which -- typically -- didn't manifest until the project was finished and bounced...I couldn't bring myself to lose the sample but I was unable to get rid of the brain-exploding clicks (like I said, I need a spectral editor), so at the last minute I performed some clumsy level changes. Sigh.
The "Choir" at the beginning was from IK Multimedia's Miroslav Philharmonik, and the high pitch noise was from TAL-U-NO-62's Juno synth emulator, with a notch filter sliding around to make it more interesting.
There are a lot of other odds and ends integrated into the piece, but the most prominent are a series of samples culled with my SP-404 SX sampler. The middle "beat" section is a sample from a Beloved song mutilated with the SP's DJFX looper, and the entire "rock and roll" ending is a bunch of similarly-triggered samples (among them Tim Fuller and Santana) sent through a bunch of filtered auxiliary channels and an auto-wah.
To glue it all together there are some improvised ESQ-1 additions on the last few tracks: the "bomb" noises, the little mouse noises, the "wooooom" noises, and the final guitar-ish accents.
The hardest part of this track by far was the mastering...not so much the ACTUAL mastering, but the WORRYING about the EVENTUAL mastering. I was paralyzed with fear, wondering if an experimental piece like this NEEDED to be mastered. Might the mastering process only be useful for more conventional songs?
My conclusion: no, it's useful for any sort of track, but in a different way. Stereo widening and low-frequency compression can help any song, I think, but loudness processing and harmonic excitation must be used even MORE sparingly than usual.
This began as an experiment with Camel Audio's Alchemy, using one of the basic exercises in the manual. I put the closing bars of "Somebody Super Like You" from "The Phantom of the Paradise" into Alchemy, modulated its "location" setting with a Ramp Up LFO, and then modulated that LFO with a bunch of other LFOs to make the playback slide around in a bunch of different ways...
...then, I sent the output through all of my effects processors sequentially, tweaking them as I went along. The result was eleven minutes of howling "DONG!" noises.
I've learned over the years that eleven minutes of howling "DONG!"s does not necessarily become an interesting audio composition. Granted there's value in chill-out ambient or extreme "deep listening," but the flipside is downright tedium.
When I first started making music I was happy to -- literally -- load up two samples into my sampler and then put a lead ingot on one of the keys and let them just play, to find out what sorts of convolutions the samples would get up to. While working with Eli McIlveen at CKMS, however, I became intrigued by his more disciplined approach of cutting longer pieces together to make a single MORE INTERESTING piece.
That's why in "The Mortal Enemies of Rock and Roll" you get a six-minute composition with only NINETY SECONDS of howling dongs, and everything looking like this.
At the same time I was working on the music video for "Sandbar," and I had a bunch of film clips with audio recordings made near a local wastewater facility: crickets, cataracts...and some kids who stumbled upon me crouched in the weeds. Just before the "breakdown" you can hear the kids, a girl who is laughing at a South Park joke her brother just told, then notices me there with my tripod, then yells "Let's GO!" in some sort of complex human response to embarrassment and surprise (afterward one of the kids said "I didn't think old people came down here.")
The source recordings were the hardest to deal with because they were never intended to be used. They were recorded by my crappy little camera and contained a devious bunch of clicks and hums which I struggled to remove...particularly bad were the clicks in the "Let's GO!" sample, which -- typically -- didn't manifest until the project was finished and bounced...I couldn't bring myself to lose the sample but I was unable to get rid of the brain-exploding clicks (like I said, I need a spectral editor), so at the last minute I performed some clumsy level changes. Sigh.
The "Choir" at the beginning was from IK Multimedia's Miroslav Philharmonik, and the high pitch noise was from TAL-U-NO-62's Juno synth emulator, with a notch filter sliding around to make it more interesting.
There are a lot of other odds and ends integrated into the piece, but the most prominent are a series of samples culled with my SP-404 SX sampler. The middle "beat" section is a sample from a Beloved song mutilated with the SP's DJFX looper, and the entire "rock and roll" ending is a bunch of similarly-triggered samples (among them Tim Fuller and Santana) sent through a bunch of filtered auxiliary channels and an auto-wah.
To glue it all together there are some improvised ESQ-1 additions on the last few tracks: the "bomb" noises, the little mouse noises, the "wooooom" noises, and the final guitar-ish accents.
The hardest part of this track by far was the mastering...not so much the ACTUAL mastering, but the WORRYING about the EVENTUAL mastering. I was paralyzed with fear, wondering if an experimental piece like this NEEDED to be mastered. Might the mastering process only be useful for more conventional songs?
My conclusion: no, it's useful for any sort of track, but in a different way. Stereo widening and low-frequency compression can help any song, I think, but loudness processing and harmonic excitation must be used even MORE sparingly than usual.
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