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Yesterday’s Homework:
Finish a song for submission.
One week ago was my birthday. Two weeks ago the guy living across the street from me died. He was around my age, and his heart just stopped while he was sitting in front of his house with his mother. I was hopping around outside, trying to figure out where my shoes were, and all the emergency vehicles pulled away slowly.
In a way, I don’t believe China exists…because I’ve never been there. To some degree it’s all hearsay, isn’t it? Death is the same way. Or any experience. The guy across the street just stopped doing everything. Seriously. Like, everything. Everything. A few nights ago I had a dream that I was hanging out with the Jonas Brothers. That’s about as close as I get to not doing anything.
It’s empty refrigerators that remind us to be hungry. And perfectly-made beds that remind us to sleep. And lonely, old people who remind us to find companionship and love. It’s everyone else’s deaths that remind us what we’re supposed to be doing with our own lives.
Some years back I made a deal with my family that if I didn’t have my music career really on the move by 18 May 2011, that I’d give it up, return to school, wipe the stars out of my eyes. It always seemed like such a long time away. And now it’s approaching. It’s less than a year now.
Songs? A few.
Professionally recorded? No.
A band? No.
A team? Not really.
A plan? Nope.
Apparently I don’t have a lot going on. I don’t even really know how to use Twitter.
Bob Lefsetz:
“You can’t break an act alone. Cannot be done. You need a team… . And today that team tends to be the manager and the agent. … Experienced people are your future.
“And you’ve got to develop new business talent. That’s what the CBS college rep program was all about. Now you hire interns to do your mailing on the hope they’ll get a job. Shit, if they’re working for you, they’re probably worthless. Anybody who’ll make a difference is now working alone. Watch out. The old edifices are vulnerable.”
http://lefsetz.com/wordpress/index.php/archives/2010/05/07/layoffs-2/
Sitting at the studio last night—trying to write, unable to do so…basket-weavers know where to begin, they at least know the shape. Shouldn’t I just be looking at the shape of the basket? Well…there’s a lot of different sorts of baskets. And that’s why I need a team! Waaah.
Lessons Learned:
1. In retrospect, sleep always seems like a waste.
Today’s Homework
1. Write melody for SOS.
Meeting last night, when Lauren said, “so what I need to do is enforce deadlines and restrictions on you.” My early songs were done with piano, wurlitzer, Sometimes a bass, Sometimes a guitar, Sometimes drums. the end. and now? even now I’m thinking “but but but but I could make something way better if it was complicated.” Could I make something way better if I went back to my restrictions?
Since we don’t have internet access at the studio, I’m forced to do my research elsewhere, and then go back and test my notes.
Q: Why can’t I get the midi controller to control the LFOs in EXS24?
A: ? [other answers below may affect this...]
Q: Why does Mac recognize the two Presonus Firepods’ midi inputs, but is unable to receive any data from them?
A: ? WHO KNOWS??
http://www.gearslutz.com/board/music-computers/489418-presonus-firepod-midi.html
Q: Both Firepods’ midi inputs show up in Logic Pro 8 as “plug 1″ and both go into “port 1″. I’m under the impression that it’s fine to have multiple devices sent into a single port…but I don’t know if both having the same “plug 1″ is confusing them since they’re set up as an aggregate device in OSX. (I don’t get input anyway when they’re running through OSX separately)
A: ?
Q: The Firepods are both 8 channels…but ever since daisychaining them they’ve showed up as having 10 channels each. Why?
A: “With the FIREPOD you can simultaneously record and play back up to 10 channels. Since it is loaded with eight preamplifiers, you can have eight microphones plugged into the FIREPOD along with SPDIF for digital input to record a full band.” Manual here: http://www.presonus.com/products/Detail.aspx?ProductId=3
Q: On my Oxygen49 midi controller, C18 (pitch) shows up in Logic’s midi monitor as 0, C19 (tone) as 1. I think reprogramming is possible…however, the Oxygen didn’t come with a manual. So, if all my controls are wonky, that might be the answer to my first question, about the EXS24.
A: Well, firstly, the reason there’s all those damn buttons that don’t do anything can be answered here: “The latest M-Audio Oxygen MIDI controllers feature DirectLink mode, which automatically maps onboard controls to common DAW functions including transport, mixer, track pan and plug-in parameters. See below for a list of audio software currently compatible with DirectLink.” Yes, Logic included.
Presets Insert: http://www.m-audio.com/images/global/manuals/061110_Oxy49Preset_EN01.pdf
User Guide: http://www.m-audio.com/images/global/manuals/051014_OxyLine_UG-EN01_V1.PDF
Quick Start Guide: http://www.m-audio.com/images/global/manuals/050916_KybdSeries_QS02_V1.PDF
Q: Is there any screensharing workaround between Tiger and Snow Leopard?
A: ?
Quotes have begun rolling in. It’s fun talking about the prices of things I can’t afford as if I can. Spent the day at studio, repeatedly finding myself running into the same problem: I have no experience or success in recording or mixing the styles of music I’m working on. If I don’t know how to get a good mix as I go along, I have trouble making it through the orchestration because I can’t make it sound like it does in my head. This didn’t USED to be a problem because I never chased anything stylistically, I just went for what came to me. And I keep telling myself that’s what I should be doing now…except what I feel like doing is what I’m trying to do. For tomorrow and Monday I definitely don’t have any job, so I’m spending the next two days, at least, studying. If I make it through all this shit and still unable to make decent rough mixes of pop…then to hell with it, I’m going back to my old influences, back to pianos. I kinda feel like giving up…this just seems to big for me.
40 hours a week of music? Chegg!
Not too shabby given that I’ve been working 40 hours at my day job, have had two “mother’s day” false alarms, and finding time to do all the other horrid things into which life forces us.
Uhm.
The music gear I have access to these days is so far beyond dreamy. The problem is that I can’t get anything done…because I don’t know how to use it. And I don’t know how to mix with all this stuff, I don’t know how to deal with the clean perfection of digital.
Is studying necessary? Or should I be outsourcing? I don’t know. I’ve begun trying to get some estimates on mixing…ugh…nobody has gotten back to me.
My new plan is that if I have more than two hours of time, I’ll practice piano. If I have less, I won’t.
And as for simplicity, I think I’d like to go back to just my earlier constraints, when I didn’t have percussion equipment or nice amps and guitars to use, when I had only a gig of RAM, when I had six hours to write and record something new. And…I used to make it work. Now? I can’t get anything done because there’s just too many options, complications, and I’m pretty overwhelmed.
The Arts & Fetters project was really very cute, and fun, but ultimately I have to ask myself “to what end?”–I mean, I honestly have about ten ideas of this calibre daily, and my immediate instinct is to just throw myself headfirst into realizing them, and I usually make it as far as the second hurdle, and then throw myself into the next idea. I’ve apparently gained quite the reputation. Well, this is foolishness, because my first priority is music, right? So, anything that I’m doing that is not music or survival must be eliminated from my life. I’ve found the best way to take care of all these stray ideas is to write them down and throw away the pieces of paper.
Even music, though, requires a lot of thinking, and very little music. Sure, there’s songwriting. But there’s also practicing. And learning how to engineer, and mix, and market, and raise capital, and network, and acquire fans, and distribute the product, and monetize, and each of those has a dozen other little branches that I need to figure out. Which of these should I be outsourcing? Which have deadlines?
Well, practicing daily is a must. Is it? Yes, because I notice regression in the strength of my fingers and evenness of my playing if I don’t practice. Is it necessary to have either of those things, you know, given that I know how to use midi and quantization? Well…kinda…no. So why am I doing it? I’m going to have to give this some more thought, honestly, because when I write it down like this, I can’t really come up with a reason to practice anything but vocals.
What’s most important, I’m afraid, is raising capital. I’ve recently emerged from an experience proving that if you have enough money and some partial ideas you can hire a great producer and killer band, self-release a gorgeous album and go on tour. No problem. And I spent Sunday night unable to progress any further because I couldn’t figure out how to mic the drums. I don’t even know where to begin concerning ANYTHING. And that’s why it’s easier to just jump to a new project, because it’s like working on an assembly line, just screwing on the bottlecaps but not having any clue how to paste on the label, so we just continue screwing on the bottlecaps. Eventually you’re either going to have to outsource the labeling, figure out how to do it yourself, give up, or amass an enormous quantity of unfinished bottles. The last option, for the record, is the path chosen by aging hippies and cover bands. These are people who just really enjoy screwing on bottlecaps and dreaming. Eventually whatever’s inside the bottles will sour, and their peers will sit around discussing how good the stuff inside once tasted. I have no intention doing this, or giving up. I can’t afford to outsource anything right now. So there’s figuring it out myself…and there’s also one option I didn’t mention: failure. I wouldn’t mind trying.
The point is that I have one year remaining to me as a musician, after which I’ll need to give it up if I’m not showing any signs of moving forward. So, this is where I’ll be trying to hold myself accountable, and writing about what works, and what doesn’t. I’m not removing entries from A&F unless asked to do so by its authors–but I think the blog’s title still holds true, the fetters being my limited time remaining. And also, I must say, I still really like this layout.
‘Need 100,000 francs per year.’ ‘I love you!’ (she dies)
rewritten by Meg Hurtado.
friendly petit-bourgeois nitwits turn foes, are handcuffed, moral-realism throttles both.
rewritten by Will Espositio.
Jewish girl goes on holiday and learns how to dance.
rewritten by Stephen Frost
Europeans occupy unassuming Umofia. Protagonist Okonkwo resists to his demise.
rewritten by Emmanuel Sigauke.
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