supplesonics sound&vision

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Nebula tour 2019 - been in many small venues this tour but wichita,Kansas was such a tiny venue I mixed the show w an ipad from the bar with a Jameson rocks at my side

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Mixed monitors for Jefferson starship last night. Totally surprised by what a good show they put on. Especially how much Jefferson Airplane material I loved! That's grace slicks' daughter as guest on bu vox and tambefjne. Nicest group of artists to work with (at Agoura Hills, California) https://www.instagram.com/p/BuP--RfBBUv/?utm_source=ig_tumblr_share&igshid=48yghn4ey521

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Digi-log my console goes both ways ....

Today I had send my baby off to a new home. While this was on low end of the legendary Midas console line, I loved it as it included a combo of the best parts of analog and digital audio technology. I wish they hadn't discontinued this product and the concept it embraced

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(via https://www.youtube.com/watch?v=r86Sb4heCWM)

one of my earliest inspirations in live sound was the grateful dead. the band believed in improvisation and always devoted a significant section of their sets to drums/space, which focused on the exploration of rythmns and trippy sounds. hearing these sounds panned around a venue through a surround system whilst high on psychedelics left an indelible mark on me.

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subliminal “buy this” embeded in the album cover last cover contains the word “sex” in the cover

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never what you think

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music is great for many things. unlike television it allows you to do something else while your listening. music is powerful in is ability to affect emotional and physical responses as well as being a powerful trigger for stored memories. 

we all use music in different ways - personally i find the speed metal band Slayer the perfect choice for doing housekeeping chores such as vacuming. when im running late for work and get on the freeway only to find myself completely trapped in grid-locked traffic - i reached for this track by the art/metal band Horsey (sf). i roll my windows down,crank the volume,stare blankly ahead, and let Horsey singer Doug scream my frustration for me.

#supplesonics/music, # EVERYTHING VIBRATES: MUSINGS ON SOUND

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single with video  from the album Future Metalphysics recorded way back in 1994 in SF CA

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WHEN THE MOST CHALLENGING GIGS RESULT IN THE MOST INSPIRATION

The most challenging and inspiring live mixing gigs i ve done to date was probably the month long run of Noche Flamenco at Theatre Artaud ,SF around 2000/2001.  The musicians/dancers of this troupe were all some of the top professional Flamenco artistartist in Spain.Sinnce the dancers, singers, guitar players, and even rythymist all moved around to different positions on stage throughout the show….everything had to be mixed with wireless miss. Due to the budget restrictions of the production we were onlyable to rent whatever old and outdated  units were left on the shelf at BBI.  The sound of RF miss takings periodic “hits” or drop outs would accent the beautiful quiet of a ballad in the most inappropriate of times.  

   the musicians were not used to having monitors  as their traditional performance was based on the ability of the  to project their instrument or voice into the farthest reaches of whatever room they were performing in.. additionally , none of them spoke english yet i had to assume the role of part politician/part therapist when managing the egos involved with who was louder than the other.

   Depite these obstacles, they were amazing artists to work with.  They blew my mind with the power and complexity of the rhythms created with only their hands and feet….the type of stuff i only thought could be created with a tap delay.  Ironically they became fascinated with the Lexicon delay/sample/looper i had brought with my rack of effects.  EL Gali,the elder of the group and considered the top rythmist in all of Spain, would start out each show with improvisational chants that he would have me capture/loop/lay on the fly.  Thus, each performance would always be different which made mixing the same show 20 straight nights interesting and fun

  One day while the dancers were rehearsing on stage I took the signal from the PCC floor miss and routed them into my alexis d4 drum trigger. the frenetic pitter patter of their became the trigger sources for tom tom and kick drum samples which played back out voluminously through the theatre PA.  I was rewarded with their faces lighting up when the sound of their feet turned into the massive speed metal-like sound  crushing drums

#nocheflamenco​, #elgali

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https://supplesonics.tumblr.com/post/172907127339/the-orgasmosphere

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PLAYING MUSIC WITH YOUR MIND

 remain quite fa scinated by  existing technology  that allows  a user to create music with biofeedback,   One can produce sounds from midi instruments that are controlled  by brainwaves, heart beat, galvanic skin response, etc.  Below is  a video from  an unsuccessful fund raising  attempt on Kickstarte  to  create a full album using this technology with half musicians and half non musicians  as the participants.

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WHEN THE MOST CHALLENGING GIGS RESULT IN THE MOST INSPIRATION

The most challenging and inspiring live mixing gigs i ve done to date was probably the month long run of Noche Flamenco at Theatre Artaud ,SF around 2000/2001.  The musicians/dancers of this troupe were all some of the top professional Flamenco artistartist in Spain.Sinnce the dancers, singers, guitar players, and even rythymist all moved around to different positions on stage throughout the show….everything had to be mixed with wireless miss. Due to the budget restrictions of the production we were onlyable to rent whatever old and outdated  units were left on the shelf at BBI.  The sound of RF miss takings periodic “hits” or drop outs would accent the beautiful quiet of a ballad in the most inappropriate of times.  

   the musicians were not used to having monitors  as their traditional performance was based on the ability of the  to project their instrument or voice into the farthest reaches of whatever room they were performing in.. additionally , none of them spoke english yet i had to assume the role of part politician/part therapist when managing the egos involved with who was louder than the other.

   Depite these obstacles, they were amazing artists to work with.  They blew my mind with the power and complexity of the rhythms created with only their hands and feet….the type of stuff i only thought could be created with a tap delay.  Ironically they became fascinated with the Lexicon delay/sample/looper i had brought with my rack of effects.  EL Gali,the elder of the group and considered the top rythmist in all of Spain, would start out each show with improvisational chants that he would have me capture/loop/lay on the fly.  Thus, each performance would always be different which made mixing the same show 20 straight nights interesting and fun

  One day while the dancers were rehearsing on stage I took the signal from the PCC floor miss and routed them into my alexis d4 drum trigger. the frenetic pitter patter of their became the trigger sources for tom tom and kick drum samples which played back out voluminously through the theatre PA.  I was rewarded with their faces lighting up when the sound of their feet turned into the massive speed metal-like sound  crushing drums

#nocheflamenco​, #elgali

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    HORSEY

 he first band to take me under their wing was Horsey. to date the most awesome music I’ve ever mixed live. Doug,Steve,Jon,and Misty were all highly intelligent, amazing musically,and super nice down to earth people. When they performed their music together they were an incredibly intense live act.Dynamically they could go from furiously loud to super quiet and trippy on a dime. The band consider me  very humbly like a 5th member.  They wanted me to mix like adrian sherwood mixing Tackhead live. the band wanted their live sets immersed in sound much like the way a Public Enemy record would run. At the top of show and throughout the set in between songs i would role dat tapes of random abstract sound collages i made. 

their rehearsal studio was equiped with adats,the latest affordable digital multi tracks so they could record everytime they got together to play. They had a beautifully organic method to writing songs which were flushed out of the improvisational jams they had at the begining of each nightly rehearsal. This was very inspiring to me and a wonderful example of group songwriting. For a number of years during the early nineties, steve moon and myself recorded quite a few bands in their rehearsal studio where musicians seemed to feel quite comfortable creating in the relaxed environment which was in stark contrast to the sterile clinical environment of the expensive studios in town.  

To this day, this band remains my biggest musical inspiration and it is very rare that i experience a live musical act which hits with the same sonic impact.

the track below was was from a live 24trk(dat) recording i did at the DNA lounge in SF

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transitioning to a creative life

by 1993 i had quit/got laid off of my corporate sales job in the financial  district of SF. I was able to collect unemployment for a year while i worked as a unpaid intern at norm kerner’s Brilliant studios. i learned about the recording process but more importantly learned about how important once of “vibe”and environment as they function in the creative process. it was here i got to work with Skinny Puppy producer Dave Oglavie, dick dale,the breeders, and even earned my only major label credit as a musician for playing additional percussion with Kurt Cobain on the Melvins’ Atlantic records debut.

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seeing between the lines