Month: December 2012

Retrospective Reflector [Disquiet0051-audiojournal]

PROCESS:

This is my 28th submission to the Junto. This is a mix of my work for the Junto and singles and demos I’ve released (and one not) this year. Thank you to everyone in the group for your generosity, friendship and acceptance. And a special Thank You! to Mark Weidenbaum of http://disquiet.com, for dreaming up this amazing opportunity to learn and grow as a musician, songwriter, sound artist and general noisemaker.

These are just stitched together, eq’ed and compressed a bit for volume stability.

Jan: nearly there (alprazolam dream #76c) [disquiet0004-mfischer] http://soundcloud.com/thereflectors/nearly-there-disquiet0004
Feb: Nowhere Man (cover) [Unreleased]
Mar: Manhattan Bridge Train [Disquiet0011-motoring] http://soundcloud.com/thereflectors/manhattan-bridge-train
Apr: Jack Kirby’s 99th Dream [disquiet0014-oumupo] http://soundcloud.com/thereflectors/jack-kirbys-99th-dream
May: sliver of sky [disquiet0019-rojiura] http://soundcloud.com/thereflectors/sliver-of-sky-disquiet0019
Jun: the rime of the ancient pacific garbage patch [disquiet0026-composting] http://soundcloud.com/thereflectors/ancient-pacific
Jul: The 12th Step [2012a] http://soundcloud.com/thereflectors/the-12th-step
Aug: friction and the flame [disquiet0031-onomatch] http://soundcloud.com/thereflectors/friction-and-the-flame
Sep: The Know It Alls At Bloomingdale’s [disquiet0037-asrealasitgets1] http://soundcloud.com/thereflectors/the-know-it-alls
Oct: AustinTown (inst.) [disquiet0042-naivemelody] http://soundcloud.com/thereflectors/austintown-inst
Nov: crystalline sky grace [disquiet0044-sandy2012] http://soundcloud.com/thereflectors/crystalline-sky-grace
Dec: Crystal Never Hurts [rough mix 2012b] http://soundcloud.com/thereflectors/crystal-never-hurts

PROJECT:

This week’s project is a sound journal, an audio history of the past year. You will select a different audio element to represent each of the past 12 months of 2012. You will then select one five-second segment from each of these audio elements. Then you will stitch these dozen five-second segments together in chronological order to form one single one-minute track. There should be no overlap or gap between segments; they should simply proceed from one to the next.…

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i shot @averagecabbage shot me

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Upon landing in sayulita, mx’s international surfport for new years 08/09 and clearing a sleeping customs canine, @AverageCabbage and I had twin parallel urges to explore the airfield until the other 1/2 of our galactic retinue arrived on a later flight. So we devised a plan to avoid security (i.e., gave our assigned driver a nudie) and slipped off behind the terminal.

We first came to an annex building, a 15×15 foot shed with a single window and a screen door. Notebooks climbed to the ceiling, the air was dark and the light dank. Flight logs and maintenance records were strewn everywhere and covered in old-vine cobwebs. A dust, colored like Mrs. Dash, aerosoled in the vacuum release of our opening the door.

We found nothing seductive, so we continued on and absconded behind the shed through some brush that required the use of Adam’s machete. We came to a clearing. On the far end were two wrecked planes. The near one was in better shape, at least for touching (you know, no snakes). I snapped this shot of him on the wing of the plane using his iPhoney 1.0 for his lake-roohm blogge:

His lake roohm one day will be part of the MOMA’s permanent collection and will also be on an iPad next to Archie Bunker’s chair in the Smithsonian. I did a fake lake roohm response to his Lake Roohm, too, for some megameta-dissonance. And thus we live.




crystal never hurts

a rock/pop song sneaks out from behind an ambient intro. what you never know never hurts.
– :^D

crystal, I was truly blessed by that
necklace prism rainbow
splashed across your breast.

now look at the sky we made
and all the stars we named
they’re just goodbye songs.

what you never know never hurts
if we never meet again, rest assured.
don’t waste time between the lines
of everything you learned.
what you never know never hurts.

that was the best of me
back in two thousand three.
shelter + safety.
i believed we’d have

a life beyond the rave.
we could curtain the world away.
but nothing works that way.

what you never know never hurts
if we never meet again, rest assured.
don’t waste time between the lines
of everything you learned.
what you never know never hurts.

#TheMexicanTaxi: Behind The Mexican Doctor


trivia:

– 4:52 am, 29 December 2008

– 00:10.00 – i filled-in as director of fliptography for the pivotal shot of the doctor’s entrance

– director david tuohy planted his elbow in a bowl of oranges to make an articulating tri-pod for his fliphand. genius!

– adam made everyone call him Jesus (using spanish pronunciation: “hey-‘seuss”) and he called me “spaceman” so he wouldn’t break character.



Cassette Kirtan [disquiet0049-deckduet]

PROCESS:

Contact mic’ed a microcassette recorder (my only current working tape deck). Measured 86.48 BPM using the manual tempo tap on a Line6 POD-XT. Meditated over the lulling beat with a guitar. Pickups were thrown out-of-phase and then the guitar signal was sent through delay, auto-swell and phaser. There’s also a Paulstretched A-chord strum (24x) behind the track.

Dedicated to all my (patient) ashtanga teachers through the years.

Rig: Olympus Pearlcorder S950 Microcassette Recorder, K&K Electric contact mics, Jolie (custom Gibson ES-335 Dot Reissue), Paulstretch (Windows standalone), Ibanez DMD2000 Digital Delay, Line6 POD-XT (phaser, auto-swell and “analog” delay), djembe loops, tamborine

PROJECT:
Step 1: Record the sound of your tape deck in play mode. Make note of the rhythm inherent in your tape deck: at what BPM does it progress?

Step 2: Create a short new piece of music — simple, atmospheric, lightly rhythmic — that has the same BPM as the tape deck.

Step 3: Make a recording that combines your new piece of music and the sound of the tape cassette deck at close to equal volume. Almost certainly, the rhythm of the deck and the rhythm of your composition won’t match up exactly. (You can accomplish this in one of two ways. You can simply combine the two recordings into one — or, more complexly, you can record your track to a cassette and play it back on your deck, in order to record the music and the deck simultaneously; adjusting the volume in this scenario will be complicated, but the rhythmic discrepancies might end up with more nuance.)…

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