the track was always sort of a joke, but i was definitely trying to emulate coil.
(relevant: medicated to the one i love, jesus gets fucked on robitussin, symphony 1, spontaneous combustion, others)
Saturday, April 12, 2014
Friday, April 11, 2014
obligatory "influential on song of the day" post.
this record (and it's other version, which is a bit more experimental) had a ridiculous amount of talented people involved in creating it and the result is very much the sum of it's parts. i can't say i ever came close to emulating this monstrous masterpiece, but the aesthetic on the song of the day is ultimately derived from this source (as well as halo 9).
(relevant tracks: medicated to the one i love, jesus gets fucked on robitussin, symphony 1, curious george, others)
this record (and it's other version, which is a bit more experimental) had a ridiculous amount of talented people involved in creating it and the result is very much the sum of it's parts. i can't say i ever came close to emulating this monstrous masterpiece, but the aesthetic on the song of the day is ultimately derived from this source (as well as halo 9).
(relevant tracks: medicated to the one i love, jesus gets fucked on robitussin, symphony 1, curious george, others)
and, this is where i put my obligatory influenced by post for the day, due to the track being a remix of this one. it was done for a fan comp on the glu list way back in the day and meant to take the track in a more experimental direction.
i got a very terse email from david reilly a few weeks or months later:
"i am aware of what you did to my song."
i'm not sure if we all got that kind of personal response or not. to a point, i can understand his revulsion. despite the nature of the backwards section, evocative or not, this is a pretty personal track, and i went to town with it in ways that i can understand a negative reaction to.
that's partly why i speak of the track, today, as influenced by this one, rather than a remix of it. and, that's actually closer to the truth. it's really barely recognizable.
but, fans of 90s nin remixes and/or the weirder reaches of experimental trip-hop might get something out of it.
as for the track itself, i found something strangely subversive about it. there's about twenty minutes of a minimal bass beats that follows the version on record, climaxing in a wash of noise. i don't really understand addiction, but the picture he paints (especially in the context of the full track, and the state of mind that the ambient bass section represents) is pretty distressing and hard not to react to.
(relevant track: medicated to the one i love)
i got a very terse email from david reilly a few weeks or months later:
"i am aware of what you did to my song."
i'm not sure if we all got that kind of personal response or not. to a point, i can understand his revulsion. despite the nature of the backwards section, evocative or not, this is a pretty personal track, and i went to town with it in ways that i can understand a negative reaction to.
that's partly why i speak of the track, today, as influenced by this one, rather than a remix of it. and, that's actually closer to the truth. it's really barely recognizable.
but, fans of 90s nin remixes and/or the weirder reaches of experimental trip-hop might get something out of it.
as for the track itself, i found something strangely subversive about it. there's about twenty minutes of a minimal bass beats that follows the version on record, climaxing in a wash of noise. i don't really understand addiction, but the picture he paints (especially in the context of the full track, and the state of mind that the ambient bass section represents) is pretty distressing and hard not to react to.
(relevant track: medicated to the one i love)
Thursday, April 10, 2014
just read the cubase manual looking for something about where data is stored (confirming what i've deduced as inescapable, really), and i'm not finding what i looked for, but i did just learn this for the first time.
this would have been useful to me a few weeks ago when i was trying to run 30 vst instruments hooked to separate midi files simultaneously. i ended up pulling the latency down to something ridiculous, and because there weren't any waves running it was a fine workaround, but had i just done this i wouldn't have had to go through the process of mixing out all the midi tracks separately and then cutting out all the silent parts......
all these years, and i had no idea. i will make generous use of this in the future.
this would have been useful to me a few weeks ago when i was trying to run 30 vst instruments hooked to separate midi files simultaneously. i ended up pulling the latency down to something ridiculous, and because there weren't any waves running it was a fine workaround, but had i just done this i wouldn't have had to go through the process of mixing out all the midi tracks separately and then cutting out all the silent parts......
all these years, and i had no idea. i will make generous use of this in the future.
Elliott Jang
Beethoven is a distant 2nd to Mozart in regards to composing
Alex Prendergast
Whew! Thank goodness that's settled!
Patera Milenko
No, you can't really compare the two. They are both brilliant beyond time.
deathtokoalas
bah. beethoven was a creative genius. mozart just knew how to follow all the stupid rules. the result is that beethoven has aged splendidly, while mozart just comes off as a conforming tool.
to put it another way: mozart is merely a period composer. beethoven is truly timeless.
MrEitinha
"You're a Mozart fan!" - Norman Stansfield
toni8675
Any simple comparison between the two of them is just plain childish. Mozart died way younger (and when he died, he already started composing more mature, experimented with chromatic harmony beyond others of his time, and added serious ployphony to his last symphonies), Beethoven lost his hearing, not to mention the 14 years between their births... No one knows how many more things Mozart would have accomplished had he lived as much as Beethoven. There are simply too many variables, that's why you just can't really compare the two of them...
deathtokoalas
it's a very easy comparison: beethoven is exciting, mozart is boring. i see no reason to think mozart would have gained a deeper sense of artistry had he lived longer. what he lacked wasn't age, but emotional attachment to his writing.
toni8675
If the requiem, symphony no. 40, the piano concerto no. 23 (adagio) etc. lack emotional attachment, then I'm curious what's your definition of attachement...
deathtokoalas
well, the comparison is to beethoven; pick something, little of what he did was schmaltzy (with the exception of this piece). but rachmaninov is the apex, specifically his 2nd and 3rd concertos.
almost all of mozart's pieces sound like solutions to engineering problems, those ones included. perfect? sure: perfectly trite.
Beethoven is a distant 2nd to Mozart in regards to composing
Alex Prendergast
Whew! Thank goodness that's settled!
Patera Milenko
No, you can't really compare the two. They are both brilliant beyond time.
deathtokoalas
bah. beethoven was a creative genius. mozart just knew how to follow all the stupid rules. the result is that beethoven has aged splendidly, while mozart just comes off as a conforming tool.
to put it another way: mozart is merely a period composer. beethoven is truly timeless.
MrEitinha
"You're a Mozart fan!" - Norman Stansfield
toni8675
Any simple comparison between the two of them is just plain childish. Mozart died way younger (and when he died, he already started composing more mature, experimented with chromatic harmony beyond others of his time, and added serious ployphony to his last symphonies), Beethoven lost his hearing, not to mention the 14 years between their births... No one knows how many more things Mozart would have accomplished had he lived as much as Beethoven. There are simply too many variables, that's why you just can't really compare the two of them...
deathtokoalas
it's a very easy comparison: beethoven is exciting, mozart is boring. i see no reason to think mozart would have gained a deeper sense of artistry had he lived longer. what he lacked wasn't age, but emotional attachment to his writing.
toni8675
If the requiem, symphony no. 40, the piano concerto no. 23 (adagio) etc. lack emotional attachment, then I'm curious what's your definition of attachement...
deathtokoalas
well, the comparison is to beethoven; pick something, little of what he did was schmaltzy (with the exception of this piece). but rachmaninov is the apex, specifically his 2nd and 3rd concertos.
almost all of mozart's pieces sound like solutions to engineering problems, those ones included. perfect? sure: perfectly trite.
i was able to reconstruct and authoritatively back up my archival material a lot easier than i thought i would be able to. the only thing i've lost of any consequence is a couple of backing files for 'ignorance is bliss'. i can live with that.
now that i'm a little more focused as to what i'm looking for, i'm going to do one more data recovery scan through the other two physical disks to see if i can salvage anything. i'm not overly confident.
as for the script? i did this once before and concluded the data was garbled, but if i can reconstruct the directory structure and file names of the script, and get a bit lucky in pulling out a few text fragments, i should be able to rebuild the script with minimal effort - even if it takes a few days to write it all out and do some virtual testing. well, shit, it could be a month before the bus pirate gets here, anyways.
i'm going to move some things around with the expectation of getting used to living with three discs for the time being. i'm not sure i could even buy a 250 gb sata II drive new anywhere (and second hand hard drives are a dumb idea). so i'm going to end up upgrading.
when i do, i'll move the music files to the new drive. they're both the most important and need the most space. that'll leave me with two 250s i can boot into 32 and 64 bit, respectively, and one to use for various types of backup.
for right now, though, i don't have the appetite to set up a 64 bit system. but i might end up at least nliting it, depending on how much time i end up waiting for, and how successfully i can salvage the other laptop.
as the problem with the other laptop is the hard drive (there's a pattern here; i'm tempted to go to ssd, i'll have to check prices), what i'll have to do is work off an external. then again, it hasn't actually died yet. in the long run, that's another component i'll have to replace, but it's not a priority.
so, i'm chugging away at this. i can't provide an eta for getting back to what i was doing, but i can at least report having a few ideas.
now that i'm a little more focused as to what i'm looking for, i'm going to do one more data recovery scan through the other two physical disks to see if i can salvage anything. i'm not overly confident.
as for the script? i did this once before and concluded the data was garbled, but if i can reconstruct the directory structure and file names of the script, and get a bit lucky in pulling out a few text fragments, i should be able to rebuild the script with minimal effort - even if it takes a few days to write it all out and do some virtual testing. well, shit, it could be a month before the bus pirate gets here, anyways.
i'm going to move some things around with the expectation of getting used to living with three discs for the time being. i'm not sure i could even buy a 250 gb sata II drive new anywhere (and second hand hard drives are a dumb idea). so i'm going to end up upgrading.
when i do, i'll move the music files to the new drive. they're both the most important and need the most space. that'll leave me with two 250s i can boot into 32 and 64 bit, respectively, and one to use for various types of backup.
for right now, though, i don't have the appetite to set up a 64 bit system. but i might end up at least nliting it, depending on how much time i end up waiting for, and how successfully i can salvage the other laptop.
as the problem with the other laptop is the hard drive (there's a pattern here; i'm tempted to go to ssd, i'll have to check prices), what i'll have to do is work off an external. then again, it hasn't actually died yet. in the long run, that's another component i'll have to replace, but it's not a priority.
so, i'm chugging away at this. i can't provide an eta for getting back to what i was doing, but i can at least report having a few ideas.
cmd files may technically be programs, but people interact with them like text. they're more like modern-day scripts, really.
in trying to salvage old files off my working drives (to replace the files on the trashed one), i've noticed that i'm often able to pull text files up that have been deleted for up to five years but i can't pull off cmd files that were deleted last month. it doesn't seem to be dependent on size. i'm led to conclude that ntfs is filing cmd files as programs and they're getting easily corrupted as binary.
but they're not really programs. they're certainly not binary they're text...
i realize that there may be some security issues with treating scripts as text files. but how serious an obstacle is this nowadays really? i mean, if you can launch notepad remotely, you're pretty much in control, are you not? even so, wouldn't it make more sense to block at the kernel than the file system? even backup drives crash. rather, this strikes me as an ancient windows artifact from the early 90s or the late 80s when cmd files really were programs and that should be updated for modern usage. i can't be the first person that's run into this.
i don't know enough about other file systems to comment.
in trying to salvage old files off my working drives (to replace the files on the trashed one), i've noticed that i'm often able to pull text files up that have been deleted for up to five years but i can't pull off cmd files that were deleted last month. it doesn't seem to be dependent on size. i'm led to conclude that ntfs is filing cmd files as programs and they're getting easily corrupted as binary.
but they're not really programs. they're certainly not binary they're text...
i realize that there may be some security issues with treating scripts as text files. but how serious an obstacle is this nowadays really? i mean, if you can launch notepad remotely, you're pretty much in control, are you not? even so, wouldn't it make more sense to block at the kernel than the file system? even backup drives crash. rather, this strikes me as an ancient windows artifact from the early 90s or the late 80s when cmd files really were programs and that should be updated for modern usage. i can't be the first person that's run into this.
i don't know enough about other file systems to comment.
Wednesday, April 9, 2014
uploading the souls that create to youtube
just put this up..
so, i'm going through some old files and decided to put this up...
the backstory is connected to a covers compilation put together by cleopatra records called "hymns of the warlock", as well as a remix compilation put together by nettwerk records called "remix dystemper". this compilation was put together between the releases of those two compilations.
the easiest thing to say is simply that there were always two different types of skinny puppy fans, related to a now historical split in electronic music between those who preferred "ebm" (that is electronic booty/body music) and "idm" (intelligent dance music). ebm is only reasonably listened to in clubs because it's simplistic and repetitive; idm is the kind of thing you put on when you're doing homework or reading a book. the separation has been much maligned, but it is intuitively obvious that there are some types of electronic music that do not have much depth (and yet are fun to dance to) and some types of electronic music with dozens of layers to disentangle (and may be less danceable), so i see little point in getting silly about it. skinny puppy existed in a middle point; they always had the ability to attract both audiences because their music was both highly danceable and yet also in an art rock and political/punk rock tradition. this is not unique within electronic music, but it *is* rare. they're not considered to be the high point of electronic art music in the modern era for no reason.
throughout the 90s, skinny puppy fans connected with each other and discussed various topics over the epilogue internet mailing list. within this list, there was much derision directed at the cleopatra compilation due to it's over-representation of the ebm side of the band's sound. the more musically inclined members of the list claimed they could put together a better record, were challenged to do so and eventually did.
i was a fairly recent addition to the list and volunteered for distribution for the sole reason that i had the tools to do so (cd burners were still relatively rare in 1998). the cover art was put together by other members of the list and sent to me for reproduction.
while i would argue that the disc more accurately represents the experimental aspect of the band than either of the officially released compilations did, i listen to it now and wish i would have been more selective. the reality is that i didn't really have the standing necessary in the list (you have to have an understanding of 90s internet communications to get that, i guess) to act as a filter on material coming in. nor did i receive enough material to have the luxury of cutting tracks. there's some interesting remixes/reconstructions, but some of it is very blatantly the work of amateur musicians. i should also point out that i considered some of those amateur musicians to be my friends.
it's up here, as is, for listening ears. should either of the kevins express an opposition to this (i doubt that, but i am not able to tap into their consciousnesses from a distance), they own it and get to make the choices.
tracklisting:
1) the intonarumori project: rain (souless mix)
*2) dmt: blackout
3) animoid row: jahya (meld)
4) livesidog: smothered hope
5) pool-a: downlode
6) krewl: meat flavour
7) inri: hexonxonx (featuring ogrebot)
8) j deell: 200 years
9) triptamine: circustance (vitriol remix)
10) amputate: shore lined poison (deformed)
11) lunar caustic: worlock
12) dmso : anger (adrenergic brap)
13) jesus h. christ: assimilate (ambient mix)
14) lichaem: who's laughing now? (offended)
15) j deell: basement
*16) dj billpheus and oscar the grouch (with special guest vocals by the infinite hheathen): love
* - features bill van roy, later briefly of download
also, i got a copyright notice on this. that's reasonable - some of the remixes differ only mildly from the originals. when i initially put it together, i was selling it roughly at cost (i set up a flat rate, meaning i was at a gain or a loss depending on shipping in a way that mostly washed out. i got some complaints from people that didn't understand shipping rates from canada to the us, but the reality is that it balanced out to something like $50 over a few hundred shipped discs. that just means my estimate of a good flat rate was accurate.) but it hasn't been for sale in 15 years. i don't and never did claim any exclusive rights over distribution (i actually emailed the tracks to some people), it was just something the fan community wanted amongst itself and i volunteered to do because i could and most others couldn't.
the point is i can't control the ads if they appear (i can't tell, i run adblock). i'm guessing nettwerk controls most of this. i don't know what lingering relationship, if any, exists between that label and the remaining members of the band.
so, i'm going through some old files and decided to put this up...
the backstory is connected to a covers compilation put together by cleopatra records called "hymns of the warlock", as well as a remix compilation put together by nettwerk records called "remix dystemper". this compilation was put together between the releases of those two compilations.
the easiest thing to say is simply that there were always two different types of skinny puppy fans, related to a now historical split in electronic music between those who preferred "ebm" (that is electronic booty/body music) and "idm" (intelligent dance music). ebm is only reasonably listened to in clubs because it's simplistic and repetitive; idm is the kind of thing you put on when you're doing homework or reading a book. the separation has been much maligned, but it is intuitively obvious that there are some types of electronic music that do not have much depth (and yet are fun to dance to) and some types of electronic music with dozens of layers to disentangle (and may be less danceable), so i see little point in getting silly about it. skinny puppy existed in a middle point; they always had the ability to attract both audiences because their music was both highly danceable and yet also in an art rock and political/punk rock tradition. this is not unique within electronic music, but it *is* rare. they're not considered to be the high point of electronic art music in the modern era for no reason.
throughout the 90s, skinny puppy fans connected with each other and discussed various topics over the epilogue internet mailing list. within this list, there was much derision directed at the cleopatra compilation due to it's over-representation of the ebm side of the band's sound. the more musically inclined members of the list claimed they could put together a better record, were challenged to do so and eventually did.
i was a fairly recent addition to the list and volunteered for distribution for the sole reason that i had the tools to do so (cd burners were still relatively rare in 1998). the cover art was put together by other members of the list and sent to me for reproduction.
while i would argue that the disc more accurately represents the experimental aspect of the band than either of the officially released compilations did, i listen to it now and wish i would have been more selective. the reality is that i didn't really have the standing necessary in the list (you have to have an understanding of 90s internet communications to get that, i guess) to act as a filter on material coming in. nor did i receive enough material to have the luxury of cutting tracks. there's some interesting remixes/reconstructions, but some of it is very blatantly the work of amateur musicians. i should also point out that i considered some of those amateur musicians to be my friends.
it's up here, as is, for listening ears. should either of the kevins express an opposition to this (i doubt that, but i am not able to tap into their consciousnesses from a distance), they own it and get to make the choices.
tracklisting:
1) the intonarumori project: rain (souless mix)
*2) dmt: blackout
3) animoid row: jahya (meld)
4) livesidog: smothered hope
5) pool-a: downlode
6) krewl: meat flavour
7) inri: hexonxonx (featuring ogrebot)
8) j deell: 200 years
9) triptamine: circustance (vitriol remix)
10) amputate: shore lined poison (deformed)
11) lunar caustic: worlock
12) dmso : anger (adrenergic brap)
13) jesus h. christ: assimilate (ambient mix)
14) lichaem: who's laughing now? (offended)
15) j deell: basement
*16) dj billpheus and oscar the grouch (with special guest vocals by the infinite hheathen): love
* - features bill van roy, later briefly of download
also, i got a copyright notice on this. that's reasonable - some of the remixes differ only mildly from the originals. when i initially put it together, i was selling it roughly at cost (i set up a flat rate, meaning i was at a gain or a loss depending on shipping in a way that mostly washed out. i got some complaints from people that didn't understand shipping rates from canada to the us, but the reality is that it balanced out to something like $50 over a few hundred shipped discs. that just means my estimate of a good flat rate was accurate.) but it hasn't been for sale in 15 years. i don't and never did claim any exclusive rights over distribution (i actually emailed the tracks to some people), it was just something the fan community wanted amongst itself and i volunteered to do because i could and most others couldn't.
the point is i can't control the ads if they appear (i can't tell, i run adblock). i'm guessing nettwerk controls most of this. i don't know what lingering relationship, if any, exists between that label and the remaining members of the band.
yeah. the spindle motor was broken
i'm a dumb chimp with any kind of tool. taking a pair of vice grips to it pretty much destroyed the platter.
but i couldn't fix that in a freezer, anyways. and the idea that i was going to pay $600 or more for recovery is flat out laughable.
this is precisely why i can't hold a job :)
it took no more than fifteen seconds for me to irreversibly damage the drive. and i'd be no less patient with your face, or a power plant.
or care more than i do about the drive.
so be happy i realize that.
that's going to cost me several months.
there was no answer....
i was hoping i could get the drive spinning by unjamming it, but it was clear within seconds that the motor was burnt. the drive was burning up. zero movement.
to replace the motor would mean removing the platters. i neither have the tools nor the co-ordination to carry out something like that. so, removing the platters means trashing the drive. simple as that.
i panicked and twisted hard with the vice grips, hoping a harsh tug would pull it free (but knowing the motor was burnt). i'm clumsy; it shot out of my hands, and pushed the heads deep into the platters, as well as taking a chunk out of the top platter itself.
which was foreseeable the second i grabbed the vice grips. i mean, i knew. but i also knew it was dead.
my only hope at the point was to just tear it apart trying to get the motor to spin. nope. dead.
i know it wasn't electrical because i swapped the boards out. plus, the heat indicates the electricity was getting there.
lost: install scripts going back 5 years, the musical work i'd done over the last six months.
the motor in this unit is actually connected directly to the board. it would have been a (de)soldering job.
the musical work was mostly compiling and remastering. i have the final files, and the source files. what i lost was the intermediate work, which is unfortunate but not catastrophic.
i could theoretically reconstruct the script from my old pc, which has a more stripped down version of it. i don't know if i'll bother.
now that the drive is officially kaput, i'm going to start the process of reconstructing what i had compiled - which was a total of three isos i had put aside to burn at a later date.
right now, i should try to sleep.
i'm a dumb chimp with any kind of tool. taking a pair of vice grips to it pretty much destroyed the platter.
but i couldn't fix that in a freezer, anyways. and the idea that i was going to pay $600 or more for recovery is flat out laughable.
this is precisely why i can't hold a job :)
it took no more than fifteen seconds for me to irreversibly damage the drive. and i'd be no less patient with your face, or a power plant.
or care more than i do about the drive.
so be happy i realize that.
that's going to cost me several months.
there was no answer....
i was hoping i could get the drive spinning by unjamming it, but it was clear within seconds that the motor was burnt. the drive was burning up. zero movement.
to replace the motor would mean removing the platters. i neither have the tools nor the co-ordination to carry out something like that. so, removing the platters means trashing the drive. simple as that.
i panicked and twisted hard with the vice grips, hoping a harsh tug would pull it free (but knowing the motor was burnt). i'm clumsy; it shot out of my hands, and pushed the heads deep into the platters, as well as taking a chunk out of the top platter itself.
which was foreseeable the second i grabbed the vice grips. i mean, i knew. but i also knew it was dead.
my only hope at the point was to just tear it apart trying to get the motor to spin. nope. dead.
i know it wasn't electrical because i swapped the boards out. plus, the heat indicates the electricity was getting there.
lost: install scripts going back 5 years, the musical work i'd done over the last six months.
the motor in this unit is actually connected directly to the board. it would have been a (de)soldering job.
the musical work was mostly compiling and remastering. i have the final files, and the source files. what i lost was the intermediate work, which is unfortunate but not catastrophic.
i could theoretically reconstruct the script from my old pc, which has a more stripped down version of it. i don't know if i'll bother.
now that the drive is officially kaput, i'm going to start the process of reconstructing what i had compiled - which was a total of three isos i had put aside to burn at a later date.
right now, i should try to sleep.
Tuesday, April 8, 2014
it's not firewire, but hdmi. *grumbles*. screwed...
...except...
....i could in theory work out the crux of what i was working on by installing the pod drivers direct through usb.
and on that note, i've wanted to set up my other (half broken) laptop as a real-time sound processing device for a while. guitars, mostly, of course - but drums, too. see, the hard drive comes up and down. i was going to wait until i could replace it....
i also wanted to dual-boot it. that's something to keep me occupied as i'm waiting...
i'm just finding the idea of blowing this time reading to be depressing. i jumped through hoops to set this up. i'm pissed off that i'm dealing with broken hardware, and depressed that it's my own stupidity at the root of it.
the problem with the hard disk, btw, is physical. and the way the heads are aligned in the model is really tricky. i don't want to open this up, but i'm going to have to. however, i'm also only going to touch it under the precise circumstance that the arm is unaligned. anything else, and i'm screwing it back up and throwing it in the freezer, because it's pretty much hopelessly broken.
...except...
....i could in theory work out the crux of what i was working on by installing the pod drivers direct through usb.
and on that note, i've wanted to set up my other (half broken) laptop as a real-time sound processing device for a while. guitars, mostly, of course - but drums, too. see, the hard drive comes up and down. i was going to wait until i could replace it....
i also wanted to dual-boot it. that's something to keep me occupied as i'm waiting...
i'm just finding the idea of blowing this time reading to be depressing. i jumped through hoops to set this up. i'm pissed off that i'm dealing with broken hardware, and depressed that it's my own stupidity at the root of it.
the problem with the hard disk, btw, is physical. and the way the heads are aligned in the model is really tricky. i don't want to open this up, but i'm going to have to. however, i'm also only going to touch it under the precise circumstance that the arm is unaligned. anything else, and i'm screwing it back up and throwing it in the freezer, because it's pretty much hopelessly broken.
i didn't realize that my bus pirate was being shipped from asia. i'm pretty sure that the website was registered to chicago. i would have picked somewhere closer, if i realized that.
as far as i can tell, it's sitting in a boat off the coast of singapore, waiting to be filled up with mail.
and it could be there for weeks...
so, i'm considering converting the laptop, which is what i'll have to do if the bus pirate doesn't work anyways. i'm going to do some reading and decide in a few days.
i don't see any rational reason that this couldn't handle a firewire device. i just really don't like the idea of mixing with a laptop sound card. ugh...
but, at least if i get the tracks down, i can remix it later.
as far as i can tell, it's sitting in a boat off the coast of singapore, waiting to be filled up with mail.
and it could be there for weeks...
so, i'm considering converting the laptop, which is what i'll have to do if the bus pirate doesn't work anyways. i'm going to do some reading and decide in a few days.
i don't see any rational reason that this couldn't handle a firewire device. i just really don't like the idea of mixing with a laptop sound card. ugh...
but, at least if i get the tracks down, i can remix it later.
obligatory "influential on song of the day" post.
i think it's a shame that corgan never fully explored his cyber-metal. i mean, there's some material out there, but he never did an opus and sort of ended up getting upstaged on it by bands like boris.
this was about as metal as i ever really got or ever wanted to get (not due to lack of looking, it's just that the genre becomes self-parody at nearly the moment it amps itself - through the course of my life, and since the 80s at least, it's been virtually impossible to do metal without sounding like an idiot), and informed my punchier outbursts on the track in question. i specifically remember thinking to myself "i want it to hit as hard as xyu". :).
(relevant track: teenage jesus (viewless), liquify, first movement)
i think it's a shame that corgan never fully explored his cyber-metal. i mean, there's some material out there, but he never did an opus and sort of ended up getting upstaged on it by bands like boris.
this was about as metal as i ever really got or ever wanted to get (not due to lack of looking, it's just that the genre becomes self-parody at nearly the moment it amps itself - through the course of my life, and since the 80s at least, it's been virtually impossible to do metal without sounding like an idiot), and informed my punchier outbursts on the track in question. i specifically remember thinking to myself "i want it to hit as hard as xyu". :).
(relevant track: teenage jesus (viewless), liquify, first movement)
obligatory "influential on song of the day" post.
guitars, and song structures. i haven't analyzed it, but this sets itself apart from a lot of fuzzy riff music by the fact that it's written in a weird modal key (rather than just building itself up on boring old fifths. those iommi riffs are fun, but they're fucking dead on any level of musicality. this isn't.). love the unexpected intervals that show up in the lead part near the end, but it's the way the riffs shift through the chorus underneath the fuzz like some kind of demented cello that really captured my attention and my imagination...
(relevant track: teenage jesus (viewless), many others)
guitars, and song structures. i haven't analyzed it, but this sets itself apart from a lot of fuzzy riff music by the fact that it's written in a weird modal key (rather than just building itself up on boring old fifths. those iommi riffs are fun, but they're fucking dead on any level of musicality. this isn't.). love the unexpected intervals that show up in the lead part near the end, but it's the way the riffs shift through the chorus underneath the fuzz like some kind of demented cello that really captured my attention and my imagination...
(relevant track: teenage jesus (viewless), many others)
obligatory "influential on song of the day" post.
guitars, and song structures. this is one of corgan's guitar masterpieces and one of the corgan tracks that i took the time to teach myself how to play. during this brief period over '98, i was actually trying to keep the excessive soloing down, but the bridge in this track, specifically, was important in the writing of viewless.
(relevant track: teenage jesus (viewless), many others)
guitars, and song structures. this is one of corgan's guitar masterpieces and one of the corgan tracks that i took the time to teach myself how to play. during this brief period over '98, i was actually trying to keep the excessive soloing down, but the bridge in this track, specifically, was important in the writing of viewless.
(relevant track: teenage jesus (viewless), many others)
obligatory "influential on song of the day" post.
song structuring. also, the jazz chords he's using (not just here but throughout the record).
again: i loved this record as a compromise between heavy riffage and melodic content. regardless of your views of his later work, you can't take this raw pop-punk classic away from the guy.
(relevant track: teenage jesus (viewless))
song structuring. also, the jazz chords he's using (not just here but throughout the record).
again: i loved this record as a compromise between heavy riffage and melodic content. regardless of your views of his later work, you can't take this raw pop-punk classic away from the guy.
(relevant track: teenage jesus (viewless))
obligatory "influential on song of the day" post.
anybody else pick up the similarity between this track and sdre's "8"?
i loved this disc - great compromise between the heavy and the melodic. it's truly a shame what's become of dave grohl, but it's not fair to take this first disc away from him.
(relevant track: teenage jesus (viewless))
anybody else pick up the similarity between this track and sdre's "8"?
i loved this disc - great compromise between the heavy and the melodic. it's truly a shame what's become of dave grohl, but it's not fair to take this first disc away from him.
(relevant track: teenage jesus (viewless))
obligatory "influential on song of the day" post.
it's always weird for me to cite sdre as an influence, given how oblivious i was to what they supposedly represented (i remain convinced that the history written around the band is mostly bullshit) and the reality that i only ever really liked lp2. but, i did love that record for a few years and do still come back to it
...and i did rip the riff to 8 off pretty blatantly in my tune viewless, which was first demoed in late '96.
(relevant tracks: teenage jesus (viewless))
it's always weird for me to cite sdre as an influence, given how oblivious i was to what they supposedly represented (i remain convinced that the history written around the band is mostly bullshit) and the reality that i only ever really liked lp2. but, i did love that record for a few years and do still come back to it
...and i did rip the riff to 8 off pretty blatantly in my tune viewless, which was first demoed in late '96.
(relevant tracks: teenage jesus (viewless))
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