i also may just leave inrimixed as it was and convert inriclaimed into a double record. that's what i'm leaning towards most strongly right now. i still have some tracks to work through before i make that final choice.
the next thing up for consideration is 'skaters', and there's a decent chance it will come up. the vocals leave much to be desired, but i think the mix is at least decent. and, there's also an early demo mix, so i have four distinct versions. the mix for the 1998 versions of fuck the dead were just not good enough to make a single worthwhile - i really ruined that somehow, i think by running a bass boost after heavy mp3 compression. like, i really demoed those files thinking i was "compressing" them...
Monday, January 4, 2016
permission (backwards guitar mix)
when i initially made this track, i integrated a bunch of backwards guitar effects. i've now reconstructed this.
==
this is the remake of permission, which is really funky and neat, but i ended up rejecting it because the guitar solo directly lifts the ending melody from "the perfect drug". i don't really remember the logic behind how it got there in the first place (did i realize after or was it purposefully meant as a 'sample'?), but i do specifically recall saying "i can't use this". i think maybe i also thought the lyrics were sort of dumb, after all.
actually, i think i'm remembering that i put the 'sample' in on purpose because the vocals were so derivative, then kibboshed the whole thing.
yeah. i was playing the melody as i was testing levels, and i decided that it actually sounded really good - but that i couldn't use it, or i would be sealing the track as an outtake. i then decided that it should be an outtake anyways and went with it.
initially written in 1996. recreated in jan, 1998. reclaimed july 2, 2015. remixed july 12, 2015. corrected to control for malfunctioning electronics on dec 26, 2015. digitally enhanced on jan 4, 2016.
https://jasonparent.bandcamp.com/track/permission-backwards-guitar-mix
==
this is the remake of permission, which is really funky and neat, but i ended up rejecting it because the guitar solo directly lifts the ending melody from "the perfect drug". i don't really remember the logic behind how it got there in the first place (did i realize after or was it purposefully meant as a 'sample'?), but i do specifically recall saying "i can't use this". i think maybe i also thought the lyrics were sort of dumb, after all.
actually, i think i'm remembering that i put the 'sample' in on purpose because the vocals were so derivative, then kibboshed the whole thing.
yeah. i was playing the melody as i was testing levels, and i decided that it actually sounded really good - but that i couldn't use it, or i would be sealing the track as an outtake. i then decided that it should be an outtake anyways and went with it.
initially written in 1996. recreated in jan, 1998. reclaimed july 2, 2015. remixed july 12, 2015. corrected to control for malfunctioning electronics on dec 26, 2015. digitally enhanced on jan 4, 2016.
https://jasonparent.bandcamp.com/track/permission-backwards-guitar-mix
a deleted exercise in hipster homophobia
i ended up using an experiment with a broken tape deck as my segue after this track, and cut this off the record, but this extended mix is what the track was initially built to sound like. it's a literal parse of the instrumental remix with the untitled remix on inrimixed.
initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in late 2013. reclaimed june 29, 2015. expanded on jan 4, 2016.
https://jasonparent.bandcamp.com/track/a-deleted-exercise-in-hipster-homophobia
initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in late 2013. reclaimed june 29, 2015. expanded on jan 4, 2016.
https://jasonparent.bandcamp.com/track/a-deleted-exercise-in-hipster-homophobia
further expanding inrimixed
so, i've ruled out the punk ep and singles for all the tracks i was considering attaching to it. there are multiple versions of all of these tracks, but when it comes down to it the truth is that packaging them as singles would all reduce to the same thing - you're looking at a single with a listenable instrumental version, and perhaps a variation or two, along with a vocal version that few people will want to listen to. combining them all together doesn't really solve anything.
instead, i've added two more tracks to inrimixed, and am considering splitting it in half a second time into an "inrinterpreted", which was the idea that set this all off in the first place. as of right now, there are two reinterpreted tracks, an alternate version and three reconstructions. both of the new adds are reconstructions. there will be at least a few more reconstructions - but i'm not sure if there'll be any more reinterpretations.
https://jasonparent.bandcamp.com/album/inrimixed
instead, i've added two more tracks to inrimixed, and am considering splitting it in half a second time into an "inrinterpreted", which was the idea that set this all off in the first place. as of right now, there are two reinterpreted tracks, an alternate version and three reconstructions. both of the new adds are reconstructions. there will be at least a few more reconstructions - but i'm not sure if there'll be any more reinterpretations.
https://jasonparent.bandcamp.com/album/inrimixed
i'm going to torture myself for weeks over what i want to include as a single, if i don't lay down some kind of rules. but, i don't want to lay down rules. so, will i torture myself for weeks, then?
i think a rule of thumb needs to be that the track needs to exist across almost all of the iterations. but, i also want to do this chronologically.
i've all but ruled out "fuck the dead". i can construct a 35 minute ep-single, but there's only really two fundamentally different mixes present (and several variations on them). instead, i'm considering placing a "punk" ep at the beginning of january that combines a number of the "punkier" style tracks, which largely stopped about that time, or morphed into things more recognizable as electronic music.
i want this all worked out by the end of the day, so expect a number of posts before i sleep next - and the basic shape of the first period discography to be finalized within 48 hours.
i think a rule of thumb needs to be that the track needs to exist across almost all of the iterations. but, i also want to do this chronologically.
i've all but ruled out "fuck the dead". i can construct a 35 minute ep-single, but there's only really two fundamentally different mixes present (and several variations on them). instead, i'm considering placing a "punk" ep at the beginning of january that combines a number of the "punkier" style tracks, which largely stopped about that time, or morphed into things more recognizable as electronic music.
i want this all worked out by the end of the day, so expect a number of posts before i sleep next - and the basic shape of the first period discography to be finalized within 48 hours.
Sunday, January 3, 2016
fuck the dead (instrumental mix)
when i rebuilt this track, i skipped the spiderman theme shake down in the middle. it was initially added into the track in a cut and paste process; it didn't fit the theme of the inriclaimed project to resplice the track like that. but, this is a better approximation of a recreation of the full track.
originally created in 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and re-edited on jan 3, 2016.
https://jasonparent.bandcamp.com/track/fuck-the-dead-instrumental-mix
originally created in 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and re-edited on jan 3, 2016.
https://jasonparent.bandcamp.com/track/fuck-the-dead-instrumental-mix
elevating inrimixed (inri023) from a remix ep to a remix lp
i've also switched inrimixed into an lp. there's a few vocal tracks i'm considering add to it, so it's not final yet.
https://jasonparent.bandcamp.com/album/inrimixed
https://jasonparent.bandcamp.com/album/inrimixed
schizoid (total)
this version may be better than the version on the record, but there's a conceptual unity i want to maintain.
-
updated electronic orchestra added to version reconstructed in 2015 from tape.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. reprogrammed and reconstructed on dec 31, 2015. corrected to control for malfunctioning electronics and remixed as alternate on jan 3, 2016.
https://jasonparent.bandcamp.com/track/schizoid-total
-
updated electronic orchestra added to version reconstructed in 2015 from tape.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. reprogrammed and reconstructed on dec 31, 2015. corrected to control for malfunctioning electronics and remixed as alternate on jan 3, 2016.
https://jasonparent.bandcamp.com/track/schizoid-total
schizoid (clean)
there's a complete remix on the inrimixed page.
-
bass blur removed from version reconstructed in 2015 from tape.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. corrected to control for malfunctioning electronics and remixed as alternate on jan 3, 2016.
https://jasonparent.bandcamp.com/track/schizoid-clean
-
bass blur removed from version reconstructed in 2015 from tape.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. corrected to control for malfunctioning electronics and remixed as alternate on jan 3, 2016.
https://jasonparent.bandcamp.com/track/schizoid-clean
publishing inriclaimed (inri024)
when i sat down to complete my discography in the fall of 2013, one of the first problems i came up against was what to do with my first two proper records, inri and inriched. in some sense, these records were complete: they were early works, but they were complete recordings and the records were sequenced with quite a bit of detail. it would not be right to modify them in a structural sense, as they were completed as they were when they were. however, the mixes had been degraded rather substantially through compression and the vocals had a lot of problems. further, i knew the source material was incomplete, but did not actually check the master tapes to see how incomplete they were.
i decided that the best thing to do was to try and remaster them using izotope. the result was noticeably "better", and they were released in that form. i also released a compilation of shorts that focused on instrumental sections as inricycled b. however, i had to make a lot of compromises to get to that point. further, the fact that i couldn't remove the vocals continued to bother me.
i finally got around to digitizing the tapes in december of 2014, as an archival step. i did not expect to be able to do anything with this material, but i wanted it digitized to prevent the tapes from deteriorating further. what i learned through this process was that the masters were far more complete than i thought. samples and continuity were missing, but i seem to have dumped most of the sequencing and a lot of the digital noise generation. this forced me to rethink what i was able to present. i decided that if i was going to go through these tracks and recreate them then i was going to do it comprehensively, which would mean completely recreating a number of the tracks. i decided that this would be a project better left for a later date.
by june of 2015, i had made it through the discography to the end of the second period and began finalizing the aleph sequence of dvd and bd flac/mp3 compilations. i decided that the only cohesive way to present period one is as a single disc, which meant i needed to address reconstructing the tracks immediately in order to close it.
the material was digitized via the exact same tascam four-track it was recorded on to, sent out track by track. however, the material was bounced heavily when it was recorded, which means the digitized tracks generally have multiple parts. the four tracks generally exist as follows:
1) an electronics track. drum machines, synths, sequencers, loops, noises.
2) a guitars track. there are usually several guitar parts in this one track.
3) a bass track, or a synth bass track.
4) a vocal track.
unfortunately, digitizing the tracks one by one left them out of sync at a rate of around a half a second per minute, but there is no clear pattern in how they are out of sync. shifting them back in sync was a time consuming process done in cubase by importing the remastered tracks and trying to find markers in the wave files, then using a sort of "newton's method" to compress or decompress the files until they lined up with the master. this issue was compounded by the fact that the initial masters were sometimes subtly out of time. once they were shifted back in sync, the tracks had to be equalized very carefully to try and isolate the constituent parts. for example, a track with a drum machine and a synth may have been split across a high and low shelf to isolate them in the mix. with the exception of this heavy equalization work (and amp simulation for the bass parts), these songs have not been modified from their original form - except to remove the vocals.
this release has rendered the previous inri009, inricycled b, as superfluous and consequently replaces it in the sequence. it has now been moved to inrijected.
i am very happy to finally be able to present this material in a form that i would find listenable, today, as an adult. this has been a very long process. i hope you feel that the results were worth the effort put into it, periodically, over many years.
initially written and recorded between 1996-1999 and remixed over the summer of 2015, with a lengthy pause due to malfunctioning electronics. final compilation date is jan 3, 2016. as always, please use headphones.
credits:
j - guitars, effects, bass, synth bass, drum programming, synthesizers, octavers, noise generators, sequencers, sampling, found sounds, cool edit synthesis, digital wave editing, loops, mic noises & vocal relics, production
released january 29, 1999
http://jasonparent.bandcamp.com/album/inriclaimed
i decided that the best thing to do was to try and remaster them using izotope. the result was noticeably "better", and they were released in that form. i also released a compilation of shorts that focused on instrumental sections as inricycled b. however, i had to make a lot of compromises to get to that point. further, the fact that i couldn't remove the vocals continued to bother me.
i finally got around to digitizing the tapes in december of 2014, as an archival step. i did not expect to be able to do anything with this material, but i wanted it digitized to prevent the tapes from deteriorating further. what i learned through this process was that the masters were far more complete than i thought. samples and continuity were missing, but i seem to have dumped most of the sequencing and a lot of the digital noise generation. this forced me to rethink what i was able to present. i decided that if i was going to go through these tracks and recreate them then i was going to do it comprehensively, which would mean completely recreating a number of the tracks. i decided that this would be a project better left for a later date.
by june of 2015, i had made it through the discography to the end of the second period and began finalizing the aleph sequence of dvd and bd flac/mp3 compilations. i decided that the only cohesive way to present period one is as a single disc, which meant i needed to address reconstructing the tracks immediately in order to close it.
the material was digitized via the exact same tascam four-track it was recorded on to, sent out track by track. however, the material was bounced heavily when it was recorded, which means the digitized tracks generally have multiple parts. the four tracks generally exist as follows:
1) an electronics track. drum machines, synths, sequencers, loops, noises.
2) a guitars track. there are usually several guitar parts in this one track.
3) a bass track, or a synth bass track.
4) a vocal track.
unfortunately, digitizing the tracks one by one left them out of sync at a rate of around a half a second per minute, but there is no clear pattern in how they are out of sync. shifting them back in sync was a time consuming process done in cubase by importing the remastered tracks and trying to find markers in the wave files, then using a sort of "newton's method" to compress or decompress the files until they lined up with the master. this issue was compounded by the fact that the initial masters were sometimes subtly out of time. once they were shifted back in sync, the tracks had to be equalized very carefully to try and isolate the constituent parts. for example, a track with a drum machine and a synth may have been split across a high and low shelf to isolate them in the mix. with the exception of this heavy equalization work (and amp simulation for the bass parts), these songs have not been modified from their original form - except to remove the vocals.
this release has rendered the previous inri009, inricycled b, as superfluous and consequently replaces it in the sequence. it has now been moved to inrijected.
i am very happy to finally be able to present this material in a form that i would find listenable, today, as an adult. this has been a very long process. i hope you feel that the results were worth the effort put into it, periodically, over many years.
initially written and recorded between 1996-1999 and remixed over the summer of 2015, with a lengthy pause due to malfunctioning electronics. final compilation date is jan 3, 2016. as always, please use headphones.
credits:
j - guitars, effects, bass, synth bass, drum programming, synthesizers, octavers, noise generators, sequencers, sampling, found sounds, cool edit synthesis, digital wave editing, loops, mic noises & vocal relics, production
released january 29, 1999
http://jasonparent.bandcamp.com/album/inriclaimed
finalizing while i can’t always convince myself that my paranoia is frivolous, i can effectively control how it affects others
this is absolutely final. the record is totally closed.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. corrected to control for malfunctioning electronics on jan 3, 2016.
https://jasonparent.bandcamp.com/track/while-i-cant-always-convince-myself-that-my-paranoia-is-frivolous-i-can-effectively-control-how-it-affects-others
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. corrected to control for malfunctioning electronics on jan 3, 2016.
https://jasonparent.bandcamp.com/track/while-i-cant-always-convince-myself-that-my-paranoia-is-frivolous-i-can-effectively-control-how-it-affects-others
Saturday, January 2, 2016
(no subject)
mom
Hi J,
Happy New Year! How have you been? I permanently deleted my facebook account 3 months ago, so I guess this is the only way to stay in contact now. I'm still sober, been a bit tough a few times, but didn't cave....Still plugging along. I thought I would really enjoy having all this free time on my hands, but am realizing that I need to find a part-time job(emphasis on part-time), so will put out resume's starting next month, and hopefully will find something in the spring-time. Didn't do much of anything for Christmas or New Year's, and you? Did you do anything exciting!? your sister is pregnant again, baby due in March. your step-sister is still living with her father..they moved to Carleton Place... I don't see very much of her...Not for me not trying...Have offered to pick her up many times now...Oh well. Nana is still healthy as a horse...lol...Will undoubtedly outlive all of us! My father is not doing so well, but then hasn't been doing so well for a few years now... It's been such a wonderful mild winter so far...Hope it keeps up this way! Miss You! Love You!
jessica
i've been spending the last few months trying to figure out why my equipment has been malfunctioning, and finally came to an answer about two weeks ago. i figure that my headphone has a short in it, and it's picking up environmental magnetic fields that are charging them and turning them into a radio antenna, thereby distorting the output in the phones. short term solution: tinfoil can block out the radio waves. and it's really seriously been working for the last two weeks. but you can imagine that it took a long time to come to such a conclusion.
so, i've spent the last two weeks finally finishing two records of material that i wrote in the 90s, and wanted to strip the vocals out of. the only versions i had of these songs had some pretty bad teenage vocal writing that was more or less ruining them. the vocals were just really immature; on some level, i was a teen at the time, and it retains entertainment value to a teenage market. but, i felt the songs were strong enough to stand as their own for a broader market. so, it feels good to finish that.
that's the last thing i had to do to finish my first phase of writing, which was 96-99. i can now order that material in a final presentation, and move on to finishing my second period, which was 2000-2004 and is very nearly completed. i hope i can move on to starting my third period by the spring at the very latest.
the two records are here:
https://jasonparent.bandcamp.com/album/inriclaimed
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
that's basically all i've been thinking about over the holidays. i got my yearly extra large pizza at midnight on christmas eve. nothing else exciting, really.
Hi J,
Happy New Year! How have you been? I permanently deleted my facebook account 3 months ago, so I guess this is the only way to stay in contact now. I'm still sober, been a bit tough a few times, but didn't cave....Still plugging along. I thought I would really enjoy having all this free time on my hands, but am realizing that I need to find a part-time job(emphasis on part-time), so will put out resume's starting next month, and hopefully will find something in the spring-time. Didn't do much of anything for Christmas or New Year's, and you? Did you do anything exciting!? your sister is pregnant again, baby due in March. your step-sister is still living with her father..they moved to Carleton Place... I don't see very much of her...Not for me not trying...Have offered to pick her up many times now...Oh well. Nana is still healthy as a horse...lol...Will undoubtedly outlive all of us! My father is not doing so well, but then hasn't been doing so well for a few years now... It's been such a wonderful mild winter so far...Hope it keeps up this way! Miss You! Love You!
jessica
i've been spending the last few months trying to figure out why my equipment has been malfunctioning, and finally came to an answer about two weeks ago. i figure that my headphone has a short in it, and it's picking up environmental magnetic fields that are charging them and turning them into a radio antenna, thereby distorting the output in the phones. short term solution: tinfoil can block out the radio waves. and it's really seriously been working for the last two weeks. but you can imagine that it took a long time to come to such a conclusion.
so, i've spent the last two weeks finally finishing two records of material that i wrote in the 90s, and wanted to strip the vocals out of. the only versions i had of these songs had some pretty bad teenage vocal writing that was more or less ruining them. the vocals were just really immature; on some level, i was a teen at the time, and it retains entertainment value to a teenage market. but, i felt the songs were strong enough to stand as their own for a broader market. so, it feels good to finish that.
that's the last thing i had to do to finish my first phase of writing, which was 96-99. i can now order that material in a final presentation, and move on to finishing my second period, which was 2000-2004 and is very nearly completed. i hope i can move on to starting my third period by the spring at the very latest.
the two records are here:
https://jasonparent.bandcamp.com/album/inriclaimed
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
that's basically all i've been thinking about over the holidays. i got my yearly extra large pizza at midnight on christmas eve. nothing else exciting, really.
i've had a minor crises all night.
i noticed some clicks in the file, and went to rerender but it didn't null. after much freaking out, i eventually realized that there was a doubled bass part *muted* in the mix, and the mute was contributing this nice glossy blur on the bottom. i had removed the track, because it was muted anyways, and the gloss disappeared.
which means i'm actually taking advantage of the error in cubase this time, and trying to find a way to prevent it from saving correctly.
i think i've almost got it.
but that file will be replaced one more time, and i'll have an alternate mix or two up then, too.
it's clear that i need at least two singles, but less clear how to sequence them.
i noticed some clicks in the file, and went to rerender but it didn't null. after much freaking out, i eventually realized that there was a doubled bass part *muted* in the mix, and the mute was contributing this nice glossy blur on the bottom. i had removed the track, because it was muted anyways, and the gloss disappeared.
which means i'm actually taking advantage of the error in cubase this time, and trying to find a way to prevent it from saving correctly.
i think i've almost got it.
but that file will be replaced one more time, and i'll have an alternate mix or two up then, too.
it's clear that i need at least two singles, but less clear how to sequence them.
Friday, January 1, 2016
false completion on schizoid & inriclaimed
yeah, the upload on schizoid has been replaced, and this record is now complete.
i have some loose ends to complete before i can finally close aleph-0. soon.
https://jasonparent.bandcamp.com/album/inriclaimed
i have some loose ends to complete before i can finally close aleph-0. soon.
https://jasonparent.bandcamp.com/album/inriclaimed
it's the project that's corrupt. it seems to have something to do with working with spliced wave files. i have to conclude this is yet another programming error, but the workaround is to save as soon as you cut and then re-open the project to put effects on it.
so, i have to rebuild some bass parts. but i think that the default setting is probably ideal; i'll find out when i get through the algorithm.
so, i have to rebuild some bass parts. but i think that the default setting is probably ideal; i'll find out when i get through the algorithm.
yeah. i can't even render two files the same way right now. either the interference is affecting the gear (for the first time that i've been able to tell - although it might explain why i couldn't reproduce certain renders) or my hard drive is possibly dying. i've been getting weird staticky noises on playback. the only other possibility is that the file is deeply corrupted, in which case i may have to rebuild the track.
i'm going to turn all the signals in the house off first, and then try it with different songs on the same drive. if i get the same effects, i'll try to switch drives.
i'm honestly pointing at the drive right now.
so, that file will be replaced, no doubt.
i'm going to turn all the signals in the house off first, and then try it with different songs on the same drive. if i get the same effects, i'll try to switch drives.
i'm honestly pointing at the drive right now.
so, that file will be replaced, no doubt.
nearing the completion of inriclaimed (inri024)
this is the second.
i should be able to get around to closing my period 1 disc over the next week or so.
https://jasonparent.bandcamp.com/album/inriclaimed
i should be able to get around to closing my period 1 disc over the next week or so.
https://jasonparent.bandcamp.com/album/inriclaimed
Thursday, December 31, 2015
tentative schizoid re-upload
this is tentative. further changes will be very minor.
i've been having difficulty mixing the bass from the start. i can hear now that it's picking up some kind of oscillation that is making it basically impossible to control for in the other room. but, i've heard enough of it to conclude that this is very likely final.
i need to test through other playback sources before i can close it.
but, presuming it's closed, the record is, too.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. remixed over dec, 2015. this mix is from dec 31, 2015.
https://jasonparent.bandcamp.com/track/while-i-cant-always-convince-myself-that-my-paranoia-is-frivolous-i-can-effectively-control-how-it-affects-others
i've been having difficulty mixing the bass from the start. i can hear now that it's picking up some kind of oscillation that is making it basically impossible to control for in the other room. but, i've heard enough of it to conclude that this is very likely final.
i need to test through other playback sources before i can close it.
but, presuming it's closed, the record is, too.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. remixed over dec, 2015. this mix is from dec 31, 2015.
https://jasonparent.bandcamp.com/track/while-i-cant-always-convince-myself-that-my-paranoia-is-frivolous-i-can-effectively-control-how-it-affects-others
publishing electronic pieces in a primitive style (inri066)
this record is now finished.
==
when i sat down to complete my discography in 2013, one of the ideas that immediately jumped out was to try and reinterpret some of the inri tracks from the late 1990s as modern pieces. as i believed that my source tapes were unusable at the time (which i eventually realized was not the case - see inri024), the conditions for this being a workable project would need to be the existence of the original drum tracks, along with the existence of some midi files.
i was gifted my ry30 in the summer of 1997 to compensate for the loss of my drum kit and studio space, but i did not have any recording gear again until christmas. so, i spent the fall programming the drum machine and teaching myself the basics of sequencing and sound design, using the primitive tools i had available to me. by the time i got my four track, as well as my jx-8p, the ry30 was full, and re-recording my first songs was just a matter of transferring the completed material from the electronic equipment to tape. so, i initially considered making a companion ep to inrisampled that would document my time spent programming the ry30 along with my time spent learning how to manipulate sound. the difference between the drum tracks at this stage and the initial collage experiments, however, is that the drum tracks were not complete songs. so, this was abandoned due to the product being a little dry. but, i still wanted to make an ep around the ry30, perhaps by orchestrating the existing companion midi tracks.
this idea then quickly merged with what would become thru (inri070) and eventually discarded itself within itself when it was realized that the existing midi files for the 90s material were too sparse to really utilize, especially in comparison to the midi files from the early 00s. thru was deleted and then resuscitated over the course of 2014 and 2015, eventually releasing in mid 2015 as a 2001-2003 project, leaving the 90s material in the dustbin of my own history.
it was in june, 2015 that i realized that the source tapes were usable after all, and cycled back around to the beginning of the reconstruction in order to complete the relevant tracks as instrumental pieces. this idea kind of recreated itself in the nature of the source tapes, as i had bounced all of the electronics together into the same channel as a mixing step, back in the 90s. so, i found myself with these ready-to-publish electronic tracks right off the tape that incorporated a combination of the ry30 tracks, jx-8p parts, soundblaster programs, zoom 1010 noises and cool edit experiments. all they really needed was a little attention on the mastering.
i flipped this over, in the end: what each of these tracks are is their final album mixes, with the guitar and bass parts deleted (unless the bass was done on a synthesizer). so, there was some post-production added over 2015 in the form of updated soundfonts, digital mastering and digital effects processing. but, these are really flourishes on the existing tracks.
it was at the end of dec, 2015 that further similar electronics-only ry30-centric remixes were creating for some later songs, as well, thereby filling out the disc and closing the project.
i sold my ry30 in may, 2003 to raise money to go to british columbia. my logic was that i'd really maximized what i was going to get out of it, and that i'd already discarded it, anyways: by that time, i'd been writing drum parts in the scorewriter for a few years already, and had barely touched the ry30 in a long time. but, i regret that decision, in hindsight. and, i expect to pick up another one, one day.
originally written, programmed and recorded from 1996-2002. reclaimed & remixed from june to december of 2015. initial completion date was december 31, 2015. as always, please use headphones.
credits:
j - drum & other programming, orchestral & other sequencing, guitar effects, digital effects processing, digital wave editing, synthesizers, loops, vocal noises & relics, sampling, sound design, production
the various rendered electronic orchestras include organ, sitar, bells, synthesizer effects, tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections
released april 22, 2003
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
==
when i sat down to complete my discography in 2013, one of the ideas that immediately jumped out was to try and reinterpret some of the inri tracks from the late 1990s as modern pieces. as i believed that my source tapes were unusable at the time (which i eventually realized was not the case - see inri024), the conditions for this being a workable project would need to be the existence of the original drum tracks, along with the existence of some midi files.
i was gifted my ry30 in the summer of 1997 to compensate for the loss of my drum kit and studio space, but i did not have any recording gear again until christmas. so, i spent the fall programming the drum machine and teaching myself the basics of sequencing and sound design, using the primitive tools i had available to me. by the time i got my four track, as well as my jx-8p, the ry30 was full, and re-recording my first songs was just a matter of transferring the completed material from the electronic equipment to tape. so, i initially considered making a companion ep to inrisampled that would document my time spent programming the ry30 along with my time spent learning how to manipulate sound. the difference between the drum tracks at this stage and the initial collage experiments, however, is that the drum tracks were not complete songs. so, this was abandoned due to the product being a little dry. but, i still wanted to make an ep around the ry30, perhaps by orchestrating the existing companion midi tracks.
this idea then quickly merged with what would become thru (inri070) and eventually discarded itself within itself when it was realized that the existing midi files for the 90s material were too sparse to really utilize, especially in comparison to the midi files from the early 00s. thru was deleted and then resuscitated over the course of 2014 and 2015, eventually releasing in mid 2015 as a 2001-2003 project, leaving the 90s material in the dustbin of my own history.
it was in june, 2015 that i realized that the source tapes were usable after all, and cycled back around to the beginning of the reconstruction in order to complete the relevant tracks as instrumental pieces. this idea kind of recreated itself in the nature of the source tapes, as i had bounced all of the electronics together into the same channel as a mixing step, back in the 90s. so, i found myself with these ready-to-publish electronic tracks right off the tape that incorporated a combination of the ry30 tracks, jx-8p parts, soundblaster programs, zoom 1010 noises and cool edit experiments. all they really needed was a little attention on the mastering.
i flipped this over, in the end: what each of these tracks are is their final album mixes, with the guitar and bass parts deleted (unless the bass was done on a synthesizer). so, there was some post-production added over 2015 in the form of updated soundfonts, digital mastering and digital effects processing. but, these are really flourishes on the existing tracks.
it was at the end of dec, 2015 that further similar electronics-only ry30-centric remixes were creating for some later songs, as well, thereby filling out the disc and closing the project.
i sold my ry30 in may, 2003 to raise money to go to british columbia. my logic was that i'd really maximized what i was going to get out of it, and that i'd already discarded it, anyways: by that time, i'd been writing drum parts in the scorewriter for a few years already, and had barely touched the ry30 in a long time. but, i regret that decision, in hindsight. and, i expect to pick up another one, one day.
originally written, programmed and recorded from 1996-2002. reclaimed & remixed from june to december of 2015. initial completion date was december 31, 2015. as always, please use headphones.
credits:
j - drum & other programming, orchestral & other sequencing, guitar effects, digital effects processing, digital wave editing, synthesizers, loops, vocal noises & relics, sampling, sound design, production
the various rendered electronic orchestras include organ, sitar, bells, synthesizer effects, tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections
released april 22, 2003
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
rebroadcasting the imminent completion of electronic pieces in a primitive style (inri066)
this is one of two full remix compilations that will be finished in the next several hours. this compilation focuses on the electronic soundscapes underlying some of my late 90s work. the full instrumental remix record will be finished shortly.
i haven't finalized a number for this yet, but it will probably be inri047 - and i'll probably relabel some things after it.
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
i haven't finalized a number for this yet, but it will probably be inri047 - and i'll probably relabel some things after it.
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
idischzo
so, this version got done first.
i think that the track is actually fine, it's just that the static this morning is a little bit strong. we'll see if i'm right and it fades over the day.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. reprogrammed and reconstructed on dec 31, 2015.
https://jasonparent.bandcamp.com/track/idischzo
i think that the track is actually fine, it's just that the static this morning is a little bit strong. we'll see if i'm right and it fades over the day.
initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. reprogrammed and reconstructed on dec 31, 2015.
https://jasonparent.bandcamp.com/track/idischzo
Wednesday, December 30, 2015
Tuesday, December 29, 2015
28-12-2015: viewless & idiotic
tracks worked on in this vlog:
https://jasonparent.bandcamp.com/track/young-people-have-informed-and-defined-views-that-should-not-be-discarded-off-hand-due-to-their-age
https://jasonparent.bandcamp.com/track/nicotine-actually-has-relatively-useful-properties-as-a-stimulant
https://jasonparent.bandcamp.com/track/young-people-have-informed-and-defined-views-that-should-not-be-discarded-off-hand-due-to-their-age
https://jasonparent.bandcamp.com/track/nicotine-actually-has-relatively-useful-properties-as-a-stimulant
finalizing nicotine actually has relatively useful properties as a stimulant
i took a look at what i could do with the files from this track and concluded i couldn't do a whole lot. to begin with, the tape was warped over the start of the track. second, a lot of the detail was added in at the wave editing stage, and consequently cannot be reconstructed. so, remastering it became a non-starter. further, without the extra flourishes, the electronics only version is pretty boring.
but, the track does belong in the concept of this record - if it were excluded, it would be the only major track to be excluded (except "too cold", which i do not have tapes for).
as it happens to be, though, this is the only track from this period that i kept an instrumental copy of. so, i've just run it through the mastering effects i've used for the other tracks, for consistency, and uploaded as is.
there's one more track left. this will really be done by the end of the year!
initially written in 1997. recreated over the summer of 1998. remastered on dec 29, 2015.
https://jasonparent.bandcamp.com/track/nicotine-actually-has-relatively-useful-properties-as-a-stimulant
but, the track does belong in the concept of this record - if it were excluded, it would be the only major track to be excluded (except "too cold", which i do not have tapes for).
as it happens to be, though, this is the only track from this period that i kept an instrumental copy of. so, i've just run it through the mastering effects i've used for the other tracks, for consistency, and uploaded as is.
there's one more track left. this will really be done by the end of the year!
initially written in 1997. recreated over the summer of 1998. remastered on dec 29, 2015.
https://jasonparent.bandcamp.com/track/nicotine-actually-has-relatively-useful-properties-as-a-stimulant
finalizing young people have informed and defined views that should not be discarded off hand due to their age
this track is also closed. i have two more tracks to analyze before this record closes.
the trick was that i had accidentally stumbled upon an error in my copy of cubase: when you duplicate a track, it seems to reproduce itself slightly misaligned. this opened up a lot of space for wave interference in the higher harmonics, which created a little bit of distortion in the high end of the bass guitar - a slightly unusual effect. but, when you reopen the track, it realigns properly - which was just overloading the bass guitar.
it was when i was finally able to reproduce the error that the mix came into focus.
initially written in 1996. recreated over 1998 and finalized in dec, 1998. reclaimed july 19, 2015. corrected to control for malfunctioning electronics on dec 29, 2015.
https://jasonparent.bandcamp.com/track/young-people-have-informed-and-defined-views-that-should-not-be-discarded-off-hand-due-to-their-age
the trick was that i had accidentally stumbled upon an error in my copy of cubase: when you duplicate a track, it seems to reproduce itself slightly misaligned. this opened up a lot of space for wave interference in the higher harmonics, which created a little bit of distortion in the high end of the bass guitar - a slightly unusual effect. but, when you reopen the track, it realigns properly - which was just overloading the bass guitar.
it was when i was finally able to reproduce the error that the mix came into focus.
initially written in 1996. recreated over 1998 and finalized in dec, 1998. reclaimed july 19, 2015. corrected to control for malfunctioning electronics on dec 29, 2015.
https://jasonparent.bandcamp.com/track/young-people-have-informed-and-defined-views-that-should-not-be-discarded-off-hand-due-to-their-age
Monday, December 28, 2015
Sunday, December 27, 2015
announcing electronic pieces in a primitive style (inri066)
some major updates to my discography will be completed and finalized over the next few days.
one of the bigger changes is the introduction of this record, which will be sequenced in the compilations section at the end of my second period. it's an idea i've been slowly cultivating for quite a while, and has finally taken shape.
it is conceptually similar to the thru compilation, but it utilizes a different collection of gear. for thru, the focus was on scorewriting and reproducing those scores using software synthesizers - it's entirely computer generated music. this material was initially scored out over 2001 and 2002 and initially meant to be played by live musicians, so little attempt was made to utilize the gear i had around me to actually create anything out of it. this had to wait until my most recent active phase, where i completed the tracks using a mixture of vst technology and live recording - but the thru compilation is purely vst-based.
this takes a similar approach to some of the material i recorded from 1998-2000, mostly. however, the instruments at the time were not vst-based: the drums were programmed entirely on an ry30, the synths are all from a classic jx-8p and the sequencing is done using a windows 95 system, with what was possibly an 8-bit soundcard.
the result is something like a collaboration between brian eno, autechre and trent reznor. if that sounds like a swell production team to you, you might dig this.
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
one of the bigger changes is the introduction of this record, which will be sequenced in the compilations section at the end of my second period. it's an idea i've been slowly cultivating for quite a while, and has finally taken shape.
it is conceptually similar to the thru compilation, but it utilizes a different collection of gear. for thru, the focus was on scorewriting and reproducing those scores using software synthesizers - it's entirely computer generated music. this material was initially scored out over 2001 and 2002 and initially meant to be played by live musicians, so little attempt was made to utilize the gear i had around me to actually create anything out of it. this had to wait until my most recent active phase, where i completed the tracks using a mixture of vst technology and live recording - but the thru compilation is purely vst-based.
this takes a similar approach to some of the material i recorded from 1998-2000, mostly. however, the instruments at the time were not vst-based: the drums were programmed entirely on an ry30, the synths are all from a classic jx-8p and the sequencing is done using a windows 95 system, with what was possibly an 8-bit soundcard.
the result is something like a collaboration between brian eno, autechre and trent reznor. if that sounds like a swell production team to you, you might dig this.
https://jasonparent.bandcamp.com/album/electronic-pieces-in-a-primitive-style
carnigeon
written 1999-2000. reconstructed from electronics source files in dec, 2015.
https://jasonparent.bandcamp.com/track/carnigeon
https://jasonparent.bandcamp.com/track/carnigeon
rept
these parts were all written and recorded over the first half of 2002. this section was remixed repeatedly in late 2014 and finally isolated and rendered in this form on dec 27, 2015.
https://jasonparent.bandcamp.com/track/rept
https://jasonparent.bandcamp.com/track/rept
insp
written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. isolated on dec 27, 2015.
https://jasonparent.bandcamp.com/track/insp
https://jasonparent.bandcamp.com/track/insp
deus ici
initially written in 1996. recreated in mar, 1998. reclaimed july 20, 2015. corrected to control for malfunctioning electronics on dec 27, 2015.
https://jasonparent.bandcamp.com/track/deus-ici
https://jasonparent.bandcamp.com/track/deus-ici
finalizing suicide is a personal choice
this track is now closed. this is the first time i've uploaded an instrumental version of the track, meaning i'm finally over the hump and moving forwards again.
this is not the file i rendered on july 20. however, i have not modified the cubase file since then, either. i was unable to create a null...
the common theme in being unable to recreate the output seems to be when i'm doubling tracks and rendering before i re-open the save. i'm going to guess that it's essentially a cascade of run-off and floating point errors; stuff ends up phased differently, routed differently, etc. i might be able to recreate the exact output if i stripped the project down completely and tried to recreate my steps, but...
...i can't hear the difference in an a/b, anyways. so i just rerendered.
regarding the phones...
i was testing with this track for quite a while this evening and led to the conclusion that it needs a bit of a boost in the high end, and a bit of a cut in the low end. but, before i actually saved over the project, i swapped back to the old phones to verify....and realized i was compensating for the exaggerated bottom end.
it would have been a mild cut - a db around 100 hz. but, it's enough that my ears picked it up, and i'm consequently swearing off mixing with them.
i don't want to reflect overly badly on the new phones. they otherwise sounded great. but the 440-IIs are just flat as saskatchewan, and the difference really was immediately noticeable. it's more that i'm used to mixing with very flat phones. like i'm a real producer or something.
the reality is that almost everything sounds better with a bit of a boost on the bottom, especially material that's been compressed to mp3. i will find a good use for these phones. but, i can't go from what would be $500+ studio phones today to $150 consumer phones and not notice the difference.
i knew that. i was just hoping i could maybe double with them in a pinch. and, i think i still might be able to. but i need to finish this project with my tinfoiled over archaic babies and hope a new cord fixes what ails them...
initially written in 1996. recreated over 1998 and finalized in dec, 1998. reclaimed july 20, 2015. corrected to control for malfunctioning electronics on dec 27, 2015.
https://jasonparent.bandcamp.com/track/suicide-is-a-personal-choice
i mean, i gotta be clear...
the record sounds very dynamic through the new phones. it's a bass-heavy disc, and they do a good job of stretching it out without losing the rest of the spectrum. i'd recommend it, even.
but i can't mix with them, because they're not flat.
or, at least, i'd have to spend a long time getting used to them. and i'd rather fix my flat phones.
it's just a question of what the proper application is for a tool. you don't hammer a screw, right. and you don't mix with bassy phones. well, unless you make particularly lame hip-hop.
i think the proper application for this pair is stationary listening to material that has already been mastered, probably while reading or daydreaming. they really seem to be orthopedically designed for reclining. so, you'll get your extra db or two of bass without killing the rest of the signal, and it will mostly sound good.
but if you want totally flat phones, they don't do that.
this is not the file i rendered on july 20. however, i have not modified the cubase file since then, either. i was unable to create a null...
the common theme in being unable to recreate the output seems to be when i'm doubling tracks and rendering before i re-open the save. i'm going to guess that it's essentially a cascade of run-off and floating point errors; stuff ends up phased differently, routed differently, etc. i might be able to recreate the exact output if i stripped the project down completely and tried to recreate my steps, but...
...i can't hear the difference in an a/b, anyways. so i just rerendered.
regarding the phones...
i was testing with this track for quite a while this evening and led to the conclusion that it needs a bit of a boost in the high end, and a bit of a cut in the low end. but, before i actually saved over the project, i swapped back to the old phones to verify....and realized i was compensating for the exaggerated bottom end.
it would have been a mild cut - a db around 100 hz. but, it's enough that my ears picked it up, and i'm consequently swearing off mixing with them.
i don't want to reflect overly badly on the new phones. they otherwise sounded great. but the 440-IIs are just flat as saskatchewan, and the difference really was immediately noticeable. it's more that i'm used to mixing with very flat phones. like i'm a real producer or something.
the reality is that almost everything sounds better with a bit of a boost on the bottom, especially material that's been compressed to mp3. i will find a good use for these phones. but, i can't go from what would be $500+ studio phones today to $150 consumer phones and not notice the difference.
i knew that. i was just hoping i could maybe double with them in a pinch. and, i think i still might be able to. but i need to finish this project with my tinfoiled over archaic babies and hope a new cord fixes what ails them...
initially written in 1996. recreated over 1998 and finalized in dec, 1998. reclaimed july 20, 2015. corrected to control for malfunctioning electronics on dec 27, 2015.
https://jasonparent.bandcamp.com/track/suicide-is-a-personal-choice
i mean, i gotta be clear...
the record sounds very dynamic through the new phones. it's a bass-heavy disc, and they do a good job of stretching it out without losing the rest of the spectrum. i'd recommend it, even.
but i can't mix with them, because they're not flat.
or, at least, i'd have to spend a long time getting used to them. and i'd rather fix my flat phones.
it's just a question of what the proper application is for a tool. you don't hammer a screw, right. and you don't mix with bassy phones. well, unless you make particularly lame hip-hop.
i think the proper application for this pair is stationary listening to material that has already been mastered, probably while reading or daydreaming. they really seem to be orthopedically designed for reclining. so, you'll get your extra db or two of bass without killing the rest of the signal, and it will mostly sound good.
but if you want totally flat phones, they don't do that.
Saturday, December 26, 2015
i don't want to impose deadlines on myself.
there's only a few tracks left, and i wanted them done by now, but it's frustration building up from this taking so long. i need to let that go and just get into finishing the mixes. the sound is stable right now with the new phones. i just need to relax and let it take it's course.
there's only a few tracks left, and i wanted them done by now, but it's frustration building up from this taking so long. i need to let that go and just get into finishing the mixes. the sound is stable right now with the new phones. i just need to relax and let it take it's course.
finalizing sample used without permission
i'm closing this track.
i couldn't get the output to null with the version from july, but i do not believe that the version from july was correct, either. it seems to be routed differently. it's very strange, too, as the time stamps suggest it's almost impossible for the output to be unreconstructible.
to be clear: everything nulled perfectly except a thirty second section of guitar. but, that guitar part is layered over 8 times in the cubase project so it's not as simple as just resetting an eq.
i would be tempted to think that i was getting layered over floating point or round-off errors on all the eqs (i think i'm getting that for another track), but the difference in sound is fairly dramatic - it's really more like it's routing differently.
the only thing i can really think of is that the july output was some kind of error. i may have temporarily placed a bus on those guitar tracks, or perhaps routed them directly to the master.
whatever it was, the reality is that version i have saved in cubase sounds much better and has been uploaded in replace of the previous version.
initially written in 1996. recreated in jan, 1998. reclaimed july 2, 2015. remixed july 12, 2015. corrected to control for malfunctioning electronics on dec 26, 2015.
https://jasonparent.bandcamp.com/track/sample-used-without-permission
i couldn't get the output to null with the version from july, but i do not believe that the version from july was correct, either. it seems to be routed differently. it's very strange, too, as the time stamps suggest it's almost impossible for the output to be unreconstructible.
to be clear: everything nulled perfectly except a thirty second section of guitar. but, that guitar part is layered over 8 times in the cubase project so it's not as simple as just resetting an eq.
i would be tempted to think that i was getting layered over floating point or round-off errors on all the eqs (i think i'm getting that for another track), but the difference in sound is fairly dramatic - it's really more like it's routing differently.
the only thing i can really think of is that the july output was some kind of error. i may have temporarily placed a bus on those guitar tracks, or perhaps routed them directly to the master.
whatever it was, the reality is that version i have saved in cubase sounds much better and has been uploaded in replace of the previous version.
initially written in 1996. recreated in jan, 1998. reclaimed july 2, 2015. remixed july 12, 2015. corrected to control for malfunctioning electronics on dec 26, 2015.
https://jasonparent.bandcamp.com/track/sample-used-without-permission
Friday, December 25, 2015
i'm finally getting out of this systems collapse i've been dealing with.
i seemed to have had shorts in two pairs of headphones, and those shorts were interacting with widespread environmental noise. new phones fixed the problem immediately. i'm hoping my main phones can be salvaged with a new cord.
but, it means i'm finally moving forwards. i've been stuck here since the beginning of july. that's almost six months.
by the end of the year, i expect to have completed several updates to finalize remaining, lingering ideas related to period 1. i then expect to close period 2 fairly quickly, and be on to period 3 by my birthday at the latest.
so, i'm going to be reorganizing the media pages again. facebook seems to have removed the highlight feature. ugh.
i seemed to have had shorts in two pairs of headphones, and those shorts were interacting with widespread environmental noise. new phones fixed the problem immediately. i'm hoping my main phones can be salvaged with a new cord.
but, it means i'm finally moving forwards. i've been stuck here since the beginning of july. that's almost six months.
by the end of the year, i expect to have completed several updates to finalize remaining, lingering ideas related to period 1. i then expect to close period 2 fairly quickly, and be on to period 3 by my birthday at the latest.
so, i'm going to be reorganizing the media pages again. facebook seems to have removed the highlight feature. ugh.
Thursday, December 24, 2015
i've decided to reboot the alter-reality back approximately four months, which is actually fast-forwarding it four months. instead of the alter-reality existing 18 years and four months in the past, it now exists a strict 18 years in the past. so, it is now dec 24, 1997 in the alter-reality. i'm going to switch back to the track that would exist on that date, which is inrisampled. the track will switch again on january 8, 2016 - which maps back to jan 8, 1998. i haven't checked to see if i'm in sync with leap years; i guess we'll find out...
there's a few reasons i'm doing this. see, i started creating the tracks i've been stuck on for months when i got a four-track for christmas in 1997. i'm now about to finish them over christmas, 2015. i like the symmetry in this.
and, the symmetry across the years is broadly useful, too. realigning the tracks to the weather will help me retrace them better.
i've also been stuck, and it's screwed with me in a broader sense. there were things i wanted to go over in this period that i've had to skip because i'm mixing the material i wanted to promote.
i kind of didn't want to ever do this, but the situation i find myself in right now suggests it makes a lot of sense. so, i'm throwing myself back. it's only four months...
https://jasonparent.bandcamp.com/album/inrisampled
i won't be posting further obligatories until i catch back up, which won't be until the end of april.
there's a few reasons i'm doing this. see, i started creating the tracks i've been stuck on for months when i got a four-track for christmas in 1997. i'm now about to finish them over christmas, 2015. i like the symmetry in this.
and, the symmetry across the years is broadly useful, too. realigning the tracks to the weather will help me retrace them better.
i've also been stuck, and it's screwed with me in a broader sense. there were things i wanted to go over in this period that i've had to skip because i'm mixing the material i wanted to promote.
i kind of didn't want to ever do this, but the situation i find myself in right now suggests it makes a lot of sense. so, i'm throwing myself back. it's only four months...
https://jasonparent.bandcamp.com/album/inrisampled
i won't be posting further obligatories until i catch back up, which won't be until the end of april.
23-12-2015: headphone testing
tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
i need to come online quickly post a reassessment of these phones.
when i first put them on, i realized they fit a little oddly but figured i'd get used to it. i walked around and did groceries and thought they sounded great - although they had an exaggerated bottom. when i took them home, that bottom got very muddy. i was sitting upwards the whole time i was testing them. i noticed that they seemed to fit my ears better if i twisted them forward, so the headband was on my forehead, or if i flipped the stereo around. i kind of concluded it was probably a factory defect, and they were meant to have the l and r on opposite sides - although they were wired correctly relative to the labels. i was getting a little remorse.
see, i got a $150 pair of headphones because i was hoping i could use them as a back up studio monitor. the testing i was doing suggested to me that this was a bad decision, and, worse, i'd have to flip the stereo to use them as walking phones. yuck, right.
i eventually got the idea tonight to lie down as i was listening to my 2001 record and everything immediately snapped into place. see, when you're lying down, you want to push the phones forward a little - the headband comes up on your forehead. so, the cups on the phones snapped in and the exaggerated bass disappeared.
so, it's almost like these phones have two settings. as walking phones, the bass is really pretty crazy. as lying down phones, they really balance out and actually sound very nice - not as nice as my very flat 440-IIs, but certainly an upgrade over my last pair of walking phones.
that's something that might be useful to point out about this model. these are sennheiser hd-449s. if you want them reasonably flat, you really have to listen to them lying down.
i'm going to try and mix with them tomorrow to see what happens. if i can use these as stereo backups, i will probably keep them solely for stereo backups and get a pair of $60 phones for walking that don't have these oval, noise isolation pads.
when i first put them on, i realized they fit a little oddly but figured i'd get used to it. i walked around and did groceries and thought they sounded great - although they had an exaggerated bottom. when i took them home, that bottom got very muddy. i was sitting upwards the whole time i was testing them. i noticed that they seemed to fit my ears better if i twisted them forward, so the headband was on my forehead, or if i flipped the stereo around. i kind of concluded it was probably a factory defect, and they were meant to have the l and r on opposite sides - although they were wired correctly relative to the labels. i was getting a little remorse.
see, i got a $150 pair of headphones because i was hoping i could use them as a back up studio monitor. the testing i was doing suggested to me that this was a bad decision, and, worse, i'd have to flip the stereo to use them as walking phones. yuck, right.
i eventually got the idea tonight to lie down as i was listening to my 2001 record and everything immediately snapped into place. see, when you're lying down, you want to push the phones forward a little - the headband comes up on your forehead. so, the cups on the phones snapped in and the exaggerated bass disappeared.
so, it's almost like these phones have two settings. as walking phones, the bass is really pretty crazy. as lying down phones, they really balance out and actually sound very nice - not as nice as my very flat 440-IIs, but certainly an upgrade over my last pair of walking phones.
that's something that might be useful to point out about this model. these are sennheiser hd-449s. if you want them reasonably flat, you really have to listen to them lying down.
i'm going to try and mix with them tomorrow to see what happens. if i can use these as stereo backups, i will probably keep them solely for stereo backups and get a pair of $60 phones for walking that don't have these oval, noise isolation pads.
reacting to a review of the new sennheisers
you mentioned something about the ears.
i got a pair of these the other day, and was initially blown away not by the lack of mids but by the exaggerated bass. it was just way too much. what i eventually realized is that you have to push the phones forwards on your head to get them around your ears properly, and if you don't then the improper isolation can really make it sound like you're listening in a hollow cavern. the only way pushing your phones on your head like that makes any sense is if you're lying down.
if you really like an absurdly exaggerated bass, i guess they can work for you as walking phones. but, i'd really suggest that these phones are really only going to sound right if you listen to them on your back, and that applications are planned around that fact accordingly.
i got a pair of these the other day, and was initially blown away not by the lack of mids but by the exaggerated bass. it was just way too much. what i eventually realized is that you have to push the phones forwards on your head to get them around your ears properly, and if you don't then the improper isolation can really make it sound like you're listening in a hollow cavern. the only way pushing your phones on your head like that makes any sense is if you're lying down.
if you really like an absurdly exaggerated bass, i guess they can work for you as walking phones. but, i'd really suggest that these phones are really only going to sound right if you listen to them on your back, and that applications are planned around that fact accordingly.
Wednesday, December 23, 2015
i picked up some new walking phones yesterday. i can't mix with these phones - they are too heavy in their bass. i am getting interference from them that is easily blocked with a blanket, but it's different - it's on the low end.
i think the interference is environmental, but that it's probably a short, too. fixing the short will probably fix the interference.
i'm going to finish the record with the tinfoil and get some new cables in the new year - nothing to lose from trying. no clear conclusion yet.
i think the interference is environmental, but that it's probably a short, too. fixing the short will probably fix the interference.
i'm going to finish the record with the tinfoil and get some new cables in the new year - nothing to lose from trying. no clear conclusion yet.
Tuesday, December 22, 2015
i spent the last two days double-verifying everything and do not plan to make any further changes. but, i need a day or two more to finish it, and then probably a week to finish the peripherals.
new phones are likely tomorrow.
but, we have a holiday in canada called "boxing day" where everything is on sale. it might be worth waiting.
that's the day after christmas.
new phones are likely tomorrow.
but, we have a holiday in canada called "boxing day" where everything is on sale. it might be worth waiting.
that's the day after christmas.
Sunday, December 20, 2015
Saturday, December 19, 2015
finalizing i’m sure your mom is probably a very nice person
this track is now closed. i've also stuck with the mix from last july.
the remaining tracks have yet to be uploaded.
https://jasonparent.bandcamp.com/track/im-sure-your-mom-is-probably-a-very-nice-person
https://jasonparent.bandcamp.com/track/omm
the remaining tracks have yet to be uploaded.
https://jasonparent.bandcamp.com/track/im-sure-your-mom-is-probably-a-very-nice-person
https://jasonparent.bandcamp.com/track/omm
finalizing no longer confused
i'm closing this one as well. no changes since july...
there will be a few more mixes of this track coming. if i do any singles, this track will get a single.
https://jasonparent.bandcamp.com/track/no-longer-confused
https://jasonparent.bandcamp.com/track/cnusodef
there will be a few more mixes of this track coming. if i do any singles, this track will get a single.
https://jasonparent.bandcamp.com/track/no-longer-confused
https://jasonparent.bandcamp.com/track/cnusodef
finalizing yup. i still fuck the dead.
i'm closing this, as well. no alteration since july.
the pattern is clearly that the mixes were stable all along, and it was the playback that altered. that's now clear, although it wasn't for quite some time.
https://jasonparent.bandcamp.com/track/yup-i-still-fuck-the-dead
the pattern is clearly that the mixes were stable all along, and it was the playback that altered. that's now clear, although it wasn't for quite some time.
https://jasonparent.bandcamp.com/track/yup-i-still-fuck-the-dead
finalizing just say no to mood altering prescription drugs
i had remixed this track in september, but i was confused about what the natural conditions of the output should have been. i double compressed it, which squished the fuck out of the drums.
i have replaced the september version with the initial july version and closed the track.
https://jasonparent.bandcamp.com/track/just-say-no-to-mood-altering-prescription-drugs
https://jasonparent.bandcamp.com/track/open
i have replaced the september version with the initial july version and closed the track.
https://jasonparent.bandcamp.com/track/just-say-no-to-mood-altering-prescription-drugs
https://jasonparent.bandcamp.com/track/open
splitting the ry30 mixes off from inrimixed
i had decided to add an extra component to inrimixed of ry30 mixes.
i've decided to split this off into it's own idea, and include ry30
material that was created after period 1.2. so, this will now be inri05x
and positioned at the end of period 2.
that opens up some more spaced on inrimixed for loose ends that i think ought to be released.
https://jasonparent.bandcamp.com/album/ry30-remixes
that opens up some more spaced on inrimixed for loose ends that i think ought to be released.
https://jasonparent.bandcamp.com/album/ry30-remixes
Friday, December 18, 2015
i'm extremely confident that i've worked the driver issue i've been having down to an issue of radio interference. i also believe that there is magnetic interference in the neighbourhood, likely emanating from the power lines. i believe that the issue is as follows:
1) there is a short in my headphones. this was one of the first things i checked, and rejected, because i got the same issue out of two sets of headphones. but, i believe now that there are actually shorts in both phones, against the odds.
2) the magnetic field in the neighbourhood is interacting with the short, which is charging the phones.
3) this is turning the phones into a radio antenna, which is picking up radio frequency interference from local broadcasters (and perhaps other random sources, as well).
i will need to purchase new headphones next week, because my walking phones shorted out entirely. i will be able to better understand the nature of the problem then, and likely confirm the above hypothesis.
in the mean time, i have been able to block the radio waves by shielding my phones with tin foil. as such, i expect to finally finalize this remix record by the end of the weekend. this will allow me to complete a large amount of filing over the next few weeks, and be ready to move into period 3 by the beginning of the new year.
https://jasonparent.bandcamp.com/album/inriclaimed
1) there is a short in my headphones. this was one of the first things i checked, and rejected, because i got the same issue out of two sets of headphones. but, i believe now that there are actually shorts in both phones, against the odds.
2) the magnetic field in the neighbourhood is interacting with the short, which is charging the phones.
3) this is turning the phones into a radio antenna, which is picking up radio frequency interference from local broadcasters (and perhaps other random sources, as well).
i will need to purchase new headphones next week, because my walking phones shorted out entirely. i will be able to better understand the nature of the problem then, and likely confirm the above hypothesis.
in the mean time, i have been able to block the radio waves by shielding my phones with tin foil. as such, i expect to finally finalize this remix record by the end of the weekend. this will allow me to complete a large amount of filing over the next few weeks, and be ready to move into period 3 by the beginning of the new year.
https://jasonparent.bandcamp.com/album/inriclaimed
finalizing i still don't fully understand this
this track is also closed. not altered.
even with the tinfoil, i'm picking up a little bit of signal right now. i'm going to tentatively suggest it's because it's friday night and the magnetic field is stronger due to the lines being at peak electrical use, do something else for a few hours and reapproach a little after midnight.
https://jasonparent.bandcamp.com/track/i-still-dont-fully-understand-this
even with the tinfoil, i'm picking up a little bit of signal right now. i'm going to tentatively suggest it's because it's friday night and the magnetic field is stronger due to the lines being at peak electrical use, do something else for a few hours and reapproach a little after midnight.
https://jasonparent.bandcamp.com/track/i-still-dont-fully-understand-this
takers
i've decided to upload a drum machine mix of this after all. this is a brand new mix, dated to today.
initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in 2013. reclaimed july 1, 2015. deconstructed dec 18, 2015.
https://jasonparent.bandcamp.com/track/takers
initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in 2013. reclaimed july 1, 2015. deconstructed dec 18, 2015.
https://jasonparent.bandcamp.com/track/takers
finalizing use value is somewhat difficult to define in the human propensity towards artistic expression
i'm closing this track, as well. no change from the initial upload.
https://jasonparent.bandcamp.com/track/use-value-is-somewhat-difficult-to-define-in-the-human-propensity-towards-artistic-expression
https://jasonparent.bandcamp.com/track/use-value-is-somewhat-difficult-to-define-in-the-human-propensity-towards-artistic-expression
god, my brain hurts.
you know what? i know where the baltics are. i can identify each of them on a map. i know their capital cities. i know which language groups their dominant ethnicities fall into. and, i even know a fair bit of their history.
but, i don't have a favourite one. because that's really NOT a thing.
well, maybe prussia. it's them hats. but that would be a confusing answer.
i don't have a favourite balkan, favourite korea or favourite caribbean island, either.
i really hope the stupidity stops, soon. the canadian media is making fox news look insightful, right now.
this isn't tabloid quality journalism. it's closer to onion quality journalism.
...and it's sinking the conservatives to an ontario pc party level of amateurism. suddenly, they're more humorous than scary.
do they really think people can't work this out? really?
globalnews.ca/news/2409408/baltics-a-thing-because-its-2015/
Jane tow
Good for you Jessica, you sound like a very intelligent young lady. I hope one day you are PM!!
jessica amber murray
that's a good laugh.
maybe i should address this point. i've been rambling enough places that i think i have a passive audience. just a feeling. maybe paranoia, maybe solipsism - but maybe accurate. it's at least as likely, really, isn't it?
the idea of me running for office right now is really something that ought to be explained in the terms of a comic strip, with hilarious hijinks leading to total failure along the way. but, even if it weren't such an outrageously ludicrous proposition, the reality is that i wish my focus was 100% on music production at the moment. hear me out on this.
so, i've been dealing with radio interference in my head phones since july. since then, canada has been through an election and i've been kind of vocal about it. but, it was totally by the accident that my system was malfunctioning, and i had absolutely no idea why.
it took me forever to figure it out. first, i had to check things like drivers and system files, as it's the most likely option. that took months to rule out entirely, and i wasn't helped by the fact that i had two sets of headphones, both, it turns out, with shorts. so, every time i checked for issues with the phones, it was always "either the equipment is faulty, or both my phones are faulty.". and, you always take the odds on that gamble - you always say the equipment is faulty.
but, then i finally realized it had to be electrical. so, you have to check everything that could be creating interference. in a room full of gear, that's a nightmare. eventually, i realized that i was getting the same noise out of an mp3 player as i was getting out of the grid - indicating that the interference had to be in the air, as the mp3 player is not connected to the grid.
so, then i had to check to see how far i could go with this interference, realizing it has boundaries that are blocks away - meaning the interference is broadly environmental, and not coming from inside the unit. but, in the process i found the short in one pair of the phones. then, maybe both pairs had shorts, after all.
so, i think the shorts in my phones are interacting with the environmental field to turn my phones into radio antennas, and i'm picking up the local am radio signals. this isn't creating the sound of a radio station, it's just making the audio sound like am radio - kind of jagged and rough at the edges.
it turns out i can block the radio signals relatively well using tinfoil.
but, it took me six long months of experiments to get me this far. and, i'd never had taken the time to ramble on the internet, if it weren't to vent frustration about not knowing why i can't be done mixing this project by now.
that said, i might think about it. one day. in the exceedingly distant future. under certain unlikely conditions. so, it's not likely. but note that i have thought about how unlikely it is on more than one occasion.
you know what? i know where the baltics are. i can identify each of them on a map. i know their capital cities. i know which language groups their dominant ethnicities fall into. and, i even know a fair bit of their history.
but, i don't have a favourite one. because that's really NOT a thing.
well, maybe prussia. it's them hats. but that would be a confusing answer.
i don't have a favourite balkan, favourite korea or favourite caribbean island, either.
i really hope the stupidity stops, soon. the canadian media is making fox news look insightful, right now.
this isn't tabloid quality journalism. it's closer to onion quality journalism.
...and it's sinking the conservatives to an ontario pc party level of amateurism. suddenly, they're more humorous than scary.
do they really think people can't work this out? really?
globalnews.ca/news/2409408/baltics-a-thing-because-its-2015/
Jane tow
Good for you Jessica, you sound like a very intelligent young lady. I hope one day you are PM!!
jessica amber murray
that's a good laugh.
maybe i should address this point. i've been rambling enough places that i think i have a passive audience. just a feeling. maybe paranoia, maybe solipsism - but maybe accurate. it's at least as likely, really, isn't it?
the idea of me running for office right now is really something that ought to be explained in the terms of a comic strip, with hilarious hijinks leading to total failure along the way. but, even if it weren't such an outrageously ludicrous proposition, the reality is that i wish my focus was 100% on music production at the moment. hear me out on this.
so, i've been dealing with radio interference in my head phones since july. since then, canada has been through an election and i've been kind of vocal about it. but, it was totally by the accident that my system was malfunctioning, and i had absolutely no idea why.
it took me forever to figure it out. first, i had to check things like drivers and system files, as it's the most likely option. that took months to rule out entirely, and i wasn't helped by the fact that i had two sets of headphones, both, it turns out, with shorts. so, every time i checked for issues with the phones, it was always "either the equipment is faulty, or both my phones are faulty.". and, you always take the odds on that gamble - you always say the equipment is faulty.
but, then i finally realized it had to be electrical. so, you have to check everything that could be creating interference. in a room full of gear, that's a nightmare. eventually, i realized that i was getting the same noise out of an mp3 player as i was getting out of the grid - indicating that the interference had to be in the air, as the mp3 player is not connected to the grid.
so, then i had to check to see how far i could go with this interference, realizing it has boundaries that are blocks away - meaning the interference is broadly environmental, and not coming from inside the unit. but, in the process i found the short in one pair of the phones. then, maybe both pairs had shorts, after all.
so, i think the shorts in my phones are interacting with the environmental field to turn my phones into radio antennas, and i'm picking up the local am radio signals. this isn't creating the sound of a radio station, it's just making the audio sound like am radio - kind of jagged and rough at the edges.
it turns out i can block the radio signals relatively well using tinfoil.
but, it took me six long months of experiments to get me this far. and, i'd never had taken the time to ramble on the internet, if it weren't to vent frustration about not knowing why i can't be done mixing this project by now.
that said, i might think about it. one day. in the exceedingly distant future. under certain unlikely conditions. so, it's not likely. but note that i have thought about how unlikely it is on more than one occasion.
Thursday, December 17, 2015
finalizing there is definitely something wrong with ironic hipster homophobia
ok.
so, i still don't know if the ultimate problem here is the short or the interference, but i've found a short on the left side of my phones. and, i'm not sure if it's in the cord or in the phones, either.
i know that an extra bit of foil around the connector between the cable and the phones seems to have me fully shielded.
i am finalizing track four, as of right now. it hasn't been altered since june.
https://jasonparent.bandcamp.com/track/there-is-definitely-something-wrong-with-ironic-hipster-homophobia
so, i still don't know if the ultimate problem here is the short or the interference, but i've found a short on the left side of my phones. and, i'm not sure if it's in the cord or in the phones, either.
i know that an extra bit of foil around the connector between the cable and the phones seems to have me fully shielded.
i am finalizing track four, as of right now. it hasn't been altered since june.
https://jasonparent.bandcamp.com/track/there-is-definitely-something-wrong-with-ironic-hipster-homophobia
i actually shielded the phones with aluminum foil and it seems to have worked.
i'll have to go get some phones next week. that will tell me if i have a short in the cable, or if the interference in here is just really strong.
in the mean time, i think i can actually finally get some work done over the weekend. fingers crossed.
i'll have to go get some phones next week. that will tell me if i have a short in the cable, or if the interference in here is just really strong.
in the mean time, i think i can actually finally get some work done over the weekend. fingers crossed.
obligatory influential...
i tend to consistently go back to pisces over siamese dream in terms of influence. i think part of the reason is that the guitars in the rock songs are so much rawer, and the lullabies are so much lusher. i think this record is really the most alternative record that corgan ever did - the pop and metal influences are tuned down a little in favour of gazier and punkier leanings. i know it's an outtakes disc, but i really think it's the band's best record.
there's some nice raw guitar playing all over this disc, but what i'm really citing is the total abandon on pissant and hello kitty kat. i used to do the old rewind, play, repeat trick on those two for hours.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
i tend to consistently go back to pisces over siamese dream in terms of influence. i think part of the reason is that the guitars in the rock songs are so much rawer, and the lullabies are so much lusher. i think this record is really the most alternative record that corgan ever did - the pop and metal influences are tuned down a little in favour of gazier and punkier leanings. i know it's an outtakes disc, but i really think it's the band's best record.
there's some nice raw guitar playing all over this disc, but what i'm really citing is the total abandon on pissant and hello kitty kat. i used to do the old rewind, play, repeat trick on those two for hours.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
obligatory influential...
as far as guitar records go, this is really near the top of the pile. and, it's near the top of the influence list, too. i remember listening to old bootlegs of cornell ribbing thayil a little about going into a "guitar trance". and, there's some real truth to it. there's a nice guitar trance in fell on black days, and another in superunknown.
i used to play along to a lot of grunge-ish records over '94-'96ish, before i started writing my own stuff. the two bands that were always the most fun were soundgarden and the smashing pumpkins. it wasn't so complex that you had to sit down and think about it, but it was acrobatic enough that you couldn't zone out in it, either. good middle point...
what i'm citing here is the guitar trance. it's a good 80% thayil, here.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
as far as guitar records go, this is really near the top of the pile. and, it's near the top of the influence list, too. i remember listening to old bootlegs of cornell ribbing thayil a little about going into a "guitar trance". and, there's some real truth to it. there's a nice guitar trance in fell on black days, and another in superunknown.
i used to play along to a lot of grunge-ish records over '94-'96ish, before i started writing my own stuff. the two bands that were always the most fun were soundgarden and the smashing pumpkins. it wasn't so complex that you had to sit down and think about it, but it was acrobatic enough that you couldn't zone out in it, either. good middle point...
what i'm citing here is the guitar trance. it's a good 80% thayil, here.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
obligatory influential...
i tend to consistently go back to pisces over siamese dream in terms of influence. i think part of the reason is that the guitars in the rock songs are so much rawer, and the lullabies are so much lusher. i think this record is really the most alternative record that corgan ever did - the pop and metal influences are tuned down a little in favour of gazier and punkier leanings. i know it's an outtakes disc, but i really think it's the band's best record.
there's some nice raw guitar playing all over this disc, but what i'm really citing is the total abandon on pissant and hello kitty kat. i used to do the old rewind, play, repeat trick on those two for hours.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
i tend to consistently go back to pisces over siamese dream in terms of influence. i think part of the reason is that the guitars in the rock songs are so much rawer, and the lullabies are so much lusher. i think this record is really the most alternative record that corgan ever did - the pop and metal influences are tuned down a little in favour of gazier and punkier leanings. i know it's an outtakes disc, but i really think it's the band's best record.
there's some nice raw guitar playing all over this disc, but what i'm really citing is the total abandon on pissant and hello kitty kat. i used to do the old rewind, play, repeat trick on those two for hours.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
obligatory influential...
i sometimes forget that i listened to huge amounts of 'pop' over '97 and '98. u2 is like wallpaper, right - it's just always there. sometimes you forget about it. but, when you remember, it becomes obvious.
i think it's universally agreed at this point that this was their last solid disc, but i'm not sure how many people really listened to it closely. it's more just that, on reflection, you have to include it - because the decrease in quality that happened afterwards is so dramatic. it's a really, clear, unambiguous cut-off. it's either that you cut off after pop or before achtung baby, and nobody wants to cut off before achtung baby - so zooropa and pop get included as this kind of afterthought.
i suppose i was the rare weird kid that actually listened to both of those discs quite a bit, and actually took quite a bit of influence from both of them. the late 90s were my industrial kick. i grew up with u2. the transition may not have made sense to most people, but it made a lot of sense to me; that is, the demographic they were angling for did exist, even if we weren't dominant.
the edge used a lot of flangers over this period, which is something i really picked up on. i know a lot of people hate that synthetic tone, but i've always loved the idea of making your guitar sound like any weird sound you can conjure out of it.
i was hoping i'd get another good record out of them, eventually. even if it took a while. it really seems unlikely at this point.
(relevant tracks: why, on sexual confusion in adolescence, thug culture is enforced by the media from the top down and the entirety of period 1.2 (98-99))
i sometimes forget that i listened to huge amounts of 'pop' over '97 and '98. u2 is like wallpaper, right - it's just always there. sometimes you forget about it. but, when you remember, it becomes obvious.
i think it's universally agreed at this point that this was their last solid disc, but i'm not sure how many people really listened to it closely. it's more just that, on reflection, you have to include it - because the decrease in quality that happened afterwards is so dramatic. it's a really, clear, unambiguous cut-off. it's either that you cut off after pop or before achtung baby, and nobody wants to cut off before achtung baby - so zooropa and pop get included as this kind of afterthought.
i suppose i was the rare weird kid that actually listened to both of those discs quite a bit, and actually took quite a bit of influence from both of them. the late 90s were my industrial kick. i grew up with u2. the transition may not have made sense to most people, but it made a lot of sense to me; that is, the demographic they were angling for did exist, even if we weren't dominant.
the edge used a lot of flangers over this period, which is something i really picked up on. i know a lot of people hate that synthetic tone, but i've always loved the idea of making your guitar sound like any weird sound you can conjure out of it.
i was hoping i'd get another good record out of them, eventually. even if it took a while. it really seems unlikely at this point.
(relevant tracks: why, on sexual confusion in adolescence, thug culture is enforced by the media from the top down and the entirety of period 1.2 (98-99))
obligatory influential...
i tend to consistently go back to pisces over siamese dream in terms of influence. i think part of the reason is that the guitars in the rock songs are so much rawer, and the lullabies are so much lusher. i think this record is really the most alternative record that corgan ever did - the pop and metal influences are tuned down a little in favour of gazier and punkier leanings. i know it's an outtakes disc, but i really think it's the band's best record.
there's some nice raw guitar playing all over this disc, but what i'm really citing is the total abandon on pissant and hello kitty kat. i used to do the old rewind, play, repeat trick on those two for hours.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
i tend to consistently go back to pisces over siamese dream in terms of influence. i think part of the reason is that the guitars in the rock songs are so much rawer, and the lullabies are so much lusher. i think this record is really the most alternative record that corgan ever did - the pop and metal influences are tuned down a little in favour of gazier and punkier leanings. i know it's an outtakes disc, but i really think it's the band's best record.
there's some nice raw guitar playing all over this disc, but what i'm really citing is the total abandon on pissant and hello kitty kat. i used to do the old rewind, play, repeat trick on those two for hours.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
+deathtokoalas
and, i'm going to pop an obligatory influential in, here, too.
this record is another lost classic, in it's merging of the various historical chicago sounds - industrial, yes, but also a lot of hip-hop and a lot of jazz, along with a bit of a punk perspective. excepting the fact that the wax trax sound was obviously influential on reznor, saying it sounds like nin is really pretty much wrong. it sounds more like a mash-up of miles davis and the beastie boys, and could reasonably be seen as a substantial forerunner to flying lotus - that's certainly more of the right genre, anyways. the thing is that that genre didn't really exist in 1995. it's one of those examples of a very forward thinking disc going over everybody's heads and being forgotten. that happened a lot in the 90s.....so often, that it seems like people stopped making forward-thinking discs, because it was just going to go over everybody's heads.
i've been struggling to figure out where i was approaching the track from, lyrically. i've never listened to a lot of hip-hop, but i was definitely listening to a lot of die warzau. the record hits similar themes of being "liberated" from the political spectrum. so, i think this record is probably about the right thing to cite in terms of the unusual beat-boxing in the track.
(relevant tracks: why)
and, i'm going to pop an obligatory influential in, here, too.
this record is another lost classic, in it's merging of the various historical chicago sounds - industrial, yes, but also a lot of hip-hop and a lot of jazz, along with a bit of a punk perspective. excepting the fact that the wax trax sound was obviously influential on reznor, saying it sounds like nin is really pretty much wrong. it sounds more like a mash-up of miles davis and the beastie boys, and could reasonably be seen as a substantial forerunner to flying lotus - that's certainly more of the right genre, anyways. the thing is that that genre didn't really exist in 1995. it's one of those examples of a very forward thinking disc going over everybody's heads and being forgotten. that happened a lot in the 90s.....so often, that it seems like people stopped making forward-thinking discs, because it was just going to go over everybody's heads.
i've been struggling to figure out where i was approaching the track from, lyrically. i've never listened to a lot of hip-hop, but i was definitely listening to a lot of die warzau. the record hits similar themes of being "liberated" from the political spectrum. so, i think this record is probably about the right thing to cite in terms of the unusual beat-boxing in the track.
(relevant tracks: why)
obligatory influential...
as far as guitar records go, this is really near the top of the pile. and, it's near the top of the influence list, too. i remember listening to old bootlegs of cornell ribbing thayil a little about going into a "guitar trance". and, there's some real truth to it. there's a nice guitar trance in fell on black days, and another in superunknown.
i used to play along to a lot of grunge-ish records over '94-'96ish, before i started writing my own stuff. the two bands that were always the most fun were soundgarden and the smashing pumpkins. it wasn't so complex that you had to sit down and think about it, but it was acrobatic enough that you couldn't zone out in it, either. good middle point...
what i'm citing here is the guitar trance. it's a good 80% thayil, here.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
as far as guitar records go, this is really near the top of the pile. and, it's near the top of the influence list, too. i remember listening to old bootlegs of cornell ribbing thayil a little about going into a "guitar trance". and, there's some real truth to it. there's a nice guitar trance in fell on black days, and another in superunknown.
i used to play along to a lot of grunge-ish records over '94-'96ish, before i started writing my own stuff. the two bands that were always the most fun were soundgarden and the smashing pumpkins. it wasn't so complex that you had to sit down and think about it, but it was acrobatic enough that you couldn't zone out in it, either. good middle point...
what i'm citing here is the guitar trance. it's a good 80% thayil, here.
(relevant tracks: why, first movement, and really whenever i lose myself on the guitar...)
i'm laughing that this showed up in my play next list, because i always thought fla were basically unlistenable garbage and that they destroyed industrial music & culture - but this is the one song i could kind of dig.
strangely, i like a lot of what delerium did. but, fla has always been this ridiculously macho cyborg dickhead shit. and, the only reason this is at all tolerable is that it delves into self-parody. you can't help but burst out laughing, as arnold comes in and growls...
THE LAWS OF NATURE
THE LAWS OF MAN
THE VOLATILE PARADOX WILL NEVER STAND
wait. these are different things? paradox? how?
strangely, i like a lot of what delerium did. but, fla has always been this ridiculously macho cyborg dickhead shit. and, the only reason this is at all tolerable is that it delves into self-parody. you can't help but burst out laughing, as arnold comes in and growls...
THE LAWS OF NATURE
THE LAWS OF MAN
THE VOLATILE PARADOX WILL NEVER STAND
wait. these are different things? paradox? how?
obligatory influential...
i remember the first time i heard this, some time in early '98; i just stopped and melted. it was literally hypnotizing. i couldn't even get up to smoke a joint, i had to wait until it was done.
none of the other syrs follow up on this well, but this one is really magical. total must-listen.
(relevant tracks: why, liquify and everything else from 98 on)
i remember the first time i heard this, some time in early '98; i just stopped and melted. it was literally hypnotizing. i couldn't even get up to smoke a joint, i had to wait until it was done.
none of the other syrs follow up on this well, but this one is really magical. total must-listen.
(relevant tracks: why, liquify and everything else from 98 on)
deathtokoalas
obligatory influential...
i picked up a cassette of fixed some time around '94 or so. at first, i couldn't listen to it. it was just noise. but, i kept coming back to it out of a sense of curiosity: is there something to this under the chaos? is this something abstract i ought to understand? or is it really just a lot of noise?
it finally clicked some time in mid '95 or so, and it got stuck in my walkman after that for months and months at a time. i actually managed to literally wear the tape out, and had to repurchase on cd.
i'm not sure i've ever really got an answer to that question, so much as it acted as a means of familiarizing myself with the concept of noise as music. about half the disc is carefully sculpted and arranged. the thirlwell mixes, especially, are definitely works of art. but, there's also a good helping of total noise on the disc that exists on a kind of boundary point. if you listen to it repeatedly, patterns start to arise and you become familiar with them, meaning it does function as artistically valid from start to finish. but, it's an open question as to whether those patterns were composed or just haphazardly spliced together. the thing is that it's not obvious, either way - there is at the very least an expert level of bullshitting going on here, to the point that the question can be put aside and the record can be thoroughly enjoyed as purely abstract sound.
it's a pretty ubiquitous background influence, along with the other major nin remix discs (closer & fdts, especially). but, it really comes out very strongly on the current featured track.
(relevant tracks: why is the current featured track with the obvious influence, but fixed is a formative influence and can be heard in everything i've ever done)
Nacht Schreck
NIN's best release, without a doubt.
Wes Murray
+Nacht Schreck Not the best, IMO, but definitely overlooked and underrated. Broken & Fixed are both gems that rarely get the attention they deserve.
deathtokoalas
+Nacht Schreck i think it's without a doubt in the top tier, along with the full-length closer single and further down the spiral - and maybe the perfect drug single. motp would make the top tier, too, if it was a bit longer. also, quake. but, i think it's hard to be more specific than that.
the best material was without a doubt the remix compilations between halo 6 and 11. 5 & 8 were the best proper records, so you could maybe claim the classic period was 5-11, but they're not on the same level.
Jacob French
+Nacht Schreck The Fragile is the best, easily. Broken and Fixed were basically prototypes for TDS, and TDS served as the prelude to The Fragile.
deathtokoalas
+Jacob French for brevity, i'll let the statement stand. but, intent and outcome are not the same thing; the reality is that the fragile was an artistic failure, due largely to the lyrics and the lack of development around the album's release. a strong remix suite would have helped a lot. but, what the listener actually got was a string of half developed songs with vocals that were dragged down so far by alcoholism that they are borderline autistic. the drugs actually seemed to help him in his composition, but they had the effect of really legitimately ruining the songs through the lyrics.
i can't imagine how any halfways intelligent person could listen to the record and not deduce that he's gone full retard. because he actually did - he drank himself stupid, and the record is the consequence of it.
and that's the actual truth of it.
like i say - he could have saved the period with a strong remix set. but, what we got seemed haphazardly thrown together in a drunken haze.
Jacob French
That's what's so good about it, it's literally the morning after Trent's success of TDS. He spent all that time with destructive songs that when he tries to rebuild some semblance of his sound back up again, all he gets is this fragile haze of mixed messages.
The Wretched completely embodies his feelings about the album as a whole, it's not supposed to feel like this complete destruction in vein of Broken or TDS. It's the aftermath of the complete destruction, where Trent is just trying anything to glue his music together. That's what makes it such a perfect concept album along with TDS, it isn't supposed to sound super-polished or like some stereotypical finale to what Trent's career has been so far. He destroys his own music with TDS and The Fragile is Trent seeing if anything is left to begin again from, and in my opinion there is.
But I'm curious, what would you name NIN's best album?
deathtokoalas
+Jacob French that's the kind of rationalization people throw around at velvet underground records - this idea that it's lacklustre on purpose, and therefore brilliant. it's reaching, to say the least.
i think you've got the process drastically wrong, as well. see, here's the thing: there's an original version of the fragile that was never released and was never leaked (to my knowledge). the record label wouldn't allow it. i suspect that it's probably brilliant - and features a lot of writing that is similar to the still ep. but, he caved.
polished or not polished is a sort of ridiculous way to describe his work - it's all polished. even the nastiest, most grating parts of it. but, the record was definitely altered for mass appeal by people that weren't trent reznor. and, that is a big part of the reason it doesn't hold up.
don't get me wrong: there's enough material, there. a fully instrumental single record would have been an incredible kick to the head. and, a couple of the ballads are worth saving. but, pretty much all of the traditional "rock songs" seem written down to a caricature of his audience, under extreme pressure to produce a marketable product. you have to understand that what we got is not what was intended, and we may never hear the intended record.
in the end, the label executives won - they wanted with teeth. whatever. i'd just like to hear the actual record.
Donkey Kong
+deathtokoalas Where did you hear that?
deathtokoalas
+Donkey Kong well, i lived through the process. it was well understood. i don't remember sources from 20 years ago, but they were mainstream - look at stuff like rolling stone or spin.
he had a completely different record prepared that was more "serious", but the label rejected it and sent him back to make more hard-hitting rock songs and radio-friendly singles.
ironically, that's the reason people reacted so badly to it. it's a lot of recycled ideas (and he's still recycling those ideas). and, it's a lot of pandering to an imagined demographic. over time, what's happened is that his initial fan base has moved out and a new fan base that reflects that imagined demographic has moved in.
remember: nin fans in the 90s weren't much into rock or metal. they were mostly into techno and "industrial"; where it interfaced with rock was more in various types of post-punk. you'd have been more likely to find a nin fan into public enemy than into tool. so, it's a huge turnover in his fan base. the fragile is a kind of a pivot point, in that respect.
i pointed out elsewhere that i consider the still ep to be his last substantial release under the nin moniker. and, rumours have long been floating around that this material was initially meant for the fragile. it certainly fits the description of the rejected material, anyways, and is a good feel for what the record was intended to sound like.
==
Aydin Matney
screaming slave sounds like a death grips song
deathtokoalas
+Aydin Matney not really. but you should check out the ice cube remix of i'm afraid of americans. it's everything death grips wish they could have been
obligatory influential...
i picked up a cassette of fixed some time around '94 or so. at first, i couldn't listen to it. it was just noise. but, i kept coming back to it out of a sense of curiosity: is there something to this under the chaos? is this something abstract i ought to understand? or is it really just a lot of noise?
it finally clicked some time in mid '95 or so, and it got stuck in my walkman after that for months and months at a time. i actually managed to literally wear the tape out, and had to repurchase on cd.
i'm not sure i've ever really got an answer to that question, so much as it acted as a means of familiarizing myself with the concept of noise as music. about half the disc is carefully sculpted and arranged. the thirlwell mixes, especially, are definitely works of art. but, there's also a good helping of total noise on the disc that exists on a kind of boundary point. if you listen to it repeatedly, patterns start to arise and you become familiar with them, meaning it does function as artistically valid from start to finish. but, it's an open question as to whether those patterns were composed or just haphazardly spliced together. the thing is that it's not obvious, either way - there is at the very least an expert level of bullshitting going on here, to the point that the question can be put aside and the record can be thoroughly enjoyed as purely abstract sound.
it's a pretty ubiquitous background influence, along with the other major nin remix discs (closer & fdts, especially). but, it really comes out very strongly on the current featured track.
(relevant tracks: why is the current featured track with the obvious influence, but fixed is a formative influence and can be heard in everything i've ever done)
Nacht Schreck
NIN's best release, without a doubt.
Wes Murray
+Nacht Schreck Not the best, IMO, but definitely overlooked and underrated. Broken & Fixed are both gems that rarely get the attention they deserve.
deathtokoalas
+Nacht Schreck i think it's without a doubt in the top tier, along with the full-length closer single and further down the spiral - and maybe the perfect drug single. motp would make the top tier, too, if it was a bit longer. also, quake. but, i think it's hard to be more specific than that.
the best material was without a doubt the remix compilations between halo 6 and 11. 5 & 8 were the best proper records, so you could maybe claim the classic period was 5-11, but they're not on the same level.
Jacob French
+Nacht Schreck The Fragile is the best, easily. Broken and Fixed were basically prototypes for TDS, and TDS served as the prelude to The Fragile.
deathtokoalas
+Jacob French for brevity, i'll let the statement stand. but, intent and outcome are not the same thing; the reality is that the fragile was an artistic failure, due largely to the lyrics and the lack of development around the album's release. a strong remix suite would have helped a lot. but, what the listener actually got was a string of half developed songs with vocals that were dragged down so far by alcoholism that they are borderline autistic. the drugs actually seemed to help him in his composition, but they had the effect of really legitimately ruining the songs through the lyrics.
i can't imagine how any halfways intelligent person could listen to the record and not deduce that he's gone full retard. because he actually did - he drank himself stupid, and the record is the consequence of it.
and that's the actual truth of it.
like i say - he could have saved the period with a strong remix set. but, what we got seemed haphazardly thrown together in a drunken haze.
Jacob French
That's what's so good about it, it's literally the morning after Trent's success of TDS. He spent all that time with destructive songs that when he tries to rebuild some semblance of his sound back up again, all he gets is this fragile haze of mixed messages.
The Wretched completely embodies his feelings about the album as a whole, it's not supposed to feel like this complete destruction in vein of Broken or TDS. It's the aftermath of the complete destruction, where Trent is just trying anything to glue his music together. That's what makes it such a perfect concept album along with TDS, it isn't supposed to sound super-polished or like some stereotypical finale to what Trent's career has been so far. He destroys his own music with TDS and The Fragile is Trent seeing if anything is left to begin again from, and in my opinion there is.
But I'm curious, what would you name NIN's best album?
deathtokoalas
+Jacob French that's the kind of rationalization people throw around at velvet underground records - this idea that it's lacklustre on purpose, and therefore brilliant. it's reaching, to say the least.
i think you've got the process drastically wrong, as well. see, here's the thing: there's an original version of the fragile that was never released and was never leaked (to my knowledge). the record label wouldn't allow it. i suspect that it's probably brilliant - and features a lot of writing that is similar to the still ep. but, he caved.
polished or not polished is a sort of ridiculous way to describe his work - it's all polished. even the nastiest, most grating parts of it. but, the record was definitely altered for mass appeal by people that weren't trent reznor. and, that is a big part of the reason it doesn't hold up.
don't get me wrong: there's enough material, there. a fully instrumental single record would have been an incredible kick to the head. and, a couple of the ballads are worth saving. but, pretty much all of the traditional "rock songs" seem written down to a caricature of his audience, under extreme pressure to produce a marketable product. you have to understand that what we got is not what was intended, and we may never hear the intended record.
in the end, the label executives won - they wanted with teeth. whatever. i'd just like to hear the actual record.
Donkey Kong
+deathtokoalas Where did you hear that?
deathtokoalas
+Donkey Kong well, i lived through the process. it was well understood. i don't remember sources from 20 years ago, but they were mainstream - look at stuff like rolling stone or spin.
he had a completely different record prepared that was more "serious", but the label rejected it and sent him back to make more hard-hitting rock songs and radio-friendly singles.
ironically, that's the reason people reacted so badly to it. it's a lot of recycled ideas (and he's still recycling those ideas). and, it's a lot of pandering to an imagined demographic. over time, what's happened is that his initial fan base has moved out and a new fan base that reflects that imagined demographic has moved in.
remember: nin fans in the 90s weren't much into rock or metal. they were mostly into techno and "industrial"; where it interfaced with rock was more in various types of post-punk. you'd have been more likely to find a nin fan into public enemy than into tool. so, it's a huge turnover in his fan base. the fragile is a kind of a pivot point, in that respect.
i pointed out elsewhere that i consider the still ep to be his last substantial release under the nin moniker. and, rumours have long been floating around that this material was initially meant for the fragile. it certainly fits the description of the rejected material, anyways, and is a good feel for what the record was intended to sound like.
==
Aydin Matney
screaming slave sounds like a death grips song
deathtokoalas
+Aydin Matney not really. but you should check out the ice cube remix of i'm afraid of americans. it's everything death grips wish they could have been
obligatory influential...
this is a kind of a lost classic. i was listening to it a lot in early '98, because i was on a big puppy kick and the genesis influence in puppy has always been overwhelming to me, because i grew up with so much genesis. something reminded me of this, so i reached for it and it stuck in the changer for quite a bit. i remember specifically thinking i wanted to emulate that 80s synth drum hit. it comes in after the bridge. the guitars, as well; the track i'm citing is pretty distant, but i was consciously pulling from this.
i was very, very young when i first connected with this. my dad was a huge genesis/gabriel fan. i was probably exposed to it in the womb - not this, it was released when i was five, but pretty much the whole swath of it from trespass forwards. this was always a favourite of mine, for as long as i can remember.
why don't you just listen to los endos? was the question that was constantly posed, and i never really had a good answer other than that i just liked this better. i'm not sure i can still uphold that argument.
is this the absolute end of genesis as a relevant musical force? probably. and, you probably need a broader perspective to put it in context as relevant at all. but, relevant it is - and very forward thinking when you project it forwards a few years.
(relevant tracks: why)
this is a kind of a lost classic. i was listening to it a lot in early '98, because i was on a big puppy kick and the genesis influence in puppy has always been overwhelming to me, because i grew up with so much genesis. something reminded me of this, so i reached for it and it stuck in the changer for quite a bit. i remember specifically thinking i wanted to emulate that 80s synth drum hit. it comes in after the bridge. the guitars, as well; the track i'm citing is pretty distant, but i was consciously pulling from this.
i was very, very young when i first connected with this. my dad was a huge genesis/gabriel fan. i was probably exposed to it in the womb - not this, it was released when i was five, but pretty much the whole swath of it from trespass forwards. this was always a favourite of mine, for as long as i can remember.
why don't you just listen to los endos? was the question that was constantly posed, and i never really had a good answer other than that i just liked this better. i'm not sure i can still uphold that argument.
is this the absolute end of genesis as a relevant musical force? probably. and, you probably need a broader perspective to put it in context as relevant at all. but, relevant it is - and very forward thinking when you project it forwards a few years.
(relevant tracks: why)
obligatory influential...
i picked up a cassette of fixed some time around '94 or so. at first, i couldn't listen to it. it was just noise. but, i kept coming back to it out of a sense of curiosity: is there something to this under the chaos? is this something abstract i ought to understand? or is it really just a lot of noise?
it finally clicked some time in mid '95 or so, and it got stuck in my walkman after that for months and months at a time. i actually managed to literally wear the tape out, and had to repurchase on cd.
i'm not sure i've ever really got an answer to that question, so much as it acted as a means of familiarizing myself with the concept of noise as music. about half the disc is carefully sculpted and arranged. the thirlwell mixes, especially, are definitely works of art. but, there's also a good helping of total noise on the disc that exists on a kind of boundary point. if you listen to it repeatedly, patterns start to arise and you become familiar with them, meaning it does function as artistically valid from start to finish. but, it's an open question as to whether those patterns were composed or just haphazardly spliced together. the thing is that it's not obvious, either way - there is at the very least an expert level of bullshitting going on here, to the point that the question can be put aside and the record can be thoroughly enjoyed as purely abstract sound.
it's a pretty ubiquitous background influence, along with the other major nin remix discs (closer & fdts, especially). but, it really comes out very strongly on the current featured track.
(relevant tracks: why is the current featured track with the obvious influence, but fixed is a formative influence and can be heard in everything i've ever done)
i picked up a cassette of fixed some time around '94 or so. at first, i couldn't listen to it. it was just noise. but, i kept coming back to it out of a sense of curiosity: is there something to this under the chaos? is this something abstract i ought to understand? or is it really just a lot of noise?
it finally clicked some time in mid '95 or so, and it got stuck in my walkman after that for months and months at a time. i actually managed to literally wear the tape out, and had to repurchase on cd.
i'm not sure i've ever really got an answer to that question, so much as it acted as a means of familiarizing myself with the concept of noise as music. about half the disc is carefully sculpted and arranged. the thirlwell mixes, especially, are definitely works of art. but, there's also a good helping of total noise on the disc that exists on a kind of boundary point. if you listen to it repeatedly, patterns start to arise and you become familiar with them, meaning it does function as artistically valid from start to finish. but, it's an open question as to whether those patterns were composed or just haphazardly spliced together. the thing is that it's not obvious, either way - there is at the very least an expert level of bullshitting going on here, to the point that the question can be put aside and the record can be thoroughly enjoyed as purely abstract sound.
it's a pretty ubiquitous background influence, along with the other major nin remix discs (closer & fdts, especially). but, it really comes out very strongly on the current featured track.
(relevant tracks: why is the current featured track with the obvious influence, but fixed is a formative influence and can be heard in everything i've ever done)
Wednesday, December 16, 2015
switching to why in the alter-reality
there's another alter-reality update tonight.
there's write-ups here they need to be.
https://www.youtube.com/watch?v=ZK1g7Y89Bdc
there's write-ups here they need to be.
https://www.youtube.com/watch?v=ZK1g7Y89Bdc
so, just trying to work things through a little...
i'm convinced that what i'm picking up is radio static. at the frequency level it's at - 5000-15000 hz - it pretty much has to be that. and, it seems too low to be wifi or cell or whatever. it's the frequency that a radio signal operates at, so it's gotta be a radio signal.
the questions i need to figure out are:
1) can i find a way to block the radio signals in the unit?
2) given that it seems to have something to do with the power lines or the streetlights as well, is it the case that these things are affecting my headphones and turning them into a receiver or is it the case that these things are affecting the radio waves and turning them into a relayer? that is, are my phones getting charged (and can i shield them?) or is the signal getting amplified (and then what?).
see, here's the thing: i seemed to be able to block it with a towel. you can't block a magnetic field with a towel. but you can block a radio signal with a towel.
that suggests to me that i may have a solution in building some kind of fort.
i'm hoping my landlord has a gaussmeter. that will help a lot.
but, i think i really just need to go ahead and get the new cords, already. i mean, the worst thing that can happen is that i'll have extra cords.
christmas deposits come in early, it'll be a next week thing.
my walking phones are also demoed, which will be a gst check thing at the beginning of january. they were a christmas present three years ago. i immediately knew that the connector on the noise cancelling unit would break. i didn't think they'd last three years, even. i can unscrew the unit, but the break is too high on the line - i'd have to cut and splice it. they're not worth it, really. i'd rather just get some cleaner phones. so, merry christmas to me...
or...
why don't i get some new phones next week, and then test to see if the interference is gone, then get some new cords if it is?
yeah. that's more logical.
i'm convinced that what i'm picking up is radio static. at the frequency level it's at - 5000-15000 hz - it pretty much has to be that. and, it seems too low to be wifi or cell or whatever. it's the frequency that a radio signal operates at, so it's gotta be a radio signal.
the questions i need to figure out are:
1) can i find a way to block the radio signals in the unit?
2) given that it seems to have something to do with the power lines or the streetlights as well, is it the case that these things are affecting my headphones and turning them into a receiver or is it the case that these things are affecting the radio waves and turning them into a relayer? that is, are my phones getting charged (and can i shield them?) or is the signal getting amplified (and then what?).
see, here's the thing: i seemed to be able to block it with a towel. you can't block a magnetic field with a towel. but you can block a radio signal with a towel.
that suggests to me that i may have a solution in building some kind of fort.
i'm hoping my landlord has a gaussmeter. that will help a lot.
but, i think i really just need to go ahead and get the new cords, already. i mean, the worst thing that can happen is that i'll have extra cords.
christmas deposits come in early, it'll be a next week thing.
my walking phones are also demoed, which will be a gst check thing at the beginning of january. they were a christmas present three years ago. i immediately knew that the connector on the noise cancelling unit would break. i didn't think they'd last three years, even. i can unscrew the unit, but the break is too high on the line - i'd have to cut and splice it. they're not worth it, really. i'd rather just get some cleaner phones. so, merry christmas to me...
or...
why don't i get some new phones next week, and then test to see if the interference is gone, then get some new cords if it is?
yeah. that's more logical.
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