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DREAM Group
SONIC EXPERIENTIAL UNYVERSEZ



... As in our dream life,
chaos, visions, strivefull struggles, friends,
and,
in time ...

the progressive emerging appearances of amazing heights of Harmonious Functional Clarity












Conceived & composed in Montreal, Febuary 2004
by Carl WB Poirier for Vincent Cardinal

Dedicated to All Of Us








HIERARCHY

Art Director: Carl WB Poirier
Lyrics: Carl WB Poirier
RealTime Live Arrangements : Krrl & Vincenti
RealTime Live Micro Compositional Elements : Krrl & Vincenti
Live & Recording Mastering Producer: Vincent Cardinal












SUMMARY

A :: Prepare 3 to 5 cool constructed beats prior to the performance
B :: Do your absolute best, live, to compose in realtime right in front of your audience
C :: Use the preconstructed beats whenever deemed necessary to chill a bit your brains
D :: That's it folks!












LOGIC

DREAMZ is the basic composition to be performed and interpreted throughout all live appearances of the band DREAM.

Each event produces only one continuous instanciation/interpretation of the composition Dreamz even if an event/concert is braking down the unique composition into many successive parts/sets or if it overlays variously different sonic planes all at once; superimposedly, parallely, sequencially or, even, in any other way.

Again, every Ynstance (live performance/interpretation) of the composition Dreamz performed by the Dream Group is to be considered as one unique creation yeilding the performance itself as well as one or more audio CDs that will be edited and processed according to the method outlined in the RECORDINGS section of this paper.

Every Ynstances, and correlated CDs, are to be tittled after the unanimously agreed upon extension found by Krrl and Vincenti right after the performance has been given.

The extension simply attaches itself to the always self-similar Dream header such as: Dream Sky or Dream Of Shiva or Dream Frequency, etc. The extension may be composed of as many words as desired.










TIME

For any Ynstances,

Δt = [ 7 min, 7 days ]

... bEWARE tHAT tIME
mAY aPPEAR tO eXPAND
oR cONTRACT
all aLONG tHE DREAMZ pERFORMANCES ...










THEORY

Each member of the Dream Group represents/effectivates/sonifies and is an independent Unyverse in itself ¹.
Unyverse which undergoes, undertakes and is engaged in a perpetual process of progressive evolution:
as life itselt, the twin Unyversez are in everlasting creation.

Both Unyversez quite often come into periodical [perfect] HARMONIOUS SYNCHRONICITY:
achieving complete interdependence and full co-ordination:

... thus temporarily eventuating glimsical windows looking out
onto The Central Isle Of Paradise
...


i.e.: WE CONCOMITENTLY ALLOW OUR INDEPENDENT SONIC MANIPULATIONS
TO FREELY COEXIST & INTERWEAVE ²
:: YOU DO YER THANG, I DO MY THANG, OK?

i.e.: BASICLY, THE BOTH OF US ARE WORKING FROM AND ON THE SAME SOURCE MATERIAL
(a.k.a.: Krrl's voice or, at another performance, Krrl's guitar or, at another performance, krrl's root(s) :
Vincenti only treating one of Krrl's instruments in any given event)
IN OUR OWN INDEPENDENT WAYS
(typically & essentially Krrl is playing his instruments
and Vincenti is trans-evolving & super-over-generationalizing, in real time, one of Krrl's instrument)
WHILE WE QUITE OFTEN FORCE OURSELVES TO COME TOGETHER:
ATTAINING FULL COMPREHENSIVE FUSION





EXTRAPOLATION
Eventually, the state n of how the Dreamz composition will have evolved into
will be presented as a complex outdoors sonic installation.

It will represent, through whatever means deemed necessary at that time by its original performers,
the Dream SuperUnyverse made up of all the pre-existent Dreamz Ynstanciations
(provided that at least partial recordings of previous Dream performances will have been made)
according to this flexible yet qualified equation;

Dream SuperUnyverse = (multidimentional) å Dreamz




THEORY REFERENCES :
¹ : SURROUNDINGS NAL.1 directly created on a four-track recorder Tascam 34 in 1989
at Offbox Studios on D'Auteuil street in Quebec City and represented in the 2 cassettes package
AX & BOLD and CALLS & DATA provided with the comprehensive liner notes.
The original recording was made one track at a time while the last three tracks
were done without listening to what was previously recorded on the others !
The two electric guitar tracks of LOVE HELL from War Joy War
had been done in the same way (1992-93).
² : As in the original series of outdoor NOW & LANDSCAPES 1991 events;
real time processing of real time performance. Dream is to be working along similar methodical lines
as TheOrb's early 90s: unsync beats superimpositioning innovations.

Further references may be pointing at multidiciplinary image artist Douglas Gordon, New York Times, Febuary 20th, 2004.












INSTRUMENTATION

KRRL
Real Time Composition
Electric Guitar : Mescalito Wyngz *
Vocals
Potentially WoHaKaTeMaSy Tree Roots

Bold & Calls theoretical parts
Applied Love

VINCENTI
Real Time Sound Design & Redesign Ov Real Time Wave **
Computers & Outboard Gear
Occasional/Rare Prefabricated Sound Objects ***
Potentially Electric Bass

Ax & Data theoretical parts
Applied Physics
In Dreamz' Ynstances where Krrl would not provide for the processing of his voice,
Vincenti will first stabilize a rich basic design for it then proceed with the sound redesign
of the previously communly agreed upon instrument to be ongoinly treated


DREAM
(as a whole)
Real Time Creation In Music, RTCIM ****
Onkontrollable Mashyngz *****
Applied Reality


INSTRUMENTATION NOTES :
* : [[[Mescalito Wyngz + SM57 + 2120 (with Control One)((only program excellent basic 2120 patches especially for Mescalito Wyngz fixed by Al Gunn or Pierre Laporte)) directly stereoed into killer sound card + laptop Xxaya for which Nuendo2 is only programmed live in real time as you really wanna do ideally since years: now, in Dream, yiz the Tyme]]] ** : Vincenti exclusively MODIFIES / LOOPS / EXTENDS / SAMPLES / TRANSFIGURES/ OVER, UNDER & SUPER DESIGNS [in real time] only one (per Dreamz/event) of the following sources mutually agreed upon prior to the perfrmance : Krrl's live guitar or Krrl's live root(s) or Krrl's live vox. And the precise level of the extraction point within Krrl's Kfriendz audio signal pathes is also, prior to the performance, mutually agreed upon according to what our strategy will be for that particular evening. Typically, but not exclusively, this extraction point will be Krrl's MONA balanced outputs 3/4 (main wet stereo guitar or roots signal) or 5/6 (main wet stereo vox) so as to provide Vincenti with an already "toned" and basically processed source. All this could more simply be called Real Time Sound Redesign, RTSR. ALSO, MIDI derived sequences (such as from VST Instruments) that are fabricated during the ongoing live performance and that are presented / utilized therein are fully authorized and definietly considered as being Real Time Sound Design compliant. *** : Prefabricated Sound Objects include prerecorded samples of non-ongoing-live-performance provenance as well as prefabricated .wav files and even prefab MIDI segments (long and short, mono or poly) = VERY OCCASIONALLY & RARE Although, Vincenti, and Krrl, can, at all times, do whatever they feel is best for the Dreamz to expand and more freely unfold into higher & finer Realities, always make every efforts possible to remain within the procedural realms of RTCIM (Real Time Creation In Music) : : exhaust all possible ongoing real time means of sound production and manipulation so as to stay within the RTCIM field of application before even thinking of utilizing any prefab Sound Objects : ain't no IKEA here dudes ! 3 to 5 Sound Objects prefabricated Basic Grooves shall be firstly created. They will be used, during live performances, at will whenever our "realtime creative energy" will ask for a relative rest: those beats should be very appealing to our audience, contrasting very possibly with our more experimental RTCIM efforts. Undisturbed temporary allowance to amazing computer generated queues(tails) to unfold and evolve, relative silences as in the space of the cosmic universes and short rests from intense RTSR activity are all highly prioritized over any usage of prefabricated Sound Objects; full focus shall be directed towards the Real Time Sound Design & Redesign Ov Real Time Waves.
This is an interesting quote taken from Rob Brezsny's Free Will Astrology, March 4-10, 2004, that can well portray this attitude towards the economy of RTSD : Many people have come to feel that nature [ the underlying Soundscape Of Silence which embeds and from which emerge all Sounds ] is boring, notes educator Thomas Poplawski. Writing in Renewal magazine, he fingers TV's hyperactive imagery [ computer sound design technologies ] as the cause. In becoming addicted to this alternative reality, the mass audience [ sound designer ] has become numb to the more slowpaced entertainment value of trees [ peaceful sonical living interactions ] and mountains [ relative musical silences ] and streams [ sounds' queues and freeflowing extensions ] and clouds [ music's emotional quiet calmness ]. Have you been contaminated? Has your capacity for patient observation and reverent objectivity been damaged? If so, this is a perfect astrological moment [ project ] to seek the cure. I urge you to wander out into the wild places and stay there until you see how interesting they are.
**** : If deemed necessary or further research is to be undertaken by The Dream Group, then the theoretical body of work Real Time Creation In Music may be investigated and variously applied to the Dreamz adventure. CARRR MTTV, RTCEEP, RTCAP, etc. ***** : The Onkontrollable Mashyngz One Morning Open Minds reference design project may also, in time, be studied for potential implication / continuation within the Dream project.












REHEARSALS

Generally, essentially, but not exclusively, both Krrl & Vincenti
PREPARE & REHEARSE & CONCEIVE & COMPOSE
their unique algorythmical
TECHNIQUES, METHODS, PROCESSES & PROCEDURES
on their own, seperately, independently ³.
(See APPENDIX below for rehearsal working material)

Then
COME TOGETHER LIVE
SO AS TO MANIFEST
ON THE MINDAL & SPIRITUAL LEVELS,
DREAM,
IN FULL AND REPLETE PHYSICAL MANIFESTATION


³ :Further focalizations, whether structural, formal or even material,
shall eventuate from Krrl and Vincenti's common live real time efforts
at strongly manifesting a clear emphasis of the experimental and experiential planes.












SPATIAL DYNAMICS

We can place ourselves anywhere within the venue's espace (( not necessarily side by side on a stage, but then again, we may ! )) When two P.A.s are available, house P.A + Krrl's P.A. say, Krrl would do his sound with his P.A. and Vincenti would use the house P.A..****** THE MAIN IDEA BEING TO CREATE AS COMPLEX AND RICH AN ELECTRO-ACOUSTICAL ENVIRONMENT AS POSSIBLE WHERE EVEN THE SOUND PERCEPTION BEING VERY DIFFERENT AS ONE MOVES THROUGH THE ROOM : RESULTING IN AREAS WHERE VINCENTI OUTPUT IS WHAT ONE MOSTLY EARS AND OTHER AREAS WHERE KRRL'S SOUND IS PREDOMINANT AND OF COURSE THE MAIN ZONE WHERE BOTH OF OUR SOUND IS FULLY BALANCED. [All of this in contradistiction of a typical stereo P.A.] THE SPATIAL DYNAMIC SHOULD BE AS EXPLOITED AS POSSIBLE AND SOMETIMES A HOUSE P.A. IS MONOPHONIC; MONO IS POWERFUL. WE THEN MIGHT WANT (OR NOT) TO COMPLEMENT IT WITH A RENTED STEREO P.A. ... [where Vincenti might use the rented stereo P.A. while Krrl would use the mono house P.A.] IF FACT, ANY SOUND REINFORCEMENT, LOUD OR SUBTLE, WILL BE UTILIZED SO AS TO FURTHER COMPLEXIFY AND ENRICH THE SPATIAL DYNAMICS OF THE DREAM GROUP EXPERIENCE [similarily to the use of multiple speakers in so-called Electro-Acoustic music although certainly less serious !]
.
sUBTLE oR sOFT dREAMZ mAY bE pERFORMED iN aRT gALLERIES aND pRIVATE mANSIONS aND lOFTS wHERE vincenti may bRING hIS mONITORS {used at safe levels where we balance the amplified sound with the acoustic levels of the voice and of the acoustic guitar} aND wHERE krrl might bRING hIS aCOUSTIC gUITAR {maybe without his own gear so only Vincenti processes the sound of then voice + guitar}

****** : The essential factor here is that sound reinforcement shall be equally distributed between the both of us
although in the less possible uniform way: i.e: we will usually privilege having differential of P.A. colouring
but always keeping an overall relative equalized dynamical diffusion.
[[[ 2XB52s & (8X10" + JBL(SWR fxbibass amp/preamp))
for Trinity Inspired Living Spiritual SunSnakeSound ]]]












SCORE

DREAMZPEACEPEACEΔt circa [ 7 min, 7 days ]


OCCULTATIO

(AFTER REPLETE SOUNDCHECK}
... AND WE START TO PLAY INDEPENDENTLY WITHOUT REALLY LISTENNING TO EACH OTHER
AS IS DONE IN AUTHENTIC TRADITIONAL INDIAN MUSIC B4 ANYONE STARTS TO REALLY PERFORM THE RAGAS
ALL P.A.s MASTER VOLUME LEVELS @ 50% OF ONGOING PERFORMANCE EVENTUAL MAXIMUM CLIMAX INTENSITY (calculated during soundcheck)




DREAMZ
( ULTIMATELY, BOTH MUSICIANS FOLLOW INTENSELY THEIR INNER GUIDANCE )
FIRST WE START BY TAKING ALL THE TIME WE NEED TO PERFECTLY TUNE/SET OUR INSTRUMENTS, COMPUTERS & OUTBOARD GEAR [WHICH I CALL KFREINDZ]
AS IN ORIGINALLY CREATED/RECORDED/CONCEIVED SURROUNDINGS NAL.1 ¹ ( IF VINCENTI IS READY TO START BEFORE KRRL HAS STARTED TO PLAY AN INSTRUMENT OR TO SING, VINCENTI THEN STARTS TO SUPER REDESIGN WHICHEVER RESIDUAL (BACKGROUND) NOISE THERE IS PRESENT IN THE STEREO (OR ELSE) FEED COMING FROM KRRL'S KFREINDZ )
ALTHOUGH AND IN CONSTANT VUE OF AND COMPLIANCE TO THE PHILOSOPHIES OUTLINED WITHIN LOGIC AND THEORY WE QUITE OFTEN COME INTO PERIODICAL SUPERSYNCHRONICITY




OPPERTURA
(SO AS TO CLEARLY MARK THE ENDING OF & FULLY CONCATENATE THE DREAM EXPERIENCE)
SCORE ENDS ON KRRL'S COMMAND BY VINCENTI'S PERFORMANCE OF HIS OWN EXCLUSIVELY PREFABRICATED SOUND OBJECT(S) HAVING A TOTAL LENGTH OF
] 0sec, 11sec] :
Extro IDentification = MicroMontageedit OF subitofff/subitofinis POTENCY












RECORDINGS

Mastering: Vincent Cardinal

Although
Unrecordable music
...and mac related papers

Unrecordable music that may be recorded in Vincenti's computer mixing his own stereo mix along with Krrl's main stereo output from his board
or
both providing their own self produced stereo mixes recorded on their own computers and to be corelated at a later time


or simply allow fine people to put us onto cd !

Live & Recording Art Director: Carl WB Poirier
Live & Recording Mastering Producer: Vincent Cardinal








THE END




In theory, in fact & in truth
Krrl & Vincenti
shall extensively
reveal themselves
as replete musicians
through
DREAM


... for


DREAM DREAMZ












NOTA BENE: This conceptual composition has been created as an anwser to the verbal request made by Vincenti with regard to our eventual musical collaboration. Seeing that I am working since many years on Real Time Creation In Music, that Vincenti has been proving himself to me at many reprises as a highly skilled and devoted computer sound engineer and that he has expressed to me his predominant passion for sound design, it became clear to me and has been channeled through me to compose this score for us.

DREAMZ brings directly and boldly to the forefront our respective striveful endeavors so as they become the essential focus of the live performances & appearances we are to offer to the community in which we live.

I've experienced Vincenti sweating over Xaya, my computer, a couple of times, similarily to a guy digging a deep ditch underground, and I most certainly then envisioned Vince's capacities to work on real time material, live on the stage, as would a true musician and as would a real dj. But, really, it is a hypertweakin geek sweatin while playing his computer that we will see. This is what I've been looking for since 1980 and only at two brief occasions I came close to effectivate a lasting collaboration!

Whatever techniques or methods can be done in the studio can be done live on stage, and, people will delight in it; that's one of the reasons why I wrote the score DREAM.

I've been feeling that it would be a nice present to offer audiences, and a superior challenge for Vince, the spectacle of a geek really courageously rockin as he tweaks, manipulates & samples real time material, and I am sure I'm not the only one who'll enjoy it.

Who knows, this might represent an opportunity that is part of one of Vince's holy calling and sacred cause
...*******



******* : Reference to this possibly controversial last sentence
is to be found in The Passion Of The Christ
of Mel Gibson and in The Urantia Book


























APPENDIX


Possible Dream logo sketch ...








© CARL WILLIAM BURTON POIRIER / SONORASCORES / SOCAN 2004

XZNN2004
© Carl William Burton Poirier

 

 

 

 

 

 

 

 

 

 

       

For a comprehensive
listing of DATES
already booked
as well as shows
already performed:

For viewing
the virtual PromoPack
of The DREAM Group:

Use this map to access the various
DREAM Production Models
that are to be updated
from time to time by Krrl and Vincenti
through ftp access
as new valuable ideas
come up through our minds:

 

 

 

RealTime Composition In Music:

THE SUCCESS OF THE PERFORMANCE/CONCERT IS HIGHLY DEPENDENT UPON THE AUDIENCE'S QUALITY OF CONSCIOUSNESS AS WELL AS ON HOW RESPECTFULLY & GRACEFULLY THE ARTIST IS BEING RECEIVED BY THE VENUE'S STAFF

 

Following are a few audio segments
of Vox, Guitar and Percussive Roots
(in mp3 format, oups!)
that can be used by Vincenti in lieu of
Krrl's emulative live stereo feeds
for RTSD studio experimentations :

Extracts from GODVOX
Possible VOCAL as typical micro compositional elements

 

Extracts from XZAYA & BREATHE AFRIKA
Possible ROOT as typical micro compositional elements

 

 

Extracts from YNFYNYTT ARMONYX SEKANSS
Possible GUITAR as typical micro compositional elements

 

 

Extracts from HYMALAYA LUMYNA
Possible GUITAR / VOCAL / BEATBOX as typical micro compositional elements

 

 

 

 

Absolutly unprocessed extract from NEPAL
Dry Guitar as typical micro compositional elements
(in wav format)
equivalating to an acoustic guitar's pickup directly
pluged into a computer's outboard soundcard

 

 

 

To save these musical extracts on your hard disk, right click on the blue rectangle corresponding to the extract of your choice and select Save Target As from the drop-down menu. Then choose your prefered hard drive location for direct extracts access and manipulations.

 

 

 

 

 

 

To hear or download
full length Songs
or the complete XZNN OLO cd,
go to Audio:

 

 

To hear other extracts
of earlier material,
through the Graphical Interface, explore:

 

 
       

XZNN AUDIO SOUNDSCAPES


the yellow page

XZNN AUDIO ARCHITECTURAL WORLDZ

XZNN AUDIO UNYVERSEZ

LYVE

BOOKING

Credits & Lyrix

TOURS
VIDEO
NEWS

PROMO
P A C K

XZNN © Carl William Burton Poirier

 

 

XZNN1965
TANK THINKING (Penser l'univers ...) © CARL WILLIAM BURTON POIRIER since Birth
COMPOSITIONS © CARL WILLIAM BURTON POIRIER since 1969
RECORDINGS CARL WILLIAM BURTON POIRIER since 1979 / SONORASOUNDZ
NATURE PHYLÉTIQUE © CARL WILLIAM BURTON POIRIER since 1980
HYSTORYLLZ © CARL WILLIAM BURTON POIRIER since 1981
MUSIC © CARL WILLIAM BURTON POIRIER since 1986 / administered by SOCAN
GRAFIX © CARL WILLIAM BURTON POIRIER since 1987 / SONORAKALIGRAFYKLLZ
RTCIM [Real Time Creation In Music] © CARL WILLIAM BURTON POIRIER since 1989
SUPERSITE © CARL WILLIAM BURTON POIRIER since 1998

XZNN © Carl William Burton Poirier