Because... ZOMBIES!!!

Plants vs. Zombies from popcap!!!


WOOOOOOO HOOOOOOO!!!

...

I'm retarded.

PS. Popcap sells it for $19.95, but you can get it on Steam for $9.95

DAMN YOU, google maps!!!!

Thanks to that, we missed the start of the Angelspit concert, plus running around in the cold and the rain made my wife's cold worse.

I WILL HAVE MY REVENGE!!!**

**Dear google, please don't delete my free gmail account or my free blogger account. K, thnx, bye.

What comes next?

Republicans accused liberals of being crooks and thugs. Then they gave us Watergate.

Republicans accused liberals of media bias. Then they gave us the Fox News Channel.

Republicans accused liberals of election fraud. Then they gave us Florida in 2000.

Republicans are now accusing liberals of plotting to create re-education camps and death panels.

What comes next?

Butterflies on Shit

Say something profound.

"Something profound."

ohGr - Devils in my Details

This CD actually came out last October, but I never picked it up because none of the music "previews" or whatever really grabbed me. If you listen to the two tracks posted on the ohGr myspace page, you have two songs that both start with weird spoken word things, and when the song starts, the first one "Timebomb" is kind of a samba style thing, and the second one, "Feelin' Chicken" is like circus music with random chicken noises in it. Based on those two songs, it comes off as an album by one of the leaders of the industrial music genre, whose solo work has had kind of an electro/synth-pop flavor to it, apparently doing every other random style of music that is not industrial.

This album was released right after Repo: The Genetic Opera was in limited release in theaters, which niveK Ogre aka ohGr had a role in. Based on these two tracks, it isn't entirely unreasonable to deduce this album is somehow influenced by - well - musical theater or some shit. I also listened to the 30 second samples on Amazon.com, but nothing there really changed my mind. It seemed like, for whatever reason, ohGr decided to do an album of industrial tinged show tunes. That's great, I'll pass.

As time passed, I noticed a lot of industrial reviewers gave the album high marks. Regen Magazine even went to so far as to call it the number one album of 2008. (Angelspit's Blood Death Ivory should be way higher on that list, possibly even number one.) I wanted to check the whole album out, but I didn't feel like spending $10 or whatever in case I hated it. (And I don't fuck around with piracy, no bit torrent, none of that shit). So I put it on the back burner until recently when Gemma and I happened to get an amazon gift certificate from an extended family member of hers.

It's really fucking good.

It's not a collection of songs, it is an album. You listen to it from beginning to end. Each song blends into the next. Unfortunately, the Amazon.com 30 second samples tend to fall on the in-between portions of songs, so you get a lot of Bill Moseley saying weird shit. And "Feelin' Chicken" is probably the last song that should be used to promote this album. It's not bad when it's played in its place on the album, but out of context it's just WTF.

Another thing I love about this album: it opts out of the Loudness War. It's beautifully mixed and mastered. The first track, "Shhh," intentionally lacks the highest frequencies (aka "sparklies") - why? So that when the second track, "Eyecandy," comes in, it has those upper-upper frequencies and it creates DYNAMIC CONTRAST and therefore MAKES AN IMPACT. Y'know, like music is supposed to. Music needs to be quiet sometimes so that the LOUDNESS means something - everyone who mixes and masters knows this and yet we all feel pressured to accommodate record execs (and consumers) and mix for maximum loudness all the time.

Musical "volume," aka dynamics, are not meant to be static, however record execs, radio programmers and consumers are increasingly demanding the music be LOUD all the time. Some Amazon reviewer called this album "poorly mixed." Wrong, bucko, all music should be mixed/mastered like this. The industry standard for movies is an overall dynamic range of 24 dB - meaning that the quietest part of a movie can be 24 dB less than the loudest part of a movie. In music, the standard is inching from 8 dB to 6 dB.

That's bullshit.

Decibels are not a linear measurement, it's logarithmic. That means a dynamic range of 12 dB is NOT twice the range of 6 dB, it's actually exponentially more. So 24 dB of dynamic range is actually far more than even four times that of 6 dB.

What does this mean? It means we're losing a lot of quality and fidelity in music. Why? Well it all started with the idea that, on the radio, the louder track grabbed people's attention and therefore sold more singles/records.

But does that even fucking matter anymore? Who listens to radio for music nowadays? No one I know. And what station is playing ohGr? Probably not a single one, probably not even college radio anymore. So why play the LOUDNESS game? Why not opt out? (I guess in the industrial genre, there's being played at clubs, but I digress...)

So yeah, this album is awesome. The music is great, the mixing/mastering is bold and refreshing, and if you're on the fence about it, my best suggestion is just to listen to the first two tracks, "Shhh," and "Eyecandy" back-to-back.

Logic Pro Pedal Board and Amp Designer demo

This is the same ~45 second recording I made of my guitar going straight into my MOTU 828mk2, ran through four different Pedal Board/Amp Designer combinations. I'm blown away by how good it sounds, but then I never had a really good, quality amplifier.

GuitarTest by mikeoday

Logic 9: Pedal Board and Amp Designer

Pretty much awesome.

Anyone want to buy a Fender Roc Pro 1000 Head and Cabinet?


(Not actually mine, just a random image of one I pulled from Google. My actual amp head has a hole cut in the front of it by a previous owner. A very stupid previous owner.)

Apple Logic Pro 9, OS 10.6

Yesterday I had one of my manic days and ended up running to the Apple store to pick up OS X "Snow Leopard" and Logic Pro 9. I had just paid off some car repairs and felt like "celebrating" by putting some shit on my credit card. I'm such a dick.

OS 10.6 installed flawlessly on Gemma's MacBook. No problems there whatsoever. However, on my iMac, it would not install. The instructions suggested first unplugging all peripheral devices, and I have a lot: Virus, MOTU 828mkII, USB hub, two FireWire external hard drives. I did all that, still no luck. Next suggestion was to run Repair on the hd. It found no problems. Finally, the last suggestion was to erase the hard drive. Fuuuuuuuck.

Even though I put all files that I have created on the external drives (song files, sampler instruments, etc. etc. etc.), that's still a huge pain in the ass. I did it, and once the hard drive was erased, Snow Leopard installed, but then I had to reload everything once again - Firefox, iPhoto, Waldorf Attack, Virus Control... I was working on this shit from 2pm to about 7pm (a lot of that time is failed SL installs.) Then once that was done I had to install Logic Pro 9, which took forever because all the Logic 8 shit was gone. (I also install all the jam pack bullshit, I'm big on sample fuckery/destruction and it's nice to have lying around.)

Anyways, everything's finally working now. I played with Amp Designer - it's actually pretty neat. Not $200 worth of neat, but neat. I haven't done shit with flex time yet, haven't converted an audio region to a sampler instrument. I tried Bounce to track on the Virus, but there's no "real time" option, so it didn't work. That's alright, it is easy enough to just route Virus output to a bus and then use that bus as an input on an audio track. I'm sure bounce to track will be great for other things.

The only bug I've noticed so far is that every time I bounce a project that has a Virus plug-in, even if I bypass the Virus plug-in during the bounce, when I close the project and open a new one the audio is garbage (out of sync or some shit I guess). I have to quit Logic, then relaunch it. Then everything works. It's a minor annoyance and not a show stopper, so I can live, I just hope we get a 9.0.1 update soon.

Since I'm plugging books, I may as well plug some music

I'm always looking for Industrial (aka Electro, aka EBM, aka etc.) music that doesn't suck. A few weeks ago, I decided to check out some Wumpscut. I'd heard a few Wumpscut tracks, it's hard not to when you're a fan of these genres, but it never really made an impression. I downloaded Wreath of Barbs and Fuckit from Amazon.

Wumpscut doesn't tour or play live shows, it's one guy churning out a studio album a year, plus singles, remixes, etc. Both albums have some good songs, but a lot of the material is just kind of blah - perhaps even underdeveloped. Fuckit is also mastered super loud; I'm willing to bet that if I plugged it into Logic and measured it with the multimeter plug in, the RMS would be -6dbs. I could try to explain why that's bad, but just google "Loudness Wars," and you'll find articles with nice graphs and charts demonstrating why -6dbs is ridiculous.

***

Saturday night I was drinking, surfing the internet and listening to music when I decided that I felt like checking out some music I haven't heard before. I've had pretty good luck discovering new bands via the various remix albums I own. I think I only really buy remix albums of Haujobb and Seabound, but so far, so good - so whatever. I was listening to tracks from Seabound's When Black Meets Blue and decided to check out Die Form. I'd heard the name of the band before, but couldn't place the music. Turns out they've been around since 1979 and have been very active and releasing an album every year or two for more than a decade.

It's kind of weird - which is saying a lot for this genre! Very electronic, with pleasantly abrasive squelches and squeaks, and repeating sequenced EBM bass synth sounds (reminds me of old D.A.F. tracks), with a female soprano singing in a very Classical/operatic style. I would have hated it for that last point when I was 18. It took me a long time to get used to operatic singing in college. Once you listen to enough opera, however, it doesn't come off as obnoxious as it does when you are uninitiated (your mileage my vary).

I decided to go with their Best of XXX and Noir Magnetique albums. Both CDs are super expensive (the "Best of" is over $90!!!), but the mp3 albums are the same price as anything else. I have to wonder, are downloads more profitable than CDs at this point? No cost of plastic, I figure that might help - maybe not. All I know is that I'm much more likely to impulsively download albums than mail order the actual CDs; cost is a factor, but so is instant gratification. On the other hand, I'm also the 1% of the population that actually pays for what I download instead of using torrents and shit like that. I love music, and I love albums instead of just single tracks. In fact, it doesn't matter if someone wrote the best single song in the world ever, if the rest of the songs suck and the album overall sucks, then the band sucks.

Besides, I already have hundreds of CDs and their cases cluttering up my living space. I actually like not having physical trinkets for every fucking thing.

Anyways - overall I like both Die Form albums a lot, but I fully understand if the operatic soprano turns people off. Definitely worth listening to the free samples on their myspace page; start with "Bite of God" if you're not sure you'll like the soprano singing, then expand from there.

Reading is FUN-da-MENTAL

From 2003 to July 2009, I believe I read a total of 4 novels: Catcher in the Rye, Nightwatch, Daywatch and Twilightwatch. Those aren't the only *books* I read during that time necessarily, just the only works of fiction. Instead, I read a fair amount of textbooks, technical manuals and books about making electronic music. I also read Sun Tzu's The Art of War in June 2009, for whatever that is worth. (Nothing.)

I have two "songs" written, except for lyrics and vocals. For some reason, I'm just at a total loss. I don't really pay attention to lyrics anymore; to me they're just another texture to a track. Words are meaningless. On the other hand, the last thing I want to do is write bad lyrics. I'm not trying to be profound, but I also don't want to be retarded. It probably doesn't help that my favorite genre of music is dominated by Germans for whom English is a second language. (Example lyric from Destroid: "Life is too short for mourn.")

I've had a copy of On Writing by Stephen King sitting around since 2000 or 2001. My mother bought it as a gift for me because she always wanted me to be a writer for some reason. (Writing is probably a far less expensive endeavor than electronic music - and equally unprofitable!) I never bothered with it; I used to read a lot of Stephen King and Clive Barker from the 4th grade up until I was in 9th grade. The last Stephen King book I read was Insomnia, and I didn't even read all of it. I don't think I got halfway through it before putting it down out of boredom. (I guess old people with insomnia and hippie-ass aura shit put me to sleep!)

Sometime after August 1st (I know this because it was after Gemma and I got home from a vacation to Door County, WI with her folks), I read through On Writing for inspiration about lyric writing. (Reading a book about writing prose for inspiration on writing lyrics is pretty assbackwards - but that's just how I roll). I don't know if it helped, but it did get me interested in reading Stephen King again. Sometimes reading about someone's creative process can spark an interest in their output; it happens all the time in music, especially when I was in college studying Bach, Beethoven, Schoenberg and Philip Glass. Along the same lines, reading Tom Shear's blog, Waveformless, has gotten me more interested in listening to Assemblage23 than I had ever been before.

Gemma and I each brought a shitload of books to this marriage. She had a couple of Stephen King books I had not read before. After reading On Writing, I started off with Bag of Bones. I finished it in a few days. I was then going to read The Drawing of the Three, but it turned out that was the second book in King's "Dark Tower Series." Being totally anal, I wanted to read the first book in the series, The Gunslinger, before I read the second book. I had the same neurosis for the X-Men movies. I never really wanted to see them, but I won a DVD of X-Men 3 when I worked for the pork plant. I didn't want to watch the third movie without having seen the first two, so it sat on my shelf for 3 years before I watched it. I still haven't seen X-Men 2, but that's okay because I think X-Men 1 and 3 are ass.

I went to a bookstore to pick up The Gunslinger, as well as The Elements of Style by William Strunk and E. B. White (the latter wrote Charlotte's Web and Stuart Little of all things). King mentioned this book in On Writing as an essential tool for writing; his description of its rules of grammar and style caught my attention. One of the "lessons" that made an impression on me is to avoid using adverbs. This intrigued me. In all my years of schooling, from kindergarten up through grad school, I had never heard that piece of advice - yet, once revealed to me, it made a lot of sense. I tried counting the number of adverbs King used in 600 pages while reading Bag of Bones, and I counted four (not saying that's all there is, but he really does avoid them!). The Elements of Style is a great book for anyone who writes or for those who just find the English language interesting; it also has some amusing examples of how we mangle our language.

I found the two books I was looking for at the bookstore and also picked up Gerald's Game on a whim; call me a perv (because I am) but for some reason a horror novel about a woman handcuffed to a bed sounded interesting. In a matter of days, I had read Gerald's Game, The Gunslinger and The Elements of Style. It probably helped that I was sick and ended up taking two days off from work.

Next, I read a copy of Richard Matheson's I Am Legend that I've had lying around for a couple of years. Right before the movie with Will Smith came out, I had asked Gemma to give it to me as a gift, either for our anniversary or for Christmas - I don't remember which. I had just watched The Last Man on Earth, starring Vincent Price, which was the first movie made that was based on I Am Legend. I finally got around to reading it about a week and a half ago. Then, satisfied that I had read The Gunslinger, I plunged into The Drawing of the Three without fear of missing some crucial plot point from the first book of the Dark Tower Series.

Last Saturday, I caught Hellraiser on TV. This inspired me to reread Clive Barker's The Hellbound Heart, the novella that Hellraiser is based on. I've had it lying around since I had last read it back when I was in middle school. It's short, under 200 pages, so I finished that in a night. Clive Barker uses a lot more adverbs in his writing than Stephen King does. I hadn't realized it until last weekend, but I had read everything Clive Barker published before 1994 back when I was in middle school. No wonder my mind is so fucked up. (For reference I was in middle school from 1993 to 1995).

Recently, I have taken another trip to the bookstore and picked up the third book in the Dark Tower Series, The Waste Lands, as well as Salem's Lot. I'm reading The Waste Lands right now, but I don't seem all that interested in it and may put it down for Salem's Lot instead. Gemma also has a copy of Mary Shelley's Frankenstein, which I intend to read while I'm on this roll. However, I tried reading it earlier this week and I just wasn't feeling it. It may the language, I don't know.

It's strange, having done so much reading after not really being interested in fiction for such a long time. I had not realized how much I used to read when I was a kid until now. I remember it used to take me weeks to get through a 600 page book, now I can do it in a couple of days. I'm sure college and grad school sharpened my reading skills, but it just feels so weird. It's like being thirsty for years and not realizing it, and then all of sudden drinking a shitload of water; or not running for years and then all of a sudden breaking into a sprint.

As for lyric writing - I still have not written shit.