In 1994, I moved to CacaNada to a 19 room farmhouse that had been turned into a private installation museum of sorts. I was invited there by the artist whose family owned it, Laura Kikauka. She'd dubbed the place the "Funny Farm" & the installations in it were ones that she'd made for other places 1st & then relocated to the farm + ones that'd probably originated there. It was located approximately 100 miles NorthWest of Toronto in fairly isolated famring country. It might've been on a 300 acre plot of land that the Bruce Trail went through. I moved there with a 25 foot truck full of gear, including many musical instruments. During the 14 months I stayed there I was very poor & isolated.
This was the beginning of my time to familiarize myself with some of the electronic instruments I'd accumulated in recent years: a Yamaha DX27S Digital Programmable Algorithm Synthesizer, 2 Kawai K1m Wave Table Synthesizers, an Ensoniq Mirage 8 bit Sampler/Sequencer, & a MultiVerb effects unit. I also typically used 2 cheap Radio Shack 4 channel mixers. At some point, I acquired a MIDI-Patcher, I don't remember when but I must've had it for at least some, if not all, of this time.
The equipment was somewhat limited, note my mentioning that the Mirage was only 8 bit & the limit of its sequencer was 333 notes, but I was determined to use it to its fullest. I began programming voices & creating sequences - all with live performance in mind. The performances that grew out of this were vaguely under the category of "Triple-S Variety Shows" with the 3 "S"s being: Synthesizers, Sampler, Sequencer. Often the creation of new voice would lead to its exploitation in a sequence. In some cases, in 1995, I deliberately overextended the sequencer's capability by doing things like having a note-bend as note 333 to trigger unpredictable break-downs - something that I've since read referred to more recently as "black noise".
From late July, 1994, to Late September, 1995, I lived at the Funny Farm. During this time, I probably (d) composed the 1st 67 of these sequences. By the time I moved onto other modes of sound production, at the end of 1997, I'd (d) composed a total of 124. Most or all of these weren't intended to be stand-alone pieces. Instead they were meant to be modular components within the Triple-S Variety Shows. Nonetheless, I do like them as separate (d) compositions & have made some of them publicly available, mostly on the Internet Archive.
Knowing that the equipment that these works were specifically for would eventually cease to work & that my memory of how they were made & what their special features were would fade away, I tried to document them after they were most of them were done. The following is a scan of the 39 page text that I probably made the majority of in 1996 using a Mac SE (that was given to me by my composer friend James "Sarmad" Brody when I was still at the Funny Farm in 1994 or 1995) & a dot-matrix printer.
In the unlikely event that a true scholar ever studies my work, this document will be very valuable. Otherwise, perhaps a few geeks will find it of passing interest. There're other documents that would further explicate matters such as my DX27S Voice/Function Data sheets explaining voices I programmed + the floppy discs that the samples are stored on, etc, but I doubt that I'll ever go to the extreme of making them available online.
I now call Middle C "C4" & the lowest note on my 61 key controller keyboard "C2".
tENTATIVELY, a cONVENIENCE
idioideo at verizon dot net
to the tENTATIVELY, a cONVENIENCE (d) compositions index
to the tENTATIVELY, a cONVENIENCE Audiography page
to the tENTATIVELY, a cONVENIENCE as Interviewee page
to the tENTATIVELY, a cONVENIENCE as Interviewer index
to the tENTATIVELY, a cONVENIENCE movie-making "Press: Criticism, Interviews, Reviews" home-page
to the "tENTATIVELY, a cONVENIENCE - Sprocket Scientist" home-page
to the "FLICKER" home-page for the alternative cinematic experience
to find out more about why the S.P.C.S.M.E.F. (Society for the Prevention of Cruelty to Sea Monkeys by Experimental Filmmakers) is so important
for A Mere Outline for One Aspect of a Book on Mystery Catalysts, Guerrilla Playfare, booed usic, Mad Scientist Didactions, Acts of As-Beenism, So-Called Whatevers, Psychopathfinding, Uncerts, Air Dressing, Practicing Promotextuality, Imp Activism, etc..
for info on tENTATIVELY, a cONVENIENCE's tape/CD publishing label: WIdémoUTH
to see an underdeveloped site re the N.A.A.M.C.P. (National Association for the Advancement of Multi-Colored Peoples)