"I Miss Nothing" Featured

Thanks to Fnordstuff for opening its recent March 3, 2014 (Episode 29) pocast with "I Miss Nothing."

 

Music is Expression in the Form of Sound

Art (painting, acting, dancing, writing, playing an instrument, etc.) can manifest from two internal states: the intellectual, technical perspective and the emotional, sentimental perspective. Art, first and foremost, is the expression of emotion or spirituality through some medium. Or, at least, it should be. The origins of music started this way--music to accompany the hunt, to mark a death, to celebrate a marriage, etc. The intellectual side of art developed over time, as man's mind developed beyond simply concerning himself with food, shelter, and other basic needs. I attempt to cultivate both sides of that dichotomy when I dabble in art, whether painting, playing, composing, or writing. That's why I can dig the craziest Frank Zappa Synclavier piece and then turn around and love Tom Petty, Robert Johnson, Rob Zombie, Fleetwood Mac, B.B. King, or Audioslave. There's a place for the emotional side in music, but the expense of one over the other can be problematic for thinking, feeling human beings. If I spend too much time consuming so-called "simple" music, I eventually go through a balancing stint of listening to more esoteric, experimental stuff to buttress the intellect. If I go on a jazz listening spree, I'll shortly thereafter undergo a pop music consumption binge to feed the sentimental or nostalgic side. I'm a bit bipolar when it comes to music--happily so.

There's something to be said for musicianship (a part of the intellectual frame of reference). If music exists primarily as a means to creatively express something through sound, musicianship serves to improve that expression (or, occasionally, to overshadow it). It's a balancing act; some schmucks screw it up by obsessing over arpeggios, scales, and other theoretical concepts (i.e., Yngwie Malmsteen, John Petrucci, or <insert shredder name here>) at the expense of expression; those sorts of musicians sometimes end up without anything to say with their music, except for the theory or technique itself. It's very rare to find someone sufficiently talented who can skillfully fuse the two together: equal parts feeling with equal parts technique, where the mesmerized listener--any listener--is just blown away. The layman is attracted to the emotional and rhythmical, while the technician gets sidetracked by the theory of it all. The technician then wonders to himself why the masses prefer Soundgarden to his scale-filled rock guitar masterpiece. Because Soundgarden stirs the emotions of the average listener, shredder guy! Your scales sound like weedily-wee-wee-wee to the unschooled listener. Maybe the layman is temporarily impressed by your technical display, but he eventually awakens from that stupor and goes back to dance with the one that brought him: lyrics, melodies, repeating phrases, and simple rhythms--music that stirs the sentiments. There are, of course, exceptions to that phenomenon, because in amongst the masses are the few intellectual types who, unfortunately, go on to be the next generation of shredders. Some of those shredders will, over time, mature and learn to broaden their pallet to enjoy highly intellectual forms of music, like jazz, so-called "classical," or experimental music forms (I put myself into that category).

Yes, I realize that someone might argue that a pure consumer of "intellectual" music--having listened to and digested such auditory works continually--might be moved emotionally by such music. I believe there is some truth to that assertion (I can be moved emotionally by what some might consider "strange" music). But it's still academic sentiment; it takes time to develop that sort of appreciation, whereas the casual listener--even a baby--can discern simple rhythms and melodies right away. I'm not saying we should all be babies when we consume art, but maybe infants could remind us of simple joys that we sometimes leave behind (like bopping to a simple dance groove). One of my favorite musical thinkers of the recent past, Marion Bauer, stated in her 1933 book, Twentieth Century Music: "The untutored listener responds to obvious rhythms (a foot-listener), the banality of which annoys the trained musician who seeks his satisfaction in melodic and harmonic complexities...sounds which were painful, when once accepted and organized by the brain, may become pleasurable."

My intellectual side agrees with Marion, wholeheartedly; I have honed a certain appreciation for what most would consider strange and inaccessible in the world of art. However, I started off in life as a "foot listener." And so did she (and everyone else). There's nothing wrong with "obvious rhythms," though they may not seemingly impress those paying lip service to the intellectual, the obscure. Yes, the trained intellectual (the shredder or music elitist) may look down on what he considers banal musical forms, even though he may avoid admitting that he, secretly, loves those obvious rhythms too! Very few of us are, purely, one or the other.

What I'm attempting to convey is that I can stand on stage with a hot amplifier fed by a Fender Strat in my hands and feel just fine chunking on a few simple power chords, especially if that certain unspoken energy is circulating in the room and entrancing both the listeners and musicians. That's a feeling that's hard to define or explain. It's also one of the reasons that some of the best performances have occurred live, becoming seminal moments in popular music history (Jimi Hendrix's burning Strat, The Who destroying their instruments, Janis Joplin squawking in all her blues-laden fury, Frank Zappa's performance art--especially the NYC days, etc.). Such moments involved some form of energy that was being shared between listener and performer. Antithetically, I can also completely vibe out on Arnold Schoenberg or Igor Stravinsky performances and recordings. All of the aforementioned performances and works hit at different sides of the brain. The response--or even the intent--might be emotional or intellectual or both (though rarely both).

Ten years ago, I was living in Virginia and playing in a swing band; I was the youngest guy in this large group of mostly graying horn players, and it was very challenging hanging with all of these old cats who had played those big band charts a thousand times. I struggled at first but eventually got better, because they were willing to put up with me. I've also been in groups where I was the most knowledgeable and experienced; I had fun in both situations. I found that I really got better when I learned to take my ego out of the picture; I know there are tons of guys better than I am, technically, at music. But NO ONE can say what I personally have to express from an emotional, creative perspective--whether I pick up a pencil and draw it or pick up a guitar and play it. We're all different in that regard, and no one can express what you feel better than you! My advice to all musicians is to avoid the trap of comparing oneself to others; usually, such comparisons involve trivial thought patterns, like how much better another is technically or musically (there's that intellectual stuff creeping in again, interfering with the emotional). No one on earth touches an instrument the way someone else does, with the same tone, the same quirks, the same mechanics. All of those little things make each of us different and give our creations a unique quality.

There is no best in art, in my opinion. Music competitions--including the informal, comparative ones--are stupid; it took me a long time to learn that lesson.

New Album Release: Paroxysm

It only took four years, but I've finally put out another record. You can check it out and purchase in two ways: either CDBaby (for those who still prefer a physical CD) and digital distribution (iTunes and others). Other avenues of digital distribution will follow shortly. Hope you'll give it a listen! This one features a good bit of fretless guitar and other surprises. I was particularly pleased with the production quality. Enjoy!!!

Merry Christmas: Jingle Bell-bottoms

Recording a new Christmas tune has become sort of a holiday tradition here in the studio. So far, I've recorded Silent Night and What Child Is This (Greensleeves), both of which are "public domain" pieces. I did a version of Frosty the Snowman once too, and that wasn't public domain (though it was never for sale or anything).

This year I decided to do a really hokey version of Jingle Bells called Jingle Bell-bottoms, complete with lots of wah-wah'd guitar parts, lots of bells, jazzed up lines, and a family chorus right in the middle. Hope you like it! It's freely downloadable.

From our house to yours: Merry Christmas and Happy New Year!!!

Jingle Bell-bottoms by sonicdeviant

Sing Me My Breakfast Appears on "braincast"

SD's jazzy piece Sing Me My Breakfast appeared on the German podcast called braincast in Episode 221 on 22 Nov 2010. Thanks for the play.

Ein jazziger Einstieg mit Sing Me My Breakfast von Sonic Deviant

[From Ernährung 3 - Tipps | braincast]

The Gunter Hotel: Robert Johnson's "Studio"

My wife and I recently went to a show in downtown San Antonio to see one of our favorite 70s pop artists, Kenny Loggins, at the grand Majestic Theater on Houston Street. This is the same theater where we've seen Bill Cosby and Puscifer; the theater is worth seeing all by itself--an early 20th Century marvel, complete with restored atmospherics, such as clouds that move across a starlit ceiling.

Our usual habit is to find someplace to eat before a show, so we strolled along the streets, vainly attempting to decide on a restaurant. We finally settled on Barron's, a cafe located on the ground floor of an opulent hotel, situated almost directly across the street from The Majestic. Downtown San Antonio is full of great, old hotels dripping with history: The Menger, The Havana Inn, The Crockett, and of course, the hotel where we dined, known for over 100 years as The Gunter. We ate a good meal at Barron's and decided to walk around the hotel lobby before the show started, perusing the memorabilia and historical artifacts that included the hotel's retired telephone switchboard (last used, amazingly, in 1979) and guest registers dating back to the hotel's beginnings.

The Gunter Hotel, Then and Now.

What amazed me most was to discover that a few tracks from Robert Johnson's seminal album, King of the Delta Blues Singers, were recorded in room 414 of The Gunter in the fall of 1936, including the oft covered "Cross Road Blues." The Gunter Hotel (now owned and operated by Sheraton, Inc.) has a wonderful display honoring RJ, and room 414 is a shrine to the milestone recordings made there.

Perhaps the ultimate irony is that one of the songs Kenny Loggins performed at The Majestic later that night was a cover of "Crossroads" (the rocked-out Cream version). Robert Johnson had no way of predicting that one of his recordings, made two years before he died at The Gunter, would be performed by a major pop act 74 years later at the theater he, no doubt, noticed when he was checking into his hotel "recording studio" across the street. Very cool stuff.

SD Appears on "Book Artists and Poets"

Sonic Deviant's "In Odio Circulus Sonus" appeared on Steve Miller's podcast episode 21 May 2008 of "Book Artists and Poets" via The University of Alabama. In this episode, Steve interviews Oregon book artist Roberta Lavadour.

A direct link to the podcast is HERE.

Roberta Lavadour is an Oregon book artist who loves outdated printing technologies. She says, "I think by moving objects around." and "We all have an obligation to make art." A May 21, 2008 interview with Steve Miller at Arrowmont School of Art and Crafts. Music by Sonic Deviant.

[From Book Artists and Poets]

TC Electronic Impact Twin Review

Check out my complete review over at Big Al's blog: HomeStudioGuru.com

Holy Hand Grenade Appears on PiratesWeek

Shane's new video and podcast music project known as GShane scored a play of the rock instrumental Holy Hand Grenade (of Antioch) on PiratesWeek. Shane has appeared before on this podcast back in 2006 and 2007.

Neat because this podcast is played on several pirate broadcasts across the country!

[From PiratesWeek 11/29/09 | PiratesWeek Podcast]

New Project: Christmas Party Presentation Music

A friend of mine, Norman Bates (no, not really...I can't back that up), is using his visual art talents to create a digital presentation of photographs, featuring our fellow Air Force squadron members to be displayed at the upcoming annual Christmas party. He asked me to put together four songs that would be used as backing music and take up about 20 minutes.

So, here are three of them for you to check out, in all their lame glory. The songs are sort of hokey on purpose (can you tell by the titles?), and I'm not sure what I'll do for the final number yet--maybe a country piece. The following three are in the bluesy, heavy rock, and dance genres, respectively.

Baah-lad Sheep Love

Holy Hand Grenade (of Antioch)

I Can't Back That Up

Logic Pro 9 Help deserves 'to be killed with fire' LOL!

Funny blog post. Already went nuts with this earlier here and here. Wish they would put it back in the Help Menu though...guess I'll make an Applescript that will do the same thing...just open the PDF with a click.

I don't mean to be rude or crass but apparently it's been long since Mac Help files SUCK BALLS... what are Mac Help files? they are some sickly wrong files (that deserve to be killed with fire)

[From Logic Studio Blog: Logic Pro 9 Help file Slow? Download PDF]

Apple 'Never Intended' to Eliminate Logic PDF Manuals

The reason I don't believe this 'production delay' excuse is that, first, Apple had a documentation survey trying to "feel out" the user base to see if Apple could swing including only the Help Viewer documentation. Second, when has a major software company like Apple EVER released the software BEFORE releasing the documentation for the software (and what would be the point of doing that)? Third, the manual was already finished in the form of Help Viewer HTML files at release; users on the Apple Discussion forums produced their own Frankenstein PDF manual from those HTML files in less than a day, so I find it difficult to believe that there was any sort of delay at Apple producing the PDF of a manual that was already written in another form. Fourth, the PDF manuals were once linked directly from the Help menu in Logic and now that's not true--the links are gone and only that crappy Help Viewer stuff is there; I bet a future update will put the links to the PDF back in the Help menu!

My personal view is that someone at Apple rolled the dice, realized the mistake after the backlash, and now they're doing damage control.

Regardless, it's nice that they fixed their faux pas.

In other Logic news, those of you wondering what happened to the PDF manual for Logic Studio 9, it’s back! Apparently there was a production delay that held up its release; Apple says it was never their intention to eliminate the PDF version.

[From Create Digital Music » Logic Express Packs Most of Logic for Less; Apple Adds PDF Manual to Logic 9]

Apple Releases PDF Manuals for Logic Pro 9

Yay! They came to their senses. Since I came into this issue midway (I was deployed to Iraq) and discovered Apple had produced a "documentation survey" for Logic (I guess Apple was trying to feel out its users to see if Apple COULD omit the PDF and hard copy manuals), I'm not sure if these manuals were in the works all along or not. Seems to me one would want to release manuals WITH the product right away to avoid any firestorms, but we are talking about Apple here; they're famous for their firestorms.

I think we can kiss the hard copy manuals goodbye, however.

I would like to take this opportunity to inform everyone here that PDF versions of the Logic Studio (2009) Manuals are now available on http://documentation.apple.com/

Select the product from the list and then click the "View as PDF" link available below each manual title to view the PDF manual.

[From Apple - Support - Discussions - Documentation rant (slightly) -- no ...]

Online Haunts Updated

I have updated the web site, to include additions about the band project called MELTNOW. I hope you like it.

Pod Studio GX and Pod Farm Crackle-Echo (FIXED!)

This problem has apparently now been fixed by Line6 with the most recent updates (July 2009). Thanks Line6!!!

Logic Studio 9 - No PDF or Printed Manuals Included!!!

Okay, I'm a huge Apple fan, a former user of Logic 7, and now a user of Logic Studio 8. I want to get the Logic Studio 9 upgrade, but Apple has decided to do something I consider to be dumb in an extreme way. They took a basic feature--easily searchable (offline), bookmarkable PDF manuals for Logic Studio and put them all online in html format.

No longer can you rapidly search using Preview. No longer can one close the PDF manual and have it reopen where one left off. No longer can one quickly bookmark pages in Preview. No longer can one just take the printed manual to the park to read. No longer can one be in the middle of Iraq (like I was) and access the manual, because one doesn't have an Internet connection. Granted, Apple's not thinking about U.S. military musicians when it makes its business decisions, but damn it...this pisses me off!

This just falls into the 'if it's not broke don't fix it' paradigm and smacks of Microsoft's decision to change all the toolbars around in MS Office after PC users had spent years getting used to where everything was. Suddenly power users were reduced to nitwits. A really numbskull idea. Seems like Apple is following in those MS footsteps in some ways.

Apple, please--at least--bring back the PDF manual. I'll take the loss on the printed one, but I NEED the PDF!!!

Logic users, register your displeasure here: http://www.apple.com/feedback/logicpro.html

Jahloon writes about Area 51 Debris

Jahloon, fretless guitarist, GtrOblq denizen, and keeper of unfretted.com, has penned a nice article about how he acquired Area 51 Debris, a fretless instrument created by an accomplished GtrOblq luthier, and formerly owned by Infinite Ego; the instrument is also believed to have been used by Bofatron Sofasaurus on several recordings.

I had known about the instrument for some time, and like I mentioned, web-searches can turn up some intriguing stuff. My search found a picture of a guitar like nothing I had seen before, enigmatically named "Area 51 Debris".

At first I thought it had been made specially for Infinite Ego, a formidable instrumentalist.

He hosted an Internet site and forum, which went through several iterations, changing name, changing identity, but with a core of avant garde musicians varying from the obscure to the almost famous.

One day you could find them, join their conversation, and the next day they had jumped continent, to reinvent themselves on a new website. Some website names you might recognise; Kronosonic / Shred Like Hell / Cone of Silence / Negation Hoster and their latest incarnation www.GtrOblq.com

Additionally they were a very close knit crew, with limited membership, if you weren't a serious musician, or didn't turn up on a regular basis, you were history.

[From Area 51 Debris]

Happy New Year!

Just wanted to wish everyone out there a Happy 2009!

SD appears on again The Word Nerds

"Under the Stairs" recently appeared on The Word Nerds podcast, #111. Thanks for the play! This song has appeared on The Word Nerds 3x now (also Episode 81 and 99).

Morphing, Changing, and Dying Words (111) at The Word Nerds:

Music bumper from “Under the Stairs” by Sonic Deviant. (33:43)

SD's "Frosty," jazzy style

Merry Christmas, everyone! I recently purchased a Line 6 Pod Studio GX, so being in the Christmas spirit, I went ahead and pulled down my jazz fakebook yesterday and gave this classic a go to try out the Line 6 unit (I've had a few problems with it in the connectivity department, but it sounds awesome otherwise).

Everything was recorded through the GX using Pod Farm and into Logic. The guitar I used was my Epiphone Performer SE acoustic (all through the pickup); it has two pickups, and one is in the neck so I can get a neat, jazzy sound. For the fretless bass, I used my fretless guitar and then just dropped it down an octave...can't believe how much it sounds like an acoustic bass! The drums are Beta Monkey's Jazz Essentials.

Enjoy!

Frosty The Snowman.mp3