so weird how sleeping patterns respond so quickly to the weather.
excluding a few nights where i was sick or mildly drunk, i didn't sleep much more than 4 hours a night all summer. that's normal for me. and it wasn't a hot summer. but as soon as the cold hits, i'm sleeping 10+ hours again.
Saturday, September 13, 2014
feeling kind of floaty and brain dead. if coffee doesn't help, i'm going to have to do something else tonight....
i don't have the ending pizzicato in. everything else is in and should hopefully be mixed down by the morning. if it's fast enough, i might get the pizzicato in by the morning. otherwise, probably tomorrow.
i'm often slow with bass, but this is intense even by my own standards...
i don't have the ending pizzicato in. everything else is in and should hopefully be mixed down by the morning. if it's fast enough, i might get the pizzicato in by the morning. otherwise, probably tomorrow.
i'm often slow with bass, but this is intense even by my own standards...
Friday, September 12, 2014
so, the grocery store is getting propertarian about it's shopping carts. it's kind of hard to blame them, because people in the neighbourhood aren't being good anarchists.
i was thinking about it on the way home, and it's actually a great topic to use in an introductory discourse. there might be this misperception that it's unruly hooligan anarchists stealing the shopping carts. the actual reality is that it's the anarchists that bring them back, because they understand them as socially owned property. but, the fact that people take them in the first place indicates a level of intuition towards the idea of social ownership.
and isn't it obvious that people ought to be able to take the carts home? i'm just not quite sure why it isn't so obvious that they should bring them back. laziness only gets you so far, here. i mean, i've walked by houses with four or five on their yard, indicating they're not even bringing them back when they get more food.
i might suggest it lies in the perception of property. that intuition towards social ownership may be overpowered by the enforced hierarchical guilt that keeps propertarianism in place. that is, they may be "stealing" the carts because they figure they ought to be able to use them, but then they can't rationalize it, and figure once they've stolen it it becomes theirs. then they just "steal" more. there could even be fear of consequence regarding being caught "stealing" them when they bring them back. but i'm just making wild guesses, and i'd really like to get a better understanding of this.
me? i'm a good anarchist, so i always return the public property as soon as i'm done using it, so other people can use it. that's the basis of a system of social ownership.
there's been a few times where i've been halfway home, realized my neck was sore, pulled a cart off somebody's lawn and then brought it back to their lawn when i was done. that's taking temporary control of a public good and returning it how i found it.
there's also been a few times where somebody has asked me for the cart on the way back to the store and i've given it to them - although i make sure they promise to bring it back to the store. it wasn't even for groceries a few times. one woman had a broken stroller and used it to get her kid home. another guy had a bag of soil. that's the way this ought to work.
the thing is that the level of social responsibility to make it work doesn't seem to be absent. people are taking the carts home, indicating they get it. but what's suppressing the responsibility to bring them back?
the answer to this isn't locking carts down or whatever other silly approach the store might come up with, it's talking to people and trying to understand why they're not being good anarchists.
i was thinking about it on the way home, and it's actually a great topic to use in an introductory discourse. there might be this misperception that it's unruly hooligan anarchists stealing the shopping carts. the actual reality is that it's the anarchists that bring them back, because they understand them as socially owned property. but, the fact that people take them in the first place indicates a level of intuition towards the idea of social ownership.
and isn't it obvious that people ought to be able to take the carts home? i'm just not quite sure why it isn't so obvious that they should bring them back. laziness only gets you so far, here. i mean, i've walked by houses with four or five on their yard, indicating they're not even bringing them back when they get more food.
i might suggest it lies in the perception of property. that intuition towards social ownership may be overpowered by the enforced hierarchical guilt that keeps propertarianism in place. that is, they may be "stealing" the carts because they figure they ought to be able to use them, but then they can't rationalize it, and figure once they've stolen it it becomes theirs. then they just "steal" more. there could even be fear of consequence regarding being caught "stealing" them when they bring them back. but i'm just making wild guesses, and i'd really like to get a better understanding of this.
me? i'm a good anarchist, so i always return the public property as soon as i'm done using it, so other people can use it. that's the basis of a system of social ownership.
there's been a few times where i've been halfway home, realized my neck was sore, pulled a cart off somebody's lawn and then brought it back to their lawn when i was done. that's taking temporary control of a public good and returning it how i found it.
there's also been a few times where somebody has asked me for the cart on the way back to the store and i've given it to them - although i make sure they promise to bring it back to the store. it wasn't even for groceries a few times. one woman had a broken stroller and used it to get her kid home. another guy had a bag of soil. that's the way this ought to work.
the thing is that the level of social responsibility to make it work doesn't seem to be absent. people are taking the carts home, indicating they get it. but what's suppressing the responsibility to bring them back?
the answer to this isn't locking carts down or whatever other silly approach the store might come up with, it's talking to people and trying to understand why they're not being good anarchists.
good news is i got the bass in the ambient section to sound perfect.
frustrating part is that i need to play it like a robot to do it. guitarists - even very good guitarists that are much better than i am - are actually sort of notorious for not being able to do this well. we don't spend hours of our childhood doing this like violin or cello players do because the instrument cycles around bits of syncopation. we even tend to put down guitarists that play perfectly in time by telling them they lack feel and have no soul. but this needs to be perfectly, mechanically precise.
i've done this before. it's something i'm capable of. you've just gotta give me 50 takes to do it...
specifically, it's because we don't count in our heads like orchestra players do, we just feel the timings. it's really the wrong way to play from a classical perspective, but it's a blues instrument, and if you're sitting around counting you're going to sound really dull. i mean, there's counter-examples. i bet fripp counts. but that's kind of my point - fripp sounds like a robot most of the time.
but i have a math degree, so i'm certified to count to 8.
i'll get this....
frustrating part is that i need to play it like a robot to do it. guitarists - even very good guitarists that are much better than i am - are actually sort of notorious for not being able to do this well. we don't spend hours of our childhood doing this like violin or cello players do because the instrument cycles around bits of syncopation. we even tend to put down guitarists that play perfectly in time by telling them they lack feel and have no soul. but this needs to be perfectly, mechanically precise.
i've done this before. it's something i'm capable of. you've just gotta give me 50 takes to do it...
specifically, it's because we don't count in our heads like orchestra players do, we just feel the timings. it's really the wrong way to play from a classical perspective, but it's a blues instrument, and if you're sitting around counting you're going to sound really dull. i mean, there's counter-examples. i bet fripp counts. but that's kind of my point - fripp sounds like a robot most of the time.
but i have a math degree, so i'm certified to count to 8.
i'll get this....
Wednesday, September 10, 2014
uploading to spin inside dull aberrations to the scratchpad
ok, so i think i've got the bass for the first two minutes done. i know, i know - but i'm neurotic, i'm sorry. i actually ended up neutralizing the headphone buzzing by swapping the earpieces out. right-brain/left-brain discussions are not science, but my right ear is definitely stronger, so i notice the buzz less by placing it on my left ear...
i'm still apprehensive about it, though. so, i'm going to ask a favour of the 36 of you. if you could head here and download the track (it's just a file) and play it through as many systems as you can looking for a buzz or rattle in the bass, and then post the system you used to find or not find the buzz or rattle, that would help me chill out a bit.
http://googledrive.com/host/0B5JfVE9XTZikMS1zek9ER0xSU1E/scratchpad/
i'm still apprehensive about it, though. so, i'm going to ask a favour of the 36 of you. if you could head here and download the track (it's just a file) and play it through as many systems as you can looking for a buzz or rattle in the bass, and then post the system you used to find or not find the buzz or rattle, that would help me chill out a bit.
http://googledrive.com/host/0B5JfVE9XTZikMS1zek9ER0xSU1E/scratchpad/
Tuesday, September 9, 2014
on second thought, it's not going to be a double :P
it's going to be volume 1 and volume 2, with volume 1 sequenced at the end of 2001 and volume 2 sequenced at the end of 2002. the writing period for volume 1 will be jan-nov 2001, whereas the writing period for vol 2 will be aug 2001 to nov 2002 (roughly). this will also allow me to continue with a "one record per year" output formula until '03, where the writing focus shifts to larger works for a few years.
official full lengths are therefore:
1) inri005 (1997-1998)
2) inri007 (1998-1999)
3) inri016 (1999)
4) inri023 (2000)
*5) inri033 (2001)
*6) inri0xx (2002)
the *s are the two jjjjjjjjjjjjj releases, although i may rename the second as it is going to mostly consist of instrumental outtakes and remixes coming from the cynicide/rabit period and the mostly unnamed and uncategorized outtakes that were left unfinished directly after it.
i could see releasing it one day as a double (i could see releasing inri005 and 007 together, too), if i can convince somebody to distribute it. but the conceptual differences are actually quite large and not worth maintaining for the chronological value. vol 1 is mostly "classical" music in the modern context of being infused with jazz, techno and noise. it really only has fragmented, vestigial bits of rock structuring. vol 2 retreats back to a more fully modern leftfield industrial combination of rock, techno and noise and is transitional into the splicing of industrial and post-rock that followed afterwards.
that means the song i've been working on is going to be on volume 2 and the last piece of volume 1 will be the atonal choral piece i'll be working on two further pieces from now. the tracklisting on volume one will remain; the 14 minute choir will just be added to the end, which conveniently takes it right up to almost exactly 80 minutes.
it's going to be volume 1 and volume 2, with volume 1 sequenced at the end of 2001 and volume 2 sequenced at the end of 2002. the writing period for volume 1 will be jan-nov 2001, whereas the writing period for vol 2 will be aug 2001 to nov 2002 (roughly). this will also allow me to continue with a "one record per year" output formula until '03, where the writing focus shifts to larger works for a few years.
official full lengths are therefore:
1) inri005 (1997-1998)
2) inri007 (1998-1999)
3) inri016 (1999)
4) inri023 (2000)
*5) inri033 (2001)
*6) inri0xx (2002)
the *s are the two jjjjjjjjjjjjj releases, although i may rename the second as it is going to mostly consist of instrumental outtakes and remixes coming from the cynicide/rabit period and the mostly unnamed and uncategorized outtakes that were left unfinished directly after it.
i could see releasing it one day as a double (i could see releasing inri005 and 007 together, too), if i can convince somebody to distribute it. but the conceptual differences are actually quite large and not worth maintaining for the chronological value. vol 1 is mostly "classical" music in the modern context of being infused with jazz, techno and noise. it really only has fragmented, vestigial bits of rock structuring. vol 2 retreats back to a more fully modern leftfield industrial combination of rock, techno and noise and is transitional into the splicing of industrial and post-rock that followed afterwards.
that means the song i've been working on is going to be on volume 2 and the last piece of volume 1 will be the atonal choral piece i'll be working on two further pieces from now. the tracklisting on volume one will remain; the 14 minute choir will just be added to the end, which conveniently takes it right up to almost exactly 80 minutes.
sequencing the fifth record (inri052)
so, the main aim of what i've been doing since february is completing
what works out to be my fifth full length record, out of material that
was written over the course of 2001 but never completed to my liking due
to deficits in the technology that was available to me at the time. i
had suspected from the beginning that this would probably be a double
and have come to the conclusion this morning that it absolutely must be.
that means i've expanded the scope a little to make the project more encompassing. 85 minute doubles piss me off. if you're going to do a double, fill up both discs! not with filler!
i kind of wanted to do this anyways. the guitar project is now officially aborted, and it really leaves the two remaining tracks as conceptually and musically similar to the other ones. there's also the 9-minute vocal epic, stress, which, while a little different, fits the overall theme of the larger works. it would be incomplete of me to compile this material without including it.
the first half of this is now completed. this is final, in relation to the first disc. the cut-off point is july, 2001 which is only coincidentally the halfway point; what's more important is that it splits the year in half over the summer (with school on either end) and separates a very solo period from a more collaborative one.
https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
1) written late 2000 & early 2001. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. completed on june 6, 2014. sequenced on sept 9, 2014.
2) recorded in the first part of 2001. final editing on september 9, 2014.
4) written and recorded, 1999-2001. this file has not been altered from the original.
5) recorded in the first part of 2001. final editing on september 9, 2014.
that means i've expanded the scope a little to make the project more encompassing. 85 minute doubles piss me off. if you're going to do a double, fill up both discs! not with filler!
i kind of wanted to do this anyways. the guitar project is now officially aborted, and it really leaves the two remaining tracks as conceptually and musically similar to the other ones. there's also the 9-minute vocal epic, stress, which, while a little different, fits the overall theme of the larger works. it would be incomplete of me to compile this material without including it.
the first half of this is now completed. this is final, in relation to the first disc. the cut-off point is july, 2001 which is only coincidentally the halfway point; what's more important is that it splits the year in half over the summer (with school on either end) and separates a very solo period from a more collaborative one.
https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
1) written late 2000 & early 2001. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. completed on june 6, 2014. sequenced on sept 9, 2014.
2) recorded in the first part of 2001. final editing on september 9, 2014.
4) written and recorded, 1999-2001. this file has not been altered from the original.
5) recorded in the first part of 2001. final editing on september 9, 2014.
yeah, it's going to be a double and more comprehensive over the scope of the 2001 material. i'm going to try and avoid redundancies, but a lot of what i've split off is split off for conceptual reasons.
i just won't be able to fit this on a single lp.
and, you know, looking at the material, it's going to be a hell of double, at that. the average track length is going to be something like nine minutes. one of those kinds of doubles...
i just won't be able to fit this on a single lp.
and, you know, looking at the material, it's going to be a hell of double, at that. the average track length is going to be something like nine minutes. one of those kinds of doubles...
Monday, September 8, 2014
actually, no. there's a lot more to do than i thought. i'm going to have reconstruct some of the tracks from source. there's a few where the vocals are integral, but there's a few where the vocals are just overdubs, and i'd like to reclaim those. i should stick to the sequence. but i'm more clear on the chronology, now, anyways and how i want things to come out.
so, back to inri029...
in particular, i'd really like to reconstruct an instrumental version of "clarity", which wasn't initially created as a rabit track. the vocal version is interesting in it's own way, but in some ways the vocals are kind of getting in the way.
i think the others are mostly set, but they weren't really started until 2002.
so, back to inri029...
in particular, i'd really like to reconstruct an instrumental version of "clarity", which wasn't initially created as a rabit track. the vocal version is interesting in it's own way, but in some ways the vocals are kind of getting in the way.
i think the others are mostly set, but they weren't really started until 2002.
Sunday, September 7, 2014
publishing give ‘em hell, harry / strung out (inri051)
i'm jumping ahead just a wee bit, so i can get a better handle on the shape of things to come. this was an idea i was working out in the fall of 2001. inri032...
--
credits:
https://jasonparent.bandcamp.com/album/give-em-hell-harry-strung-out
1) this one was built up out of the sequencer/sampler in cool edit, which allows a user to create a melodic passage out of harsh noise. if the sample is particularly harsh (as this is) the sequencing can get a little messy, which is a bonus.....
the spoken word part at the end is some free trade protester on cbc. created in the fall of 2001
2) so, the pun here is that it's a lot of guitars going off out of tune, representing how the government is stringing us to dry by taking away our rights in the (not so) chaotic aftermath of 9/11. one of the samples is william de la hunt; i did not record who the other person is. created in the fall of 2001
--
i don't
have an exact date for these files, so i'm picking november 11th. as
others were, i was concerned about the president abolishing the magna
carta after 9/11 and congress doing little more than helping him do it.
however, this was meant to be a more encompassing project that combined
harsh noise with political sampling that was pushing an anarchist
agenda. the name of the project (ftaa) was chosen as a pun - it could
either be the free trade agreement of the americas or about fueling true
anarchy in the americas. i ended up dropping the sampling aspect and
just focusing on the noise for the project's completion (which is the
ftaa release in mid 2004: jasonparent.bandcamp.com/album/ftaa
), so i'm going to upload these two pilot tracks (with the sampling in
tact) as an introductory single and place them in this more topical
chronological space.
in hindsight, i think there's something profound about juxtaposing the fair trade movement with the 9/11 attacks as, looking back, it really sucked the life out of the movement.
created in the fall of 2001. resequenced and rereleased on sept 7, 2014. as always, please use headphones.
in hindsight, i think there's something profound about juxtaposing the fair trade movement with the 9/11 attacks as, looking back, it really sucked the life out of the movement.
created in the fall of 2001. resequenced and rereleased on sept 7, 2014. as always, please use headphones.
credits:
j - noise generators, cool edit, sequencers, guitars
(electric, nylon, acoustic), mandolin, effects & processing,
digital wave editing, sampling, production
released november 11, 2001
released november 11, 2001
https://jasonparent.bandcamp.com/album/give-em-hell-harry-strung-out
1) this one was built up out of the sequencer/sampler in cool edit, which allows a user to create a melodic passage out of harsh noise. if the sample is particularly harsh (as this is) the sequencing can get a little messy, which is a bonus.....
the spoken word part at the end is some free trade protester on cbc. created in the fall of 2001
2) so, the pun here is that it's a lot of guitars going off out of tune, representing how the government is stringing us to dry by taking away our rights in the (not so) chaotic aftermath of 9/11. one of the samples is william de la hunt; i did not record who the other person is. created in the fall of 2001
re-uploading most of thru (inri070)
1) written late 2000 & early 2001. initial instrumentation and render completed mar 7, 2014. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. final render completed on april 27, 2014.
2) written early 2001. drastically rearranged in june, 2014. final render completed on july 4, 2014.
3) written early 2001. this render is actually from may 13, 2001.
4) written june, 1998. reimagined june, 2001; the render is from june 18, 2001.
5) written late 2001. this render is actually from sept 22, 2001; it was very mildly edited for continuity on october 1, 2014. note that it was put through some reverb at that time.
so, i'm going to run through the rabit stuff this morning fairly quickly. inri029 is still in progress, but there are some reasons why i want to jump ahead a little, to get a better handle on how things are going to end up presenting themselves. i think this is likely going to be a relatively quick push through to about early 2003, with a few loose ends for me to get through over the next few months. so, it's going to flood a little...
Saturday, September 6, 2014
1
https://jasonparent.bandcamp.com/album/me-myself-and-the-time-i-thought-this-was-a-good-idea-2
the cynicide is running longer but it won't be more than another week - i just need to add bass parts that are already written, mix (that's the length) and write a fade out. i'm not going to add much further commentary (which is the reason i'm sending these links out, as an opportunity to allow you to request changes) to what's already here, so i'll be taking jon out for the remaining rabit updates.
https://jasonparent.bandcamp.com/album/to-spin-inside-dull-aberrations-2
j
the cynicide is running longer but it won't be more than another week - i just need to add bass parts that are already written, mix (that's the length) and write a fade out. i'm not going to add much further commentary (which is the reason i'm sending these links out, as an opportunity to allow you to request changes) to what's already here, so i'll be taking jon out for the remaining rabit updates.
https://jasonparent.bandcamp.com/album/to-spin-inside-dull-aberrations-2
j
publishing me, myself and the time i thought this was a good idea (inri049)
i've been hard at work on a very vertically complex piece for over a month now and am taking a bit of a break this morning to jump ahead just a little. this is next in the list. it's the first track to come out of a project i shared with a singer through the end of 2001 and the first part of 2002.
none of the versions here are final, it's just a lot of demos, but i find all of them worthwhile in their own ways.
----
credits:
j - bass, guitars, synths, writing
sean - vocals, writing
jon - guitar performance (6)
https://jasonparent.bandcamp.com/album/me-myself-and-the-time-i-thought-this-was-a-good-idea
1) sean suggested the bass line ought to sound like this, from which the track was built. sept 1, 2001.
2) this is the first bass & vocal demo, recorded the day the track was written. sept 1, 2001.
3) i built this up on my own the friday night following the sunday it was written, in preparation for the next sunday jam session. sept 7, 2001.
4) as our guitarist was a no show two weeks in a row, we decided to do a joy division cover rather than write new material. i've left the track without drums to better fit the feel of the recording, as none of the renditions on this single contain drums by a very conscious choice to not include them. sept 9, 2001.
5) the song is thematically about somebody launching themselves off a bridge, so i thought it would be an interesting idea to produce a walk passage. this idea was never well received, as there were concerns that the synthesizer sounds too synthetic. but, i mean, it's a synthesizer, what the fuck do you expect it to sound like? sept 22, 2001.
6) the initial demo was a temporary mix to get some ideas across; it was realized from the start that the guitarist would want to do the guitars and the synths would need to be less rough. i didn't expect him to play the part i wrote, though, which was just a weird thing. in the end, this reconstruction did not end up being a final mix (i took most of the end out, which was only ever there on the insistence of the guitarist in the first place, and added an extra guitar part). oct 13, 2001.
none of the versions here are final, it's just a lot of demos, but i find all of them worthwhile in their own ways.
----
rabit is wolf arose accidentally from the cynicide project (jasonparent.bandcamp.com/album/to-spin-inside-dull-aberrations)
but produced far more material in the end. what happened was sean and i
showed up to a few jam sessions and the guitarist (jon - it was his
band) didn't, so we started writing some material without him...
initially, the intent was to include rather than exclude jon but he quickly developed a disinterest due to a variety of obvious if never fully articulated reasons. i was playing guitar parts on the demos, which he couldn't deal with. we were doing joy division songs, which were outside of his sphere of interest. we were writing without him, which made him feel unimportant. we were talking about songs without drums, which he wasn't interested in at all. etc. however, he did record a guitar part (that i wrote) that was never replaced.
this is a collection of demos from the first month of rabit is wolf, which includes multiple versions of the title track and a joy division cover. in the end, none of this would be released in the form it's in here (which is only available for download), but it creates a cohesive (if short) introduction to what follows that is self-contained in a historical context. stated differently, this is the first (post-punk) incarnation of rabit is wolf.
written and recorded in the fall of 2001. compiled on sept 6, 2014. as always, please use headphones.
initially, the intent was to include rather than exclude jon but he quickly developed a disinterest due to a variety of obvious if never fully articulated reasons. i was playing guitar parts on the demos, which he couldn't deal with. we were doing joy division songs, which were outside of his sphere of interest. we were writing without him, which made him feel unimportant. we were talking about songs without drums, which he wasn't interested in at all. etc. however, he did record a guitar part (that i wrote) that was never replaced.
this is a collection of demos from the first month of rabit is wolf, which includes multiple versions of the title track and a joy division cover. in the end, none of this would be released in the form it's in here (which is only available for download), but it creates a cohesive (if short) introduction to what follows that is self-contained in a historical context. stated differently, this is the first (post-punk) incarnation of rabit is wolf.
written and recorded in the fall of 2001. compiled on sept 6, 2014. as always, please use headphones.
credits:
j - bass, guitars, synths, writing
sean - vocals, writing
jon - guitar performance (6)
released october 15, 2001
https://jasonparent.bandcamp.com/album/me-myself-and-the-time-i-thought-this-was-a-good-idea
1) sean suggested the bass line ought to sound like this, from which the track was built. sept 1, 2001.
2) this is the first bass & vocal demo, recorded the day the track was written. sept 1, 2001.
3) i built this up on my own the friday night following the sunday it was written, in preparation for the next sunday jam session. sept 7, 2001.
4) as our guitarist was a no show two weeks in a row, we decided to do a joy division cover rather than write new material. i've left the track without drums to better fit the feel of the recording, as none of the renditions on this single contain drums by a very conscious choice to not include them. sept 9, 2001.
5) the song is thematically about somebody launching themselves off a bridge, so i thought it would be an interesting idea to produce a walk passage. this idea was never well received, as there were concerns that the synthesizer sounds too synthetic. but, i mean, it's a synthesizer, what the fuck do you expect it to sound like? sept 22, 2001.
6) the initial demo was a temporary mix to get some ideas across; it was realized from the start that the guitarist would want to do the guitars and the synths would need to be less rough. i didn't expect him to play the part i wrote, though, which was just a weird thing. in the end, this reconstruction did not end up being a final mix (i took most of the end out, which was only ever there on the insistence of the guitarist in the first place, and added an extra guitar part). oct 13, 2001.
Friday, September 5, 2014
the vacuum didn't work either. it's really stuck in there. i've got it on deep bass therapy, and am going to let it boom overnight. if that's not successful, i'll have to mix the bass down with the cheaper phones.
i'm going to lose most of the day tomorrow as well, as i have much running around to do.
i'm going to lose most of the day tomorrow as well, as i have much running around to do.
sennheiser talk pt 3
jessica
hi sennheiser. me again..
i've got this stubborn hair stuck in there, giving me a buzz on the lower frequencies, as stubborn hairs stuck in headphones tend to do.
now, it's been happening for years, and it's never been much of a problem - quick tweezer run over over a quick vacuum gets the dirt out. it's just something that happens to headphones and that headphones people have to deal with.
but this one is deep in the drivers and all attempts to get it out have failed. i'd probably need to use a tool that is something like a surgeon uses to get in there to pull it out, and it's too stuck for the vacuum (or loud bass music) to get it out.
now, i know you can usually take newer phones apart to do this but the way these ones are made suggests to me that the only way this would be possible is by twisting the top and, again, i don't really want to do that until i'm sure they can actually be disassembled. so, can i get in there without breaking them or do i need to call a surgeon?
those are the out of production 440-IIs, to jog your memory.
sennheiser
Hello Jessica,
It is possible to take the 440 apart.
I used to do it all the time. Use caution, however, since there are no more spares for this model, and if an accident happens, you're SOL! Twisting is not necessary. The baffle is held by a series of claws. Slip a fingernail between and pry gently. Easy does it.
To get the capsule driver out, gently pry up on the black tabs, and be careful not to disturb the connecting wires. They are exceedingly fragile and will not respond well to attempts to reconnect. Use both hands.
If you're talking hair, you might need tweezers, but for dust or other particles, a squirrel hair paintbrush will usually do. DO NOT brush hard!
Any wrinkles put on the diaphragm will be permanent.
Note orientation of the capsule driver to the baffle. It goes in one way only!
You mentioned using a vacuum...be careful with that! It's possible to suck the voice coil right out of the gap with force like that.
jessica
thanks again.
hi sennheiser. me again..
i've got this stubborn hair stuck in there, giving me a buzz on the lower frequencies, as stubborn hairs stuck in headphones tend to do.
now, it's been happening for years, and it's never been much of a problem - quick tweezer run over over a quick vacuum gets the dirt out. it's just something that happens to headphones and that headphones people have to deal with.
but this one is deep in the drivers and all attempts to get it out have failed. i'd probably need to use a tool that is something like a surgeon uses to get in there to pull it out, and it's too stuck for the vacuum (or loud bass music) to get it out.
now, i know you can usually take newer phones apart to do this but the way these ones are made suggests to me that the only way this would be possible is by twisting the top and, again, i don't really want to do that until i'm sure they can actually be disassembled. so, can i get in there without breaking them or do i need to call a surgeon?
those are the out of production 440-IIs, to jog your memory.
sennheiser
Hello Jessica,
It is possible to take the 440 apart.
I used to do it all the time. Use caution, however, since there are no more spares for this model, and if an accident happens, you're SOL! Twisting is not necessary. The baffle is held by a series of claws. Slip a fingernail between and pry gently. Easy does it.
To get the capsule driver out, gently pry up on the black tabs, and be careful not to disturb the connecting wires. They are exceedingly fragile and will not respond well to attempts to reconnect. Use both hands.
If you're talking hair, you might need tweezers, but for dust or other particles, a squirrel hair paintbrush will usually do. DO NOT brush hard!
Any wrinkles put on the diaphragm will be permanent.
Note orientation of the capsule driver to the baffle. It goes in one way only!
You mentioned using a vacuum...be careful with that! It's possible to suck the voice coil right out of the gap with force like that.
jessica
thanks again.
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