What’s Important? Not That, For Sure.

Animals and people, both, are starving, in pain, suffering needlessly. Wild places, native habitat, even whole countries (Syria, for instance) are being consumed by varied disruptive forces, be it climate change, greed-driven destruction, or war, leaving nowhere for those displaced–animals, plant, and human–to survive. And what do I come across this morning? An article decrying the ‘bra tax’ (bra = brassiere for those who don’t know that.}. Really?! And I countered, what about pharmaceuticals? That’s more critical, for sure, isn’t it? What about food, clean water, clean air, health care, safety from warring factions?

I am constantly faced with just how ludicrous is the furor and foment over non-critical issues. Reminds me of the airhead decrying her broken acrylic nail and another whose favorite salon girl was sick and couldn’t lavish skilled hands on her tresses. Then there’s the upset over, of all things, Oscar night or who won the Stupid Bowl. Really?!

Oh, my. How very insulated and trite.

“Omigod. I don’t have any cell phone signal.”

I know, I know–the sky is falling, the sky is falling, you can’t text your bff, is that it? Gee. Really tough, ain’t it! Meanwhile, your grandmother can’t afford the medications that keep her alive. But you don’t care. You’ve got to TEXT. You’ve got to have your nails down.  You’ll just DIE if you can’t!  (She’ll die if she doesn’t have her meds, but do you care?  Nah.)

You know, there are certain times when I just want Big Daddy in the Sky to wipe the slate clean. No, I say to him, please don’t try again. It’s hopeless, a bad model, a worse idea. Intelligent design? Not at all.

I’m at that Point

Today, I’m at that point of destroying my every ongoing project, burning my manuscripts and hard files, killing my back-ups, boxing up my instruments and hauling them to the Goodwill, destroying my websites–all of them–deleting my online presence, wiping my drives, and just not being any longer. Something happened about an hour and a half ago, and, well, I’m not getting over it like I usually do. Not yet, anyway. I’ll wait to do anything drastic, but, right now, I feel like I’d just rather not be, anymore. I really had no idea….

A Forced Abandon

The Internet went down. Soggy cables of a crumbling infrastructure will do that when a melt happens. Of course, it happens other times, too, but that’s usually either rodents chewing through the lines…or somebody’s highway construction project severing the main trunk. Gleefully, I took advantage of the hiatus granted me from the Net–from having to deal with servers, email, and everything cyber. It let me concentrate…or should have, on working on my projects.

First day down and, yes, me without any withdrawal symptoms (I never suffer withdrawal from losing connection. The opposite, in fact.), I worked on my audio project…until the cyberzombies who were suffering withdrawal descended, wondering if I had Internet access some way. (They know me too well, I think…and, uh-huh, I did have a way to connect, but I didn’t tell them that, because, for me, it’s only for emergencies. Using it is hyper-expensive.) Second day down, and it’s Mom’s birthday, which means everybody and their puppy either calls or shows up–no appreciable work done.

And, then, the DSL came back up…earlier than predicted. (Grumble.) There is something to be said for having no connection to the world at large, except for what’s outside your door. Life is cleaner, less cluttered, less stressful, less concerned. I prefer it that way, but the reality is that, without connectivity, I become insulated from the reality in which most people live, experiencing only the reality of localized here and now. I would have no idea if nuclear war broke out…until I became a shadow burned into the ground–no terror possible.

I remember when I lived as a recluse for long years, only coming out maybe once a month if I needed some fencing material or food staples. And to get the mail. Back then, I had an early form of Internet, too–all black screen or telnet white screen, delivered via braided copper cable that I paid a substantial amount to have run to the property from miles away. Communication was limited to text, used by few, and completely devoid of trolls, advertising, and, mostly, malevolence from black box intruders. It also was devoid of inanity, breakfast bagels, and surf-by spammers. I was reminded of that time today when, coming back online, Nathan Lowell poked his head out long enough to type of few conversant lines with Anita Lewis and me. It was refreshing to commune with people you know are intelligent and of sound character.

The point? I don’t know if there is one. Yet, I know that the Net as it stands today is completely unfulfilling as a communication and connection medium. At least, for me.

 

The Sound of Paper Flying and Rising Temper

It’s Monday. Mondays mean bookkeeping. Mondays mean sorting through all the junk mail they send to my and Mom’s addresses.

I check mail once a week. On Fridays, usually.  It isn’t sorted and worked through till Monday, so Mondays mean filling up a 13 gallon garbage can stashed outside my office, lined with a heavy-duty, extra-hefty garbage bag in which to toss all the wasted dead tree paper that charities, political groups, and businesses begging for attention mail to everybody who has the fortune to own a mailing address. And, of course, that means that every two weeks when I go to the dump, I get to load these heavy bags of paper to the recycler.  I wish there was some way to get on a no-unsolicited-mail list.

The Mix-Down Session

So, today, my husband is back to working on the mix-down of our performance of Carry On Wayward Son. As I listen to the balances he’s trying to achieve between sounds produced by un-effected me — pure, raw flute (loud) — and sounds produced by me through an effects unit (loud, but not as), I’m thinking to myself, I really like the sound of my instrument. I’m really not that thrilled with sounding like a saxophone, a lead guitar, a chorus of instruments, or any other warping of my sound waves.

Of course, what I think is irrelevant to what we’re trying to do. It took me a lot of practice and frustration to be able to manage the foot-switching on the effects unit at a fraction of a second prior to when the sound was supposed to happen …which, in the case of this piece, sometimes happens every two-and-three-quarter beats apart: Clean, effected, clean, effected — do it, do it, do it, do it.

There’s a lag — just a fraction of a second — that happens when you punch a button on an effects unit. It’s just a minuscule amount of time, but it’s critical. And, trained classically, which comes ‘on the beat’ rather than just before the beat like rockers play, my training coupled with the effects engagement lag compounds my problems, because it’s got to be right.

So, prior to recording day, I spent a week working very hard on my feet — an odd thing for a flutist to have to attend. I practiced …and recorded that practice — thank the cosmos for good recording software — then began adjusting my playing to ‘anticipate the beat’ and come in sounding ‘on time’ the varying micro-fractions (depending on which patch…and, yes, they all require different lead times) ahead of when normally one should. That worked. I was…happier. (Can’t say happy, just happier.) Next was trying to figure out the lag that happened between stomping on the effects unit button (switch banks, engage POG, step on one or another button, 1-10, and, simultaneously, with the other foot, ease on the volume pedal to the exact level specified in the performance notes, reversing the process two-and-three-quarters of a beat later.)

The lag was, literally, .121 seconds according to the sound wave and beat division markers contrasted against the actual time in thousands of a second. Right. I guessed at what I had to do, trying over and over …and I was running out of time. This was Thursday. We were recording on Saturday.  Finally …finally, I got it.  The wave form lined up.  When Forrest came home from driving truck all week. I was ready. He was happy with my results, though I’m still not completely convinced. I feel I can do much better. (Intonation suffers. Posture suffers, me sliding into ‘hunch back’ with having to keep an eye on the LED readouts at my toes. I fall back into the bad habits, letting my fingers fly off the keys when I’m concentrating too much on getting everything digital right and not on just playing my flute.) I hope that, given time and experience, all the electronic ‘stuff’ becomes second nature so that I’m more comfortable and can, once again, just concentrate on playing, not coordinating all the paraphernalia required for plugged-in performances.

…Then, there’s getting over ‘red-light fright’, which happens any time Forrest hits the space-bar that starts everything recording us — instant diaphragm freeze and shaking fingers….   I WILL get over these pitfalls, just like I did the extreme stage fright I suffered in my youth. I am determined.