What i listen today and love so much - Pauline Anna Strom - Trans Millenia Music
The perception in the composition is something that can vary according to the state of the synapses, the sensations, the inner self, and above all the fact of imagining too much what one can do in advance...it is in the act itself that things are verified. But sometimes, an inner search is necessary because you shouldn't force things, that's a truth.
For instance, i was using this module fx aid, and the evidence to use large reverb has ended in my own process, but rather choosing a chorus and with the harmonics of an Instruo TS-l Vco you can obtain something that can be arrangee=d in a very interesting way using the offset and the equalizer. The deep listening of Pauline Oliveros has its importance in that case.
I recently plunged back into the harmony of the spheres, echoing the reading of the book "La hierarchie celeste" by Deny l'aeropagite. This is, indeed, the book on which I had focused for the writing of the album, for the third disc of the trilogy. Days pass, weeks pass, and the general pain is still present. What I mean by that is that I've had a subscription to physiological pain since I was born, I was born like that, that's my thing.
So in the context of the writing, I could see through the 25 tracks that the production itself was going to be much more tedious, the panning, the equalizer, the stereo, the ultimate texture with this grain that makes a title famous , that's what I'm looking for in this new epic.
There are three titles, titles that seem obvious to me from the beginning, and this becomes clearer in the setting up of the structures, the few words written, and the spirit that resides in the composition.
I am posting in this blog a photo of my modular rack, because it has changed slightly over the past three weeks. I really touched the finger, the perfect synth for what I do, I just miss the light to cv module from the builder addac, the one that creates CVs with light, or at least radiations, or darkness, it is unpredictable and majestic. Because the result is profound. It depends of what is arouond, and this...that's the thing.
I sold a few more modules more, and I must receive a field recording recorder soon, a zoom hn1, the goal is to record innocuous sounds but capture the harmonies that reside in those. I remain very attached to the work of Pauline Oliveros and her book ( and women in general pioneer in this genre and in the manner to express things).
In all this, I continue to juggle with the pain of living and the details that I have to work on to improve the compositions, I have really learned to tame my person and his quirks. In particular, a song is about refusing to look at your image in a mirror, and it has a very specific name.
At the technical level, I like to use the 1f and 2f modules of the Instruo brand, it allows to manage the cv's with more precise voltages than the simple fact of turning a button.
What I also see in the genesis of this album is the effort to test combinations that don't make sense. I got impossible sounds with so-called classic synths. It will be, I think okay, for the end of January, even if I don't want to rush things, it's the first time that I take so much time to make recordings. I have the idea of being able to play certain titles in concerts, but once again I don't want to do an hour of concert, but more to focus on 5 titles and to create a universe during the live session.
Currently my sleep has totally degenerated, I have to sleep 4 hours multiplied...I have decided to smoke Cbd, it helps me to calm my anxieties and my physiological disorders, in particular the orange bud. I've always liked the smell of weed but never been able to smoke it and didn't need to. Today the situation is different because my body is no longer the same as before the lockdown.
Going back to the production itself, I work a lot on stereo to merge scraps of guitars with the modular ones, the whole thing is that you don't need too many frequencies with the guitars, by listening to the tracks I realized consider juggling all the instruments on the mediums, the wet, the dry, the bass, the panning, all this must be orchestrated like a watchmaker. I now have the reflex to keep my synth next to my bed, when things go wrong I work on it, and if something works I go back to the office to keep the idea and think about how to keep it and re-use it, not just save it to sample after, that I don't know how to do.
KJ