chronotronic wonder transducer strikes again!!!1

chronotronic wonder transducer is some kind of weirdo experimental arts collective (i think).

we are more or less comprised of the following personnel:

lori napoleon, ted hayes, steven litt, amy koshbin, mike clemow, oliver rivera-drew, and me (i'm joe mariglio, usually).

last night we played a show at monkeytown, in williamsburg. it was a lot of fun. everybody's performances were very dynamic, and i love the fact that each act is unrelated but the whole show is coherent somehow. also, monkeytown is a really wonderful space, and i'm sad to hear they will be closing after this month due to a legal battle with their landlords. montgomery was very nice to us (for the most part), and everybody there was super helpful. their food looks amazing, although i can't afford anything on their menu. and their taste in music for the front bar was refreshing! when i walked in, they were playing off the tellus audio magazine issue about just intonation! XD

all this being said, i was pretty unhappy about the way my set in particular sounded. while i intended the piece to be short and sweet, i feel like it came off as having not enough material. this was partly a pacing issue and also partly a dynamics issue. i spent the last two days of composing this thing on the dynamics alone. there is a huge difference between the loud and soft bits, which allows for a sensation of progression and phrasing that just didn't come through from where i was seated on stage. on speaking to people who had performed there before, i gathered that the system was intended to be heard from the sides, and that in the middle everything was muddy. the fact that everyone else's set sounded great to me supports this. but i think that horrible mackie sub they have only plays 80 hz, regardless of what's going through it.

i have learned a few lessons that i hope to take with me from this night.

1) it makes sense to "perform" a tape piece (ie pre-recorded), if it is in the spirit of the composition. i stand by the piece.

2) when you do a piece that depends heavily on faithful sound reproduction, make sure you either do it in a space meant for that kind of listening, or bring your own rig.

3) the next experimental music concert i perform will be much more lo-fi friendly.

4) i need to write a composition about the jz train now. (this will probably not be lo-fi friendly)

in the next post i will upload a link to the piece so you can decide for yourselves what it sounds like. i recommend headphones and closed eyes.

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