linky


Just when I start thinking to myself “As much as I love the M-Tron (G-Force Software), I definitely have little-to-no-use for the M-Tron Pro”, they go and make a new soundbank for the Pro. It now samples the “Optigan

I have wanted an Optigan ever since I first heard about it. Then again, I’ve also always wanted a Mellotron, and now have the next best thing in the M-Tron. Why must they tempt me? I shouldn’t complain. I’d rather the Optigan be available digitally than not. That means someday, somehow… it will be mine.

I love KVR.

Since I first started using Logic in 2006, I’ve used KVR to get a hold of both free and demo-versions of commercial audio plug-ins and software. For the past year or so, I haven’t really been around there much, but a few weeks ago, I signed up again, as I couldn’t remember my old username (on there now as robot_cousin). Now I’m watching my favourite plugins/developers and am notified if there are any updates or news.

There’s an entire community on the site’s forums that discuss all things from music theory to technical support, music listening to product reviews. For anyone dealing with audio in any capacity this day and age, you’d be doing yourself a service by checking the site out. I would say that it’s the ‘New York’ of audio plugin sites, but I’d be hard-pressed to find another site out there quite like it. However, if anyone reading this knows of a similar site, I’d love to hear about it.

The reason this post is coming to you now is because, as I stated, I recently got back into checking it out regularly, reading the forums, stuff like that. When I had first visited the site, it was at the dawn of Apple’s Intel processor, and plug-ins with a universal-binary (the ability to run on Intel and PPC processors) download option were few and far between.

Fast-forward to 2010, and we’ve got an OS that is ‘Intel-only’ on the mac side of things. Doing a quick search for ‘Universal-binary’ only AU plugins, even just the freeware ones, I’ve stumbled across 192 results, most of which are looking pretty snazzy. Not the least is this one.

The TT Dynamic Range Meter from Pleasurize Music Foundation. Before describing the plug-in, a little write-up of the company, directly from their site…

Our aim is to improve the sound quality of music in its various recorded formats – including data compression methods such as MP3 – as well as music destined for radio broadcast.
Only music that provides a positive musical listening experience has real market value. The Foundation’s aim is to increase the value of music within the creative production process for the entire music industry.
The objective is to revive the willingness to pay for music and therefore to create a healthier basis for all creative participants within the music industry.

While I might argue that dynamic range doesn’t necessarily have anything to do with sound quality (a crappy recording could be extremely dynamic, for instance), nevertheless, their aim is a good one. So, they’ve offered the free plug-in listed above, which I will definitely be using on every recording I make, going forward.

PMF on the TT Dynamic Range Meter:

TT Dynamic Range Meter makes it possible to provide releases with a whole-number dynamic value to be printed on the recording medium as a logo, giving consumers an immediate means of knowing the dynamic quality of a recording.

An online database is planned for furnishing information on music already released with the standard. In this way, conditions have been met for the creation of a single standard for audio recorded media – a step which was taken by the film industry over thirty years ago. Music with small dynamic range has a low value, for example DR4 (Dynamic Range = 4dB). Music with a large dynamic range has a higher DR value, for example DR14 or more. In this case, music can breathe and loud events are actually louder.

Note that this plug-in isn’t meant to give you more dynamic range. It is simply a metering plug-in that will be able to notify you of just how much dynamic range it’s sensing. In order to make dynamic material, well, you just have to have your ears on straight.

Before I go, I would be remiss not to mention another good website about the fight against the Loudness War, TurnMeUp.org. Some educational stuff on there for those who don’t know why music sucks so much now. Check it out.

Now to start using K-Metering

Everyone remember Zed?

For anyone who might not, here’s a quick blurb, from the link I just posted.

ZeD was a Canadian variety television program and website. The series premiered on CBC Television in March 2002 and ran to 2006. Hosted primarily by Sharon Lewis and Ziya TongZeD publicized creative works from Canada and other countries, including a substantial portion of material created by viewers and new artistsZeD thus considered itself to be “open-source television.”[1]

It was a pretty neat show, I must admit. I really liked it. Liked it so much, I submitted quite a few tracks for it. This was during my Halifax months, from 2002-2003. So you’d have a profile on there, and you’d upload whatever you wanted to, and then the show would then, at no charge, but also with no payment to you (who cares!) choose from a bunch of the content online to showcase each week. Well, imagine my intense excitement when a track of mine was actually featured! Yes, my music was going to be on national tv!!

The track was called ‘Crimson Head’, and, at the time, I was very proud of it. Thought it sounded good, and had a good flow. I listen to it now, and can still sort of pull some of those feelings up from the grave of the past, but mostly, I cringe. I cringe when listening to a lot of my older stuff. Hell, some of my newer stuff as well. But you know what? I kept writing, I kept going.

You have to get all of the bad songs out of you, so you can start writing the good ones.

I’m not sure who first said that, but it certainly fits. Anyway, this track was, at the time, my pride and joy, my finest accomplishment, my little electronic opus (don’t worry, it’s only like 4 minutes long). It ended up getting the attention of certain people. I tried to write more like it, but apparently, that failed.

And today, I’m going to let you all hear it.

Crimson Head

http://www.codeorgan.com/

The jist of it the site, from the site itself…

The Codeorgan analyes the ‘body’ content of any web page and translates that content into music. The Codeorgan uses a complex algorithm to define the key, synth style and drum pattern most appropriate to the page content.

Firstly, the Code Organ scans the page contents and removes all characters not found in the musical scale (A to G), and then analyses the remaining characters to find the most commonly used “note”. If this is an even number the page is translated to the major pentatonic scale of that particular note, it becomes minor if there is an uneven number.

It’s sad and nerdy, but I think it’s neat that www.robotcousin.com is in the key of Cm.

It’s out, it’s official; Project R has been announced. Check it out here.

The real name for it is “Bail-out! A Recessionary Rock Opera”. It’s a collaboration between myself, Chris Fulton, and Josh Linton, my friends from Fetal Films. I’ve worked with these two with both “Gamer’s Manifesto”, and more recently “Manic Chiropractic”.

I’m not going to give too much away, but I can say this: It’s going to be a short musical (it IS based on volunteer work through the NB Film Co-op, after all), and it will also be the first musical done through the co-op. It centers around one man’s plight with downsizing at his previously-well-paying job, all done through song! We’re planning on having about 5 songs in it, each about 3-4 minutes long, and I’ve already begun to write the music for it (rough demos, nothing polished yet. Drums aren’t timed up, nothing mixed, it’s all too loud, no vocals, it’s like everything is sonic drywall right now. Just the chords, and the melody-thus-far.) The lyrics are pretty much done, although up for tweaking if necessary

From the NB Film Co-op E-News…

Fetal Films and Robot Cousin Soundworks team up to rock the Recession in 2010!

The Great Recession of ‘08 calls up many colourful images; ashen, grey-suited hedge-fund managers fleeing AIG and Lehman Brothers like so many rats from a sinking ship; Red-faced right-wingers shouting “socialist!” in the faces of those who dared question the virtues of unbridled free-market capitalism; And of course, the sparkling, shiny bail-out greenbacks supposed to make it all just go away.

With such a rainbow-palette to draw from, Fetal Films (Photo of Chris Fulton to left by Jeff Crawford) (Chris Fulton and Josh Linton) and Robot Cousin Soundworks (Jordan Roherty) thought: “hey, why not set this hot mess to music?” And so a rock opera was borne…

“Bail-out! A Recessionary Rock Opera” – a unique musical film project in the history of NB indy film…

Fetal Films’ past work – the Silver Wave Best NB Comedy Award-winning films “Gamers’ Manifesto” and “Manic Chiropractic” – were films of modest ambition; few sets, a small crew, no pricey film-stock – films about slackers produced by slackers. So, to help them pull off the garish spectacle that is the modern musical, Fulton (Writer/Director/Co-producer), Linton (Lead Actor/Co-producer) and Roherty (Composer/Co-producer) are calling on some of the usual suspects to lend them a hand. From Moncton, Danny Thebeau on Camera, from Fredericton, Jen Chiasson rocking the Editing Suite, with other frequent collaborators having their numbers called soon. In addition to the familiar, Fulton and Linton will be rounding out the group with song and dance professionals, including a much-needed choreographer to harness and channel Linton’s raw, natural rhythm into a mainstream dance-style.

The Fetal Film folks are trying (Josh Linton to right) to bring something unique to the NB indy film scene, but will need support from the NB film community at large – we hope to feed off of your enthusiasm to push us through the process and hold us accountable to you, the NB film fans.

Regular updates will be posted on the e-news feed. Will be holding auditions in the months to come, so look for alerts in the e-news and on Facebook.

Anyone interested in dropping a line of encouragement, or for more info, you can reach Chris and Josh of Fetal Films at: recessionrockopera@gmail.com

Thanks!
Chris, on behalf of Josh and Jordan.

Winning films “Gamers’ Manifesto” and “Manic Chiropractic” - were films of modest ambition; few sets, a small crew, no pricey film-stock – films about slackers produced by slackers.  So, to help them pull off the garish spectacle that is the modern musical, Fulton (Writer/Director/Co-producer), Linton (Lead Actor/Co-producer) and Roherty (Composer/Co-producer) are calling on some of the usual suspects to lend them a hand.  From Moncton, Danny Thebeau on Camera, from Fredericton, Jen Chiasson rocking the Editing Suite, with other frequent collaborators having their numbers called soon.  In addition to the familiar, Fulton and Linton will be rounding out the group with song and dance professionals, including a much-needed choreographer to harness and channel Linton’s raw, natural rhythm into a mainstream dance-style.

The Fetal Film folks are trying to bring something unique to the NB indie film scene, but will need support from the NB film community at large – we hope to feed off of your enthusiasm to push us through the process and hold us accountable to you, the NB film fans.

Regular updates will be posted on the e-news feed.  Will be holding auditions in the months to come, so look for alerts in the e-news and on Facebook.

Anyone interested in dropping a line of encouragement, or for more info, you can reach Chris and Josh of Fetal Films at: recessionrockopera@gmail.com.

Introducing… the “Eigenharp”

From the official site…

A professional level instrument which allows the musician to play and improvise using a limitless range of sounds with virtuoso skill. The unique design of the keys makes this the most expressive electronic musical instrument ever made. The Alpha can play and record loops, change scale and key, transpose, alter tempo, program beats, create arrangements, switch and layer multiple sounds, all while the musician is performing live on stage.

I believe this will run an interested musician approx $4,000 U.S. thus making it the most expensive electronic instrument currently on the market. However, there’s also a smaller, cheaper version called the “Pico” that doesn’t include so many options.

And here’s an excellent BBC article with a video of someone showing the reporter how to use it, and also it being used in the context of a band

Bonus video: Pico performance!

RPM Challenge 2010 is a go! Sign up here. Don’t know what I’m on about?

From the site…

This is The Challenge - Record an album in 28 days, just because you can.That’s 10 songs or 35 minutes of original material recorded during the month of February. Go ahead… put it to tape.

It’s a little like National Novel Writing Month, (NaNoWriMo.org) where writers challenge each other to write 1,700 words a day for 30 days, or the great folks over at February Album Writing Month (fawm.org), who encourage artists to write 14 new songs in February. Maybe they don’t have “Grapes of Wrath” or “Abbey Road” at the end of the month, or maybe they do—but that’s not the point. The point is they get busy and stop waiting around for the muse to appear. Get the gears moving. Do something. You can’t write 1,700 words a day and not get better.

Don’t wait for inspiration – taking action puts you in a position to get inspired. You’ll stumble across ideas you would have never come up with otherwise, and maybe only because you were trying to meet a day’s quota of (song)writing. Show up and get something done, and invest in yourself and each other.

Anyone can come up with an excuse to say “no,” so don’t. Many of you are thinking “But, I can’t do that! I don’t have any songs/recording gear/money/blah blah blah…” But this doesn’t have to be the album, it’s just an album. Remember, this is an artistic exercise. Just do your best using what you have in order to get it done. If you have a four-track, become a four-track badass! A mini disc, a pro-tools rig, a Walkman, an 80’s tape recorder – use it. Do your best. Use the limitations of time and gear as an opportunity to explore things you might not try otherwise. If you can afford studio time in a “real” studio, fine, but let’s be completely free of any lingering idea that “good” records can only be made in a studio. If that were so, then all the old scratchy blues records or Alan Lomax field recordings that have changed our culture – the world’s culture – wouldn’t still resonate with us today as they do. Springsteen’s haunting classic “Nebraska” was a demo he did at home on a crappy machine. That album is fricking awesome. What label would put those recordings out now? (See: who cares) There are a million examples of this kind of stuff, but the fact will always be: Well written, honest music is compelling and undeniable no matter what it was recorded on. So put it to tape.

February will come and go whether you’ve joined in or not, but do you really want to be left out?

So there you have it. I feel like crap because of last year’s “one song” entry, so I’ll be sure and AT LEAST get farther this time around. All tracks will be posted here as well, denoted as being part of the RPM Challenge.

For all music makers out there, sign up! What have you got to lose?

The holidays have just passed, and with them they have brought many nice things for me, and hopefully for all of you out there reading this. Two things of note:

“Sometimes I Rhyme” was a wonderful surprise and a fantastic gift. From the rhyming stories about a jungle gym with an appetite, to breasts, shortcut keys for Adobe Flash, and even Jesus vs Buddha, this book of absurd and awesome poems should probably be on your list of neat gifts to give people who appreciate neat gifts. I’ve already decided that I’ll be picking it up for someone who I previously couldn’t think of anything to get.

Also, if you’re not listening to their podcast, you obviously hate fun. See below:

Curtis_Tara_trouble

Crazy deal available until Dec 31st 2009

You buy and register one of their listed products (StealthPedal, StealthPedal Deluxe, AmpliTube 2, AmpliTube 2 Crossgrade, AmpliTube Fender™, Ampeg® SVX, AmpliTube Jimi Hendrix™, AmpliTube Metal), and then you get to choose from THREE (3) of their plugins (AmpliTube 2 Crossgrade, Ampeg® SVX, AmpliTube Jimi Hendrix™, AmpliTube Metal, T-RackS 3 Standard, SampleTank 2.5 L, Miroslav Philharmonik CE)

Just got this email from IK Multimedia. I would jump at this deal if I could afford it right now, but unfortunately, I cannot. A few years ago, I did participate in a group buy deal from IK, and I ended up with a ton of samples (SampleTank 2) I never use (it doesn’t really seem like they work… sometimes they do, sometimes they don’t, maybe I’m missing something, maybe I didn’t care enough), but it came with Amplitube 2, which was the free plugin they let me choose. This looks like an incredible deal, but even though I’d be saving $900, I’d be spending over $200 that I don’t currently have to spend.

If only this deal had shown up sometime early next year. I would absolutely love to have that pedal.

The plugins I would probably choose would be Ampeg, T-Racks, and Amplitube Jimi Hendrix. A lot of people prefer Native Instruments’ Guitar Rig, and I’ve tried it, but there’s something about Amplitube 2 that just got me from the start. I think it’s the wonderful crunch sound they emulate that I had difficulty emulating in GR. Perhaps it’s because it seems to take few system resources to run.

I’m interested, primarily, in two things: Audio and Video Games. I’d like to talk about both for a little bit.

Krista and I have recently been very taken by Fallout 3. Everything from its epic scope to the setting, the humour, the style… it’s all so well done. For anyone who’s not aware, Fallout is a post-apocalyptic action-RPG (role-playing game). The basic setting is that after World War 2, in a separate timeline than of our own, technology really sped up and the world became very advanced, yet still maintained the “Leave it to Beaver”-esque society of quiet America. Then, in 2077, the bombs fell. All across the U.S., a company called “Vault-Tec” had installed hundreds of underground vaults, meant to maintain life and lifestyle well into post-apocalyptia.

The game begins 200 years later. You are born and raised in Vault 101 (Fallout 1 started you off in Vault 13, Fallout 2 didn’t start you in a vault at all). One day, in your late teens, your dad mysteriously leaves the vault, something you’ve been raised to believe was prohibited.

So, Fallout 3 takes you on one hell of a journey to find your father in the “Capital Wasteland” (ruins of Washington D.C. and its environs. On the way, you’ll meet raiders, ghouls (both friendly and non), scavengers, sentrybots, super mutants, and worse. As bleak and as harsh as it gets, you always have “Three Dog”, the sole DJ of the “Good Fight” radio station, Galaxy News Radio. He’s got a collection of 20-or-so 45s and he fills the air with tips, praise, disdain, and sweet, sweet music. Within a few hours, you’ll find yourself singing along with the Ink Spots, Ella Fitzgerald, Billie Holiday, and others, as you blast the hell out of anyone who crosses your path and wants to cause trouble (and even the ones who mean you no harm!). They even have a few episodes of “The Adventures of Herbert ‘Daring’ Dashwood and his stalwart ghoul man-servant Argyle”, which is highly entertaining on its own. My favourite part of that is meeting Dashwood in the game, and him mentioning to you that he hasn’t seen Argyle for years, but he believes he’s still out there. I haven’t found him yet.

Three Dog himself is quite entertaining as well. Bethesda Softworks has programmed and designed the radio station in such a way that, at first, he’ll start talking about strange or interesting goings-on in a particular town or spot. It’ll basically be a lead-in to a quest that you can complete, and either come out the good guy or bad guy, depending on how you handle it. The best part is, Three Dog will eventually get wind of how it all went down and update his listeners on what happened. It really pulls you in to the experience, and feels like you’re effecting the world around you, bit by bit.

One alternative to GNR is ‘Enclave Radio’. The Enclave is the apocalyptic version of America’s army. Well, maybe that’s being too harsh. They’re closed-minded, brute squad under the command of President Eden, who also happens to be the main voice behind their radio broadcast. You’ll find regular, public-domain American pomp and circumstance-ish tunes on there. I honestly haven’t listened to it that often, as I’m still thoroughly entertained by Three Dog and his selection of oldies.

Another voice among the dust and rocks is that of Agitha, a lonely woman who gets by in a small shack hidden out of view from most people. There’s a quest that involves traveling to a vault that was originally meant to contain all records of artistry and artistic ability. It is there where you find her the Stradivarius violin that she once lent to a friend. When you bring it back, she uses her HAM radio to broadcast her playing, which sets a very eclectic and disturbing tone to the sheer amount of violence and despair you’ll experience. Sweet sounds as heads fly through the air.

The sound design is spot on. The wind, the footsteps, the weapon noises… everything is done so well. You hear the meaty thud when your super-sledgehammer makes contact with the side of a super mutant’s head. The zap and then the eventual fizz from a laser rifle as it melts Talon mercenary to a pile of goo. One of the best/worst (’worst’ as in “so good it gives me shivers due to subject matter”) would be when you open up what is known as a “gore bag”. They must’ve recorded wet cabbage pulled apart while submerged in mud to get that one. (A gore bag is what it sounds like. Kept by the super-mutants, they’re almost like trophies of past victims.)

I’m impressed by the voice acting, for the most part. The inflection of the dialogue that’s spoken is really well done, but just like Morrowind and Oblivion, you have about 4 or 5 different voice actors playing a LOT of different parts. Every ghoul sounds the same, as well as every super mutant. There are some big name actors, however. Liam Neeson plays your father, Ron Perlman is the narrator (just as he was in Fallout 1 and 2), and Malcolm McDowell voices President Eden, something I actually didn’t realize until I happened upon that information on imdb.com. As for most of the other characters, you’ll hear voices thanking you for saving them, and then, not 5 minutes later, those same voices might be cursing you as they try to blow off your arms.

To me, sound and music is an integral part of the whole video-game experience, and Fallout 3 doesn’t disappoint. The score is moody and brooding, and contains hints of the music found in Morrowind and Oblivion, which is somewhat odd, since F3’s score was composed by Inon Zur, whereas Morrowind and Oblivion were scored by Jeremy Soule. Maybe Bethesda had strict guidelines in terms of melody. Reading about guys like Soule and Zur really light a fire inside me to become a better composer and get more work.

For now, though, I think I’ll just sit back, close my eyes, and listen to some GNR… but not while out in the wasteland; I’d probably get smashed by a Deathclaw.

For anyone reading this who might not know, there’s a Robot Cousin Facebook page out there… on the internet… presumably… on Facebook. Anyway, join up if you like what you see and hear, and I promise there’s more on the way.

Cheers.

Silver Wave 2009 has come and gone, and it was a crazy time. I was nominated for Best Sound Editing and Excellence in Music Composition, both for the same film, “Manic Chiropractic” by Fetal Films (website pending).

There was another short there, “A Dark Radius“, and I must say, it’s score was really, really good. I want to use a bigger word here, but none are coming to me. It was involving, intense, and very, very fitting. Kudos to Ralf Bindels and his work there. Very well done. I bow down to his incredible talent. Something for me to shoot for, definitely.

Another meeting for Project R is going to take place tomorrow, and we’re all in good spirits about it. If you’ll notice, on the page I just linked to, Chris Fulton won Best Comedy (as well as Gia Milani for Best Drama). He was awarded $1,250 worth of equipment rentals and services from William F. White. I believe we already have plans on what aspect of Project R this will be applied to.

Man, I can’t wait until the lid is blown off of this. And I also can’t wait until we get it all done. I mentioned it to my dad and he wanted to know if he could have a very small part in it. Perhaps!

I would also like to take this moment to recognize two other very talented people. Travis Grant won for Best NB Student Film for Crossing the Great Divide (check it out here), and my future brother-in-law Ryan Barton was nominated for Outstanding Performance by an Actor in a Comedy for his work on Travis’ other short film, Wise Guys in the Park (currently not online). I really want to share the last one with everyone, and will do so if they upload it online. It was, for me, the highlight of Friday night’s screening, and should’ve been included in Saturday’s screening instead, as it would have been enjoyed by a much larger crowd. Of course, Ryan is also featured as the lead in “Crossing the Great Divide”.

In other news…. there is none. If you aren’t listening to the Curtis and Tara show, then you may be listening to something else. It damn well be better, otherwise you’re just wasting your time. Hopefully Curtis and I will collaborate on another project and submit it to next year’s Silver Wave Film Festival.

That wasn’t really other news. All in all, there were some really stellar films shown, and I’m sorry I couldn’t catch them all, but I’ll sincerely do my best to get a copy to check out from the film co-op sometime in the next few months. Congratulations to everyone involved.

Here’s some weird trivia: Last year, the two films that ended up garnering the most awards were the two I was involved directly with (sound editing for “A Lion’s Tale” and music for “Gamer’s Manifesto“). This year, again, the only two I was involved with in any capacity (Manic and Radius) also ended up getting heavily recognized. I am in no way saying that I’m the reason they cleaned up the way they did, I just seem to end up being a part of really, really excellent projects.

I certainly hope that trend continues. Man, I know some really talented people.

Today, we remember a very important game. A game that taught you survival skills, money management, and not to trust red-headed hitch-hikers.

Today, we remember “Cross Country Canada.”

One of the earlier ’sandbox’ box games (meaning you had free-reign over a lot of gaming aspects), CCan, as I remember it being abbreviated, was one of the best edu-tainment titles I ever had the pleasure of experiencing in my youth. And I’m glad I did back then! Had I been older, I would’ve easily overlooked this excellent game.

The premise was simple; you’re a trucker, and you’ve been given the task of picking up a (player determined) number of commodities throughout Our Home and Native Land, and then you deliver them all to the final destination, which I believe was randomly chosen at the beginning of the game. So, for example, you’d start off in any Canadian city of the game’s choosing (again, random each time) and be given a riddle, of sorts, and you’d get 2 guesses to which commodity they’re referring to. I guess they weren’t riddles since they weren’t very witty. It was more like a Jeopardy! question.

“This commodity is glorified in a large statue of the coin that shares its name.” Of course, the answer would be “nickel”. The question itself would be more “fact-y” than that, I just don’t remember how they worded it.

Here’s where it gets interesting. If you had the retail copy of the game, or were playing it in the past 5 years and had access to Gamefaqs.com, you could easily look up where these commodities were to be picked up. The retail copies came with a sheet, listing every commodity and the city/town it was found in. So you’d see “Nickel – Sudbury (and any other place the game may allow you to pick it up from).

However, from a recent chat with a friend, both of us reminiscing about this wonderful game, he told me that he never had the guide. I was shocked, until he explained that the commodities were always placed in a city or town that made sense (hence the Nickel, sort of). You could get oil from Albertan towns. I’m sure there are other examples, but I can’t think of any right now.

The beauty of this game was that, although the time you took was being kept track of (you always had access to what the date and time of day was, in-game), you weren’t on any sort of time limit, and were free to travel all over Canada. Was there a lot to do? By today’s standards, no way. But back then, in the early 90’s, the heyday of CGA (which this game ran in), EGA and VGA graphics, being able to sleep in a hotel or your truck (your choice, and your fine to pay if caught!), the option to buckle or not to buckle your seatbelt, put chains on your summer tires when winter driving, or to pick up a hitch-hiker seemed like total trucker-flavoured freedom! Not to mention having to stop for food at any restaurant that might be nearby.

Speaking of which, if CCan is to be believed, there are a LOT of  places called “Joe’s Diner” throughout the provinces. Who is this Joe, and how long has he been in business? Does he have a clear mission statement? Is there a “Joe’s Diner” charity going, like the Tim Horton’s Kids Camp? I hope so. I know that, while playing CCan, I must’ve spent enough to pay off the guy’s mortgage, and reimburse him for the money he dished out sending his kids to college.

But it wasn’t all “Eat, Sleep, Truck” in CCan. No no, there were Dangers. What sort of dangers, you mentally ask me as you read this?

Accidents.

Flat tires.

Falling asleep at the wheel (see accidents)

Police (get those damned chains off of those tires! DO YOU KNOW WHAT YOU’RE DOING TO THE 401?!?)

Running out of gas.

Speeding, although this was easily avoided.

And last, but not least, hitch-hikers. Yes, you have the option to put your fate (and your cargo) in the hands of some shady-looking, improperly-dressed ruffian who you’ll see by the side of the road. I don’t mean it was always the same guy (and yes, it always was a guy), but it might as well have been, because they all looked the same. But hey, it was 1990, and by that I either mean it may have been a graphics thing, or perhaps all hitch-hikers wore flannel. Who knows?

These “wanderers of the TCH” could sometimes tip you for helping them out, or rob you at gunpoint. It was up in the air what would happen, but I do know they only stole commodities, so you were a-ok for picking everyone up when you didn’t currently have cargo. I found this to be very “Vegas Dream“-y, in the respect that there was no rhyme or reason to the good or bad fortune, it was like a coin-toss. Still fun though.

And let’s not forget the option to play CCan with up to 3 other people! Yes, that’s right, you could all take turns picking up and delivering those sweet, sweet commodities. Too bad it didn’t have a co-op feature. What I wouldn’t give to be able to hide player 2 in the backseat with a gun so that when some random jackass decided to get tough with me, SURPRISE! Now, give ME all of the oil you’ve been stashing away.

As far as the educational aspect, it was definitely there. As I mentioned, there were Jeopardy!-like questions to answer (but it would tell you the answer if you missed your 2 attempts at guessing, so you’d always learn!), but there were other facts spread around the game. Some of them would pop up from time to time, depending on where you were. Yet some of them were more inconspicuous. For example. it was CCan that taught me that there are no roads to or from Churchill, Manitoba. How did I learn that? From trying to drive there, of course. Instead, you had to put in an order at the train station at the nearest city (can’t think of it right now…. Brandon, maybe?) and wait for it to come in. Not in real-time, mind you.

All in all, Crosscountry Canada was a gem among other educational games at the same time, both for its freedom, sense of immersion (albeit limited by the technology of 1990) and the fact that, like it or not, you learned. Hell, I’d rather fire up CCan and do a 9-commodity-run with 3 of my friends than play Halo any day.

Hell of a damned game, that’s for sure.

Today vs Tomorrow: Animated by Curtis Carey. Music by me, Jordan Roherty.

This is our official submission into the LG Short Film Festival.

Finally.

Intro (A Thousand Times Yes)

Locked my Keys in my Car

Ceiling Fan

In Defense of Kittens

Lost in my Own Backyard

Troubadours in Heat

Conjugated Within an Inch of my Life

Prom Dress for Sale

Sally Johansen’s Cerebral Jamboree

Click to download (after it takes you to the song’s own ‘page’), no descriptions, although I might add some later. I figure  I’ll hash it out right here, right now.

This whole album was a gift to a friend. Ben, to be more specific. We’ve been friends since high school, and I started making music with him using MTV’s Music Generator, back in 2000 (I had the PC version that allowed the creation of .wav files, Ben had the PS1 version, that obviously didn’t. So much transcribing…). Before that, any music I thought up was quickly forgotten, but not before it was crudely plunked out on my old Yamaha keyboard. Man, that sampled piano sounded so tinny.

Anyway, Ben’s an incredible artist and has his own webcomic, ZomBen (alternate link here). He also illustrates Gibson Twist’s graphic novel, “Our Time in Eden“. Speaking of Gibson, he has a fantastically, amazing comic titled “Pictures of You” that I cannot recommend highly enough. Anyone reading this right now should just stop and go there. Come back and tell me what you think. Be warned, it’s been going for quite a few years now, so there’s a LOT to catch up on, but it’s very much worth it.

As a side note, I’d be remiss to not mention Pulp Stiktion, the short-lived, unfinished, but very enjoyable toy-comic Ben and I used to work on. Man, those indeed were the days.

Back to the album, a long time ago, when I figured out what was what in making my own 8-bit sounds, I showed some of them to Ben. He enjoyed it enough to request an entire album of new 8-bit tracks. Couple years later, I finally did it. Now, it’s not a very long album, but who really needs more than 28 minutes of Nintendo/Atari/Commodore 64-inspired music? I certainly don’t, but the good people over at 8-bit collective might.

As I mentioned before, I totally and completely ran out of ideas halfway through. That sucked. A lot. There are quite a few aborted pieces of songs still shoved away somewhere, and I cringe when I hear even a few seconds of them. Hey, those scenes are deleted for a reason! There was one that was going to sound like some sort of beach-esque song, another that was drums for the first 90 seconds (no one needs that). All of the others are pretty much all in the “that melodic hook sucks” category. And that’s all this album turned out to be, to me at least… a collection of melodic hooks, structured in the pop song format, but without any words.

Glad I finally  finished it.

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