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BONUS #146: DCQA – Silent Sorrow in Empty Boats (Patreon)

Published:
2021-06-05 02:07:05
Imported:
2026-06

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  • 146 qa resurrection chronicles the new generation.mp3

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Content

How wonderful to be so profound / when everything you are is dying underground

Files

Comments

Svid

Word

Justin Hastings

The piggies are squealing. We’re squealing!

gcs

Sending love ❤️ your way MSJ

JD

Nice with the lamb lies down on Broadway i listen to it every couple months because I’m old. Also a fan of “the knife” from “genesis live”

Danielle

Much respect to those souls who are committed to making music together in a room. We need that shit more than ever. Give me Elvis Costello belting out his vocals on Blood and Chocolate over the fury of percussion and tension.

Pete

Pete

Chris Ryan

Hey mj my brother just got one of the very last pre-cbs fender bassman amps and he traded the farm for it, good idea?

swag

so i take it you're not a fan of 100 gecs?

Pete

swag

woah that last line is a perfect summary of the last part of the episode & I'm going to have to think about it for a while, thank you for a quick reply! hope you're doing well

Nicholas CLARK

as someone with the musical bona fides of a beached whale this was a fascinating episode and the ending gave me a ton to think about - I remember towards the end of your first TrueAnon appearance you expounded on the difference between art and media and I think you really brought illustrates the “mediation” of the Real in this episode very well- so thank you for that. I know things are tough for you right now and so it’s really all the more incredible that you can make it, a ton of support from here. Thank you kindly for everything you do. A couple of questions (comments?) for a DCQA at some point, say, in the triple digits, but I’ve wanted to ask you, if only just to put down on paper: Thoughts on VALIS by Philip K. Dick? Your commentary on The Man And The High Castle and the refrain that “the Empire never ended”, and really the whole ontology of time presented in the book, is fascinating. I’ve also been reading a text by a sociologist, Sergio Gonzales Rodriguez, who actually appears by name in 2666 - the situation in Juarez is truly horrific and really can do anything but leave any warm-blooded person cold (although hey, that’s not who we’re dealing with here). If you ever do decide to do a series on 2666, I think you could probably fill a couple episodes with a discussion on US involvement in the drug war (operation Mérida in particular); it truly seems like one of the most nihilistic conflicts in world history, and I think you would be one of the few to do a series on it justice with both thoughtfulness and heart. Finally, Burroughs - America as old, sick, and evil. What’s under the soil?

roy cochrane

you can just have a buffer built straight into the cable. i have one of these things and you can instantly hear a little more high-end detail pop in when you press the button on the control box http://zerocapcable.com/?page_id=231

roy cochrane

Since the advent of streaming platforms and output normalization, all the better pros are now on the wagon for increased dynamic range (Ian Shepherd's crusade etc) - is this a better or worse development than the loudness wars, given the context that's made leaving that era possible at all?

Everett Woolsey

Love when a podcaster has correct opinions on Prog Rock👍

Horseloverfat

Great and illuminating ep as always. As a prog guy who also likes weird avant post-punk stuff (this heat etc.), do you have any thoughts/takes on No Trend?

Jack Nancy

don't know much about Genesis, but damn that is a really good tune you hinted at. XO

Volt_wizard

Perfect take on the recording process. It's sad because listenign to an album is an experience, and now it's being boiled down to needing to be catchy within 30 seconds or it gets skipped. Rush's earlier "golden era" is a perfect example of how digital recording changed them in the 80's. But their albums up until moving pictures have fantastic quality that are some of my all time favorites. IMO they are one of the best examples of hearing how protools changed everything once they got to power windows and beyond in the 80's. But, hemispheres, 2112, farewell to kings sonic quality is second to none.

Izak Kennedy

Kia Ora MSJ, long time listener some times poster. First and foremost I will always be here for the intersection of music nerdery and US imperial history, this is without a doubt my fav podcast by a long shot! I work with youth as an audio engineer, with some experience in the local music industry and a lot of the stuff you commented on about the recording process is incredibly poignant to me. As someone who is trying to encourage our local youth to get involved, through the "just start recording on audacity with a shitty interface as soon as you can" type vibe the point you made about how hateful the exclusiveness of the "industry standard" sound is towards the young and the musically and economically disenfranchised was extremely poignant to me. You said some shit that i have been looking for the words for a long time now. Secondly, The explosion in "soundcloud rap" with beats made on pirated software with all kinds of insane clipping and overruns is exactly the kind of shit u were saying about the industry letting the mask slip, but we have seen within 5 years of that wave, it all being entirely co-opted back into the belly of the beast and made completely stagnant. Thirdly just wanna shoutout Dub as being one of the most underrated, influential and important studio based musical movements of the modern era Thank You for all your work, it can sometimes get lonely down here in Aotearoa when your intersection of interests is as niche as this. Izak

Chris Ryan

Amazing that you went directly to mentioning Atmosphere, I actually remember sending tracks from Lucy Ford to my friends back home when I was in college and getting brutally roasted by almost all of them. Didn't deter me one bit, I went to a show and bought a hoodie and got him to sign the arm and wore it everywhere. I can't bring myself to listen to anything he has put out... basically since then? but I did hear that the Minnesota backpack scene turned ultra sex-creepy over time and that does not surprise me one bit. Anyway, at that Atmosphere show, Mr. Dibbs played War Pigs as like the climax of warming up the crowd, and, being at my very fattest and out of shape point in my life, I literally almost died getting crushed among moshers, could barely breathe at all. And then, in asking Slug to get my hoodie signed, I made what I thought was a funny joke about how it cost $35 or something, and he immediately told me to fuck off because he was selling them at cost. This may have been the day that I realized that I was cringe.

Riley

I really appreciate your philosophy of recording. I’ve been thinking about the same things for a long time as I’ve struggled between learned recording techniques and realizations of what mainstream music products are. Lately I’ve tried to keep things more “live.” You get more happy accidents that way.

Brandon Hoffman

the mental image of that perfect & universal recording engineer smirk when any of my bands have asked if we can all just record in the same room at the same time. no no no, silly boys

Gratch

I've been in the studio with metal bands where the producer had the guitarist drape a piece of cloth over the strings they weren't supposed to hit during the section they were recording and at the time I just accepted as a thing that must be common practice, but Your idea of "isolation" of every sound in the studio process has hit the nail on the head for me why certain bands or records sound "fake" to me

Tristan

I’ve always wanted to tell my purist uncle (who immediately dismissed any music with electronic elements as “not real music”) that his conception of what “real” music is has been distorted since the invention of the amplifier, but now I have a more thorough basis with which to bother him. Thanks Michael!

xXEvangelXx .

I'm a disturbed and bitter herb like salt water and parsley. Mites crawl up, tights fall down, that's my mnemonic for stalactite and stalagmite You may have this Mag-Lite it survived the apocalypse and for the fragile force of an agile horse here's a handful of very special chocolate chips..... (you have no idea how great is was to hear I'm not the only one obsessed with this lmao)

Gustave Courbet

That line from Del was MC Paul Barman. Blast from the past...

Gustave Courbet

Really interesting insight into modern recording. I’m reminded of an anecdote about the first Iraq war in which the retreating Iraqis were blowing Kuwaiti oil wells, leaving large spills. To many insects, the shiny surface of oil looks more like water than water does and they’d swarm to the oil only to get stuck and die. The sort of hyper reality we can produce with technology, be it cgi graphics to make perfect avatars of sexual desire or over produced soundscapes make the real world dull by comparison and wire us to yearn for and expect some impossible perfection.

Paddy Fitz

My philosophy as an engineer is, “if it sounds good, it is good.” That being said, modern recording techniques do often suck the life out of any performance. People forget that mixing starts when you’re tracking and the lazy approach of “fix it in the mix” doesn’t work. Capturing a great performance is key. It’s what we respond to emotionally. And yes, the best way to capture that is musicians at close quarters in the same room. Leakage is not necessarily a bad thing. In fact it can serve as a kind of sonic glue. But controlling leakage is key. Using acoustic panels or gobos was very common back in the day as opposed to iso booths. Every sound source was in the same room but leakage was controlled to some degree so if you eqed the bass guitar you weren’t also eqing the kick. Each project has its own requirements. Recording Pink Floyd requires a different approach than Led Zeppelin. It’s all down to taste.

Paddy Fitz

Saw that show at Berkeley Community Theater on January 22, 1975. "The Lamb..." complete. Spectacular

Tim Peters

Hey MSJ, Probably showing my limitations here, but this episode more than any, even though the subject matter was light compared to other eps, struck me to be the closest to What You Are Trying To Say with this podcast. Your description of the production of early 80s music production as pure pastiche, with constituent elements beamed in from all quarters of the universe, as opposed to the reconciling experience of playing with your mates in a room where you can all see each other and gain energy from each other... that's the gravy right there. This broad theme of postwar hurtling towards political and cultural.... disintegration? atomisation? Pulled apart in all directions, whether by 9 mics surrounding a drumkit or being lied to by all and sundry about JFK. This blind terror and abject sorrow I felt coming to the end of reading Gravity's Rainbow. The sense that any effort to form a path forward to conciliation and complementarity is *wedged* or *struck* by an onslaught of vagaries resulting from this disintegration - some very contrived and intentional, and some collateral from the malevolent eddies and undertows that the former produce. Am I full of shit or is this in the wheelhouse?

Jamie Sego

Enjoyed this episode. There’s an some interesting anecdotes in “Perfecting Sound Forever” about audiences not being able distinguish wax cylinders from a human voice when given a blind A/B comparison. It reminds me of how early cultures supposedly couldn’t distinguish the color blue. Audio technology probably does forge new neural pathways. Another anecdote from the book talks about how people argued that amplified recording (I.e. using microphones) was less pure and honest than using a passive horn and needle straight to wax cylinder.