Are you still here? Most aren’t after reading the words “conspiracy theory” because we have all been conditioned by the “mockingbird media” and their 4 AM talking points. (Notice how they all same the same exact thing?) I don’t believe ANYTHING until I research it. Don’t let others dictate to you if it’s a “conspiracy theory”, or not. That’s your decision.
Don’t continue to be silent when you hear – “Racist”, “Nazi”, or whatever. I refuse to give up my free speech. It will only get worse as bullies become more emboldened. They will eventually come for you too. It’s time to stand- good or evil. Which will you choose?
A Few Thoughts…
Now, here are a few thoughts:
Tell me, is it a conspiracy theory that we are being bombarded by lies, false flags, possible gun confiscation, chem trails (all over the world), theft of our tax dollars, invasion of our country by illegal aliens, drugs, child trafficking, legal baby killing, fake news, mobs, violence, etc., etc. We all are sick of the naked power grab those in leftist mobs are inciting. Freedom of speech doesn’t mean they can speak freely, and you can only repeat their talking points. Wake up, people!
That’s not what America was founded on. No more will others break the rules and get away with it while the rest of us get bullied by the very people who preach moral superiority.
Just give me a narrative based on what is best for Americans, not what’s best for the global elitist cabal. I want a new social platform that is not run by a clandestine offshoot of a corrupt government agency; one that is not designed to social engineer and lets me own my data exclusively. I want a level playing field. Think I’m the only one? Think again…
Rolling on, I continue with the next phase of “Winter Soldier”, a composition started in an earlier blog- Being Social, etc..
To recap: I have around 12 saved wav files rendered from midi triggered by the Artiphon Instrument 1 (passed through different presets in the Waves Flow Motion synth). After editing the files, I added drums and rendered a stem of this submix (bypassing the master mix bus). The midi tracks made from the Finale score were tacked on to the first movement, and instruments recalled from the same Sample Tank preset used in the Finale score.
Nextly, I rendered another stem of the Sample Tank instrumental after double-checking the panning of the stereo signal. I bypassed the mix bus for this, again.
For the last 2 verses, I used another 4 midi channels, opening up another instance of a Sample Tank rack, and loaded newly-selected instruments to play the notes required. This becomes my third section, and so, render the submix per method mentioned. These 3 stems are lined up side-by-side in Waveform (my workstation).
I added a simple brush drum part, then some guitar-both to their own separate submix stems.
Since the rest of the song is done, maybe I should write the lyrics:
The beginnings of Klondike (A Tale of the Gold Rush) occurred back in the mid 1990’s. My wife Beth is a travel agent who had been to Alaska before we met. Our first trip there was in 1992 and we have taken four additional trips there together over the years. I was inspired to write the story after the very first trip. Our 1997 trip consisted of flying to Seattle, relocating an RV from there to Anchorage, AK, renting a jeep, driving to Seward, AK (on the tip of the Kenai peninsula), and cruise back on this three-week extravaganza. We actually saw where the first gold was found in Dawson City, Yukon, Canada!
Klondike (A Tale of the Gold Rush) is a story of two headstrong brothers (Edwin and Samuel) who struck out from Seattle to find gold in 1898’s famous Klondike Gold Rush.
I had just learned Finale notation software that (back in the 90’s, mind you) was a new way for me to express music. I decided to score the newly-minted story with my Cyrix-based (instead of Intel chip-based) computer. The experience was a real teacher of patience, for sure. I was just getting started using midi to trigger the Alesis HR-16 Drum Machine I used. The Cyrix was a nightmare that continually crashed no matter what I did, so I spent hours rebooting and waiting. Not only did it teach me patience, but I learned a lot about problem-solving. Whoever said “Necessity is the mother of invention” (Zappa? 🙂 was certainly correct!
Also, I employed the Alesis MMT-8 Midi Recorder to sequence the drum/percussion parts and sync them with the score. It was detailed and maddening, but such is life, right?
Next Phase (And Beyond)
The next phase was the writing of the songs that would tell the story. I wrote a total of thirteen songs for the album. I really don’t have a particular style, so I just start thrashing things out and see what happens. In those days, my songwriting usually started with the lyrics and the music was worked out on acoustic guitar.
After writing the songs, I then started scoring with Finale, a program I’ve used for twenty-five years. It has really evolved over the years, and I love it! I start the process by choosing instruments (limited in the 90’s), adding the staves, and start plugging in notes.
Next, came programming the the drums and percussion with the a fore-mentioned Alesis HR-16. Every note had to be step-edited, then sequenced.
to Sounds then were triggered by Finale through midi into the Kawai K4R rack-mounted sound module. My main sounds came from this module at the time, in addition my computer (with an old Turtle Beach Pinnacle sound card).
(Yes, I also remember recording on 4-track reel-to-reel -I’m old as dirt!)
Anyway, I’m not quite sure exactly how all this was meshed together with patch cords and midi cables, but I continued stubbornly along with this project and working my day job.
Now, I entered the digital world with the acquiring a Roland VS-1680 16-track stand-alone digital workstation.
There were few choices (compared to today) of multi-effects processors to use on the recorded digital wave files, but it was still a step ahead, so… I ran my audio into the recorder synced with midi. Then, I added the bass, guitar, and vocals.
Since each song was prefaced by relevant story line, I needed a great narrator. Fortunately, I’m married to the best-Beth! She has almost 10 years experience (part-time) on commercial radio (back in the day), so she was a natural and did a fantastic job.
Rolling on, I produced the first seven albums for Spiral Rhythm, the first three Skyypilot albums, and Heather Jimaku’s album on the Roland VS-1680 while continuing the day job and looking to make my next move.
Then I got a new computer, and I got free software for Tracktion with my (then) new ESI [email protected] sound card. This was around 2007. I instantly bonded with this Tracktion (now called Waveform) and have used it ever since. You can get a totally free copy of T7 on their website (linked earlier). I recommend this highly.
Next, I synced the digital recorder with the computer and dumped everything on the computer where I added drums, percussion, and chose updated instruments using a VST plugin– IKMultimedia ‘s Sample Tank (Free version of that and more here). Free versions of AmpliTube and T-RackS is on that web page, as well. AmpliTube allows you to modify your recorded wave files of guitar (or anything, really) into completely different sounds; even go from acoustic to electric and back! T-RackS are plugins for signal processing such as compressors, limiters, equalizers, etc.-essential steps for polishing the mix.
Beth added her narrative magic touch, and the recording was completed.
I finally released “Klondike” on January 1, 2009.
Years later, in 2017, I discovered Waves plugins, game-changing tools in signal processing. It gave me instant access to legendary analogue-modeled studio gear I could never before afford. Now, I can virtually “change studios” after the fact. I released an updated remaster in Oct., 2017.
Enter 2018 and I finally retired from the day job and giving music, video, blogging, and Skyypilot website, my full attention. By August, I was convinced to go through all the files one-by-one, completely remixing, then remastering for the final time.