Methodology
"The fastest way to accomplish a complicated task is to do it one step at a time"
My studio ritual depends which machines I am using. For long years I banged out versions of the same thing, perfecting it, on the Playstation 1 using Jester Interactive's Music2000 software which is still advanced beyond most software around. I began specializing in my techno-drum&bass developing a few techniques, sadly the drums didn't kick deep enough to ever satisfy.
I got into glitch using special effects; Reverb and deep Hall settings. White Noise overlays from 11kHz samples bursting from specific placement in stereopans to open up the center for those Tomb! Tomb! Tomb! Tomb! 4:4 kick drums that still weren't hard enough to pierce the heart of the Earth.
If you ever recorded the sound of ghosts in an analogue tape recorder you'll know its the white noise lo-fi subby spectrum they use as a portal. Sampling the specific phrase and amplifying it through Reverb gave me all I needed to open the gates of hell. It didn't really matter what else I did then, I was cursed and haunted and the polterghasts took over my life, throwing stuff around the room and forcing me to do its bidding. Very nasty energy vampires. Do Not Use This Technique!
Most of my music from those days was made in headphones and only ever quietly played out loud, most of it has never been listened to by anyone but myself and the ghosts who were training me, and any demons who were slipping through. I tried healing them, but it took me out. Thus; I have albums of 'vibrational portals' for different ghosts to come through. Not for public consumption. I started studying what HAARP is capable of. What I was doing with a playstation, there are people who have HAARP devices that can do the same thing. Electronic Mind Control. Your mobile phone is one of their devices. LFO Low Frequency Oscilation. We cannot even hear what they are doing to us, most the time we can't sense it because our senses are so deadened.
I spent years with the Roland S670 and it takes years to learn. It was born the same year as me; they built stuff to last back in those days, none of this plastic crap designed to wear out before you finish paying the HP hire purchase on it. Cellphones man they do my head in. Record samples, program samples in sequencer, play live set while tweaking knobs, overdub with other machines, sweeps and sample textures. Get it all in Garageband because its easy to cut&paste loops and remix shuffle it all about until I like how it sounds. No more LFOs!!!
It takes years to learn all these machines and how to get them speaking with each other through MIDI Musical Instrument Digital Interface. Always seems to be when I forget to load the recording software that I have them all out on the go at the same time. I'm on eco-electric so its not like I'm creating nuclear waste with my psychedelic industrial trance music. Just sound pollution, in headphones so the psycho neighbors don't phone the police.
1.30am and my body conveniently craves chocolate. A trip to the 24 hour garage to break my routine and put off The Next Step of my musical development, as usual. Spirit voices funny; 'maybe he'll settle for a cup of tea instead'. They really do care, see, when you allow them to take over and work with them. Its so much easier than struggling against. They have it all planned out for us, don't worry, just stay with the program and when it goes wrong accept like a zen warrior that its merely a learning curve. The wonderful thing about detachment.
You know, when it flows, time stands still and everything falls into place and its really easy to get on with it, and the music sounds cool and real and refreshing and alive. That's what its about; setting the spirit free. The music IS alive, its just getting it there so it can express that raw and purely without losing its edge.
I got into glitch using special effects; Reverb and deep Hall settings. White Noise overlays from 11kHz samples bursting from specific placement in stereopans to open up the center for those Tomb! Tomb! Tomb! Tomb! 4:4 kick drums that still weren't hard enough to pierce the heart of the Earth.
If you ever recorded the sound of ghosts in an analogue tape recorder you'll know its the white noise lo-fi subby spectrum they use as a portal. Sampling the specific phrase and amplifying it through Reverb gave me all I needed to open the gates of hell. It didn't really matter what else I did then, I was cursed and haunted and the polterghasts took over my life, throwing stuff around the room and forcing me to do its bidding. Very nasty energy vampires. Do Not Use This Technique!
Most of my music from those days was made in headphones and only ever quietly played out loud, most of it has never been listened to by anyone but myself and the ghosts who were training me, and any demons who were slipping through. I tried healing them, but it took me out. Thus; I have albums of 'vibrational portals' for different ghosts to come through. Not for public consumption. I started studying what HAARP is capable of. What I was doing with a playstation, there are people who have HAARP devices that can do the same thing. Electronic Mind Control. Your mobile phone is one of their devices. LFO Low Frequency Oscilation. We cannot even hear what they are doing to us, most the time we can't sense it because our senses are so deadened.
I spent years with the Roland S670 and it takes years to learn. It was born the same year as me; they built stuff to last back in those days, none of this plastic crap designed to wear out before you finish paying the HP hire purchase on it. Cellphones man they do my head in. Record samples, program samples in sequencer, play live set while tweaking knobs, overdub with other machines, sweeps and sample textures. Get it all in Garageband because its easy to cut&paste loops and remix shuffle it all about until I like how it sounds. No more LFOs!!!
It takes years to learn all these machines and how to get them speaking with each other through MIDI Musical Instrument Digital Interface. Always seems to be when I forget to load the recording software that I have them all out on the go at the same time. I'm on eco-electric so its not like I'm creating nuclear waste with my psychedelic industrial trance music. Just sound pollution, in headphones so the psycho neighbors don't phone the police.
1.30am and my body conveniently craves chocolate. A trip to the 24 hour garage to break my routine and put off The Next Step of my musical development, as usual. Spirit voices funny; 'maybe he'll settle for a cup of tea instead'. They really do care, see, when you allow them to take over and work with them. Its so much easier than struggling against. They have it all planned out for us, don't worry, just stay with the program and when it goes wrong accept like a zen warrior that its merely a learning curve. The wonderful thing about detachment.
You know, when it flows, time stands still and everything falls into place and its really easy to get on with it, and the music sounds cool and real and refreshing and alive. That's what its about; setting the spirit free. The music IS alive, its just getting it there so it can express that raw and purely without losing its edge.
Resolutions
Ha! lmao...
I KNEW that NIN uses garageband;
I recognised the effects he's using for his faux-lo-fi sound on With Teeth.
Awesome :)
There's a whole load of issues that musicians come up against, and I'm sure if I have had to deal with it then other people have to. How we overcome these problems is part of the challenge and makes us diverse so our music all sounds different. It might sound strange to the uninitiated but after you have been around long enough experiencing stuff, living audiently, using your ears, you learn to tell by ear what source a sound came from or thru. An mc505 sounds different from an 808 even though it contains the same chips, you can tell the difference. Rebirth software sounds cool but is so unique that you can tell it instantly. Its rare now I have heard so much to get into it.
Instead of music I hear; 'Oh yeah its just some guy doing a bit of Rebirth'.
or; 'thats an 808 (actually that does still mostly sound like music to me...)
or; thats a sample from an 808'
or, most of the time; TOO MUCH COMPRESSION!!!!
A lot of synths sound amazing the first few times you hear them, but then you get saturated and bored. Thats one problem; we have to get the cleanest sampler we can and just keep on making new samples, new textures and keep the sound fresh and unique. This more than anything is what is driving the new emergent styles of music, from hip-hop thru breakbeat thru drum&bass thru dubstep thru glitch thru... whatever's next.
TECHNO TECHNO TECHNO
None of that is what I was intending to write about when I started this monologue. I was going to write about serious technical problems and their resolutions, problems with the resolutions, with like for example overdubbing. Overdubbing is a layering-up technique where you want to add a new layer of sound but you won't get the timing right unless you play live along to the original sounds, which means unless you have mega-expensive equipment (which flies in the face of the keeping-it-real-people folk-craft hands-on do-it-yourself), then you're going to be recording both the new sound and the original sound at the same time as a new layer.
For example; I want to add bassline to my drums, I have already taped the drums and the only way I am going to get the bass to be timed right is to play the drums and record the bass. By doing this both instruments get recorded onto the new recording with the bass. Multi-track recorders are designed to do just this, and the pioneers of Dub music, good old Lee Scratch Perry, were building their own machines, soldering circuits together, to help them achieve some of those classic resolutions that we now take for granted because they come as part of the standard fare for musicians toolbox. Pink Floyd in the early days were doing similar hardware experiments even if their hugely influential music is morbid and depressing.
The other option is to throw excessive amounts of money at it and buy much more expensive equipment. I'm of the comin' at ya lo-fi style school who just doesn't have that sort of money, its taken me twenty years to get to where I am at now and thats thanks to most of my equipment being donations and outmoded, antique second hand flaking apart breaking down with bits falling off. Crackly lo-fi style is part of my generation, I grew up on the mean concrete streets of zooport and music wouldn't be the same if I wasn't picking up police radio in my amplifier when recording guitar or putting up with power surges sending static shocks through my system every time the neighbor turns his bathroom light on or off.
There has to be a slicker way than overdubs! Either get it right the first time by doing a live set direct from the machines, no adding extra tracks afterwards, like I'm used to doing in my slip-sloppy painterly garageband style of editing, do the real machine music like the MIDI beast is designed for, if I can get all the units speaking the same language. Or buy another mac and bounce the channels back and forth between them with a firewire. Multiple 4-track recorders. More kit. More electric. More headfuck because its so difficult concentrating the more electricity there is in the room, shutting my brain down.
Time for bed its 3am already.
Techniques aka Tricks & Treats
Using L/R R/W Line Inputs/Outputs and Cross-fader for Live Stereopan
Ingredients:
1 dj mixer with crossfader and L/R R/W Line in/out sockets
2 stereo-leads. We're using the cheap Red&White stereo-leads here because the sound quality of expensive professional leads is not ten times more but the cost is.
Instruction: swap the cables.
Instead of stereo-lead A going into Line 1 L&R and stereo-lead B going into Line 2 L&R, you want stereo-lead A going into the Left socket on Line 1 AND into the Left socket on Line 2; and you want stereo-lead B going into the Right socket on Line 1 AND the Right socket on Line 2. Evidently I am a left to right thinker.
This technique is brilliant for moving sounds around the stereo-pan. It adds diversity especially to sweeps. The secret is to do it slowly over time, not rapidly, or the listener will feel under attack.
A lot of modern software comes with stereo-pan placement as standard but there was a time the software that could do this cost an arm and a leg. Doing it manually is useful for re-sampling your grooves to add stereo-effect to the loops, or of course during live sets. Do not route all your sound output through the dj mixer that has been L/R rigged!
WARNING:
I recommend you use this trick sparingly because it is very easy to overdo it and lose its impact, and more importantly it can make people feel sick if you screw with the stereopan much too quickly; especially with bass sounds. Bass is the ground beneath your feet, the sex in your loins, the instinct in your guts. Screw about with that will fuck your listeners up very quickly and no real musician wants to make the audience puke on the dance floor. Your fans want to feel amazing and your music should help them to. They will reward you by saying nice things.
Constructive Clipping
Clipping is generally considered a nuisance. When you are trimming samples, you need the sample to start exactly on the line; not above it, not below it. With the Roland S760 plugged into a tv monitor, you can see what much recent software shows; the sample waveform as a visual display. A horizontal line running through the center of it shows the middle of the stereopan. This is the place where the sound comes out of the middle of the speaker.
I began experimenting with trimming the sample Not on the line. I discovered that yes, indeed, it does make it clip. Not only that; if I trim the sample so it begins above the line, it clips to the right of the stereopan. If I cut it below the line, it clips to the left. Or maybe thats the other way around. Essentially, you get the idea; that the precise stereo placement of a Clip can be controlled.
The secret to this effect is to highlight it by adding a little bit of Reverb. Being me, I concentrate on the one sound at hand and I add LOTS of Reverb. I love that moist wet dripping immersion of sound, giant and all around. I don't like the dry tinny tiny little pencil thin line of sound coming out of the center of my speakers that, while easy to pin-point in 3D space, doesn't shake my bones, doesn't vibrate every particle in the room and re-set the local physics to the groove of the music, like real roots music should. Volume is less to do wit hit. Reverb is all.
Use of Reverb is double-edged and this is where minimalist approach to making music comes to the fore. Reverb emphasizes the sound so much that you had better be happy with that sound to begin with, because very quickly there is not enough 'space' left in the audio-mix to add any more layers to it, without encountering problems. The sound 'muddies' very quickly. Used purposefully, this is beautiful. Two acoustic folk instruments playing in a natural Reverb hall, for example under a bridge or someplace where you get nice build-up of eigintones, or electronic samples played through an effects unit to add Reverb to both instruments; what happens is that the two instruments harmonize in the Reverb field, and so you get a third sound, the 'feel'. Reverb amplifies this blend, and some folk lovers have described it as 'the place where the music begins'; because it is a place generally outside of and beyond human decision making process.
Back to purposefully Clipping our sound. Obviously it works best with a very short tinny sound. Bassy sounds 'muddy' much more quickly and easily than high frequency sounds. Vocal sounds do too, they make the music go 'mushy' as distinct from 'muddy'. Technical language. A very quick clipping hat sound, "ts!' is ideal. And then we can loop it. "ts! ts! ts! ts!" of course we put our very defined bass kick beat between it and we are back to techno the Welsh Free Party Warehouse vibe.
To experiment with this you need something fast to work with that you can adjust the clip quickly and easily. A mate got me into Korg ES-1 sampler workstation, its a studio-in-a-box, relatively easy to learn as a stepping stone in learning the much more advanced mc505. MIDI grooveboxes, custom designed for dark forest techno. The club scene won't hardly touch it because its evil and because the Criminal Justice Act banned repeat beats, which for practitioners of shamanism, spiritualism, having read Estcheemah and the medicine drum, makes the statute a form of religious repression attempting to deny us communion with the spirit world. You don't get that scene in night clubs, you get it in the wilds where the shaman are likely to be using it to dance for Global Healing, and at this time we need our beats to penetrate the heart of the Earth Mother to wake up the Source energy and get us all sorted.
You will probably have began to work out by now that much of what I do with my music studio is less 'make music' and more 'experiment with the effects of sound on physics and on human listeners'. I am a scientist, trained in science method, exploring the effects of sound on environment. Energy on energy. I'm synaethetic, in that I do not only feel sound as mood but I see it as colour-in-motion. Making music is a byproduct of this interest. I'm an analytical Virgo. I'll start teaching you about how to warp time by accelerating perception using simple effects in the next tutorial.
Maya Timecode and the ES-1
The Korg Electribe Sampler is a studio in a box, covering many styles although to use it to its full potential is to accept that it is designed for techno music. It is only 36Hz clarity rather than standard cd quality 44Hz but it makes up for this in surge of pure energy. What having a rougher sound quality means is that it is tonal, because each sound is its own texture, with a perceptible limited bandwidth. The sample quality is still superb enough that untrained studio techs won't notice the difference and the sort of music you will be making with this, it doesn't really matter much about higher resolution sound quality anyway. The on-board effects and re-sampling feature outweigh that issue entirely.
ES-1 is a 16-step sequencer. One keypad assigns 8 samples, and the other larger keypad is the input telling the machine when to play each sample. This can be adjusted while it is playing. Every sample can be sent through to the effects unit, which plays 1 effect at a time for however many samples are sent to it, there are a bunch of different effects that can be tweaked to your hearts content.
This machine brainwashes its users.
It is a MIDI timecode controller, so it can be linked in/out/thru to other Musical instrument Digital Interface grooveboxes, etc.
The Maya shamen teach the importance of 13. The galaxy resonates to 13. The ES-1 can be set to 130bpm as its tempo (in classical terms this is called time signature). The 2012 cosmic alignment prior to Gregorian year 2013 (Year Zero) resonates to 13. All ife on earth is 13 (when its working). Women have 13 menstrual cycles in a 360 day round trip of the Sun, and the earths Moon has 13 cycles in the same period.
Being techno musicians we found a nice, short, sharp, simple drum beat and entered it into the 16 step sequencer to play at 1, 5, 9, 13. Americanadian (Mayan) Indian shamen teach that the repeat drumming beat connects us to the heartbeat of mother Earth. It opens up a portal. Dancers at the earth festivals are channeling the raw powerful earth energy of the Mother. It is a very organic and creative energy.
We discovered that by using electronic digital effects that we could precisely tone the kickdrum to different resonances, different Depths to use the proper musical jargon. The Cutoff peak maxed, the Depth dropped, the drum tone pierces to different depths of the Earth Mothers heart. Like vampires driving stakes into her, like Sandworm riders opening up the Maker with our Maker Hooks; a Sandworm ALWAYS comes to the calling of a Thumper. It is my belief as much as it is my belief that this is why the government have banned "repeat beats" in the uk; spiritual repression.
4:4 techno music is powerful.
In Wales, the national symbol is the Wyvern, a winged and 2-legged blood-red serpent.
Incidentally.
During experiments with the ES-1 we spent a lot of time listening to just the simple electronic purity of the ES-1 internal timeclock. There is a subtle shift in it, built into it either purposefully or by fate; never mentioned in any of the manuals available regarding this device. It shuffles, ever slightly, the timecode. This is noticeable with the white noise decay which, being only 36Hz, we can actually hear every grain of. Obviously we whacked the Reverb up to smooth off our lo-fi drum sample and make it sound higher quality resolution than it was from source.
In this shuffle, which I believe from observation happens over the 16, 32, 64 repeat cycles of the machine, the whole calender wheel is explored. It is not a circle, it is a spiral. It is sonic description of the visual calender wheel. It's in one of the books about the mayan Mysteries, I will update this to include title and author when I remember / find my copy. The Lid of Palenque is a calender wheel, we rediscovered this using acetate photocopies, where the original designers held the entire structure in their minds eye, I assume in 3D. Their minds were trained differently from contemporary westerners minds, and we respect them for it.
Trance States: Perception IS time-generator
As promised, here's how to accelerate your soul frequency using simple tricks with commonly available music effects technologies.
Instructions:
1. Set the kickdrum as described above in 'Maya Timecode & the ES-1'.
2. Set the tempo to 120 BPM.
This is so that it correlates precisely with the 12 hour, 60 minute clock that Satan has given us as a control trap. It is so that you can see the experiment in terms you are familiar with, and compare it to the clock. 120 BPM means the machine will beat 120 times in a minute, but of course with the kickdrum at 1, 5, 9, 13, over a 16 step beat, you will hear only the drums during this minute, not 120 drums in 60 seconds.
3. Listen not to the Space in between the drum beats. Feel for them. Make this space your measurement of time. The drum hits are not your measurement of time; the space is your measurement of time. Do this until you can do it. The space between the beats is a measurement of time. You know that there are 4 spaces in each cycle.
4. Add a triplet sound effect to the drum beat channel. Instead of going;
Kick Kick Kick Kick
it now goes;
Kick k k Kick k k Kick k k Kick k k
in the same unit of time, which we call 'a minute'. 120 BPM.
5. Keep listening to the Space between the sounds. You will perceive that the space between the Kick and the k and the k and the next Kick, is the same space as was previously playing, between the Kick and the next Kick, before the triplet was added.
Kick [space\
Kick [space\
Kick [space\
Kick [space\
= 1 cycle @ 120 BPM
has now become;
Kick [space\ k [space\ k [space\
Kick [space\ k [space\ k [space\
Kick [space\ k [space\ k [space\
Kick [space\ k [space\ k [space\
= 1 cycle @ 120 BPM
Now add up all of those spaces.
Originally there were 4 in every cycle.
Now there are 12 in every cycle.
But we have already become aware that every space is the same duration of perceptual time!
Conclusion
Our perceptions have sped up, to 3 times the amount that they previously were, before the triplets were added. In this experiment we are consciously aware of it happening as a real process. With most of the time, vibration are going on all around us, affecting us in the same way; we are unaware of it most of the time, but now...
now you Know.
Ingredients:
1 dj mixer with crossfader and L/R R/W Line in/out sockets
2 stereo-leads. We're using the cheap Red&White stereo-leads here because the sound quality of expensive professional leads is not ten times more but the cost is.
Instruction: swap the cables.
Instead of stereo-lead A going into Line 1 L&R and stereo-lead B going into Line 2 L&R, you want stereo-lead A going into the Left socket on Line 1 AND into the Left socket on Line 2; and you want stereo-lead B going into the Right socket on Line 1 AND the Right socket on Line 2. Evidently I am a left to right thinker.
This technique is brilliant for moving sounds around the stereo-pan. It adds diversity especially to sweeps. The secret is to do it slowly over time, not rapidly, or the listener will feel under attack.
A lot of modern software comes with stereo-pan placement as standard but there was a time the software that could do this cost an arm and a leg. Doing it manually is useful for re-sampling your grooves to add stereo-effect to the loops, or of course during live sets. Do not route all your sound output through the dj mixer that has been L/R rigged!
WARNING:
I recommend you use this trick sparingly because it is very easy to overdo it and lose its impact, and more importantly it can make people feel sick if you screw with the stereopan much too quickly; especially with bass sounds. Bass is the ground beneath your feet, the sex in your loins, the instinct in your guts. Screw about with that will fuck your listeners up very quickly and no real musician wants to make the audience puke on the dance floor. Your fans want to feel amazing and your music should help them to. They will reward you by saying nice things.
Constructive Clipping
Clipping is generally considered a nuisance. When you are trimming samples, you need the sample to start exactly on the line; not above it, not below it. With the Roland S760 plugged into a tv monitor, you can see what much recent software shows; the sample waveform as a visual display. A horizontal line running through the center of it shows the middle of the stereopan. This is the place where the sound comes out of the middle of the speaker.
I began experimenting with trimming the sample Not on the line. I discovered that yes, indeed, it does make it clip. Not only that; if I trim the sample so it begins above the line, it clips to the right of the stereopan. If I cut it below the line, it clips to the left. Or maybe thats the other way around. Essentially, you get the idea; that the precise stereo placement of a Clip can be controlled.
The secret to this effect is to highlight it by adding a little bit of Reverb. Being me, I concentrate on the one sound at hand and I add LOTS of Reverb. I love that moist wet dripping immersion of sound, giant and all around. I don't like the dry tinny tiny little pencil thin line of sound coming out of the center of my speakers that, while easy to pin-point in 3D space, doesn't shake my bones, doesn't vibrate every particle in the room and re-set the local physics to the groove of the music, like real roots music should. Volume is less to do wit hit. Reverb is all.
Use of Reverb is double-edged and this is where minimalist approach to making music comes to the fore. Reverb emphasizes the sound so much that you had better be happy with that sound to begin with, because very quickly there is not enough 'space' left in the audio-mix to add any more layers to it, without encountering problems. The sound 'muddies' very quickly. Used purposefully, this is beautiful. Two acoustic folk instruments playing in a natural Reverb hall, for example under a bridge or someplace where you get nice build-up of eigintones, or electronic samples played through an effects unit to add Reverb to both instruments; what happens is that the two instruments harmonize in the Reverb field, and so you get a third sound, the 'feel'. Reverb amplifies this blend, and some folk lovers have described it as 'the place where the music begins'; because it is a place generally outside of and beyond human decision making process.
Back to purposefully Clipping our sound. Obviously it works best with a very short tinny sound. Bassy sounds 'muddy' much more quickly and easily than high frequency sounds. Vocal sounds do too, they make the music go 'mushy' as distinct from 'muddy'. Technical language. A very quick clipping hat sound, "ts!' is ideal. And then we can loop it. "ts! ts! ts! ts!" of course we put our very defined bass kick beat between it and we are back to techno the Welsh Free Party Warehouse vibe.
To experiment with this you need something fast to work with that you can adjust the clip quickly and easily. A mate got me into Korg ES-1 sampler workstation, its a studio-in-a-box, relatively easy to learn as a stepping stone in learning the much more advanced mc505. MIDI grooveboxes, custom designed for dark forest techno. The club scene won't hardly touch it because its evil and because the Criminal Justice Act banned repeat beats, which for practitioners of shamanism, spiritualism, having read Estcheemah and the medicine drum, makes the statute a form of religious repression attempting to deny us communion with the spirit world. You don't get that scene in night clubs, you get it in the wilds where the shaman are likely to be using it to dance for Global Healing, and at this time we need our beats to penetrate the heart of the Earth Mother to wake up the Source energy and get us all sorted.
You will probably have began to work out by now that much of what I do with my music studio is less 'make music' and more 'experiment with the effects of sound on physics and on human listeners'. I am a scientist, trained in science method, exploring the effects of sound on environment. Energy on energy. I'm synaethetic, in that I do not only feel sound as mood but I see it as colour-in-motion. Making music is a byproduct of this interest. I'm an analytical Virgo. I'll start teaching you about how to warp time by accelerating perception using simple effects in the next tutorial.
Maya Timecode and the ES-1
The Korg Electribe Sampler is a studio in a box, covering many styles although to use it to its full potential is to accept that it is designed for techno music. It is only 36Hz clarity rather than standard cd quality 44Hz but it makes up for this in surge of pure energy. What having a rougher sound quality means is that it is tonal, because each sound is its own texture, with a perceptible limited bandwidth. The sample quality is still superb enough that untrained studio techs won't notice the difference and the sort of music you will be making with this, it doesn't really matter much about higher resolution sound quality anyway. The on-board effects and re-sampling feature outweigh that issue entirely.
ES-1 is a 16-step sequencer. One keypad assigns 8 samples, and the other larger keypad is the input telling the machine when to play each sample. This can be adjusted while it is playing. Every sample can be sent through to the effects unit, which plays 1 effect at a time for however many samples are sent to it, there are a bunch of different effects that can be tweaked to your hearts content.
This machine brainwashes its users.
It is a MIDI timecode controller, so it can be linked in/out/thru to other Musical instrument Digital Interface grooveboxes, etc.
The Maya shamen teach the importance of 13. The galaxy resonates to 13. The ES-1 can be set to 130bpm as its tempo (in classical terms this is called time signature). The 2012 cosmic alignment prior to Gregorian year 2013 (Year Zero) resonates to 13. All ife on earth is 13 (when its working). Women have 13 menstrual cycles in a 360 day round trip of the Sun, and the earths Moon has 13 cycles in the same period.
Being techno musicians we found a nice, short, sharp, simple drum beat and entered it into the 16 step sequencer to play at 1, 5, 9, 13. Americanadian (Mayan) Indian shamen teach that the repeat drumming beat connects us to the heartbeat of mother Earth. It opens up a portal. Dancers at the earth festivals are channeling the raw powerful earth energy of the Mother. It is a very organic and creative energy.
We discovered that by using electronic digital effects that we could precisely tone the kickdrum to different resonances, different Depths to use the proper musical jargon. The Cutoff peak maxed, the Depth dropped, the drum tone pierces to different depths of the Earth Mothers heart. Like vampires driving stakes into her, like Sandworm riders opening up the Maker with our Maker Hooks; a Sandworm ALWAYS comes to the calling of a Thumper. It is my belief as much as it is my belief that this is why the government have banned "repeat beats" in the uk; spiritual repression.
4:4 techno music is powerful.
In Wales, the national symbol is the Wyvern, a winged and 2-legged blood-red serpent.
Incidentally.
During experiments with the ES-1 we spent a lot of time listening to just the simple electronic purity of the ES-1 internal timeclock. There is a subtle shift in it, built into it either purposefully or by fate; never mentioned in any of the manuals available regarding this device. It shuffles, ever slightly, the timecode. This is noticeable with the white noise decay which, being only 36Hz, we can actually hear every grain of. Obviously we whacked the Reverb up to smooth off our lo-fi drum sample and make it sound higher quality resolution than it was from source.
In this shuffle, which I believe from observation happens over the 16, 32, 64 repeat cycles of the machine, the whole calender wheel is explored. It is not a circle, it is a spiral. It is sonic description of the visual calender wheel. It's in one of the books about the mayan Mysteries, I will update this to include title and author when I remember / find my copy. The Lid of Palenque is a calender wheel, we rediscovered this using acetate photocopies, where the original designers held the entire structure in their minds eye, I assume in 3D. Their minds were trained differently from contemporary westerners minds, and we respect them for it.
Trance States: Perception IS time-generator
As promised, here's how to accelerate your soul frequency using simple tricks with commonly available music effects technologies.
Instructions:
1. Set the kickdrum as described above in 'Maya Timecode & the ES-1'.
2. Set the tempo to 120 BPM.
This is so that it correlates precisely with the 12 hour, 60 minute clock that Satan has given us as a control trap. It is so that you can see the experiment in terms you are familiar with, and compare it to the clock. 120 BPM means the machine will beat 120 times in a minute, but of course with the kickdrum at 1, 5, 9, 13, over a 16 step beat, you will hear only the drums during this minute, not 120 drums in 60 seconds.
3. Listen not to the Space in between the drum beats. Feel for them. Make this space your measurement of time. The drum hits are not your measurement of time; the space is your measurement of time. Do this until you can do it. The space between the beats is a measurement of time. You know that there are 4 spaces in each cycle.
4. Add a triplet sound effect to the drum beat channel. Instead of going;
Kick Kick Kick Kick
it now goes;
Kick k k Kick k k Kick k k Kick k k
in the same unit of time, which we call 'a minute'. 120 BPM.
5. Keep listening to the Space between the sounds. You will perceive that the space between the Kick and the k and the k and the next Kick, is the same space as was previously playing, between the Kick and the next Kick, before the triplet was added.
Kick [space\
Kick [space\
Kick [space\
Kick [space\
= 1 cycle @ 120 BPM
has now become;
Kick [space\ k [space\ k [space\
Kick [space\ k [space\ k [space\
Kick [space\ k [space\ k [space\
Kick [space\ k [space\ k [space\
= 1 cycle @ 120 BPM
Now add up all of those spaces.
Originally there were 4 in every cycle.
Now there are 12 in every cycle.
But we have already become aware that every space is the same duration of perceptual time!
Conclusion
Our perceptions have sped up, to 3 times the amount that they previously were, before the triplets were added. In this experiment we are consciously aware of it happening as a real process. With most of the time, vibration are going on all around us, affecting us in the same way; we are unaware of it most of the time, but now...
now you Know.
on Additive and Granular Synthesis
Additive synthesis is overlaying two or more sounds at once, that they blend.
Granular synthesis is use of white noise clusters of particle grains as the base for sound,
typically this will be placed through a variety of filters to shape it into a tone wave as opposed to a white noise sound.
White noise can sound aggressive in that its grain is placed randomly throughout the sound arena. Ambulance sirens now use it because it is very easy for us to locate its source when it is played in the environment around us; so we know where the ambulance is to be able to get out of its way.
WHAT COMPRESSION IS FOR & HOW TO USE IT
To begin with it will help to understand what Compression is NOT for.
And this is a personal pet hate form hearing too many otherwise would have been awesome albums, killed by convenience from second rate studio technicians.
Compression is NOT for recording a final master copy of an album through a compressor to squash the sound before commercial release. What happens when studio technicians do that, is they cut off the top and bottom range of the sound and make it sound crap. It sounds tinny like you are hearing it through a metal pipe, because it is not wholesome.
With music, people go to see live bands because then the music is totally immersive.
That word: IMMERSIVE.
An album that has been finalized/compressed, is no longer Immersive; it has been squashed and the life drained out.
A technician reliant on finalize/compress for a finished product has fucked up by not having got the volume levels right in the first place. In fairness, this quick and easy trick that rips off the fans, is much easier than the years of experience it takes to get the levels right in the first place. Begin with the simple awareness that you drop all the levels to zero and then bring them up a channel at a time. When the level sounds right, stop bringing it up any further.
What compression IS for:
In a word; INDIVIDUAL Sounds and Individual Channels.
Individual channels so that each instrument is squashed into its own frequency space in the album, which prevents muddying the sounds together. This is how modern electronic music is preferred, apparently.
With a bassy kick drum and a bassline, the bassline will hog all the frequencies and the kick drum will lose its oomph. The way around this is to compress the kick drum so that it is sounding within a limited bandwidth, and to compress the bass so that it is sounding within a limited bandwidth.
Compressors squash the sound measured in frequency top and frequency bottom, so it is possible to ensure the kick and the bass do not overlap. Compression used this way does change the sound. What they call a 'fat bass' is one that hogs all the frequencies. You need really sharp crisp tinny hi-hats / snares to compensate, and quite light, high toned, very compressed drums.
The easiest way to deal with this issue of kick/bass overlap/muddy is to simply compress the bass. In electronic music you should be using a nice fine compressed kick drum in the first place. In raw edge punkrock, the drums need to sound trashy and so they are generally left uncompressed.
A good band, you can get a quality live audio recording at the gig and none of this shit is relevant anyway. My POV on bootlegging is who the fuck are Metallica anyway? They are only famous because of bootlegs, and then they sold out by suing some of the fans who had done it. But Hatfield did make good with his promise that their Black Album would "change metal music for ever" because basically, it did.
The third use for compression is a variation of Individual Channels where the musician manually changes the compression cutoff points while the sound is playing through it to get some quality sweep sort of sounds into it. This is something experimental musicians who later make the best studio techs because they know what they are doing, tend to do when they have just discovered & are learning about compression, and are relying on playing with the compressor to create happy accidents for building up interesting features in their music. probably to resample from later if they are recording the output. It also makes otherwise flat and boring sounds more interesting. Used in "soundscapes" it can result in something like a flanger effect.
When compressing individual sounds, eg; samples, compression can help to take out unwanted frequencies, usually the bassy windy sound from a recording, or the tinny high sound that is there. For this a multi-bandwidth graphic EQ is preferable because it takes out the hiss. These tones are something else entirely. Most often they are the electronic distortion feedback generated by the (unearthed) electronic machines in the first place. It is these 'digital winds' that ghosts come through, and telepathy, and emotion, is recorded into. Be aware of dirty electric 'spikes' and : Beware reptilian frequencies.
What is an EQ?
An EQ is a graphic equalizer, some stereo's have them on the front panel, iTunes has one. They split the whole sound range, measured in Hertz, into bandwidths so that you can mute or enhance particular frequencies. The basic version is called a Band Pass Filter and there are 3 area's of it; Hi Mid and Lo. So you have a Lo-Pass filter, Mid-Pass filter, Hi-Pass filter. These effects automagickally cut out whatever zones you don't want. More advanced ones have ten or a million different frequency zones, bandwidths, to fine tune the sample. Different sorts of sounds benefit better from different configurations of EQ setting.
Of course with live folk music, the real music happens in the harmonic between each instrument. To achieve that result, you aren't going to be compressing instruments, you're going to be adding Reverb to them to encourage them to overlap and to muddy. Listen to the overdubs and overlays in the voice of Enya.
2015
I wrote the above in what seems like another lifetime. Reading it for the first time because detached from who I was then. It is as if someone else was writing those words.
Tonight I was listening to the sounds of HAARP in Aberwystwth beaming signals down on the population, radio frequency tones which sometimes when I am coming into mental clarity and stability I can hear, and when I cannot hear them it means they are zoning me to their rhythms. I used to hear them all the time as a kid I remember my parents talking about it too, back then they were still experimenting with the refinement of the technology, they have got it pretty sussed now. It hypnotizes the urban population into pastoral rhythms to reduce crime.
At least that's the best possible explanation of it I can think off, the worst explanations involve more insidious uses of radionic mind control technology and its uses on the population. What would it be like otherwise? We have been experiencing it for so long now that it is normal to the kids who are growing up in it knowing nothing else. Methods by which our thinking is being programmed by high frequency sounds. You can see my interest in pioneering HAARPWAVE music to emulate it and as a counter-technology to help us to break out of the hypnotic conditioning we are all unknowingly living in. Somebody knows what they are doing.
I wrote the above in what seems like another lifetime. Reading it for the first time because detached from who I was then. It is as if someone else was writing those words.
Tonight I was listening to the sounds of HAARP in Aberwystwth beaming signals down on the population, radio frequency tones which sometimes when I am coming into mental clarity and stability I can hear, and when I cannot hear them it means they are zoning me to their rhythms. I used to hear them all the time as a kid I remember my parents talking about it too, back then they were still experimenting with the refinement of the technology, they have got it pretty sussed now. It hypnotizes the urban population into pastoral rhythms to reduce crime.
At least that's the best possible explanation of it I can think off, the worst explanations involve more insidious uses of radionic mind control technology and its uses on the population. What would it be like otherwise? We have been experiencing it for so long now that it is normal to the kids who are growing up in it knowing nothing else. Methods by which our thinking is being programmed by high frequency sounds. You can see my interest in pioneering HAARPWAVE music to emulate it and as a counter-technology to help us to break out of the hypnotic conditioning we are all unknowingly living in. Somebody knows what they are doing.