Tag Archives: Derek Warren

Tracking the Past (Part 5)

Part 5: Trackerfixing, Self-Addressing

The 604 Crew made us an offer we couldn’t refuse, one summer. While my participation in various Vantari and VCVGC parties garnered some attention, and the respect of people who fascinated me, I was hungry for recognition. Roger Earl provided some of that, sharing his endless enthusiasm and incisive analytic talent to the table.

He was the cool geek, and he made me feel cool. I didn’t understand what it was to be cool then, and it would be another ten years before I began to figure it out. He was that guy, you know, the one who didn’t just own an Amiga, but grokked it. He was into the underbelly of technology and always had a fascinating story about his work to tell.

Banks are every bit as fallible as the rest of us, don’t forget that.

Roger’s legitimizing of my hobby increased my hunger for more of the same. Then, The 604 Crew, more of an idea than a group, extended us an invitation to participate in a competition they called “Trackerfix”. A compo! An honest to goodness compo! In Canada!

Awesome!

Rowan turned out to be a pretty cool guy too. He actually knew music theory, whereas I’ve – until recently – flown by the seat of my pants. Very little theory, except for what my Dad taught me. Valuable things like – in solos you can go where ever you want, as long as you come back. Question and answer, and be an avid listener.

It wasn’t a coincidence I used Yes samples in my music, but I digress.

Rowan told us we had a half hour to compose something with the chip samples we were given, so I did what I do best: Immediate response. It’s something I learned from watching Emily Carr art courses on PBS that applies to creativity of all kinds. You don’t think – you just take it in and create.

1 Gig Per Byte had a good bassline and not much else, but I could be proud of it. After this we were invited to contribute to The 604 Crew’s music disk, so I submitted a few tracks that were buy zovirax admittedly repetitious in nature. I was pretty upset by this, and it is possible to find some of that vitriol in my sampletexts, if you look.

Not my more gracious moments. I composed songs to combat this view and … frankly, aspect of myself. I had no musical education to lean on, so I had to find it in external influences. Those in my immediate vicinity worth mentioning are Derek who expected higher quality samples from me, and Ryan who was never satisfied with my first effort. Dave selflessly hosted out music, and without him – well, I’ve been over that, haven’t I?

I was growing as a musician in leaps and bounds. Yet, it was those who I never met who contributed significantly to my development. Where to start? Moby, of course, because anyone who says they don’t know Moby, just doesn’t know it. Jogier Liljedahl, u4ia (Jim Young), Count Zero (gotta love some bombastic YM2149 drumlines!), EuphoniX and so many more.

The Atari demoscene was my bread and butter.

Even now my most ‘popular’ downloads online are my simpler, less technically advanced tracks. Theme of Light, for instance, was my response to Robert Miles’ Children. Songs like that prove I wasn’t a good judge of how my music will be received. The sample quality is simply atrocious, but it does have a good beat, and under the right circumstances, might be rave or dance material.

Who knows?

Dave and Ryan believed in my music, and me, enough to help me progress to a higher form of music. Well, enter the multi-channel era. Whilst they tinkered with ScreamTracker and FastTracker, Dave provided me with an Atari STe, which I used to produce my 8-channel works.

While audio fidelity suffered with doubtful mixing quality, my skills flourished. 1997 and 1998 were banner years for me, with 1998: Sailor Rifts my magnum opus. Filling a single disk to the brim and stacking samples together to make it all fit into a single module, I composed until Octalyzer STe couldn’t possibly manage another pattern. 830K not once, but twice.

It wasn’t long before I was going to need a new machine.

Continued next week.

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Tracking the Past (Part 4)

Part 4: Mostly Infamous

Trideja was formed before Derek joined the group and in a way returned to three key creative talents. Dave was more confident in his pursuit of Total Eclipse II BBS, for many years the only release site of Trideja tunes to the world. It would lay the foundation for his current job as a system administrator for Rockstar Games. We had hopes of taking our music to the next level, turning professional.

Attending computer conferences, submitting music tapes. Answering responses to requests for game music which never turned out. The most compelling to me was a Asteroid inspired beta that needed some atmospheric aural backing. My infamous claim would come well after I had neglected my trideja.com email.

Meteor 2. James Bunting needed music, and through email I brashly gave him permission. These days its a charming throw back to top down shooters with a Paint.exe style aesthetic. I swallowed the pill of having a game that fit in some ways but not in others. I hadn’t tailored my tracks to first, they were just energetic and the visuals were underwhelming.

The community ate it up, however, and it’s something I’m known for. “You’re that guy from Trideja, right?” It might even make it on Greenlight, and I am grateful. Little successes uncounted are meaningless, but when noticed weave a fabric that can form a safety net for some of life’s provigil no prescription more challenging times.

For instance: Betas. These were snippets of ideas, half realized patterns sometimes amounting to half-complete songs. Derek began to amass these, and would ask about ideas he was interested in. There are some that would never have been finished without his relentlessness.

We collaborated very well and somehow never realized our own potential, but not for a moment do I regret the time spent and fun had. Perhaps there’s room for another collaboration the future. If there’s something I can think to say now, it’s not to frown on a style of music but to look to the purity of its expression. Techno never stopped Bowie from advancing his mastery, nor did it fail to communicate his messages.

Yet down the road, after spending some time with DJs, having songs played in clubs, I became aware that my betas were a ball and chain. Can you imagine recording every jam session just to have the memory of every melody haunt you as wasted potential?

What a waste of time, but nothing is, when practice results in a performance greater than the last. Improvement comes from many quarters and can go unnoticed. My attitude of trusting the flow meant some songs bloomed and others busted, but I always put my best effort into them. The value in that is the lesson learned; don’t be dragged down by could-be.

Continues next week.

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Tracking the Past (Part 3)

Part 3: Honing and Honed

PCCFA Fair, where I was asked to turn down my music. Me? A disturber of the peace? How about thrilled to be noticed? My early techno did not impress, but it was on that day I met Admiral Skuttlebutt, who played 280-JOKE for me, a mod I’ve carefully sheltered over the last twenty some odd years. It is a nostalgic song, clumsy in execution, off beat in humour. It still holds deep meaning to me.

We would be back to the fair later, too.

It was the beginning of my education about what I mean to other people. In high school I was the six foot ghost, striding deliberately through the halls to avoid confrontation. In the computer lab Ryan and I were nobles, blessed with access to Foolproof and knowledge of Mac OS’ inner workings. Resource forks, oh, how I miss you.

HyperCard was too easy, too functional. Too good. Modules didn’t have that flaw, and we waited a long time to be able to share our music with friends on Mac LC II, LC III and LC 520 with their caddy loading CD-drives. We (mostly me at first) could impress with four channel audio when most programs managed just two. It was our music, and opened many doors. Ryan would not only compose the music for his graduation, but he also produced a “multi-media video” on the Centris 660AV (with badass AT&T 55Mhz DSP and lightning fast 68040 CPU@25/50Mhz. What a beast!).

PlayerPRO (still kicking?!) and Soundtracker entertained in different ways. The former tried too hard to be a studio with every toy in the box, always failing to play essential mod commands and loops. We’d amuse ourselves by seeing what the programmer’d figured out since the last version. Which of our mods played right? Soundtracker was slow, even on fast buy provigil machines, but far more accurate.

Ryan was focused on audio fidelity, as ever, learning MIDI and the Roland MT-32 synthesizer our school lent him for the summer. I couldn’t afford to step up, but I did happen into a 20MB SCSI hard drive thanks to him, so I gave it my all, musically, and somewhere we met in the middle. Perhaps because I was blindly persistent. It’s a valuable quality worth cultivating at times.

The Mod format was still in development in those days, with new commands being added from the Amiga side of the scene. So was I, incidentally. Untrained as a musician, I found my own way to enjoyable melodies. Perhaps a paradigm would have improved my development, yet in place of it I gained something else: Confidence.

It was always a struggle, and I admit to deleting mods because of disapproval – gone forever, limited storage, remember? Bygones, naturally, as I was persistent. I didn’t know it then but experience was for me the better part of my musical education. Valour? Probably not.

‘E-Tempral Society’, ‘Power of Emotion’, ‘Faded Thrill’ and most of all ‘Sudden Swiftness’ were my formative tracks in the first four years of involvement with DT. By sheer passion I proved a capable, if unpredictable, musician. Oh yes, and ‘1995’. It was that summer we discovered the Internet, and that our group name was in use by a German industrial company of some variety.

Newly dubbed Trideja, we quickly added Derek Warren to the roster just to destroy the symbolism of the name. What’s done was done, and we laughed about it. Derek’s enthusiasm was infectious.

We had already designed a new logo with my skills in ClarisWorks Draw and Ryan’s with Photoshop and web design. We had our own website before we quite new what to do with it.

Continues next week.

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