music will find a way…

I may not have had the greatest success in the history of music, and while I am very proud of all that Anything Box has achieved in my life… It never changed my life in the ways that people expect. Anything Box as awesome as it is, cannot part the red sea, enlighten my soul and offer me endless happiness in this life… Music, even when it finds its way out of me and into your hearts, is still only an expression of a life…

Now love, pain, and every second that I’ve been alive on this little blue world? That has changed me, formed me. I guess in retrospect, Anything Box is the observer of this, and Claude S. the reporter…

Today it feels dark, the darkest that it has been in a long time, and it comes on the heals of my greatest of joys… So how does one reconcile these things? I don’t know. A good friend of mine lost her husband a few days back, so what I am facing is petty and pales in comparison. But pain is pain. No one is immune from it…

All I can offer up is a quote from a guy I sat next to on a plane last year…

There is no price high enough for one’s love or dignity…

At least I can hold my head up and say I have both.

everafter

I wrote a song that was inspired by a series of strange unrelated events, and it brought back to mind the way I came to write Carmen. I’ve been writing on and off for a while now, but the songs have seemed half inspired, so I get angry and toss them. Others I wrote to commemorate recent events and although I thought they were good, I just did not feel like recording them…

So I ask myself, ‘Self? What is going on?’ and my answer is that I am far away. I want to write, but somehow I have distanced myself from the act itself, or perhaps I have come to that dreaded writer’s curse: I’ve nothing to say. Could it be? No, I don’t think so. But sometimes what we say is not what we mean, and thus this is the feeling I’ve come to regard as the ‘non-me’.

The non-me will write about everything not related to me, for fear that such things might be too close for comfort. And they are! So much has happened in my life in a span of a year and a half that it is staggering to say the least. So after a bit of non-writing writing, i gave myself a break and let it all go….

And then, just as I was thinking about nothing at at all on the freeway on the way home from Minneapolis this weekend… It just came… A real song, something to be recorded. I say recorded because it is the first that makes me feel that there is more, even if it is simple, even if it tells the world something personal. I had forgotten the feeling… So now?

I have to follow it and see where it leads… :)

But for now, it has made me feel all the emotions that have been building up. So after a really good cup of coffee, I will go and work on it…

Minneapolis Show 2010

And so another weekend show ends. It was, I will admit, a rough one. For starters, this show in Minnesota began as an idea way back in June. I was in Lima, Peru at the time. Admittedly, my mind was not on shows but on the mysteries and beautiful nature of being in love, so at first my thoughts were not on it per say. However, eventually as an artist your mind will invariably switch to the craft, to the fans and your obligations. Who can escape them? So in reality, being in artist in this case has nothing to do with it. It is simply part of being human… Working, loving, creating, accepting… So it went…

So yeah, back in June this offer to play in Minneapolis came through. It was not by any means what we usually do, but it was a chance to see a new city, and it was a risk as well. Are we played there? does anyone know Anything Box in Minneapolis? So many questions. I decided to ask Dania and Paul about it and we all agreed: A new city means inroads to further the Abox road. So we agreed to do it. Then I forgot all about it.

The city proved itself to be everything I could ever want in a city, and thus Minneapolis has become one of my favorite cities. It has individualism to the 9th degree, which explains both Information society and Prince quite nicely now. I understand. It has a culture, something that I have been missing in California as of late. Don’t get me wrong, I love California for what it has, but it definitely needs the kindness and warmth I experienced in Minneapolis…

As for the show, it was a strange mix of elation and pain. I set about playing the entire Peace album, and that is just what we did. The order was changed, otherwise ‘Oblivion’ would get played way too early in the set. However this was not without difficulties, as we would soon discover. The album is almost half moody songs and club tracks. so we could have done all slow songs leading up to the finale, but that would be obvious. I opted for little sets, where 2 slower songs led into the faster ones. How wrong was I? well, how do you go from ‘When We Lie’ to ‘all these Hours’? We did it, and it seemed odd, but we rolled with it. After all, no matter what, we were going to do the whole album.

My favorite was ‘Lady In Waiting’, one because it was the first time we did it in its original form, and second because we had done some technical work to save it in the morning hours after breakfast. We almost had to scratch the version, but in the end it all worked out really well…

On the way home from the airport, I suddenly got an idea for a song and wrote it down… Inspired. I loved Minneapolis. Seriously, I could live there…

Claude

New Year | Studio for 2009 | Album Notes

 

If you have ever wanted to know why albums are so hard to do, and why they take so long, I’ve got a bit of insight. For me, it has always been the pre-production phase that takes the longest. In so far as Anything Box is concerned, this always begins with months of making new sounds and cataloging them. After this comes the task of figuring out how they will be used. I usually make ‘house rules’ for myself to keep me from straying too far from the path I set out. Of course, as the work progresses, the album’s artistic direction will take over and grow its own consciousness. For the new stuff I’ve been working on, I have decided to revisit many paths of the electronic genres with a twist. The new rule is to make stuff on the fly. I want to record as much as possible the sonic ideas that result from simply playing with technology and organically manipulated sounds around the studio. Live singing in the control room is a must. Live sampling is a must. The Laptop will become an instrument, and the main Studio computer the 24 track tape machine. I’ve designed the new setup to be as easy as can be to make things (art) on the fly. However, this is not easy! I’ve got so many toys, you know? I warn you, the next part gets a bit technical… I’m writing this down to make it easier for me… I have to wire this all together this week!

The 2009 Challenges:

The First task is the ability to have all LIVE SOURCES be processed through the Korg KP3 (Laptop Studio, Kaosillator, Drum Machine, Nintendo, Omnichord, Microphones, Radio, CD players) and be recorded back to main Studio Computer. The second task is to monitor incoming signal from my Raven microphone latency-free with playback from Studio Computer. The third is to provide enough input sources for Listen Show. The last one is the easiest and will be solved by the first hurdle. Here we go…

So, all sources will go to the console. That’s easy. The second part of the equation is sending the signals to the KP3. That part is easy, too. They would go out via Aux 1+2 (stereo). In this way, anything coming into the mixer can be processed by the KP3 in varying degrees and then recorded. This solves part of the first task. Now the issue of monitoring and recording this signal… In my case, I would like the KP3 signal to be sent directly to the line inputs of my Tube Preamp, a TL Audio EQ1. This way, I can actually ‘color’ and tone-shape the signal before being recorded. By then sending this signal onto the TC electronic Konnect24D’s (K24D from now on) inputs 1+2, the signal is passed unchanged to a channel on the board. It looks like:

All Sources –> Aux 1+2 –> KP3 –> Monitor* –> EQ1 –> K24D 1+2 –> Console (playback)*

* By not sending this ‘playback’ channel out of Aux 1+2 we avoid a feedback loop. Why? Although the signal is being sent to the KP3 first and the computer second, the ‘playback’ or ‘monitoring’ of the signal is not. It just goes out of the main outs of the console. Just don’t turn up the aux sends on that channel! So, to recap… I hear or play something live that sounds good? Made a great loop between the radio and the Omnichord? I can now process it and record the signal. Cool. That’s the first task completed. Onwards I go…

The second task is to hear ‘playback’ from the Studio Computer and monitor it on the console, and to also monitor the Raven through the EQ1 without latency off the TK24D. Well, anything going to inputs 3+4 on the TK24D goes straight out, so by taking the signal and routing it back to a channel on the console would allow me the luxury of monitoring the Raven (latency-free) onto a channel, while playback tracks are monitored off of outputs 1+2 of the TK24D. This would look like this:

Raven –> EQ1 –> TK24D 3+4 –> Console (‘playback’ from TK24D is present from outputs 1+2) **

** Since playback is coming from outputs 1+2 of the TK24D, this leaves 3+4 free to pass the signal onto a channel on the console. I now have two signals, playback and microphone. So I can set playback levels as I like without compromising the signal that the computer is recording, and I can sing live! All that I need to remember about this setup is that we are recording “Input 3” in Nuendo. This setup of course works perfectly in Ableton Live since I plan to use it as a ‘sampler’ as well as a DAW (Digital Audio Workstation).

So that’s all for now, insofar wiring is concerned. The console, an Allen & Heath Zed14, arrives next week, as does my Kaosillator. As far as The Listen Show goes, everything is treated as sources just as they were before, with the added ease of playing the music from my Laptop instead of having to burn and CDs. More room for guests, too.

– Claude

 

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New Studio for new album..?

Because of the season, it has been a bit difficult to finish the studio, but it is almost ready. I began a rig, tore it down, and started again in an effort to make the studio a good place to work.

I hate the fact that everything seems to take longer than it needs to, and all I can say is… ARRRRRRRRRR.

Today I worked on the microphone I will be recording my vocals with. Oh, I didn’t tell you? I’m going to sing the next album live in the studio. The idea is to avoid the vocal booth and sing as though it were live, with the speakers blaring. This is also part of my new methods of recording.

I tried about 25 different mics for this approach, and so far the one that won my heart was the ElectroVoice 767A. I have gutted it and will be wiring the capsule within the body of a steel 1950′s EV radio microphone that I’ll be using. This way, it will look pretty in videos… Silly I know. But it is fun and the vibe is good for me…

I finished a new theremin, and I am on the hunt for a few tidbits, then I will reveal the next laboratory in pictures and video. Speaking of pictures and video, we are taking some new bands shots this Sunday. It looks like it will be lots of fun.

Circuit bending a shortwave radio is next…

 

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New Album? | New Toys

 

So I have almost wrapped up my new rig, which is a hybrid synthesizer set-up that I intend to use on the new album. My old friends, namely the ESQ are back as I wrote in a previous post, and since then I’ve found a few worthy additions to my software instrument setup. But recently, I also acquired another VSS-30, which is my favorite sampler in the world. Additionally, I have been using my Nintendo DS more and more. Add to the mix my Kaos Pad (KP3), and you have the makings of a cool rig.

But of course, I didn’t stop there. I recently bought the Omnichord, which is really warm, and an MFB Synth II (100% analog synth). My Gakken and optical theremin (self-made) of course rounds it all out.

Last night I made some videos to show how I turned these things into a working writing rig. And it is pretty cool. Lots of flashing lights and video synthesis. I will post these. The new studio looks like a crazy lab, so I think I’m going rename it… Something but I don’t know what just yet.

With this, I am hoping to finish up two things which stand in the way of progress. The first is Volume One, which we hope to wrap up soon, and the other is Sharewear, which will have most of the material from the first two and some surprises for all.

The artwork will feature a sketch by Werner Von Braun that has not been seen in public since 1952. But that’s another story for another day as this unfolds…

– Claude

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A New Arsenal | Analog vs Digital… Again…

During the California show on Saturday, some people noticed parts of my new rig, which was totally intentional of course. Some people asked me questions outside, and some were simply perplexed, so I thought I would shed a light on a few things…

A few days before the show, I got an Omnichord, which I won in an auction on EBay.

I was not planning on using it just days before a show, but when Paul and I worked out Lady In Waiting using it, the Kaos Pad 3 as a drum machine, and his guitar… Well. It was magic. And so we sprung it on the audience on Saturday with only one rehearsal between us. I loved it. But! Just because I strapped it on… don’t fucking call it a Keytar. It’s not a fucking Keytar. I don’t like keytars. I even despise the word Keytar. It is an analog device, not a controller. IHFK <— guess what that stands for? :0

Also in the mix was my Nintendo DS, which saw lots of use that night as both an atmospheric sound affecter and for some pads during I Felt the Pain and Soul On Fire. Somebody’s voice came through the crowd, asking… “Oh my God… Is that a Nintendo DS up there?” Yep. It was. Mine is the red and black, but here’s a pic of the black one…

The idea of having this little thing do what it does through my Kaos Pad was like getting my first analog synthesizer. I LOVE this THING. I plan on using more than one in the future. I’m almost certain of it.

The device I did not get to use was my Gakken, which is a little analog synthesizer that I got with a magazine out of Japan. That little guy is sick, and I planned on using it during Jubilation, but somehow it went on being muted (or I did not hear it in my monitors), which was rather bunk, but it happens. I had it hooked up to the Kaos Pad and it was going to do a theremin solo thing. :( 

 

Yeah, that’s the one. I love it, but it’s not really what I should have on stage with me. So I got this little monster instead for next time… Just out, too! Dave Smith’s Mopho kiddies! 100% Analog!

Now I’m going to make some additional noise… Ooh. Ah… But seriously. I am. This is a dream come true. It’s small, it’s phat, it’s small. Four Oscillators… “All you need is Love…”

If my other instrument would only work, I would be in heaven, but I haven’t given up on it. I don’t accept failure. It’s simply too cool. I made a FLASH BASED sampler, and it is amazing in every way… Except I hate controlling it from a mouse. I tried to do it with a wireless tablet, and it worked, but the response was too slow for my taste. I need to send MIDI to FLASH, and guess what… It is not part of FLASH! Which is a shame. I won’t give up on this though. The computer is part of what I do, so this seems like a logical step. Oh, BTW, I did play some graphic synth stuff via MIDI on Saturday, and that worked amazingly well. If I incorporate the visuals with Mopho I might have something really too cool for words. But I digress. I will put it up on our site soon so that anyone can play it. This was my dream… Sigh.

The other question I was asked was my preference… Surprise… Analog vs Digital. I don’t like that question, because in answering it I appear to give one more props than the other. But I guess this is inevitable, isn’t it? So here’s my view, the final and definitive manifest of what is what…

I love analog. I love digital. They are similar, they are different. They are like twins, only different. I love both. Each has a weakness the other exploits. Each has a strength the other employs. OK?

So don’t make me decide. I won’t. I love both. Forever.

– Claude

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Anything Box in SOCAL! | 9.27.2008 | Detroit Bar

Yes, it’s on a Saturday, which is a great thing. The next day you can sleep in, cause after all that partying and and dancing… Well, you know how it gets. I’m not sure exactly why I’m posting this in my blog, but I’m excited. We’re playing CA, and we just got home from rehearsal, which was great! I have a feeling that this show is going to be memorable. We are very grateful to our FANS, Indie 103.1, Meanstreet, Detroit Bar, and Jonesy’s Jukebox for making us want to rock our backyard with our electronic little beats. Seriously. It’s about time, no? Aw shucks… :)

Feel free to copy this post and spread the word, cause here we come!

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Endpop TV | Videos

I have somewhat abandoned the idea of doing the movie. The time simply cannot be made, and as a result, the fans are losing out on really cool stuff. So I made a decision to stop while I’m ahead… Or behind, or whatever. So the long form film, Fan Tapes & Time Travel is on hiatus.

The good news is that now I can focus more free time to simply edit single songs and post them more frequently. I set aside most of my days to writing new songs, which is important, you know? So by eliminating a huge source of stress such as this is highly welcome. I can actually breathe!

As of right now, there are about 6 songs ready for posting, and more on the way. It’s actually been more fun to do since the pressure is off. The idea is to make Endpop TV more fun to watch. You can flip through the videos you don’t like, and watch your favorites as much as you want. They will still be on our Podcast page and YouTube as well, so it should actually help us out a little. We’ll see…

Why Loneliness sucks.

I was prepping the show stuff last night and getting my gear list together. I realized I was going to have to wait for the computer to finish doing some digital transfers. Two hours. It was midnight. Sigh. What to do in the meantime? Read something.

I picked up this book, ‘Women Of The Surrealist Movement’ and was rewarded by tales of displaced dreams and talents. The whole thing made me nostalgic and quite melancholy, which is the perfect recipe for a meltdown. When you decide to pick up an old diary or scrapbook that is better left un-opened, the whole thing becomes a lesson onto itself. And of course, that’s exactly what I did. Should have left it on the shelf. The feelings it produced were about the same as the ones you would get from watching someone sticking needles in a voodoo doll across the room from you. And the whole thing turns out to be real. That bad.

I cringed as I read terrible poetry which basically held a candle up to sadness and semi-formed delusions. I began wondering at how I could have transformed a perfectly good book into such a disaster. I considered ripping the pages out and making an example of them, but instead I went with it. What I found became a bit interesting after a while. I could see how my thoughts began to change over time, and the poetry gave way to a simple understanding. But it still had an effect very similar to the one you get when you realize something awful has happened and you have to react, but somehow you are unsure as to how that is to happen. I was numb.

And thus my conclusion is that this language that I have cultivated for myself in the form of art is such a lonely weight. While I endeavor to translate it and teach others the use of it, I am confounded by the way reality changes all around me. So in the end, alone again. And this piece of glass is no help at all. I mean, how can I hope to get some meaning out of this when it seems I am typing into a void. Or worse, a myriad of glass boxes which serve as mirrors of the cold stark reality that is life in 2008. Boxes. Not people. No parties.

This is why it was worse when the CD I was transferring failed. I had to wait all over again. What to do? Hey, what’s that? Oh, I remember that journal… Let’s see now… So it goes.

– Claude