Influences: aaron turner (house of low culture, isis, sumac) akira yamaoka (silent hill ii) ennio morricone (film scores) marc ribot (solo, with john zorn) vangelis (blade runner ost)
For more details about the literary and musical background to my FAWM 2019 project, please visit
|#1||The House of Asterion #01 - Theme (Intro)||
|#2||The House of Asterion #03 - Mother||
|#3||The House of Asterion #06 - Asterion||
|#4||The House of Asterion #09 - The Other Asterion||
|#5||The House of Asterion #12 - Theseus||
|#6||The House of Asterion #04 - The House of Asterion||
|#8||The House of Asterion #08 - Above, the Intricate Sun||
|#9||The House of Asterion #07 - Beneath the Sea||
|#10||The House of Asterion #11 - Take Me to a Place with Fewer Doors||
|#11||The House of Asterion #14 - Theme (Outro)||
|#12||The House of Asterion #05 - Any Place is Another Place||
|#13||The House of Asterion #13 - I Scarcely Defended Myself||
|#14||The House of Asterion #02 - And the Queen Gave Birth to a Child||
|#15||The House of Asterion #10 - Some Day My Redeemer Will Come||
Hi there. In regards to the comment you left on my soundboard, I feel that with my concept album I somewhat achieved what I was going for; a cohesive theme.
Indeed there are some tracks I would want to change, and I couldn't do everything I wanted within the time frame (e.g. full-band productions for all songs); but overall I think it's a good effort.
I finally listened to your song, "Blizzard". Very nice. The ambient sounds are soothing, and the piano keeps my interest with unexpected sounds. I like how it keeps my attention. I find it interesting that we each had an instrumental take on the snow. Thanks for the listen. 😀
Yup. The fitter-happier tag was a reference to the Radiohead voice. 😀
Thanks for the listen!
Libraries. I had the polish put on my education by joining TAXI. it was hard and painful and absolutely worthwhile (I'm still on their lsits but inactive ie not feepaying or submitting) No, I didn't pick up any libraries with them, but through what I learnt I had music accepted by the old PumpAudio, a lot of my backcatalogue with audiosocket, and some collabs on Jingle Punks. I've also tried Pond5 and Productiontrax (bottom of the barrel--they take anything but are still license-operating rather than sell'n'lose). Royalties have only ever made small amounts for me, and I mean small--a couple of hundred bucks in a decade? And I guess new licences themselves make about 100 bucks a year. It's getting harder and harder, the income is getting less and less and the bar goes ever higher. But...it's still a real if small income stream.
Thanks for listening to “Hickory Ridge,” for your kind comments, and for introducing me to the Woodcutter fables. Amazing resonance with my song; I must have absorbed it from the culture!
Thanks for that (I went and had a look at archive.org. I'll make use of that!) "shopping"....getting your music into a library for licensing. Film, TV. Granted a lot of work and rejection, but I think it would work for you (only use Pand5, Productiontrax and similar "come all ye" sites as a last resort).
I obviously meant watching and listening.
Very nice indeed.
Thanks for listening to This Trophy Life and your kind comments. I'm listening to your stuff now and digging it!
Thanks for the tip on archive.org. A visit for later! (BTW my comments are real rather than kind! Though I try to be diplomatic. Your work is really, really good...have you tried shopping it?)
Oops... I meant that the musical scale WAS the same as my Japanese tunes.... brain fart!
Thank you for your comment on "O Tsukimi". I've been around Japanese music but never thought about what made it Japanese. When I decided to play with trying to sing Haiku, I thought it should sound sort of Japanese and drew on childhood songs like the everpresent "Sakura" cherry blossom song.
When I went to my iPod Garage Band to record, I noticed some Asian instrument options, and noticed one of the musical modes was "Japanese", and when I switched over to that I discovered the musical scale was not the same as my Japanese tunes. Guess I found what made it Japanese 😀
Thanks for checking out my music! The verse drumming on where’s my stuff is my son....Does your child play music? I’m not sure if you could have them play on your music, as it is so complicated!
hey you asked about the sound in the chorus of my song"Silhouettes", it's a tremolo pedal plus a bizzaro distortion pedal a friend of mine makes called the Fuzz-Stang
Wow...these pieces deserve my good speakers. Can't wait to plug in and go through your material!
Thank you for your comments on Underwater Underground and your reference to Arion Poseidon and the Dolphin in mythology. That's the kind of read that completely transports me to another dimension. I appreciate that!
I will get to more tomorrow. So good so far! Great concept and implementation!
Yup that’s my brother! He got me into this 7 years ago. Now we do a lot together. His stuff is great and he certainly comments earnestly and often.
Hey thanks for the nice comment on Flicker! Now I see what you’ve got going on and I can tell that I’m about to get in deep with what you’ve done! Did you plan to have the sequence? Wow. You really took ALBUM Writing Month seriously! Once the kids are in bed I will give a listen.
Thanks for listening to Penelope and commenting. We might redo this one to tighten it up a bit if we don't loose the feel in the process. I look forward to listening to some of your stuff soon now that FAWM 2019 is winding down.
You can also do this with other signals, like say you had a white noise track and wanted it to duck when the pad comes in, and then slowly swell back up, you could do that.
So actually, for sidechaining, you put the compressor on the track you want to be affected, in this case that'd be the pad or whatever.
Then you take the signal you want to sidechain it from (the drums, the kick specifically, something like that) and send it to the compressor's sidechain input. Then you tweak threshold, ratio, attack/release times.
Attack ends up controlling basically delay time to respond. A fast attack makes it so the instant the drum hit happens, the pad sound ducks down. A long attack will effectively delay the onset of the sidechain effect, and how hard it strikes.
Release time controls how long it takes for the compressor to open back up again.
I'm not super familiar with ableton, but I know it can do this. Make sure to use a compressor that has a sidechain input, not all do.
Hmm I don't see an email
Awesome, my email address is in my profile!
Do you have any pictures of the area you were walking? Would be neat to see what you were seeing while listening.
That was supposed to say "another dimension to my appreciation of books."
Anyway I have really tough time naming things if I don't do it very soon after creation. Once I'm out of the mindset for the piece, it feels somehow inauthentic coming up with a title after the fact. Though sometimes I still do it.
I have done a few things with lyrics in which case titles are much easier, I think.
Thanks again for your insightful comments!
Yes, I'm definitely interested in literature and philosophy, although I'm a bit of a dilettante in that I kind of cherry pick what interests me.
I have a weird relationship with titles because on one hand, I sometimes struggle to think of them and don't always have a title in mind when I'm working on something.
However, titles are important, and with instrumental music it's the only wording you get to use to convey anything, so I think in a sense that makes it more important.
Many of my titles are inspired by or are directly taken from things I read. This year I think all my titles have been inspired by Aldous Huxley "Eyeless in Gaza." Huxley was an incredible writer, one of those who managed to capture amazingly deep ideas in seemingly every sentence. I love those little bits of concepts strewn about the main narrative. I keep a notebook where I write down things I want to remember while reading, this also gives another dimension of my
Ask and you shall receive, lol.
I've been so out of touch with the FAWMverse. Can't wait to catch up on your songs
Thanks a lot for your comment 😊 A Dobro is a guitar with Resonator....Do you know the cover of „Brothers in Arms“ by Dire Straits? That’s a Dobro 😊
I love thematically projects, I read the blog you posted, so fascinating, such a super cool idea, and yes have structure and time line will help with FAWM for sure.
I really enjoyed what I've heard from the project so far, very well done.
I wish you much success and can't wait to hear the rest of the album.
You got this! 😀
Hey, thanks for the interest ... yes, I have a lot of stuff in progress. It looks like I'm kinda FAWMing in spurts this year. Odd, but it's working. It looks like you've been busy -- wow!
The close far sound on "Wandering" was achieved by mic'ing the guitar very close, but then adding in a plate reverb effect (Sound Toys' "Little Plate"). I mixed it so some of the "close" sound was being heard AND the verby sound too.
Thanks for the comment 😁 PUBG is an obsession for me unfortunately. There would be so much more music without it 😝
Hi thanks for ur comments on "time-framed" I haven't read Proust ( nit to my knowledge anyway) and will check him out. Thanks for the tip!
The comment you asked me about was presumabky to say really good stuff deserves more listeners. one of the ways I found ( the only way really) of boosting lithe chances of people finding tracks was by tagging them with challenges and/ or by getting involved in skirmishes - some people will listen to previous tracks. The comment I left could have been meant for you - Though you seem to be getting a reasonable number of hits- or maybe it was to the initiator of the thread. I dunno. No I do- I was blown away by your clown piece! More stuff like this!
Thanks so much for your generous comments on my song Avalache.
Thanks a lot for your comment. 😊
My recording setup is actually not that impressive: a T-Bone phantom powered mic into an Focusrite iTrack Solo Interface (where I can also plug my guitar in) and from the Interface into my iPad where I either record into Cubasis (for a workflow with DAW, as in the most recent track) or use an app called AUM which allows complex audio routing setups including various effects and loopers for a DAW-less workflow (as in my first 5 FAWM tracks).
Dude, that was a solid surf song! Great tone and I love the dueling guitars! I am absolutely not a guitar solo player. Strictly rhythm. You sounded great!
Thanks for the very nice comments and for taking the time to listen! Much appreciated... I'll be checking out your music today for sure! 😀
And since you brought up zombies for my surf song, you probably be aware that @mosley and I did this one a couple years ago, lol 😁
Zombie Beach Party Attack!!!
Merci for your comment! I used Superior Drummer and the Evil Drums sound pack. 😉
We played a live show where we used a similar process, only I was playing acoustic guitar, and some other parts, and Kurt was adding synth sequences and at times, beats. A lot of times I'm doing some processing on my own instrument as well.
Hey, thanks for your kind words. Seriously touched that these suites are resonating with you so deeply.
The way we recorded these, the only thing that isn't a synth or modular rig (which can be recorded directly into an interface), is the viola, and that is being captured with a clip-on contact mic, then run through Kurt's modular rig. The contact mic is not ideal, but it captures the tone well enough, it's not like we are trying to achieve a pure viola sound anyway.
This also has the advantage of not picking up noises exterior to the viola, so we can talk freely without messing up the recording. In practice, we didn't communicate much directly in these sessions.
However, as we play we have ways of communicating musically. Basically, I will play some notes on the viola and then I'll start hearing his processed versions coming back -- in this case often delayed a minute or two. Then I will start hearing interesting things in his manipulated version and start playing off them. Somet
Oh, and I appreciate the Tim Hecker comparison, he's definitely an influence for both Kurt and me!
Cool stuff! Yeah, Cormac McCarthy is incredible, very inspiring
Thanks for the comment on Forgiveness. No don't worry, I love discussing my process. It helps me analyse what I do and helps me come up with new ideas to change how I do things.
Anyway, I use a DAW called Jeskola Buzz. It's a "Second Generation Tracker" program that is modular. The basic building blocks are called Machines (Instruments, Effects, Control Machines, VSTs) that you can route just about any way you can imagine. But the real power of the program comes from special Buzz Machines called Peer Controllers. They are machines that control any assigned parameter from any other (or mutiple) machines in your project. It is through a sort of Peer Machine that I am able to trigger notes on a VST with my guitar.
The Machine is called Note Detector - and that is what it does. It detects the notes played into its input and sends out that note as a MIDI note to whatever Machine you desire. Essentially it acts as an Audio to MIDI converter which allows me to do a lot of things. Note Detector is a realitively new machine, one that I'm still exploring possibilities with.
See You In The Shadows…
Thanks for the comments on my songs. I admit though I named the song Jorge after the song was complete.
Thanks a lot for your comment...the comparison to Eno and Gilmour (two of my heroes...) actually made my day. Thanks a lot 😊