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(This part was begun October 2004, and continues through late 2006. Newest additions are near bottom. )
Here is Part Six of the Open Letter, containing collected feedback from y'all site surfers. All the comments prior to August 1996 will be found in Part One. And those added up through November 1997 will be in Part Two, and through January 1999 in Part Three. Those from 1999 through 2000 are in Part Four. Part Five, began in mid-2002. This section, after a long gap, begins in October 2004. The Gold Leaf Awards (for those who located the SOB 2000 album's single Moog sound) are usually located at the top of the newest, current letter. New replies and material go to the end (with any exceptions noted in place), so read from the top down for the original chronological written order. (Note: the 2005 additons begin about half way down this page, with 2006 well below that. Or click HERE to jump to 2004, HERE to jump to 2005, and HERE to jump to October 2006. To go onto November 2006 and Letter 7, just click HERE.)
Let's
break the usual rule, right off the bat, of placing new additions to
the bottom, with this note. (Note:
the rest of the new replies are still found at the
bottom.)The open letter essay
just below, from six months ago, October of 2004, candidly explains
the shortage of Open Letters and other web additions during the past
year. As 2005 has progressed, the outrages I refer to have continued,
escalated. And people of good conscience and intelligence, over a
broad spectrum of personal, political and ethical views, have
expressed far better than I can why so many of us in the USA are now
so concerned, about a self-righteous and radical agenda that is
ultimately damaging our lives. We can only do our own best, stay busy
and productive, spread the word and our observations, and hope that
those still oblivious, or still in denial, will wake before it's too
late.
There's a well-known saying,
that there's nothing like a death sentence at dawn to focus one's
mind. Similarly, there's nothing like fear about our country and our
own survival to alter one's priorities. Chatting with you here, which
has been a pleasure up 'till now, recently seems like a luxury that
must await its turn, as reality is dealt with (but I have added some
more new comments down below).
That said, I share the
frustrations of many of you who have written to ask about certain
currently unavailable pieces and projects, when that status might
change. I'm acutely aware of the problems, and thank you for your
interest. Generally speaking, there are other people and companies
involved who remain uninterested in finding a solution, and make it
needlessly difficult. Well, we are
small potatoes. Older contracts run-out, and leave no easy path to
make the music available again.
But then most music is created
for the short-term and is basically disposable. We live in a world
that doesn't really care about art or longevity. Those of us who work
for the long-term, and spend months or even a couple of years on a
project, to try to create art of some kind as good as we can make it,
are in a tiny minority.
For us it is painful when our
projects are made "invisible."
Our What's
New Page has just been
updated with the first details on what I've been doing since my last
web postings. A new two album project is just about complete. There's
a decent amount of music which I wrote for films, but which for
various reasons either was never released or was heard only for a
brief time, and has remained unavailable since then. You've asked
about some of it yourself, and when we'd release new Hi-D remastered
CD editions of them. The news is good, those two new albums will
answer your requests and then some. Check the new pages for
Rediscovering
Lost Scores --
volume one
is HERE,
and volume
two is HERE.
Pieces of Mind |
An
honest question has come up recently from faithful fans who
have noticed the long lapse since the last update to our
website, the longest ever. I've been asked by some of you
what's up, why has our website been dormant for so long? It
wasn't planned; I'm sorry it turned out this way. My last
work on the site was a new page additions about my dad, who
died just over a year ago. I wanted to add a brief homage to
him, and took my time to collect some photos and scans of
his artwork, to share with you. That was posted at what
would have been his 97th birthday, near the end of 2003.
More than I realized at
the time, I was still quietly grieving over his loss,
although it certainly wasn't unexpected, and there was no
bitterness over the way it happened. It's just the normal
cycle one must work through, which delayed my concerns with
a lot of things I normally attend to. And during the same
period, I'd grown much further depressed at the alacrity
with which our country seemed to be heading off the edge of
the world, so to speak. I automatically distrust
"missionaries" and pundits: political, philosophic,
religious, who try to convert us to their beliefs and
prejudices. So I'll describe these observations as neutrally
and honestly as I can.
My dad and I often
discussed the situation during our weekend long phone
visits, checking on my mom and him (BTW, she's still doing
very well, I just visited with her a week ago). Those of you
who have read the closing parts of my encomium for the grave
losses of September 11, 2001, will know that I took it very
hard and personally. It happened just a couple of miles from
where I live. The story is told in my special
Aftermath
pages, created when
it all was fresh and most painful. The final
section in
particular was an extremely difficult and heartfelt
discussion of innermost reactions, of fears and concerns I
experienced and shared with several close friends. After
updating the page very slightly at the one year anniversary
of the attacks, I left it alone, and have not returned to it
since then.
But the underlying worries never left me, have not worn
away. Like many of you, I've felt some of the sharpest pangs
diminish over time, as those of the loss of a loved parent.
It's something we're prewired to do, to reach some kind of
equilibrium after sufficient time has passed. Life must go
on. The attacks, though, are not the only tragedy that
befell us that day. The way we headed off since then is, if
anything, even more distressing. I know many of you share in
my concerns, from your letters. For someone like myself, who
was never particularly political, who tried to remain
balanced, centrist, and independent, experiencing this
growing kernel of unrest and discovery was a major surprise.
If current conditions can turn a relatively passive citizen
like me into an apprehensive activist, what must it be doing
to those who have always been very involved?
This is a terribly
difficult time to live through, whatever your persuasions. I
realize not all of you will agree with me, but that's one of
the things that still makes this country great -- our
freedoms to express conflicting opinions, to agree to
disagree, the liberty to stand up for our beliefs. I dread
that we are a country not only under attack from without,
but also from within. I know things can often look worse
when you are close-up to them. Hopefully that's the case
here, as well. But with each passing month since 9/11, the
reality has grown increasingly troublesome. For awhile I
began to feel I was being cast as the child at the end of
Hans Christian Andersen's classic tale, "The Emperor's New
Clothes." But gradually I observed that I was but one of
many, of thousands, now of millions, from both political
parties. To us, too many citizens still seem to be in
denial.
As an independent,
curmudgeonly cuss, I find both partisan extremes nearly as
frightening as the other. To choose between, say, anarchy
and fascism, is no choice at all, is it? The two extremes
have more in common than either seems to realize. Who cares
what labels are attached, when you deal with radical left or
right, the worries are the same. It's the absolute,
close-minded, zealous certainty that's so scary. Whichever
"party" would sponsor such radicals as are now in charge of
our government, I would consider them equally guilty,
equally dangerous.
Consider: two opposite
sides, two groups or political parties, who need one another
more than they perhaps realize. It's true of most systems,
this yin/yang symmetry of balance. And if either heads off
to its most extreme element, the problems grow exponentially
out of whack. Balance is exactly what we're missing right
now. I've assembled a small photo essay about it
RIGHT
HERE. It
delineates some historical precedents via visual metaphor,
and demonstrates why I have become so damned worried right
now.
Over
the past couple of years I've found myself becoming consumed
by what's going on. Slow, patient creative work requires a
mind at rest, undistracted. Instead you could hardly help
noticing how much we have been taken over by a blitz of what
kindly is called: propaganda and spin. I might blame my
parents and teachers for raising me as someone who has
trouble telling fibs or even "white lies," perhaps overly
scrupulous. Being a skeptic (not to be confused with a
"cynic") also determines one's general outlook on life. I
don't trust mere anecdotal "evidence," but insist on some
double-check, some test in reality, some countermeasures to
the "natural skills" we all have for self-deception, seeing
what we want to believe. Dogma of any kind drives me
nutz!
So it is that I've
observed the growing warning clouds of doubt, the storm
which is brewing, the attacks on the roots of our country
and its founding documents and principles, a "diet" of
hubris, oblivious deception, and hypocrisy. Just consider
the revival of anti-woman, racist, homophobic early signs of
intolerance. Arrogance itself is a complete turnoff to me,
as it was to my dad. Cloak it with sanctimonious
paraphernalia, the trappings of an ersatz patriotism,
pretended infallibility, a chronic bout of neo-empire
pretensions -- well, anyone can see where this leads. And
ain't none of it good, people.
We had a pretty damn
fine country here for 225 years, glitches, warts and all, I
thought. Didn't you? Obviously some did not, and were
methodically aiming to bring about a hidden revolution, into
a bellicose near-theocracy with a small wealthy elite
lording it over a vast underclass of the poor and the
hopeless (that's us). How un-American. Aren't you honestly
ashamed how hated we've made ourselves in the eyes of
everyone else on our planet? Thank the friendly folks who
also brought us Abu Ghraib. This country's generations to
come will curse our names, as they "pick up the tab" for
this folly.
And don't blame the
conservatives -- there is nothing conservative about what's
going on. But you may
blame the subculture of the Triple-Selfs:
the self-serving, self-centered, and self-righteous. Our own
human larcenies encourage many of us to follow these unholy
pied-pipers, witness good faithful people showing too much
trust, too happy to be placed center-stage in a campaign of
hate, ignorant of history. Eventually the masks will fall,
once those in control have assured there's no way we can get
rid of them. Then we who've been duped and used will at last
grasp our blunder -- but by then it will be too late baby.
As
I write this we stand at one of those major crossroads.
There's still a chance we'll heed the writings on the wall,
set aside our most selfish motives, and change course. That
includes even those who have to "hold their noses" to act
wisely, to purge the radicals and regain their party's
former values and greatness. Or am I being histrionic here?
Those of you in other countries, particularly those with
historically similar dark episodes, will understand. So many
of us remain "on tenterhooks," viscerally frightened, where
these past months are leading. One way to try to get past
it, if only temporarily, is to write this candid, sincere
message to all of you tonight, even though it's painful to
try to put such thoughts into words.
You see, I've been
maintaining my own "grip on life" by work, mostly. And
music. Since I finally got my new
pipe-organ based instrument assembled
(which
I call the Wurly II),
I've been putting in a lot of practice on it, trying to
acquire the necessary skills. At first -- boy, did I stink!
What can one expect, from a couple of months of organ
lessons decades ago, with no home instrument to practice
upon, now pretty well forgotten? Anyway, when I've been
feeling the most vulnerable, the most worried, that's what
I've been doing, running fingers and toes over the musical
notes which have always been such an important part of my
life. As a side-effect I finally hear some progress, at
least approaching a modest goal.
Perhaps I'll soon find
the courage to record myself. A few of you in your letters
have asked me what the new instrument sounds like. I'll
connect some gear in a way I can at least do a few informal
simple live tapings. After all, this IS a recording studio,
beneath all the computer and MIDI gear that often overwhelms
me lately. I've also spent a lot of time both last year and
this, in putting together the best possible job I can do of
the final albums for ESD, the audio, texts, and time
consuming graphics work. I'll mention some of the latest and
ongoing results below. Again, though, under a specter of
increasing anxiety, the work has gone much more slowly than
usual -- especially for an obsessive type like me.
Well,
there you are, pieces of what's been on my mind much too
much. You can sense by my passion and submerged anger how
freaqued-out I've become. Perhaps you can't trust these
observations -- I may no longer be capable of being
objective, and have gone around the bend. It's also made me
much more aware of things I used to take rather for granted
(I'm always checking many news sites each day now, of every
viewpoint I can manage to locate on the web). Unexpected. I
promise once my focus can leave the very real worries about
"big" topics: country, safety and honest governing, then the
"lesser" topics of web page creation, new music making, and
a lot of other once important issues, will once again take
center stage, as artists historically are wont to do.
Meanwhile, thank you
for your patience, especially those of you who don't see the
current situation as so grave. And don't forget to check out
that short
pictorial essay on Balance.
I hope our great nation will soon begin to heal the optimism
and respect we were so well know for. Also, while it's very
late to point this out, the observation will apply for the
next many years and elections: for those of you in the USA,
whatever your convictions, be sure to get
out and VOTE! It's
our duty to be informed, honest citizens, and it all begins
with that act, as we've so painfully learned: Every Vote
Counts.
I feel like I was just whistling
in the dark with this deeply-felt message. We'll see how large a two
by four it takes to get the mule's (or ostritch's) attention. 99% of
us are going to pay the bill for the hubris now on display, and it'll
be a doozy. We'll see how much it was worth it, to tell everyone else
how they ought live their
lives, moralizing on how evil they
are, feeling better to shred someone else
rather than raise a finger to do something constructive, to protect
our country's values and its Constitution. We can act like a
"ME-Generation" of savages; but the reality is we're all in this
together, an "US-Generation." Diminish one part of us -- you diminish
us all.
(Gor, do I still sound angry, or what? Sorry. Anyway, on to other thoughts and Open Letter replies.)
2005
Open Letter Additions:
During
2003 we completed two more long awaited CD remasterings, for
By
Request and Secrets
of Synthesis. The latter had
been originally available on LP and Cassette, as well as CD. But the
new CD version is cleaned and optimized with the latest tools, and
contains some bonus material that will be of interest to synthesists
and fans of the electroacoustic medium. By Request was NEVER
available on CD, having been originally released by CBS records in
the mid-70's on LP, prerecorded tape, and cassette. It has been
constantly requested, and finally is available on the new ESD album.
For details, see our
Discography page.
This
year marks the final series of deluxe CD remasterings. Recently
completed (at the end of 2004) is the sequel to my first and most
requested album, which had been released by Telarc, Switched-On
Bach 2000, back in 1992.
It was pointed out that this album had become unavailable for two
years, when the Telarc contract ended. We wanted to correct this
situation immediately, and have finally taken great care as usual in
coming up with our new edition. Again, the audio has been brought up
to date, and the new edition contains new bonus material befitting
our special edition series.
Why
is it that whenever there's been a lapse of time in updates to my
website, or even when there hasn't been, I hear of folks trying to
render me as "newly deceased?" I suppose now I can finally understand
Mark Twain's famously outraged exclamation: "Rumors
of my demise are greatly exaggerated!"
Indeed. Trust me on this -- I am currently still alive (best I can
tell) and in pretty good shape, and staying fully occupied with all
sorts of interests and projects. Even with all the nasty things going
on, it's an interesting experience to be alive, one I heartily
recommend to all of you!
If I had a staff of folks to
assist, or the funds to hire some professional help, this website
would be expanding continually. There are so many things I'd love to
post, have available on the web, to share with you. Truly. But with
only a few friends who occasionally can help, and only my one
"engine" to push things along, I find myself unable to keep up. In
the end, only the major priorities at any given time gain my full
attention. But seriously, isn't this also true for most of you,
too?
Is this reality of unexpected
interruptions and "too much to keep up with" the same thing as having
departed this mortal coil? Are we to be assumed dead unless proven to
be yet among the living? I don't think so. Please, if you hear any
further such asinine rumors, remember my promise here and now:
When I die
I'll let you know about it here at once. You'll
be the first to know, right after I become aware of it. :^)
Meanwhile, merrily we roll along, okay?
The
ESD current series is about to conclude with the long promised
release of music never before available, from several filmscores,
some of which you will probably have heard of, others not. The title
is: Rediscovering
Lost Scores. Since there was
so much good material available, we're putting it together on two
CD's. As this is written, the mastering is nearly complete, with an
end of May release scheduled for the first volume, and end of June
for the second. Read the details on Rediscovering
Lost Scores --
volume one
is HERE,
and volume
two is HERE.
Occasionally
I receive suggestions about producing some more "Switched-On"
realizations of a famous piece of music from the past. It's very kind
of you to think that I'm an ideal musician to interpret other
people's music. But I've hung out with many musicians all my life,
and realized early on that I couldn't hold a candle to them. There
are performers with enviable skills and insights into works of the
past which far surpass my limited perspectives. I studied to be a
composer, and believe that my greatest gifts, such as they are, lie
in that direction. The original albums which happened to catch the
attention of the music-listening public early on were intended only
to show that the new instruments were becoming serious tools. They
were showcases for the latest electroacoustic breakthoughts, which
had then crossed a threshold from experimental to something nearly
practical. (Fifteen years later, they WERE
practical -- and becoming very popular!)
It was never my intention to
pursue a career in an area that I knew well was not my greatest
strength. I hoped that if I could demonstrate that I was capable of
producing something that clearly was "real music" my own music
compositions would be seen as valid, more than mere novelty or
avant-garde wallowing. Naturally life doesn't work out the way you
want it to, and I've been typecast from that time on as a synth
performer, first last and always. It'z nutz. And a common trap.
From time to time I do expect to
incorporate other music into my own compositions and music projects,
and you will find them there. But as things stand, with life feeling
shorter and shorter every day, I hope to spend the remaining years of
my productive life trying to come up with new music, not retreading
over what's been done very well already, and will be done again by
others more capable than me, in the future. I hope you'll understand,
and forgive me that my goals are not necessarily along the direction
that's been expected of me for too long.
Hey,
it's a nice surprise to read that some of you have found certain
additions to the website of some help. I've heard from some fans of
Quadraphonic sound again, who enjoyed reading my several pages of
information
on Surround Sound.
Yes, I am generally aware of most of the systems that were devised
back in the early '70s up through quite recently, to produce surround
sound in many of its forms. I do expect to find a way to make
available my rather extensive back-catalog of music which was
originally produced in surround sound. Right now the tools are either
too expensive, or unable to be used with my hardware, or some other
problem exists. Let me complete the current CDs in standard stereo
first, and then I'll get to that important topic.
I will point out that whatever
you may read about some new digital process for reconstructing the
original discrete tracks from the pseudo quad systems, like SQ, QS,
or a few other variants, be aware that there are artifacts in every
case. The matrix equations remain four unknowns with only two
equations. So even in theory, with an infinitely powerful DAW or
audio computer, you could not ever recover what had been lost when
the tracks were folded down into only two. You can't really make mono
into stereo, only an approximation, you can't conjure the fill color
of photos taken with even the best black & white cameras, and
once you dump out the contents of Pandora's Box, they will never go
back the way they had been. Part of this is like the law of entropy:
it progresses only in one direction. And part is described well by
Information Theory, and a few other related fields. You could waste
as much time as "inventing" a new perpetual motion device, and be
guaranteed as much success, too!
That said, yes, there are ways
to minimize the compromises of the earliest quad decoders, to be
sure. But the best methods would require splitting the audio up into
many passbands, treating each with a perfectly balanced and tweaked
system of instantaneous panning or energy redistribution. You might
get some lovely results, and so that would be reward enough. Better
still, there are at last good new digital media, like DVD-A and SACD,
which can handle multichannel surround sound without much compromise
at all, we've come a long way, baby!
Thanks
to another correspondent who asked about my work with
Joao
Gilberto, in the mid-'70s,
and a few other artists. Yes, it's true that I recorded him and his
wife at the time on an album of his own wonderful Brazilian music.
Rachel
Elkind-Tourre, who was
my producer for a dozen years, also worked with a few other artists
during the time we had a studio up in her former Upper West-side
brownstone. Most of the time I tried to bow out of the way, to be of
as much assistance as I could be, but not to interfere with the
artists and Rachel, as they assemble their albums. So in several
cases I was the main audio engineer, ran the console and sessions,
and provided musical help only when called upon.
With Joao, who's older and more
experienced with music than me, I felt it was a fine learning
experience, to observe him at work, the way an album would come
together. I found his skills on acoustic guitar amazing. Also he has
such control I needed only to position the microphones with care, and
set levels once, then let him go. He did all the rest. We brought the
mikes in really close, for a very intimate sound, knowing he'd keep
it all in perfect balance and consistency, no false sounds or bumping
into microphones mere inches away. Everything went down at one time,
aside from an occasional percussion instrument, although those were
more often recorded along with him, not overdubbed.
Joao is a nocturnal artist, and
being the same, the hours suited me just fine. We'd usually set up in
the early evening, and then he'd arrive, Rachel and he would discuss
the current pieces and then we'd head downstairs to the studio and
begin laying down tracks. It wasn't much pressure on me, quite
straightforward. I found him to be modest, rather high-strung, a bit
wary of other people, strangers. I tried not to upset him, just smile
and blend in. He seemed very appreciative, and loved the way the
album was coming out. (BTW- I have no copies of any of these albums
mentioned here, although I believe Rachel still has a few, and the
master tapes.)
Rachel was easy to work with,
musically astute while supportive, and it was interesting to watch
her work with someone else. During the same time, she produced
several other projects, including an easy listening album (on the
charts for months) by a talented group of young musicians called (as
was the album): "Michaelangelo."
It was a satisfying experience, one which at times called on me to
help out with some musical bits, an odd overdub or two. Their biggest
hit was the infectious: "300-Watt
Music Box." For some years
we stayed in touch with their lead songwriter, auto-harpist Angel
Petersen, and multi talented guitarist, Steve Bone. Eventually they
moved away and we lost touch.
Another artist I recorded with
Rachel was the great jazz-pianist, Albert
Dailey (who died way too
young, in the mid-'80s). An astonishing pianist, it was humbling to
watch him play any
kind of music at all. His album, "Day
After the Dawn" remained
high on the jazz charts, a wonderful album of mostly original songs
written by Albert, performed by a professional big-city jazz trio. It
remains among my better memories of music-making during those days we
worked in the brownstone, and a chance to witness how jazz was put
together. Rachel asked me to help Albert with some of the
arrangements here and there, and in using the big Moog synthesizer
for a few of the tracks. But my main job again was audio engineer.
It's tragic that we lost this "pianist's pianist" so soon. Ask anyone
hip to 60s through 80s jazz -- his name frequently comes up.
Two other artists I worked with
back then, who Rachel produced: Henry
Krieger and
Sal
Galina. Henry's a first-rate
musician and songwriter, very easy to take. He loves the music of
Fats Waller, and often entertained us with uncanny renditions of some
of Waller's best songs (you
can hear a snippet in track 16 of volume one of the new
Rediscovering
Lost Scores).
I was particularly pleased that Henry later gained fame as a composer
with the score to the Broadway smash, "Dreamgirls," Sal Galina is
another unique musician, the best electro-woodwind performer I've
ever met. His first instrument (that I saw) was the Lyricon, which he
could make sound like a solo sax or clarinet, or a violin or whole
string section for starters, with just a few twists of some knobs.
His expressively took my breath away. Later he assisted Yamaha with
their WX-7 MIDI wind controller. He went on in the late '80s and
early '90s to work on film score projects with good people like Hans
Zimmer, and several other composers and well-known recording
artists.
Great people, all, thank you --
it's been an honor to work with you.
Many
of you who take the time to write me clearly know a lot about the
electroacoustic music making field already. I can share your thoughts
and the reactions you often receive from people who still draw a
blank about synthesizers, studio music in general. When I began there
were no prefab tools really well suited to making music this way, no
synthesizers (aside from the clumsy behemoth that RCA built), no
samplers, no CDs of samples and even (yawn) canned loops and
"grooves", not even (more basically) prebuilt consoles. You pretty
much were stuck having to go it alone. As you did, if you managed to
get anywhere at all with the pursuit, you learned a great deal, about
acoustics, instrumental sounds, electronics, wiring, orchestration,
and creating music itself.
So although it's gotten a LOT
easier to "get into" making music via electronics, those other
goodies, the stuff you once had to learn, no longer are as easily
learned. Many folks are satisfied with the prefab options, the canned
choices, and treat it as just another kind of musical instrument.
Which is certainly no problem, you don't have to know how to program
a computer to send e-mail. And George Gershwin did not need to know
how to construct and tune a piano to compose his masterworks of
popular, jazz and classical music.
But there is a real option to
climb behind the front panel, learn how instruments perform their
tricks, and see where this awareness might lead you. I've gotten a
new message from someone who had difficulty explaining why he wants
to build his own sounds, twist all those knobs, spend so many hours
in coming up with new musical sounds. I know, I know. I have the same
problem, and it's never much changed since I began. I guess it is
true that "if you have to ask..." applies here. But we all know what
curiosity is about, and we probably have interests and hobbies that
not everyone seems to understand, our passions about the
un-obvious.
I guess I'd just explain that in
all fields there are many places to work, many points of view.
Computer graphics allow essentially anyone to become a creator of new
images. Some will be content to copy and paste some clipart in a
newsletter they're writing. Fine. Others will scan photos and
magazine clippings, and carefully copy and paste pieces of these into
collages, as many magazine illustrations now rely on. Fine as far as
it goes. Others will learn to use Wacom style pressure tablets, and
hand draw and create brand new shapes and images that come from their
own mind and skills.
The last one is the way people
like me prefer to work. In our music we want to create ALL of it, not
just the tune and chords and underlying rhythm. People like-minded in
the past would use a band, chamber group, or orchestra to put the
works together. Some built their own instruments, too, like Harry
Partch. It's really only a matter of how deeply you want to be
involved. And there's a matter of the abilities you have, the talents
you're born with (which you can take no bow for), and what you do
with those talents, learning and practicing, and putting in the
patient time to channel them into something human and creative in the
most essential way. Or not. There aren't any rules.
Um. That still doesn't fully say
what I'm trying to communicate here. Well maybe it IS true. If you
have to ask, you'll never understand. Let's just admit that we come
in all sorts of shapes and sizes, colors and heights, mental and
physical inborn skills, and all the rest, drive, passion, care. So
why wouldn't we expect some of us to enjoy taking fuller advantage of
the precision new tools to dig very deeply into the world of musical
sounds, while others swim perhaps more swiftly on the surface, but
never learn about the wonders below?
Okay,
the question keeps coming up. Will my music be available in a
high
quality Surround Sound
format, or won't it? (See the comment
above about Surround Sound,
too.) Call me a cockeyed optimist, but the answer is: "Definitely!"
As in: "affirmative." As in: "yes, you bet!" My plan has always been
to complete definitive stereo editions of all my albums, plus a few
collections of music never available before, the best editions I
could assemble, with graphics and layout help from some talented
professionals. My perfectionism has meant that this has taken several
years, about two years longer than expected at the start. But that
isn't so long, is it? It's not nearly as lengthy a wait as two
decades during which much of it was not available at all.
Once those are all completed,
which is to say soon now, I expect to collect the surround music
tracks that are already mixed on master tapes, and convert them into
Hi-D digital form. It's not going to be as fast and easy to perform
the final edits and polishing, as the mastering tools for
multichannel are still quite limited, slow and clumsy. Some
multitrack mastering tools are also extremely overpriced, even now,
imho. Be that as it may, I will first see how the collection and
initial assembly works out. There are two equally good sounding
methods of releasing true Surround Sound, as most of you know:
DVD-A
and SACD.
There's a new standard planned which combines those with a standard
stereo version, so it can be played on essentially any compact disk
home equipment. And finally, there's the decent-sounding and easy to
play Dolby Digital Surround Sound standard that's been available for
many years. Several options there. Kewl.
We'll figure it out. It's too
early to set any dates, but I promise it's on my list of
things-to-do. I'd like first to assemble a sort of Surround Sound
Demonstration disk, a collection of some of my more dramatic surround
sound selections. Let's catch the ear of those who don't know too
much, don't feel that excited about multitrack music, not just a
film's soundtrack. So let's see: 1) how difficult and expensive it
will be to assemble this collection, and: 2) how much interest it can
generate. Up 'till now I've been told by some of my more savvy audio
engineering friends that the surround music market has been pretty
"soft" -- it hasn't grown as expected. I hope that's just due to the
lagging economy, and that the inroads to home theater surround
equipment will lead to a gradually growing interest in high quality
music created originally to be heard AS Surround Sound. I've lived
with and created so much of my music for this medium and heartily
recommend it to all of you!
It's
been a happy surprise to discover that there are still a lot of fans
of the "Mighty WurliTzer" out there. Thanks sincerely to those of you
who've written in regards to my new
instrument, the Wurly II.
Yes, I must admit that those big beasts fascinated me when I was
growing up, still do, even though by the time I began listening to
music, the golden age of the theatre organ had long passed. I could
tell that by the fact that I never did find a passably working
instrument nearby to try out, and those which did work well were
miles away, beyond reach. So I became only a fan, then eventually
found another exciting musical instrument lurking within the
possibilities in the world of the electron.
The oddest thing is that thanks
to the Wurly II I'm finally acquiring some modest skills to play one
of those beasts. It's not exactly the same, to be sure, but it comes
derned close. I've also heard from a few professional theatre
organists recently, which is a real kick and a half (thank you!). I
suspect we're all a lot more closely related than many would have us
believe. When I performed a bit of my Moog synth music eons ago live
on a Dick Cavett show, several people in the audience, and also in
the band, came up to me later to explain excitedly that this seemed
to them like the next step after the pipe organ. And the path will
continue into the future. We have a lot to learn from each other, and
to leave for the next generations which will follow.
And for the offers to "try a big
real Wurly, if I'm ever in the area", you bet I will! NYC, where so
many of these unit orchestras once delighted young and old, sadly has
been 99% stripped of these impressive beasts. When I'm walking back
home to the loft sometimes I pass locations in my neighborhood which
once were occupied by movie palaces containing majestic WurliTzers
and Mortons. Some are still in great operating condition out west,
where they were bought and moved before the theaters were demolished
(thankfully). I'll make a prediction, though: "Every
last one of our new electronic instruments will cease to be playable
well before the decades that these pneumatic and electrical
mechanical monsters have lasted."
Or: one step forwards, one step backwards...
Yes,
I'm very aware of the electroacoustic music from the '50s and '60s by
such brilliant pioneers as Henk Badings, Dick Raaijmakers, Tom
Dissevelt, Pierre Henry, Pierre Schaefer and a few others. Edgar
Varese should be included on the list, the only one I met and worked
with (near the end of his life). For a long while it seemed to me
that some of the most interesting electronically produced music was
being created in Europe. I won't list all the names I can think of
here, but there's a good list of folks who lead the way. Well, I
should at least add the names three American pioneers who were among
my teachers: Vladimir Ussachevsky, Otto Luening, and Milton
Babbitt.
Even as we've moved on, the
technology has advanced, and time has passed, such pioneers and the
debt we owe them should not be forgotten. I see you agree. Thanx to
those of you who share my feelings, and have written to express your
admiration for several of these often forgotten wizards who came
before us all, and created amazing work, ever more incredible when
you look at the severe limitations of their tools.
It's
always a smile to hear some of your stories about becoming involved
with electronic music. In the most recent batch there were two which
referred to home-brewed synthesizer modules, some oscillators and
filters, the heart of the early synths, and most of the newest, too
(if in digital hard/software form), even if in that case there are
other ways to generate the original waveforms, or just playback
previously stored waves. But it's clear that a LOT of us have learned
the care and maintenance of soldering irons and the like. Back to
basics...
Even
the passage of a few years has not dulled the response from those of
you who discover my webpages about the 9/11 attacks, the
Aftermath Pages. Thank you
for the breadth and depth of shared emotions. Too many of us are
willing to allow this tragic day to blind us to where we are now as a
country and a people, and where we should be heading.
I still can't look South of my
street without feeling the same wince. Those who live far from the
main target cities and regions of the country may find it hard to
grasp these unexpected twinges, the tightwire sensations within those
for whom this was a neighborhood assault, where we might be targetted
by hate once again. Yet nothing really has been done to protect us,
despite all the posturing and excuses, or the diminishment of our
personal rights and freedoms.
Indeed,
all of my earlier albums were recorded one little bit at a time: a
phrase, a handful of notes, sometimes only a single note. Chords and
harmony took several similar tracks, carefully played so that the
notes of the chords would be sounded together, not unintentionally
broken up or "rolled." That's just the way it was, you learned how to
work like that or just didn't become involved. Yes, it does take
longer than what we expect when playing a piano or keyboard synth.
You know, I still work mostly the same way, although I usually
perform chordal parts together at one take.
Why do this? Simple. It's
not
some example of misguided masochism. Rather, it's the way the best
orchestral performers put together their magic: one note, one line at
a time. Think about it, they dedicate their many years of experience
and musicality to just ONE element at a time. It all focuses on one
spot, the beam of their attention, care and expressivity.
As a result the blend of sound
in the hall from instruments performed this disciplined way carries
an extra layer of energy, interaction and subtlety that no one
performer can bring about all
at one time. Take it from an
"adult beginner" organist as I've recently become. That king of
instruments can create a pretty impressive, truly joyful noise,
considering all the coordinated motions and gestures being made by
one musician at one time (you really are very - very - busy!). But
it's a different category of music from what an ensemble will create.
I like both, don't you? But they're different. And for polyphonic,
often complex orchestral types of music, the best way to work is very
much as I did when creating Switched-On Bach. Surprised?
(The
more things change...)
Thank
you for sending messages about some of your favorite selections of my
music, and why. In fact, two of your recent messages, in regards to
some of my TRON
score, happened to arrive in the same batch, and just in the "nick of
time." I've been working on the audio mastering for some music from
that filmscore, bonus tracks that have been unavailable in any form
until now. And I noted that one track I had selected probably would
not be the best choice to satisfy your comments.
Um. There was still time, I went
back last week and found a better track to use, transferred it to
Hi-D sound, and replaced the original choice. There was still time to
change the track name and timing and write new liner notes about it.
You'll be able to see and hear the results shortly, when volume two
of Rediscovering
Lost Scores comes out on
ESD. Oh -- I even changed the track listing on the new web page, only
a week after its first posting. Talk about your quick web response!
I
was sent a rather well-done article to proof-check, about
electroacoustic music. It looked into the odd inertia of instruments
and musicians from the beginning, towards adopting expressive means
to create human feeling in our music. He claims that there has been a
steady erosion of respect and value of synth music and its artists,
as seen by the broader base of musicians. To some extent this is
nothing new. I can well remember the snobs and arrogant "soothsayers"
long ago who pronounced our field to be no more than garden
fertilizer or even the work of the devil. I had thought things had
moved on past those old, tired prejudices.
But the point of the article is
that the music made with the latest technology is perhaps even less
expressive than what I was tinkering with back in the days of the
first S-OB project, with that crude hardware Bob Moog developed for
and with me. It had full velocity sensing, and also depth sensing,
which is seldom found to this day, it's true. But also I relied just
as much on using a separate expressive controller knob or two while
playing each line or set of notes onto tape. It became instinctive to
use my left hand to shape the phrases my right hand was playing, one
line at a time, just as its done in an orchestral ensemble.
Later I added foot controllers,
as well, much like an organist can use to shape the passages of an
organ work expressively. I just assumed this is being done all the
time. Isn't it? Well, it IS annoying that the manufacturers of
synths have not really moved very far ahead in years. I still long
for a full hybrid instrument which can do purely additive synthesis
and resynthesis of hundreds of partials, added to complex modulation:
FM, PM, AM, and all the wonderful tricks of VAST inside the Kurzweil
line of synthesizers. But also add MIDI accessible controllers to the
"must-haves", you bet. The more the merrier, and I kid thee not. If
this isn't being done, if the music made is now fully quantized to
death, stripped of the human side of the equation, made by robots for
robots, then I do fear the field is doomed, or at least will become
associated with only the cheapest short-cut kind of music making.
Those of us in electroacoustic music have to press on that we escape
this fate, don't yield to the lazy shortcuts, or retro-schmetro, keep
moving ahead in sophistication and elegance, or we'll have only
ourselves to blame.
We're
adding an announcement to our
News Page about an award It
was my honor to receive a week ago. I was sent some e-mail this week
asking about the award, so I'd better explain right away. Late last
year I was contacted by Russell Pinkston (nice, bright man) from the
long respected electroacoustic music society: SEAMUS,
and learned of their intentions. Couldn't talk them out of it. I've
not received any academic awards since college and graduate school,
and this lovely surprise has me feeling like a kid again! Formally
it's called the : SEAMUS
2005 Lifetime Achievement Award,
and was presented during their Conference just over a week ago, April
14-16, 2005, at Ball State University.
In another way, it makes me feel
kind of old, that phrase: "lifetime achievement", you know, am I
supposed to fade into oblivion now? ;^) Here I still have the nerve
to believe I've still got some of my best work ahead of me, the old
"you ain't seen nothin' yet" conceit. But when I saw the list of
pioneers who've received the award in the past 18 years, I realized
how lucky I am to be included on this notable list. I see the names
of friends, teachers and musical peers I've visited with, people like
Bob Moog, Les Paul, Mario Davidovsky, Otto Luening, John Chowning,
Milton Babbitt, Pauline Oliveros, Morton Subotnick, Paul Lansky and
Don Buchla. I'd like to thank all the members of SEAMUS for the
honor, I'm truly touched.
I
also want to thank Bob Moog here especially, for his
generous
and enthusiastic comments
about me, written for the Convention and their website. That provided
an extra layer of happy surprise to the good news,
indeed!
It
is with deep sadness that we report on the death of synthesizer
pioneer and good friend, Robert A. Moog. I knew Bob for more than
four decades, and have tried to capture some of my thoughts and
memories as best as I can in this time of grief on this
new page about him and our
collaborations. Rest in Peace, dear
friend.
As
it turned out, that brief mention above about Bob, with the new page
link, was the last entry I was to make into these open letters for
over a year. (I'm sorry if some of you got worried that I'd gotten
sick or died or something. No such luck. ;^) The final ESD albums
featuring a collection of previously unheard filmscore music were
completed and released as planned. I got back to some studio
maintenance and additions that had been put on hold. The "Staircase
of Keyboards" (as one venerable friend calls my
Wurly II) also had
some odd problems, and that took quiet time to dope out and rewire.
It was probably folly to create such an intricate MIDI instrument
this way, one that can operate stand-alone as if it were a single
instrument, but there you are, a done-deal.
I brooded quite a lot about
losing Bob, but also became better in touch again with the rest of
his family since the touching visit to Asheville. I'm now a part of
their new Moog
Foundation, a project many
of us heartily support, something that truly leaves a legacy after
Bob's premature death. They've posted a very decent initial website
entry (with some fine photos of Bob in the masthead), and you can
expect more to follow. Applause.
I've remained very aware of the
passage of time since this site was last edited and added to. Over
the past Spring and Summer I acquired a few new software tools which
facilitate creating complete PDF files of things like magazine
articles and interviews. I'd really wanted to post several of them on
our site for a long, long time. It took awhile to learn the best way
to do it, but finally I have several files to add to the site. There
are also additional pictures and words and other items I've been
collecting since the year began, in a dedicated "TO DO" folder.
In the end, I
have
sort of lost it. I'm handling the current plight of this country not
well at all. I had no idea how deeply I felt my connections to this
"grand experiment in democracy", the land where I was born. And when
my country seems to be under attack both from without and within, as
it now has been for several years, my former rather distracted and
apolitical position has evolved and matured. I now keep close tabs on
the daily news from several sources, trying to make sense of all of
it as most of you do. This also takes up much of the time I used to
spend on the website, alas...! Nutz -- am I becoming a news junkie so
late in life? (Welcome to the club!)
You've perhaps read some of my
previous comments along these lines. The most cogent now is from two
years ago exactly, called Pieces
of Mind
(above on this
page). Earlier, after the
attacks downtown here in NYC on 9/11, I posted my most deeply felt
observations as they were during the early aftermath months. It was a
time when nothing was too clear, and danger seemed to have become
standard operating procedure -- check the Flames
of Hate section on page six
of the aftermath collection. A year later, I appended a brief
postus scriptus, at the bottom of that page. Things have
only gotten worse, much worse, since
then.
If you've been paying attention,
you know what's happening, and will understand why so many of us have
become a little "unglued" by now. It's just too bad it's taken so
long for most of us to wake up.
Let me add one brief aside about
HAVA -- the "Help America Vote Act." Why would those who have shown
little concern for disabled people suddenly want to assist them in
voting, was there a sudden "change of heart?" Yeah, right. A more
cynical, sinister motive might be that the bill is being used to
leverage in a perfect tool to alter our voting tallies, the
vulnerable, flaky PC "voting machines." Takes under a minute to
swap/edit the results (without a trace) to suit your own interests.
Or set a computer worm that does it for you automatically, then
removes all evidence of itself. Since 2002 many computer experts have
been trying to warn us of the inevitable, but we haven't listened to
them. Once it happens (it will -- more fun and profit than writing a
PC virus, fer sure!), we'll have no way to regain our democracy,
having been asleep at the wheel until it was "too late, baby..." Pay
attention, compare the exit polls with the "official results"
(which
have matched very closely in the US for years, although recent
pundits now want to make you believe the opposite -- guess
why) to check for evidence of
this unfolding disaster (stupid, stupid, stupid!).
Feel free to disagree. It's what
our country was setup to encourage: unencumbered, honest open debate.
I long ago learned one can't really affect things like public opinion
or patterns of voting via introspective, candid words between private
citizens, especially from a "non expert on such matters" artist. You
need loud mouthed media pundits in full repetetive PR mode for that!
We all form most of our own opinions for ourselves, although too much
of it, alas, happens when we are young and very impressionable. Then
it's damn hard to change or jettison unneeded baggage as we grow
older. We get locked in too easily, seem to spend too much of our
remaining years trying to justify the earlier notions, even when down
deep inside we suspect many of them lie on rather shaky ground.
Shux.
Well, it's an interesting old
life, isn't it? But as I've said before, with the warts, pimples,
pains and disappointments and all, it's still a trip I wouldn't have
missed for the world!
W-o-w...
Like the song says, what a
difference a day makes. Many of us entered into the 2006 election
season under a black cloud, with little hope for change. The
mainstream media has become lazy and controlled by the moneyed
interests who support them, so it's difficult to learn much about
what's really happening in the world and country. You can no longer
trust the "news" you read, see or hear, unless it's backed up
redundantly. Important news is "conveniently overlooked", or pushed
to a back page, nearly impossible to find anything about. For
example, the whole issue of voting machine vulnerability and fraud
has scarcely been addressed, until very recently. That was my main
personal concern, as you read above (thankfully,
it didn't happen as it could have, and now neither side trusts
them).
In the end the country simply
had had enough. We decided collectively that this midyear election
would be about more than local issues -- it would be a statement that
we needed a change, to stop following the lemmings into the sea. If
we've learned anything these past frightening six years, it's that we
should never
allow one party to control ALL
the tools of government at the same time. Keep 'em guessing, shuffle
the deck regularly. And that's what we got. Balance
has been reinstated in the land, and not a moment too soon. But then
a Democracy is rather like the "Living Page" of most websites: never
engraved in stone, but to be constantly renewed, reevaluated,
defended, and allowed to progress through time, as our own lives
proceed.
You still can't trust politics
or politicians, and no party has a monopoly on that. Power will
eventually corrupt many of who come in to clean up a provious mess.
Stay alert -- it will happen again! We are a species wired to be
glibly expert at lying to ourselves. It's why eyewitnesses have to be
treated with skepticism, as must most of life. Yet
skepticism
(reasonable doubt until you have evidence) is treated as "out of
fashion", frequently confused with cynicism
(a negative prejudice that no one ever acts for honorable, unselfish
motives). Not the same thing. Good scientists learn to devise
double-blind tests and controls so they won't fool themselves. If you
first lie to yourself, it's much easier to deceive everyone else.
That all said, I'm among the
majority of citizens who felt strong disagreement with the direction
the country has been pushed into, fed up with the hubris, extremism
and spin. For six years D.C. served only the richest and most
powerful, left everyone else in the dust. Divisive issues, hate and
fear, were hoisted up the flagpoles again and again, like straw-men,
to split us in two. It's an old story -- history is ripe with such
schemes, when those in power will do ANYthing to hang onto power.
We
are the country, the citizens and voters. The branches of government
are our "public servants", and must show us respect, let us us know
exactly what was done, to help decide what we ought do next. I see a
lot of good, honest, American faces among the new freshmen of
Congress. They'll do their sincere best (at least for awhile) to
represent us, to govern and help heal our country, restore it to what
it was. We have a massive blunder in Iraq to resolve (the lives lost
can never be regained). Little action has yet been taken to protect
us from natural OR terrorist attacks. There's a lot to do to help
unite us as a nation, repair the damage to our integrity and our
Constitution, drive out the corruption and incompetence, and counter
those who resist the transparency and ethics of an open democracy.
Let's give everyone our support, with the optimism to hope for some
better years to come.
And now that's
jolly well
enough(!) on the current
political scene. I intend to stay aware, you will, too, but there's a
lot more to life that's been waiting... which we'll pick up on the
next Open
Letter.
Thanks
for reading this continuing (slowly) growing stream of (loosely)
connected thoughts triggered by you. I'll get back with more feedback
and comments, and certainly more questions from you, ASAP.
--Wendy Carlos
Wendy
Carlos Open Letter 6
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