A few days ago my spouse mentioned a dream with Michelle Obama in it. Apparently dreams featuring the Obamas dispensing wisdom are not an uncommon thing:
had a dream obama and the guy who plays air guitar at the mall were about to fight and obama said “ violence for violence is the rule of beasts “ and i woke up because that was the rawest shit i ever heardhttp://kumagawa.tumblr.com/post/149460046939/had-a-dream-obama-and-the-guy-who-plays-air-guitar
There are t-shirts and podcast episode titles and a database of Obama dreams. So, why not an album of electronic music? Yep, I’m tentatively calling the next album and the last track on it The Rule of Beasts.
The last track stands out from the others in style (but is probably not “the rawest shit you eve heard”). I was trying out the Sputnik Five-Step Voltage Source I’d just received, driven rhythmically by Teletype and modulating Plaits’ various parameters. I recorded it but figured it was destined to be dumped on SoundCloud as too different from my ambient drone style. But a couple of ideas struck me right before publishing it, and it went back into SoundForge for a few more rounds of editing. The result works, I think, but I’ll wait to confirm that in a different listening environment first.
I’ve got 70 minutes of material now, but a couple of songs need final decisions about inclusion. For comparison, January 2018’s Nereus was a couple of minutes shorter and I’d rejected about 20 minutes of other recorded material.
I’d previously thought about calling this one Super Blood Wolf Moon, but that already feels like a dated and irrelevant reference already. It’s the title of one of the other songs though, if I don’t change it. The album art also was originally one of my dad’s photos of that event, but because the resolution was too low for DistroKid’s requirements, I started processing it… and now it’s a metallic tunnel/vortex thing. My approach to photo editing software sometimes resembles my approach to music making.
That Sputnik module is a bit quirky. The pulses coming from the top row when a step changes are ridiculously short and don’t reliably trigger every module. It works fine with Tides and Teletype though, and if the ER-301 is fine with it I won’t sweat it. Otherwise I’ve been able to massage the signal a little bit with tanh to keep it over common trigger thresholds long enough to work.
I made a couple of wrong assumptions about controls in the Stage Select section, so it’s slightly less like the Buchla Music Easel sequencer than I thought — but cool in a different way. The Address input is exactly as expected and is easy to control via Teletype. Overall it’s a fun, hands-on multi-channel sequencer. Between it and the faderbank for the Teletype and the SQ-1, and good old MIDI, I believe that should settle the sequencing question.
I’ve got a tentative layout worked out for the new case. I took those guiding principles I came up with in the previous post, used the bubbl.us mind mapping tool to associate modules into groups, considered the impossible ideal of having all my modulation sources equidistant from any given destination, thought about geometry and pre-modern naval tactics and put together a compromise.
There’s a logic to each module’s placement, even if the logic was something a bit weak like “it was the right size to fit in an awkward gap” or “this keeps all the black-panel modules together.” Actual usage will tell me whether I want to shift things around, but I think this is a setup I can live with; I know the modulators are generally on the right edge, VCAs/LPGs clustered together, sequencing all at the bottom and so on.