I like to keep an ear out for poems which might inspire and be set to sounds, particularly imagistic poems.
I chanced upon this poem called 'Black Nights', written and spoken by Shirley Kobar, here:
www.poetscoop.org/archalphatitle.htm
It evoked the kind of sounds I like to make, with its ambivalent imagery.
It speaks to me of the eternal feminine, and the pathos of distance, all via the language of Space.
Of how the need to repel includes the need to attract; and how the need to hide is allied to the need to expose .... One-Self ...
Memorable journey, full of sensations
Aah..love that descent there..nice wide intervals descending in semitones. .winner!
Brimful of mystery and esotericism as ever..those fast picked descents are intriguing
This is a fabulous mix. No detail lost in all the density. Motion and clarity even though all the sounds have hair tossed in the current. I read your note to Robert, and it all makes sense (mostly, that is...)
: Yeah it took a lot of work. If you've used a Kaoss pad, you will know how intuitive and responsive they are. There are some sections here where I get some great tremolo type sounds, and yet with a flexibility you can't get with an amp setting, a stomp box or even post prod plug ins. True, you can get a variable tremolo plug in, but you are putting varnish on, whereas with the Kaoss you are playing it in real time. But mixes are terrifying things, especially when you have a lot of tracks. It is so easy to lose the sounds, lose the essence .... luckily this one kept all those things and then actually aquired an extra dimension in the mix and mastering itself
The Thunderbird bass? Sounds great!
Yeah - the TBird - I wish I could lay that on you so you could feel how great it plays - it is ridiculous; I thought a Rick would be my dream bass [and I would never say never] but I can't see this TBird being surpassed - for playing this kind of filth and excess, anyway.
And duel it out with lasers at four paces.
: strange how those lasers appear just in the right places to almost make a comment on what preceded them - sheer accident
: The best accidents are laser ones!
And Beefheart and Fripp's lovechildren make an appearance.
: brilliant - yeah as if the Captain had been put in charge of Crimson one fateful and wine sodden night!
a tangled web you weave... love the vampy underpinnings!
- wasn't sure if I would get away with that shift into tempo - and get out of it back to rubato - the destroyed lead guitar helped paper over the cracks, so you're thinking -'am I hearing that lead guitar right?' and attention is diverted from the vamp leaving the stage
And the ragtime trawler appears in near-earth orbit, because...sometimes one just needs a band!
: ah perfect image - I wanted some movement there - like a spectral vision of the Titanic suddenly looming though the sea mists thrust into Space
: Yea, it works, the whole thing presaged by the sound on the decks!
Almost a piano soundboard slam there.
: the Ibanez hollow body 175 thing there is very resonant - I've got it on Steve Howe treble there
The space on this is damn good, sir. Everything fits in its own orbit.
- it builds on some of the tips you've given me on previous tracks. I tried something that worked before and that was give every track [and there are quite a few] its own spectral double [and the Kaoss pad came in handy there]. And then mixed the original and spectrals accordingly, so it took some time. Using lots of varied reverb [one of your invaluable tips], I strove to keep as much 'air' in there despite the loaded nature of the track. On the master I made a bass boosted spectral track [another one from you] so as not to lose bottom. It meant getting back to my original raison d'etre, where guitars and things are just starting points, sound generators.
foxy: I'm coming to get cha!
delicious: there's lots to savour here
