Aside from the obvious reinforcement towards experiencing the embedded video above by mandatory volunteering (or such), I really don’t know what to add here, but my instincts compel me to add something, so voila.
Perhaps it’s worth stating this is my first CV (Casual Visual) release. It’s my own never-patented blend inspired by the visualization (usually MilkDrop-based) and static image cultures involved in basic music (as opposed to full music video production) releases at YouTube.
All Sines (my small entertainment business) offers a wide variety of content, but there’s one consistency dominating all others throughout Asforus (All Sines realm) — an often naturally unique flavor of trippy.
Never wanting to dilute away from my audio sculpting focus (because that’s my main ability), I cannot help but lightly dive into my own style of Photoshop (image) and After Effects (video) work.
Eventually, I’ll probably composite one or more MilkDrop layers into my videos too, but simple image manipulation forming a motion very loosely connected with the audio suffices for now.
Thankfully, I have a wonderfully talented group of close friends capable of taking video composition and production to a higher level of complexity, but that’s for another post(s) actually demonstrating that much-appreciated talent.
The basic composition and production of the Famous Stranger audio sculpture came together surprisingly fast. Everything I experimented with instantly fell right into place (basically drums, bass, and synth work), so the initial session forming the full composition with a fair amount of the overall production was only a few hours long.
With relatively standard electronic drum work (basically robotic sounding), I wanted to add some naturally played percussive flourishes in places, so I collaborated with my friend, Darrell Maki — a fellow Berklee College of Music graduate and an excellent drummer.
Without restrictions against his muse, he instead played his electronic drum set in a rock style basically along the entire piece, so I naturally adapted to that shift.
Instead of sending me audio recordings of his work, he sent me the collection of percussive events, so I could pull them into the composition/production and apply my own sounds (his performance, but my sound design).
The net result is a combination of his rock drumming style and my robotic-sounding drum work (albeit I usually “humanize” my drum work with automatic timing/velocity/tuning variances for a more natural effect).
Mr. Maki deserves a round of applause for his topnotch result, so feel free to perhaps look foolish clapping alone in front of your reading device.
Famous Stranger begins a series of some near-term releases revealing the next publication wave of my audio sculpting technique.
When you listen to my (sometimes our) work, there’s a sensation probably unlike anything you’ve ever heard before (e.g. curious and complex shifts in spatial sensation).
I meticulously compose, produce, and engineer not only the instrumentation, but also the effects (e.g. reverberation), so you hear an effects texture with a lot more detail than anything ever published without an All Sines connection (at least to the best of my fairly thorough knowledge).
Now the question remains as to whether or not that’s a good thing. My friends and I enjoy that complexity, and I prefer that you honestly join us in sharing that appreciation.
Turn off the lights, consume legal psychedelics (e.g. Blue Dream cannabis strain) in tune with positive set and setting, and go for a positively energetic psyride via the often mysterious and geeky style of Trans-Dimensional Voice.
Maybe you’ll discover that each one of us is a famous stranger. If you don’t, don’t worry about it.