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nat whilk II

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Everything posted by nat whilk II

  1. I do think it's possible to expand one's consciousness into one's own subconscious -but only to a point. But I don't see this necessarily as a way to sort of wrestle control of your life from the subconscious. Self-knowledge has immense benefits for those willing to put the ego on the back burner for a while. However, self-knowledge sometimes does, sometimes doesn't, lead to self-control. After all, my subconscious is me - just as much as my conscious thoughts are. There really is no autonomous "mind" that mans the controls of one's self, making objective decisions all by itself from some disembodied mental high castle. It seems rather silly to me to think of my own subconscious as if it were some force that subverts my will and robs me of choosing my destiny, etc. Surely the conscious and the unconscious are simply terms we use to analyze aspects of a complete person, and work together as part of a much larger overall system that makes up a "me". You certainly can't somehow self-evolve yourself into not needing the subconscious. If I have an item of faith in all this, I have some faith that the way we are put together is, if not perfect, pretty amazingly good and works most of the time just fine without meddling. I have known various believers of various sorts that have an agenda for improving on nature through some set of ideas and/or techniques. I went through some hypno-therapy at one point decades ago, and the therapist was a true believer in the power of hypnosis to shape/cure/direct/purify/control, the unconscious so that all sorts of goodness would then flow somewhat automatically from deep inside and fix whatever behavioral problems one might have. I got some value from the sessions, probably from just talking with someone sympathetic and knowledgeable about my issues. He did put me under, but, sorry to say, all my problems did not go poof Maybe that was because I didn't buy into his faith. I did learn a lot about achieving some deep mental/physical relaxation. The whole experience was still quite an eye-opener and made me realize just how much of what makes up ourselves and our behavior and decisions is at the unconscious level - rather humbling, really. Fearfully and wonderfully made, as the old verse goes. nat
  2. Not nutz at all - Metheny is about as versatile as they come. I find, in general, the Metheny-haters don't really listen to him. They tend to lump him in with the soft/smooth jazz thing from the 70s-90s. Bob James, Fourplay, et al. Which I don't care for at all, but I am a long-standing Metheny fan. Metheny did come out playing that chorused jazz electric sound, and that sound causes a certain number of people to slam the dial off instantly. He's moved way on from that sound, but you know how people get labeled and the listening stops there. I was thinking maybe Lindsey Buckingham could pull off the Police gig as another idea. Bruce Cockburn, too. nat
  3. Yeah, since you have to cut someone...sorry, Andy, you're the cull. I always felt a lot of creativity sprang from the tension between Copeland and Sting. Kept the band from drifting into Sting's schmaltzier tendencies. And I'd replace Andy with.....hmmmm......Al Di Meola? Johnny Greenwood?? Larry Carlton??? Would have to have tryouts to decide I think. BTW - I took my daughter to see The Police in Dallas at the American Airlines Center, the 2007 reunion tour. I have to say, in this new millennium where the average level of musicianship in pop/rock has dropped so markedly, it was infinitely satisfying to watch and listen to three truly top-notch musicians work the trio format to perfection. So many good songs and the chops to bring them fully to life. Kind of rare these days, no? Made me feel like I took them way too much for granted back in the day. nat
  4. I'm the same way, mainly for reasons of reliability, control, and sound quality. I still buy the occasional CD so I can rip it lossless and listen to it per those three criteria at my will. But I still stream a bunch, too. It still is sinking in, just how much material is available for almost nothing. Civilization is basically a long evolution in the direction of separation of skills and tasks and responsibilities, and a web of co-dependent structures and suppliers, workers and controllers. It's already scary in ways we don't feel the fear any longer. You couldn't feel all the dangers all the time or you'd go totally off the rails... nat
  5. Yeah, with work, on a Windows desktop, I regularly use at least a dozen programs every workday. Then add the Windows music computer where, counting VSTs, I've got what, 150 programs I use - not daily of course (what does that matter?), but I paid for them and expect them to work. It just seems that some people get excited envisioning a world with no desktop computers, but only portable devices. It's amazing what some people get excited about.....but it's all just so silly since untold millions or billions of businesses and individuals are quite locked into Windows desktops and laptops. IF streaming and wifi became robust, safe, secure, reliable, super-fast, universally available, and affordable, and we all just logged into some remote computer that did all the processing, kept all the data, and the apps worked as well or better than programs loaded onto local, personally owned and maintained machines - I'm sure I'd sign up. But it seems to me we're a long long way from that. nat
  6. If you just google The Verge and Microsoft, you'll find it. It's a pretty empty article, at the core just a few tidbits about some restructuring and which divisions of Microsoft are growing/not growing, etc. Added over the top is a some guesswork by the author who says things like: Consumers are no longer interested in purchasing devices for the familiarity or compatibility of Windows, and it’s hard to even list 10 desktop apps I really need on a daily basis. Yawn..... nat
  7. Thx, Mike, for the heads-up. Interesting looking DAW (and other stuff) on their website. Does look like VST support is a work-in-process at least for some people on some systems - according to the user forum. Gotta have my VST3 or no go. I might try the demo, see if it can handle my go-to VST3s.... nat
  8. Wow, Phil, now that is exciting stuff. I get excited about finding new visual artists to peruse and contemplate. My latest find is a photographer named Gregory Crewdson who creates these incredible staged tableau-like photos that are just soaked in atmosphere, suggestiveness (not the sexual kind), beauty, and ambiguity. I find visual art to be very inspiring to my musical sense. The connection is not direct - I don't make soundtracks for pictures - it's just something that soaks in and stays down deep, having an incalculable but very real effect.
  9. Most likely you won't be able to do or afford these three things that pro studios do as a matter of course: 1. treat the monitoring room for sound control, particularly for controlling bass resonances so you can actually hear what's coming out of the speakers without a host of distortions caused by the room itself. 2. spend $1500 - $5000 for a pair of quality nearfield monitors with at least 8" woofer. 3. or spend at least $1000 for a decent sub and go with 5" nearfield woofers. But don't despair - all of us home-studio types are typically in the same boat. There are workarounds - here are some suggestions: Get a good pair of headphones, such as the Sony MDR-7506 model, which sells for around $100 and specs out at the low end at 10hz. Use a decent spectrum analyzer and simply look at the bass content. You will see things you're not hearing unless you have a super expensive monitoring setup. You might already have one in your DAW. And there are lots of free ones like Voxengo SPAN you can just download. Take your mixes around and play them back on a variety of systems - in cars, through friend's systems, a boombox, the TV setup, even take one to a hi-end stereo place and ask to check out a big-bass system using your own CD. Post your music on some place like Soundcloud, get the word out and ask people to comment on the mix, particularly on the bass. You can do this on Harmony Central - see Phil's "In The Studio Trenches" sticky thread "is your recording/mix any good? Find out here!" Use your MIDI and synth chops to produce basslines with very steady volume and transient control. Again, look at the spectrum analyzer to see what you can't hear. Bass is the trickiest part of almost any mix, believe me. Others will verify this. Take your time, learn as much as you can, you'll get the hang of it over time. nat
  10. I'm with you about space exploration. And progress in other areas of science are terrifically exciting. Of course, a lot of popular science writing is rather shallow and trendy, but there are all sorts of fields in which amazing things are afoot. I'm a big fan of the podcasts Science Friday and Radiolab. Government seems to have rather lost it's way as a guiding force for progress to a great extent. Private initiatives are great, but almost always are subsumed eventually to the profit motive. Maybe some new way of funding and supporting science and exploration will emerge that can enable the freedom of the human mind to discover and explore without being so bogged down in political and business concerns. I'm pretty happy being an eternal optimist and impractical idealist nat
  11. It's a crisp, cool, beautiful morning here. That's enough excitement for me nat
  12. Ok, game over. Our one esteemed guesser was so very close....yes, it was on Smiley Smile after Smile fell apart. Was I the only one who was on pins and needles for the next single release by the Beach Boys after Good Vibrations? Here's the hint snippet expanded to include the title hook.... https://soundcloud.com/natwhilkii1/heroesandvillians I might try another one, easier format. I think it will be maybe 10 tracks lined up, each one being the first note or two of the first song/first album by somebody or 'tother. nat
  13. You are within inches...cast your line just past Pet Sounds.... nat
  14. Well, I did give the hint about the record label color scheme. Capital had that swirly red/orange label as an update to the really old Capital label from the 50s that was purple. So think swirly red/orange, and think also....the snippet was from a song that was the next single released after the band had maybe their all-time single hit. Geez, that should give it away, no?? nat
  15. I do envy players with those monster hands, but I console myself for my very average handspan by recalling the great Spanish pianist Alicia De Larrocha who was diminutive to say the least, and was quoted in a New York Times interview saying at age 72, "I used to be 4 foot 7," she said. "Now I'm 4 foot 6, or 4 foot 5." In other words, she is about as tall sitting at the piano as standing up...."I used to reach a 10th," she said. "Now, a ninth, with some difficulty." My span is about a 10th in spite of being 6'2" - but I stopped complaining after reading the above. nat
  16. Huh.....not one guess yet? Ok, I'll throw out a clue - the record label coloring scheme had deep yellow and a reddish-orange. C'mon you pop-detritus-warehouse-brains, this isn't all that obscure.... nat
  17. I played this game endlessly with the kids growing up but now they're all adult and moved out so I need new playmates. Identify this bit: (yes it's mono and panned just to one side) https://soundcloud.com/natwhilkii1/contest1 nat
  18. My lapsteel is an Ace - online sources say that line ran from '48-'53. Apparently Rickenbacker was not always consistent in the use of either "..backer" or "..bacher" and both spellings can be found on instruments from the 30s to the 50s. Also, one source says that the models coming out soon after WWII ended often were a mix of pre-war parts and post-war parts. The Ace is bakelite (feels heavy as steel!) and has the famous horseshoe picked under a molded cover. Magnet still strong as horseradish. Researching the purchase was a lot of fun and an education about a corner of the electric string instrument world I knew nothing about. The lapsteels were one of the very earliest electrified instruments from the 20s and 30s when engineers and inventors were coming up with all sorts of things that could use the new-fangled energy source - electricity, right there in your own house! There's a lively and extensive online community of lapsteel lovers - and you can find tons of YTs of guys 70-90 years or thereabouts still playing Sleepwalk and "Ke Kali Nei Au" and such chestnuts from the Hawaiian music craze. The really early Ricks are very highly prized and, of course, the word is "nothing sounding as good has been made since.." The Ace has very much a David Lindley sound, like on Jackson Browne's Late For The Sky. Not so much the nasal, high-lonesome sound like so many pedal steels. I just love it - you can hear me play about four notes on my Soundcloud song here...that's about the extent of my expertise to date: Here's a YT of a guy just tearing it up with a blue Ace (same as mine) in a sort of fusion style.... [video=youtube_share;a2jLPfsZ-Ws] nat
  19. I picked up an old Rickenbacker lapsteel - so old it's actually a Rickenbacher...it's not easy transitioning to a non-fretted instrument! Don't breathe a word, I'll hide this secret in lots of brackets, but [[[[[[[[melodyne works on lapsteel, too!]]]]]]. Can't really say I can play it yet, so yeah, lapsteel. It was listening to Greg Leisz on a Bill Frisell album that made me crazy after a lapsteel. Pedal steel would be nice (Leisz plays pedal steel, too), but it's such a large, complicated beast. And a lot more expensive. I love the simplicity and portability of the lappie. [video=youtube_share;cebDPuFasZI] nat
  20. Interesting replies, all. Got some serious listeners here. One thing I thought I'd mention that I do is I'll make playlists that feature a particular instrument played more or less along the style lines I play. Like maybe 35 songs that all have ballad piano. Or scratchy Neil Young-like electric guitar. Or James Jamerson-style bass lines. Etc. This really helps me in my arranging and developing parts for my one-man-band recording productions. Super inspiring. nat
  21. I'm serious. Just something I've been thinking about lately - that what I'm after when I'm listening to music has changed over the years. I mean you can always say you listen to music "just 'cause you like to" but that's a non-insightful Answer For Dummies. For example, here are some reasons that are very different: 1. to listen with a technical ear to some particular aspect of the music. The chord progression, the bass lines, the drum patterns, the mix tricks, the synth passages, etc. 2. to listen on your favorite day off time to listen while you putter around the kitchen or whatever. For excitement, mood, nostalgia, sheer loud music banging away pleasure. 3. to listen to seriously relax. Lie down on the grass or on a patio lounger with headphones, put on something slow or soft or truly ambient and go far, far away somewhere between meditation, sleep, trance, hypnosis. 4. to listen to new stuff to try and understand it. Especially if it doesn't hit your immediate "I like this!" button. Or old stuff that people you respect like but you never could understand the draw. C'mon you curmudgeons, try some rap 5. this is like #4, but different in an important way. To listen to something you already know is good, but it takes serious concentration to delve deeply into the intricacies and subtleties. Like say Coltrane or Bach or Stravinsky or Ravi Shankar. 6. just music as background to drift in and out of as the mood carries you. Wallpaper. Me? I'm cutting down presently on the background music - saving my mojo for more serious listening. Staying more hungry for really getting down and diving deep into the material. I'd say items 1 and 5 are where I tend to be lately. But all reasons are good reasons. What about you? nat
  22. Thx, electrow - I admit I'm pretty happy with how some of the lyrics came out. Kind of a poetry geek, here.
  23. My Soundcloud account I use to pass stuff around for comment/critiques. Right now all that's on there are my two entries to the 2018 Kerrville Songwriter contest - lemme know whatcha think... nat
  24. I'm telling you EB, I'm the same way. In a good movie, the soundtrack just goes straight to my subconscious most of the time, and I don't remember a bit of it. And when I'm doing music alone, I might as well be blind and floating in a timeless land of only-sounds. nat
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