Music Banter - Sounds from Innerspace

Music Banter (https://www.musicbanter.com/)

- Members Journal (https://www.musicbanter.com/members-journal/)

- - Sounds from Innerspace (https://www.musicbanter.com/members-journal/80913-sounds-innerspace.html)

Quote:

Originally Posted by Tristan Geoff (Post 1792487)

I noticed the last picture on your Imgur album mentioned a recording studio?

Didn't know you make/use to make music dude! What instruments do you play and could you produce some pics of your studio? I'm going more seriously into production and want to do something with audio production for a living (despite not having much skills as of yet beyond lo-fi).

Thanks, Tristan. Yes, I used to make a variety of music. In my late teens I had a grunge/punk band like every other kid in the 90s. I played electric guitar and lead vocals, and was a songwriter as well. I also have a 12 string Fender acoustic which I used as a solo folk artist. I recorded a few albums by age 21, self-produced in my studio. Distribution was very limited, mostly among friends.

I also mentored a young woman who became fascinated by the ambient music I'd introduced her to. I set her up with CE2k (that was Audition before Adobe bought it), and taught her how to mix down tracks and in no time she produced some wonderful ethereal choral ambient material. When I last checked in on her she has made quite a name for herself in the music scene after she moved down south as a vocalist and guitarist. I'm glad to see she's using her talent.

Every now and again I consider composing leftfield ambient music. I would have a lot of fun transforming found sounds and abstract field recordings into longform compositions. But there's seriously enough of that in the world.

Quote:

Originally Posted by innerspaceboy (Post 1792500)

Rad.

What was the woman's name if I might ask?

And nothing wrong with producing music for yourself either man, even if it's not original it can still be used for personal reasons and gain.

Quote:

Originally Posted by innerspaceboy (Post 1792497)

Spoiler for bigass post:

Sweet, dude. Will definitely look into that. No I don't want Beats as I've heard they sound like trash for anything other than hip hop. There's a lot more to making Slayer kick your ass than a big bottom end. And I do listen to other forms of music fairly often so I still want something that isn't entirely sonically myopic. The detachable cord is also a big plus as I have the tendency to **** cords up and would be paranoid about being stuck with the world's most expensive paperweight.

How trustworthy is "certified refurbished" btw?

Quote:

Originally Posted by The Batlord (Post 1792521)

How trustworthy is "certified refurbished" btw?

The term suggests that the manufacturer has sanctioned their refurbishing work, but the term is not what matters here. The seller is K&M Certified Refurb, and they have a 5 out of 5 stars, 100% positive rating in the last 12 months from 34 contented buyers.

If those figures satisfy your measure of the reliability and integrity of a vendor, then by all means, buy refurbished. I did for my Sennheisers and bought four pairs over a year for myself and for friends. Each was as good as new and I saved a bunch of money.

Happy to be of service.

Quote:

Originally Posted by innerspaceboy (Post 1792582)

I'd gladly pay full-price for a pair of bombass headphones, but a savings of $30 is certainly nothing to sniff at. Thanks for the help, bro.

This afternoon I revisited a stand-out track which appeared on three related collaborative albums by Brian Eno, Dieter Moebius, Hans-Joachim Roedelius, and Conny Plank - the key figures of Cluster and Harmonia.

"The Belldog" appeared on After the Heat (Sky, 1978), Begegnungen (Sky, 1984), and on Old Land (Relativity, 1985). The track features Moebius and Roedelius' trademark cyclic melodo-rhythmic electronic loops and sparse, atmospheric and ethereal space which was a characteristic standard of the Berlin School. There is a dark and sinister quality to this track which marries well with the ominous dystopian air of Eno's minimal lyrics.

The vocals are presented with the familiar echo delay effect which was quickly established as Eno's signature sound on Before and After Science just one year prior to the release of After the Heat. This effect lends an alienesque and detached property to his already otherworldly music - an effective representation of man's strange futuristic world at the technological dawn of the 1980s which was readily adopted by a flood of new wave and synth-pop bands in the years that followed.

"The Belldog"'s lyrics paint an image highly reminiscent of key scenes from the 1927 silent film, Metropolis - most notably the depictions of Freder arduously slaving away at a 10-hour shift frantically pulling clock-hand-like levers. And the second verse recalls the Eternal Garden scene from the same film.

The lyrics are brief but impactful:

Most of the day, we were at the machinery
In the dark sheds that the seasons ignored
I held the levers that guided the signals to the radio
But the words I received, random code, broken fragments from before

[Instrumental interlude]

Out in the trees, my reason deserting me
Oh, the dark stars cluster over the bay
Then in a certain moment, I lose control
And at last, I am part of the machinery

Where are you?
And the light disappears
As the world makes its circle through the sky

Have a listen to this wonderful song. It captures many of the best qualities of each of the collaborating artists.

I haven't listened to that in years. It's quite a gem for sure.

Quote:

Originally Posted by Frownland (Post 1792668)

I haven't listened to that in years. It's quite a gem for sure.

Indeed! Frown - a local musical peer of mine joined me for brunch today and raised the fact that every time we attend a record show, attendees have told me that I should really start a radio show or podcast. They've commented that I've a great voice for radio and that the conversational dynamic between my friend and I would make for an engaging listen. He is somewhat of an authority on space rock, 90s noise, and stoner rock/metal, while I am better-equipped to speak on my own genres of expertise. There is a sufficient overlap of our interests that would make conversation productive.

He romanticizes the halcyon days of NPR and other public radio programs which offered a communal ritualistic "fireside chat" sort of experience and invited me to collaborate with him on that sort of a project, (web-based or otherwise). The key idea is that the community at large has no attention span for long-form article reading in the age of rapid-fire social media, and that a podcast might have a greater accessibility for a larger listener base.

Any thoughts?

I did a free jazz hour twice a week at my college radio station. There's really nothing to doing a radio show and it's a hell of a lot of fun. Also if you can actually discuss the pieces in an interesting way (which I'm sure you can), you're already light years beyond most people and it can help build an actual fan base that'll give you more drive to keep it going.

I'd go for it.

Quote:

Originally Posted by Frownland (Post 1792683)

I second this. Surely there are tons of college radio stations around NY if you're interested in that aspect, but I'd definitely check into a podcast as well.