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The sentence above is an intentional construction, begging two points. First, the escalating commonality of opening with “So”. Second, the use of ellipsis to indicate a declarative statement with dramatic tailing instead of a question.

As a sufferer of mild dyslexia, I’ll start with the latter. My blog, my excuse!

You see, I’m quite guilty of overusing ellipses. Now, please do not confuse the plural form of ellipsis with the geometric form, ellipse, also plural as ellipses. Stinkin’ English!
Okay, some say em dashes, parentheses (hope that’s correct) and ellipses indicate lazy writing. Perhaps. I find the punctuation marks useful in creating pace. Well, space … I mean, extra space. Yes, I’m sure it could have been written as “Well, space. I mean extra space,” but the ellipsis provided a voice, did it not? The stumble. I suppose it, as it always does, comes down to style and consistency.

Now that it’s off my chest, let’s move on to a more loathsome peeve of late: The irksome condescending tone when anyone begins their explanations with “So …”. Indicative of being too complicated? Seems this has been escalating over the past decade. It’s a completely useless filler. I bet George Carlin would have a field day with it, then launch into “And WTF is a ‘field day’ anyway?!” Back in school or are we maneuvering a tank?” I hear his voice now.
Wait, I’m probably a rare hypocrite on this topic. If you catch me starting a sentence with “So”, and it’s not character dialogue, make sure to call me out on it. We’ll all learn sooner or later.

STRANGLEHOLD of A.I., DEATH of ORIGINAL MUSIC?

  A.I. is THE topic of late. No avoiding it.

Opinions vary wildly, yet there’s an observation or two possibly missing:

Homogenization of popular music. This is actually nothing new. Big label servers have been quietly churning out formulaic hits for decades now. Country, then rock, now New Country, which is really just rock with the same ‘ole twangy tropes and patronizing lyrics. Metal’s no longer immune, nor so many other genres, but the King of Derivatives is most certainly Pop. We hear the same elements from song to song. Vocal styles copied. Retro samples or outright theft. Only the arrangement of words and a few sonic textures keep artists out of the courtroom. Although, if you’re on the same parent label, it’s all good.
But true originality? We’ve been in a death spiral all along, and I know why.

The tools. We’ve so many unobtanium pieces of gear, now cloned or replicated by software, that few excuses remain for bad recordings. Professional studios are now within anyone’s grasp. Take a look at Andrew Master’s YouTube channel and you’d believe everyone has their very own epic recording facility now. The tools have indeed become affordable. Big sounds for little bucks … IF you know what you’re doing, that is. And, thanks to YouTube, there’s no excuse for not learning how to do it. The golden rules still apply, though. Garbage In, Garbage Out (GIGO). Must have talent and proficiency on your instrument. Quality instrumentation, too. Must possess a creative, driven mind. Have access to the proper creative space. Must know what you’re doing in engineering, else the gear doesn’t matter. And, most of all, the time for it all. That’s the toughest part for what should be obvious reasons, but I’ll spell it out.

M O N E Y!

Bills must be paid, and I don’t mean the studio’s bill. Professionals made small fortunes in the record business a few decades ago. Internet killed all that. Only a handful of the world’s biggest music stars turn a profit on major label-produced records. Those have become loss leaders for potentially lucrative tours and licensing. It used to be reversed: breakeven (or losing) tours in support of record sales. The touring model over the last 20 years is now in danger. Skyrocketing costs, natural interference, disruptive and divisive politics …

So (d’oh!) we move into the whole streaming debate now, and the model is quite reminiscent of classic broadcast television’s. Your content is placed on a public platform in the hopes of generating enough traffic to effectively sell ads, and those ads are what generates your income. I’m not going to link this; there are too many artists complaining there’s not enough streaming revenue to support the recording effort, let alone capture a profit.
No money = No incentive. But nobody’s creating what I’d call truly unique original music. If I’m wrong, PLEASE send your candidates in the comments. I’d love to hear it!

Cookie Cutters, Incorporated

What I’m listening to, presented as “new”, are all derivatives. Similar patterns, chord progressions, vocal styles, and worse, wholesale rips setting up continued lawsuits. Hear Ye, Hear Ye! (maybe not Ye). You’d think they learned that lesson after the Marvin Gaye vs Pharrell Williams and Robin Thicke case over “Blurred Lines”. Yet, the courts sided with Ed Sheeran over “Thinking Out Loud” similarities with Gaye’s “Let’s Get It On” in another suit filed by Marvin’s estate (under appeal as of this writing). Ambiguity reigns on what’s fair game for signature appropriation. Big label pop stars are being replaced with actors instead of musicians. Moreover, attractive actors with modicum of musical talent—enough to sell it. They are selected, not rewarded. Not in the traditional sense, although that still occurs. Milli Vanilli, therefore, were simply ahead of their time. The state of the industry, through effective back catalog quantization and management, has the ability to auto-sequence the A&R matchmaking. Any number of good-looking, profile-fitting talent can now be sorted into the musical-industrial complex. Music, lyrics, and the tracks themselves are conjured overnight via AI to fit the producer’s purview. Their marketing machine awaits. Behold your new sensation! Depressing, isn’t it? Maybe not.

Where others see a death spiral, I see opportunity. It’s right in front of us if we’re brave enough to adventure the future. Music’s pilgrims will explore the incredibly vast universe of sonics and the manipulation of them for truly unheard compositions. Ubiquity of multidimensional, multichannel listening setups ala Dolby Atmos will also play a role. We are just beginning to explore that potential in music. If history is a teacher, that hasn’t gone well. Far too many will have their first impressions on a wee transducer of a phone. Not even tinny, over-compressed earbuds, mind you, a teensy speaker with the frequency range meant for chirping finches. Tough to overcome! Like convincing audiophiles that vinyl recordings aren’t actually …
Wait, not going there.

A Word on Writing

To employ the passive voice, it would be fair to say we’re on a holding pattern while certain personal logistics are sussed. While there are several fledgling manuscripts in the pipe, the pen is parked for the moment. For now, don’t forget to check my X and Facebook for the latest updates and promotions. Oh, and a HUGE THANK YOU for those who’ve read, listened, liked and followed—especially those who left ratings and reviews.

More Soon!

/T

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Narrated by its author—a rarity indeed!—Dust: Special Edition’s adventure now awaits those on the go. Collect it today, and begin an unusual ride into technical perversion … and subversion.

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Wait … book updates?
That’s what’s great about Print-on-Demand. Making something better is easy … and allowed. Okay, as long as Han still shoots first — you know what I mean?
We’re almost at the end of our YouTube series for DUST SE. The Finale hits October 27. Not quite the end, though! Look for additional special content in the coming months.
Oh, and the actual audiobook for DUST SE, if all goes well, should land at Audible around the same time. Fingers’ crossed!

More Soon,

/T

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I’ve been on countless stages in my time. A few of those were grand scenes playing to thousands, but most were cramped corners of a small club, performing for relatively small groups, and from a position of partial obscuration behind the drums. There was also a degree of confidence involved. Decades of practice and rehearsal. When I stepped onto a stage I knew exactly what I was doing . . . okay, maybe 95% of the time. This? It feels like a middle school band recital all over again. I can hear our director now. “BLOW, goddamnit!” (I played trumpet and he really was a lovable tyrant). Now?

I studied the masters with the greatest awe and respect. I rehearsed. But once I stood in front of the voice-over mic, I learned my limitations. So why do it?

Several months ago marked the anniversary of my escaping Mr. Reaper. He was profoundly diligent in our Crystal River Covid ICU, almost as if running the Yes No No No No Yes song Empress Nympho enjoyed in Mel Brook’s History of the World, Part I. Maybe poor taste on my part. Humor is how I deal.

Sparing the super-high drama and depressing bits, let’s just skip to the part where that type of experience tends to shift one’s lens on the finery of optics and the folly of perfect timing. There’s a Phil Collins anthem playing in the background here. Hear it?
No mo, no mo . . .

So, for the love of God, what coerced me to throw down (or up?) on YouTube? Certainly, I’m off my rocker. Don’t care about vanity in my appearance so much, and yeah, could’ve rehearsed each line to perfection in elocution, emphasis, pace, emotion . . . breathing! I full well know I’m NO actor, and believe me, I’ve an insanely greater appreciation for their craft! But as the past couple years played, particularly after the untimely deaths of dear family, there’s really no excuse for me to put anything off. Not now.

We knew audiobooks were in the cards at some point. The question marks were time, economics, resources, and most importantly, who would narrate them. After a couple tests—and patient (ha!), objective listeners—I decided to give it a shot. What’s the worst that could happen?
I smell a meme brewing.

A few months ago, I set up in front of a trusty Sennheiser MKH-416 run into a UAD Volt 2 and hit record. Now, I wish I was as natural to voice-over as say, British author Neil Gaiman—astounding talent, that guy! Alas, no. (I have to laugh a little due to all the edits). Then, the (literally) bright idea that we should loft a couple lights and cameras. Golly! … as if things weren’t bad enough.

Yeah, it’s a LOT of work and a much larger project than originally anticipated. Wait … I sound like I’m complaining. It’s actually quite a fun challenge. We’re learning every session too. The best part is that I get to finally fill the marketing void expressed by a few pals with physical limitations. Then there’s the whole YouTube thing. Being a content creator to that end (again, for better or laughingstock) brings a little crack of a smile to this one’s face. In truth, I’ve zero aspirations there. It’s just us tossing a line in the ocean . . . and we all know fishing isn’t just about the fish.

DUST: SPECIAL EDITION AudioBook Sessions begin 6.1.2023 at 7pm EST (1900)
New Chapter *each Friday!

Don’t forget to SUBSCRIBE to the new channel! Extras will be posted along the way.

*barring any unplanned external events that cause a delay

For those interested in the actual DUST: SE audiobook, it will be published shortly after completion of the YouTube series. That’s a few months out.

Oh, as a liner note, “sheer lunacy” was a frequent phrase my father would predictably employ any time my group of buddies (usually my bandmates) were up to our shenanigans. He’d use it for political commentary too and still does. Heard it just the other week.

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When this article hit cyberspace and found its way to me, yes … a reflective pause and subtle grin ensued. Careful of spoilers mind you, part of DUST’s central plot involves technology created as the result of the eventual end to Moore’s Law. It’s the maxim predicting the evolution of computational processing power — particularly the maximum number of transistors on a silicon processor chip — as doubling every year. Empirical data indicates Moore’s Law to hold largely true. I won’t get into political debates and conspiracies over programmed development and release; Moore’s historical graph is an established fact, loose as it may be. Problem is, even back in 2008, silicon engineers recognized Moore’s demise. Silicon can only go so thin and so densely packed with transistors before incurring cross-talk issues and other problems that negate further development.

“What if …”

Knowing transistors were, and still are, limited to binary processing, I wondered when and if multi-state transistors would ever take the stage. Without a dissertation on neurons and their connections, just know that our brains pack far more complex, constantly evolving processing power in a minuscule space that any currently-conceivable silicon processor. And therein lies the engine for an intriguing narrative. What if a cutting-edge biomechanics lab succeeded with full axon terminalization, connecting human brain tissue with an external computing framework? What would that mean for science? What could go wrong?

Now, there is a <cough> slight difference with PopSci’s presentation in that the referenced brain tissue, AKA “organoid”, is lab-grown as opposed to human-sourced. Other than that …

Those who’ve read DUST will experience an AHA! towards the end of the article.
I hope you enjoy it as much as I did.

/T

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