The Sounds of Sleep No More: Revisited

Posted in Creativity, Music, Performance, Soundscapes with tags , , , , on May 8, 2012 by deliriumdog

I’ve had another visit (#4 for me) to the McKittrick since my first commentary about the sound design to Sleep No More. My initial thesis was that while the soundtrack melded beautifully with the other elements of the show, it was among the least ground breaking aspects of the production. I noted that much, if not all, of the music is taken from pre-exisitng recordings, which is a common practice for plays. The reason this is surprising is because SNM is no common play production. Boundaries are stretched, envelopes are pushed, and genres are bent every which way when it comes to the action, presentation, and set design…but not so much for the soundtrack.

[Note: I have since posted a response of sorts from the producers themselves in which they explain how the music itself inspired them.]

To be clear: this is not a value judgement. I think the soundtrack is aesthetically beautiful, lovingly constructed, melds wonderfully with the visuals, and represents a great amount of hard work on behalf of Stephen Dobbie and anyone who helped with the installation. If you read my first post, you will see a good deal of praise for what they’ve done.

So did that thesis hold up as I listened through once again? Basically yes, but I heard some things that complicate my original take. Overall, I was impressed about how well the soundtrack holds up to repeat listening. More on that in a bit.

That Whole REMIXED Thing

First, a response to reports I’ve read about the April 1st REMIXED show.  When I first read the invitation to the show, I was hearing in my head all kinds of ways one could mash up the existing soundtrack with elements of modern electronica. (Trip hop rendition of “Is That All There Is,” anyone?) Sounds like my little fantasy, perhaps, but it was inspired by the fact that the SNM New Year’s party DJ reportedly did something similar to that. (Lest anyone thinks I’m angling for Punchdrunk/Emersive to hire me for their next Remix–which I won’t discourage–I wonder why they didn’t just find that guy to do the remix.) Initially, I was desperately jealous of everyone who scored tickets for that event. I figured Punchdrunk and Emursive would prove me wrong by crafting a totally mind-blowing new soundtrack.

But no. For REMIXED they reached no further than pop songs from the 80’s. Some guests were impressed by their selections, others were nonplussed or disappointed. (I become mostly depressed by 80’s music, so I was no longer jealous after reading this news.) At best, seeing a dance set to Phil Collins “In The Air Tonight” would have produced in me a kind of sugar high that would have me crashing shortly after the giant drum fill kicks in. I’ve always been jealous of friends who snap into fits of pure nostalgic ecstasy every time they hear Mr. Mister or Chaka Khan or [insert favorite 80’s one-hit wonder here], but I just don’t have that in me. Surely it’s my loss.

Hey, while we’re digressing: remember 1985 when Phil Collins was pretty much the coolest guy in the wide world of music? Difficult to do now, isn’t it?

RELATED: Delirium Philharmonic
ReMixing electronica with the Philadelphia Philharmonic

Anyway…

In my previous article, I pictured the show’s producers being fans of certain film soundtracks and songs and, rather than working with a composer to create something new, using those very same recordings in their new original work. Call it an homage, call it appropriation, call it whatever you want, but with REMIXED that still appears to be their primary mode of soundtrack design. Of course, if they were to take the time to do something truly new and brilliant, one would hope it would be used for more than one night. It was an April Fools joke, after all, so I’m probably overstating my case.

Our Regularly Scheduled Soundtrack

Okay, back to the original soundtrack that they’ve used nightly for over a year. My respect for all aspects of the soundtrack increased during the 4th listen. Here are a few additional details I noticed:

My best guess is that few, if any, of the soundtrack elements were used verbatim. I noticed more manipulation, especially in some of the old crooner tunes, like an added  “preverb” effect (a kind of reverse echo) added to the vocal range to evoke a ghostly quality. Some additional vinyl scratchiness may have been added to some tracks. Some tracks have more than one sound layered upon another. A friend who attended with me claims to have heard a piece from the Halloween movie soundtrack that was manipulated to fill more time than the length of the original track. In all these respects, each musical piece is treated like a sampling of sound to be woven into a larger ambient soundscape rather than a solitary composition.

The result of all these pieces stitched together–running in parallel in multiple spaces at the same time–is a huge 4-D woven quilt of sound. A collage. A pastiche that, taken as a whole, can be seen as a new orginal work.

Each track flows so seamlessly into the next that I suspect the whole soundtrack was carefully mixed and mastered so that all the songs play well together. (That is, each track was tweaked so the overall volume, loudness, and EQ was consistent.) Nothing distracted me, jumped out at me in a bad way, or took me away from the experience in any manner. This is a great feat in and of itself.

I cannot place where the soundtrack to the banquet scene comes from, and it sounds like an original amalgam of different sounds. I remember one moment when the track was droning down in the lower registers and a high-pitched violin slide cut through the din. A man in front of me looked around to figure out where that sound came from. It leaped out of  the mix so much he thought it came from another source. I love it when that happens.

While I was keeping an occasional eye out for speaker installations, I was never distracted by their placement. However, some were clearly visible. I approve of that visual compromise because the sound is always clear and immediate. The system sounds great.

There was some bleed between sounds every now and then, but I consider that a feature not a bug. I avoided the witches’ rave this time (curious what was happening at the same time) and could hear the pulsing kick drum in other rooms and other floors. I was more likely to notice footsteps from the floor above–a natural sound that added a lot to my awareness of multiple planes of action.

I continued to notice the characters reacting to subtleties (and not-so-subtleties) in the music. It’s clear that the performers have heard the pieces enough to be able to react and anticipate each dramatic flourish and use them to their advantage. I was reminded of this phenomenon when the hostess in the bar, who surely had heard many times the music that’s piped in before the band plays, sang a line in the music just moments before the vocalist in the recording sang the same.

This soundtrack is in the performers’ blood now. They probably dream it at night and inadvertently hum it during the day. Of course they would be responding to it in their performance in all kinds of ways. It’s impossible to discern from my standpoint what may have been the originally drafted choreography and what has developed over time in response to the music. All of the action feels both structured and organic at the same time so I do not even try to figure it out and just enjoy what I’m seeing.

Taking these additional observations into account, I’m still trying to decide if it even matters that no new music was created explicitly for Sleep No More. My bias is so much in the direction of incorporating original music into any new work that I can’t completely let it go. To me, being original and groundbreaking means that the music should be made mostly from scratch. However, the soundtrack as it is truly works and is difficult to criticize on it’s own terms. I have only read praise for it and I doubt many visitors to the McKittrick will give it a second thought. I imagine most people feel and intuit exactly what the producers intended. It’s hard to fault them for that.

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Death to the Balloons

Posted in Delirium Dog, Music, Scarehouse, Video with tags , , , , , , , on April 3, 2012 by deliriumdog

I’ll explain this more in a separate post. Right now I’ll just say that I dropped $80 in neon balloons on this video, so the least you can do is watch it. If you click through to YouTube, you can choose to view it in glorious hi-rez. While you’re there, hit thumbs up and leave a pithy comment. Your support is greatly, hugely appreciated.

The Golden Amulets of Agnes: A Sleep No More Point System

Posted in Games with tags , , on March 8, 2012 by deliriumdog

I already posted my in-depth analysis of the sound and music of Sleep No More. Now something just for fun.

Capping a post where he declared Sleep No More to be “Game of the Year for 2011,” Dan Dickinson started a point system for various events one might experience during their stay at the McKittrick. I decided to add to it and, with his permission, post an expanded edition here. Please feel free to add your own via the comments and I can amend this post as we go.

First, a HUGE caveat.

I’m NOT doing this because I think the goal of Sleep No More is to amass points.

As I said at the very end of my earlier post, the whole point of SNM is to pay attention and stay focused on your immediate experience. As soon as you pause to think about how many points you’ve racked up, you should be disqualified from the game. Ok, that’s harsh, but you get the idea.

I suggest you enjoy the experience, then use this list as a fun way of recapping in the days and weeks afterwards when the inevitable withdrawal sets in. I don’t want to get onerous on the rules, so we’ll just keep this on the honor system. Some experiences may accrue several awards at once, so tally accordingly.

Got it! Good. Ok, on to the….

SNM Points / Achievements / Trophies / Pats on the Back / Golden Amulets of Agnes

Shut it! (-20)
Get caught speaking or with your mask off.

Out Of The Moment (-5)
Thinking about this point system during your stay.

I Want Candy (5)
Eat a piece of candy in the candy store.

A Toast (5)
Catch the banquet scene (not the finale).

Dirt On Your Shoes (5)
Explore the graveyard.

None Shall Pass (5)
Be blocked or ushered by a steward in a black mask.

Broken Wings (5)
Find the bird’s wing in Malcolm’s detective agency.

Wild Beast (5)
Find your way through the hedge maze.

Out, Out, Damned Spot! (5)
Hear Mrs. Macbeth ramble after she goes insane.

Love you / Hate you (5)
See any dance scene between characters that appears simultaneously amorous and violent.

In The Buff (5)
Spot an actor in any state of undress.

Court The Green Fairy (5)
Have a sip of absinthe from the bar.

–RELATED: Absinthe Cola — Lyrically an alternative SNM theme song?–

Where’d Everyone Go? (10)
Be the first person in your group out of the elevator.

Now Is The Time (10)
Catch the rave scene.

Sweet Respite (10)
Duck out into the Manderlay during the show and listen to the band.

Choco? (10)
Get fake blood on you.

Killer (10)
Catch a murder scene.

Let’s Keep Dancing (10)
Catch a performance of “Is That All There Is?” by a cast member.

Out Of Place (10)
Find a prop that clearly doesn’t come from the early 20th century.

Enchanted (10)
Have any of the witches (or Hecate) touch you.

Glenn Miller Fan (10)
Watch the bellhop dance as he cleans up the lobby.

Ouch! (10)
A cast member accidentally runs into you.

Totally Alone (10)
Walk through a whole floor without encountering a single cast or audience member.

Not Afraid (10)
Walk through the 5th floor tree maze alone.

Got Your Back (20)
Catching a feinting Lady McDuff.

Good stuff (20)
Receive a shot of liquor from the speakeasy bartender.

For your ears only (20)
Have an actor whisper in your ear something only you can hear.

Spill it! (20)
Be among the few locked into a room to see the interrogation scene.

Personal Escort (20)
After the final scene, one of the characters takes you by the hand and leads you back to the bar.

Practically Perfect (20)
Find a famous nanny in the guest registry.

Dust to Dust (20)
Hold a character’s umbrella in the graveyard.

Crack In The Wall (20)
Find the hidden AV room in the ballroom area.

May I Have This Dance? (20)
Dance with any cast member.

Hail The New Thane (20)
Watch Duncan get murdered.

Passage (20)
Go through the secret passage on the fourth floor.

Just You And Me (30)
Have a one-on-one with a cast member, with no other audience members around.

Should You Choose To Accept It (30)
Receive a mission from Hecate.

The Lady In The Red Dress (30)
Receive a note from a cast member for Hecate, and deliver it to her.

Masks Off (50)
Have a cast member take your mask off during a one-on-one.

This Will Protect You (50)
Receive a necklace from a cast member.

This Is Your Floor (100)
Find a way onto the sixth floor.

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Hear Delirium Dog’s Musc | Follow Delirium Dog on Facebook

The Sounds of Sleep No More (Part One)

Posted in Creativity, Performance, Soundscapes with tags , , , , , , on March 6, 2012 by deliriumdog

I’ve been meaning to write something about Sleep No More, the experiential play/haunted house/adventure game/so much more. It’s Macbeth by way of Hitchcock and Lynch. It’s 100,000 square feet of gorgeously designed sets that you are free to explore, masked and silent, with other audience members who are also instructed to remain masked and silent. You encounter characters in the story (who you recognize because they’re not wearing masks) and choose whether or not to follow. There is very little speaking, so most communication between characters is done with action and dance. Really cool dance, mind you. I admit I do not have an innate appreciation for dance, but the tight choreography, often in small spaces among the audience members, really won me over. The soundtrack comes from popular music of the 30’s to 50’s (Glenn Miller, Artie Shaw, Benny Goodman, and the like), Hitchcock movie soundtracks, and a healthy dose of eerie droning and distant, foreboding thunder.

That’s the basic gist. Still, if you haven’t yet visited The McKittrick Hotel, you don’t get it. Sorry. I can keep throwing more words at you, but I know it won’t help. What could I write that hasn’t already been written many times and still fails to capture it? Yet I must say something because it’s an experience that will never leave me. It’s transformed me in a way only the best works of art can.

–> DD’s Facebook Page

Oh wait! Not much has been written about the sound! So here goes…

While highly effective, the music (and I’m guessing all or most sound) in SNM was taken from existing recordings. There was no original music composed just for the show. Because the show is so impeccably executed overall, I can discard the notion that they simply could not find a composer to work with and instead went dumpster diving for old LPs. They clearly wished to evoke a certain prohibition-era feeling and nothing does that like playing scratchy recordings from that era, give or take a couple decades.

The only sound-related person in the credits is sound designer (and graphics designer) Stephen Dobbie. His credits include two earlier Punchdrunk productions. He started with the company as a graphics designer, so I can only guess that he developed a latent talent for sound design while on the job. This is not a crazy notion as a producer is more likely to choose someone they know is on their creative wavelength and generally good to work with over someone with a pile of credits. Dobbie obviously has the taste and chops for the work and a sense of the Punchdrunk’s vision, having shared the same air with them for a few years prior.

(If anyone involved wishes to set me straight about the above imagined scenario, please do so!)

Drones, Big Bands, Film Soundtracks, Techno…

I love how the soundtrack often envelopes you in a deep drone like violins played through an ancient system of air ducts. This eventually becomes background noise, your mind able to filter out all but the instinctive feeling of dread. Then the crispy crackle of a needle on a pre vinyl platter pokes through and a familiar big band crooner from the 30’s roots you into into the era. Or so you think. We’re in dream logic here, and after all, whose dreams are free of historical anachronisms?

The soundtrack pieces from Rebecca and Vertigo often come in during major interactions between characters. It’s as if all the other sounds are what is happening off-stage or in between major scenes and the movie music follows around the key moments of the story.

Then there’s one modern tune that stands way the hell out. It cranks at around 170 beats per minute (BPM as we say in the business), rocking a variation of the amen break over a single, gripping synth-bass line. It screams “Rave!” as the lights go nuts and creates a frenetic space that leaps through another window in time entirely. It’s a key scene in which the witches reveal their second vision to MacBeth and stands out nakedly (wink to those who saw it) in contrast to the whole rest of the show.

Dobbie may not be a composer, but he clearly understands dynamics and contrast.

Since I did not dedicate a great deal of my brain analyzing the sound system during my stay, I cannot say how many separate sound sources there were total or even on a given floor. There were times when large areas of multiple rooms would be playing the same track, and then a separate track would kick in in a separate room or area. All I know is that coordinating it all must have been a real bear, as was running all the wiring. The sound sources did not appear to get more local than the room level. I did not hear objects emitting their own sound, or any aural tricks being played. It was quite loud at times, but not ear-splitting loud. Because the crowd was not competing with their own vocalizations, extra-huge volume was not required.

Impeccable Timing

Now that I’ve had my 3rd visit to the McKittrick, I have a deeper appreciation for the show overall and noticed much more detail about how the sound underscores the action. Most guests will notice the large flourishes. They draw your attention as if to say “Hey, you in the mask, over here! A scene is about to happen.” My first time through, I incorrectly concluded that the actors use these obvious swells of music to cue them into major scene changes. I now know that’s totally wrong. (How bush league for me to even think it!?) Whether it’s music or pure ambient sound, the cast is constantly in sync with every beat.

Indeed, the whole show is timed succinctly, but I didn’t realize to what extent until I saw one character take a drink, put down the glass, and then heard the deep bass rumble of a far-off thunder clap. It punctuated and heightened the drama of the moment. Even if the audience did not consciously notice it, I’m sure they felt it. There was no proper music playing at the time, just a fairly loud drone built from strings, other atmospherics, and rumbly weather. Other sounds loud and soft continued to follow the actors’ marks and I came to realize that while the two actors in this scene were not dancing, they were executing a type of ballet along to an ambient soundtrack.

Other scenes have actual dancing to actual music and there again, once you notice, you can’t help but be impressed with how music and action play to each other. The choreography has (and here, lacking dance vocabulary, I’ll stick with film) a Jackie Chan-like precision to it. Often times it is stage fighting as much as dance. A good bit more fluid and musical than most fighting you see on screen, but definitely violent. As with an action flick, the score punches up moments in the action. Unlike an action flick, they had to match the choreography to the score rather than the other way around.

A Matter of Focus

This all speaks to Punchdrunk’s pedigree as a theater company. As much as SNM borrows some DNA strands from film and haunted attractions, their approach is pure theater. That is the approach of taking an existing text (in this case, MacBeth and bits of Rebecca) and adapting it–creating sets and adding live action to that underlying work. In this case, you could say Punchdrunk is adapting the hell out of the underlying work, and making an entirely new work (and artform) in the process, but it’s an adaptation nonetheless. Using existing compositions is very much in keeping with that theatrical tradition. I can imagine the directors listening to the soundtracks of Rebecca and Vertigo years ago and dreaming about how they could one day be incorporated into one of their plays.

Having said all that, I still find it interesting that the wellspring of creativity and innovation that is evident in the set design, choreography, and overall approach to SNM does not spill over into their approach to sound. You may say “hey, Glenn, don’t be a downer, the sound really worked for me!” and yes it does clearly work. But imagine how different an experience it would be if the sound were as original, strange and off-kilter as the rest of the production elements. While so much of SNM manages to destabilize you, the familiarity of the sound actually has a stabilizing influence.

With the ScareHouse, I’ve always felt strongly about making as much original sound as possible. Yes, there are times when I needed to use canned material and didn’t have time to record 1000 flies. And there is even a Victrola player in a corner of Forsaken that plays about 45 mins of classic tunes similar to those found in SNM. But when it comes to the big set pieces, like a theme song for a major character or the music played by a large, broken pipe organ, it’s all made from scratch. I like to think that this added layer of detail makes for a richer experience and helps to further throw our visitors off-balance.

–> More Music by Delirium Dog

I’m not saying this to be smug (ok, maybe just a little), but to highlight different angles of approach and areas of focus a production company can have. Consider again how Punchdrunk blows wide open many aspects of a traditional production of MacBeth: It’s mostly silent, features dance, set in a separate era, incorporates plot strands from a 1940’s film, lets the audience inhabit the set, is incorporated over 100,000 square feet…the list goes on. Any one of those elements alone would sound terribly ambitious and unique. I would not say the same about the sound.

Does that make it a failure? Not at all. An opportunity missed? Maybe. Hard to say. What I do know is that while Sleep No More pushes so many boundaries in ways I’m still trying to fathom, the sound design remains one area with the boundaries firmly in place.

[Note: I have since posted a response of sorts from the producers themselves in which they explain how the music itself inspired them.]

If this song did not exist prior to production, Punchdrunk would have had to invent it

Even though they limited their creative expression to the selection of existing musical works, the choice of what I would call the show’s theme song was a master stroke. Each evening plays out in three one-hour cycles, which loosely end/begin with two characters in separate locations singing the existential pop song “Is That All There is?” (If you read the lyrics, it’s about as unlikely on paper to be a popular song as SNM is a popular play.) On one floor, a male witch is lip syncing a straight-up replay of the Peggy Lee version while one floor up, a female witch (Hecate) is syncing to an ultra-creepy, a heavily pre-verbed male vocal–possibly Tony Bennet‘s rendition. Her face shifting to a haunting grimace as the first lines of the song surge from out of nowhere, one could believe Hecate was channeling Tony Bennet’s spirit from the afterlife, if not for the fact that he’s still alive. It’s a highly doctored piece of audio (may even be mostly original) and is easily the creepiest moment in the soundtrack. This is a hint towards what could be done if all of the audio were just as original.

[UPDATE 5/21/12/: The movie The Man Who Knew Too Much, which is also referenced in the SNM soundtrack, features the song “Que Sera Sera” in two scenes. “Is That All There Is?” could easily be the B-side to that more upbeat take on life.]

“Is That All There Is?” The answer is embedded deep within the experience that is Sleep No More. As the musical question lingers, the show loops over again and you can watch the same events or others and have a completely different experience. You never step in the same river twice. The sequence of events continues to reveal new layers of complexity and your appreciation deepens. After enough time in the world of Sleep No More, you realize the reason you are there. It’s the same reason you are here on earth: to pay attention. Pay attention to what is happening right now because your experience will not be the same again. Even if we were to loop your life over and over, you would see it differently. You never can even step in the same river once. Just pay attention right now and you will reap the rewards. If that’s all there is, I’d say that’s enough.

Summoning my Inner Tom Waits

Posted in Creativity, Delirium Dog, Music, Performance, Scarehouse, Video on January 17, 2012 by deliriumdog

In much the same manner as the DD video for Absinthe Cola, the new video (below) was a mostly unplanned, quick shoot using sets inside The ScareHouse. I’m still amazed how well their sets show up on video. They’re so beautiful that it’s like shooting fish in a barrel, really, except I’m also one of the fish in this analogy.

The role of the shooter was played by Steve Friedrick, who co-produced and co-directed the video with me. He also handled all the editing and post-production, which is great because I would have gone insane looking at myself so much. I also would have made it a lot blurrier and layered a lot more effects over my face. In fact, the extent of my contribution to post-production, when Steve was showing me draft edits, was to tell him to use more effects and to dirty it up more. The original footage (shot with my Canon T2i) was painfully crisp and clear. You could count the whiskers on my chin. I don’t know how any actor can survive the scrutiny of the HD camera lens these days. I’ve been noticing more lately how on-screen talent (from newscasters to dramatic performers) use makeup and other techniques to hide the natural process of aging. Some appear to have a “no extreme close-ups” written right into their contract. Anyway, while I’m not afraid of revealing any “age lines,” I’m still a little weirded out by seeing my face so clearly. Especially when I’m performing a caricature of evil incarnate.

I knew that I could not successfully embody said evil if I just played it straight (whatever “straight evil” means). So here you get me channelling Tom Waits, which, either because I’m not being very successful or because I’m not actually Mr. Waits, ends up looking unique enough for a music video. Steve brought the goggles and they are roughly half the character. That wicked smile was quite painful to hold and my jaw hurt at the end of each take. The twitchy dance technique also burned quite a few calories and I was pretty well wiped after a couple takes. Such is the price we must pay for our art.

Alien Visitation

Posted in Delirium Dog, Music, Performance, Scarehouse, Video on December 5, 2011 by deliriumdog

I have a good deal of video footage from our work at The ScareHouse this year. Live stuff and other bits we shot specifically for music videos. I was sifting through it all and planning on cranking out a quick live video, but decided to do more to it. The live footage by itself is interesting, but does not exactly hold one’s attention for the several minutes a song lasts. So I started adding graphics and effects, learning new software all the while, and before long realized that it was going to be a longer endeavor than I initially planned.

That’s where the alien comes into play. A single, focused idea that gives you a little taste of the Delirium Dog live thing we were doing married with some semi-hot alien-dancing action. Ursula has always wanted to put on a puppet show so I brought the alien along for her to play with when she was not singing or pressing buttons. It was her idea to add the lights to his (or her?) arms, which really makes it. We’ve talked about doing our whole act as a puppet show. It could happen. Until then, you’ve got this as a teaser.

Too Much New Software = Brain Freeze

Posted in Uncategorized on November 29, 2011 by deliriumdog

Last weekend, I opened up a few programs from my newly purchased Adobe Production Premium CS5.5 suite. It was half-off for Final Cut Pro users (for a limited time!) so I decided to go for it. I clicked around and started to get acclimated with After Effects and the new Premier. Not making much progress, but taking that first brain-burning leap.

Exploding ComputerThen I remembered that I had downloaded, but not installed, an upgrade to MetaSynth. I haven’t used MetaSynth in years. It’s been so long that the thought gives me nostalgia. Going from version 2.5 to 5+, I had some catching up to do. I also bundled with it their program Xx, a composition tool that pairs with Metasynth (why not?). I opened up both and started to click around.

Meanwhile, I still had a musical composition to finish (secret squirrel project that I will explain someday), so I went back to good old Logic Pro and pieced together a few more sections of the tune. At one point, I wondered if I should be doing this in Abelton Live instead, but figured I could go there later if I wanted. I’m still more comfortable composing in Logic.

But the video tools were still calling me and I realized that, as a Final Cut Pro user, I had just flirted big time with Premier without having even yet downloaded the new major upgrade to Final Cut. And as the free 30-day trial to Final Cut X was downloading, I opened the latest version Motion and clicked around to see what was different.

Yes, this is all true. I really am nutty enough to purchase several huge, deep applications covering video, graphics, motion graphics, music and sound all in one weekend. Granted, it was a long holiday weekend, but still.

Final Cut X opens up and I feel like a child again taking my first steps in a scary new world. It’s quite different from it’s predecessor. Ten minutes and a nice youtube overview later, I’m importing video from my live performance last month and slogging through an edit.

By the time Sunday evening rolled around, I had achieved precious little. So many awesome and powerful tools, but so little done. Did I mention the new plugins for Logic and Live that I just installed and have not even glanced at? Or the ever-present Web browser windows floating around my desktop, taunting me. Facebook, Twitter, WashingtonPost.com…

I remembered all the progress I made with Abelton Live just a month ago and how I was going to dive even deeper into it an make that my total focus for the rest of the year. I think it will have to wait a few more weeks.

I know I will eventually master some this software, and hopefully moderately competent in the rest. But right now, my brain hurts and I’m frozen by all the possibilities.

Brother, can I borrow 10,000 hours?

 

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