that’s my jam

I dreamed I was playing synths in a band that was in its first stages of formation. We didn’t really know each other, nor have any particular goals, but we were going to jam for a bit and see what came of it.

The first bit came together spontaneously (probably too easily) as kind of a funky late 70s rock groove… except for me. I did some kind of awkwardly out of place noodly cool jazz electric piano thing. Everyone knew I was the loose screw in an otherwise well-oiled machine.

I was prepared to bow out and go home with as much dignity as I could muster, but a couple of them stopped me. One of them said something to the effect of: “What you were playing wasn’t you. It wasn’t you at your best. Don’t try to fit what you think we’re doing, play your own way, . Let’s go again.”

And instead of jazz noodling, I played like Starthief. I set up the sort of drone/rhythmic pulse combo thing with Natural Gate that I started with Shelter In Place, synced to the band’s beat and with a rhythm I felt worked… and it was transformative. They were still all doing their thing, but weaving in and out of the rhythm I was providing, while I reacted to what they were doing. Instead of a solid backing rhythm and a bad secondary melody, we were meshing — we were killing it. And then I woke up in mid-jam with huge grins on all our faces.

This fits so much with my recent thoughts. I’ve pretty well finalized the theme, and even chosen a working title, for the next album — despite not actually getting around to reading Fromm yet.

I’m currently reading Iain Banks’ Matter. I’m determined to finish all the Culture novels one of these days. Even if the Culture is the Mary-Sue of utopian far-future “Fully Automated Luxury Gay Space Communism” civilizations where everyone is deeply eccentric and many characters have godlike powers, I still want to live there, and the books are creative and funny when they’re not going entirely too far to the grim side with less enlightened civilizations. The Hydrogen Sonata features, as one might guess, a piece of music and a musician and a very weird, kind of awful instrument — and that makes it one of my (many) favorite SF novels. Anyway, while I’ve got more Laundry Files books in the queue along with a couple more Culture novels, I’ll read Fromm after this book, I promise.

I’ll bypass the thrilling saga of trying different patch cords, and move on to thoughts about Synth Farm 2.1. Yes, that’s my name for it now, despite the starry artwork that might suggest something else. It’s in contrast to my spouse’s “shrimp farm” (a few tanks of blue neocaridina shrimp).

It’s been on version 2.0 for less than a month, but I have a well-considered plan for amending it.

  • Rossum Panharmonium is already ordered and previously described. I expect it to be somewhere between oscillator and effect for me; sort of the mirror counterpart to Erbe-Verb which is somewhere between effect and sound source.
  • I’ve been convinced that the Intellijel Rainmaker would suit me very well. It’s “the last word in Eurorack delays” according to Mylar Melodies. It’s a 16-tap delay where each tap can have independent or coordinated level, pitch, filtering, and stereo pan, and there are various algorithms for stacking and timing the delay taps — aside from things like subtle detuning, Doppler shift, octave shimmer etc. you can sequence a whole polymetric call-and-response melody with echoes. Mind blown. That’s just half the module; the other half is a comb filter/resonator which is more raw than Rings but quite flexible. It’s the sort of thing where you can dig deep into sound design and theory to create unique effects. It’s big and relatively expensive, which means it’s gonna replace something and consume the budget surplus I was running, but I think it’ll be worth it.
  • I’ll hold onto my G8 clock divider. No wait, I have another idea.
  • I’ll let go of the Sputnik 5-Step and Selector. At the start of 2018 I was excited about the idea of a sequencer that let me address steps directly via triggers converted from MIDI notes. But my workflow has changed enough that this isn’t an exciting prospect anymore; I can get what I need through Teletype. The rarity with which I’ve used the module at all makes it hard to justify the space it takes up.
  • In their place, I may go for a compact manual trigger sequencer of some kind. A trigger sequencer can also act as a clock divider. Befaco Sampling Modulator, which I’ve had my eye on, is a trigger sequencer attached to a sample+hold, and can go fast enough to mutate or generate audio and do a lot of other stuff besides. Why have two modules that do things I’ll occasionally want, when I can have one module that does both those things and more?
  • I’ll move a couple of things around. Shades and O’Tool+ can go in the center of the case, where they can act as passive mults on those occasions where I want to patch from corner to corner — meaning I shouldn’t really need 36″ long patch cords. I’ll also break up the blob of modules with dark faceplates that blend in to one another.

No Sudden Moves

I’ve shared this recording elsewhere, so why not here?

  • Plaits in waveshaping mode (with an LFO over the level) feeds the audio input of Rings in inharmonic string mode, which feeds the ER-301.
  • In ER-301 channel 1, three Schroeder allpass filters in a feedback loop are manually controlled by a 16n Faderbank. In channel 2 there’s just a grain delay in a feedback loop with its time manually controlled. There’s a bit of cross-feedback.
  • The two channels are recorded as mid-side stereo, and some ValhallaRoom is applied.

I’m really enjoying the 16n Faderbank as a controller for all sorts of things. In another recent recording, I used it to control levels in Maschine over USB MIDI, as well as the levels and timbre of a harmonic oscillator in the ER-301. In this one, constant manual micro-adjustments of the allpass filters prevented the feedback from building up into something piercing and unpleasant, and changes in harmonic content were a combination of tweaking Plaits and Rings as well as the filters. The impression I get from this piece is light refracting off the curved surface of some mysterious alien artifact, perhaps… which might have been better title inspiration than what I chose. Ah well.

I’m reading A Study In Honor, a novel set during a near-future civil war. A post-Trump leftist government implements universal healthcare, guarantees LGBT rights, and does much for racial justice and income inequality and so on — and then radicalized right-wing idiots are so upset about it that some states start a war, and federal centrists are in the process of eroding rights and breaking the economy again to placate the crazies. Our protagonist is a wounded veteran of that war, a queer woman of color who suffers from PTSD, a poorly fitting, irritating, poorly functioning prosthetic arm that the VA won’t replace, and fresh waves of alienation. Needless to say, this has not been a happy story so far. It’s well-written and gripping, though.

So with that bouncing around in my subconscious, last night the infamous Shitgibbon-in-Chief actually appeared in my dreams. This cartoonish con man has been a mental health threat to the entire country for the last 30 months or so, but up until now he’s avoided direct appearances in my brain at night. Well… he’s officially banished.

it’s just a show, I should really just relax

Recent dreams:

  • I was the third of three drummers for a high school heavy metal band. Like, an official class, taught by the guy who had taught the school’s jazz ensemble in real life. And just like the jazz ensemble in real life, we were really not good.
  • Throwing books at Hitler, while he sat for an interview with an NPR reporter. Nice hardcover editions of The Sandman graphic novels. I’m not sure if Neil Gaiman would approve, or would suggest I find something else, but it was effective — The Kindly Ones really took a chunk out of his arm, messed up his uniform and completely disrupted the interview.

And speaking of relaxation, I have found that while the nasty-tasting CBD oil helps my anxiety and mood, the capsules I bought from a different company (at a higher concentration, even) just don’t do very much. I must be carrying a lot of tension in my back muscles just from the anxiety, because switching back to the oil for a day relieved a knot that had been bothering me for a week. And here I thought it wasn’t doing that much to help physical pain. Hopefully I can find an option that is less yucky, but still effective.

In local music news: those thoughts about an “acoustic universe” — and maybe watching season three of The Expanse — led to a general concept for the next album. The working title is Passing Through, as in both travel and permeation. I’ve got four candidate songs in place now and one rejected, all coming from experiments with QPAS, ER-301, and the Volca Modular.

The VM is a fascinating and sometimes frustrating little beast. It’s rough around the edges and has a lot of limitations, compared to Eurorack modules or software. Some of those are the “do more with less” kind which encourage creativity; some give it character; some are just annoying. But overall it’s pretty amazing for such a tiny, cheap synth.

Some people have been trying to compare it to a Buchla Music Easel (at $3000+) or a Make Noise 0-Coast (at $500+) and that doesn’t seem fair. But I think I can honestly say it’s at least as interesting as an Easel, and I honestly like its wavefolding sound and its LPGs better than the 0-Coast. (But the 0-Coast is really good at big, solid triangle basses, which the VM will never be, and it feels like a really good, well-calibrated, quality instrument and not a toy.)

My new case arrived, and I was eager to get moved into it but my spouse wisely pointed out that it’s probably better to burn it — that is, in the sense of pyrography — before loading it up with fancy electronics. Okay, that makes sense. 🙂 I spent a few hours poring over clip art and tattoo designs of stars, meteors and black holes for inspiration; she spent a day or so working up a rough draft design in a paint program. I think it’s going to be pretty spiffy and I’m eager to see the results!

I’ve occasionally thought about getting a tattoo, but decisiveness was not my strong suit and most of the symbology that meant much to me wasn’t something I’d want to wear on my skin. But it strikes me that it’d be really cool to have a tattoo with a neat design made by my spouse, which has some thematic similarity to her tattoo, and matches the design on my instrument…