(several posts were lost from june 9th-17th, mostly about performing the piece on guitar. the problem is that there is active code of some sort on facebook that causes word documents to seize up and crash when pasted into them.
iirc, the write-up was something like this...
while the track is not challenging to perform at a slow tempo, it is quite challenging to perform at the tempo it's written at: eighth note at 360. so, it was necessary to practice the track before it could be recorded. i decided that it would be best to start at a slow speed, and then gradually build speed by slowly increasing the tempo. i decided that it would take a few days before i could play it at 360. of course, i updated my progress as i went. i'm not sure where i started, but the narrative picks back up again at 300.
i have a screenshot dated to june 16th at 14:18 called tricky.jpg, which is attached here. it seems to be that i was pointing out that this is the tricky part at a fast tempo. i may have also pointed out that the C# at the very top is a very big problem because it can only be reached via harmonic. and, i do recall getting around it by actually playing the harmonic, and at quite a fast tempo.)
tricky.jpg:
Monday, June 16, 2014
Saturday, June 14, 2014
uploading recent guitar demo to soundcloud
a math rock version of the three's company theme, or something. i'm now caught up. these are the kind of silly shorts that will be posted here moving forward....
https://soundcloud.com/deathtokoalas/2014-05-18a
https://soundcloud.com/deathtokoalas/2014-05-18a
Friday, June 13, 2014
uploading boogeyman to youtube
somebody asked me about what inspired me to write this, here's my answer.
the 09-11 are just the track numbers on the inricycled compilation (9, 11 are the intro and ending, 10 is boogeyman). that demo version was done up when i was fifteen, but is a little older and ultimately stems from being told to lock the door at night. i guess i was probably more like ten at the time. when it started getting dark at night, my mom would yell at me to go lock the door before the boogeyman came in to get us. but, she'd be a little dramatic about it. kind of a...
mom: shhh. do you hear that?
me: it's getting dark, maybe it's...
mom: it's the boogeyman! go run and lock the door before he comes in and gets us!
so, i'd get up and run to the front door and lock it, peering out to make sure there was nobody there.
i don't think i ever thought a boogeyman existed, but i didn't grow up in an affluent neighbourhood and i was well aware of the dangers of straying too far from home after night. i didn't understand much about drugs or gangs at the time, i just knew that sometimes people died of gunshot wounds outside and didn't want to be stuck in the wrong place at the wrong time. it was legitimately important to block off entrance points.
the run had a bit of a rush of adrenaline-based fear to it, because the hallway was dark. getting to the door and back could at times be a little scary.
by 15, i'd grown out of that, but the song is a memory of it.
http://www.youtube.com/watch?v=1gTfycvt1VU
the 09-11 are just the track numbers on the inricycled compilation (9, 11 are the intro and ending, 10 is boogeyman). that demo version was done up when i was fifteen, but is a little older and ultimately stems from being told to lock the door at night. i guess i was probably more like ten at the time. when it started getting dark at night, my mom would yell at me to go lock the door before the boogeyman came in to get us. but, she'd be a little dramatic about it. kind of a...
mom: shhh. do you hear that?
me: it's getting dark, maybe it's...
mom: it's the boogeyman! go run and lock the door before he comes in and gets us!
so, i'd get up and run to the front door and lock it, peering out to make sure there was nobody there.
i don't think i ever thought a boogeyman existed, but i didn't grow up in an affluent neighbourhood and i was well aware of the dangers of straying too far from home after night. i didn't understand much about drugs or gangs at the time, i just knew that sometimes people died of gunshot wounds outside and didn't want to be stuck in the wrong place at the wrong time. it was legitimately important to block off entrance points.
the run had a bit of a rush of adrenaline-based fear to it, because the hallway was dark. getting to the door and back could at times be a little scary.
by 15, i'd grown out of that, but the song is a memory of it.
http://www.youtube.com/watch?v=1gTfycvt1VU
Thursday, June 12, 2014
uploading guitar demo from 2010 to soundcloud
this is another broken jam session and will come off as really simple (and it is, on some level) if you don't appreciate the subtle dissonance. regardless, it's easy to hear the stomp under it. i don't write much of it, but i'd love to start a really dirty garage rock band...
https://soundcloud.com/deathtokoalas/2010-09-19a
https://soundcloud.com/deathtokoalas/2010-09-19a
Wednesday, June 11, 2014
i'm pretty sure my last featured track got throttled starting last week. it ran up to 301, then was stuck there for several days as there was a difference of roughly 60 hits between the shown and the confirmed, which is something that's happening across multiple videos and only makes sense to me in the context of it being an error by youtube. basically, youtube doesn't seem to want to accept views from certain countries, under the argument that views from those countries must be bought.
it did push past 301 after the delay, but the hits went down drastically in ways that didn't really make sense. there were a few days where the ratio of total views to featured views was pushing 4:1, which defies any sort of logic because one has to click through the feature to get to the other videos. it only makes sense if the video is being throttled.
i hope that youtube is storing the information so it can fix it when it determines it's error. but, the feature over the last two weeks isn't exactly my best work, anyways. i'm not really upset about it coming in behind some of the other tracks. it's the *principle* of throttling, especially when it's racial profiling, that bothers me.
this track will go back up tomorrow at midnight and the timeframes are such that it will be there for an entire month. i should hopefully get some serious work done in that time frame. and i kind of expect this to be my first video to reach 1000 hits.
https://www.youtube.com/watch?v=1gTfycvt1VU&list=PL3JSjmqp0cbslW9qCBKT_nEcwUt1DY0aN
it did push past 301 after the delay, but the hits went down drastically in ways that didn't really make sense. there were a few days where the ratio of total views to featured views was pushing 4:1, which defies any sort of logic because one has to click through the feature to get to the other videos. it only makes sense if the video is being throttled.
i hope that youtube is storing the information so it can fix it when it determines it's error. but, the feature over the last two weeks isn't exactly my best work, anyways. i'm not really upset about it coming in behind some of the other tracks. it's the *principle* of throttling, especially when it's racial profiling, that bothers me.
this track will go back up tomorrow at midnight and the timeframes are such that it will be there for an entire month. i should hopefully get some serious work done in that time frame. and i kind of expect this to be my first video to reach 1000 hits.
https://www.youtube.com/watch?v=1gTfycvt1VU&list=PL3JSjmqp0cbslW9qCBKT_nEcwUt1DY0aN
Tuesday, June 10, 2014
got some life shit worked out today, things are continuing to come together.
1) got accepted by a psychiatrist around the corner. i'm hoping this guy can do two things for me. the first is diagnose me with something i can rely on for longer term disability - i'm thinking i'm probably clinically schizophrenic, even if it's only a problem when i'm thrust into the "real world". there is no real world. there. qed. i laugh, but it's self-deprecating. the second thing i'm thinking is that it'd be nice to have cheap, legal, easy access to marijuana. i'm actually *very* convinced that it helps keep me stable. i don't even need large doses, and i wouldn't really want to be stoned all the time, but i'm very strongly of the opinion that a bit of pot every few days is very good for mental health, and may go so far as to say i'd probably have harmed myself by now if it wasn't for the pot. further, i won't take drugs in the form of pills. i'm a hippie like that. so, if he tries to prescribe me wellbutrin or prozac or something, i won't fill the rx - i'll ask for pot instead.
2) stage one of my border documents have been approved. i think the combined governments of the united states and canada are real assholes for standing over the bridge with an ax declaring that none shall pass, but they're the fuckers with the weapons, so what to do but mutter under your breath? i've wasted almost a year of my time due to this stupidity, which isn't making anybody safer and really *should* be a political liability. but i can't even vote against it. one day, we'll tear these walls down. for now, it's relieving to be just about through the annoyance. i need to go for an interview to prove i'm not arabic, i mean a threat to security. catching the swans show is not looking likely. and there's not going to be too many more chances for it, either. ugh. fucking fascists.
1) got accepted by a psychiatrist around the corner. i'm hoping this guy can do two things for me. the first is diagnose me with something i can rely on for longer term disability - i'm thinking i'm probably clinically schizophrenic, even if it's only a problem when i'm thrust into the "real world". there is no real world. there. qed. i laugh, but it's self-deprecating. the second thing i'm thinking is that it'd be nice to have cheap, legal, easy access to marijuana. i'm actually *very* convinced that it helps keep me stable. i don't even need large doses, and i wouldn't really want to be stoned all the time, but i'm very strongly of the opinion that a bit of pot every few days is very good for mental health, and may go so far as to say i'd probably have harmed myself by now if it wasn't for the pot. further, i won't take drugs in the form of pills. i'm a hippie like that. so, if he tries to prescribe me wellbutrin or prozac or something, i won't fill the rx - i'll ask for pot instead.
2) stage one of my border documents have been approved. i think the combined governments of the united states and canada are real assholes for standing over the bridge with an ax declaring that none shall pass, but they're the fuckers with the weapons, so what to do but mutter under your breath? i've wasted almost a year of my time due to this stupidity, which isn't making anybody safer and really *should* be a political liability. but i can't even vote against it. one day, we'll tear these walls down. for now, it's relieving to be just about through the annoyance. i need to go for an interview to prove i'm not arabic, i mean a threat to security. catching the swans show is not looking likely. and there's not going to be too many more chances for it, either. ugh. fucking fascists.
uploading guitar demo from 2008 to soundcloud
going through my lo-fi demoes a few days ago, i realized that i'd already released most of them in the form of two existing demos.
the first was entitled "impressionist jazz punk" and was mid 2005. i'll be uploading it as is to bandcamp when i get there (i'm currently doing stuff from '01 and moving forward chronologically) and then deciding what should be redone. the second was a six track proverbs demo that was supposed to act as a plan for the proverbs symphony. it still will, if mildly modified. so, the bulk of the tracks won't go to the lo-fi site.
i kind of forgot about the rest. this is a jam from early '08 that i put aside for further work and forgot about.
https://soundcloud.com/deathtokoalas/2008-02-16a
the first was entitled "impressionist jazz punk" and was mid 2005. i'll be uploading it as is to bandcamp when i get there (i'm currently doing stuff from '01 and moving forward chronologically) and then deciding what should be redone. the second was a six track proverbs demo that was supposed to act as a plan for the proverbs symphony. it still will, if mildly modified. so, the bulk of the tracks won't go to the lo-fi site.
i kind of forgot about the rest. this is a jam from early '08 that i put aside for further work and forgot about.
https://soundcloud.com/deathtokoalas/2008-02-16a
Monday, June 9, 2014
the time machine (midi piano mix)
this is the next 2001 period piece i'll be working on. my memory is blurry; yet, i have a vivid recollection of playing parts of it for my guitar teacher on a sunny day, where there was still snow on the ground.
it's funny how we remember seemingly irrelevant details, but i guess the atmosphere of the performance is important because the performance is. that would date it to roughly march, 2001.
i switched the piece from classical guitar to piano halfway through writing it, and vaguely remember thinking that an impossible interval had something to do with it. yet, that doesn't change the fact that it's guitar music. the counterpoint is very guitar.
i'll have to analyse the score and determine whether it's actually playable or not, or if i can get it close enough. but this one is an open palette right now in the sense that it needs to be filled out, so the early instrumentation choices are really just a suggestion.
one possible idea is that i may split it into a guitar piece to start and a piano piece to finish. i'm thinking of adding sequenced drums and a more defined, squelchy bass part.
written in early 2001. rendered june 9, 2014.
it's funny how we remember seemingly irrelevant details, but i guess the atmosphere of the performance is important because the performance is. that would date it to roughly march, 2001.
i switched the piece from classical guitar to piano halfway through writing it, and vaguely remember thinking that an impossible interval had something to do with it. yet, that doesn't change the fact that it's guitar music. the counterpoint is very guitar.
i'll have to analyse the score and determine whether it's actually playable or not, or if i can get it close enough. but this one is an open palette right now in the sense that it needs to be filled out, so the early instrumentation choices are really just a suggestion.
one possible idea is that i may split it into a guitar piece to start and a piano piece to finish. i'm thinking of adding sequenced drums and a more defined, squelchy bass part.
written in early 2001. rendered june 9, 2014.
youtube's a weird system. i'm up to 90 subscribers, but i don't know anything about any of them. stranger, it seems like virtually none of them checked out my new song. i'm sending the information to almost 100 people and i'm not convinced that any of them are in my 12 hits - it seems like they're all random hits. so, why subscribe to the channel? i dunno, maybe it'll change in the next few days, but it seem to me like a youtube subscribe is some kind of act of solidarity or something.
i do suspect people are mildly confused and what they should be doing is following me on google+ if they want to follow my ranting, but i can't correct that.
i think my initial observation that youtube users have a longer attention span than bandcamp users is still valid, overall, but the average view length on those 12 views is still less than a minute meaning that the few subscribers that did check it out, if there were any, weren't actually interested, compounding my confusion.
i'm also at 5000 hits, though, which is a bit of a milestone. i just wish i knew more about people following me to understand what they're looking for.
i'm not collecting ad information, i'm just trying to build a small fan base. i don't work through a label or anything. there's no chance i'm going to play your town - even if i could get a basic band together, i couldn't really reproduce most of this stuff (which doesn't mean it can't happen, just that the live product would be drastically different. but it's not likely, and i'm not really interested in pushing for it at the moment.). there's really no wall of separation between you and i. so, if you're following me here, and you want to tell me a little about yourself and why you're following me if it's not to hear some tunes....
i think i've figured out that some of it is an implied market operation: people will subscribe with the expectation that i'll subscribe back. which is to what aim? a lot of inflated stats that prioritize networking skills over genuine interest? i'm not going to play that game. it's not about some kind of opposition to market collusion (i fully understand that 'free market' is an oxymoron), it's just that i don't see the use in having 1000 subscribers or likes or followers or whatever if they're not actually interested. it's a lie that doesn't build a real listening base. and, as a user, i don't want to sort through a cluttered feed of shit i'm not actually interested in.
some of it is obvious, and it's worst when it makes no sense. like, i got a subscribe from some bullshit trendy americana-indie band from new york that i've never heard of. nothing i do is anywhere near the genre, and i'm actually not even a fan of the style. at all. what's the use in pretending? i guess if i got the request from something i legitimately liked and respected, i'd reciprocate, but it seems outrageously contrived to do it to inflate stats. in the end, if everybody does that, we're just running on a treadmill, anyways. i want real likes, real followers, real subscribers, real views. and if the number is lower than it would be if i played the game of market collusion, that just reflects the reality of the situation - i'm not a pop artist.
anyways, i'm not going to prod. but i'd like to know what your interest in me is, if you're willing to share.
i do suspect people are mildly confused and what they should be doing is following me on google+ if they want to follow my ranting, but i can't correct that.
i think my initial observation that youtube users have a longer attention span than bandcamp users is still valid, overall, but the average view length on those 12 views is still less than a minute meaning that the few subscribers that did check it out, if there were any, weren't actually interested, compounding my confusion.
i'm also at 5000 hits, though, which is a bit of a milestone. i just wish i knew more about people following me to understand what they're looking for.
i'm not collecting ad information, i'm just trying to build a small fan base. i don't work through a label or anything. there's no chance i'm going to play your town - even if i could get a basic band together, i couldn't really reproduce most of this stuff (which doesn't mean it can't happen, just that the live product would be drastically different. but it's not likely, and i'm not really interested in pushing for it at the moment.). there's really no wall of separation between you and i. so, if you're following me here, and you want to tell me a little about yourself and why you're following me if it's not to hear some tunes....
i think i've figured out that some of it is an implied market operation: people will subscribe with the expectation that i'll subscribe back. which is to what aim? a lot of inflated stats that prioritize networking skills over genuine interest? i'm not going to play that game. it's not about some kind of opposition to market collusion (i fully understand that 'free market' is an oxymoron), it's just that i don't see the use in having 1000 subscribers or likes or followers or whatever if they're not actually interested. it's a lie that doesn't build a real listening base. and, as a user, i don't want to sort through a cluttered feed of shit i'm not actually interested in.
some of it is obvious, and it's worst when it makes no sense. like, i got a subscribe from some bullshit trendy americana-indie band from new york that i've never heard of. nothing i do is anywhere near the genre, and i'm actually not even a fan of the style. at all. what's the use in pretending? i guess if i got the request from something i legitimately liked and respected, i'd reciprocate, but it seems outrageously contrived to do it to inflate stats. in the end, if everybody does that, we're just running on a treadmill, anyways. i want real likes, real followers, real subscribers, real views. and if the number is lower than it would be if i played the game of market collusion, that just reflects the reality of the situation - i'm not a pop artist.
anyways, i'm not going to prod. but i'd like to know what your interest in me is, if you're willing to share.
Saturday, June 7, 2014
now that the song is done, i'm going to take a quick break to finish reading leviathan and then start the process of shifting off facebook to my own site, over here:
http://dghjdfsghkrdghdgja.appspot.com/
i'll be using the network to check show listings, but i won't be posting here further. one of the things i'll want to do, shifting over, is set up various rss feeds.
the reason i'm shifting off is that i don't like facebook's decision to push the ui down from above. i want control over how my site looks. i want the ads removed. i'm sorry they don't agree with that.
but, there's lots of good reasons to get the data off facebook, too.
the best way to reach me is by email. if you don't have my email, i probably don't want you to have it. if you think i do want you to have it, msg me to find out if your intuition is correct.
i have several pages up, so it's going to take some time to transfer things. i'll be following a scorched-earth policy: delete everything as i transfer it to my own site. if there's something here you want saved, now's the time to save it.
what will remain will be a collection of rss dumps, because so long as people continue to use facebook it's kind of necessary to have something.
i think the long run solution has to be some kind of feed aggregator that works at the rss level. i think people are going to end up reading their twitter and facebook and youtube feeds all at the same time. it's probably actually a "woah. you can do that?" type thing. i'd guess almost everybody would switch to it if they knew it was possible. the idea was catching on for people merging msn, icq and etc right before facebook took over.
an interface that could cross-link the comments systems would be really ideal, especially if it could run standalone. and, it could conceivably kill a few sites off that don't want to play by the rules (facebook being the worst).
so, i also want greater control over the serving mechanism. right now, it sounds a little crazy, but wait for it.
i'm actually surprised that what i'm looking for doesn't exist in any kind of stable form. the idea has certainly been experimented with, but it's all for profit companies that fall apart when they realize there's no money in it. further development seems to be geared towards ipad type apps (which i'm never going to go for) and smart phones, which i'll never really get used to. i want a desktop product. fuck the trends...
i only use a handful of social media sites. if i were to build it myself, it would be very basic and never updated. but i'd be happy to throw the software out, open source, for further development.
one thing at a time. i don't even know how to get appspot to send out rss yet.
specifically: i don't want a ticker on a website, or multiple feeds on one page. just a simple, aggregated feed that i can interact with - and preferably through a standalone program that blocks ads and scripts.
it's the most basic, least visual, low return thing you could imagine.
and something like it is going to define how this shit works five years from now.
http://dghjdfsghkrdghdgja.appspot.com/
i'll be using the network to check show listings, but i won't be posting here further. one of the things i'll want to do, shifting over, is set up various rss feeds.
the reason i'm shifting off is that i don't like facebook's decision to push the ui down from above. i want control over how my site looks. i want the ads removed. i'm sorry they don't agree with that.
but, there's lots of good reasons to get the data off facebook, too.
the best way to reach me is by email. if you don't have my email, i probably don't want you to have it. if you think i do want you to have it, msg me to find out if your intuition is correct.
i have several pages up, so it's going to take some time to transfer things. i'll be following a scorched-earth policy: delete everything as i transfer it to my own site. if there's something here you want saved, now's the time to save it.
what will remain will be a collection of rss dumps, because so long as people continue to use facebook it's kind of necessary to have something.
i think the long run solution has to be some kind of feed aggregator that works at the rss level. i think people are going to end up reading their twitter and facebook and youtube feeds all at the same time. it's probably actually a "woah. you can do that?" type thing. i'd guess almost everybody would switch to it if they knew it was possible. the idea was catching on for people merging msn, icq and etc right before facebook took over.
an interface that could cross-link the comments systems would be really ideal, especially if it could run standalone. and, it could conceivably kill a few sites off that don't want to play by the rules (facebook being the worst).
so, i also want greater control over the serving mechanism. right now, it sounds a little crazy, but wait for it.
i'm actually surprised that what i'm looking for doesn't exist in any kind of stable form. the idea has certainly been experimented with, but it's all for profit companies that fall apart when they realize there's no money in it. further development seems to be geared towards ipad type apps (which i'm never going to go for) and smart phones, which i'll never really get used to. i want a desktop product. fuck the trends...
i only use a handful of social media sites. if i were to build it myself, it would be very basic and never updated. but i'd be happy to throw the software out, open source, for further development.
one thing at a time. i don't even know how to get appspot to send out rss yet.
specifically: i don't want a ticker on a website, or multiple feeds on one page. just a simple, aggregated feed that i can interact with - and preferably through a standalone program that blocks ads and scripts.
it's the most basic, least visual, low return thing you could imagine.
and something like it is going to define how this shit works five years from now.
uploading stuck in the middle of an alley closing in on all sides to youtube
and, it's up at youtube, too.
i was considering doing a screenshot capture of me running through the 83 cubase tracks that come together in this track and slowly collapsing the tree into an organized collection of ten group tracks to the main out because i thought it would be sort of epic to run through that level of complexity, but i decided in the end that it would just be an ad for the software.
https://www.youtube.com/watch?v=t9cIRP7ml5c
i was considering doing a screenshot capture of me running through the 83 cubase tracks that come together in this track and slowly collapsing the tree into an organized collection of ten group tracks to the main out because i thought it would be sort of epic to run through that level of complexity, but i decided in the end that it would just be an ad for the software.
https://www.youtube.com/watch?v=t9cIRP7ml5c
note that that is in addition to the compilation of midi/vst tracks,
which should otherwise have a similar tracklisting to the jjjjjjjjjjjjj
record.
http://jasonparent.bandcamp.com/album/thru
http://jasonparent.bandcamp.com/album/thru
stuck in the middle of an alley closing in on all sides (final album mix)
this completed live version will also front the 2001 "serious period" album. i was filing the serious shit under jjjjjjjjj (there's nine there) at the time. it's a sort of tongue-in-cheek self parody at the idea of writing serious music. 'cause if i was ever going to commission a piece, i'd have to get rid of surnames and superfluous syllables and just shorten it to the basic "j", just to get the point across about rejecting anything formal. i was tripping out into some rather silly number theory...
anyways, that's the opening track. the second will be some fun to try and put together, but the others should be done fairly quick now that i have some hardware/software that can deal with it.
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.
anyways, that's the opening track. the second will be some fun to try and put together, but the others should be done fairly quick now that i have some hardware/software that can deal with it.
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.
stuck in the middle of an alley closing in on all sides (final single mix)
this is the final mix, without as many lead parts as i was thinking at one point, and without the vocals i considered adding, but with more than enough atmospheric additions to make the live recording worthwhile. it will end up opening the ep of remixes of this track that i posted to jan 10, 2001 and also end up opening the front of this compilation of material written over 2001, which will be the main album of the period.
i had some bad luck recording this. hopefully, the other stuff gets out a little faster.
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.
i had some bad luck recording this. hopefully, the other stuff gets out a little faster.
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.
publishing stuck in the middle of an alley closing in on all sides (inri043)
this is one of the tracks that i can't date well. i do, however, remember working on it during the winter, which means it must have been late '00 or early '01. i'm going to consequently deduce that it must have been what i was working on over the 2000 christmas break and date it coming out right after it.
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
written late 2000 & early 2001. the renders present here are all from the early months of 2014. 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. as always, please use headphones.
credits:
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, tubular bells, jazz drum kit, hand drums and electronic drum kit.
released january 10, 2001
https://jasonparent.bandcamp.com/album/stuck-in-the-middle-of-an-alley-closing-in-on-all-sides
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
written late 2000 & early 2001. the renders present here are all from the early months of 2014. 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. as always, please use headphones.
credits:
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, tubular bells, jazz drum kit, hand drums and electronic drum kit.
released january 10, 2001
https://jasonparent.bandcamp.com/album/stuck-in-the-middle-of-an-alley-closing-in-on-all-sides
...or do i want vocals after all?
the track wasn't written with any. i didn't have plans to specifically include or exclude, but my work in the period was generally instrumental.
pretty much everything else on this midi music disc is going to be instrumental.
i was just thinking that some vocals would carry the piece, but it came out of humming a part. hence the melodyne thing. that extrapolated itself outwards into an idea about urban decay.
but this is cliched.
....and i don't think i have enough words to carry the length of the track, and the end is striking me as vocally daunting, because i am not a singer and do not generally sing. it's just these big power chords that would need "real singing" if any at all. leaving it empty negates the purpose.
i guess i was thinking of saturating it with guitars, but i'm avoiding that, too.
i'm going to listen to it 100 more times. sporadically, perhaps.
i'm getting the feeling, though, that this is done.
the track wasn't written with any. i didn't have plans to specifically include or exclude, but my work in the period was generally instrumental.
pretty much everything else on this midi music disc is going to be instrumental.
i was just thinking that some vocals would carry the piece, but it came out of humming a part. hence the melodyne thing. that extrapolated itself outwards into an idea about urban decay.
but this is cliched.
....and i don't think i have enough words to carry the length of the track, and the end is striking me as vocally daunting, because i am not a singer and do not generally sing. it's just these big power chords that would need "real singing" if any at all. leaving it empty negates the purpose.
i guess i was thinking of saturating it with guitars, but i'm avoiding that, too.
i'm going to listen to it 100 more times. sporadically, perhaps.
i'm getting the feeling, though, that this is done.
lyrics for stuck in the middle of an alley closing in on all sides
whisper:
claus
ter
phob
bic
lies (life) (1/5) - delay/decay - switching pan
centre - descending - vocals
to run and to hide and to
in a ball on the floor
descending countermelody:
how to be alive,
when it's all collapsing on all sides
WATCH IT FALL NOW
(HORNS KICK IN)
(background:
the falling debris feels like fear/love/pain/hope)
claus
ter
phob
bic
lies (life) (1/5) - delay/decay - switching pan
centre - descending - vocals
to run and to hide and to
in a ball on the floor
descending countermelody:
how to be alive,
when it's all collapsing on all sides
WATCH IT FALL NOW
(HORNS KICK IN)
(background:
the falling debris feels like fear/love/pain/hope)
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