White Board

There’s a white board on my wall on which multiple projects are set out. A few are finishing up – the 200 Aversion2 rat boxes are sent out, with a few still in doubt and replacements in progress. Some are items already promised – the last of the Barbara Island albums Barbara rUFO is here under the heading of LEGACY, along with a note that I spoke with Stephen R Jones about fresh copies of the old videos for YouTube. Some are new constructions, such as ‘Server360’ which I hope to evidence soon. But others are blue-sky-bullshit ideas – still just diagrams in notebooks. It’s these that have me hiding the white board from you, but as silence can seem like death, I want to give some kind of limited update.

(Plus, right now the house is under repair and there’s wood, bricks and rubble everywhere -– any work at all is a trial. At least the chance of sudden building collapse is being addressed).

Let me give a general outline of some of the projects.

One is called ‘Offog’ for reasons that once were obscure, but not now that Google is your friend owner. We’ve made quite a few small and inexpensive musical objects – starting with Blubberknife in 1982 and most recently with Aversion2. Following your feedback, we will attempt something more exuberant, exquisite, and expensive for a very few discerning customers. Something with bragging rights, made more valuable over time through the extra quality. A signal that we care enough about our work to take risks.

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This is not it.

We have some cool ideas competing for ‘Offog’. One is a more portable version of the Home Clavilux made by Paul Greedy and myself in 2013. That’s worth thousands of dollars – but what can be made for $50-$100? The touch surface computer alone was over a grand, but computers have become very small and very cheap.

‘Pretzel’ and ‘Las Vegas’ are entwined. I must stay vague – but I can point you at my previous game landscape albums – ‘HH’ and ‘Snowglobe’ (now combined as ‘Super Snowglobe’ as part of the experimentation). These are not so much games as virtual walking narratives, in which the participant is a sonic protagonist. I now move from making ‘built environments’ to ‘stages’ – which is more honest (does not claim an entire world), a smaller canvas, more strictly designed and controlled. Stages are not narrative landscapes with sounds here and there – they are strong visual frames for particular musical works.

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‘Pretzel’ will engage one person at a time, whereas ‘Las Vegas’ is a more ambitious system to entertain a large audience in many places at once. Their architectures should cross over, I hope, to keep the labour under control. Later this year we’re off to the USA to experience/document some of the leading theme parks – where I believe the state-of-the-art in staging, media production and presentation will be found. I think there is more to learn from Disney Labs than any traditional academic source.

‘Server360’ is not a complex idea. It follows up the Sevcom Music Server series of 1998 – 2004 but adds 360˚ sound reproduction. Although I’ve released experiments with ambisonic versions of our pop tunes, this kind of slow moving ‘textural’ music lends itself better to positional design. In an age where most people wear headphones, and quite often the same type of Apple bud headphones, there’s some certainty that you can deliver consistent ambisonic sound to a wide audience, and I feel this will eventually be a common feature. Both ‘Las Vegas’ and ‘Pretzel’ will feature 360˚ sound, and so this is a side mission to improve my craftsmanship for these larger projects.

You’ll notice that none of these things are standard albums. Like I’ve said in the past – I am not some sort of hyper-chicken laying out endless albums like eggs. Three albums – Aversion, Publicist and Barbara rUFO are supposed to tide us over for the long term. You could always listen to them twice! I also recommend the last Severed Heads albums – Beautiful Arabic Surface and Donut. There’s no use by date!

Man Cave: The Arturia Strikes Back

IN our last installment of the Arturia franchise, the once diminutive Smurf village took on a certain virility, which having been mentioned allows us to enjoy this image all over again.

The 6th version of the V Collection doesn’t advance the collection as a whole, at least not in matters that appeal to me, but introduces four new instruments of mixed virility. Two of them remind me of the bad old days of weakling Smurfs. So much so that I’ve waited on the 6.1 update to see if this lethargy has been corrected – it has to some extent, but not to my satisfaction.

Clavinet V sounds like a clavinet. Take the time to blow a party horn once, sadly, and move on.

DX7 V is very exciting at first glance. The original DX7 was such a inscrutable closed fist of a thing that I’m amazed I got anything out of mine. Every software replica is an improvement in that you have increasing hope of rapport with the sound, and I think Arturia have come up with the best interface so far. It would be the bee’s knees – if it could only manage more than piffling polyphony.

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Like the bad old days of the first V Collection, the CPU meter is halfway up the scale before you even play a note. I have a fast i7 machine, other complex tools run fine, Native Instrument’s FM8 runs fine, but DX7 V shits itself with any more than 6 or so notes. Something is trying to emulate the constant buzz/fuzz of the old Yamaha circuitry and it’s really not needed at all. Allow us to turn it off. I know that some accuracy will be lost, but it’s a tool, not an idol.

When it does work it’s a pleasure. The way in which operators are selected, tuned, filtered and modulated are all intuitive and effective. You must like being able to place on a resonant filter on a modulator, along with feedback, otherwise you’re heartless.

The other instrument with the problem is the Buchla Easel V. I see these come up on eBay for stupid amounts of money and I ask myself – why do the same people that complain about the short throw of the System-1 put up with that nasty touch keyboard? Where is the filter? No filter is like having a mouth with no lips. Humph. I don’t get it and I don’t like it, and so when it overloads the CPU I just don’t bother. There’s already Aalto out there, and I guess that’s enough of this sort of thing for me.

Which leads us to the two big ticket items, well big ticket in 1980 something. The Synclavier was the first, the Fairlight CMI 2x was next, both were insanely expensive and both rather laughable in this day and age … or not?

Synclavier V has the advantage of the original programmer leading the project. It was always a synthesiser foremost, and all sampling features have been left out, being a little quaint. Unfortunately that includes the ability to convert a sample via Fourier synthesis. What you get is additive synthesis by frames, plus complex FM modulation. You can find better additive synthesis in Apple’s Alchemy and IL’s Morphine, but the FM is more than a bit special, getting you to complex DX7 like sounds quickly and elegantly. And there are 12, not 4 channels of this which stack up rather nicely into lush space boings. Do you like ooooiiiiimmm-aaaaah-klunk? I do.

The Fairlight was sampler foremost, and inspired a whole chapter of music. Which is all the more impressive when you hear, yet again, how utterly crap the sampling quality was and is. No one in their right mind is going to swap Fairlight V for Kontakt. It’s probably there because you can re-synthesise the audio and get busy with Fairlight V’s own synthesis features. Two main techniques are on offer – a Spectral synth (not in the original machine) which bows through harmonic clusters to make a cool relative of a filter sweep, and the Time synth which moves through additive frames much like the Synclavier V.

What pumps this emulation are the Assigns and Function Generators, which map LFOs, envelopes and controllers to just about any part of the synthesis process, sensible or not. The rather stolid sampler becomes a wonderland of stupid unexpected what-the-fuck as you bend and stretch parts of the sound that we never supposed to do that sort of thing. If you love the Ensoniq ASR, you will love this too. There is hope for Arturia yet, I think they are letting their hair down.

There is also Page R. You may blow your party horn again, forlornly.

Cowardice

This last year I’ve done the things I was never going to do. I’ve abandoned Independence, I’ve abandoned quality, I’ve joined the cold grey mush that passes for online society. I’ve rolled over, four legs in the air and said fine, you win. Have a sniff.

Because when it comes down to it, it doesn’t matter a rat’s. It’s not even as if I’ll get abused for it – no one cares that much.

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You can find my last two albums up on YouTube, put there by me. Which is kind of like taking your painting and leaning it against a dumpster. Partly because I kept finding it there anyway, and partly because a lot of people seem to eat out of dumpsters these days. It’s the banquet room of culture for the people who get their McDonalds delivered by Uber Eats.

There’s two ways you could run this thing. You could be completely uncompromising, willing to hang on to the final drop of blood. People like that get remembered long after they’re dead in somebody’s PhD thesis that no-one reads. I was raised on that stuff – the lone artist, the visionary blah blah – truly inspiring to 20th century me, but not that relevant in the 21st century. Horse and buggy heroics.

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And who am I to claim any special virtue? I make some pop music and some cute videos. This is the same disposable media that filled dumpsters since the beginning of sound recording. Am I trying to enthrone my bubble gum?

The other way is to say, OK, you can’t prejudge progress. Progress may be something you don’t expect, can’t anticipate. If you are progressive, then you ride with the changes, no matter where they might wander. Maybe shitty low quality audio on a video server is akin to the shitty low quality audio of a 7″ vinyl record. You go there, bravery rather than cowardice.

I have no idea which one. Which is why Aversion is a limited edition object, while Publicist is a throw-it-at-the-wall download.

I think this conversation is being held by an ever dwindling number of people, who think that the wider audience give a toss. They are under the illusion that e.g. vinyl sales mean a resurgence of interest in albums. I think it means a surge of interest in antique toys. It will give way to hula hoops. Music will not go back in the sleeve, it will wander wherever it finds a listener.

Meanwhile, abyss and staring.

Two albums! OMG are we going to drown? etc.

Yes, two albums!

You may recall we were talking about a subscription model. You were generally not keen on the idea, but the question was then really about, well, staying power. Because a subscription means you have to get something nice on a regular basis. Could the Sevcom team (yes, there is such) provide this? We can!

We were going to release these things late last year – and then an ancient Canadian radio recording got released on vinyl which sucked up all our air. Nostalgia is a hell of a drug. Some more time to refine.

Item one is the long anticipated Aversion 2 box, with cards and wire rat. The music and rats were completed mid last year, but there’s been some considerable fussing since that time. We needed 200+ cases made in Japan. The cards had to be thick, but not so thick as to exceed 10g in weight. The whole thing has to be less than 2cm deep to be machine sorted and therefore ‘a letter’, and weigh less than 50g, or cost another 6 dollars postage. We have these things. It will go on sale soon, and you will get the music as a download straight away.

We anticipate that not every person wants to order an object, and so the other album is just a download. In 2015 I released a pop music record called Rhine, and since that time I’ve pottered away at a sequel of sorts called Publicist. That’s three years of agonizing over details, but at last I’ve worn out my patience with turning sounds up or down ever so slightly.

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“Staying Power”

I wouldn’t call Publicist a cheery title but it is pretty when it wants to be.

Both will be available very soon (I was thinking Easter Sunday was a good idea). In the meanwhile why not grab the free ‘taster’ which has moments from four albums coming some time this year?

https://severedheads.bandcamp.com/album/a-sevcom-sampler-2018

Man Cave VS Sample Robot

Congratulations! You’ve bought near a thousand synthesisers, and now spend all your ‘quality time’ swapping internal batteries, making line diagrams, racking and unracking, piling up dead Behringer patch bays and all kinds of other non-music related busy work. You’ve just bought a keyboard you already have, same as the one under the one propping up the table on which all the Korg boxes sit dust farming. This is out of control!

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Sometime in the last year you managed to create some patches on one or more of them (which ones it’s not clear, maybe a black one) that would sound great on that tune you’ve been nursing forever. How the hell do you get all those sounds in a place where you can actually use them?

The simplest way is to sample the sounds. Plug the keyboard into a sound interface, play each note over MIDI, and cut them into individual samples. The first few times you don’t mind doing it manually, but you soon realise it’ll become yet another task that’ll keep you away from actually being creative.

There are tools that will automate this, the most prominent one being SampleRobot. That’s because it’s been around for a long time, back from when a MOOG was something you hired by the hour. Venerable it is, and venerable it looks, a little bit-mapped interface that would look right at home on a 90’s beige CRT. (The authors are aware of this and promise a new version soon that will stretch). Actually it’s not just the size of the interface that confounds people born after 199x, it’s the metallic robot/car/can opener detailing. Little metal buttons on little metal remote controls.

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I am old and had an Amiga so I understand where this aesthetic comes from. I also understand that coders used to be free to develop their own interface rules. SampleRobot will often send you back to the manual trying to figure out WTF is going on. For example, having bought the Pro version, I get a tool called WaveRobot, which helps edit loops. I kept wondering how the hell to get the ‘Open File’ menu item to be available, eventually discovered that it’s disabled, and you can only load by right clicking an on-screen keyboard in SampleRobot. Of course.

A ‘wizard’ will set you up for your first sampling adventure. It’ll ask you questions about what you’re trying to achieve and set up the numerous parameters for capturing the sounds (is it a pad or a piano? How many keys did you want to capture?) If you try to do it yourself you’ll find the parameters spread over a number of dialog windows all over the screen. Chances are good that you’ll miss one of them and so you’ll be wizarding for a while.

Assuming you’ve got it set up properly, you then start the recording and the robot plays each key over MIDI, waiting a while between each, attempting to find loop points. It’s not the best at looping (that would be Zero-X Seamless Looper which sadly has left this world on the sky train) but if you take some time to practice with all the settings you can get close to a good loop straight off.

More likely you’ll want to load up each sample in WaveRobot, which as I said took a lot of figuring out, as did the controls to make the waveform sit properly on a large screen. But, like the old hardware you’re sampling, once you get the logic of how it works you can get quick at it. It leans a bit on the crossfade, and you will need to tune things. The overlapping visual waveforms at the loop point are very helpful.

Now hopefully you’ve produced a set of samples that you can work with. Although it claims to save out Kontakt files, it actually saves out Reason’s sampler format which Kontakt must then convert (as NI licenses Chicken System’s Translator software). If you aren’t careful SR will save new truncated samples into its own folder, inside C:\Program Files which is evil, and probably why they want you to launch the software on an admin account (double evil).

Now you have a monolith file in Kontakt … and no more frigging around with MIDI cables, patchbays or that kind of vibe-killing drudgery. Kontakt of course has its own filters, envelopes and so on, so you might sample some of your sources as pure oscillator and enjoy tweaking the filters later, making up multiple versions.

I started with the UltraProteus, from which flows very long complex sounds. It was difficult to get the start point right, and SampleRobot had little chance of finding a loop point by itself. Although it looked like my volume level was good, my first samples came out much too quiet. Turning up the inputs revealed that the UP makes a lot of hum, which of course pitches up and down as the samples are played. I made it not too noticeable. I really liked being able to attach effects to each sound in Kontakt, which isn’t really possible with the UP hardware.

Sampling the MR Rack makes perfect sense as (a) it has no inbuilt resonant filter and (b) the battery is flat whenever you want to use it – but no sense because (c) transwaves don’t play back the way they are supposed to and (d) neither do the wacky FX. SampleRobot wasn’t much help here, and the best thing to do is manually play each transwave, load in Alchemy or Morphine, translate that into an additive wave which will then pitch shift nicely over the whole keyboard without multi-samples. You then modulate the wave point and get perfect Fizmo like results.

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Really the process is best for sounds that don’t rely on your active or programmed modulation. It’s fine for an MKS-80 bass, perhaps for Korg Radias chime, but not much use for a modular sequence. Getting SR working is a complete pain in the ass up front, but I know it beats playing each note by hand and then editing it apart manually.

And once you’ve grabbed Lately Bass from your TX81z you can leave that turned off forever.

12 Excellent Reasons Why I Should Be Able to Post Your Stuff on YouTube

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Tom, you prick, you took down MY damn video just because you made it.
This is wrong as you will plainly learn from this list.

  1. Everyone else is doing it so why can’t I be the 33rd person to post up another “Dead Eyes Opened Spook Mix”?
  2. No one else is doing it so I think it justified that I be world leader in going through your garbage bins.
  3. It’s not as if you’re posting the material yourself. Well maybe you did, I didn’t look hard.
  4. I am a Curator! Your work is simply a small part of my vision, which presents a culturally significant view of media I remember from 30 years ago.
  5. None of the other bands have complained so I’m pretty disappointed that you’re making an effort here.
  6. It’s Fair Use for Educational Purposes, as I’m a Professor of History and my course is the period before I was too fat to go to the disco.
  7. I played it faster/slower/backwards/wearing a funny hat so it’s now my work.
  8. I’ve incentivised the product through agile redeployment in a way that you will never conceptually grasp.
  9. Did you see the video where the record label spins around? Did you do that? No, you didn’t. So now it’s just a soundtrack, feel lucky I chose you.
  10. Gift economy (if you buy YouTube Red).
  11. All your efforts: live shows, videos, streaming, objects – all of that achieves nothing. It’s my YouTube VHS that keeps you from obscurity
  12. The viewers prefer my ancient capture off TV to your elitist ‘master copy’. It’s like Stranger Things.

See also (from 2011) http://tomellard.com/wp/2011/03/audio-mouth-breathers/

Progress Report 2017

2017 tours.

At the end of 2017 we can report delivering live shows across North America – 5 shows in Canada and 10 in the United States. Also shows in Australia – the Sydney Opera House as part of a group show for Vivid, at the Melbourne Art Centre for Supersense, and two shows for Metropolis Touring.

We enjoyed bringing what we now call our ‘traditional show’ to audiences, but realise that this is more about repairing lost time than making progress. There’s no shame in the moment to be a traveling museum, but of course we would like to do better.

For this reason, it is very unlikely that we’ll be taking any tours in 2018, but are open to large bribes etc.

Teleplay.

2018 will mostly be dedicated to developing new presentation system under the work name “Teleplay”. This is envisaged as a system which narrowcasts an 3D animated audiovisual ‘world’ over the net from a performative source to delivery point. Teleplay is a virtual stage on which are placed individual ambisonic sound sources and animation elements. The result can be flattened to be on a screen, seen in VR, or recorded on a virtual surround camera to make VR videos in real time.

Evidences – My previous work “Snowglobe” was part of the long learning process to this result. Another game coded named “Pretzel” is underway to help define some of the artistry. Some ambisonic music produced by the audio system has already been made available.

Current work on Teleplay includes: motion capture (hardware is in testing), MIDI sequencing of visual effects (demos working), virtual camera capture (some issues), audio staging (demos working).

Music releases.

We had some discussion about changing to a subscription service, but no decision was made. It would require that we have a bank of new releases available and so that’s been the priority. Touring is often disruptive of composing, and it’s going to be good to take a break. Here’s some individual status updates.

  • Aversion 2 (rock music simulation) is ready musically, pending improved artwork to go in the cases. We think it needs a bit more work in the presentation.
  • Music Server 3D (ambisonic muzak) is a large project which will be broken up into three stages: Volumes 1&2, 3&4 which are all going on YouTube as real time ambisonic video. Binaural versions will be on Bandcamp free. Volume 5 needs revision. Volume 6 will be a paid item on Bandcamp.
  • Barbara UFO (cinematic soundscapes) will be the last of the Barbara Island series which are only released every four years, now looks like mid/late 2018.
  • Publicist (Tom Ellard pop music) is moving along nicely and should be out early 2018. Seeing as I started it in 2015, well, yeah.

Identity and SVH.

I recently went on YouTube and saw entire Severed Heads albums posted up on there with ads, which really was a grand scale ‘fuck you’. I’ve been really tolerant of ‘fan uploads’ but I’ve had enough. At the time of writing I’ve issued nearly 100 take downs. I’m posting lots of videos on YouTube even though the resultant quality is inferior to Vimeo. People don’t care and I have ceased to care about their opinions.

As well as taking back control of ‘Severed Heads’ I’ve committed to finally making a decision about it. Previous attempts haven’t worked because people are so dedicated to their childhood that they can’t tolerate any hard change. So here’s the deal.

Anything up to the break in 2008 is us wearing our Severed Heads stage costumes. “Arabic Surface” and “Donut” are credited to them as well, but from now on the credit will simply be SVH Sevcom (Sevcom because people argued about it so let it be). If people say Severed Heads that’s fine, but it will not be written on the tin. Sevcom continues to be the label. It’s amusingly like KFC and Kentucky Fried Chicken, but we face a similar problem in wanting to do more than just chicken, and yet having a lot of past from which to escape. It’ll take time, but I think the difference of SVH for the new and Severed Heads for the old might be healthy.

Thanks for listening!

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A completely biased guide to DAWs

Your DAW (Digital Audio Workstation) is a matter of taste. As you have appalling taste, you are lucky that I have found time to instruct you in the matter.

Ableton Live.

Notably not called Ableton Compose, because trying to write actual music with this tool is like keyhole surgery, one little box at a time. Live was first developed for deejays to string together bits of other people’s music to a click track. Since that time, it has been encrusted with a tower of technical jiggery pokery that makes Live the premiere tool of ‘barbeque boys’ the world over. If you want to synchronise two machines, or write code that burps every third bar, or run a bassoon through a duct simulation you are well served. But the vast forehead of this thing remains built on the reptile brain underneath, and it fails at facilitating any attempt at flowing empathic music.

If you have live performances where you need six of this followed by seven of that and the whole thing must be panned just so – you will use Live. If you want to surprise yourself with a tantalising melody you will not.

Bitwig.

See Ableton Live.

Pro Tools.

If you have an uncle with a large recording studio; custom furnishings, several thousand dollars on each microphone, grand piano in room C – you may be a candidate for Pro Tools. It will slot nicely into this high-end milieu, easing your work up to the top shelf. But buying Pro Tools, in itself, does not manifest this uncle, any more than red Ferrari brings forth a trophy wife. There are many tools that will do exactly same thing for much less.

True, Pro Tools is well made. Most of their stupid bullshit such as real-time mix downs and forced hardware is gone, but there are still AAX plugins –  an industry standard unused by anyone else in the industry. They cost an insulting amount, which can be paid off every month. Or you know, you could just go elsewhere.

Reason.

The curious thing is that Reason’s illustrations of hardware racks appeared just when real hardware racks were going in the garbage. Such that many Reason users are convinced that actual hardware is a clever manifestation of the GUI (and if you don’t believe that you’ve never met a child amazed that ‘wow you have a collectable of the save icon!’).

I grew up with racks and damn, I like them in Reason. They are cheerful. I like scrolling up and down and hitting the tab key to plug wobbling cables in the back, and hitting the tab and scrolling up and down and actually… that cable thing gets tedious. You need a really big screen to see what you’re doing, and then a magnifying glass to read the controls on all those boxes you’re trying to navigate. Reason completely fails at scale, being too small and too large simultaneously.

Now I must admit I’ve never bothered to use Reason as a DAW. It’s my modular synthesiser which I plug into real DAWs and in that respect, it’s a damn fine thing, better than any eurorack.

Logic.

Platform limited is bullshit. Same goes for Sonar.

Cubase.

Like if your grandad got a hold of monkey glands or something and kept living way beyond a natural span of existence. I had CARD32 on a Commodore 64 way back in dinosaur times. Then it was on the Atari and it still gets out of the coffin every night. I guess I am Grandma, and got used to Cubase and throw my hands in the air and go “Whelp! That’s Grandad For Ya!”. (Actually, at one time I tried using Logic back when it was on PC. That was foul, like ‘locked in some taxation consultancy for weeks on end’ foul. The Environment – what the fuck.)

You are not ever going to get super excited about Cubase, but like Microsoft Excel it is going to do the job well enough, and in software that’s probably all you can hope for.

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Traction.

They changed the name to Waveform and added a mixer and MIDI editor. In version 8. Yeah.

Renoise.

No, typing hexadecimal into a grid is not cool, it’s the antithesis of music.

Reaper.

There’s a lot to like about Reaper as a sound editor. In an age where ambisonics is taking on increasing importance, restricting waveforms to 5.1 or stereo is shooting yourself in the foot, and the only competition are the overpriced Nuendo and Pro Tools HD. It makes serious attempts at reducing bloat, embracing formats, and providing a range of useful tools in the box. And it’s CHEAP.

But you’re not out of the woods. Once past the basics it’s got a lot of idiosyncrasies, not cute ones, but mind numbingly painful ones, the sort that drives you to scream WTF and to curse the manual which is (a) a fan written wiki and (b) always out of date with the five new versions a week. Reaper is not open source, but it sure smells like open source.

And MIDI handling is not handled well at all. It’s an audio editor with some MIDI tacked on, and you’ll need to buy a real MIDI tool alongside Reaper.

FL Studio.

I used FL Studio for ages. Then I stopped for a while, to try change my working methods. When I tried to go back to it, I found myself outside a mental wall. All the things that seemed normal before seemed weird and twisted. I could still get old projects up and running, but the thought of doing anything new with it was perverse.

Then I realised I’d been in a cult. I’d since become deprogrammed.

FL is like if you put a drum machine on steroids, lots of steroids, INSANE levels. It’s a drum machine levelled up a billionity-billion times. I mean, I scored a motion picture on FL once upon a time. It can do it, hell – it can probably do anything, but it will do it in a way that makes no sense anywhere outside the cult headquarters, because it’s built on layer upon layer of feature additions. Things rarely get designed in a holistic manner in FL, they get layered on top. Like if you want to freeze the audio on a track, there was some convoluted procedure with placing an Edison plug in on a mixer track… these days I just freeze the track.

I can’t hate on it, and hell, you might even be enthralled by it. See you when you get out.

Tour complete – now for the critique.

We’re just back from shows in the USA, and we thank you for coming to see us. With Canada earlier in the year, we feel we’ve made a solid attempt at greeting North America in person. The shows were well received (the usual audience photos will follow soon) and in the larger cities the combo of Front 242 and ourselves sold out venues.

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Vincent the rat holds court in NYC

A debrief comes at the end of every tour. The previous visit was exceptional just because it happened at all: we were in the garbage bin for decades, then unexpectedly rescued. This time it had to be special for other reasons, and it was partly so.

GOOD: We were able to perform a wider range of songs from videos completed between 2015 and 2017. Generally the videos are of higher quality – each represents weeks, sometimes months of work. We were constrained by my catching a throat cold in NYC, but were able to patch around this with the greater repertoire.

BAD: But they are the same material drawn from the earlier albums, presented in much the same way as before. Despite our adding all these songs you might have thought the show was the same as the last time. We need to think about the staging of any future appearances. Most of the ‘industrial dance’ bands we align with have stage shows involving costumes, radio microphones, masks and fog. We’re never going to take that up (not being an ‘industrial dance’ band) but the dynamism of the stage needs addressing.

To perform in the USA costs international airfares and the wildly expensive P1 visa process. Carting our bodies across the planet uses up money that could fund a stage show. And that’s maintaining the bare minimum – two people with suitcases, borrowed equipment. Unless our income jumps dramatically, we’re in a bind where the show has reached a production cost limit.

Puppets

Right now we prefer that people look at the video and not at us. We are the puppeteers, and the puppets are the show. But it may be time that the musicians enter the screen, and are visible as part of that virtual space. That way we can be seen to perform on all the weird and wonderful instruments we simulate on computers now, as part of a coherent presentation filling the audience viewpoint.

This has some difficult implications: the video has to be live, in real time on stage. We have to be able to position ourselves in a virtual set, but won’t know the stage beforehand. The process has to be fast, minimal latency. The system has to tolerate human errors.

The advantages are many. Two of the players can be present, others could be remote, recorded or simulated, so that you can have a full band. In some case all the players could be remote – although that leads to “where’s the beef?” problems where the audience needs meat on stage to feel fully satisfied. But that meat could be made in the USA – a local operator not needing airfares or a P1. After all if it works for Gorillaz & Daft Punk why not us?

Remote performance means latency and the risk of drop outs. I feel it can be done through something like Vimeo Live, Stewart is more knowledgeable and has doubts, and we will have to do some experimentation.

Then there’s the aesthetics. What would you see? Would it be based on the static clips? Would the show be one space or a space for each song? How much room is given to the performers? Does that change based on the size of the venue? It really is a rocky business, but I feel we’re at the point where it’s got too comfortable. That’s not our purpose.

Future Proof

Right now there’s a resurgence of interest in all things late 20th century, from film sequels to goth bands. That’s understandable given the uncertainty of a new century, but of course the people of 1917 only pined for La Belle Époque for a while before new culture took hold. I would not bank on aging electronic bands too much longer. Two years from now we cannot just pop back up again with the same old. Even if this project fails, it seems a better bet than expecting everything to stay the same.

It also aligns with Sevcom’s other aspirations in immersive media and therapeutic environment design. Not just a matter of neatness – also a matter of the amount of time we have left.

As always your comments appreciated.