I Never Win Anything

We've all said it.  We all have friends that have said it.  And for me, just days after my birthday it became a lie.  w00t!  Over at the Mac OS X Audio forums there was a giveaway of String Studio VS-1 from Applied Acoustics and I was one of the lucky winners.
Now as an owner of Ableton Live Suite I already have Tension instrument (which is a joint development between Ableton and Applied Acoustics) so I sort of knew what I was in for.  But there are some extras.

If you like presets, this thing came with many hundreds of presets (way more than in my Live library).  Say what you want about presets, I find them useful tools in learning what is possible with a software instrument.

Additionally, it has built in effects.  Live instruments are typically very dry because the intent is that you feed into audio processing modules that you've set up (which is very cool).  However, as a beginner in the world of sound design, it's often easier for me to alter a fully fleshed out sound than it is to build one up.

There is also a built in arpeggiator that is different from the Live arp which is good (I'm not a huge fan of the Live arp [perhaps I'm just not smart enough]).  I don't fully understand it yet but it seems to be a combination of an arp with step sequencer which makes for some coolness.

Finally, as a friend pointed out, I'll be able to use this in Logic which is a criminally underused tool in my box.  (That is if I ever get to the point where it works properly for me -- the Logic 9 + Snow Leopard combination is having "issues" but that's a separate rant).

So thank you to Eric Thibeault who held the giveaway and to sandbags who poked me to enter.

Geo-blocking Bullshit

I am a fan of the band Animal Collective.  Today, (for the nth time) I looked up their latest album on emusic.com and got this:

We're sorry. This album is unavailable for download in your country (Canada) at this time. We apologize for any inconvenience this may cause.

I've complained directly about this before.  Once to an artist.  They didn't respond.  Another  sent to emusic who were kind enough to send this corporate bullshit speak:

eMusic shares in your frustration with the inability of international customers to access all of the content offered on our site.   Many labels sign geographic-based distribution deals that limit worldwide distribution of a particular album.  That is the reason that some albums are available worldwide while others are limited to certain geographic regions.

So to whoever is responsible for this sorry state of affairs.  You are retarded.

I suppose I could get off my ass and buy the CD in a store.  Not likely.  Turns out there aren't that many stores that have interesting CDs in them anymore.  The cool ones that do are in the city getting to them is a full-on event.  I could buy from iTunes.  Not.  Won't on principle.  Between DRM and their pricing I'm just not interested.  I could torrent/steal it.  Not.  I'm an adult now and I think it's ok to pay for music.

I get 100 tracks per month (subscription) from emusic.  Honestly, I have trouble absorbing them all.  Between working for a living, working on my own stuff, listening to the music of my friends, and commercial music I am practically drowning.

So if you're unwilling to sell me your album, that's just fucking fine.  You will not be missed.

It's Neu To Me

A couple of years ago I walked into my favourite indie hipster CD shop and as was often the case, something cool was playing. Of course, I had to ask and pretty soon I was the proud owner of a Manual by Appliance. The track that grabbed my ear was Food Music. Didn't think too much about it, just liked it.

Fast forward to earlier this month, when I recently watched a documentary called Krautrock: The Rebirth of Germany. I hear this band from the early 70s called Neu! and I'm hooked. One of the tracks the documentarians used was Hallogallo. There's that sound again. And it hits me. This was one of the roots of much of the music I've been listening to since I was a teen! David Bowie (from his Low period), Sonic Youth, Iggy Pop, Pere Ubu, Joy Division (the list goes on) have all drunk from this well.

You've probably heard somewhere that rock music has its roots in the blues. But a lot of modern music has no blues. How did that happen? We've been fed this stuff about young punks rejecting the big established acts. As is often true, it's probably not quite that simple. In their attempt to sound neither American nor British, the young German bands of the 70s forged a new sound. And in hindsight, that influence on the rest of "modern rock" seems profound.

So now I'm busily filling this massive gap in my music "education" and wonder about the numerous forces that have kept me ignorant all these years. Probably was just the force between my ears.

Warning: Extreme Introspection

A lifetime ago, my friends and I would spend time talking heavy. One of the topics, since we were listening to what others might have described as depressing music (Cure, Bauhaus, Smiths), was did you need to be unhappy to create good music.

Well, I can't speak to good music but last week my dog, Bear, died. I was completely unprepared for the intensity of the shock and grief I felt. I and my family were (are still) devastated. For three days, I could not bring myself to touch my guitar.

For me, I now know that unhappiness, in the extreme, kills creativity (apparently not for my daughter who took a number of wonderful photographs).

This weekend, exactly one week almost to the hour when it happened I recorded Grief. I'm not sure it qualifies as good or how it comes across. But I can tell you that I was weeping as I played the last note.

It was cathartic but I remain sad. I also have no desire to play that anymore. Right now I cannot imagine how Clapton could sing about his son night after night.

For the rest of the weekend, I spent as much time as I could wangle hiding out in the Lab making music. Which leads to the conclusion that mid-grade unhappiness seems to be good for creativity.

What about other parts of the emotional landscape?

SPDIF, Not Completely Useless

Figured out a new trick this weekend. I have a Focusrite Saffire audio interface connected to my computer. (Seems to have been discontinued :-( When I got it I learned that all that 4in/10out stuff around audio interface marketing is a bit misleading. As far as I was concerned I only had 2 ins. I can use XLR or 1/4", I have a line/inst switch, a gain knob and some level LEDs for each of these ins. The third and fourth inputs are SPDIF which is a single RCA style connector and thus completely useless.

Or so I thought.

Later on, I got a Boss GT-10 for mo' better guitar wankery. It has a lot of stuff on it including its own USB audio interface. I tried this out and quickly determined that to my untrained ears it sucked. I didn't spend a lot of time thinking about why, I just plugged the analog outs to my Saffire and moved on. Of course I have guesses. One guess is that the GT-10's USB interface presents 16bit/44kHz audio whereas the Saffire is capable of delivering 24bit/96kHz... Another guess is that I just like something that the Saffire preamps are doing. Another guess is that I didn't spend enough time figureing out how to setup the USB stuff to sound good. The final nail in the coffin comes from the way Logic will only deal with a single CoreAudio entity. What that means is if you have an input only device, like a GT-10 and you want outbound sound to go to a Saffire, you need to create an aggregate device (which is a totally cool feature but not without its little problems).

I lived happily in this way for a while until somebody asked me if the GT-10 had a digital out. Dunno, but I looked and surprise it had one... Quick check of the manual, I learn that digital out is actually SPDIF. Hmmm. I wonder if I can free up my analog inputs (so I could hook up a mic or something) by using this SPDIF thing?

Long story short, it works. And it sounds great.

Some minor details did need to be worked out. The Saffire comes with a program called Saffire Control and I needed to enable the SPDIF input. Additionally, the incoming level was a little low. Turns out the GT-10's digital out level is controlled by a configuration in one of the System menus. The main output level knob on the unit only controls the analog output level. This is actually kind of cool since you could, in theory, record the digital signal in addition to mic'ing an amp.

Interesting hobby we have. Lots of shiny toys but like Lego it's up to us to figure out what to do with them.

Art and Art School

In the beginning, I was self-conscious about the music that I made. I even kind of distanced myself from it by playing the various mental games we all play:

This is my first track.

This is a rough mix.

Just got this new fill in the blank and this happened.

Just a little something I cooked in an evening. I have no investment in it so it's totally OK for you not to like it too.

Of course, there's a grain of truth to all of these things but at their root, they represent a kind of emotional shield. Perhaps something to explore another time but this ramble has other places to go.

Over time, I developed some skillz and a touch of hubris. Not quite willing to call myself an artist but being able to imagine a day where I'd be comfortable with the label (as though it's something someone else bestows on you [but that's still another thing]).

That first bout of hubris has been smashed (in a good way) by some very talented friends and it is conversations with these friends about our art that makes me realize that I'm less an artist and more an art student. But that's still not where this ramble is going.

In conversations with friends, we show signs of GAS (gear acquisition syndrome), we share videos describing various production techniques, etc and it's in this diamond mine we varyingly feel like we're in a rut. That we're doing things the same way and need to find new toys, etc. Driving around today I had a flash. What if Picasso tossed all his cubist works after the first one? Felt he was in a rut? Didn't want to repeat himself?

Perhaps we audio sculptors should take a cue from visual artists by embracing our "ruts" and exploring everything they have to offer.

Picasso's The Mandolin lifted from this site without permission.

Listening

On this journey many friends have been made. It is a wonderful thing to be able to share things with people on a similar path that you would otherwise have no hope of actually meeting in person.

Recently one such friend has come to the point on his journey where he has made music that he actually likes listening to. He wondered aloud one day whether or not it was conceited to listen to your own stuff. Interesting question, that. I don't think so and here's why.

I find that music reveals itself to us over repeated listens. Hits are hits partially because they're good but partially because of repeated exposure (be that radio or friends raving). When we make music we automatically get a headstart these listens as a simple byproduct of the creative process. After having got over my own self conscience I too found myself spending a ton of time listening to my own stuff. Partially because I like it and partially I'm listening with an ear to making improvements or learning something. It's obviously difficult to be objective. Perhaps it's not worth examining too closely. But I definitely do not feel conceited.

So sandbags keep on making music; we're all richer for it.

Which brings me to the some of the special people that have done me the honour of listening to my own music enough to have found something worthwhile:

glu, who is a prolific master craftsman of beats
sistersavage, wields a heart melting voice and a wicked wit
kavin, kirklynch and dougsparling, who are part of the forces that got me actually playing guitar instead of just sampling it

(of course there are more but this isn't an Oscar speech). The important thing to take away is that there are a bunch of talented people on Alonetone.com that deserve to be heard (and won't charge you anything).

So with all this listening and recording going on, I am finding that there is increasingly less time to listen to commercial releases. Currently, I'm devoting some time every month (when my eMusic account recharges) to grabbing and listening to new music but it's an effort... Is there a deeper meaning to be extracted? Probably not.

There is an ocean of music and I'm just peeing into it, enjoying the temporary warmth that affords.

CC licensed photo courtesy TomRaven.