Audio

Kimba & T.bias

I rarely publish the lyrics to songs I write, but have decided to start looking back at a few. In this post I am going to let you in on the song “Lilacs” which I wrote for “Electric Ballroom“, the Specimen album released in 2007.

Get the song or the entire album on iTunes or…
Original Demo & Full Song Download After the Break.

Before you read the lyrics, make sure you have heard the song first. I vehemently insist that the words used behind a voice on a song is dependent on the combination of words and music. Sometimes the way a word, or set of words, lay upon the notes is poetry itself – regardless of what that word is. It can be the way lips and tongue lick your ears that can make the lyrics profound rather than their literal (or metaphorical, of course) meaning.

I used to pride myself in never writing the emotionally promiscuous and easily tapped Break Up Song™. As it happened, I went through a rather rough break-up just as I was beginning the process of writing songs for the album. There was almost no way of avoiding the topic that was consuming my brain at the time, so I gave in. “Lilacs” is completely, from head to toe, a Break Up Song™ and I am proud of it.

Continue on to the song download and lyrics…

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Subject:  “iLok is a Detriment to Your Business”

Dear AudioEase,

I am in the process of re-installing Speakerphone after receiving an email from one of your support staff.  I am writing this email as a separate aside about your copy protection method.  I am a devout user of Speakerphone and intend to be a faithful customer.

That being said, I absolutely feel that your copy protection system, especially your reliance on iLok, is detrimental to your business.

I make software.  My father has been making software since the 60s.  Most of my friends obtain their livelihoods from selling software.  I consider the ownership of software to be integral to the economy of software companies and all those involved in the market.  Just as musicians must retain the copyright to their music, software producers must retain their ownership and ability to make money from their hard work.

We all know that pirates threaten all software developers.  This is an issue that haunts all developers at every level.  As a software development company, you are required to take the measures necessary to make sure that users purchase your product instead of stealing it.  This is not only understandable, but a requirement of your business model.

That being said, I am a paying customer.  As a customer, I provide you with money in exchange for your product.  I happen to own a laptop and a desktop.  I feel I should be able to run your software on either machine (one could argue about needing another license to do this, but it is my belief that I am a single user and won’t be stealing from you in order to run your software on both machines).  On top of this, I feel that upgrading my machine, for example, should not require me to jump through flaming hoops to retain your copy protection.

You implemented a “call & response” mechanism to allow me to authorize Speakerphone on my computer.  Fair enough.  What I don’t find to be fair, on the other hand, is that I can’t install it on any other machines.  I feel it would be reasonable to allow each user to install a minimum of two machines, if not 3-5.  This seems fair to me, as an end user.  I make a point to send you my hard earned money to support the development of your ground breaking and essential plugins.  I fully support your development and hard work.

Last time I recovered from a hard drive failure, my authorization did not transfer.  Of course, I only found this out when I was in the middle of a late night session – the worst time possible to have a failure, let alone a failure that should never have happened.  Since I had recovered from a dead hard drive, I had no copy of Speakerphone to “de-authorize”.

I have now run into at very least three separate and, in my opinion, completely avoidable cases like this.  Each time it eats away at my customer loyalty.

In addition, each time the response has always been the same refrain: Get an iLok.

I find this approach to be borderline offensive.  I am your customer.  I have paid you money for a product, but now you are telling me that I must jump through yet another flaming hoop?  To make matters worse, iLok is, essentially, a USB dongle which are inexpensive to produce these days with GIGS of storage, but is somehow limited to 100 licenses.  On top of that, empty USB slots on any of my machines are more than spoken for.  I have real peripherals that actually need to communicate over the USB bus.  The iLok, on the other hand, feels like an unnecessary velvet rope act that says, “It’s ok, he’s with me.”  This feel archaic at best.

It is my firm belief that your business would flurish if you abandoned the iLok system entirely.  I would highly recomend that you either issue 2 computers per license, or merely do what all of my other non-audio software does: If you purchase the software, enter a valid serial number, perhaps go online and verify that it isn’t one of the hacked serial numbers, then I can instal it on as many computers as I like.

My day job is as a graphic and user interaction designer.  My fully legitimate copy of Adobe’s Master Suite Collection requires no dongle (~$2600 software).  Final Cut Pro doesn’t need a dongle.  Even Digital Performer, who is ostensibly in the same arena as yourselves, does not require a dongle.  I have yet to be in an office setting where a plugin or any software has required a proprietary dongle.

I understand that you must fight the pirates and the “would be customers” who instead steal software such as this, but in your battle you have been shooting down legitimate customers in your crusade.

Yes, the iLok is a bit of a “standard” in the audio world, but that should never be something to hide behind.  It might strengthen PACE’s monopoly, but it emphatically does not strengthen your marketing position.

Speakerphone especially will suffer from this.  My brother is an editor at PIXAR.  The would likely be more than happy to purchase him a copy of Speakerphone for him to quickly simulate environments, but the minute they discover he would require a dongle to run the software on his laptop and his workhorse desktop, they would quickly turn around and dismiss the idea.

It saddens me that one of the few plugins that I absolutely respect, promote, adore and use in nearly all of my recordings uses a copy protection method that has driven me to such distress that I felt I needed to write this email.

I have taken some gilded time away from my project at hand to write this email to your company.  I am not attempting to insight or fan any flames; I want AudioEase to produce the best software that I feel is worth every penny.  Sadly, I feel that your copy protection greatly diminishes the overall experience and usefulness of your hard work.

I implore you to reconsider your copy protection management for the sake of customer satisfaction.

From a loyal, but disheartened customer,
Tobias

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Another random find: First 5000 Fingers show at The Cat Club opening for @MegLeeChin.

Me (keys, guitar and live mixing), Steve Watkins (two drum sets), Mr. Where (noise guitar and yellow gloves), and Jason Mullins (AM radios).

I took the output from everyone, routed them into my rig and processed them in real time. I think I had Steve’s snare triggering Mr. Where’s noise guitar and then had it bounce around. Jason had three AM radios he kept spinning the dials on. I then would trigger some manually, had one triggered by steve’s kick, and another via his toms. We also played to backing tracks, but I wanted a live show. I know we opened with “Spoons, Forks & Knives”, played “White Light”, but I’m not 100% certain of the rest of the set.

Meg Lee Chin was headlining and she asked me two days in advance if I wanted to open. The lineup for 5000 Fingers until that phone call from Meg was just me.

I am so glad that my friends were able to join forces with no rehearsal and pull of one of the best shows 5000 Fingers ever did.

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This video is best viewed in full screen mode in order to see it in HD.

Kandid Fullfrontal Consumption” is a short film that I shot starring my (usually) vegetarian friend, Mr. Where.

I edited the video before I wrote the music.

The process that I used was quite interesting. “How do you go about editing a video with probably a couple hundred edit points all in time to music that doesn’t yet exist?!?”

How the filming came about

You might want to read this after you have seen the short film. There are some spoilers below.

[click to continue…]

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I was listening to my iTunes pumping in random music and it came up with a song I wrote, but something was different.

The song is “Loose” by Plastination.  I had completely forgotten that I had made an early alternate mix of the song that bumped up Jake Flood‘s amazing harmonica performance much higher in the mix.  Sadly, a lot of the production work that I put into the song was done after this mix.

I present both mixes for your enjoyment:

Loose (original)” [MP3]

Loose (Harmonica Mix)” [MP3]

The song is hyperbole about the Rock’n’Roll Lifestyle Stereotype™.

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Beethoven

Freude, schöner Götterfunken!

by Tobias on December 16, 2009

In honor of Beethoven’s birthday in 1770, I would like to take note of my personal favourite of his works:

Symphony No. 9 in D minor

As we all know, D minor is the saddest of all keys*. That being said, I find the 9th to have the ark of life; a life well lived with nothing but highlights, of course, as there are no boring parts.  It would be nice if life were actually to have this ark with no boring parts, but I’m sure Beethoven didn’t want to highlight the wonderful moments of “brushing of teeth” or “waiting in line at the DMV”.


(Hit play now and enjoy the music while you read and continue to enjoy while you surf elsewhere.)

The piece starts as if the strings are being tuned as they fade in, and, like a slap on the ass, the music comes screaming into existence.  Happiness forms like worms in your ear.  Sadness dances under the guise of melody. The end is a climax of pure joy; a true “La petite mort” in almost every way, except being “petite”.

The poem it is based on is a celebration of life which Beethoven modified.  When it is time for my friends and family to look back upon my time on this earth, I hope they can listen to this song and revel in a life lived.

Lyrics bellow via wikipedia. Words written by Beethoven (not Schiller, the original writer of Ode to Joy) are shown in italics.

German original
English translation
O Freunde, nicht diese Töne!
Sondern laßt uns angenehmere anstimmen,
und freudenvollere.
Freude! Freude!
Oh friends, not these tones!
Rather, let us raise our voices in more pleasing
And more joyful sounds!
Joy! Joy!
Freude, schöner Götterfunken
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.
Joy, beautiful spark of gods
Daughter of Elysium,
We enter drunk with fire,
Heavenly one, your sanctuary!
Your magic binds again
What custom strictly divided.
All men become brothers,
Where your gentle wing rests.
Wem der große Wurf gelungen,
Eines Freundes Freund zu sein;
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wer’s nie gekonnt, der stehle
Weinend sich aus diesem Bund!
Whoever has had the great fortune
To be a friend’s friend,
Whoever has won a devoted wife,
Join in our jubilation!
Indeed, whoever can call even one soul,
His own on this earth!
And whoever was never able to, must creep
Tearfully away from this band!
Freude trinken alle Wesen
An den Brüsten der Natur;
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küße gab sie uns und Reben,
Einen Freund, geprüft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.
Joy all creatures drink
At the breasts of nature;
All good, all bad
Follow her trail of roses.
Kisses she gave us, and wine,
A friend, proven in death;
Pleasure was to the worm given,
And the cherub stands before God.
Froh, wie seine Sonnen fliegen
Durch des Himmels prächt’gen Plan,
Laufet, Brüder, eure Bahn,
Freudig, wie ein Held zum Siegen.
Glad, as His suns fly
Through the Heaven’s glorious design,
Run, brothers, your race,
Joyful, as a hero to victory.
Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt!
Brüder, über’m Sternenzelt
Muss ein lieber Vater wohnen.
Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such’ ihn über’m Sternenzelt!
Über Sternen muss er wohnen.
Be embraced, millions!
This kiss for the whole world!
Brothers, above the starry canopy
Must a loving Father dwell.
Do you bow down, millions?
Do you sense the Creator, world?
Seek Him beyond the starry canopy!
Beyond the stars must He dwell.

Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt!
Brüder, über’m Sternenzelt
Muss ein lieber Vater wohnen.
Seid umschlungen,
Diesen Kuß der ganzen Welt!
Freude, schöner Götterfunken
Tochter aus Elysium,
Freude, schöner Götterfunken

Be embraced, you millions!
This kiss for the whole world!
Brothers, beyond the star-canopy
Must a loving Father dwell.
Be embraced,
This kiss for the whole world!
Joy, beautiful spark of gods,
Daughter of Elysium,
Joy, beautiful spark of gods

*Lick My Love Pump – Nigel Tufnel


Spinal Tap – Lick My Love PumpFunny videos are here

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