8 Clicks from Nowhere ䷀

Dispatches ⌂

Category: [04] Tools & Troubles

Finding your medium of focus through words, images, and pretty much everything in between

Chapter List

  • Junk Drawer

    I have a collection of jars and each of them are filled with a mismatched array of screws left over from a long list of household projects: building our backyard deck, fixing the fence, installing drywall in the garage, assembling a doghouse with the kid, and a long list of other things I’ve long since forgotten. 

    Whenever I need to fix something, work on something or the urge strikes to connect two pieces of wood for some reason, I rummage through the screw jars and inevitably I find what I need.

    I hadn’t realized that not everyone does this. I assumed that it was just a universal trait of the average, everyday, homeowner: keeping a jar or two of mismatched screws on the shelf for those just-in-case moments.

    But no, and rather I have started to believe that it is more the habit of the creatively minded. A jar of screws has the potential to be useful in the future. And in the same way I also keep loops of string and bits of interesting wood I find on a walk or a bag of curious stones from the river or lists of writing ideas or recordings of curious sounds or introspective thoughts that lead to no where in particular… at least not yet.

    But maybe someday that junk will be worth more creatively than the collection itself.

  • MIDI Controller Outdated · v1

    I broke, and I finally bought a dedicated MIDI controller.

    It was not an expensive one. Nor is it a toy. It is, rather, a very basic and simple twenty-five key computer keyboard that has piano ivories instead of numbers and letters. It makes no sound of its own. It just sends electronic signals to another device, as if I was typing musical notes.

    If you had asked me a year ago what I knew about musical keyboards I would have told you there were pianos …and electronic pianos …and—I am reluctantly admitting here that I hadn’t been paying much attention after that point. 

    I like synth music, and growing up we didn’t have a real piano or a fancy keyboard, but rather a simple department store brand electronic synth with a couple dozen built in instruments. In our house now, my wife has (because it is hers from before we were married) a pretty nice digital piano in her office, and a little over a decade ago we acquired a small upright piano, too, which sits in our kitchen and serves little other purpose than to remind me of a decade of the kid doing piano lessons. But, the concept of a bed of black and white keys that makes sounds? That was pretty clear in my head.

    For myself, those pianos were never quite what I needed. What I was craving, musically speaking.

    Instead, I went down the synthesizer rabbit hole a little over a year ago now and learned that a proper synth is more than a piano keyboard that makes funny sounds, but rather a way to generate and manipulate sounds with electrical or digital tools, and for which a piano-style keyboard is merely a comfortable and familiar user interface. 

    Now I’ve gone full circle. I own a small keyboard controller to interface with the synth software on my computers, and I am learning more about how it all works with each visit to this world of music and sound …and most importantly, a new personal exploration of audio creativity.

  • Musical Motif

    One of the ideas I have about my most recent writing project is that the end goal is not (merely) a novel.

    I want to make an audio story.

    Back as far a my university days I had it in my mind to try to make an audio drama in the style of H2G2[1] or Ruby[2].  

    I went about it completely backwards, of course, trying to improv a script while learning all the audio tools. I would get five minutes of groovy sound effects wrapped around a nothing script and then quit because I had never done any planning. I was using borrowed sounds and music in free software I had very little knowledge of how to use and making up a science fiction story on the fly. It was a recipe to accomplish nothing—except maybe learn from my mistakes.

    So I’ve been working on a story first.

    But also…

    In the last couple years I have built on the knowledge I had around music theory and audio software and have started to learn the basics of music production. I have been acquiring the tools—mics, synths, mixers, recorders, and recently an effects pedal—to produce my own soundscapes. 

    And? This week I actually wrote a song. Well… actually the technical term is called a leitmotif. It is the basic building block of a recurring musical theme tied to a character, place, group, or whatever. And… I wrote one.

  • Developing Vocally

    I want to get better at recorded voice work. Maybe for the purposes of making a podcast. Maybe because recording an audiobook from my stories is on my dream list. Maybe just improving my microphone presence seems kinda important if ever I need to do another video job interview.

    I consulted the wisdom of the internets and not counting the long list of technical adjustments and microphone setups and rules for fine tuning the recording equipment, it gave me three points to focus on to hone some of my own voice skills:

    Warming Up, which is to say doing vocal exercises for three or so minutes prior to attempting to record anything, which includes exercises like humming, trilling or reciting tongue twisters.

    Speaking for the Microphone, or as it suggested, exaggerating consonants, enunciating, and speaking more slowly than one would speak to a crowd or when having a conversation.

    Listening Back, by stopping after thirty seconds or a minute of trial recording and examining the effort like a critic, not critically, but with an aim to notice vocal tics, breathing, pacing, and other flubs.

    Practice, as they say, makes perfect.

    And if not perfect … well, then at least my microphone will get some extra use this month.

  • Wet Sounds

    Recent forays into musical experimentation with various electronic devices, in particular a synth, has taught me a new concept: wet and dry sounds.

    As I understand it, and simply, dry sounds are raw, clean and unprocessed audio coming directly from an instrument while wet sounds are sounds that have been enhanced with reverbs, echos, delays and other effects. The latter is usually achieved by the use of a guitar pedal or another pass-through devices that are controlled by a musician for deliberately altering, distorting and otherwise enhancing the source audio.

    I bought a little low-budget synthesizer about a year ago and have had some enormous creative fun learning to first play it and more recently how to make music with the device.  But dipping into a world of music that I had little previous experience—at least as a creator—meant that I often found I was edging up against creative barriers that I didn’t know how to understand or articulate.

    Case in point: wet versus dry sounds.

    My synth is dry. And I have since ordered a pass-through device, a pedal, that allows me to add some of those wet features that I have been missing.

    My point: sometimes creating with what we know and what we have until such time as we reach a point when we notice the gaps is the best way to discover new concepts.