Wednesday, April 15, 2009

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Tuesday, April 7, 2009

the definition of definition

What is the definition of definition? I believe the answer lies within the question. If someone ever comes up to me and asks me what the word "definition" means, I would answer by saying: "you mean what is the definition of definition" and I would leave it at that. From that response I think that they should be able to figure it out. Or if by some chance someone came up to me and asked me to "define the word 'definition'", I would say "you just did it for me" and walk away. Like I said, the answer lies within the question. It is almost like a riddle, but not. The only problem though is that everybody already knows what the word definition means, except maybe foreigners and small children. So I may never really get a chance to say "the definition of definition" to anyone. I think if I said that to a small child they would just get more confused, and the chances of a foreigner walking up to me and asking what the word "definition" means are small. Unless maybe I taught an English class in another country, that would be the only way I could really see it happening.

Friday, February 27, 2009

The Transition Album

Don't you hate it when a band you really like changes they're sound and starts writing songs that are completely different from the ones that got you into that band in the first place? This is something that happens to lots of bands in some way or another. They're musical tastes start to drift, or they get tired of writing the same type of stuff, or just simply due to the pressure from they're label or distributors, they're music starts to transform into something else. From what I have noticed, it happens more often than not. It is not always a bad thing when bands evolve, in some cases they're sound and style improves as a result of the musicians expanding themselves and experimenting. Also, on the flip-side it can get pretty boring when a band becomes predictable and every album they release sounds just like the one they released before it. (Of course a lot of it depends on taste and each listeners musical preference, I might like a band so much that I don't mind if all they're albums have the same sound if I just can't get enough of it.) Ideally thou, I think a band should have a certain sound that is uniquely theirs and then build off of that. Any time a band starts making drastic changes, or when they play it safe and stick to the exact same formula every time, it always falls through the cracks in my opinion.

One of the main things that I have noticed about bands that change they're sound is that there is almost always a "transition album", as I like to call it. This is the album where you can tell they are starting to go a different direction, but for the most part they are still recognizably the same band. Take Metallica for instance. If you listen to Ride The Lightning, or Master of Puppets and compare it to, say, Load or (god forbid) St. Anger, you may wonder what the hell happened. I know I do. But take a look a Metallica's discography and it will make a little more sense. You have the early albums, when Metallica were young, pissed off teenagers with loads of talent creating aggressive, fast, heavy music. And then on the other hand you have what Metallica are today, older, still talented but much less vigorous dudes with families who are more likely to spend they're weekends barbecuing in the backyard than rocking out in the garage. So it makes sense that they're music isn't what it was 20 years ago, but when did these changes start taking place? What was they're "transition album"? My answer would have to be the album "...And Justice For All". On that album you could still sense the youthful spirit of the first few albums, but you could also tell that they were starting to slow down a bit, taking they're music down a different road. They were still playing music that was heavy, but now it wasn't quite as raw and aggressive as they're earlier material. And then when "The Black Album" came out, you knew that the old Metallica was gone. James Hetfield had adopted a new style of singing, and Kirk Hammett was starting to ease up on the blistering guitar solos and lightning fast riffs. The guitar work was more groove-oriented, and the songs overall were a bit more straightforward. Im not saying the black album was bad, on the contrary. But it was the first album where Metallica had completely abandoned they're roots in bay area thrash, and started down the path that led them to where they are today.

The reason I felt like writing about this is because I recently listened to the new Edguy album "Tinnitus Sanctus"and was completely disgusted with it. How did a band that used to write awesome songs like "Tears of a Mandrake" and "Theater of Salvation" go to writing songs like "Aren't You a Little Pervert Too?". Its because Tobias Sammet (Edguy's songwriter and vocalist) got tired of writing power metal songs and decided he would rather play hard rock/metal songs that were full of sexual innuendos and stupid humor. And while I can't blame him for following his passion and doing what he wanted to do regardless of how many people it would disappoint, I can't help but be disappointed myself, knowing that he will probably never write another song like "The Unbeliever" or "Painting on the Wall".

So what happened with Edguy? The same thing that happened with Metallica, and millions of other bands. They're sound started to shift when they released they're "transition album" (In Edguy's case it was the album "Hellfire Club) and from that point on they gradually slipped further and further from they're roots until they became the Edguy that they are today. And although I will probably never buy another Edguy album for as long as I live, I will always listen when they release new material, hoping to catch a glimpse of the sound that I grew so attached to.

I could go on and on naming bands who I used to love and can't stand anymore, naming the transition album for each of them. Just to name a few; For Children of Bodom it was "Hate Crew Deathroll", for Sonata Arctica it was "Unia" (I know they haven't released any new material since "Unia" as of this point, but mark my words when they do it will no longer be the same Sonata Arctica, I am positive that "Unia was they're transition album), for Sepultura it was "Chaos AD", for Enslaved it was "Mardraum", I could keep on going, seriously but right now it is late so I won't.

I guess what I am trying to say is that a good band should have an underlying style that is uniquely theirs, and keep they're music interesting by adding new elements and creatively expanding on top of it. Otherwise keeping the same formula gets boring, and conversely completely changing your sound makes you a different band, so you should probably just change your band's name if your going to write completely different music. (take a cue from Ihsahn from Emperor).

Anyway thats about it for now. I'll probably write more about this type of stuff later.


Friday, January 16, 2009

The Loudness Wars

There is a horrible thing happening right now in the world of audio production, and this is the overuse of compression. This has actually been going on for sometime, it all probably started when some dumb chuck decided that he would make his music stand out on the radio by making it louder than the other music, or some advertiser decided to raise the audio levels to draw attention to his ads. If you have ever been at home watching TV and suddenly been blasted out of your seat by some commercial that comes blaring out of your speakers louder than holy hell then you know what I am talking about. This is an annoying marketing scheme that was designed to get the attention of the consumers, and the most irritating part about it is that it works. Products are generally more sucessful on the market when they are backed by loud advertisments, and people are more likely to pay more attention to the louder radio stations. Its not they're fault, its a sort of subconsious thing. People don't consiously think "Oh I wanna listen to this because its louder" they are just naturally more drawn to it, like flies being drawn to bright lights. Music that is louder seems to sound better, and commercials that are louder just seem to be more interesting. Audio producers know this, which is why they try to make they're work louder than everyone else. Thus the loudness wars.

There is a big problem with making audio so loud, however. When you raise the levels on an audio wavefile too high, you cause the peaks (the loudest sounds) to clip, which results in distortion and very unpleasant sounding audio. The solution to this proplem is compression. Compressing a wavefile is like squishing it, you are making it so the peaks can't go too far above a certain threshold thus eliminating clipping and allowing you to raise the levels and make the overall wavefile louder than it was before without it distorting. The problem with this is you are stripping away the dynamic range of the waveform when you compress the peaks. A lot of the sounds character lives inside those peaks, and when you compress them down you are reducing the unique tones that the peaks provide. This is why overcompression is such a bad thing, it really takes away from the overall sound quality. However, sound quality seems to be becoming less of a priority than sound volume, and these days lots of audio producers are compressing the crap out of they're audio just to make it louder.

What irritates me the most about all this is that if I wan't whatever Im listening to to be louder all I have to do is turn up the volume on my stereo. But compression is irreversable, if something is too compressed I can't un-compress it (unless of course I have the orignal project file). Thats why the loudness wars seem so idiotic to me. For commercials and advertising it is more understandable, but why people make they're music sound like shit by compressing it to death just so they can make it loud just seems like sheer stupidity to me. If its not loud enough, TURN UP THE VOLUME ON YOUR STEREO!! Don't compress it and then make it louder, your are ruining the sound quality! A good example of overcompression is Metallica's new album Death Magnetic. Rick Rubin (Metallica's producer) compressed those songs like his life depended on it, and when the Mastering Engineer recieved the tracks they were brick walled. The Mastering Engineer (I forget his name) even said he didn't want to be associated with this album because of how bad the compression is. I'd really like to know how the guys of Metallica feel about the way they're album was produced. Ever time I read a Metallica interview its always Lars (Metallica's drummer) who talks about the issues of compression regarding the album, and I really don't care what Lars has to say because he's an idiot. Lars of course is a big advocate of the album's production, saying stupid shit like "Of course its loud, its a Metallica album!" But again loudness is not the issue, if I want it to be louder I'll just turn up my stereo. Its the overcompression that is the problem. I would really want to hear what Kirk Hammet (Metallica's guitarist) has to say about it, he seems to me like the guy in the band with a reasonable amount of intellegence. But of course, its always stupid Lars in the interviews.

Not all bands however are succumbing to the methods of overcompression. I've noticed its mainly the more mainstream groups that get it the worst, probably due to pressure from the record labels and such. Bands like Iced Earth have taken a strong stand against compression, in they're single "I walk amoung you" they state in the linear notes: ''This is a dynamic metal record! Play it loud!!! (We refuse to ruin our production by compressing the hell out of it so that it’s mastered at ridiculous volumes! That kills the vibe and dynamics of the mix. Just turn it up on your stereo!)”

I have to stress that compression is by no means a bad thing, it is a very powerful and useful tool that when used effectively can yield great results. But as I always say, everything in moderation. Too much of a good thing can sometimes become bad, and compression is no exception.

Sunday, January 11, 2009

Tales of the LG Trickster Part I: A Late Night in Los Gatos

Nobody can lie to the police like my brotha can. When it comes to weaseling his way out of a situation with the cops, the skills of Edward Tallman are unrivaled and in my opinion should be considered legendary. Countless times I have been amazed by the things that come out of his mouth when the police are upon us, and my shock only multiplies when these fictitious accounts he creates actually get us out of trouble. I have many memories of such times, which is why I am beginning a series in this blog called the "Tales of the LG Trickster" to create a first person narrative of my memories of these events. Every time the headlights of a police car intercept our path, or a man in a blue uniform steps out from the shadows and there is no chance of escape, I always feel a sense of relief knowing that Eddie the storytelling master is there.

This particular story takes place during my freshman year of high school. This was the year I met Eddie, and began a friendship that would yield years of irreplaceable memories and unforgettable times. I still remember the first time I witnessed Eddie's ability to deceive an entire audience, only this particular instance wasn't with the police but with a group of skaters who were hanging around outside the front of Branham after school. I stood there in disbelief as he explained to the whole group that he was going to be featured in an upcoming Transworld Skateboarding magazine doing a kickflip nosemanual 180 out at Monroe. Although this was a blatant lie, what amazed me was that nobody even questioned it, everybody just kind of stood there slightly dumbfounded. I didn't understand this at the time, but what I was witnessing at that moment was a rare skill that would save me from the clutches of the law more times than I could imagine, and would keep me safe from many unpleasant conversations with my parents. As the years passed, I grew more and more fearless when engaging in mischievous activities because when Eddie was there his skill of verbal trickery made us unstoppable. One time it even saved us from getting arrested, but that is a different story.

As I said before, there have been many instances when Eddie and his ability to fabricate stories on the spot has saved us from facing the consequences of our carefree actions. This is an account of one of those instances. It was a cold winter night, and Eddie and I were lying awake in his room at Calle Larga. It was a Friday night I believe, and we were both resting after a long day of school and skateboarding. Since we had marching band practice the next morning, I was spending the night at his house. We were just laying there talking and relaxing, I curled up with some blankets on the floor and he laying on top of his bed, but when 2:00 am rolled around the itch hit both of us. Although it was late at night, our skateboards were calling out to us and we knew there was no choice but to hearken to the call. With Eddie's grandparents sound asleep just a few doors down the hall, we quietly slid open his sliding glass door and crept out onto the balcony. Although the late hour and the cozy wrap of bedsheets had begun to fatigue me, the second I stepped out onto that balcony the cold night air revitalized me immediately and I was as alert as a fat kid anticipating his next meal. Eddie climbed out over the balcony barrier, and made his way down to the driveway where I handed him our boards and then began my descent. Why we went through the trouble of climbing his balcony and scaling down the side of his house instead of simply going down the stairs and walking out the front door is still a mystery to this day. When I was safely on the ground, Eddie handed me my board and we slid out the hole in his fence into the Los Gatos night.
The place we went to skate was a 3 stair located in an outdoor plaza right by his house. I would always remember this as the night I almost landed my signature nollie hardflip down the 3 stair, and back then coming close to landing a trick was just as good as actually landing it. Eddie had a successful night there as well, throwing 360 flips and frontside halfcabs down the beastly 3 if I remember correctly. Nonetheless, we were both feeling a great sense of accomplishment and were very pleased with ourselves. The only thing that could hinder our spirits was getting caught by the police, and being that we were just a short walk away from Eddie's home we figured we were in the clear. But as we were skating the 3, misfortune struck. Eddie saw with his radar-like police detecting eyes a police car go by on the street. He turned to me and told me that it was time to go back, and I understood. We began to walk back toward his house but the unmistakable silhouette of the police car in the distance had made a U-turn at the light up ahead and was now coming toward us. Fear struck me, I began to consider making a dash for the nearest potential hiding spot but it was to late, we had already been spotted and the police car began to pull up beside us. "Just let me do the talking" Eddie said very coolly as the car came to a stop. The car door opened and out stepped a female police officer. She started with some basic questions, "what are you guys up to, how old are you, do know what time it is?". We answered these questions with reasonable honesty, and as Eddie was talking she said "wait a minute, I recognize you". Eddie then said something along the lines of "ya I hang around this neighborhood a lot, my house is just right over there (pointing in the direction of his house)." At this moment I got even more nervous, the fact that she recognized Eddie couldn't be good news for us. "You guys know you are not supposed to be out this late right?" (we were still young and had curfew, I think I was about 14 or 15 years old when this happened, and Eddie was about 15 or 16). Right about now I got that feeling in my stomach, that feeling when you know you are going to be in trouble. This is the point where I would have given up hope, but thankfully I had the mastermind standing right beside me. The wheels in his head were turning, and I watched in disbelief as he conjured up a sob story within a matter of milliseconds. " Yeah, I know we aren't supposed to be out this late" he said. He then lifted up his arm which was holding a t-shirt, and said "but the reason why we came out here was to get this shirt, I had left it here earlier today on accident, and I didn't realize it was missing until now. I would have just waited until the morning to come and get it, but this is a shirt that my dad gave me, and I don't get to see my dad very often anymore". Although this was a complete pack of lies, she completely bought it. "Well, nevertheless I am still going to have to call your house" she said. Eddie retaliated right back by explaining that he lives with his grandparents, and that they suffer from a horrible case of insomnia and if they are woken up they won't go back to sleep. As the lies continued to spill from his mouth, I grew more and more at ease, realizing that she was out of her element and stood no chance against my brotha. His magic was working, and there was no stopping him. Finally, she said that she would just call in the morning to tell his grandparents what happened. So Eddie gave her the number of a phone at his house that went straight to the answering machine, and the next morning when that message came Eddie simply deleted it. Problem solved, we were in the clear.

Many years have gone by since that fateful night, and I have to say that my brotha still holds the crown as the police deceiving master. The gift is still there in him, as strong as it ever was and when the time comes to break it out he always comes through with flying colors. It is a gift he possesses, a misunderstood talent that does not go away, and I always know that I can rely on him when the police jump out of the shadows.