So, I Met This Guy. . .

Above are roots. . .recovering today the crucial elements of wash and noise.

Friday I was trying to see a piece of art at an opening here in Cleveland, and, I really mean trying to see it, thus trying to look into and through and around and right at map and territory.

A young man walked up to me and asked me what I thought, or something like that, and I was hesitant, asked if he was (perhaps,) the artist, and, I thought he told me he was not the artist. He wondered if speaking in response to the artist’s question might mean I would give the artist something less than my ‘unfettered viewpoint.”

At the time I didn’t get into the answer. It starts with me stating, “I like to know when the artist is asking, versus anybody else.” As an artist, in the engagement with the viewer, I’d like to work my way to the unfettered response, and work all the way to the deeply intentional response. So, as a viewer I prefer to proceed in the same manner.

As it turned out, throughout are conversation, I didn’t catch on to the fact that this gentlemen was the artist! Nevertheless, when I happened to mention that I too was an artist, and that my art was more influenced by music than it was by art, he affirmed this was true for him too!

But I remained unable in the real time of our all too brief, yet compelling conversation, to connect up two simple dots.


The next day I wound my way from his musical name, Machine Listener, to his artist’s web site. Matthew Gallagher

After going through some of his audio opus–it was the background in my studio yesterday, and, then reading an interview and reading what he has to say, I could only end up for the first time in over two years wondering about musical collaboration. I’m thirty-five years older, yet the overlap in interests and concerns is apparently a very deep pool.

Matthew’s Soundcloud is full of sharp experiments. This track stood out.

The Effects-Driven Life

It turns out that guitar pedal shop Electro-Harmonix has a pedal guru, Bill Ruppert. He’s been showing what you can do using pedals as modules in signal chains in which one leans into the so-called Send loop, into which the Wet sound, or effect-alone sonic product, is fed.

He gets impressive, even magical at times, sounds–as this video demonstrates.

Moving effects into the DAW using GuitarRig and other software makes doing similar sonic transformations even more accessible.

Pentatonic Experiments, using NI Reaktor-Prism

Back on the pentatonic trip: here’s two very down-and-dirty versions of pentatonic riffing that use some patches from Native Instrument’s Reaktor-Prism synthesizer module. (Upgrade to NI Komplete version 7, and Prism is included as one of the numerous new modules.) The pentatonic, characterized as the ‘black keys’ on a piano, is elsewhere on the keyboard too, obviously. I think of it not as a five or six note mode, but as an extended two or three octave scale; in C: C, D, E, G, A, C, D, E, G, A, C

For these short sketches, the Akai pad controller adds in the E and the A. I did run some effects on this unmastered and roughly mixed set of sketches. The versions represent different mixes.



Aound, versions I & II

15 Seconds

(Frederic Rzewski, recounted by Derek Bailey) “One day in 1968. I ran into Steve Lacy on the street in Rome. I took out my pocket tape recorder and asked him to describe in fifteen seconds the difference between composition and improvisation. He answered, “In fifteen seconds, the difference between composition and improvisation is that in composition you have all the time you want to decide what to say in fifteen seconds, while in improvisation you have fifteen seconds”.

via the huppeshyalites jazz blog.