Freakatone Mix Tape Vol​.​2 Beware of the Genres of the Future, they will be used for Mind Control.

by Ghost Producer

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(Text found on the internet. Author is unknown) "It is no coincidence that we are re-sampling ourselves / collecting sounds for the mother ship / The last century has been about recording; documenting our evolution throughout the past few centuries, in order to understand and isolate strategies for refinement / however, now we are at the stage where we only play back those memories / blending them to create new ones.

At the the ultrasound division of the IHI (Institute of Higher Intelligence), I worked to produce a genre which could act as both music and surveillance. On the “A Side”, as we called it, you have the musical genre, that to our surprise, became extremely popular. I am not at liberty to say which genre it is, but it is produced entirely behind closed doors, with little to no outside engineers.

The genre had two purposes. One was to be background for social interactions, to sit there and simply blend in. It became clear that the least obvious medium for which to surveil our targets was with sound, and sound organized into a form, i.e. music, is by far the best.

We hear sound, but we don’t always realize that we can actually hear through sound. Once we realized this, we soon found that we could not listen nearly as well as we could see through sound.

A genre that had two purposes. One to be popular music (but not too popular, otherwise it could not reach the target audience).

The genre had to be on every sound system in every home, car, office, mobile device, night club, restaurant etc."

(Transmission interrupted)

It was a waveform that could be played on a player, but could also act as a covert channel / an eye within the sound if you will.

In the past decades we have achieved this through what is called an Acoustic Mesh Network. which could channel and exchange data between loud speakers.

The idea was to create a genre of music from the ground up, using the formulas generated from this wealth of data that we had at our disposal.

The genre would hit all of the right marks, exactly at the right time. Even if you despised music, you’d be tempted to enjoy it.

We had actual chord progressions, textures in sounds, exact metric divisions in-between sections, tempos, instrumentation. It was all based off of successful recordings. The viral video of a kids song, gaining mass appeal so quickly, studying the frequencies thereof. These are some of the many studies which we did.

Many agencies in government and the corporate world are gathering the data they need to create a sub genre which can tune social systems.

Genres are test tones for social systems, and are being used as ways of watching and collecting data on how crowds relate to sound.

I myself assisted in the creation of inaudible mood stimulators and suppressors, which are able to excite the audience, or make them feel as though something was about to happen. Tension.

I had filed all of those emotions within a folder. Tension. Claustrophobia. Stress. Mood swings. Depression.

Audible and Inaudible frequencies can bring about specific psychological states, such as calm, happiness, depression, anger, stress, fear, attentive, distracted. It was shown that we could easily use inaudible frequencies to cause depression, which was a tempting opportunity for the pharmaceutical companies.

It became clear to them that I was an asset worth paying for. I showed some of my techniques for creating sonic mood drones.

When a genre creates culture, the state and corporations take notice, because it can allow for a preset to be created which can predict culture before it happens and the frequencies of culture can be equalized. Moods can be adjusted. Riots can be avoided & protesting can be delayed indefinitely.

Switches are made in our range of frequencies by the sound systems. In some cases that is a good thing, but in others, it most certainly is not good for frequencies are being determined as undesirable.

Sound Systems project frequencies. Some frequencies cause a calm, tranquil and complacent attitude towards life. Others cause dissonance, which creates thoughts, ideas.

Sound Systems are like screens on televisions, we keep striving to enhance the range, and develop more sound systems to accommodate those enhancements, however along the way we begin suppressing other frequencies, because as a social system, we tend to move in swarms. Sound systems are closely related to social systems.


Eventually, I met others who understood this concept. We had meetings about releases, and created samples for hi end productions for the Main Stream, the nervous system of popular culture.

Media was being consumed at such a high rate, it was impossible to satisfy the demand of the populace. Tracks became shorter and shorter, until they were samples.

The era of recording was over. We have been mostly recording for hundreds of years, and now we are in playback alone.

Time was adjusting accordingly, we were able to slowly hear a 2 second long sample better, because we could adjust our ears to the time difference. But we were using the sound to lead us in time.

I entered main stream culture through samples, strange sounds were strange on their own, but incorporated into a composition along a grid the sounds became garnish, icons of art cred.

As we know, noise is relative to how experienced the ears of the listeners are. Its very much like looking at a painting by Van Gogh. At first some see this as a painting of flowers, thats step one, then they look closer and see there are strokes, each one has its own context & purpose.

A meta universe.

Noise is something that has two sides to it, based on the perception of the human ear, and the experiences of the person the ears are connected to.

Psychologically, someones appreciation of noise varies, according to the experiences of the person hearing them.

There are some universal examples of how noise becomes the source for our hearing something as natural.

In my opinion, the best example of noise being a principle element in the feeling of calm is the ocean.

Consider the ocean without noise, without those higher frequencies randomly colliding with each other. Imagine it was just a sine wave, with no modulation, with no harmonics/overtones, this is what is called 'Pure Tone'.

Consider the device that registers your heart rate, it is a sine wave, beeping in a clock. When you're dead, it turns into a sine wave that has no rhythm, no modulation, that's it, the audible representation of your life force.

Noise would mean that you are alive. The sounds come alive with noise.

Its best if we don't speak about music or genre at all, at least not directly. Then what's left is everything. Music is just a collection of choices a person makes with frequencies. That's all. The symbols; Dub Step, Techno, House etc.; are flags planted on each others occupied land.

When I hear the words "Those are very different genres" I become suspicious. I don't believe two genres cannot be linked somehow, It's sonic inbreeding.

Some call it noise. I call them prohibited harmonies.

What some describe to be noise, they typically refer to something that startles and unsettles them when its heard.

However, they don't think about the soothing aspects of noise. Without the Ocean, noise would be an awful experience. The randomized frequencies of the ocean makes the mind relaxed, it cannot process all of the noise that is happening, and so it relaxes, the noise becomes the reflection of the minds own unwanted noise, it takes it in and gives it back to us in a form which it really represents.

The Sitar, Oud and other instruments have additional noise generators. In the Sitar, it is the chamber which resonates and gives off an additional collision of frequencies.

When frequencies are resonating within a cavity or prism, they interact with each other like cells. The cone of a loud speaker allows this, but according to the design of the engineer, restrains some and allows others to pass. Only the best speakers, which are the cleanest, uncolored speakers, will allow frequencies to congregate openly. When I say openly, I mean that it is audible. It is still happening, but we cannot hear it. This is my answer to whether or not a tree makes a sound if it falls in the woods.

These melodies are typically suppressed, but are there. Wherever dissonance resides, these harmonies also reside.

If we take two similar wave forms, we can now add EQ to each in order to create a overtone, harmonic, we then combine those two and we hear movement between the two harmonics. The frequencies that are interacting are what I call forbidden harmonies and must be suppressed from main stream music.

Experimentation within this idea is important. Prohibited Harmonies are interactions between two or more overtones. These harmonies are not what one would call harmony, but they are, arguably, where harmonies come from.

Our ears are more defined then we are aware of. Our brains are somewhat limited, but what we don't remember, we still ingest through our ears, and they can later spread out over time into a melody, which is the same thing except regimented through a time frame and a narrower understanding of frequency.

But it is interesting, and is happening, if music is made with an understanding of the form and the process rather than the typical instrument used in those forms. Once the instrument, the Oud, the Sitar, is taken out of the picture, and the country of its origin as well, a unique thing happens. It is as simple as changing the machine and the battle ground. The Art Of War still remains.

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Under the surface of main stream media there is a layer where the experimentalists dwell. These sound alchemists develop new sounds, new ideas, new rhythms. They focus on the art of dismembering memory. The next level is a go between, where performers take some of what the alchemists have developed and create something more viable to an audience. From there it catches on to the Main Stream, but by then it has all been transformed into a new context. The sounds are moved here and there. Solidified within a structure. Then the Alchemists rebel, and once again, take away the memory from sound, allowing sound to live independently of human social situations.

Pop music uses melodies and sonic artifacts that can be remembered, where as in avant garde music it is all about abandoning the memory and living only in the moment. They both feed off of each other.
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Memory is human. Eliminating memory from a composition, dealing only with the vibrations of the motion of sound, this is where the Avant-Garde leads us to.
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Once we have the drum or effect racks mapped to the macros, we can now get past the notes, literally change the notes during the performance.
Imagine a composer writing in traditional notation, but being able to switch the notes, tempo, dynamics, bowing, effects and even instruments in real time during a performance, this is where we are with electronic music. Think of it this way and maybe you can get some idea as to the massive of electronic music.
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We will focus on collecting 4 elements. We will gather around the bells and they will listen to each one. Then we record and sample them and load them into a drum rack.
Each student will then create a composition based off of those elements. There will be a test, that each of them had to long pads, sharp drums, bass, all from the same sources.
The students need to process the sounds differently and load those in above the originals.
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If something has a sound to it that is 'relevant', don't use it, because anything near it will eventually fade out, thats why its called relevant, because it is living only now, but won't be later.
Today is not tomorrow.
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Duplicate the two clips, cross fade them then move the loop bracket all the way to the end. Now we have a perfect loop.
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After recording instruments we are going to discuss a plan. We will create 3 percussive sounds, 1 bass sound and a pad all from the same material. Each student played it differently, giving them a feeling of individuality and apart of everyone else. Its a wonderful feeling.

First, with the bells, we will clip the instruments wave form so that it creates a popping sound. This chopped attack is going to create a percussive sound.

For the bass we will lower it and put on a low pass. We can also experiment with chopping it in different points to create a bass with more of an attack, or leave it and add a stall to the attack instead, to make it fade in.

The pad, see above. Creating a seamless loop….
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Workflows change for each producer, but they also change several times for each producer.

The workflow that works for scoring for film is different then it is for producing a track.

Workflow for film scoring:

Begin by finding notes/key of the film:

This is an amazing thing, and some composers are more aware than others.

What happens is that scenes have a base note, this note is found the same way a room tone is found, it is either within the room tone of the space that the live sound was recorded, or it is within the temp music. If you are very skilled at identifying notes within seemingly pitch-less sounds, you will be able to find it in the dialogue, live sound, foley and anywhere else sound is found. If you possess synesthesia, you will be able to hear it without sound at all. You will 'hear' sound according to the colors of the film.

There is a real alchemy to film scoring, and a very exciting phenomenon that is older than we think.

Here is an example of a shamans song from east asia. The shaman recites a story, his voice is the narrator and the pitches he incorporates with his voice creates the score.

These frequencies are sometimes subliminal to the director and the editor, but they hear them. Keep in mind these people have watched the scenes over and over again, this is a sure thing.

As a film maker watches a scene, don't forget that they are usually also listening to it. Whether they know it or not they are listening to frequencies over and over again, and even if they have no sound from the get go, they will begin to add temp music or temp sound until it 'looks' right, not until it 'sounds' right. What they are actually 'looking' for is similar or complimentary frequencies. This is where it gets even more interesting, as they search for a sound/music/genre that's frequencies make the image pop out visually. This is something that any serious film composer is aware of.

In relation to turntable-ism, you can experiment with this. Put two records that have absolutely no connection to your ears with each other. Match the pitches with the turntables pitch lever, either match the pitches, or match them in a manner that harmonizes with each other. Once you get this you should be able to hear that the rhythms begin to collaborate with each other.

So there are frequencies that are apparent, but then there are others that allude you as well. These are the ones to focus on the most, because it leads you down a path untaken.

It takes you from being a tourist to an explorer.

Here is a sound recording that has peaks at 230 hrz. Now lets seek out the frequencies that are not as apparent.

The key is to exaggerate the frequencies by bringing the gain all the way up, scrub until you hear a feedback of overtones which begin to overshadow those frequencies.

The key is to find a workflow that allows the producer to create music spontaneous as well as premeditated within one workflow and set up.

The set up should be rigged between a line ranging from spontaneous energy to logical editing, mixing and mastering.

THE SET UP:

The set up is the foundation of your music.

Every idea you've had, every eccentricity, coming in the form of instruments, effect routings, patches, banks, sequences, controller mappings, need to be right before you like a desk at the office or a cook in the kitchen.

I reached a rough time in my life where I had no studio. I found a cafe that had the best espresso in NYC, although it was pretty much unknown of by the rest of the city. I would get there and work all day, all of the owners got to know me and I became a regular.

All the ingredients need to be laid out right in front of you so that you can just pick and choose from your arsenal. In Ableton this is the browser. This browser logs in all of your effect racks, drum racks, instrument racks, this is your tool box, but where is your desk?

Instrument set up --- instrument performance ---- recording ----- processing ---- re-recording ----- editing ----- mixing/processing----- mastering

Instrument ---- controller ----- recording ----- processing ---- recording ---- editing ---- processing ---- mixing ---- editing ----- mastering

Instrument ---- controller ---- recording ----- processing ----- recording to sampler ---- performance -------

Sound design -----

Sample ----- Sequence ------ perform (dub) ------- Record ------- Mix -------- Master

Set up ------- perform ------ record ------ log --------

Set up_2 ----- perform ------ record ----- log -------

Set up_3 ____ perform ____ record ____ log-----

Overlap all recordings, listen all the way until sounds collide in the right way, find these parts and then clip, then re-log.

Sampling:
Record-sample-process--resample-perform/sequence-record-edit-LOG

mix-master

Re-arranging the midi mapping can cause a loss of spontaneity, if it needs to be done it is very likely that it will take several days at the least to be able to perform freely.

Now if you arrange one fader to do several things, it might seem limited, but if you think about it, it makes you more efficient.

The key is how you are creating the music and how comfortable you are with the equipment.

We need to know the gear, this doesn't always come easily, but if you understand mapping and a little about each DAW, and as long as they all eventually join together with a single similar mapping format you should be able to achieve a feeling of spontaneity.

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Ideally you want to be able to listen to each individual sample, and be able to allow them each to live on their own. Except them for who they are and then place them in a place with other isolated sounds and allow them to co-exist together.

Once you have found the point where their frequencies collaborate and coexist you will find amazing combinations, that can be edited into new isolated events. The more of these that you collect the better. Come back to them down the road, it may not happen now but it will happen eventually.

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Class one: Sampling

In order for us to create original music, we need to have original sounds.

These can come from various sources, but the process is always the same. We must seek out the sound, whether this be through synthesis, sampling from a record or ripping from a You Tube video, we are SEEKING out the sound.

When we do this, and add these elements to our music, we are actually allowing the listeners to go on a journey.

Every sound represents a journey, and the audience is aware of it. Its very much like a travel journal, imagine all of the images in a film about India were taken from a library. Sure, this could at first seem like a good idea, but afterwards, another video comes on which uses the exact same footage.

The previous version becomes only a copy. Later I will talk about the positive aspects of a version, but for now, lets think of it negatively.

So, with sounds, we have a large array of sources that we can draw original material from.

This material doesn't need to be obscure. It just needs to be taken from a source which differs from others.


When we go on a journey to create the sounds, the listener goes on a journey as well. This is why music today has a lot less commitment when it comes to the audiences attention. They want quick tunes and then move on to the next, thats because there is no journey within the sounds. 





Say we sample from a record, if I gave one person a record on vinyl, and gave the same record to another person, I could instruct both people to sample from the intro of the song. The same place. But really there is no way to get the same recording, because you have the record, which, even if it isn't obvious, differs from the other. There is no way that a vinyl record which is 1 week old and was left out of its cover is a copy of the same record that is fresh off of the presses.

Now, beyond the vinyl, there are also other factors. The needle will be a little before or after the other recording, maybe by a millisecond, but it will differ.

Also we have the needle, the cartridge, the tone arm, the belt, with its speed slightly different from the other. All of these things alter the sample and change it from being a duplicate.

Now, in sampling from You Tube, for instance, we can find over a dozen recordings of a sample, different fidelities. All of these take away from it being a copy.

In DAWs we have the option to customize our samples, and synthesize the sounds from scratch.

In an analog synth, if we have two Moog's, the same models, we cannot create duplicates, because each Moog is slightly different from the other. The circuitry, even the heat and the amount of time the instrument has been on, stop them from being duplicates.

So, what we thought was a duplicate back in the early 90's, really wasn't a duplicate at all. But most copies of a DAW are duplicates, one will not sound better than the other, when in the box, however one version can be flawed, contain bugs etc. but never will it actually be a better version.

So, in our course, we will go for a hunt. You will seek out the sounds, not go the easy route.

This may seem like the hard way, but its not. It will eventually help save time and also help you get to where you want to be quicker.

There are sounds everywhere, that can create kick drums, bass, hits & stabs. The world becomes our sample library that we can draw from.

The audio interface is extremely important. A bad interface can literally ruin a record.

- In this class we will sample our own material from acoustic instruments.

Kick drum, rim shot, shaker, bass drum, pitched percussion

Starting with our kick drum, we will record it in mono. Recording it in stereo may or may not sound good, but I've found that kicks and bass sound heavier when in mono.

Besides, if we record two different kick drums, at different areas of the membrane, we can then combine the two mono recordings, pan them left and right, and create a stereo recording. Then, phasing is not an issue, because these are different recordings.

Show students how, then allow them to try.

One student records a kick drum, then another student records one. They each are very different, if you cannot hear that, you need to practice listening.

Listening:

We make music, which means that we create artworks with sonic frequencies. If you cannot hear the difference between these two recordings, you need to practice listening.
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Don't think of the DAW as your instrument. Think of the SOUND SYSTEM as your instrument.

As with any instrument, a musician is not supposed to play only within the constrains of an instrument, instead they are supposed to stretch the capabilities of that instrument.

This comes from creating electronic music through unorthodox means, and it means that you need to practice and spend time experimenting with speakers.

The sound system is both my friend and enemy. At times you are at war with the sound system, and, almost always, the sound-boy.

You can make whatever you'd like, techno, dub step, break core, ambient etc. No matter the genre, you will have the advantage of allowing the sounds around you to become your sound pallet. Take what you need, there is always more.
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Instead of contemplating the music you'd like to make, get right to it. Its the process of creating music where things start to happen.

I don't believe in creating music that comes from inside your head. I think the idle mind is boring compared to the action of creation.

When creating music, action is taking place. The mind is working together with the body, and the tools.

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Today, what we consider to be music is based entirely around length.
For example, a piece of music can be 2 minutes long, but is not usually excepted when it is 1 second long.

This is changing quickly, because of the demand of the audience, which consume media at an incredible rate.

No composition is experienced all the way through, because the length is too long, or at least longer than the attention span of the mass audience.

The mass audience of the Main Stream need to digest massive amounts of media at the fastest speed possible, and this is where the devices mostly serve.

There is no need to finish a piece of music anymore, instead it needs to be adaptable, customizable and interactive.

The audience needs to interact with the music in a deeper, more personal way.

Although audio is now the main format that music is consumed in, it is only natural that music will be performable by the audience.

This is more possible now then ever.





Music cannot exist without time.

Today, music's existence is entirely based around the concept of time.

As the demand for shorter content grows, we, the Producers, must concede to this demand.

We will create shorter compositions, until eventually they become samples.

The length of content is getting shorter.

As the population scans through media at an incredible speed, compositions will need to get shorter, in order to allow the audience to experience the entire work.

Music will not exist in it's current form, rather, it will consist of billions of minute sounds, as short as a few milliseconds, generated by Presets.

Presets will automatically reproduce new content from the same source.

This is pretty much inevitable, as speed goes double time within our psyche. industry and experience.

Today, what we consider to be 'music' is based on time, or length (a composition can be 1min. long, but not 1 sec. long).

However, this is quickly changing as people rapidly scan through media and consume it at incredible speed.

The ability to consume data at this rate is becoming the norm, because nothing is being experienced in its entirety, instead users watch or hear the beginning of a composition, a news broadcast, a film, but quickly jump to another without ever reaching the end.

Producers will concede to the demand of the audience, and will begin creating shorter and shorter productions until, over many years, they become small bytes of audio, which, when in synch with each other, manifest a much larger, and seemingly perfect composition.

Our desires, ideas & choices are bundled up into presets. This 'perfect' composition will meet its criteria only when it reaches it's predetermined threshold, a threshold determined by the needs and wants of our current society.

Disconnected sounds will not co-exist unless they are brought together for social means, therefore the DJ, the "selector", will be the only existing human musical interpreter. Instrumentalists will be recorded and added to the pool before becoming extinct.

In social situations these sample bytes will co-exist with each other and be controlled by devices which find similar frequencies and then connect the similarities, either randomly or according to preset 'logical' combinations.

The substance we presently call 'media', 'information' or 'data', will be excepted as the 'prima materia', the base elements of alchemy.

Meanwhile, as things are 'improved upon' by corporate DAW's and technicians, innovation within art is about rejecting those improvements.

The younger generation of producers constantly find new ways of breaking the code of this 'perfect' illusion,

For example, such as throwing away the crutches of quantization to creating lo-fi productions on platforms that insist on hi fidelity.

Clearly, this means that all presets will eventually lose their false sense of security by the experimentalists and the younger generation who are closer to the hermetic sphere of alchemy, constantly questioning the security of presets.

This is vital. To question the innovations that engineers and corporations fill us with and to define our own sense of what needs improving and what doesn't.

Although it seems undeniable that presets have been making the lives of producers 'easier', the younger generation will always need to deny any established structure that inheres their thirst for rebellion.

What the main stream knows is that this experimentation can only go so far before it becomes dangerous.

The smarter software companies, most of which are open source, encourage these rebellious acts.

If you put your mind to it, you can't do anything.

Recording during a rebellion will not be perfect in the sense of fidelity, but, if captured right during the most extreme point of a conflict (as long as it is successfully recorded), will have the urgency of the recording to add to the experience. The crackle of the recording device being hit with a gust of wind as the recordist runs away from a marauding group of angry protestors.

Silence will be inserted either via randomized algorithms or a defined rhythm that connects sounds and inserts silence within cycles of beats.

Errors will be omitted through the Dithering of the master outputs signals.

Devices will be created for social situations which can harmonize these samples by finding similar frequencies.

Our ears are being prepared for a hostile music production take over by corporations.

"Before the law stands a guard…" Franz Kafka

The master output is the gatekeeper. At the end of their development, processing, editing, arranging and mixing, all sounds reached their final destination and form here. Audio.

It's the 'judgement day', the time of reckoning for sounds.

Although imperfections can be made within the creative process and the final mix, we are still subjected to the master output. The master output has a business running of its own.

Final formats for the sounds extermination.

The gateway to heaven or hell.

Master Output: Gatekeeper

Dithering: Randomized rhythms that act as distractions from syncopated noise patterns

Phase: The juxtaposition of two worlds. The space in between two worlds.

Silence: In the analog world, silence is always present. In the digital world, silence is absolute.

Reverb: The artificial representation of space

Delay: The representation of space & time

Flange: The meeting of two worlds slightly out of phase with each other

Compression: The manipulation of peaks within a sounds frequencies

Limiting: The limiting of peaks, forcing them from reaching over the limits of the ceiling

Frequencies: The acoustic body of the sound

Tone: The smoother outer acoustic body of the sound, created from syncopated frequencies

Fidelity: The story, or history, of a recording

Master Outputs:

Future of electronic recording and editing software:

Customizable interface

Four master outputs to decide from: The Logic Algorithm, Reason, Ableton and Pro-Tools

The one problem is that we would have one master output with several plugins that emanate those algorithms, basically clogging the master output.

Mostly people think of dithering as the most boring un-thrilling concept and subject in digital recording, and would rather not talk about it. I disagree. I find it one of the most interesting.

The idea that randomized noise can defer the ears from being aware of syncopated noise is pretty profound.

If we think about this, then syncopated movement of elements therefore cause noticeable sound, as with the singing dune phenomenon, but randomized noise literally becomes too complicated for the ears to hone in on, and can mask the rhythms.

When I worked on Bedouin Sound Clash I was tested with this issue, because I had bounced the tapes back and forth so much that the noise and hiss was overpowering the recording. Fixing this with the sound of water, then the smell of a forest that surrounded the river.

Creating the stream with a dithering algorithm called _Pre-Lex. Then the forest was created with convolution reverb.

Indeed, it was realistic. But the actual environment missed some of the key elements I was looking for.

Panning created more space.

Dithering, which is randomized noise that defers the ears from the mathematical syncopation of digital noise, a problem that occurs when downgrading sound from 24bit to 16bit.

Relating sounds to human consciousness.

Sound recorded then performed through recording devices.

Playback devices and recording devices.

Recording devices used for performance.

Recording sound and playing it back. Feedback loops.

Playback devices used for performance.

Playback only, with variable speeds and environment placement.

Reverb as space.

Delay as time.

Fidelity as history.

In order to gain more space we will have to build vertically or perpendicular, but horizontally will only mean less space in our current environment.

Audio

Fidelity and it's meaning.

The hidden secrets of fidelity.

Fidelity and it's hidden meanings.

Fidelity brings a slew of meanings and mysterious experiences to the music.

Simply put, degraded fidelity can and does have meaning and should not be considered lesser.

You need to look past the fidelity as a degraded, lesser quality format, and see it as a representation of a time, place and a particular circumstance which has meaning.

In sampling we are not only capturing the music, but also the moment, the time, the place, the musicians, the engineer, the mastering engineer, the devices recorded from and to.

The recording can be disguised and placed within a different time in history by the change of fidelity.

Study: Oum Kalthoum

An old record from the 1920's recorded on a wax cylinder, this has meaning, history, a story behind it.

Not only will we need to discuss clean sound and hi-fidelity, we also need to take into consideration that when "improving upon" something you are in fact taking away from it's history.

Remember that "improving upon" is the most commonly used excuse for genocide and foreign occupation, rarely is it about improving upon yourself, but more about improving upon society and what someones view of the world is.

This is another example of sound as a metaphor for the human experience.

The impulse to improve upon "clean" audio by degrading the sound in order to give it that "lo-fi" sound through digital means seems to me totally ridiculous, at least presently with the technology we have, because we may be changing the sound through the processing, but not adding or dealing with the history behind it.

In the following example Oum Kalthoum sings live, but only exists within the recording. The experience of being there, watching her sing live cannot be replicated.

Likewise the low fi fidelity of the recording can give you a sense of the time and place. The struggle for technology to connect with the living performances of the icons of its time. The desperation and urgency of a recordists inner calling to record it to last throughout time.

The desperation of the recording engineer to seek out the music of indigenous people in a country, which is shown through the fidelity of the recording. A quick set up, a small recording device that experienced wear and tear from the journey through jungles and deserts and loud and crowded streets, all of these factors go into the recording.

The experience of recording it.

The experience can sometimes be captured, or remixed in order to reinterpret or reenact that experience.

Recording revolutions, riots, covert conversations between spies or mobsters, the fidelity adds to the experience and makes it even more real.

Class study:

Francis Ford Coppola "The Conversation" - Walter Murch

Clean means clear un-colored transmitting of frequencies.

It is the prime excuse for occupation of a foreign country or genocide of a race of people by another race in the same country. The reasoning behind these acts of evil, whether they be in Nazi Germany, Israel, USA, Yugoslavia etc, us always the same. To "improve upon", but taken to the extreme.

However, to improve upon is inconsistent with improving on oneself. Rarely are the two connected in truth. Improving on your life style only improves your living conditions or your environment, but not within your self. What is in yourself is impossible to improve upon unless you clear your conscious.

Unfortunately these types of people rarely allow their conscious to be doubted, they must believe that they are absolutely right with no doubts in order to proceed with a well planned out murder, occupation, genocide or heist.

Greed cannot be used as an explanation, and "evil" even less. Instead I see it as the fear of speed, whether that be speeding up or slowing down of time, that causes these things to happen within people.

Occupation is meant to slow down down the progress of the people being occupied while simultaneously buying time for the occupier (i.e. more time, slower the speed) and genocide, in all its horrors, is brought on by the fear of time speeding up (the speed of immigration happening fast enough to notice, the speed of call for a radical change in society, the speed of growing fear).

In fact, in the context of nationalism, occupation of a foreign country, racism, thievery, murder and genocide, "improving upon" is this basic human impulse taken to the extreme.

This desire to "improve upon" in the context of nationalism, occupation and genocide, is a basic, and seemingly good human impulse taken to the extreme.

In fact, although we think we are, we rarely attempt to improve on ourselves.

----------------------------


Dan Whitman is the CEO of ~Abyss~, whom for the past six years, have been in the forefront of Liquid Technology development, 'Fluid Data Storage' and 'Hydraulic Circuitry' research.

New York Times - October 31, 2014.

During a debate at the LTC (Liquid Technology Convention), Vice President Don Flick, pleaded with members of the council: "We haven't even mastered our own reality. What makes us believe that we can master another?"

"We're like ants." said ~Abyss~ spokesperson, Sophia Pet, "We're not just working inside of the ant hill, we're working for the ant hill. We build what needs to be built."

Of course, both arguments are valid. Technology tells us what it needs in order for it to grow, but when all is said and done, could it be that this time we have, or rather, technology has, gone too far?

I suppose we will find out.

___________

'Electronic music' is far too vague a description of what I do and, in my opinion, the term should be removed from our vocabulary. Without a sound system, there can be no sound. I play Sound Systems. This sums up the objective. Sound System Music.

This is a wide term because all networks that distribute and amplify sound, whether they be telephones, headphones, megaphones, microphones, car stereos, cables, tone arms, the internet, vocal chords & the inner ear are sound systems. But also they branch out towards the body, they are underground below us.

Preparing for the sound system is the entire process of creating music. Air squeezed through a brass instrument is routed to an opening where the sound is released, It's a sound system. All sound systems are instruments and all instruments are sound systems, and, as with any instrument, musicians must begin demanding more from the sound systems themselves (much to the dismay of the manufacturers).

Once a instrumentalist mentioned to me as I was recording him for a new project, that being recorded made him feel like he was losing his soul. I nodded my head, because he is not far from the truth. When I sample a musician, I become a soul catcher. But it is not as sinister as it sounds, as it is only a resonant of their soul. It is like mold, or moss. It grows on the edges. Soul is crust.

Sampling from a record is even more profound, as you are taking the soul of the composer, musician, producer, engineer, mastering engineer, A&R executives, artwork designer etc. The difference is, that I am taking these souls in order to defeat a demon. SoundBoy. Make no mistake. He is a demon.

All of these samples are souls resonating in sound waves. They are a part of my army, an arsenal for my weapon against SoundBoy.

Built-in speakers on lap-tops have changed the way music is produced and sounds, because it is how music is being sold. A large majority of people buy music online, and in most cases listen to the songs on built in speakers, then hit buy and listen to it on a better system later. When this became the norm, I noticed the gradual shift in production styles from what was mostly described as 'Warm' sound, to a brighter sound. Compression is used in magnitudes to squeeze a sound out of those pin sized sound systems.

We cannot escape the sound system, we are always intending on ending up there.
As with all systems, there are flaws, but sometimes those flaws are characteristics. One of the most uncomfortable things for me is playing on someone else's instrument.

I do not mind limits, most of them are self inflicted. When I play any instrument at all, I need to get passed the restraints that you feel when approaching someone else's instrument.

This idea, however, did lead to issues that I did not have before. Mostly, I felt that I was always playing someone else's instrument. I needed to become closer to a pianist, because rarely do pianists bring their own pianos to gigs.

I spent years struggling with one track, because of a problem with the frequency range that I was having. My track was sounding terrible on the sound system, because I was not working on the track on the very sound system that I wanted it to play on. It was the club. I was unaware that my focus was completely upside down.

Is it the sound system of a drum? or the sound system of a piano?
Bach was a sound system musician.
Sound systems connect us to the past as well as to the future, predating electronic instruments by thousands of years.
In my film Tunnel Vision (tzadik DVD series) I investigated the way sound is routed and projected through tunnels underground, both man made and not.
We discovered that slaves must have used these chambers to project sound between each other.
We used the sound system of the tunnels to find our way back to the other side.
-------
The term 'sound system' connects us to the past as well as to the future, because the sound system predates electronics by hundreds of years.

Bach was a sound system musician, his instrument was the organ, one of the earliest stereo sound systems.
Bach was not only a composer and a musician, he was a technician and an acoustician as well. He acted as a consultant for churches on pipe organ installations.

Bach understood the idea of stereo centuries before we had what we call "stereos".

Pipe organs are built in a way where the notes pan across from left to right, but the notes are distributed to the pipes in a way where you always get a good stereo image of the instrument.

The music of Bach is not only a brilliant organization of notes, it is music that was composed to work within the acoustics of space. Bach not only wrote melodies from notes, he wrote them from acoustic reflections as well.

The organ is perhaps the oldest, mechanical, stereo sound system instrument. In Bach's fugues, we are not only hearing the harmonies from the interaction of the crossing of notes, but we are hearing the stereo field as well.

It is sensible to assume that Bach could hear the change in panning from one side of the keyboard to another, and it is safe to assume that those lines traveling from left to right allowed the fugues to make even more sense sonically.
-------
The best musical instruments are designed with musicians in mind, and the same should go for sound systems.

Popular sound systems are not built with the musician in mind, they are built with commercial music in mind, and are essentially there to repress frequencies that may bring about dissonance, or really, change.

This goes for sound systems, if you don't know how to play different systems, you are not a versatile musician, and if you are concerned about it, bring your own.
This should work the same way for sound systems but they don't.

If a sound system is prepared to suppress frequencies that go above a certain threshold, it is not a good sound system. Its more of a sound system for people who don't know how to control sound from the get go.

If you watch a good singer on stage, you will notice them moving the microphone closer or farther away when singing. They know how to manipulate the sound system, and they are working with it.

That is just as much a part of the musicianship of a singer as is the voice.

A lot of electronic musicians are so intimidated or restricted by sound systems, that they never master playing it. Only those who perform extensively on sound systems of all kinds can develop a sensibility with them.

One of the greatest sound system musicians of all time, Maryanne Amacher, was also a good friend of mine. I had many blessed opportunities to sit with her at her house in Kingston, NY, and talk about sound for hours.

Always leaving more convinced that we were at war with the sound system. This isn't really the case, we are actually at war with the Soundbwoy.

The Soundboy in Jamaican music commonly refers to someone who is at the sound board, but doesn't know what they are doing. I am in no way saying that Tony Andrews does not know what he is doing, but I am saying that he has a particular agenda, which does not coincide with mine. Lets say, we are thinking differently.

Frequencies should not be suppressed. They all have the right to exist. The ability to boost frequencies is vital when I perform on a sound system.

In the production process frequencies should be suppressed if they must, but on a sound system, they should be available, because one production will have a particular set of frequencies as opposed to another.

As with any musical instrument, the musician must have technical knowledge of the instrument he/she plays. But, even more important, the musician must be comfortable enough with it to push the instrument beyond what was thought to be its limits. The problem is that usually, when one performs on a sound system in a venue, they are playing someone else's instrument.Just like the house piano in a bar.

This aspect of musicianship is missing from sound system music.
We may not tamper with another persons instrument. The sound systems are pre-installed.

This idea that the instrument is the sound system leads to a few problems.
As with any musical instrument, it is not only important for a musician to understand the instrument technically, but also to push it past its limits as well.

In music, rarely is the pianist the piano maker as well. The musicians job is to take the instrument beyond what is considered to be its limits.
Extended bowing techniques revitalized contemporary music. In some cases, musicians put objects in and around an instrument, in order to push it beyond its limits even farther.
This should be the same for sound systems.


Musicians would be empowered by a new era where they could easily be able to mold their perfect instrument. The downside is that they lose this connection to the instrument builder. That affection a musician has with the builder / brand of their instrument is not something I share for most of the things I use to create my music. There is no Stradivari of DAW's. Whether the instrument be cheap or expensive, the brand always become a fetish as well. But with Digital Audio Workstations, there is no Stradivari, there are different ones, and that's that.

The M-Box was a cataclysm in music. I am not speaking from the perspective of an audiophile, but from the side of class & economics. Pro-Tools HD charge 10,000 for a their system, however, they released the M-Box, for much cheaper, except you had to use the device called the M-Box. Now, the M-Box had sound issues, its for sure. Its like a florescent light, it lights up a room, but its giving you a headache.

Again, the class issue comes into play. If we, the rest of the world, are to focus on an image, kids from the projects cant make music without it sounding worse in quality from the master out put.

Give them less tracks, fewer effects or no VST capabilities, but please, do not alter the sound of the master out, that is an aggressive action. It is a clear example of SoundBoy-ism.

I've performed on many sound systems, rarely asking what kind. I would just drop the bass and get out before anyone noticed.
This realization, that the sound system was the instrument, filled me with insecurities.
I would perform from venue to venue, worried about every aspect of my show, either controllable or not. The one thing I should have been concerned about was the instrument I was going to have to play on. All of my concerns about the technical aspects of my set ups were worthless once I was faced with the main "gatekeeper" of electronic sound. The sound system you play on will alter everything.
In my case, I am one of those musicians who likes to thrash his guitar after every event, except I would thrash a $80,000 sound system.
Cement fell from the ceiling, fire sprinklers went off, windows broke and audiences fled.

_______________________________


I became interested in the relationship between the paranormal, frequency, psychoacoustic phenomenon and sound systems.
In terms of the paranormal, I found that there was no better an explanation as to what is a paranormal experience, such as seeing a ghost, was other than that it was a frequency that has been amplified without our control.

We are enlightened by how far we amplify these frequencies, which relate to our bodies, in terms of health, to our mind in terms of knowledge, wisdom, fear, emotion, calm, insane, and to time, in terms of the idea that time does not move the way we make it out to do. It stays still, and we amplify events. Events are amplified, thats what makes them events. When events are not amplified, they are not heard of or remembered until they are. So of course, the amplifiers are the instruments, the speakers, the sound system, of communication.

Now, on the flip side of the coin, what if someone wanted to remove that event from history, you would have to realign the equalizer. The equalizer, think of an eq for the cosmos and you will be close. You would either bring that frequency down, or you would amplify another one.

Male and female relationships are a very clear example of how frequencies work. In different spheres, but when they combine together, dissonance occurs from the amplification of both of them. The dissonance is the seeds of life.

This is what The P.A. did to me, but most of all, SoundBoy did to me.
They suppressed any events or occurrences that came from my crew. We evaporated. We were toppled by shiny sharp square waves and compressed chitter chatter. Over time it became apparent that this was a conspiracy to suppress my work.

This turned into a 10 year long research project, which took me to all sorts of places that had experienced paranormal activity.

As a sound recordist, this gave me a huge thrill and I never really thought about the consequences. Becoming possessed myself never crossed my mind. If you are to believe in these paranormal beings, then it is almost certainly a clear connection between frequency, resonance, amplification and the spirit world.

All this time I was removing these unwanted artifacts, except where were they going? Do they stick to the walls like a moss? What better an explanation for a ghost than the unauthorized amplification of a frequency that was already there. It was amplified without the help of any human.

More often than not, I will come across an artifact, a single spike in the spectrum, rising just above the surface. You can see a small peak towards 120 hrz, zoom in and find several peaks, zoom in closer and you discover several more. These peaks, in terms of time, are past events, which, in their time, were amplified, thats all, they were there then and they are there now, it is just amplification. However they are all occurring at the same time, relatively.

When using convolution reverbs for instance, as in Impulse Response reverbs, one is taking the essence of the room, it is everything that you are taking that is a poltergeist. You are transporting the very frequency of the soul. These souls are placed within the Impulse Response sample window. There, a room is created, but what that really is, is a re synthesized body of souls.

The idea that sound could possess souls and memories within its spectrum.
Below I drawn out a graph of one of these expeditions.

The information is right there for me. The patents for all devices created that amplify sound. I have that list, because it is very well documented. Now that I am capable of stepping into those events, I have been able to infiltrate all sound systems and to reroute their volume controls to one, single master fader, which, I, The PRODUCER, control.

This is why you must obey me. My next attack on SoundBoy concerns you all. Meet my demands or suffer the consequences. Suppressing me will never stop my sound. I will control all sound systems. They will bleed my noise. They will scream my praises for an eternity!.

________________________

For years I performed and recorded on percussion, piano, turntables, winds, tape and effects of all sorts, yet, I always considered my main instrument to be the sound system.

When I say 'sound system', I don't just mean the banging system in your favorite club. I mean ALL systems or networks that amplify sound, including telephones, headphones, megaphones, car stereos, the built in speakers on laptops, and natural sound systems as well, such as tunnels, canyons, the vocal tract or the inner ear.

We are at the mercy of the sound system, without it, there is no sound.

Sound system politics concerns everyone. Bach dealt with it whenever he played an organ just as Merzbow has to deal with it whenever he plays on a live P.A.

The music of Bach is not only a brilliant organization of notes, it is music that was composed to work within the acoustics of space. Bach not only wrote melodies from notes, he wrote them from acoustic reflections as well.

The organ is perhaps the oldest, mechanical, stereo sound system instrument. In Bach's fugues, we are not only hearing the harmonies from the interaction of the crossing of notes, but we are hearing the stereo field as well.

It is sensible to assume that Bach could hear the change in panning from one side of the keyboard to another, and it is safe to assume that those lines traveling from left to right allowed the fugues to make even more sense sonically.

To think that Bach was unaware of acoustical phenomenon is insane.

Organs typically have the range of notes panning from the left of the pipes to the right. Each pipe is an output, much like a mixing board.

The space itself is an integral part of the sound system.

The array of musicians in a choir is built like the components in a sound system, and consists of an arrangement of frequencies aligned in a particular order to create the best sonic experience within a space.

Bach was a sound system musician, the organ being one of, if not the, earliest mechanical stereo sound system.

The best musical instruments are designed with musicians in mind, and the same should go for sound systems.

Popular sound systems are not built with the musician in mind, they are built with commercial music in mind, and are essentially there to repress frequencies that may bring about dissonance, or really, change.

Dissonance, in musical terms, is the same as dissent, in terms of political uprisings.

Dissonance causes musical uprisings. It rebels against the narrow bandwidth of commercial music. It speaks out as a protest when a cluster of frequencies collide.

As with any protest, it must be controlled and carefully planned.

In many cases, I would come to perform at a venue and am faced with the usual conflict between myself & the sound person.

In fact, the sound system itself is always something that can, for the most part, be adapted to work with any array of frequencies I can throw at it, however, the Soundbwoy still is the gate keeper between me and a good concert experience.

A good instrument does not mean that it a good instrument for a particular genre. A good instrument is flexible, and will work with a musician who knows how to play it.

These days people are drawing away from actually learning to play a sound system, and relying on the manufacturers of the sound systems to be the ears for them.

Making choices with frequencies is everything that we call music. That is the process. Suppressing frequencies are not useful.

Some like a Steinway, but others like a Yamaha. Then there are those who can, like Thelonius Monk or George Gershwin, sit down on any piano and play it, and make it their own.

This should work the same way for sound systems but they don't.

If a sound system is prepared to suppress frequencies that go above a certain threshold, it is not a good sound system. Its more of a sound system for people who don't know how to control sound from the get go.

If you watch a good singer on stage, you will notice them moving the microphone closer or farther away when singing. They know how to manipulate the sound system, and they are working with it.

That is just as much a part of the musicianship of a singer as is the voice.

A lot of electronic musicians are so intimidated or restricted by sound systems, that they never master playing it. Only those who perform extensively on sound systems of all kinds can develop a sensibility with them.

One of the greatest sound system musicians of all time, Maryanne Amacher, was also a good friend of mine. I had many blessed opportunities to sit with her at her house in Kingston, NY, and talk about sound for hours.

Always leaving more convinced that we were at war with the sound system. This isn't really the case, we are actually at war with the Soundbwoy.

The Soundbwoy in Jamaican music commonly refers to someone who is at the sound board, but doesn't know what they are doing. I am in no way saying that Tony Andrews does not know what he is doing, but I am saying that he has a particular agenda, which does not conincide with mine. Lets say, we are thinking differently.

Tony Andrews is Soundbwoy.

Frequencies should not be supressed. They all have the right to exist.

The ability to boost frequencies is vital when I perform on a sound system.

You can boost the bass to unity gain, and remove it. But

In the production process frequencies should be suppressed if they must, but on a sound system, they should be available, because one production will have a particular set of frequencies as opposed to another.

As with any musical instrument, the musician must have technical knowledge of the instrument he/she plays. But, even more important, the musician must be comfortable enough with it to push the instrument beyond what was thought to be its limits.

The problem is that usually, when one performs on a sound system in a venue, they are playing someone else's instrument.

Just like the house piano in a bar.

This aspect of musicianship is missing from sound system music.
We may not tamper with another persons instrument. The sound systems are pre-installed.

This idea that the instrument is the sound system leads to a few problems.
As with any musical instrument, it is not only important for a musician to understand the instrument technically, but also to push it past its limits as well.

In music, rarely is the pianist the piano maker as well. The musicians job is to take the instrument beyond what is considered to be its limits.

In the case of Bach, he was an Organ technician, consultant, as well as a musician.
He was a sound system musician.

The piano maker is the same as the Soundbwoy.

Extended bowing techniques revitalized contemporary music. In some cases, musicians put objects in and around an instrument, in order to push it beyond its limits even farther.

This should be the same for sound systems.

We should be able to push it beyond its limits. This is why, I am not impressed with the Funktion-One sound system, which, in my opinion, actually limits the musician.

If you are playing an mp3, then the sound system should make it sound better, not make it clear that it is an mp3.

This is all about the sound being "clear". In some cases, sound was not clear to begin with. If its purpose is to be clean, then I am not getting much out of this instrument.

I need a sound system that I can trust. I need to know it will turn ON. That is step one. If it is going to stop working during a set, I am definitely not going to be enjoying myself.

I've performed on many sound systems, rarely asking what kind. I would just drop the bass and get out before anyone noticed.

This realization, that the sound system was the instrument, filled me with insecurities.

I would perform from venue to venue, worried about every aspect of my show, either controllable or not. The one thing I should have been concerned about was the instrument I was going to have to play on. All of my concerns about the technical aspects of my set ups were worthless once I was faced with the main "gatekeeper" of electronic sound. The sound system you play on will alter everything.

In my case, I am one of those musicians who likes to thrash his guitar after every event, except I would thrash a $80,000 sound system.

Shrappel fell from the cieling, fire sprinklers went off, glass broke, audiences fled.

Not only does a musician need to work with the instrument, but we also need to show the instrument how you want it to sound.

My skills in the studio was just a precursor to the instrument that I most needed to learn; The Sound System.

We are at the mercy of every sound system that is pre-installed at a concert hall or within a mobile device.

Sometimes the person who designed or installed the sound system is a fan of bass music, so, of course, they want to hear more bass through their speakers. This doesn't always go that well when I play, as sometimes my bass may be too much for their sound system.

Then I bring more sub into it than it was expecting, nearly tearing it in half.

--------

The hunt for the best combination of sounds is a process much like interviewing individuals for a job.

There are some people who have proved themselves to be efficient.

They have shown promise in the past, having brought success to projects in the past.

Bass wobbles have become somewhat generic, so we need to rethink whether or not we need another bass wobble in the company.

Then there are the ones who you just have a hunch about.

I've got hunch about you. I just get a good feeling. I'm going to hire you completely based off instinct. I know that somewhere down the road, you will contribute something to the mix.

______________________


Presets = Audio entrapment

What some may call the 'A.D.D. Generation', is actually a generation where language itself has transformed beyond words.

Within Social Media, links come attached to our conversations, integrating themselves into our language.
Videos, music, quotes, articles & other media become just as useful when making a point or expressing an emotion than the words themselves.

As this becomes more of a way of communicating, more content is needed to fill in the blanks, because If we run out of content (and yes, we CAN run out) then we run the risk of becoming speechless.

For this reason, media has gotten shorter and is produced quicker in order to supply the demand for the next generations new vocabulary.

Of course, there is a need to communicate off of the screen as well, out in the real world, and for this we need devices. "

credits

released November 23, 2015

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