Wither, Audio?
From the mid 1990s until the end of 2002, I was a (very) prolific electronic musician. I built-up my studio from using meager components to state-of-the-art (but still modest) professional gear.
In the beginning, I recorded densely-layered tape collages using a pair of second-hand tape decks, a beat-up reel-to-reel deck, an inexpensive multi-effects unit, a discount-store personal keyboard, and a DJ mixer from Radio Shack. Eventually, I graduated to sequencing on my family’s Atari ST with some demo software. Over the years, I acquired a drum machine, more effects, a cassette 4-track, a nicer synthesizer, a (much) nicer mixer, even nicer effects, some even nicer synths, a sampling drum-machine/sequencer, and so on.
During this time, I recorded songs first to cassette tape, then multi-track cassette, then mini-disc, and eventually CD-R, and MP3 files. To date, I have amassed a library of hundreds of original compositions. My style of working was to fiddle around with beats and patterns as well as twiddle the knobs and buttons until I liked what I heard, then preserve the song by recording a live-mix. I would sometimes record several tracks a day for weeks and forget many of them.
One of the ongoing dilemmas I’ve long faced was what to do with all my music. At first, I made tape compilations to share with my friends and family. I even sent a batch out to prominent record labels (and even got a nice rejection letter from one. Hey, at least I knew they’d listened to it). When I felt sufficiently able, I played live-sets in local cafes, at parties, and in rave chill out rooms. As it became affordable, I mastered my tracks on my PC and burned albums to CD-R to trade with others. There wasn’t and isn’t ANY local electronic music or indie label scene to speak of where I live. As my personal website grew, I posted previews and then entire albums of files on-line, as well as on numerous commercial sites in hopes of exposure and feedback. I even worked with a couple of friends on music for the soundtrack to a locally-produced short film. Sadly, the film didn’t have wings, though the music was stellar. All along, I’ve entertained the idea of starting a traditional and/or online record company to promote and distribute my work.
At the end of 2002, I decided to take a sabbatical for a number of reasons. First, I wondered if a break might allow me to direct my energies to other activities, such as travel, reading, movie watching, and socializing (no joke). Second, I felt like my process was a bit too routine and led to homogeneous results. Third, I wanted to free up the physical space my studio was taking in my apartment and my life. Some friends hoped I wasn’t throwing-in the towel, but I assured them my intention was to reinvigorate my hobby. So, I unplugged my equipment and packed it all into cases for storage. Once or twice since, I’ve brought things out and played around, but haven’t recorded much.
Since I have much of it in MP3 form, I occasionally listen to my back catalog at work. Having so much time pass since recording them, I can listen with new ears at my creative process over the years. I still like what I did. And, I still struggle to think of ways to get my work heard. Lately, I’ve been toying with exploring new ideas in generative music. I like the idea of creating modules (software or otherwise) for creating beats, patterns and melodies and then plugging them together to make dynamic compositions. I’m even working towards selling some of my unnecessary gear to be able to buy a laptop and controller so I can work with the many software-based instruments that are around. Still, I wonder what to do with the many, many hours of music I’ve already recorded. In this media environment of online singles and album sales, it still seems like a challenge to get heard.
From the mid 1990s until the end of 2002, I was a (very) prolific electronic musician. I built-up my studio from using meager components to state-of-the-art (but still modest) professional gear.
In the beginning, I recorded densely-layered tape collages using a pair of second-hand tape decks, a beat-up reel-to-reel deck, an inexpensive multi-effects unit, a discount-store personal keyboard, and a DJ mixer from Radio Shack. Eventually, I graduated to sequencing on my family’s Atari ST with some demo software. Over the years, I acquired a drum machine, more effects, a cassette 4-track, a nicer synthesizer, a (much) nicer mixer, even nicer effects, some even nicer synths, a sampling drum-machine/sequencer, and so on.
During this time, I recorded songs first to cassette tape, then multi-track cassette, then mini-disc, and eventually CD-R, and MP3 files. To date, I have amassed a library of hundreds of original compositions. My style of working was to fiddle around with beats and patterns as well as twiddle the knobs and buttons until I liked what I heard, then preserve the song by recording a live-mix. I would sometimes record several tracks a day for weeks and forget many of them.
One of the ongoing dilemmas I’ve long faced was what to do with all my music. At first, I made tape compilations to share with my friends and family. I even sent a batch out to prominent record labels (and even got a nice rejection letter from one. Hey, at least I knew they’d listened to it). When I felt sufficiently able, I played live-sets in local cafes, at parties, and in rave chill out rooms. As it became affordable, I mastered my tracks on my PC and burned albums to CD-R to trade with others. There wasn’t and isn’t ANY local electronic music or indie label scene to speak of where I live. As my personal website grew, I posted previews and then entire albums of files on-line, as well as on numerous commercial sites in hopes of exposure and feedback. I even worked with a couple of friends on music for the soundtrack to a locally-produced short film. Sadly, the film didn’t have wings, though the music was stellar. All along, I’ve entertained the idea of starting a traditional and/or online record company to promote and distribute my work.
At the end of 2002, I decided to take a sabbatical for a number of reasons. First, I wondered if a break might allow me to direct my energies to other activities, such as travel, reading, movie watching, and socializing (no joke). Second, I felt like my process was a bit too routine and led to homogeneous results. Third, I wanted to free up the physical space my studio was taking in my apartment and my life. Some friends hoped I wasn’t throwing-in the towel, but I assured them my intention was to reinvigorate my hobby. So, I unplugged my equipment and packed it all into cases for storage. Once or twice since, I’ve brought things out and played around, but haven’t recorded much.
Since I have much of it in MP3 form, I occasionally listen to my back catalog at work. Having so much time pass since recording them, I can listen with new ears at my creative process over the years. I still like what I did. And, I still struggle to think of ways to get my work heard. Lately, I’ve been toying with exploring new ideas in generative music. I like the idea of creating modules (software or otherwise) for creating beats, patterns and melodies and then plugging them together to make dynamic compositions. I’m even working towards selling some of my unnecessary gear to be able to buy a laptop and controller so I can work with the many software-based instruments that are around. Still, I wonder what to do with the many, many hours of music I’ve already recorded. In this media environment of online singles and album sales, it still seems like a challenge to get heard.