I’ve finished the main composing part of this album. Now comes the more difficult parts: editing & art production.

Some notes:

1) This is definitely in two “parts”, so the listener can mix & match at their whim.
2) Within those two halves, the tracks will flow from one to the other.
3) As I’ve said before, this album isn’t so much “composed” as “felt.” Each segment is essentially my exploration of the expressive possibilities given from the chosen tone. 90% of the album is one sound at a time. That said, it is certainly polyphonic, i.e. more than one note being used at a time.
4) ETA of availability depends upon how long the artwork & editing take. Not known at this time.

I’ve transferred the original audio files from my first two “albums” to my working computer. Man, it’s been a while since I listened to any of these tracks.

I plan on re-releasing them as CDs soon. I’ll probably go the Lulu.com route as there’s less outlay on my end, and I can just upload the finished audio & art when it’s done.

Tesseract is going to be a bear to create artwork for. I’d initially had some weird, square-shaped object that is really hard to describe here in words. It worked, for what it was. I think I’ll use this image for the new cover. I’ve got an idea for how I’ll title the thing, now I just need to play with it and see if it’ll actually work.

…Kickstart.com is the place to go.

Sounds very interesting. I just may use it for future (or possibly current) projects.

I’ve reached the halfway mark, i.e. about 23′ in.

It’s interesting how for this project I need to not compose in my “usual” style, yet there are moments where my voice just has to be heard. Those of you reading this who know of my choral works, either from singing them or hearing them, will understand when you hear it what I mean.

Much as any artist’s “voice” will speak, no matter the form, I guess my voice will be heard regardless of how many filters I put on between myself and the listener.

One of the first questions I need to answer when I’m writing something, especially when it comes to writing to picture, is the target tempo. Most of the time I’ll set up my sequencer’s metronome to sound while I’m recording–that way I’m somewhat close to the beats and/or beat divisions I need to hit. With this album, it’s much more circumspect. The intent of the album it not to be a certain tempo or to hit a certain beat; in fact, I’d almost say the intent is to become timeless. Hence, I’ve decided to write the entire thing without engaging a metronome.

This is a more difficult method of composing, in a way. I don’t have the comfort of being able to “fix” timing issues by having my sequencer align everything to a tempo grid. No, I’ll have to do it by hand. Yet part of me thinks I won’t “fix” anything at all because the tempo was felt at the time. I’ve grown to trust my instincts on a lot of things, and this is certainly one of them.

It’s a different beast. Kinda like trapeze without a net.

After a long, dark–well, not actually dark since it was sunny & warm–weekend, it’s time for me to get back to work.

While web development pays the day-to-day bills, music is what I want to do most. It calls me all the time, yet I either ignore it or figure it’s something I’ll get to “later.” Invariably, that means “tomorrow” no matter what time of day it is.

I have a bit more impetus now to get the massage CD done. So I think I’ll work on that today.