Conference napalm::commusic_v1

    
    
    Not really a review, because I don't have liner notes and have no
    idea what's what.  I think I recognize Tom Janzen, Paul Kent (maybe),
    Dan Eaton and Dave Bottom (maybe).  It's better without the notes,
    eh? No preconceptions.  
    
    Only technical complaint is one submittor on side 1 is in the mud
    (overall levels seem low in general) and a couple of submittors
    sound like mono panned to the right...disconcerting for headphone
    listens.  
    
    I like the large amount of singing this time around.  Should be
    interesting to see if I picked out the right people when the notes
    arrive.
    
    
    							Brian
    
    P.S. When do submissions for VII start?

    {ahem} well, um, wasn't that fun...
    
    I received my copy of C-VI last night at LERDS-BIM. Many thanks
    to Dave Blickstein for making the trip.
    
    With no liner notes, I got to listen without preconceived ideas.
    
    On a whole, I am DISAPPOINTED. Frankly, I'm thrilled to have paid
    $2.50 for a high quality tape. On first listen, I'm not sure there's
    a keeper on it. (But I will give it a couple more listens...)
    
    A couple pieces stood out...
    
          The last thing on side one sounds incredibly similar to my
          contribution to "The Three Piece Suite". Dave Blickstein
          caught on to the joke so it never got released. Censorship
          has its' high points. ...and to think some chromium dioxide
          gave its' life for this.
    
          Something on side 1 sounded kinda "Gershwin"-esque to my 
          untrained ear. I'll give that another listen.
    
          One of the vocal pieces on side 2 actually caused me to turn
          the volume up. The piece was so-so, but I believe I recognized
          some TX81Z patches, "BrthBells" maybe?
    
    Maybe the bloom is off the rose for me, I dunno. I congratulate
    the submittors for their efforts (At least they contributed *something*
    which is more than I've done.) but I didn't hear any production
    on a par with Dave Dreher or any composition to challenge Frank
    Rene's "Learning To Sail". Sequencing seemed far too mechanical
    and the drum patterns elementary. (Not to mention some snares I've
    not heard the likes of since my RX-21.)
    
    Thanks for the effort folks, keep at it.
    
    Edd 

    I'd like to review the tape, and have the dual advantage of having
    neither seen the LINER NOTES WHICH SHOULD BE POSTED nor having actually
    heard the tape, WHICH SHOULD HAVE BEEN DUPED FROM A CASSETTE MASTER
    4 MONTHS AGO.
    
    Over all, the fidelity was pretty good, although one piece for clarinet
    and piano was a little hummy.  Also, the singing is improving over
    all, I can tell you're practicing.  In terms of the music, since
    I hate rock, I won't comment of 90% of the tape, but the other pieces
    were interesting, kind of jazzy or impressionistic.  So it wasn't
    the most exciting commusic tape (that was probably number one, which
    I never got, because you all wanted to hear what others were doing),
    but it was OK.
    
    Tom

    
   >    Over all, the fidelity was pretty good, although one piece for
   > clarinet and piano was a little hummy.         
    
    
    Humph. That was 'for clarinet, piano andf hum'.
    
    -- Eric the half a bee.

	re: .-1

	Ah, perhaps Mr. Janzen wishes to do it HIMSELF next time. For the
	amount of crap we endure it's a wonder we bother at all.

	Mr. Sour Grapes


	The liner notes and labels are where they belong, I'm not sorry
	for the delay, since they came in dribs and drabs and scribbled
	on pieces of paper and mail notes and files, etc. You don't like
	it, do it yourself next time. 

	Here is my review of the pieces. I've had the advantage of listening
	to them for a bit longer (like three months).

	Overall:

	In general (and this applies to most everything) I thought the
	technical quality was superb. The musical quality is better in many
	cases but I can cover that better in the review.

	Norcross:

	Nice quality, soundtrack material. Where does it go? Does this
	qualify as "new age" space music?

	Janzen:

	Five Pieces: Gershwin-esque. Must have been a phase. A tad noisy
		and I had to boost it to get it to a decent level. Some of
		the pieces (notably second movement) were tedious as opposed
		to "sensitive" which is what I think they could have been.
		The last movement was less than thrilling. I'm curious as to
		whether the use of a triangle wave was because you wanted to
		or because it was all you had.

	Danz: Ugh.

	Two Creek Quartet: I liked this, it shows much more sensitivity than
		the previous pieces. 


	Sherman: We'll Never Belong: I like it. Lots of spunk and a decent
		arrangement.

		Zoot: The sax could use something. It didn't sound expressive
			enough, kind of like a junior high school tenor
			sax student being backed up by a more advanced band.
			Bottom-heavy.


	Hitchmough: 200FT: Interesting. Too long, however. Six minutes? Oof.

		Speedster: I love the car samples at the beginning. I think
			you're right about the guitar, maybe it's the envelope
			of the sample you are using.

		Walking: Ho-hum. Yup, sounds depressing. Goes into tedium,
			and doesn't deviate very far. Too bad, it could
			do more with some variety. It sounds like a starting
			idea.


	Harmon: Intimate Encounter: One of the better songs on the tape. I
		have followed the style through a few commusic tapes, I enjoy
		this stuff.

		Red Shift: Of course, there's a balance. I don't care for
			this minimalist style of improvisation, it sounds
			too  much like kids on keys to me. Ah well, that;s
			art I guess.


	I'll skip myself.

	Moller:  Interesting stuff, it sounds like mellow music from the
		seventies. I like mellow music from the seventies though.
		Pretty reasonable arrangement (certainly from a commercial 
		standpoint) and well executed.


	Bottom: Better than the last submission from both a quality point
		of view and (to me) a musical point of view. Keep it up.

	Rene: Vitour: I don't know if I understand this or not. Maybe there's
		some kind of a subliminal message I'm missing here. 


	Eaton: Press On: Ride Cymbal from Hell. It's too bad, it really
		detracts from the piece. I understand the problem all too
		well, it's that stupid Roland/Yamaha cymbal limitation
		syndrome. Otherwise, although it is music I don't particularly
		listen to normally, well executed.

		John Mark: It's not my prerogative to pass judgement on what
			is COMMUSIC and what isn't. But I'm not sure this
			is what I'd call COMMUSIC. Again, it's not stuff I 
			normally listen to.


	Arnold and the Elves: Bzzt. It pays to have a sense of humor. I'm glad
		that this got on the tape, if only because it shows that people
		can arrange with humor in mind. Fun.


	Norcross: Dreams: This was my favorite piece on Commusic IV (not VI).
		I liked it then better. This doesn't go as far in explaining
		itself, sort of like a fever dream as opposed to a much more
		sensitive piece which appeared on IV. Why did you decide
		to change it?


	Ah well. Nothing personal, everybody. My impressions are that you people
	all worked at getting something in that you cared about submitting.

		For me, that counts.

	/pjh

I have to admit, after hearing it a few times since last week, that there is
nothing that really knocked my socks off -- nothing that begs to be rewound
and heard again.  But I do like listening to it overall and must applaud the
efforts of those who submitted.  I recognized a few people without notes.
Now for the rest.  I will review it song by song/submittor by submittor
soon.  Again, the most important thing is that people are doing music that
they like and are trying with what they have.  Hopefully I'll have some
small things on VII.

Chad

    
    Now that I have liner notes, I know who to blame.  8^)  8^)  8^)
    
    Overall, the sound quality is improving drastically but that probably
    has more to do with everyone getting better gear to play with. 
    Some of the rigs used for COMMUSIC I were downright primitive. 
    
    The music?  Well, I was right on a few of my blindfold tests.  What
    I thought was Paul Kent turned out to be Ken Hitchmough who used
    the same bass patch as Paul had used on one of his earlier submissions.
    The others were dead on.
    
    Play by play:
    Mitch Norcross has some good stuff happening although I think I
    heard a drum clinker a few bars into his second.  Nothing out of
    the ordinary but well done.  On to Tom Janzen.  I was surprised
    at the good sound quality here, the pieces as usual seemed like
    teasers, miniatures.  I thought they were funny.  Steve Sherman
    cruises in with some nice production (wish my 505 sounded this good)
    and I had to listen twice on the saxophone (before I had the notes)
    to assure myself it was a sample.  Ken Hitchmough convinced me he
    was Paul Kent.  I *hate* that bass patch.  The third, "miserable"
    one I liked the best.  Paul Harmon's two tunes seemed mainly in
    the right channel, I don't know why.  The vocal tune was a snooze,
    the instrumental interesting although it may pale in time.
    
    We arive at side two for Paul Harriman.  Nice spacy instrumental,
    like Mitch's good but nothing new or different.  Was "P.M. Song"
    supposed to be funny?  I thought the lyrics were a hoot, nice solo.
    Jens sounded muffled (time to upgrade that 144) but at first I thought
    he was Dave Bottom.  That's a compliment.  Then along comes the
    real Dave, your best tape yet but the vocal seemed a little sleepy.
    Drink more whiskey before singing.  Frank Rene ws a blast from the
    past, sounded like vintage Keith Emerson.  On first listen, my favorite
    track here.  The two Dan Eaton tracks sound very good.  The drums in
    particular had a good tone.  Good lyrics, too.  The six year old
    John Arnold stuff was a lot of fun and well done, actually more
    lively than most of the other submissions here.  So what do you
    do *these* days?    And we fade on Mitch, who BTW gets a *great* drum
    sound out of the D110.  Makes me almost want to buy one, on this
    tape they could pass for real drums...except for that clinker, I
    don't know any sober drummer who could play that  8^)  8^)  8^)
    
    See you all next time, hopefully with a submission of my own just
    so I can put my money where my mouth is, eh?

    
    Just for those of us who haven't heard the tape yet.
    
    WHAT is a clinker ?
    
    
    
    						Paul.
    

    O.k. o.k. I know it's been a long time, but as probably one of the
    last ones to receive a copy of the last COMMUSIC tape I've really
    only had it for a couple of months. I also believe that before
    commenting or criticising anything, you should give it a fair crack
    (how many times have you listened to that brand new CD before you
    thought you hadn't wasted your money).
    
    My comments are based on knowing none of the contributors or having
    heard any of the previous tapes. Most of the listening was done
    on the way to work in the car, so I may miss some of the finer points:
    
    SIDE 1
    
    Mitch Norcross/John Pontillo.
    "One Candle"	
    
    As this was the first one I heard, my ears immediately picked up.
    The strings were really haunting and I loved that distant guitar
    ( I must try that).
    I also thought that there was a really good contrast between the
    strings and the "sparkly bits". I was waiting for it to double tempo
    or something like that, but thats a reflection of my own style.
    Reminded me of the old Synergy albums.
    
    
    Tom Janzen
    various 
    
    I was very dissapointed because seeing all your notes I had high
    expectations and did not expect something that reminded me of the
    days where someome sat behind a bunch of knobs and modules entertaining
    only themselves. Sorry Tom, definitely went over my head. I would
    still like to hear some of your stuff thats not over 10 years old.
    
    Steve Sherman
    "We'll never belong"
    
    This one made me sad. You said that you'd get scorched for how you
    used the 12 string sample and that it didnt sound like a 12 string.
     Well if you'd wanted a 12 string why not use one? I thought what
    you did with it was unique and it had a "big" sound (nice technical
    explanation eh?). Good listening.
    
    "Zoot"
    My feet immediately started tapping to this one. The bass and
    percussion was powerfull and drove the melody along well. The first
    bendy thing you did was a bit of a suprise, but when it happened
    the second time with the harmonies I actually  got goose bumps!!
     A favorite.
    
    I won't comment on my own except to say they were my biggest favorites
    on the whole tape!! ;-)
     
    Paul Harmon
    "Intimate Enemy"
    I missed the clausula vera and Mauchaut-like half step resolutions
    to the fifth.
    I liked this one better than red shift which also went over my head.
    
    SIDE 2
    
    Paul Harriman
    "The Light and Form of Ordinary Joy"
    This was my choice for #4 (mine were 1,2 and 3). Paul, if you ever
    release an album let me know!! This track took me all the way back
    home. I could almost smell the heather and taste the real ale (served
    at 'cellar temperature'...NOT WARM!!) You must have spent some time
    to get that sax. 
    
    "The PM Song"
    Nice catchy tune. Great use of guitar sample (it was a sample wasn't
    it?).
    There was a little too much harmony for me, it would have been nice
    with some female backing and the vocals set back a touch.
    I like the arrangement and find myself humming this one. BTW What
    is your instrument?
    It ended unexpectedly.
    
    Jens Moller
    "Alone Again"
    
    I was fascinated with the vocals, sort of a cross between Duran
    Duran and Brian Ferry. If it gets more airplay it should have YOUR
    voice. Percussion was subtle I thought. Made me think of a smoky
    bar, slicked back hair and English pop.
    
    Dave Bottom
    "Blue Moon"   
    This is a favorite. I'm not a lyric person but some of the words
    here jumped out and grabbed me. I particularily liked "Lately theres
    been quite a spell, the moon hasnt risen so well"
    The ending was great apart from those little twiddly bits, why did
    you put them there? Another hummer.
    
    Frank Rene
    "Vitour"
    You certainly met your goal of avoiding the verse/chorus thingy.
    A little bit too much for me though, to many changes for a short
    piece. Each theme was a tune in itself. It got a little too busy
    at the end but I really liked this one, especially a couple of the
    "themes'. I also wish I could make the changes the way you did in
    this. I'd like to hear some more of your stuff. I find it amazing
    that someone  can do this much in 6 hours!!
    
    Dan Eaton 
    "Press on" and "John Mark"
    Not the sort of stuff I would listen to by choice, but enjoyable
    listening all the same. Press on reminded me of something and I
    can't remember what, something like "A horse with no name". Overall
    mix and sound quality came out good on my copy. Nice clean mix.
    I liked the guitar.
    
    John and Gordon Arnold
    "The Beat Elves"
    Interesting distraction. 
    
    Mitch Norcross
    "Dreams"
    I thought this was a very well engineered piece and particularily
    liked the percussion. There were some real touches of "tension"
    that kept you in suspense. Was that deliberate? A favorite. 
    
    
    Well, I will certainly keep the tape. There is a mix of inspiration
    and ideas for me and also some things I don't think I'll try! My
    thanks to all the contributors and especially to pjh who took the
    time (lots of it ;-) to put it together. The comments I made were
    all based on "feel" and result from a complete lack of ability to
    describe what I mean technically...but that's what music is, isn't
    it?
    
    Ken
    

Late last night I was looking for something different to listen to and ended
up pulling out my COMMUSIC VI tape.  Since I never did do a review of it--and
in coming back to this note I'm surprised how few of us did--I thought I'd 
give it a listen and take some time with it.

Interestingly enough, I started on Side 2 because that's where I left it 
several months ago.  I'm glad I left it that way.  I was greeted by a 
relaxing, thoroughly enjoyable track called "The Light and Form of Ordinary 
Joy."  I really like this tune. It's by Paul Harriman.

I checked out the liner notes over lunch (after a long search I found them
in note #11, which I had totally forgotten about...) and was surprised to find 
that the entire song was sequenced on an Atari 1040 ST.  I was especially
impressed by the sax sample from the EPS.  Paul: you mention in your liner 
notes that:

	...early productions saw the sax emulated on my Casio
	while I trid to figure out how to "breathe."  However 
	they sounded worse than what I eventually came up with, 
	which was to use the EPS and its patch keys and aftertouch."

I'm not clear what you mean.  Is the Casio you're referring to a breath 
controller?  If so, it sounds like you abandoned it and just took the sample 
straight from the EPS and used the keyboard?

Paul's second tune (The P.M. Song) grabbed me as well.  I like the 
introductory instrumental and the first verse or two of vocals--although, 
"jump in my canoe" seemed to be sort of a forced rhyme--didn't really
fit in with the rest of the lyrics.

I also wasn't too hip on the talking in the second verse ("Hey, take a look," 
etc).  But then you never know when something like that might actually work.  

As for the rest of the lyrics, none of the following verses matched the 
introductory one which kind of pulled me into the song.  That first verse 
sounds like you're describing a personal experience (at least an experience 
of the main character in the song), but the rest of the song ends up giving a 
lot of advice, without ever developing those first couple of lines.

Now that I've started listening to the tape again, I'll move on the other
submissions and try to enter some more comments as I find time.

Peter