Making vs. Listening to noise
Tavys Ashcroft
For me, making noise is a hobby. I have found that it is often much more
fun to make my own noise than listen to someone elses. I can make just
the noise I want to hear. Many of my friends, both those who do and don't
listen to noise, agree that it is much more fun to make than listen to
noise...as it is more fun to practice a guitar than listen to someone
practice a guitar. I believe there is definitely possiblity for talent in
noisemaking, but it's always sort of practice. It's not like you are
practicing a particular song because every session of making noise is
likely to be different if not drastically different than the previous.
So, just as most noisemaking is constant practice, the act of practice is
a much more enjoyable passtime than going to a noise show where the
'performers' are just a couple of guys semi-rhythmically getting it on
with keyboards and guitars and a pile of effects pedals. I've been to
quite a few noise shows with such a display. I like the noise often, but
I think that those making it are rather silly as people are beginning to
take themselves way to seriously. Who can honestly tell me that the
'performance' at a noise show is any different from a practice session, or
that the 'performance' isn't itself merely a practice for the next show?
So, I listen to noise, I'll go to noise shows (but quite often the variety
offered (unless you're talking about something like UberKunst which
involves mass cacophony and throwing and smashing and sparks and pain
stars) by noise shows isn't really all _that_ diverse, so most of the
noise shows I go to are friends, and I go to them because it's fun to make
noise with friends. Noise is something that has the possibility of being
very personal because it is sound rather than music and can be shaped more
easily than music on an instrument into exactly what a person wants to
hear. This is why I believe that making noise is much more fun than
listening to it. This also runs along with my like of participatory
cacophony types of shows such as Crash Worship, UberKunst, and other
various performance BullDada. Being a part of the event makes it much
more personal and enjoyable than being a passive wathcer and listener.
But I suppose I'm digressing fom noise at this point...and it's 4:46 am so
what do you expect. Time for noise the only time I really just put it on
to listen to: going to sleep.
-big eared hollow chocolate bunny with creepy eyes and a nylon bow
Rev. Matthew A. Carey
On 23 Apr 1998 11:43:08 GMT, mum...@dilbert.ucdavis.edu (Tavys
Ashcroft) wrote:
> Being a part of the event makes it much
>more personal and enjoyable than being a passive wathcer and listener.
I totally agree with you. Anyone, if there is anyone, who listens to
noise but feels no impulse to make it is a diseased fanboy with severe
emotional problems.
But I like to listen to other people's noise. Recorded and live.
It's fun to see what other people are doing. And noise shows are kind
of social events, too. Or they should be. Remember the old saying
"See ya in church."?
Someone should set up a show with NO BANDS. Just "Bring Your Own
Instrument." and everyone plays. There is no audience. Just a
hundred or so people hashing and thrashing. And someone records it
and dubs up a bunch of copies to sell on the spot to pay for the next
event. I think that would be fun and a lot of people'd probably be
down for it.
___________________________________________________
Join the Vision Temple email discussion list!
sign up: http://www.humboldt1.com/~carey/
+++++++++++++++++++++++++++++++++++++++++++++++++++
heinz ewatch recall product mcdonald's lawsuit fraud ford sears
ibm microsoft general electric general motors poison proctor gamble
johnson & johnson mennen du pont motorola burke heroin voodoo porn
Shoegaze99
ca...@humboldt1.com (Rev. Matthew A. Carey) writes:
>Someone should set up a show with NO BANDS. Just "Bring Your Own
>Instrument." and everyone plays. There is no audience. Just a
>hundred or so people hashing and thrashing. And someone records it
>and dubs up a bunch of copies to sell on the spot to pay for the next
>event. I think that would be fun and a lot of people'd probably be
>down for it.
That is a damn good idea...a damn good idea. I think I may be able
to set something of that nature up. Shall I give it a go? I don't
know for sure if I can, but I'll wager that if a good twenty or people
are willing to show up on a Sunday night, the guy will let it happen.
+------------------------------------------------+
All featured at http://www.geocities.com/SunsetStrip/Palladium/
2296 - Returns Every Morning - The Unofficial Lilys Homepage (updated)
7577 - Shoegaze's Tape Trading Corner
9514 - X-Sweet Info
Gabriel Palczewski
It is nice that there are so many people making noise however it
sort of drowns the scene a bit. There are a lot of shitty noise acts out
there producing tapes left and right with no real thought or effort behind
their product and it obscures the really good acts. I see all of these
fools posting left and right on various boards about how great and harsh
their shit is when there are some really excellent harsh noise acts out
there who really adon't advertise all that mucha nd get shit for credit
because of those kind of acts. I'm talking about artists such as Stimbox,
Facialmess, Flutter, and TADM. I talk to all of these people and I've
listend to all of their noise and it is all excellent, harsh stuff however
there is other shit on the opposite pole which everyone hypes and
advertises and it plain sucks. What happens then is people areleery of
buying or investing in tapes by those who put a lot of thought and effort
nto their noise because they have been dumped on with countless messages
by countless idiots.
I used to be very open to noise acts and all that cal but really,
I grow more narrow minded as I heard more noise acts. With so many of
them sucking a major dick, it does make me leery of buying or investing
time in a new acts release. I do my o wn noise thing and I put a lot of
time and effort into it and I'm rtaher proud of it and I feel the reactin
I have gotten is a testament to that. On the other hand, I see so much
shit out there and it just blows my mind why they are even doing it. Sure
some may say "One man's shit is another's treasure" but there are some
standards out there. Such as, I am tired of blatent ambient or half-ass
industrial acts passsing themselves off for noise. Ther eare a million
clones of Whitehouse and such running around and it tires me fast.
That';s just me...
DJ Flash Funk Gabe <azr...@grfn.org> - Napalm Jesus Member
The !NEW! Napalm Jesus Page - http://noiseweb.com/napalmjesus
Some Lovely Noise Links For You...
NoiseWeb - http://www.noiseweb.com (THE site for Noise on the WWW)
ABFALL - http://noiseweb.com/abfall (Brutal Noise from New Jersey)
Loud Cat - http://noiseweb.com/loudcat (Noise label from New Jersey)
Flutter - http://www.flutter.com (Excellent Noise band from Michigan)
NoiseChat - http://mercury.beseen.com/chat/rooms/h/2552 (Chat w/ Noiseheads!)
"You say I can't cut the mustard? Well Hulk Hogan, you suck pal!"
- Sean Waltman aka Syxx aka X-Pac
Absalom
In article <E6E5D4...@istar.ca>, trop...@istar.ca says...
> Rev. Matthew A. Carey wrote:
> >
> > Someone should set up a show with NO BANDS. Just "Bring Your Own
> > Instrument." and everyone plays.
>
> tools used by others are. Contact mikes + distortion only, or
> high-tech? "Studio"-bound or live-ability? Personally, distortion,
> delay, radio, patch cords, and a cheap Casio keyboard do 95% of the work
> and all fit in a briefcase (if a hand-held recorder is used, even my
> "studio" would fit, although I've yet to make the investment).
> Impossible to play live yet, as the lo-tech approach necessitates a fair
> bit of editing and the frequent use of two walkmans for layering
> purposes, but just wait! Never used a contact mic yet myself; patch
> cords rubbed against skin and metal can produce similar effects though.
>
Alas, I'm still studio-bound. A lot of the stuff I've been playing with is from old 4-track
tapes I recorded of cute keyboard/guitar stuff. I piped quite a bit of that into Sound Forge,
cut it up, and just started having a blast with the software. My "studio" just consists of a
couple of guitars, bass, flute (dunno how to play it, but I can make sound come out, which is
all I care about), some 80-year old ukelele I inherited, a mackie 1202 mixer, an ART SGE Mach
II effects unit, and a Yamaha 4-track recorder. I'd like to do a live show later this year,
but I dunno....I've seen a couple of noise shows here locally, and damned if they're not some
of the *dullest* shows I've been to. Yeah, yeah, it's all about the sound, but I'm telling
you, watching a couple of dweebs onstage with computers....*snore* It doesn't stop me from
going, but it's not exactly enthralling, either.
So, unless I can come up with some interesting vid or something else that will complement the
sound, something that will engage at least one of the other senses, I'll probably stay in the
basement...
I'd been tossing around the idea of forgoing vid, and trying to engage the sense of smell...ya
know...find some really acrid and pungent smelling substances, and use them in combination
with the noise to try and induce mass vomiting among the audience. Probably wouldn't earn me
an encore gig, but....could be entertaining.
Stig Mathausen
biz...@udel.edu
Stig Mathausen <trop...@istar.ca> wrote:
$ Along these lines: I'm always curious as to what the primary noisemaking
$ tools used by others are. Contact mikes + distortion only, or
$ high-tech?
Equipment: A microphone, a four-track, a cheap FX box.
"Instruments": My mouth.
That's quite literally it. I don't say it's "vocal-based" because it really
isn't, it's me either grunting, hissing, spitting, etc. into my overloaded
processor. With practice I can now get whatever sound I want: a
crunchy low-end half-rhythmic sound? Tongue rolls. Sharp treble
white noise upper-register stuff? Hissing between my front teeth,
occassionally tapping my tongue against the back of my teeth to
change the tone slightly. It's cheap and it works, and I can duplicate
some sounds pretty easily if I want to, just like a real instrument.
DTohir
>> Along these lines: I'm always curious as to what the primary noisemaking
Though I'm not sure that what I do would necessarily be considered "noise", (my
cd's been reviews as a free jazz album, which it most certainly is not, & has
been described as "oddly peaceful") I use a trombone as a feedback chamber,
more or less. I have a microphone at the mouthpiece end & a speaker pointing
back into the bell, with several effects pedals in between. By moving the
slide, I change the length of the air column I'm feeding back through, thus
changing the sound. (sort of like being able to quickly move the walls of a
room in & out I guess)
The Dove Family
i totally agree, and though this may sound stupid, i think its idiotic that
people even use instruments. if you train your voice you can duplicate any
sound, like a guitar or whatever. and using processing devices you can
fine-tune your vocal creations, to make a supreme masterpiece. voice is way
better than anything else, tell me one thing i can't make with my voice and i
will say that you are wrong.
biz...@udel.edu
The Dove Family <jd...@mediaone.net> wrote:
$ i totally agree, and though this may sound stupid, i think its idiotic that
$ people even use instruments.
I don't like to be able to tell where the sounds are coming from when I listen
to noise-- especially when out of this wall of crumbling sound comes a sharp
synthesizer tone. Suffice it to say, I haven't liked many of those recent Merzbow
CDs where it's primarily moog-based (Oersted, the Alien8 one, etc).
I saw an interview with Jim O'Rourke once where he said he wasn't into that
school of sound where you try to make your guitar sound like anything but a guitar.
I had to disagree-- that's the only kind of ambient stuff I can tolerate... I like trying
to guess how these people are making the sounds that they are or what equipment
they're using-- it's something you can't do with music ("Hey, that sounds like a drum
kit, and that sounds like a guitar...!").
Kevin J. O'Conner / Tinty Music
Stig Mathausen wrote:
> Along these lines: I'm always curious as to what the primary noisemaking
> tools used by others are. Contact mikes + distortion only, or
> high-tech? "Studio"-bound or live-ability?
Though I may or may not make some changes in the near future, I have been
using various permutations of the following:
Korg 01/W-FD synth
Casio SK-1
Alesis Midiverb III
Mackie 1202 mixer
dbx 1066A compressor/gate/limiter
Tascam 424 Portastudio
Boss DD-3 delay pedal
chorus pedal (don't know the brand)
Ibanez Metal Screamer pedal
GE transistor radio (rescued from the garbage)
yard-sale turntable (in combination with various found objects)
found objects
microphone
I have done live performances with most of this stuff, but very rarely,
since transporting and setting up all of this stuff (plus a DAT, since I
record my performances) is a pain in the ass - especially the synth, which
takes up the most space.
--
Kevin J. O'Conner/Tinty Music
P.O. Box 85363, Seattle, WA 98145-1363 USA
tntm...@halcyon.com
http://www.halcyon.com/tntmusic/welcome.htm
DZ-015
Dude,
You should step up to the SK-5! Once you do, you will never look back...
-Jay Truesdale
Kevin J. O'Conner wrote:
>Though I may or may not make some changes in the near future, I have been
>using various permutations of the following:
>
>(in addition to a long list of instruments...)
>Casio SK-1
>
--
-----
Experimental Media Research Laboratory, Northern California
For more Information, http://emrl.com or email IN...@EMRL.COM.
DZ-015
>So, unless I can come up with some interesting vid or something else that will complement the
>sound, something that will engage at least one of the other senses, I'll probably stay in the
>basement...
You should go ahead, my throey is that as long as you can see how the
artists are making the noise, it is very interesting. if it is a computer
program, if they show the program, or if they are turning knobs, if you
can see what it is they are turning, then it is very interesting. If it's
just some guy on stage doing something to a pile of electonicstuffs...
Yawn... unless the music is highly compelling which is rare.
>I'd been tossing around the idea of forgoing vid, and trying to engage the sense of smell...ya
>know...find some really acrid and pungent smelling substances, and use them in combination
>with the noise to try and induce mass vomiting among the audience. Probably wouldn't earn me
>an encore gig, but....could be entertaining.
Ehh... no.
It's been done bofore, and it was obvious from the start that it was just
a cheesy gimmic, and after that soon faded it just became annoying. A
better idea would be to work on the quality of your music, or on a way to
bring the audience to your show. It is after all the cheese has passed,
just the music.
-Jay Truesdale
Kevin J. O'Conner / Tinty Music
By and large, I can't stand the presets on the SK-1. That early PCM sound is
absolutely horrible, and the repeated delay added on the synth drum sound is
truly hideous. The Casiotone MT-40, a 1982 model that neither samples nor
features digital sound, is much better if you're going to use the presets on a
cheap portable keyboard...
TIMOTHY GUEGUEN wrote:
> DZ-015 (dz-...@boulez.emrl.com) wrote:
> : Dude,
>
> : You should step up to the SK-5! Once you do, you will never look back...
>
> : -Jay Truesdale
> Its got more sampling time, but the presets on the SK1 sound a lot
> better, at least to my ears. After all, you might actually want to use a
> "conventional" sound as part of a piece every once and a while.
TIMOTHY GUEGUEN
DZ-015 (dz-...@boulez.emrl.com) wrote:
: Dude,
: You should step up to the SK-5! Once you do, you will never look back...
: -Jay Truesdale
Its got more sampling time, but the presets on the SK1 sound a lot
better, at least to my ears. After all, you might actually want to use a
"conventional" sound as part of a piece every once and a while.
tim gueguen 101867
biz...@udel.edu
Shortly after conquering Prussia, "Kevin J. O'Conner / Tinty Music" <tntm...@halcyon.com> announced:
$ By and large, I can't stand the presets on the SK-1. That early PCM sound is
$ absolutely horrible, and the repeated delay added on the synth drum sound is
$ truly hideous.
Two different worlds here-- that's why I -love- that keyboard (and other Casios
from that general timeframe). I would never try to make noise with it, but it's
a really fun little toy to play with.