Each event produces only one continuous instanciation/interpretation of the composition Dreamz even if an event/concert is braking down the unique composition into many successive parts/sets or if it overlays variously different sonic planes all at once; superimposedly, parallely, sequencially or, even, in any other way.
Again, every Ynstance (live performance/interpretation) of the composition Dreamz performed by the Dream Group is to be considered as one unique creation yeilding the performance itself as well as one or more audio CDs that will be edited and processed according to the method outlined in the RECORDINGS section of this paper.
Every Ynstances, and correlated CDs, are to be tittled after the unanimously agreed upon extension found by Krrl and Vincenti right after the performance has been given.
The extension simply attaches itself to the always self-similar Dream header such as: Dream Sky or Dream Of Shiva or Dream Frequency, etc. The extension may be composed of as many words as desired.
TIME
For any Ynstances, THEORY
Each member of the Dream Group represents/effectivates/sonifies and is an independent Unyverse in itself ¹.
THEORY REFERENCES : INSTRUMENTATION
KRRL
INSTRUMENTATION NOTES : REHEARSALS
Generally, essentially, but not exclusively, both Krrl & Vincenti
³ :Further focalizations, whether structural, formal or even material, SPATIAL DYNAMICS
We can place ourselves anywhere within the venue's espace
(( not necessarily side by side on a stage, but then again, we may ! ))
When two P.A.s are available,
house P.A + Krrl's P.A. say,
Krrl would do his sound with his P.A. and Vincenti would use the house P.A..******
THE MAIN IDEA BEING TO CREATE AS COMPLEX AND RICH
AN ELECTRO-ACOUSTICAL ENVIRONMENT AS POSSIBLE
WHERE EVEN THE SOUND PERCEPTION BEING VERY DIFFERENT AS ONE MOVES THROUGH THE ROOM :
RESULTING IN AREAS WHERE VINCENTI OUTPUT IS WHAT ONE MOSTLY EARS
AND OTHER AREAS WHERE KRRL'S SOUND IS PREDOMINANT
AND OF COURSE THE MAIN ZONE WHERE BOTH OF OUR SOUND IS FULLY BALANCED.
[All of this in contradistiction of a typical stereo P.A.]
THE SPATIAL DYNAMIC SHOULD BE AS EXPLOITED AS POSSIBLE
AND
SOMETIMES A HOUSE P.A. IS MONOPHONIC;
MONO IS POWERFUL.
WE THEN MIGHT WANT (OR NOT) TO COMPLEMENT IT WITH A RENTED STEREO P.A. ...
[where Vincenti might use the rented stereo P.A. while Krrl would use the mono house P.A.]
IF FACT, ANY SOUND REINFORCEMENT,
LOUD OR SUBTLE,
WILL BE UTILIZED SO AS TO FURTHER COMPLEXIFY AND ENRICH
THE SPATIAL DYNAMICS OF
THE DREAM GROUP EXPERIENCE
[similarily to the use of multiple speakers in so-called Electro-Acoustic music
although certainly less serious !]
****** : The essential factor here is that sound reinforcement shall be equally distributed between the both of us SCORE RECORDINGS Mastering: Vincent Cardinal THE END
In theory, in fact & in truth
NOTA BENE: This conceptual composition has been created as an anwser to the verbal request made by Vincenti with regard to our eventual musical collaboration. Seeing that I am working since many years on Real Time Creation In Music, that Vincenti has been proving himself to me at many reprises as a highly skilled and devoted computer sound engineer and that he has expressed to me his predominant passion for sound design, it became clear to me and has been channeled through me to compose this score for us.
******* : Reference to this possibly controversial last sentence APPENDIX
For
a comprehensive For
viewing Use this
map to access the various RealTime
Composition In Music: THE
SUCCESS OF THE PERFORMANCE/CONCERT IS HIGHLY DEPENDENT UPON THE AUDIENCE'S
QUALITY OF CONSCIOUSNESS AS WELL AS ON HOW RESPECTFULLY & GRACEFULLY
THE ARTIST IS BEING RECEIVED BY THE VENUE'S STAFF
Following are a few audio segments Extracts
from GODVOX Extracts
from XZAYA & BREATHE AFRIKA Extracts
from YNFYNYTT ARMONYX SEKANSS Extracts
from HYMALAYA LUMYNA Absolutly unprocessed extract
from NEPAL To
save these musical extracts on your hard disk, right click on
the blue rectangle corresponding to the extract of your choice
and select Save Target As from the drop-down menu. Then
choose your prefered hard drive location for direct extracts access and manipulations. To hear or download To
hear other extracts XZNN2004
XZNN AUDIO ARCHITECTURAL WORLDZ
XZNN
© Carl William Burton Poirier
Δt = [ 7 min, 7 days ]
... bEWARE tHAT tIME
mAY aPPEAR tO eXPAND
oR cONTRACT
all aLONG tHE DREAMZ pERFORMANCES ...
Unyverse which undergoes, undertakes and is engaged in a perpetual process of progressive evolution:
as life itselt, the twin Unyversez are in everlasting creation.
Both Unyversez quite often come into periodical [perfect] HARMONIOUS SYNCHRONICITY:
achieving complete interdependence and full co-ordination:
... thus temporarily eventuating glimsical windows looking out
onto
The Central Isle Of Paradise ...
i.e.: WE CONCOMITENTLY ALLOW OUR INDEPENDENT SONIC
MANIPULATIONS
TO FREELY COEXIST & INTERWEAVE ²
:: YOU DO YER THANG, I DO MY THANG, OK?
i.e.: BASICLY, THE BOTH OF US ARE WORKING
FROM AND ON THE SAME SOURCE MATERIAL
(a.k.a.: Krrl's voice or, at another performance, Krrl's guitar or,
at another performance, krrl's root(s) :
Vincenti only treating one of
Krrl's instruments in any given event)
IN OUR OWN INDEPENDENT WAYS
(typically & essentially Krrl is playing his instruments
and
Vincenti is trans-evolving & super-over-generationalizing, in real time,
one of Krrl's instrument)
WHILE WE QUITE OFTEN FORCE OURSELVES
TO COME TOGETHER:
ATTAINING FULL COMPREHENSIVE FUSION
EXTRAPOLATION
Eventually, the state n of how the Dreamz composition will have evolved into
will be presented as a complex outdoors sonic installation.
It will represent, through whatever means deemed necessary at that time by its original performers,
the Dream SuperUnyverse made up of all the pre-existent Dreamz Ynstanciations
(provided that at least partial recordings of previous Dream performances will have been made)
according to this flexible yet qualified equation;
Dream SuperUnyverse = (multidimentional) å Dreamz
¹ : SURROUNDINGS NAL.1 directly created on a four-track recorder Tascam 34 in 1989
at Offbox Studios on D'Auteuil street in Quebec City and represented in the 2 cassettes package
AX & BOLD and CALLS & DATA provided with the comprehensive liner notes.
The original recording was made one track at a time while the last three tracks
were done without listening to what was previously recorded on the others !
The two electric guitar tracks of LOVE HELL from War Joy War
had been done in the same way (1992-93).
² : As in the original series of outdoor NOW & LANDSCAPES 1991 events;
real time processing of real time performance. Dream is to be working along similar methodical lines
as TheOrb's early 90s: unsync beats superimpositioning innovations.
Further references may be pointing at multidiciplinary image artist Douglas Gordon, New York Times, Febuary 20th, 2004.
Real Time Composition
Electric Guitar : Mescalito Wyngz *
Vocals
Potentially WoHaKaTeMaSy Tree Roots
Bold & Calls theoretical parts
Applied Love
VINCENTI
Real Time Sound Design & Redesign Ov Real Time Wave **
Computers & Outboard Gear
Occasional/Rare Prefabricated Sound Objects ***
Potentially Electric Bass
Ax & Data theoretical parts
Applied Physics
In Dreamz' Ynstances where Krrl would not provide for the processing of his voice,
Vincenti will first stabilize a rich basic design for it then proceed with the sound redesign
of the previously communly agreed upon instrument to be ongoinly treated
DREAM
(as a whole)
Real Time Creation In Music, RTCIM ****
Onkontrollable Mashyngz *****
Applied Reality
* : [[[Mescalito Wyngz + SM57 + 2120 (with Control One)((only program excellent basic 2120 patches especially for Mescalito Wyngz fixed by Al Gunn or Pierre Laporte)) directly stereoed into killer sound card + laptop Xxaya for which Nuendo2 is only programmed live in real time as you really wanna do ideally since years: now, in Dream, yiz the Tyme]]]
** : Vincenti exclusively MODIFIES / LOOPS / EXTENDS / SAMPLES / TRANSFIGURES/
OVER, UNDER & SUPER DESIGNS [in real time] only one (per Dreamz/event)
of the following sources mutually agreed upon prior to the perfrmance :
Krrl's live guitar or Krrl's live root(s) or Krrl's live vox.
And the precise level of the extraction point within Krrl's Kfriendz audio signal pathes is also,
prior to the performance, mutually agreed upon according to what our strategy will be for that particular evening.
Typically, but not exclusively, this extraction point will be Krrl's MONA balanced outputs
3/4 (main wet stereo guitar or roots signal) or 5/6 (main wet stereo vox)
so as to provide Vincenti with an already "toned" and basically processed source.
All this could more simply be called Real Time Sound Redesign, RTSR.
ALSO, MIDI derived sequences (such as from VST Instruments) that are fabricated during the ongoing live performance
and that are presented / utilized therein are fully authorized and definietly considered as being Real Time Sound Design compliant.
*** : Prefabricated Sound Objects include prerecorded samples of non-ongoing-live-performance provenance
as well as prefabricated .wav files and even prefab MIDI segments (long and short, mono or poly) = VERY OCCASIONALLY & RARE
Although, Vincenti, and Krrl, can, at all times, do whatever they feel is best
for the Dreamz to expand and more freely unfold into higher & finer Realities,
always make every efforts possible to remain within the procedural realms of RTCIM (Real Time Creation In Music)
: : exhaust all possible ongoing real time means of sound production and manipulation
so as to stay within the RTCIM field of application
before even thinking of utilizing any prefab Sound Objects : ain't no IKEA here dudes !
3 to 5 Sound Objects prefabricated Basic Grooves shall be firstly created.
They will be used, during live performances, at will whenever our "realtime creative energy" will ask for a relative rest: those beats should be very appealing
to our audience, contrasting very possibly with our more experimental RTCIM efforts.
Undisturbed temporary allowance to amazing computer generated queues(tails) to unfold and evolve,
relative silences as in the space of the cosmic universes and short rests from intense RTSR activity
are all highly prioritized over any usage of prefabricated Sound Objects; full focus shall be directed towards the Real Time Sound Design & Redesign Ov Real Time Waves.
This is an interesting quote taken from Rob Brezsny's Free Will Astrology, March 4-10, 2004, that can well portray this attitude towards the economy of RTSD :
Many people have come to feel that nature [ the underlying Soundscape Of Silence which embeds and from which emerge all Sounds ] is boring, notes educator Thomas Poplawski. Writing in Renewal magazine,
he fingers TV's hyperactive imagery [ computer sound design technologies ] as the cause. In becoming addicted to this alternative reality, the mass audience [ sound designer ]
has become numb to the more slowpaced entertainment value of trees [ peaceful sonical living interactions ] and mountains [ relative musical silences ] and streams [ sounds' queues and freeflowing extensions ] and clouds [ music's emotional quiet calmness ].
Have you been contaminated? Has your capacity for patient observation and reverent objectivity been damaged?
If so, this is a perfect astrological moment [ project ] to seek the cure. I urge you to wander out into the wild places
and stay there until you see how interesting they are.
**** : If deemed necessary or further research is to be undertaken by The Dream Group,
then the theoretical body of work Real Time Creation In Music may be investigated
and variously applied to the Dreamz adventure. CARRR MTTV, RTCEEP, RTCAP, etc.
***** : The Onkontrollable Mashyngz One Morning Open Minds reference design project
may also, in time, be studied for potential implication / continuation within the Dream project.
PREPARE & REHEARSE & CONCEIVE & COMPOSE
their unique algorythmical
TECHNIQUES, METHODS, PROCESSES & PROCEDURES
on their own, seperately, independently ³.
(See APPENDIX below for rehearsal working material)
Then
COME TOGETHER LIVE
SO AS TO MANIFEST
ON THE MINDAL & SPIRITUAL LEVELS,
DREAM,
IN FULL AND REPLETE PHYSICAL MANIFESTATION
shall eventuate from Krrl and Vincenti's common live real time efforts
at strongly manifesting a clear emphasis of the experimental and experiential planes.
.
sUBTLE oR sOFT dREAMZ mAY bE pERFORMED iN aRT gALLERIES aND pRIVATE mANSIONS aND lOFTS
wHERE vincenti may bRING hIS mONITORS
{used at safe levels where we balance the amplified sound with the acoustic levels of the voice and of the acoustic guitar}
aND wHERE krrl might bRING hIS aCOUSTIC gUITAR
{maybe without his own gear so only Vincenti processes the sound of then voice + guitar}
although in the less possible uniform way: i.e: we will usually privilege having differential of P.A. colouring
but always keeping an overall relative equalized dynamical diffusion.
[[[ 2XB52s & (8X10" + JBL(SWR fxbibass amp/preamp))
for Trinity Inspired Living Spiritual SunSnakeSound ]]]
DREAMZPEACEPEACEΔt circa [ 7 min, 7 days ]
OCCULTATIO
(AFTER REPLETE SOUNDCHECK}
... AND WE START TO PLAY INDEPENDENTLY
WITHOUT REALLY LISTENNING TO EACH OTHER
AS IS DONE IN AUTHENTIC TRADITIONAL INDIAN MUSIC
B4 ANYONE STARTS TO REALLY PERFORM THE RAGAS
ﺵ ALL P.A.s MASTER VOLUME LEVELS @ 50% OF ONGOING PERFORMANCE
EVENTUAL MAXIMUM CLIMAX INTENSITY (calculated during soundcheck)
DREAMZ
( ULTIMATELY, BOTH MUSICIANS FOLLOW INTENSELY THEIR INNER GUIDANCE 
)
FIRST WE START BY TAKING ALL THE TIME WE NEED
TO PERFECTLY TUNE/SET OUR INSTRUMENTS, COMPUTERS & OUTBOARD GEAR
[WHICH I CALL KFREINDZ]
AS IN ORIGINALLY CREATED/RECORDED/CONCEIVED SURROUNDINGS NAL.1 ¹
( IF VINCENTI IS READY TO START BEFORE KRRL HAS STARTED TO PLAY AN INSTRUMENT OR TO SING,
VINCENTI THEN STARTS TO SUPER REDESIGN WHICHEVER RESIDUAL (BACKGROUND) NOISE
THERE IS PRESENT IN THE STEREO (OR ELSE) FEED COMING FROM KRRL'S KFREINDZ )
ALTHOUGH
AND IN CONSTANT VUE OF AND COMPLIANCE TO
THE PHILOSOPHIES OUTLINED WITHIN LOGIC AND THEORY
WE QUITE OFTEN COME INTO PERIODICAL
SUPERSYNCHRONICITY
OPPERTURA
(SO AS TO CLEARLY MARK THE ENDING OF & FULLY CONCATENATE THE DREAM EXPERIENCE)
SCORE ENDS
ON KRRL'S COMMAND
BY VINCENTI'S PERFORMANCE OF HIS OWN
EXCLUSIVELY PREFABRICATED SOUND OBJECT(S)
HAVING A TOTAL LENGTH OF
] 0sec, 11sec] :
Extro IDentification = MicroMontageedit OF subitofff/subitofinis POTENCY
Although Unrecordable music
...and mac related papers
Unrecordable music that may be recorded in Vincenti's computer mixing his own stereo mix along with Krrl's main stereo output from his board
or
both providing their own self produced stereo mixes recorded on their own computers and to be corelated at a later time
or simply allow fine people to put us onto cd !
Live & Recording Art Director: Carl WB Poirier
Live & Recording Mastering Producer: Vincent Cardinal
Krrl & Vincenti
shall extensively
reveal themselves
as replete musicians
through
DREAM
... for
DREAM DREAMZ
DREAMZ brings directly and boldly to the forefront our respective striveful endeavors so as they become the essential focus of the live performances & appearances we are to offer to the community in which we live.
I've experienced Vincenti sweating over Xaya, my computer, a couple of times, similarily to a guy digging a deep ditch underground, and I most certainly then envisioned Vince's capacities to work on real time material, live on the stage, as would a true musician and as would a real dj. But, really, it is a hypertweakin geek sweatin while playing his computer that we will see. This is what I've been looking for since 1980 and only at two brief occasions I came close to effectivate a lasting collaboration!
Whatever techniques or methods can be done in the studio can be done live on stage, and, people will delight in it; that's one of the reasons why I wrote the score DREAM.
I've been feeling that it would be a nice present to offer audiences, and a superior challenge for Vince, the spectacle of a geek really courageously rockin as he tweaks, manipulates & samples real time material, and I am sure I'm not the only one who'll enjoy it.
Who knows, this might represent an opportunity that is part of one of Vince's holy calling and sacred cause ...*******
is to be found in The Passion Of The Christ
of Mel Gibson and in The Urantia Book
Possible Dream logo sketch ...
listing of DATES
already booked
as well as shows
already performed:
the virtual PromoPack
of The DREAM Group:
DREAM Production Models
that are to be updated
from time to time by Krrl and Vincenti
through ftp access
as new valuable ideas
come up through our minds:
of Vox, Guitar and Percussive Roots
(in mp3 format, oups!)
that can be used by Vincenti in lieu of
Krrl's emulative live stereo feeds
for RTSD studio experimentations :
Possible VOCAL as typical micro compositional elements
Possible ROOT as typical micro compositional elements
Possible GUITAR as typical micro compositional elements
Possible GUITAR / VOCAL / BEATBOX as typical micro compositional elements
Dry Guitar as typical micro compositional elements
(in wav format)
equivalating to an acoustic guitar's pickup directly
pluged into a computer's outboard soundcard
full length Songs
or the complete XZNN OLO cd,
go to Audio:
of earlier material,
through the Graphical Interface, explore:
© Carl William Burton Poirier
CARL WILLIAM BURTON POIRIER since 1979 / SONORASOUNDZ