Friday, February 20, 2015
i'm an adding an extra mix to the single, which will make the disc flow a
little better (by alternating live and canned mixes) and take it up
almost to 80 minutes, further justifying the two-cd set. it's going to
be the complete mix, but without added lead parts, meaning it will
combine all the pre-existing sound before it's converted into a
concerto. i'm thinking it should be up in the next 12 hours or so.
my ears can be so remarkably sensitive at times. i've spent the last two days neuroticizing over a 1 db treble boost, and setting all kinds of playback levels and latency settings to be sure about it....
i think i've mentioned before that the songs only sound ideal in a minimal volume range, which is generally very loud. i've just resigned myself to this. i mean, the reality is that reproduction is so impossible to control that freaking out over a treble roll is just absolutely absurd. people are going to be listening to it on everything from the beats eq to fucking dolby noise reduction, and it's all going to completely negate my production decisions. i can't even tell you to listen to it flat, really, because the response out of the amp or pc speakers (or, god forbid, cell phone. seriously. don't do that. i'll track you down, take that cell phone out of your hands and beat you over the head with it. never. ever. not my shit, anyways. at least find some phones...) or whatever you're listening to it on is almost certainly not flat relative to my signal.
there's things that mastering companies can do to kind of stabilize it. i don't seriously have access to that kind of equipment. i can fake it with some plugins, but it's not seriously comparable. and, there's a problem with this, regardless - it's a generic gloss. you'd probably want to film me reacting to somebody else trying to master my material, because i'd likely just snap. i'm far too much of a control freak. in fact, i probably wouldn't even let it happen. i'd have to be sitting there in the room, and it's going to take a handful of engineers because i'm going to end up murdering the first few....
for right now, the compression i'm using is very responsive to shifts in volume. so, even when i control for gear, i need to hit that sweet spot to really get what i want. and this isn't the first time i've thrown myself for a loop in losing that sweet spot, then needed to spend a day or two reapproximating it...
you want to talk about the future of music? brain waves. fuck the gear. just let me send you raw math that you can download directly into your skull. it's the only end solution possible to get around it. and fucking bob ludwig can fuck off.
i think i've mentioned before that the songs only sound ideal in a minimal volume range, which is generally very loud. i've just resigned myself to this. i mean, the reality is that reproduction is so impossible to control that freaking out over a treble roll is just absolutely absurd. people are going to be listening to it on everything from the beats eq to fucking dolby noise reduction, and it's all going to completely negate my production decisions. i can't even tell you to listen to it flat, really, because the response out of the amp or pc speakers (or, god forbid, cell phone. seriously. don't do that. i'll track you down, take that cell phone out of your hands and beat you over the head with it. never. ever. not my shit, anyways. at least find some phones...) or whatever you're listening to it on is almost certainly not flat relative to my signal.
there's things that mastering companies can do to kind of stabilize it. i don't seriously have access to that kind of equipment. i can fake it with some plugins, but it's not seriously comparable. and, there's a problem with this, regardless - it's a generic gloss. you'd probably want to film me reacting to somebody else trying to master my material, because i'd likely just snap. i'm far too much of a control freak. in fact, i probably wouldn't even let it happen. i'd have to be sitting there in the room, and it's going to take a handful of engineers because i'm going to end up murdering the first few....
for right now, the compression i'm using is very responsive to shifts in volume. so, even when i control for gear, i need to hit that sweet spot to really get what i want. and this isn't the first time i've thrown myself for a loop in losing that sweet spot, then needed to spend a day or two reapproximating it...
you want to talk about the future of music? brain waves. fuck the gear. just let me send you raw math that you can download directly into your skull. it's the only end solution possible to get around it. and fucking bob ludwig can fuck off.
Thursday, February 19, 2015
Wednesday, February 18, 2015
the sad truth is that this was the second highest selling single in the us in the 60s. the only thing that outsold it was i want to hold your hand. and while it's depressing that that tune is the biggest beatles hit, it's even more distressing that this outsold all the anti-war music. by leaps and bounds.
the 60s, as they have been sold to younger listeners, are mostly a lie. the beatles were very popular. but you need to go way, way down the list to get to dylan or mitchell or anything else with any kind of social conscience. the reality is that it was a fringe counter-culture.
but, you've probably never heard of this before, have you? the counter-culture was fringe then, but it became dominant because the fringe had the balls (with all due respect to the women involved) to stand up against the market and wave it's freak flag high. now, the 60s mainstream is lost in obscurity. you wouldn't recognize more than half of the most popular songs of the era, but you'd recognize all kinds of stuff that didn't sell at all.
people complain that the market doesn't respond to a counter-culture anymore. but it never did. building a counter-culture is not a profitable business venture. if it sees a financial reward at all, it's not going to happen for years or decades. it's about changing attitudes.
the 60s, as they have been sold to younger listeners, are mostly a lie. the beatles were very popular. but you need to go way, way down the list to get to dylan or mitchell or anything else with any kind of social conscience. the reality is that it was a fringe counter-culture.
but, you've probably never heard of this before, have you? the counter-culture was fringe then, but it became dominant because the fringe had the balls (with all due respect to the women involved) to stand up against the market and wave it's freak flag high. now, the 60s mainstream is lost in obscurity. you wouldn't recognize more than half of the most popular songs of the era, but you'd recognize all kinds of stuff that didn't sell at all.
people complain that the market doesn't respond to a counter-culture anymore. but it never did. building a counter-culture is not a profitable business venture. if it sees a financial reward at all, it's not going to happen for years or decades. it's about changing attitudes.
Tuesday, February 17, 2015
i got the impression that the doctor i saw today was finally taking me
seriously. if i'm making progress, i'd rather play the process out than
freak out. it's just that i'm running out of time.
i've set a mental deadline for the first. i have an appointment on the 3rd. if i get the papers in time, great. if not, the third is the proper opportunity....
i've set a mental deadline for the first. i have an appointment on the 3rd. if i get the papers in time, great. if not, the third is the proper opportunity....
Monday, February 16, 2015
i'm essentially certain at this point that i will be overdosing on aspirin at the windsor city health centre on the afternoon of february 17th. i do not expect the doctor i am going to see to take me seriously, and, as such, i expect this to be a necessary step. in order to pre-empt any malpractice by the staff there, and ensure they are held liable for criminal negligence should it occur, i would like to clarify a few facts about what is going to happen before it happens.
1) i will not be armed with any sort of weapon, and do not plan on harming anybody except for myself. should reports surface that i was armed, these reports should be understood as false.
2) i will not consume any aspirin before i enter the center.
3) i will inform medical professionals that i am about to consume the aspirin before i consume it.
2&3 together will provide ample time for an ambulance to arrive. should the ambulance not arrive, or should it arrive too late, the only conclusion will be criminal negligence, and i will expect that the relevant staff be prosecuted to the full extent of the law.
4) my goals tomorrow are not to kill myself, but merely to draw attention to the high level of incompetency in the psychiatrists that i'm dealing with. i've spoken to several, and they all believe i am bluffing when i claim i am suicidal. but, i am not bluffing. the fact that i am not bluffing is the key point i need to get across. if there are professional consequences for gross incompetence in misdiagnosis, i believe they are appropriately enforced, in context. but the important point is that i'm able to get to a doctor that understands that i am not bluffing.
abstractly, i am reversing the work or die ultimatum that the market places on all of us and directing it at the doctors. they have the choice to diagnose or be held liable for the consequences. and, i'm a smart, and creative person - i can ensure that there are dramatic consequences.
the severity of these stunts will increase until the papers are filled out. i will broadcast certain aspects of the stunt before they occur, but not so much as would prevent them.
the one thing i want to make clear is that i have no intention of harming anybody else directly, through physical means.
however, the threat to myself will increase with each stunt as the necessity of diagnosis becomes increasingly clear and the liability for the doctors becomes increasingly dramatic.
i want to be clear that the only acceptable outcomes from my perspective are getting the papers signed or committing suicide; there is no third option.
so, this is all entirely preventable, if the right choice is made to fill out the papers.
1) i will not be armed with any sort of weapon, and do not plan on harming anybody except for myself. should reports surface that i was armed, these reports should be understood as false.
2) i will not consume any aspirin before i enter the center.
3) i will inform medical professionals that i am about to consume the aspirin before i consume it.
2&3 together will provide ample time for an ambulance to arrive. should the ambulance not arrive, or should it arrive too late, the only conclusion will be criminal negligence, and i will expect that the relevant staff be prosecuted to the full extent of the law.
4) my goals tomorrow are not to kill myself, but merely to draw attention to the high level of incompetency in the psychiatrists that i'm dealing with. i've spoken to several, and they all believe i am bluffing when i claim i am suicidal. but, i am not bluffing. the fact that i am not bluffing is the key point i need to get across. if there are professional consequences for gross incompetence in misdiagnosis, i believe they are appropriately enforced, in context. but the important point is that i'm able to get to a doctor that understands that i am not bluffing.
abstractly, i am reversing the work or die ultimatum that the market places on all of us and directing it at the doctors. they have the choice to diagnose or be held liable for the consequences. and, i'm a smart, and creative person - i can ensure that there are dramatic consequences.
the severity of these stunts will increase until the papers are filled out. i will broadcast certain aspects of the stunt before they occur, but not so much as would prevent them.
the one thing i want to make clear is that i have no intention of harming anybody else directly, through physical means.
however, the threat to myself will increase with each stunt as the necessity of diagnosis becomes increasingly clear and the liability for the doctors becomes increasingly dramatic.
i want to be clear that the only acceptable outcomes from my perspective are getting the papers signed or committing suicide; there is no third option.
so, this is all entirely preventable, if the right choice is made to fill out the papers.
no....no....i need to be disciplined in this....
everything i'm doing is way out of time, so it'll just be fitting when this comes up out of time. i've got a demo down, but i won't release it until it gets together in sequence.
i can say that it looks like i'm going to have enough material for a narrative driven release dated to 2015 or 2016, though.
everything i'm doing is way out of time, so it'll just be fitting when this comes up out of time. i've got a demo down, but i won't release it until it gets together in sequence.
i can say that it looks like i'm going to have enough material for a narrative driven release dated to 2015 or 2016, though.
Sunday, February 15, 2015
yeah. i'm taking a break to do something a little simpler.
this could very well go down like a lead balloon, but i think it's kind of necessary right now.
if i'm not making people angry, i'm not doing this right. this recent wave of inoffensive, vanilla folk makes no sense to me. it's fucking elevator music. and it's the antithesis of what folk music is.
this is going to be electric folk, i don't really "do folk", but it's in intent a folk tune, and going to come with a bit of a divisive message. i'm pretty sure i'm right. even if i'm not, hopefully it makes people think a little....
it's going to be a little weird, though, because i can't number a 2015 release from 2002. so, it's going to be unavailable for sale. for a long time. maybe it's better that way.
i've been putting aside new ideas. i mean, i have several i've thought up since i moved down here, but they've been put in sequence. this is ultimately going to be put in sequence, too, in the sense that it's going to be shelved. but it's going to become irrelevant if i wait two, three years to do it.
i've been thinking recently that, when i get over this 2002 hump, the music moving forward is likely to be more conceptual. i'm kind of out of my instrumental rock phase, in the sense that i think i'm coming up on completing everything i could do in the genre - i've made all the statements i want to make. which is tied into the sense of closure i'm attaching to the end of the discography. i expect releases dated after 2006 to be almost entirely conceptual. and releases dated after 2013 to actually be mostly literary.
i think this is an intersection that all modern musicians get to in their lives because the nature of modern music is so deeply juvenile. the last few generations have been struggling with this as they've entered their mid 30s, and especially into their 40s. i have the benefit of learning from those errors a little and getting out in front of it. there's no use in hanging on to the past. you will suck if you try that. you must grow up..
there's a long way to go before that's relevant. right now i'm just focusing on this track as a throwaway. i'd expect it will eventually end up in a single dated to february, 2015. but i can't tell if it's inri070, inri110 or anywhere else in between there.
this could very well go down like a lead balloon, but i think it's kind of necessary right now.
if i'm not making people angry, i'm not doing this right. this recent wave of inoffensive, vanilla folk makes no sense to me. it's fucking elevator music. and it's the antithesis of what folk music is.
this is going to be electric folk, i don't really "do folk", but it's in intent a folk tune, and going to come with a bit of a divisive message. i'm pretty sure i'm right. even if i'm not, hopefully it makes people think a little....
it's going to be a little weird, though, because i can't number a 2015 release from 2002. so, it's going to be unavailable for sale. for a long time. maybe it's better that way.
i've been putting aside new ideas. i mean, i have several i've thought up since i moved down here, but they've been put in sequence. this is ultimately going to be put in sequence, too, in the sense that it's going to be shelved. but it's going to become irrelevant if i wait two, three years to do it.
i've been thinking recently that, when i get over this 2002 hump, the music moving forward is likely to be more conceptual. i'm kind of out of my instrumental rock phase, in the sense that i think i'm coming up on completing everything i could do in the genre - i've made all the statements i want to make. which is tied into the sense of closure i'm attaching to the end of the discography. i expect releases dated after 2006 to be almost entirely conceptual. and releases dated after 2013 to actually be mostly literary.
i think this is an intersection that all modern musicians get to in their lives because the nature of modern music is so deeply juvenile. the last few generations have been struggling with this as they've entered their mid 30s, and especially into their 40s. i have the benefit of learning from those errors a little and getting out in front of it. there's no use in hanging on to the past. you will suck if you try that. you must grow up..
there's a long way to go before that's relevant. right now i'm just focusing on this track as a throwaway. i'd expect it will eventually end up in a single dated to february, 2015. but i can't tell if it's inri070, inri110 or anywhere else in between there.
it's amazing how easy it is to lose a week for no apparent reason. lol.
i've been playing with a bit of a jokey folk song, but it's a conceptual thing and i'm not sure about releasing it, yet. this would be something brand new, which i'm supposed to be putting aside for the moment. but i'm toying with jumping the queue...
i'll have a clearer sense of what's happening with my life on tuesday, although i'm not expecting any kind of reactionary measures until the first. what i will say is that if i don't get this thing moving, i may have to jump forwards significantly. i'm very overdue on it, and it's kind of screwing up a lot of things.
i suppose it's just more proof that nothing's ever really going to get me to give a fuck. i mean, i'm looking at a mountain of work to complete before a near certain suicide attempt within weeks and i can barely get the energy to get off youtube. that's not even slacking, really, it's just honestly not caring.
it's not like i haven't done anything with this. i've got four polished mixes over the last two months. that's really not bad. if i didn't have a surplus of ideas, i'd be done already, really.
i think it's also partially that what i'm about to embark on in finalizing this is flatly quite challenging. i mean, this is going to be some fairly advanced guitar work. and, i don't mean in the lamer scale-running shredder sense. that would be easy. i need the result to be more developed and more expressive than that.
which means i need to find the right tone, to begin with, which could itself take a week. i'll make decisions when i get back on tuesday. for now, i need to actually get some work done over the next 36 hours...
i've been playing with a bit of a jokey folk song, but it's a conceptual thing and i'm not sure about releasing it, yet. this would be something brand new, which i'm supposed to be putting aside for the moment. but i'm toying with jumping the queue...
i'll have a clearer sense of what's happening with my life on tuesday, although i'm not expecting any kind of reactionary measures until the first. what i will say is that if i don't get this thing moving, i may have to jump forwards significantly. i'm very overdue on it, and it's kind of screwing up a lot of things.
i suppose it's just more proof that nothing's ever really going to get me to give a fuck. i mean, i'm looking at a mountain of work to complete before a near certain suicide attempt within weeks and i can barely get the energy to get off youtube. that's not even slacking, really, it's just honestly not caring.
it's not like i haven't done anything with this. i've got four polished mixes over the last two months. that's really not bad. if i didn't have a surplus of ideas, i'd be done already, really.
i think it's also partially that what i'm about to embark on in finalizing this is flatly quite challenging. i mean, this is going to be some fairly advanced guitar work. and, i don't mean in the lamer scale-running shredder sense. that would be easy. i need the result to be more developed and more expressive than that.
which means i need to find the right tone, to begin with, which could itself take a week. i'll make decisions when i get back on tuesday. for now, i need to actually get some work done over the next 36 hours...
Saturday, February 14, 2015
uploading untitled (orchestral mix) to youtube
i don't want to put you off too much with the description "orchestral mix". i think the general revulsion to orchestral music that exists today is half the result of "classical music" being terrible for much of the last century and half the result of the average person nowadays being borderline clinically retarded, and having the attention span of a squirrel; most people probably won't read this far into the comment, sadly enough. the tune is in an overture style, which is usually as close as orchestral music gets to being "popular music". it was initially written as an alternative rock song (with proggy/jazzy touches), converted into a techno song (both in 2002) and then converted into an overture (in 2015). so, it's structured in a way that makes it not entirely alien to pop music. further, the instruments were played by a computer, so it retains the feel of electronic music. it's really not that scary. give it a try with headphones....
https://www.youtube.com/watch?v=spsIaRkKM9I&feature=autoshare
https://www.youtube.com/watch?v=spsIaRkKM9I&feature=autoshare
Friday, February 13, 2015
well, ok, it doesn't make sense for me to have a link on the front of the page that doesn't go anywhere. so, this is back to being public. but that also means i'll be more careful about putting the stubs up. it's falling in a transition period.
https://jasonparent.bandcamp.com/album/untitled
https://jasonparent.bandcamp.com/album/untitled
it took me a few days to get my head around this, but it's starting to take some shape, now. i often get too many ideas at once and need to kind of relax before i'm able to make up a plan that can get them all out in a way that makes sense.
so, i'm just about done the introductory collage. i'll be doing some live guitar parts tonight, and then that will be that. i'll then be able to take that and mix it in, which will finalize the first third of the track. the next step will be to mix in the various sequenced parts. this is going to be both heavy and crucial, as we're talking about roughly a hundred parts mixed into a handful of buses and carefully sprinkled over something that's already pretty full. i'll then need to do a number of highly kinetic guitar parts to finish the final mix. the last thing i'm going to do is take those guitar solos and work them into the orchestral version, along with any necessary overdubs, to produce the guitar concerto.
i think i can reasonably get the mix ready for the lead sections by the end of the weekend, and maybe even start laying them down. but that's going to be a lengthy process. i'm moving the eta on this to mar 1.
the closest i've done to something like this is the first movement of proverbs, which i'm also willing to call a guitar concerto. but, this is going to be a bit more ordered. and it actually took two years to complete. this is already 90% of the way there, so it won't be nearly that long, but getting the exact notes is going to take a few takes.....
https://jasonparent.bandcamp.com/track/first-movement
so, i'm just about done the introductory collage. i'll be doing some live guitar parts tonight, and then that will be that. i'll then be able to take that and mix it in, which will finalize the first third of the track. the next step will be to mix in the various sequenced parts. this is going to be both heavy and crucial, as we're talking about roughly a hundred parts mixed into a handful of buses and carefully sprinkled over something that's already pretty full. i'll then need to do a number of highly kinetic guitar parts to finish the final mix. the last thing i'm going to do is take those guitar solos and work them into the orchestral version, along with any necessary overdubs, to produce the guitar concerto.
i think i can reasonably get the mix ready for the lead sections by the end of the weekend, and maybe even start laying them down. but that's going to be a lengthy process. i'm moving the eta on this to mar 1.
the closest i've done to something like this is the first movement of proverbs, which i'm also willing to call a guitar concerto. but, this is going to be a bit more ordered. and it actually took two years to complete. this is already 90% of the way there, so it won't be nearly that long, but getting the exact notes is going to take a few takes.....
https://jasonparent.bandcamp.com/track/first-movement
Wednesday, February 11, 2015
grargh...
i need to clarify a point, because i'm working against something that is so engrained that it's considered almost crazy to even question it.
if you're a younger person listening to this, i don't want to alienate you or anything. i had diverse tastes when i was younger. there were plenty of artists i enjoyed that had a mean listening base at least a decade older than i was at the time, and it didn't really bother me. what bothered me was that so few people my age had any interest in it, or seemed to stigmatize it as "old". i never really understood that, and it just struck me as immature. so, if you can see through that kind of bullshit then good for you - and i can legitimately relate, too.
but i need to be clear that i'm not a young person, and i don't write music for young people. i'd imagine the proper listening demographic ought to be gender and race neutral, but decidedly middle-aged. it's targeted towards people in their 40s and 50s.
it's partly a reflection of the culture, but it's more of a reflection of me. now, it took me years and years to become cognizant of this; i don't want to present it as something that's been obvious from the start, because it isn't. but the reality is that it wouldn't have ever made any sense for me to write for young people, because i've never understood young people. i suppose artists are often isolated people, but i take the stereotype to a different extreme. how can i write for people i can't converse with? that makes no sense. i've never asked anybody on a date before in my life. i've usually had either zero or one close friend in my life at a time - and usually zero. so, how can i write about experiences i've never had, to a generation i've never interacted with? but, i've grown up listening to music written by people that are today in their 50s and 60s. so, i've had some communication [even if it's one-way] with the older generation. i've had essentially no communication with the younger generation.
it happens to be that the younger generation(s) have not defined themselves as artistically inclined. i think this has to do with the economic circumstances that have asserted themselves since 1980, and became devastatingly retarding in the 1990s. but, that's not the point. i'm not clinging to an older demographic out of a perceived decrease in quality - although i do perceive that decrease in quality. i'm clinging to the older demographic out of an inability to relate to people my own age, and to people younger.
so, i run into these suggestions of a more sexualized presentation to appeal to a younger demographic, and it's just, like "this is not the reality i live in". i don't want to present a judgement. it's just not how i perceive the art being disseminated. i want tips on how to appeal to an older demographic that has moved on past their breeding years.
or, the question of acting as a role model. i'm side-stepping this; this is not music for children but music for grandparents, so it's just not a meaningful question.
</rant>
i sort of mentally skipped my young adult phase. i was 15 going on 12, and then i was 17 going on 37 and 25 going on 55 and 30 going on 80. one would have to expect a person that matures like that to live a bizarre life, and i have.
the point is that i'm explicitly trying to not appeal to a young audience, which is so unusual in the industry today that it's incomprehensible. to understand certain things, you have to understand that.
but it's maybe something else that we ought to expect the collapse of the market to bring forward. young people have historically paid the most out. that's probably not true anymore, and becoming less true every year.
i need to clarify a point, because i'm working against something that is so engrained that it's considered almost crazy to even question it.
if you're a younger person listening to this, i don't want to alienate you or anything. i had diverse tastes when i was younger. there were plenty of artists i enjoyed that had a mean listening base at least a decade older than i was at the time, and it didn't really bother me. what bothered me was that so few people my age had any interest in it, or seemed to stigmatize it as "old". i never really understood that, and it just struck me as immature. so, if you can see through that kind of bullshit then good for you - and i can legitimately relate, too.
but i need to be clear that i'm not a young person, and i don't write music for young people. i'd imagine the proper listening demographic ought to be gender and race neutral, but decidedly middle-aged. it's targeted towards people in their 40s and 50s.
it's partly a reflection of the culture, but it's more of a reflection of me. now, it took me years and years to become cognizant of this; i don't want to present it as something that's been obvious from the start, because it isn't. but the reality is that it wouldn't have ever made any sense for me to write for young people, because i've never understood young people. i suppose artists are often isolated people, but i take the stereotype to a different extreme. how can i write for people i can't converse with? that makes no sense. i've never asked anybody on a date before in my life. i've usually had either zero or one close friend in my life at a time - and usually zero. so, how can i write about experiences i've never had, to a generation i've never interacted with? but, i've grown up listening to music written by people that are today in their 50s and 60s. so, i've had some communication [even if it's one-way] with the older generation. i've had essentially no communication with the younger generation.
it happens to be that the younger generation(s) have not defined themselves as artistically inclined. i think this has to do with the economic circumstances that have asserted themselves since 1980, and became devastatingly retarding in the 1990s. but, that's not the point. i'm not clinging to an older demographic out of a perceived decrease in quality - although i do perceive that decrease in quality. i'm clinging to the older demographic out of an inability to relate to people my own age, and to people younger.
so, i run into these suggestions of a more sexualized presentation to appeal to a younger demographic, and it's just, like "this is not the reality i live in". i don't want to present a judgement. it's just not how i perceive the art being disseminated. i want tips on how to appeal to an older demographic that has moved on past their breeding years.
or, the question of acting as a role model. i'm side-stepping this; this is not music for children but music for grandparents, so it's just not a meaningful question.
</rant>
i sort of mentally skipped my young adult phase. i was 15 going on 12, and then i was 17 going on 37 and 25 going on 55 and 30 going on 80. one would have to expect a person that matures like that to live a bizarre life, and i have.
the point is that i'm explicitly trying to not appeal to a young audience, which is so unusual in the industry today that it's incomprehensible. to understand certain things, you have to understand that.
but it's maybe something else that we ought to expect the collapse of the market to bring forward. young people have historically paid the most out. that's probably not true anymore, and becoming less true every year.
untitled (slow mix)
the slow mix is up...
this is a slower, "ambient" version of the track. mix finalized on feb 10, 2015.
https://jasonparent.bandcamp.com/track/untitled-slow-mix
the final mix is next, followed by the guitar concerto, which is starting to gain some more shape.
i was hoping to have this done by the end of december. it's currently seeming more like an end of february thing :/. but it takes how long it takes...
this is a slower, "ambient" version of the track. mix finalized on feb 10, 2015.
https://jasonparent.bandcamp.com/track/untitled-slow-mix
the final mix is next, followed by the guitar concerto, which is starting to gain some more shape.
i was hoping to have this done by the end of december. it's currently seeming more like an end of february thing :/. but it takes how long it takes...
i've made a change, here.
i've been uploading things as i'm done them, and having it update here via rss. so, anybody can hear things the minute they're finished. now, the reality is that none of you are listening to any of it anyways...
...but i've changed this so that uploads are subscriber only until the release is finalized. so, for example, i'm working on this untitled techno tune right now. i've got two more mixes left, i think. there's currently nine mixes up. at the moment, only bandcamp subscribers can access those nine mixes. when i finish the release and publish it, it will be fully accessible for streaming (and purchase) by the general public.
it appears that the rss feed will stop updating these, so i'll have to post them manually. what that means is that i'll be posting a lot of links you won't have access to unless you subscribe. but, eventually, everything will be accessible....
a little taste of the *actual* future of the music industry.
putting the price through the roof like this provides a strong disincentive for file-sharing. also, if file sharing does end up happening, it ensures that the few people that are actually paying are making up for the lost revenue. that's how markets work, and how it's gotta be if people want to just steal shit...
the result is going to be less sales, but a higher price attached to the dwindling sales. and, you're going to see other things happen as a result of that. artists are going to stop focusing on marketing to the masses and start focusing on marketing to the upper middle classes. this should have a positive effect on the quality of the music, but will likely come at a price of social consciousness. that's a balance we're going to need to grapple with.
the reality is that if there is no market in the masses, there will not be a product produced for them. the idea that a decrease in demand will lead to a sustained increase in supply is incoherent. if demand for popular music falls, musicians will seek out other career opportunities. you can't build an industry on the capitalization of pipe dreams.
i've been uploading things as i'm done them, and having it update here via rss. so, anybody can hear things the minute they're finished. now, the reality is that none of you are listening to any of it anyways...
...but i've changed this so that uploads are subscriber only until the release is finalized. so, for example, i'm working on this untitled techno tune right now. i've got two more mixes left, i think. there's currently nine mixes up. at the moment, only bandcamp subscribers can access those nine mixes. when i finish the release and publish it, it will be fully accessible for streaming (and purchase) by the general public.
it appears that the rss feed will stop updating these, so i'll have to post them manually. what that means is that i'll be posting a lot of links you won't have access to unless you subscribe. but, eventually, everything will be accessible....
a little taste of the *actual* future of the music industry.
putting the price through the roof like this provides a strong disincentive for file-sharing. also, if file sharing does end up happening, it ensures that the few people that are actually paying are making up for the lost revenue. that's how markets work, and how it's gotta be if people want to just steal shit...
the result is going to be less sales, but a higher price attached to the dwindling sales. and, you're going to see other things happen as a result of that. artists are going to stop focusing on marketing to the masses and start focusing on marketing to the upper middle classes. this should have a positive effect on the quality of the music, but will likely come at a price of social consciousness. that's a balance we're going to need to grapple with.
the reality is that if there is no market in the masses, there will not be a product produced for them. the idea that a decrease in demand will lead to a sustained increase in supply is incoherent. if demand for popular music falls, musicians will seek out other career opportunities. you can't build an industry on the capitalization of pipe dreams.
Tuesday, February 10, 2015
suggestions to save on heating
jessica
hi.
i want to be clear that these are ideas to save on heating, not requests for maintenance. i've been here long enough to draw some conclusions.
the way i see it is that the basement is designed in such a way that it doesn't really matter what the source of the heating is, it's going to be high. about 70% of the basement is unheated, and the insulation is incomplete. so, there's going to be tremendous heat loss unless the unit is better insulated. i'm not talking about the windows, i'm just talking about the walls bordering the unheated areas. if it's -10 outside the walls, and there's cracks under the walls, that's just going to leak and leak and leak, whether you put a furnace in here or not.
so, insulating the walls (and the place where the walls hit the floors) would be the first thing i'd do if i wanted to cut heating costs down here.
second, i might want to look at putting stops on the doors, as well. for the back door, it's just constant leakage. again: if it's -10 outside the door, and there's a 2 inch crack under the door, changing the source of the heating isn't really going to be the factor that makes the big difference in costs. it's blocking the drafts. with the front door, there's nothing to separate the cold coming in through the entrance, so it's going to suck the heat out as well. it's not realistic to put an extra door in, but putting a seal on the front door would probably also be huge.
third, it might be worth your while to run a vent from the furnace into the currently unheated part of the basement. that would both reduce costs fighting the draft into here and reduce costs fighting the draft into upstairs, and any stacking moving the air up [which i'm sure must exist].
i've had to turn the heat up a little, as the air in the unfinished part of the basement has plummeted. if the insulation through the walls was better, i'd be able to keep it at a lower level...
the landlord
Thanks, I am concerned as you are....I will considered your suggestions and will act on these as soon as I can with timing and financial recourses. Right now I am not able to act on doors until spring. I want to put new doors. Just keep warm the best you can. I will talk to you when I come by.
jessica
as i'm sure you know, it's going to get freezing this week.
i've crammed some towels in the cracks around the doors. it's obviously not as good as a rubber seal (and that back door is especially, like, *not* meant to keep out drafts), but i think it's at least a good experiment to try to see if it really helps or not. logic suggests that if you can feel a draft through a 2 inch crack up two sides of the door then obstructing it any way at all should make at least some difference. that said, i don't think towels are exactly the best at trapping heat, either. but i'll let you know if it actually keeps the heat in a little better; if it makes no difference, that indicates it's really dominantly a wall issue.
basically, i think this place was constructed with the assumption that the basement would be heated. just consider the walk back to the fuse box. that's a perfect sink for cold air, right. the only way it makes any sense to put a half-insulated wall right there with a bedroom on the other side is if it's taken for granted that the heat is on in the whole complex. otherwise, it's just a structural nightmare: the unit is heating a cold air sink.
so, let's hope the towels make a noticeable difference and the doors can consequently provide a noticeable decrease in cost.
(pause)
hi.
i don't want to bug you about this too much, i just want to update on the effects after blocking the doors and turning the heat up a little.
it seems to hold the heat in pretty well just about everywhere except the second bedroom, so i think putting weather stripping around those doors is a very good idea.
the second room has ceramic baseboards, and the first room has wood baseboards. the walls are about the same temperature in both rooms, so i think the walls are probably ok but that the baseboards in the second room are leaking. now, i don't want to jump to conclusions about conductivity because i think the situation is complicated by various factors, i just want to point out three observations:
1) the wood baseboards are closer to the ground and forming a better seal. so, it seems like they're doing what they're supposed to, while the ceramic ones are not.
2) the ceramic baseboards in that room are much, much colder than they are around the foundation. that is, the ceramic baseboards in the second bedroom are very cold whereas the ceramic baseboards in the kitchen are not so cold. so, there's exposure, there.
3) if you look around the basement, you'll notice that most of the walls have these black, plastic stoppers around them that form a seal to the ground. that black plastic is missing on that wall. it's just paint.
i'd have to *guess* that the cold ceramic is a symptom rather than a cause, and that the causes of the draft are the missing plastic around the outside and the incomplete seal on the inside.
it's of course going to be a lot easier to run some plastic around the wall on the outside than to replace the baseboards, so i'm just pointing that out as a possible approach.
other than that, i think the weatherstripping on the doors is the key good idea, and that the walls themselves are actually not particularly drafty, excepting the cold air moving in under the walls on the far side.
hi.
i want to be clear that these are ideas to save on heating, not requests for maintenance. i've been here long enough to draw some conclusions.
the way i see it is that the basement is designed in such a way that it doesn't really matter what the source of the heating is, it's going to be high. about 70% of the basement is unheated, and the insulation is incomplete. so, there's going to be tremendous heat loss unless the unit is better insulated. i'm not talking about the windows, i'm just talking about the walls bordering the unheated areas. if it's -10 outside the walls, and there's cracks under the walls, that's just going to leak and leak and leak, whether you put a furnace in here or not.
so, insulating the walls (and the place where the walls hit the floors) would be the first thing i'd do if i wanted to cut heating costs down here.
second, i might want to look at putting stops on the doors, as well. for the back door, it's just constant leakage. again: if it's -10 outside the door, and there's a 2 inch crack under the door, changing the source of the heating isn't really going to be the factor that makes the big difference in costs. it's blocking the drafts. with the front door, there's nothing to separate the cold coming in through the entrance, so it's going to suck the heat out as well. it's not realistic to put an extra door in, but putting a seal on the front door would probably also be huge.
third, it might be worth your while to run a vent from the furnace into the currently unheated part of the basement. that would both reduce costs fighting the draft into here and reduce costs fighting the draft into upstairs, and any stacking moving the air up [which i'm sure must exist].
i've had to turn the heat up a little, as the air in the unfinished part of the basement has plummeted. if the insulation through the walls was better, i'd be able to keep it at a lower level...
the landlord
Thanks, I am concerned as you are....I will considered your suggestions and will act on these as soon as I can with timing and financial recourses. Right now I am not able to act on doors until spring. I want to put new doors. Just keep warm the best you can. I will talk to you when I come by.
jessica
as i'm sure you know, it's going to get freezing this week.
i've crammed some towels in the cracks around the doors. it's obviously not as good as a rubber seal (and that back door is especially, like, *not* meant to keep out drafts), but i think it's at least a good experiment to try to see if it really helps or not. logic suggests that if you can feel a draft through a 2 inch crack up two sides of the door then obstructing it any way at all should make at least some difference. that said, i don't think towels are exactly the best at trapping heat, either. but i'll let you know if it actually keeps the heat in a little better; if it makes no difference, that indicates it's really dominantly a wall issue.
basically, i think this place was constructed with the assumption that the basement would be heated. just consider the walk back to the fuse box. that's a perfect sink for cold air, right. the only way it makes any sense to put a half-insulated wall right there with a bedroom on the other side is if it's taken for granted that the heat is on in the whole complex. otherwise, it's just a structural nightmare: the unit is heating a cold air sink.
so, let's hope the towels make a noticeable difference and the doors can consequently provide a noticeable decrease in cost.
(pause)
hi.
i don't want to bug you about this too much, i just want to update on the effects after blocking the doors and turning the heat up a little.
it seems to hold the heat in pretty well just about everywhere except the second bedroom, so i think putting weather stripping around those doors is a very good idea.
the second room has ceramic baseboards, and the first room has wood baseboards. the walls are about the same temperature in both rooms, so i think the walls are probably ok but that the baseboards in the second room are leaking. now, i don't want to jump to conclusions about conductivity because i think the situation is complicated by various factors, i just want to point out three observations:
1) the wood baseboards are closer to the ground and forming a better seal. so, it seems like they're doing what they're supposed to, while the ceramic ones are not.
2) the ceramic baseboards in that room are much, much colder than they are around the foundation. that is, the ceramic baseboards in the second bedroom are very cold whereas the ceramic baseboards in the kitchen are not so cold. so, there's exposure, there.
3) if you look around the basement, you'll notice that most of the walls have these black, plastic stoppers around them that form a seal to the ground. that black plastic is missing on that wall. it's just paint.
i'd have to *guess* that the cold ceramic is a symptom rather than a cause, and that the causes of the draft are the missing plastic around the outside and the incomplete seal on the inside.
it's of course going to be a lot easier to run some plastic around the wall on the outside than to replace the baseboards, so i'm just pointing that out as a possible approach.
other than that, i think the weatherstripping on the doors is the key good idea, and that the walls themselves are actually not particularly drafty, excepting the cold air moving in under the walls on the far side.
concerned about lack of response
To: infocchc <infocchc@cmha-wecb.on.ca>
jessica
hello.
i need a way to get access to the windsor city health center to confirm an appointment on feb 17th. i do not have access to a phone. can you confirm that i can get access through this address, or deny it?
the only other way i could contact the center is to walk, but it is a lengthy walk and it is very cold out.
cmha
You had an appointment Fe b 2nd but it was a snow day centre was closed. No future appointment was made with the nurse. You have an appointment With the doctor on the 17th of Feb.
jessica
thank you, that's what i needed confirmed. i didn't know if the centre was closed (although guessed it was) and didn't want you to think that being unable to make it on the 2nd cancelled the appointment on the 17th.
i don't have a phone number, but i have a voice mail box. i just don't carry the number around with me and never remember it. contacting me can either be done via this email address or via this voice box, which sends a text message to this email address.
jessica
hello.
i need a way to get access to the windsor city health center to confirm an appointment on feb 17th. i do not have access to a phone. can you confirm that i can get access through this address, or deny it?
the only other way i could contact the center is to walk, but it is a lengthy walk and it is very cold out.
cmha
You had an appointment Fe b 2nd but it was a snow day centre was closed. No future appointment was made with the nurse. You have an appointment With the doctor on the 17th of Feb.
jessica
thank you, that's what i needed confirmed. i didn't know if the centre was closed (although guessed it was) and didn't want you to think that being unable to make it on the 2nd cancelled the appointment on the 17th.
i don't have a phone number, but i have a voice mail box. i just don't carry the number around with me and never remember it. contacting me can either be done via this email address or via this voice box, which sends a text message to this email address.
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