I seem to be inside of strange place where instead of actually producing music I’m… kinda like designing the building blocks of music production projects…. Or I’m programing synthesizers anyway.

I’m in Absynth 4.. Seems like the last time I sat around programing Absynth.. it must have been a couple versions back.. In any event, I find myself digging down deeper.

Because all my programing is now “Synthesizer X + Kore” there’s a kind of.. strangely different way of thinking about synthesizers. I’m a software synth guy, you must understand.. so I’m not used to having a lot of hardware controls via which I can get expressive with a synthesizer.. So I’ve never programmed a synth with the notion of “if you move these 8 knobs, and 8 buttons you’ll find this groovy expressive potential in this sound.”

Absynth.. Is interesting in that.. It’s one of the first synthesizers I ever kind of fell in love with programming. Absynth’s expressive potential for ambient music.. for evolving sound scapes.. is just awesome. And there’s something about programming it that gets my imagination going like no other..  It’s all a bit more like creating a sonic puppet then a conventional synth patch.. In the sense that you’re going in and finding different ways it could be expressive.. as a part of how you program it.

Latter that night

The patch I’m currently working on, as I write this post, is one that I’m not real sure if it’s usefulness as an instrument.. I mean I have no idea how it could fit into my work.. but I will say.. its fun as hell playing with… perhaps I can take a swing at trying to express what I mean by this….

Conventionally.. I don’t really use compressors or EQs.. or I didn’t until recently.. and I’m still at an early stage of learning how to integrate them into my work. Now conventionally EQs and Compressors are… well like the most important tools of mix engineers. EQs and compressors help you to shape various aspects of your mix.. But how I usually do it is.. in the choice of what instruments I use.. Another words.. how I shape the things EQ and Compressors shape.. I shape by things like what instruments I use.. which is.. in a lot of ways.. kinda better.   

A day or so latter:

You used to be able to just embed these.. but I can’t work out how to do that since they changed last.fm a little bit.. in any event.. here’s a direct link to a track called A Short Trip To Another Day. (clicking on it will open it in a new window.) The reason I link to this track is.. is it’s an example of something created based off.. well the same sorta spirit I’m working in now..  

I’m jumping around in this post a little.. so try and bare with me..

A Short Trip To Another Day was one of my first attempts at programming Absynth.. The program I created was.. one that I didn’t really know how I would be expressive with it.. or how it would work in my music.. So the process of creating A Short Trip to Another Day was one of exploring how it might fit into my work..

Working in this sorta way.. I think it pushes you in different directions then you might other wise work in.. which can result in more interesting work.. and I have to say that this might be one of my favorite tracks.. and so it illustrates what I’m talking about in this entry. 

Ok.. so…  

As I was saying before.. I never used to use EQs or Compressors in my productions.. and um.. EQs and Compressors are tools via which to craft a mix.. and they indeed are tools that I could use in order to exert some control over the sounds created by my synth programs..

So.. looking forward from where I’m at at this moment.. I see growth potential in my music, along a few different lines..  

1. There’s the process of learning to program various synthesizers and the power of custom sound libraries.. and all there implications… This isn’t a totally new concept.. but we are learning to program new synths / new versions of synths.. ad exploring new possibilities along these lines.
2. There is the issue of the hardware / software control.. thinking about sounds as puppets.. with various ways of getting expressive with our sounds.. that are much more complex in how they might be expressive.. then normally found in my work.
3. There is the subject of how to use EQs and Compressors in my work.. where they might make my work better, or perhaps make my work not soo much better.. but it is about the exploration of what there roll can be.. which is in large measure a more artistic thing then a conventional technical thing of.. the way things are conventionally done by people.
4. There is the possibility of using Kore 2 for “Super Instruments,” which is to say.. You create a patch.. that combines any number or synthesizers and effects into one giant “super instrument” and what that could bring to the table.

In talking about these possible directions..  for growth.. We are talking about how this work could become enriched. 

Latter that night, over tired (after a synth programing catastrophe)  

I started in on a new Absynth program today. What happened is.. I figured out how to have the.. well performance sliders, lets call them.. things I’d probably control via the Kore 2 controller.. modify envelopes. This would be a fairly simple thing.. but it’s enough to get me excited… With envelopes you can create rhythms… and you know.. these rhythms could evolve over time.. but also you could have different parts of your synth program playing different rhythms of different lengths.. that loop.. So its like.. well lets just say that’s pretty cool for the way I like to work..  (though I don’t normally use synth patches that include rhythms)… but the polymeric possibilities are very exciting to me..   

Anyway…..  So you can take one of these rhythms.. and you can make it so that one or another performance control alters the tempo of the rhythms… and in one patch.. you could have a lot of rhythms… So what I wanted to do is build in some way of controlling the relative amplitude of different rhythms, as well as there tempos… and also just kind of throw some fun stuff on the fire. Now.. .

Ok, groovy enough.. But allow me to attempt to explain what’s exciting to me about this..  out side of just the usual “and these are the reasons polymeric stuff is good for ambient music styles.” We’re actually not just talking poly-metric… where talking poly-tempi…  Another words.. we’re have multiple tempos going on inside of a single synth patch… I guess it’s like you have the main tempo.. that’s the tempo of the project  your working on.. and everything is synched to that tempo.. and you can shift that tempo around if you like.. but that’s like “the conductor tempo.” But.. you could have.. various instruments that… while being able to start out with an obvious relationship to that tempo.. can go off the rails in one way or another.

The difference between music and noise is probably your ability to recognize a pattern… And for patterns to be interesting.. they probably need to reach an optimal state between simple and complex, with respect to ones ability to recognize them… 

A few days latter 

Ok, I’m going to leave it off right here.. without finishing this, cause other wise it probably wont get posted.. but at least its an interesting look at what I’m up to. 

How do you do, my fair blog readers…  Matt’s feeling like referring to him self in the 3rd person.. .  one could almost use an editor’s note here? 

Yeah.. so..  I’m in this “I should post something” sorta mood..  how often do I speak of these moments? These are the moments when.. any old wind could hit your sails and take you just about anywhere.. which makes for an interesting thing.. but I don’t know that I have the energy to fully follow such thought tangents today..  I will.. however.. as a Poem of Mr. Sketch once said “give you the news from the front.”

The lyrical madness has made its way to the back burner..  or has it? Appearances can be misleading out here in the land of mystery management.. In any event.. the spirit moves me in the direction of……  well its trying to pull me in many directions at once, actually… and the directions I actually walk are a little different from spirit’s calling….  

Any who.. lets look at some of them spirit moves

• Electroacoustic music: Perhaps the best way of putting this is “hard core serious experimental electronic music.” This is being fueled by.. well I’m reading the Cambridge Electronic Music Companion.. or something like that.. It takes you deep into the history of the medium.. a large percentage of which I’m pretty familiar with.. In any event.. between that and listening to OHM.. there’s a drive in me to jump far out into the deep end of electronic madness…
• MTFS: Have your self a little Jam session.. in our case one that involves playing the guitar an bass.. and use the results as the basis of something. So far this has yielded results I’m happy with.. 
• “Song Writing,” we are talking about a more or less traditional song writing process.. which you then record and realize via the studio.
• The vocal madness adventures.. as described in recent entries.
• An exploration of my own consciousness: I’m feeling like..  well lets say “Matt has issues.” These amount to emotional things that seem to be seeking to block my progress..  exploring this stuff, in one way or another, seems like a good idea.

There’s much more one could say at this point..  about many other directions and thoughts and what nots.. I suppose all I can really say is I want to go deeper then I ever have before.. make a more profound kind of music.. I can see… somewhere off in the witches brew of a..  voodoo chili sorta thang.. possibilities that strike me as amazing..  some of these ideas have made it into blog entries.. I don’t know if you, my dear reader, find in them anything like I do.. or find anything in them to get excited about.. but it is what it is, I suppose.

A few seconds latter:

I just recently fired up Kore.. and pulled up Massive. Massive is a fairly new-ish synthesizer from Native Instruments..  I bought the Komplete upgrade this past winter…  and still haven’t really used it all that much.. haven’t gotten to the point of setting about trying to create my own patches..

Patches, if you don’t know..  when you program a synthesizer.. the result is referred to as a patch. My desire to travel more deeply into electronic music…  well, you gotta get serious about synthesizer programming, right? There are ways in which early electronic music is expressive.. that I don’t really feel like modern electronic music really is.. and certainly my music isn’t.. . My music is, I would say with some arrogance.. more interesting then much that is out there..  for “the taste police” haven’t really effected my journey too much.. so I have a voice that is powerful in its originality.. So I suppose this adventure is one of extending the uniqueness of my sonic vision.. 

So the question is can I create patches that would allow me to be expressive in these ways I think it might be important to be expressive? Some of this is as simple as changing my attitude towards what I’m doing..   

Early the next morning, still not awake:

I think its good to try and run in a lot of directions at once.. I feel as through there’s a massive number of ways I need to develop going forward.. In part because.. it seems like I’m making a bigger commitment to music making then I ever have before.. and doing so really asks of me that I rase the bar a whole hell of a lot, in a whole number of areas.  I suppose its the bar raising that the central core to what’s pushing me forward… or the feeling of needing to.

Well I thought I’d share the lyrics to the song / music I’m working on.. blogged about in this post, among others. But it should add something to our understanding of like.. the thematic whatevers of it.

I don’t know, what the future holds. All I know, is the unknowns know it all. They are the contexts, that breeth the meaning into it all. How do you live, in relationship to this truth? I could tell you.. but then I’d have to kill you.

Would you like to die? Oh would you like to die? Only by dying, can you glimps what I’m meaning. Would you like to know? Oh wouldn’t you like to know what I’m meaning!

All life is suffering,

All life is suffering!

Would you like me to save you?

From all you’re suffering?

I would like to help you.

I would like to help you!

I would love to help you, cause that’s just the kind of guy I am.

I’m a loving compassionate soul, don’t cha know?

A loving compassionate soul, that’s right!

So why don’t you let me love you,

why don’t you let me love you?

Don’t cha know we all need love!

So baby, why don’t cha let me put my love into you!

I don’t know, what the future holds. All I know, is the unknowns know it all. They are the contexts, that breeth the meaning into it all. How do you live, in relationship to this truth? I could tell you.. but then I’d have to kill you.

Only by dying, can you glimps what I’m meaning. Would you like to know? Oh wouldn’t you like to know what I’m meaning!

All life is suffering!

Would you like me to save you?

From all you’re suffering?

I would love to help you

 

So why don’t you let me love you,

why don’t you let me love you?

Don’t cha know we all need love!

So baby, why don’t cha let me put my love into you!

 

OH YEAH! OH YEAH BABBY! I KNOW YOU LIKE IT WHEN I DO IT LIKE THAT.

OH YEAH! OH YEAH!

Mmm YEAH Mmm YEAH!

MMM MMM MMM YEA

I don’t know, what the future holds. All I know, is the unknowns know it all. They are the contexts, that breeth the meaning into it all. How do you live, in relationship to this truth? I could tell you..

The formating is a little messed up but.. other then that

[editors notes: this was written a few days back, at an earlier stage in the production.. since then things have changed pretty dramatically.. but the ideas contained here are still front and center.. as far as the music production / musical composition’s core organizational principles are concerned… The other note to note.. is this is but part 1..  stay tuned for the second half] 

Ok.. the last post I actually posted was what we call in the social media biz “supper duper” long… which is strategically a no-no.. but I felt that I needed it for a kind of aesthetic / philosophical / theoretical back drop for todays post.. which…. though I didn’t get around to saying all I’d have liked to in said post.. we are going to try and move our focus onto the actual work before me.. and the processes involved.

As I started to say in the last post.. I started off with a voice synthesizer.. a free one.. plugged lyrics into that.. it renders out to an MP3 (not totally ideal), from there I take the MP3 into Ableton Live and start running it through all manner of effects.. I do this individual for each line of lyrics.. rendering out a few variations for each line..

It’s at this point where the project goes on the back burner.. my attention devoted to other matters.. until I go out and buy ReCycle.. where I cut up the processed audio files into REX2 loops for use in Reason… which brings us to where I am today.

You can sequence a REX2 file… play any of the slices in the loop, at any time, in whatever order.. also the REX player in Reason, known as Dr:rex, is a bit of an instrument.. it has pitch bend, a modulation wheel.. you can automate any of its controls.. we have filters, oscillators, and modulators.

For this project, which is my first project along these lines.. I start off fairly simple.. I sit in the sequencer, sequencing the loop slices…

REX sequencing

Imagine.. if you will.. we have an audio file with various slices. In our sequencer we say what slice to play, and how loud to play that slice.. as well as when to play that slice. The slices.. if played in order.. for the right lengths.. would play the original audio file as it was.. assuming your project is set to the same tempo.. But in programming a sequence, we don’t actually have to play the slices in order or anything.

The effect is to “cut up” the audio file.. which.. in practice.. creates some pretty strange glitch-e kinda of effects.. sounds like digital equipment going nuts… sometimes you’re sure there’s something wrong with it, and you want to smack the computer.

This cut up / glitch-ification of the audio introduces a range of ambiguity.. we are abstracting from a source.. this having to with the meta cognitive experience of experience I talked about in that recent post.. Mind you our starting point is a voice synthesizer which sounds a bit like a speak and spell.. or I should say it has all the rich expressiveness of a speak and spell.. which is to say its not expressive at all.. it is digitized.. so.. whatever the lyrics are.. they are now abstracted into this digitized place.

Thematic Material

There is, of course, a link between the digital / mechanical and the pathological.. what’s the relationship of the machine to the humanity? What is the symbolic meaning of Darth Vader being more machine then human? Hitler… he would have told you that “he was the state,” the state of course is the machine.. such is the symbolism we are playing with.

The lyrics have to do with the transcendent.. and the limits of our concepts of reality.. through which we interact with reality.. and the implications of this.. God.. if you look at how he behaved relative to Job, or for that matter in the old testament more generally.. would seem to be “a bit of a monster” or.. to put it another way.. human morality and God’s morality are not quite the same thing.. we could talk about awe in relationship to God in this sense.. and the relationship between man and machine.. perhaps the pathological with the.. kind of conventional human morality.. has certain parallels.. which has some implication on how we might relate to the lyrics.

All of this has to do with with the mind bending aspect of the lyrics.. has to do with.. “the dark side of the transcendent,” to put it a certain way.. but also we are dealing with the old “through death comes life” shtick.

Ambiguity and the Cognitive

In the blog entry to which this is a kind of sequel.. I shared a cut up film written by William Burroughs.. We are of course entering into the world of cut ups.. and we are talking about mysticism’s relationship to challenges in cognitive processes.. or I talked a bit about this in said post… So lets talk about this a little.

We have the range of the easy to understand to the.. incomprehensible.. the overly easy is boring.. the overly hard to understand is frustrating.. and so it is that we dance between the extremes..

So.. how do we do this? For starters.. if I were to speak to you a sentence.. but allowed 5 minutes to pass between each word.. would you, at the end of it, know what the hell I was saying? Probably not.. particularly if there was music all around, drawing our attention this way and that.

This idea.. and I don’t even know if it is still up at this point.. is a driving idea of the lyrics in the music linked to from this post. It’ll be up in a podcast soon enough.. In any event.. lets talk about the lyrics in this “MTFS revisited” track.

We are taking one line from the lyrics to the song I’m currently working on… and that was the basis for the lyrics in the MTFS revisited track. Your ability to recognize what is being said in the lyrics is played with in a number of ways.

Firstly.. we hear the lyrics more or less straight.. slightly manipulated, close to the start of the track.. there’s only one problem.. there’s a lot of frequency masking going on.. so the lyrics are not easily recognized at this point.. we most likely only recognize fragments of the lyrics.. if that.. if we even recognize the lyrics at all. (There was one person who commented that she didn’t even notice the singing till she had heard the track a few times!)

The whole way through the track.. it is never made clear what the lyrics are saying.. its always obscured.. or we are always only getting fragments.. until the very end.. when the lyrics show up like a period.

Now.. if you know the lyrics, and you listen, you know what is being said even when the lyrics are being obscured in one way or another.. and at this point the lyrics provide a kind of subtext / meaning to the music.

Ok.. so back to the current project

There is this idea that.. well what would happen to the MTFS Revisited.. if you heard the project I’m working on now? Another words.. if you got the rest of the song of which that is a line from? How would it change the meaning of that track.. and for that matter, how might that track change the meaning of this track?

As I play around with this question.. I think “hmm, perhaps I should make a whole album based of this idea.” Which leads us into the question of lyrics in a slightly different way.

The Issue of the Vocal / Lyric Performance Spectrum

A little earlier I spoke about what it means to have lyrics realized by a software synthesizer with all the expressive powers of a speak and spell.. Those limitations have some implications on the meaning.. and my cut up project with it, along with all the processing.. is at least in part a compensation for those limitations..

Well.. there are other options that I.. alluded to in the recent post.. about how it would cost me a few grand to get the tools necessary to fully explore this spectrum.. which is why the full project may spend some time on the back burner.. but lets explore the tools anyway:

Tools

• Cantor: This is a real, full fledged “vocal synthesizer” which is to say its made to allow you to produce vocals via a synthesizer.. It’s even capable of going so far as to “sound realistic.” Imagine that….. Its selling for around $300 these days.. less for an older version.
• Antares AVOX: This is your basic “vocal tool box;” a set of tools made expressly for processing vocals.. you can do your gender bending.. you can change.. basically… well.. make it sound as if it were someone else singing.. Its some very cool and very powerful tools.. we’re talking $500.
• Audio Ease All In One Bundle: For our purposes we are talking about SpeakerPhone.. SpeakerPhone is a kind of.. lets call it a sound design tool.. which is primarily focused on emulating different types of speakers.. everything from telephones to.. well speak and spell esk devices.. to guitar cabinets.. and onward.. via the magic that is dynamic convolution technology… the full bundle, of which SpeakerPhone is a part.. runs in at a cool $1200.

Out side of the above mentioned gear… there’s things like “good quality microphones” and what not. I’m thinking both studio microphones and field microphones..

And um, what Exactly is all this about?

Strangely.. the way my current process is working.. the lyrics are rendered in a rather ambient form.. They are a strange element of an electronic sound art thing.. It’s hard to really explain this without hearing it.. The way the voice synth’s lines are both processed and then chopped up.. and sequenced.. make it so that the very act of.. “it” trying to speak a line.. is sorta fascinating to listen to.. To the point that.. we loose track of what’s actually being said.. It’s as if the vocals where some kind of “sound effect” or special thing sorta put there..

So.. this is an effect of how I’ve explored this crazy cut up ish process at this point.. the point is that.. you could very easily have “real singing” going on.. at the same time in a track.. without the two elements interfering with one another. I suppose to fully explain this we need to jump back to…

Ambiguity and the Cognative

In cutting stuff up.. one of the things I’m playing with is.. how do we process the words? We process the words differently then how we process pure sound.. how can cutting things up be expressive? What are the possibilities of working with lyrics in this way?

Methods of am-big-u-fying.

• Temporal orientation.. particularly spacing.. if we are speaking linearly. How long are the gaps between stuff?
• Temporal orientation.. order / sequencing: How things are placed in time relative to one another.. who we move through the slices..
• “The Mix:” In our virtual mix.. how front and center is an element.. how far away is it?

Latter: (lets get back to basic process already)

Performances, programing, and arranging

So far the process has a couple of steps.. Once you’ve loaded your REX file into Dr:REX.. you’re going to create little sequences out of it. This is your chance to “sculpt a vocal performance” in a rather glitch-ified way. The other sorta sequence I’ll make is a kind of rhythmic textural arrangement of the slices. I may, in the process, make variations of these….. I then arrange the sequences in relationship to one another on the time line…

So far, this is all I do.. I mean I do this for each clip.. till I get through all the clips.. I don’t even bother automating pitch bends, modulations, tuning, or whatever.. I do, however, listen to the stuff and think about what I might do in the next stage of things..

Next Steps

The next step is still something of an unknown to me… This is an exploratory adventure, and what I plan to do next is nothing more then ideas / presumptions.. Once we actually dig into it.. then we’ll really know.

The considerations

One of the problems I have is that the vocals happen inside a very limited frequency range.. and we really want to be careful about how other instrumentation will impact your ability to hear what’s being said. This kind of a thing is also an issue relative to the interest in the rhythmic textural arrangements.

The actual lyrics, and there meaning, is.. well its very deep.. and how the lyrics can presented / performed / arranged or executed, is going to effect how you take them in. Currently.. the way stuff is arranged is very much on the… well it makes it so we sorta experience one line at a time and loose the continuity of between the lines. So one assumes that we need variations in the performance and arrangement.. so that this way of making things more ambiguous will.. at some point in the production.. come into focus… so that the meanings of the lyrics have there proper impact.

To these ends.. I have a number of thoughts and ideas.. which is part of what makes it interesting to me. If, as I’ve suggested before.. the notion is to make a whole album out of these lyrics.. or that these lyrics would become the core of the album.. if we think of the album as one giant composition.. then it could be that we have different variations at different times over the course of the album.

This idea then.. could mean that the album is essentially a kind of instrumental album.. with ambient vocal textures.. to put it a certain way. This, as an idea, seems very interesting to me.. and makes sense, I think, as a possible first step in bringing lyrics to my music.

If you relate the idea of this.. to what I was getting to before.. about a “Vocal Lyric Spectrum,” its possible that you could have other elements that could provide “alternative organizing principles” for the album.. or that you could hear the album in different ways.. or from different perspectives. Not having all the tools I’d like.. a certain amount of this larger project is forced to be on the back burner.. at least for now..

so, back to the next steps

One of the interesting compositional challenges is the cut up issue of how we read the lyrics, so to speak.. I assume that one of the next steps is to start actually mixing the vocal performance. This will amount to putting effects on them.. and automating there arrangement in space.. It also might be altering parts pitches so that they work inside of an over all composition..

If you haven’t seen these videos, or heard about them, perhaps its time you have? The iPhone is turning into a pretty interesting little music making platform.. today we highlight to programs.

Beat Maker 

Ok, tell me this isn’t uber cool!? 

Did I mention it was only 20 bucks? 

iDrum

Guess how much this one will set you back? Try like $5. 

I thought the following was just fun.. an example of someone doing something with iDrum: 

lol, guess that’s what happens when you bring music making technology to the unwashed masses! 

Well I personally haven’t gotten a chance to check these out yet but.. you can expect a full report in the not to distant future, I’m guessing. And so thus end todays journey into music production on your iPhone.. dig it!

Hmm… I’m not even sure if this is my first post on the subject.. but a while ago I started talking about the project of bringing lyrics to my music. 

I’ve been writing lyrics, at least, since I was in high school.. but have never done too much to bring them into my music.. or at least never felt terribly successful about it. At the moment.. it seems the tools I need to properly bring lyrics to my work is in the neighborhood of a few grand.. depending on how you want to slice it.. no puns intended.

One solution came out of an issue of electronic musician monthly.. which involved using a free open source voice synthesizer.. so I used it.. threw into it some lyrics.. rendered out the audio files.. processed the hell out of them.. started playing with them in Ableton Live.. and eventually just sorta left it on the back burner for a while. But then last weekend I bought a copy of ReCycle.. and started playing with them inside of a ReCycle / Reason kind of context.. 

My first little go at this is talked about here and here. The first “here” having, at least for a short time, a bit of audio that shows this first experiment. In that project I was playing with one of the lines to the songs I wrote as of that much older post.. some of the renderings out of the processed voice synth.

This brings us to the issue of musical linguistic adventures. 

Musical Linguistic Adventures 

Sometime ago I read a book of… well lectures given by Leonard Bernstein at Harvard.. which was…. largely on the subject of linguistics in music. There’s a series of ideas.. I believe Noam Chomsky is the guy responsible.. about an organic basis of language.. that its hard wired in our brains.. You see this in.. the names of “mommy” or “daddy,” that there’s melodic parallels in the words across languages.. as well as for water.. and it seems that childhood taunt songs.. and all the rest of it.. are pretty universal.. And on some level.. when we hear music, we do hear it the same..  Here’s a bit of Bernstein from those lectures:

Ok, so how about we now venture forth into an interview with Noam Chomsky, talking about lingusitics?

Danger Will Robinson, this one could be getting long… 

I want to break in here and bring up a couple of things..

1. There’s been huge break throughs in brain imagining since the time of this interview.. so now many of these investigations are a lot more feasible… so such things are, no doubt, being explored now.
2. The nature of the nature versus nurture thing.. a modern understanding of the subject is that its not really nature versus nurture but nurture via nature.. which is to say that our genetic make up defines to what degree nurture influences our development.
3. This issue with Kant.. the limitations of language.. did you catch Bernstein sorta talking about music speaking the unspeakable? I’ll try and get more deeply into this latter as.. this is really the heart of what I want this entry to be getting to.. and has everything to do with my aims.. but.. well.. I wont say much more about it other then to try and hold this in your mind as we venture further into this interview:

Ok, a few things I want to get to here…

1. I could defend Freud psychoanalysis here.. but it’s a little too complicated.. in that it would take us away from our main thread.. of what’s already looking like a long blog entry.. I will, towards the end.. talk about this stuff in Jungian terms.. which will go along way in answering this.. however I will go so far as to say that in the history of psychology.. there’s a trend where in people are very good about talking about there own stuff.. and not so good in there criticism of others in the field.
2. My impression is that Heidegger does a pretty good job of dismantling the sorta metaphysical presumptions that are at the foundations of cognitive psychology. Heidegger’s interest in language, I think, makes him of special interest to this subject.. but.. we’ll skip on over that for now.
3. I think the Kant stuff is pretty central in Jung’s psychology.. in a certain way.

So I had a rough time finding part 5.. but here we go.. 

Ok… so now we’ve gone a bit deeper into Chomsky and linguistics.. and the larger implications..

So to curve back into music.. and a kind of linguistic basis of it.. what I’m trying to point out is.. language.. verbal language.. has a musicality… timber, pitch.. repetition.. all the principles of musical composition are present in verbal language.. and so there’s a connection here.. 

Ok.. so how about a fun little user generated video.. playing with the Bernstein lectures? 

Sorta highlights the musicality of language, doesn’t it?

Ok, onto the psychedelic:

Linguistics, Neuroscience, Jungian Psychology, and the Psychedelics

I think it makes sense to start out here with a little Tom Wolfe.. In part because he wrote the Electric Cool-Aid Acid Test, in part because his notion of “New Journalism” in part influences how I think about new media, and in part because he’s dealing with many of the subjects we are on in this entry… 

There are two other parts to this interview.. which we can’t embed here.. can be found on the National Review website here, and then here. For the full take on this stuff you really want to view these videos.. 

There are huge areas in which I disagree with Tom Wolfe.. as it relates to this topic, but for our purposes lets jump into something I can’t find any videos on… which is his views on psychedelics, which he borrows from modern brain research.

As nearly as I can tell.. the theory works something like this.. under the influence of psychedelic drugs.. the brain is unable to attribute causality in the usual way.. and having a nature of always trying to attribute causal connections.. starts making them where..  from an empirical point of view.. there are no such connections to be made…

Err.. let me put this in plainer english.. psychedelics causes you to attribute cause and effects relationships to things where there are no such relationships.. from a factual point of view. Going this far, I do not disagree.. but Wolfe goes so far as to say “this proves you don’t get enlightenment from psychedelics,” in the “ultimatereality” sense.. that this mythology has grown up around psychedelics is.. really attribute able to this principles.. and to the brain’s functioning working on a very slow kind of less functional sorta way, while under the influence of psychedelics.

Well everything we’ve been talking about thus far leads up to my argument as to why Tom Wolfe is wrong… to say nothing of some of the psychologies / schools of thought he’s regarding in such high esteem.

How Psychedelic enlightenment works

Jung’s theory of the collective unconscious could be, kinda sorta, boiled down to… “its an expression of instinct.” Religion is an expression of instinct.. its more complex then that.. but its good enough for now..  And let us not forget here.. that in talking about linguistics.. from Chomsky to Wolfe.. we are talking about mental faculties.. not blank slates.. We are.. in fact, talking about instincts, are we not? Instincts by another name?

All right.. so if we are attributing cause and effect relationships to things that do not factually have cause and effect relationships to them.. on what bases are we making them? Well.. on the basis of the structure of the faculty / instinct…..  We are moving from objective truth to subjective truth.. from object to subject.. from the external material world to the internal psychological world.. and so the truths we discover are true in a “psychological sense.” In essence.. what I’m arguing is that psychedelics bring about a “meta cognitive experience.”

So.. if mystical / religious / ultimate reality.. is an expression of instinct.. and a meta cognitive experience is one that’s essential an experience of cognition its self…  that it brings us into contact with “the experience of experience,” to put it a certain way..  and if we understand that.. subjective truth is a kind of truth.. and that we are now moving beyond the Kantian limitations.. well, now we are in the world of what Jung calls “the transcendent instinct.”

It speaking about.. that which is unnameable… that which is beyond our Kantian categories..  we are in fact talking about God.. for God, by definition, is a symbol of the mystery which holds up the world of the known.. it is the ultimate context of the world of the known.. which, as it turns out.. is the subject of both my most recent release.. and the music I’m working on now.

Aesthetic Implications

So in essence what we are saying.. if we complicate the attribution of causal relationships.. we will create something like a mystical experience? So with this.. lets move onto a short film.. that explores the concept of the cut up.. something we find in the work of William Burroughs.. where we see our linguistic faculties making these connections.. in the world of film grammar.. as well as on the literary level.

We of course see these kinds of ideas in dada and surrealism.. so how about a little film made with Marcel Duchamp.. Man Ray adding something here.. and of course a John Cage Score (what could be more perfect?)

How this relates on a process level to my work

On a kind of core foundational level to my thinking and process is this idea of aesthetic experience is a cognitive event.. having something to do with how we perceive and process experience. In earlier stages of my artistic and musical development my work was very often a kind of critique of this process.. It was very much dealing with the problems of Immanuel Kant and the transcendent.. and very similar, in someways, to what Chomsky is talking about..

In any event.. my work was in someway about this process.. and played with the process.. if we are now saying that mystical experience has something to with the challenges to cognition.. you can see how this could be central to my work.

Some of it is as simple as how you recognize patterns.. classic IQ test stuff, right? If you work in web usability you’ll no doubt recognize an early problem with game theory as a tool for understanding human behavior.. which is to say we don’t operate from a rational perspective so much as we muddle around with incomplete information..

What I say in relationship to patterns is that…  you have two distinct things going on “the pattern its self” and “the pattern recognition.” In any pattern, lets call them patterns of cause and effect.. there are infinite possible ways of understanding the pattern.. of seeing patterns in it: if you see a series of numbers, and are asked “what’s the next number going to be” your job is to understand organizing principles of the pattern before you.. and you will start out with the most simplistic possibilities.. going out to more complex ones.. what I’m saying is that.. in the deep end of complexity..  you have that infinite possibility, that we never see, because of how we approach the problem…. kind of how we are wired.

So.. if our process is impaired.. we are going to go into the deep end of that complexity.. or to put it another way.. that’s what mystical experience is…

Without digging much further into this stuff.. I would just say there’s a range in my work.. of simple to complex patterns.. to even chance and chaos.. and effort to make a continuity between the extremes.. I mean its interesting that if you look at serial atonalism… It can seem as if we need a mathematical PHD in order to appreciate the organization.. and somehow the results are very similar to that of John Cage.. who’s music is the product of chance.. 

Here’s a clip of Leonard Bernstein talking, among other things.. about the beauty of ambiguity in music.. where we see chromaticism (which is basically what serial atonalism is all about) inside of a diatonic framework… He talks about music theory which.. if you’re not already aquatinted with.. might likely be a little above your head.. but basically we are talking about organizational principles in music.. which has to do with harmony and counter point.. which is pitch relationships.. which have to do with the physics of sound.. and perhaps psycho acoustics fits in here somewhere as well.

Ok, now I wanted to dig in deeper into the process of what I’m doing right now in my sound work.. the project I’m on right now.. but it seems that the underlying theory and ideas.. have taken up all our space.. so I’ll have to get to that next time.. what I want to leave on is.. a little more on how this stuff relates to the philosophy of religion..

Philosophy of religion and other connections 

In the history of Christian theology there is this kind of.. well an idea that is perhaps not as well known as it should be.. which is to say the Bible is God’s second book… the creation his first. If we look at the philosophy of science at, around, perhaps before.. the American Civil war.. there is this idea that creation.. or the universe we live in.. is custom made to our minds.. sciences exploration of the universe is in fact an exploration of God.. There is also these ideas of natural and.. I want to say divine.. revelation.. The law we find Moses bringing down, the commandments, is said to be imprinted on the inside of our skin.. or to put it another way.. it is expressed in our biology.. which of course accords well with Jung’s theory of the collective unconscious… and these ideas of there being faculties, as Chomsky is saying.. that are built right into our biology. If we look to eastern philosophy and religion.. God is often thought of in a rather unipersonal sorta way.. God is a kind of personification of the forces of the universe.. and.. if we look at the various strands of Buddhism and Zen.. where the inward mystery of our beings is explored in great depth.. how we “really are,” which is something different then who we usually identify our selves with as.. is in fact… the universe.. as the mystic saying goes “I and the maker are one.”I wont go any deeper into this here..,.. but I hope you can see how this is interesting to contemplate in light of the ideas presented in this post. 

As I speak to you I’m in the middle of the production.. well, lets get to talking about it.

The first thing I want to note is that It’s very awesome working with 2 24″ HD monitors… though I dare say I still find myself wishing I had more space!!!..  but that said it does feel pretty incredible to have this much space going on. For music production it really means you’re able to.. manage more at once.. which has big ramifications.. which I seem to be putting to the test in this project.

So I think I kind of gave the clues to where I’d likely be going in a recent blog post.. that I’m trying to integrate a kind of free jamming process into my electronic music process.. 

Latter:

I suppose the best way I can describe the experience of it is.. well there’s a lot of dimensions to it really.

It’s an adventure

I don’t really understand certain things about our world.. one of the things I have the hardest time with is “sucky artists.” I particularly hate “sucky artists” whom are more successful then I am.. from a commercial perspective. My definition of sucky is “he” (or she) “whom doesn’t do anything interesting.” You know the type? Takes a safe and well trotted path? If all I was interested in was… making sure I made the rent.. you know what? I wouldn’t be a freaking artist! I mean.. ok, its more complicated then all this.. but I simply mean the artist who’s work is derivative.. which translates into 90% of everything Hollywood produces.. and most of the stuff I hear on the radio.

From the perspective of an artist.. or speaking as one.. the well trotted path is just freaking boring.. you know? I wanna go out there and do something new, something exciting.. that’s just who I am, that’s just how I’m wired.. and its tuff to imagine it being any other way. All of which is not to say that I don’t have my lazy days.. just.. I don’t know.

So I guess what I’m trying to do creatively is take this freaking crazy mad ass jump..

Ok, lets back off from this and look at the economic dimension of my plot at this junction in our story.

If all goes well.. which is a very low bar in many respects.. I could maintain my unemployed, working on my own kinda thing, sorta status.. for a long long time. Things might not go that well.. but this is at least the out look as of this moment.

So what this means with respect to my art is.. I don’t have to make bank tomorrow, which means I can aim high. There is a shorter term outlook where in I have to make bank.. but that’s another story for another time.. we’re talking big picture here. And to all this I should maybe add that I can do all this provided I do my best to live on the cheap.. 

Ok.. so.. 

My studio is turning into a freaking monster of a studio. The sound work I’m now engaged in is.. so many orders of magnitude beyond anything I’ve had to work with before… and I’m still really just in the early days of exploring the possibilities of it. 

After my recent shopping spree, I’ve landed in a place where I’m now semi inclined not to spend too much more money.. Which is odd seeing as I was planing on spending a couple grand more, prior to the spree. I may still buy one more piece of software, and I might eventually get all the stuff I had planned on.. but I’m feeling like.. well its just not real pressing at this moment.

One of the surprisingly big deals is ReCycle

ReCycle, on the surface, doesn’t really sound all that exciting… but it does have the effect of radically shifting how I think about working with Reason..

Here’s what you do: You load an audio file into ReCycle and you slice it up.. you then take that sliced up file, which is now a loop.. and you load it into Reason. Now.. with the REX player.. you can play the individual slices.. and sorta do interesting things with that loop.

Why is this exciting?

One of my issues was “how do I work with vocals.” This is a bit of a problem if you can’t actually sing. At this point I can change the pitches of the vocals.. and do other funky things.. process them.. but.. if they are a basic audio file.. you can fracture them.. play them glitched up.. Fubared.. and something about the creative process of it.. the work flow.. the whatever.. makes it kinda incredible.

A few latter:

At my current stage of thinking.. well.. instrumentals are kind of abstract… what are they about? Popularity wise.. instrumentals tend not to be as popular as songs with actual lyrics in them. You know, singing and all that? So bringing lyrics / singing / etc.. to my music.. is on the to do list.. and I’m now in early stages of exploring what I can do along these lines.

Using ReCycle and Rex files.. its a bit like Picasso’s cubism..  where we are taking an image and fracturing it. We then have control of the fractures.. we can think of the fractures compositionally.. What goes on inside of a fracture can be treated as a texture / timber.. its more about orchestration then counterpoint.. 

This also leads us into certain historical threads in music.. since the dawn of equal temperament.. our music has gone in a direction of being about pitches.. and the relationship of pitches.. as a pose to being about the timber. The dawning of electronic music has had the effect of increasing the importance of the timber.. So my use of ReCycle now brings my work into this somewhat lost thread.

Later still:

I’ve dug a little deeper into this project… It’s an experiment, so it doesn’t really matter.. or, I’m sorta willing to just kind of take it where ever.. and um, there’s interesting things emerging.. so lets back out of the subject of ReCycle here…

Earlier in this production it was all about mixing.. and the mixing was no easy task… perhaps made more complex by my spirit. It involved a lot of automation of levels, EQ, and effect sends..  trying to wrestle with things enough so they might not be too muddy.. I’m not sure that this was ever exactly achieved.. eventually the notion came that this automation had to be thought of as.. not just about making certain elements clear.. but also as a compositional thing.. so that we could have contrasts / evolutions between various sections… a sense that we were moving through space.. 

A day or two latter

Well for a limited time you can hear the fruits of this project in a recent post…  my last post actually. After that you won’t be able to get the individual track for a while..  act now, and all that. I do plan on posting it as a part of a podcast in the next week or so.. so it’ll be there to hear.. and on that note, let me post this entry.

[editors note: this was written a few days ago] 

I’m sitting here going through old libraries of old sound projects of mine.. Projects that in someway anticipate a project I plan on venturing forth on in the not too distant future: The Fresh Meat Project. Music To Freak Out Stoners, or MTFOS, was created in what we call “The JP years.” This was back in the days when “The Doctor” and “Mr. Sketch” where living off in JP MA… lost years if you will.. lots of chemicals in there brains.. and I’d visit on weekends.. MTFS somehow had to do with the psychology of those circles.. and my reaction to them.

This had to have been in.. the very late 90s… I was still on a G3, had just gotten my MOTU 828 audio interface, and started F-Ing around on it… I’d just kinda Jam out a bit.. didn’t even bother mixing the Jam sessions.. which took place on guitar and synths.. this was total experimentation.. just to enjoy the sound quality of the 828. 

Around this time period.. my thought was.. I should like to make music that came out of extended jam sessions. The problem was that these jam sessions where.. I’m not sure how to characterize them. They had a kind of out sider art mentality to them.. there were a lot of levels on which they were probably very flawed.. whatever they were, they were so far out there.. that I wasn’t really sure how to turn them into something interesting..

Well now we enter a very different period in my musical evolution where I’m at least entertaining the notion of going off in radically new directions and I wonder if I could facilitate those older directions now.  Today I am both a lot more sophisticated musically / production wise.. and I have a lot more sophisticated tools that allow me to work in very new ways, and I wonder if these new possibilities might facilitate the older zeitgeist.

New to my studio.. in particular, is a fretless bass and ReCycle.. Ableton Live has been in my studio for sometime.. but I haven’t really used in the way I’m thinking now.. And of course there’s Melodyne…

////// 

I pick up my bass and start playing.. kinda all the time. It seems not at all infrequent that I’ll get into a mode where everything I play I think sounds good.. sounds interesting.. these little jam sessions. I think about taking them into my computer, recording them.. composing with them.. where might I be able to take them?.. what could I do musically?

While I have many ideas.. one idea I find quite appealing is the notion of repeating exactly what I did with MTFS.. accept.. when working with a synthesizer.. record only the MIDI.. when working with a guitar.. make sure there’s no transience recorded with it.. Between Melodyne and MIDI I could take the results and sculpt it into something. But what?

Part of the idea is something along the lines of capturing a raw moment.. How differently you think when you’re thinking in real time.. improvising, versus composing my usual ways..

I feel that this is a path I must go down.. a journey I must make.. even as I don’t really have a lot of confidence in it.. It seems like its important for the completion of a musical style I have yet to totally create….

Let me see if I can get serious in talking to you about this stuff.

What do we have thus far?

• Electronic Music Composed: I sit in a sequencer and program the sequences and the Mix. This method is the most sophisticated / mature.. of my processes.. I mean I’ve taken this method further then any of my other methods.. thus I tend to want to stick to it simply because its something I can rely on for good results.
• Electronic Music Improvised: We are talking about some sort of a process by which.. via tweaking various parameters of some kind of a sound generating device… music results. These results could be further processed, or edited, or whatever.. in order to be used as building blocks of a more programmed music.. we see this sorta thing Starting in Zar Matt A Thustra’s Deep Space Adventures.
• Guitar based song writing: I sit down on my guitar, or perhaps now even my bass, and I play, come up with riffs, put riffs together.. create a song idea.. produce it.. 
• I improvise out some sorta performance… on real instruments.. wether we are talking a keyboard to control synths.. or we are talking about guitars and bass.. maybe something going on with a microphone.. and we sorta do something with this.

So these are our basic processes. The question then becomes how do we integrate them.. how do we bring them to some level of maturity.. where there possibilities become great; a sum more then the parts?

The answer lys, no doubt.. in continuing to work on each of these processes, going down each path..  taking it to its logical conclusion… building a library of raw material.. and playing with making stuff out of that raw material.

As near as I can tell this is a long term project.

A couple days latter:

I think I’ll just post this as is. 

So, Boston Podcamp 3 is just about here… and in anticipation of that.. I figured I’d at least have to post new episode… So it here it is.

In this podcast we can hear 3 bits of work.

1.  Toshiro Mifune VS John Wayne.. in progress (the last version I made available for a limited time)
2. Peter’s Hill: This is an old “Fresh Meat” project between the Ev-on, and myself.. It’s sorta representative of a spirit / energy I’m interested in bringing to my work today.. Hopefully Ev-on will play a roll in this..
3. The New Metal Track… This is very early.. and there’s even a lot of work I’ve done for this that is yet to be a part of the track.. but I wanted to have something to share with you anyway.

So that’s about it really…

So I hope you can dig it. 

Oh, one last note… you can subscribe to this podcast via iTunes via clicking here.

 

 New Music Directions: Pre Boston Podcamp 3: Play Now | Play in Popup | Download

As we speak I’m getting ready to rush out of the house for a Jeff Pulver type meet up thang…  So not too much time to talk about too much..

I’m working on the guitar solo section, for the track I’ve been talking about in recent postings.. I haven’t figured out the proper work flow with the liquid mix.. even when I turn all the plugins off.. I get high latency… so I decided to just create a new project, where I’d do the the guitar parts, and then import then into the main project.. hoping i can import the midi tracks whole sale..  just another thing to have to work out.

I’m engaging in a process I’ve done before.. You sit at your guitar and try and work out the parts, while programing them into the computer.. for synths to play / stand in for the guitars… so you can work out exactly how things fit together.. This process has its pros and cons.. not the least of which is it’s hard to make things swing.. and the midi parts are more approximations of what it’ll sound like, and the performances.. then they are actually what you plan on playing.. which creates the problem of hearing things kinda wrong during this stage of things. Further.. or even as a result.. this process can change what you’re writing.. so you write it in such a way to make it easier to program or perform.. which is less then ideal.

The advantage of this sorta thing.. well what I’m trying to do is create a solo section which is somewhat of a “jam out” section. You have two guitars doing there thing.. they, to one degree or another.. exchange between playing rhythm and lead…  and will eventually work out to doing harmonized leads.. 

The plan is to actually attempt to perform the thing.. probably at about half speed.. and then edit / speed up to real speed.. in post, so to speak. This will result in a lot of work…. but I’m hoping it’ll be worth it. Just the fact that it is a lot of work.. may make it so this section will be rather short, tight, and concise.

lyrics 

Another issue I’m having is in the lyrics: There is no verse chorus thing going on.. right now we just have 3 riffs that play into each other.. I’m writing out vocal lines without knowing what they should say. I have this feeling that there ought to some sorta chorus-ish part.. where we here the same lines repeated at different parts of the song…. but for now it seems like the first few words of the first riff.. will repeat.. and then it’ll all go in a different direction after the repeat.

guitar 

Another idea that’s evolving is we might have 2 solo areas in the song.. The one I’m working on now.. and another that’ll be… fairly insane…

insanity

One thought is to just improvise out some guitar playing.. and then edit the solo’s in melodyne… make them all work together.. The challenge I foresee with this approach is.. that I play too damn fast.. The song is already a very fast song.. and even relative to that fast tempo.. the notes will no doubt go faster then any grid will work..  and I’m not sure how well Melodyne will cope with all that. 

The real advantage of working this way is.. its a lot more human.. a lot more “the real me,” in a certain sense.. The performance will be more organic.. and the actual playing will be.. more and unpredictable. 

Later, back from Pulver:

Had a really great time, I LOVE these things. There was a kind of after twitter-ish party that lead out to karaoke.. It was a rather intimate crowd at this point…  Apparently there was a party from Google there as well.. which made it sorta surreal.. being with social media folks and the fellow who started VON….

I’d say more about.. the project or the night.. but I’m feeling like my blogging has had better moments, so I’ll just leave this as it is.