Album Update

Although Sylvia and I are doing our best to get “crowd-funding” started, this aspect of our music business seems to be stuck. We don’t like doing “Social Media” and with possibly “hundreds” or “thousands” of new songs being made available every day, it’s no wonder our band’s tiny island is still unknown.

On our Patreon page, there’s also a video of me explaining why we need this money.

Here’s the link to our Patreon, crowd-funding page:

While we’re waiting for funding, for CD manufacturing, Sylvia and I decided to make this album available through “BandCamp”. So “Perfectionately Yours” can now be purchased… AND anyone can listen to all the Songs for free from that same site. These are the full songs. Just as Sylvia wrote them.

When this album is purchased, a Bonus file will be instantly available. It’s the “PDF” version of the “Perfectionately Yours” Poster. This 18 x 24-inch creation contains all the Lyrics for all the Songs. It also contains some background information on some of the Songs as well as a list of the Music Gear we used.

Be sure to scroll down, below the Song List, in order to read the background of how this album was created. Remember, this is a “Concept” album. All of the songs, together, tell a complete story. It’s “our” story… the story of how Sylvia and I are now working “across the Veil”. The songs take the Listener from the beginning of Sylvia and my “physical” (and temporary) separation. The energy and style of each song re-creates those emotions I felt just after our 3-weeks in hospice was over and brings you through to the present day. So the beginning of this album is very “chaotic”… very “stressful” and “confusing”. The songs then move through “anger” and on to “hopefullness”.

Here’s the link to our BandCamp page:

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Album Update & Crowd Funding

On July 1, 2016, Sylvia and I finally finished our album: “Perfectionately Yours”. It took us over 24-monhts to do this, while Sylvia and I worked “through the Veil”. It’s almost 70-minutes in length. It’s a “Concept Album”. It’s our story, our Life, in a general sense from Sylvia’s point of “crossing-over” to now. Most of the Songs can apply to anyone’s loss of their Loved One.

This album is raw, rough and, at times, a bit “out there”. It takes the Listener from the Chaos I found myself in… through Disorientation… Anger, Sadness, re-finding myself… to re-connecting again to Sylvia.

Right now, we need funding, in order to get the CDs manufactured, the Posters printed, basically, to get this album Distributed.

On September 25, 2016, we Launched our crowd-funding campaign. It’s on crowd-funding site: “Patreon”. Here’s the link:

If you’d like to receive this album for a very low price, or would like to own 1 of our very specially-made, layered, logo-bearing, Lavender Candles, or would like to have our logo on a Drumhead, to hang on your wall, then please visit our Patreon page above for more details on this next phase.

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Album Update (5/3/2016)

Today, Sylvia and I worked on our “Time Machine” song again. We focused on the Cyber Diva (female) Vocal part. It took a bit to get it adjusted but even with that, “her” timing was “off” here-and-there. (I entered her note-rhythm from memory and it was not completely correct. So “her” notes weren’t matching the timing of “my” notes, when I inserted them into GarageBand.) I was going to adjust it, yet again, when Sylvia suggested I take a mental step back and really listen to what this song and those 2 voices (hers and mine) represent, which is “working” and “singing” through the “Veil”.

As I listened in this way, Sylvia explained that this mismatch of Vocal Timings symbolizes the distortion of “sight” and “sound” through the “Veil”.

  • It works. It does work. For some reason, I had forgotten this “through the “Veil” aspect, and kept trying to polish this song, so it would sound “professional’… but that’s not what this song is about.

When we finished adding the software Vocal part, I moved GarageBand’s Playhead to the beginning and listened to the entire song. As I did, I just started crying. At that moment, I knew this song was now finished because I coul (I’m crying now)

  • …I then knew this song was finished because I couldn’t stop crying. I’m not sure “why” though… Maybe because it was a lot of work, pulling energies through from the other side of the “Veil”… Maybe because it’s a beautiful song… Maybe it’s because it’s feedback that Sylvia and I really did work together across the vast distance of “No-Time”, here in the “Now”.
  • These are not “my” songs. I don’t write songs like this. Mine are very simple structures of music. These are interwoven sonic textures with a self-empowering message. So I know My Sylvia wrote these songs. I’m just proud to be her “Assembler”.

Remember, “Sylvia” wrote this song and, so far, all of the songs on this album. I “Stream” them from “her” to “me” and then assemble them. I really thought our Orchestra work “N.O.A.T.Y.” was going to be the most complicated and longest-to-assemble song on this album but, so far, this “honor” goes to “Time Machine”.

  • Figuring out where Sylvia’s puzzle pieces were supposed to go and which sounds (instruments) she wanted me to use, as well as deciphering the “Tempos” and “Rhythms” was like assembling a model many years ago… Whether I was building a “ship”, “airplane” or the Star Wars Millennium Falcon, there was usually a point where the smaller pieces would create part of a large piece but then you had to snap that section into 2 other pieces. This meant moving part of it in 1 direction while snapping another part in a different direction while sliding something else under another piece. (At least that’s what it seemed like for me.) “Time Machine” felt like that at times.
  • I would classify “Time Machine” as “Progressive Rock”. It’s a “Pop-Rock” song that’s heavy on drums and synthesizer but has lots of sonic changes as well as 2 different Tempos and at least 3 different Rhythms.
  • I saw the details of 1 of the Time Machine files and it shows that it was created on October 6, 2015. This is about when Sylvia asked me to stop working on “Time Machine” and switch-over to working on “Calling All Humans”. (Which is free and can be downloaded by anyone. See below)

I just now exported this new song and added it to our iTunes Playlist for this album. It now shows that we have 6-Tracks but this includes a “Pre-album” Track that’s 1-minute, 46-seconds in length. It was supposed to only go at the beginning of the video for this album but, as I listened to it just now, Sylvia suggested that we also place it at the beginning of this album. So it’s a Track of 1 sound effect, in the background, with me and Sylvia talking over it. Of course, “Sylvia’s” voice is represented by the “Cyber Diva” software from Yamaha.

  • This software is not perfect and I can’t get “her” voice to come close to Sylvia’s but it’s the best Vocal Software (sing almost any word) on the market today. Sylvia and I would not be able to create this album without it.

“Time Machine” is 5-minutes, 4-seconds in length. So now we have 5 songs finished and they take up about 33-minutes on this album. I don’t know how many more songs Sylvia has in mind for this project. I do have notes for at least 3 more… maybe even 6 more, total.

  • I just checked and there’s an extra song in iTunes. I had forgotten that Sylvia had me save the initial “Stream” for the “N.O.A.T.Y.” song as a type of “Bonus” Track. So that Track alone is 7-minutes, 35-seconds in length.
  • So there are really 4 “different” songs… plus the “Stream” of the Orchestra Strings (for
  • “N.O.A.T.Y.”)… plus a Track of me and “Sylvia” talking.
  • Note: “N.O.A.T.Y.” is not the actual name of that song. These are the 1st letters of its name. Sylvia has asked me to not release some song names of the album’s title until the album is released… partially because these are either unique words (that we created) or a unique combination of words… and partially because of the energies surrounding this album and the songs within it. Sylvia said it was ok to mention “Time Machine” because it’s a Society-known “phrase” and “idea” and is not unique.
  • We currently refer to this album’s title as “P.Y.”

(Several hours later…)

  • After supper tonight, I thought to myself: “Time Machine is finished” and it hit me… That’s almost “symbolic”… “My Time Machine is finished”… “My way back to My Sylvia is now complete”.

Here’s the link to our free “Calling All Humans” song:

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Album Update

Sylvia and I worked on our latest song today. We spent several hours on it and ran into a couple of glitches with Apple’s GarageBand program. At one point, it changed 1 of our “audio” Regions (recorded Violin notes from our Korg Krome) into a “MIDI” Region (digital notes), which it cannot normally accomplish. We could see the converted Region and the notes but GarageBand wouldn’t play them. (I tried to play them only because I was curious as to what that program did.)

It even added frequency modulation (a “wobble”) to the Bassoon part I recorded a few days ago.

  • This is why you must not only back-up your computer work but you must also keep “iterations” / “versions”. Each Time you find yourself about to make a major change in your song, the book you’re writing, a movie, a digital image… anything that’s important to you, it’s a very good idea to train yourself to stop and save that file under a different name. Sylvia and I simply add a number to the end of the filename and just change that with each Save.
  • For the Bassoon’s “wobble”, I simply opened a previous version, Copied the Bassoon part and Pasted it into the current file.

Since we have the latest version of GarageBand, I have a feeling the problem is in our 2009 Mac Mini computer… I’m thinking it’s just not 100-percent compatible with Apple’s latest Operating System — Mac OS X 10.11, “El Capitan”.

I did a quick, troubleshooting search on the Internet but found nothing similar.

The song itself is almost finished. Besides doing the final Mix, I have to reinforce my recorded Vocals. I really don’t want to re-record them. So I’m hoping I can simply bring-up the volume in the syllables that sound faint. I also need to search through the sounds in my electronic drums, in order to find a better Cymbal sound for 1 spot. The sound I used, from the Krome, is a typical, drumset Cymbal “crash” but the sound I’m hearing in my head is a Symphonic Cymbal “crash and choke” or, even better, a Cymbal being scraped with another Cymbal or a metal stick. (I only searched within the Krome today but I think there’s a Cymbal “scape” sound in GarageBand.)

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Album Update

After digging into our latest song, “N.O.A.T.Y.”, yesterday, it finally started coming-together and is now able to maintain its own identity.

  • A couple weeks ago, Sylvia suggested we work on this song next. The 1st information she sent me was a Symphonic Orchestra “wash” of sounds. This came to me through the “Stream”. (Not “Channeled”. Just “Streaming ” it from Sylvia’s personal “Grid”… [she just explained this to me. I never thought about “people” having a “Grid” before.] It’s similar to the Earth’s “Grid”, where every Being on this planet can tap into the information stored there. Lookup “Hundredth Monkey Principle”.)
  • Anyway, more pieces to this song-puzzle came to me after that… I had the lyrics. Then the Vocal melody, which I worked-out at least 2 times. (Doing my best to find the notes Sylvia wanted to us.) Each time Sylvia and I opened that song, to work on it, the Vocal Line just didn’t feel right. Then a couple other chunks of music-information came through.
  • I was juggling song-pieces for several days and getting more and more confused as to “how” to assemble everything.

Since I knew Sylvia wanted this to be an “Orchestral” piece, there were a few guidelines I needed to stick to:

  • I needed to be sure to use only “Traditional” Orchestral instruments. This means I couldn’t use electronic instrument sounds or Traditional instrument sounds which were electronically modified.
  • She also indicated that this song has a Middle Eastern flavor to it. One of the biggest emphasis that Sylvia made, regarding the dominant “sound” within this song, is the nasal-style instruments of that region. Our Korg Krome keyboard was the best musical instrument, for this purpose, that we own. In browsing its “reedy” Orchestral sounds, I kept wanting to hear “more nasal”. I wanted to turn on 1 of our synthesizers, in order to satisfy this lack of finding the right sound but, of course, that wouldn’t be a “Traditional” instrument. At one point, I created a new, thick, very nasal instrument in the Krome but Sylvia suggested that I keep it simple. So we decided on the Krome’s Oboe. (Just to emphasize… this is not a “Middle Eastern” song. It simply has the nasal “flavor” in it.)

Anyway, this song is not quite done yet but it’s a LOT further along than it was 2-days ago. Right now, unless something else changes, this song:

  • Has 16-Tracks in GarageBand
  • Is 7-minutes long
  • Has Strings, Oboe, Bassoon, Violin, Orchestral Chimes, Timpani, Gong, Choir
  • and weighs in (in GarageBand) at almost 500-megabytes in filesize.

Although this song calls for “me” to sing it, I had a very difficult Time “figuring-out” and then “learning” the Vocal part. Typically, modern music stays within a 1-to 2-note jump, especially in Vocal melodies. This song has a 5-note jump in it! When I 1st Streamed it, there was a 6-note jump in the Vocal line but Sylvia changed that part of the melody but still left a 5-note jump.

This song is a bit haunting and the melody will stay with you for a while… or maybe it’s just because we’ve been working on it for about 2-weeks now… and listening to “parts” or “all” of it MANY, many times.

As I mentioned before, I really wish we could share the songs on this album, as we finish them, with at least a few of you. It’s so boring, exciting and frustrating to not be able to share the “music” part of this journey as Sylvia and I travel through the sonic landscape of this upcoming album.

  • Also…
  • Several months ago, Sylvia mentioned that “I” am the feedback I’ve been looking for… as to “when” something is going to FINALLY happen, which will lead to her and I physically being together again. (When the “Veil” is removed.) One very big piece of feedback is the work we’re doing on this album. I think it was 2014 when Sylvia started pushing us to buy some extra music gear, in order to create this album. However, even though I Love nothing more than to be with MY Sylvia… working on OUR music TOGETHER, there have been MANY days and weeks when I just couldn’t find the motivation to do much of anything.
  • Then, in the last couple of months, we’ve been doing a LOT of work on this album. Once this song is finished, it will mean 19-minutes of music will be completed… and that doesn’t count the “Time Machine” song, which, I think, is almost finished. I just have to learn the Vocal part.
  • (I was thinking about this today… Working on the Vocals in the N.O.A.T.Y. song may have helped me understand how to pull-up (from within me) my “Singing Voice” for the Time Machine song. We’ll see.)
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ARP 2600 Patch Chart

Sylvia and I finally got around to writing down the ARP 2600 Patch for the song we finished in February 2016. This song’s initials are “R.L.”. (We’re not releasing the name of this song until the album is available, which is probably several months from now.)

Anyway, these very chaotic, very stressful sounds “start” and “end” that song.



The 2600’s keyboard wasn’t used for this Patch. After making the above settings, simply turn up the “VCF” and “VCA” Sliders, in the Mixer. For this particular song, we didn’t use Reverb but if you want to use it, this Patch allows for it… just raise the Reverb Sliders to the desired levels.

The “ARP 2600” is a semi-modular, analog synthesizer, which means it doesn’t need Patch Cables, in order to produce sounds. However, when you do use Patch Cables, you can create some very complex sounds.

NOTE: I tried to upload the Patch Chart image between the above paragraphs but WordPress kept showing an “error”. Since Sylvia and I already have a “Weebly” Blog, we added the image there. Here’s the link to that article:

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Album Update

​Today, I was finally able to gather enough energy together, within myself, to work with Sylvia on the 1st song in our upcoming album.

I had forgotten that we already recorded some starting-thoughts for this song. So I turned on our “Korg Krome” keyboard, set it to Sylvia’s favorite “Piano with Strings” sound and placed my fingers on the keys.

I immediately found myself (with Sylvia’s help, of course) playing a simple but nice-sounding chord-progression. Just before turning on the built-in Recorder, I used the “Tap Tempo” feature to indicate the speed of this song. When I did this, the keyboard showed a Tempo of “81 bpm” (Beats Per Minute).

After recording this, I decided to quickly Save it, before I started modifying it. When I did, I thought: “I better save it as “Chaos 2”, in case we already Saved a “Chaos 1″.” Once it was safely Saved, I checked and, yes, there was a “Chaos 1” already Saved. So I Loaded it in and listened to it. Not only were the chords fairly close to what I had already played but the Tempo was… exactly “81” bpm!

That was the “melodic”, “sane” part. About a week or 2 ago, I had created a Patch (instrument sound) on our ARP 2600 for the “chaos” part. I listened to it but it never sounded right. So I cleared it and started from scratch. While creating that sound, I realized (or Sylvia made the suggestion) of just what that sound should be. So I cleared that Patch and started over… again.

Needing yet 1 more modifying source, I also used 1 of the “Gate” Outs, on the BeatStep Pro, to trigger an extra rhythm, which is slightly random

We also did a brief test with the vocal software, “Cyber Diva”. Its “strangeness” may work along with a mirrored voice, in order to give that 1st song a cold, sad, empty, chaotic feel. We’ll see.

We still have to work-out a Drum part.

Categories: ARP 2600, Arturia BeatStep Pro, Korg Krome, music, song | Tags: | Leave a comment

Homemade Stands For The Roland JP-08 and System-1m

Although this information has been on our Bandsite for a few months, I just added it to our Weebly Blogsite. I used our “Weebly” site because it’s easier to add pictures and place them exactly where we want.

The 2-pages I added show the “Stands” / “Holders” I made for our “Roland JP-08” and “Roland System-1m” synthesizers.

Here’s the link:

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Roland JP-08 Synthesizer

Recently, Guitar Center sent us an eMail asking if we’d like to write a review of a piece of music gear Sylvia and I purchased from them a few months ago.

Although it’s long, I did my best to stay as factual as possible and to draw from our personal experience with this product. If you know anyone who’s thinking about buying 1 of Roland’s “Boutique” synthesizers, I’d like to think the information in my review may be of some help.

Here’s the link:

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Music Technology

Sylvia and I did finally spend a few hours today working on the 1st song on our album. This should have been a very simple process of creating a very chaotic sound for this 1st, very stressful, “why have you and I been separated” song. For some reason we still don’t entirely understand though, the 2 main pieces of music gear that we want to use on this song would not talk to each other properly.
Although I connected the “Gate Out” (start the sound) of the ARP 2600 to the “Gate In” on the Roland System-1m, that more recent piece of gear would NOT start sending its sound out. This was partly “my” fault. Because the ARP’s keyboard had developed some erratic keys, I removed it several months ago. Because it’s been a LONG time since I entered that room of my mind which keeps the “analog synthesizer” experiences in place, I had forgotten that the “Gate Out” on the ARP only works if its keyboard is connected.
Even with that, I did my best to create a “Gate Signal” (a strong “start your engines” voltage) on the ARP, using an amplified Square Wave, but the Roland unit would NOT fire (start).
So we turned back to using the ARP by itself and created a Patch (overall sound) which is chaotic and quickly produces “stress”, which is what this song calls for.
The other unit we want to use is currently in Washington state. We shipped our “BeatStep Pro” (by Arturia) off to be fixed or replaced because 1 of its Sequencers was not sending out a “Gate” signal.
In the “analog synthesizer” world, a “Gate” signal tells a synthesizer to “start”, or “send your sound out” and keep it going out until the “Gate” signal stops.

Think of a synthesizer’s “Gate” as a long or short table being rolled-through a swinging door. The door opens when the table 1st hits it and remains open until the entire table has gone through it. Then the door swings closed as it normally would.

Think of the table being made out of cardboard and when I amplified it, this strengthened the table and now it’s made out of solid wood… and can more-easily open that door.
Here’s some information on the ARP 2600:
Here’s the link to the Roland System-1m:
The “BeatStep Pro”:
Categories: analog synthesizer, ARP 2600, Arturia BeatStep Pro, Gate signal, musical equipment, Roland System-1m | Tags: , , , , , | Leave a comment

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