Robot Cousin Soundworks

A long time ago, in a mindframe so far from the one I currently reside in, I did video game covers/remixes.

Here’s the one I was proudest of. Originally from Dr. Mario, I give you:

Dr. Fever

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 Tong, ZeD publicized creative works from Canada and other countries, including a substantial portion of material created by viewers and new artists. ZeD 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.

Project R/’Recession: The Rock Opera’ is still being hammered out, note by note, instrument by instrument. I’m having a bit of difficulty with one of the pieces, as there’ll be a lot of orchestration from things like horns and strings, and those are some of the hardest to fake through virtual instruments. Also, my computer is choking. Yay for the ‘Track Freeze’ option (think “Flatten Layers”, if coming from the Photoshop side of things), but even then, you can only freeze so much and get away with it.

On the RPM side of things, I’m actually coming up with a lot of good stuff… which is a problem (for RPM at least). I actually want to turn these into real tracks. And I know that just because they’re for RPM doesn’t mean they didn’t happen, but I don’t think I could bring myself to put a song into two groups. If I actually had a record deal, and was making songs, b-sides would be b-sides, and the track list of an album would be that and only that, not songs from another place or anything like that. Billy Corgan has the same sort of hangup, so I guess I have him to thank for that way of thinking. I can’t help it! It’s a rule, but one I haven’t had to enforce just yet.

So I’m left with about 3 tracks worth of stuff I really, really like, and refuse to put towards RPM, even though I’ve come up with them, and recorded them within February. Will I finish my RPM album? Looks like no. Does this bother me? Not in the least.

RPM is doing what it was meant to do, and for that, I am thankful.

Just finished my first track (which will actually be track 3) of my RPM Challenge 2010 album. I have a name for the album, but I’m not putting that out until the artwork is all done. Yeah, I’m going all the way.

Anyway, I’ve already gotten farther than I did last year, and I don’t plan on stopping. I have a few other half-finished tracks on the go, hopefully will be uploading them within the week. Also, this track, along with any other RPM tracks, will not appear in the flash player below until they’re all done, or when February ends. So for now, here you go;

Element Zero

There are always things I want to learn. Sometimes, I find it really tough, other times I find it not challenging enough, but I always want to learn new things, especially if it expands on something I already basically know. I’m going to try and set some goals for myself this year, in reference to me learning new things. For example, this year I want to learn the following (or at least make an attempt)

• 1- Modes (Lydian, Phrygian, etc) – I know what they’re for, but having them memorized would really help. Maybe that doesn’t count in “learning” them, as all it is to me at this point would be pattern recognition, rather than the understanding I already have/had of them, but I want to learn/memorize them nonetheless.
• 2- All of my synths – I know how synths work, so when someone says to increase the attack time on the envelope generator, I know where to go. That’s not enough, though. If you take a synth like the ImpOscar or especially the Minimonstah, even though you know the functionality of each control on its own, I could really use to get to know my synths, as it can only help me get where I want to go faster. See also: quadraSID… that one’s currently a bit of a mystery.
• 3- Flash Scripting (edit – found a good resource!) – quite a change from the musical goals above, but I believe having a basic-to-good understanding on how to actually get something done in Flash would really benefit not only this site, but perhaps any program I may think of making in the future… which brings me to…
• 4- Programming/C++ – This was a goal for last year as well, and I’ve checked out a lot of resources I’ve been given, and this is something I could definitely grasp. Alongside this, I would love to get to the point of making an iPhone app or game.

So, as of right now, that’s what I want to fill my brain up with this coming year. Easier said than done, but I have a number of books on a few of the topics listed above, so at least I could take some of it in while being stuck at work.

So, people out there reading… is there anything you’d like to learn in the near future?

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?

Three things:

1. Project R is back on! I know that no one else here thought it was off, and it technically wasn’t, but it was a while since I was able to get any work done on it. That stops this weekend, when I once again turn the internet off, turn Amplitube up to 11, and let it all flow.

2. This morning, I drove behind a guy whose license plate was “DSHITUP”. What do you think it meant? I’m thinking either “Do Shit Up” (maybe Dig?) or “Dish it up”. If it’s the latter, wow. Did you even look at what you were paying $100 for?

3. I just realized that I work with a guy who looks almost exactly like Arthur from Degrassi Junior/High. For anyone who needs a refresher…

I think I should definitely watch the old series again. Best DVD box set ever!

The Ladybug Challenge

Krista was doing a fake trailer for a fake game, and needed some upbeat 8-bit tunes. This is what happened. Short and happy, because that’s all it needed to be.

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.

I guess today marks the pseudo-start of weekly meetings I’m having with a friend of mine over an upcoming project which may end up being the biggest thing I’ve worked on so far. I’ve mentioned it a bit in the past, and while I can’t say anything official about it yet, I can certainly be vague and non-descript! I think I’ll call it “Project R”

The project itself wasn’t my idea, but I wish it had been. Still, I’m the primary composer, so it does allow me a great amount of freedom and input. If Project R is my friend’s baby, then that makes me its “involved Godfather”.

We recently decided to hold weekly meetings, every Tuesday, if circumstances allow. Tonight was really productive. We hammered out and seemed to add a bit of ‘creative cement’ to the whole thing. There was one point where we were sort of both hit with the same idea, an idea that hadn’t occurred to either of us while going over this thing on our own. Very helpful to have active and involved feedback. We want to shape this into something good, something memorable. Something fantastic, hopefully.

Who knows how it’ll turn out? Certainly not me, but I do have the power to steer it here and there, and I just hope I make the right choices about it. Either way, it’ll be a HUGE learning experience. I just hope it ends up opening doors for other opportunities. While Project R won’t actually make me any money directly, who’s to say what could branch out from it? Definitely a possibility.

We’ll find out in two weeks if our work ahead will be on a paved or rocky road. It will be then when I’ll be able to take the tarp off of what we’re working on.

In other news, the yearly Silver Wave Film Festival is coming up. November 5-8th, Fredericton New Brunswick. It seems that this year will be attempting to out-do last year, just like last year did the same for 2007. I have to admit, I’m really excited for it. I was hoping that the two short films I scored would have been submitted to the panel (who generally accepts them, unless they involve questionable material, or are too long), but word from one of the directors was that he had been too involved with the organization of the film festival itself that he was unable to submit his film.

I’m not sure if he means it slipped his mind, or his involvement would prohibit it for being considered for any sort of award or recognition. I didn’t bother to clarify. It’ll be there next year. That’s cool.

—–

I wasn’t going to get into this, originally, but hey, it’s my site.

I hit a bit of a brick wall today, emotionally. It was one that I didn’t see coming, and even looking back, I still can’t really make it out. All of a sudden, I was overcome with a horrible feeling. I felt as though I was just wasting away, not doing what I was supposed to be doing, and others would soon pass me by, instead of walk alongside me. I felt like I was still, briefly, who I was years ago. It’s as if every bad thing I had ever done manifested itself as an emotional ball of hate that just decided to find me today, and mess me up. Well, it didn’t last too long, but it wasn’t good.

What brought me out of it was this: I’d like to think that I’m not only a different, but better person than I was just a few years ago.We all go through stupid periods in our life, times where we are nothing but emotionally and perhaps physically destructive for no good reason. To ourselves, to others, whether they deserved it or not. I made a deal with myself years ago. I said that I’d forgive myself for all of the stupid shit that I’ve done to others as long as I not only promise to change, but actually do it. And for the most part, all of that, to me, is now ancient history. Yet, every once in a while, a few thoughts will catch me, or something will remind me of how everything used to be, and I just get mad at myself all over again.

I have to remember that I’m still keeping good on my own promise.