Category: Audio

  • A Missile to the Moon?

    A Missile to the Moon?

    LCROSS Mission Radio Special on KBOO Radio – Archival Clip – Program at 04:05

    On October 9, 2009, there was a propagandized NASA mission involving a “kinetic weapon” designed to eject enough plume from Earth’s Moon to be analyzed by a follower probe within minutes of impact. The hypothesis was that it could detect and measure water on the moon.

    I learned about this mission through Jarrett Mitchell, who considered activism a kind of performance art. He chose this mission with that weird Portland ironic authenticity that was still charming back then. I met him during a tour of a T:BA Festival site in August for a different radio special. He passed out protest flyers headlined with, “DON’T BOMB THE MOON.” He used his talents for creative illustration as part of the art project.

    Jarret brought songwriter Kaia Wilson. Kelly Slusher was my co-host and she brought on her friend and mentor at the time Alison Bradley. I also brought conspiracy theorist Alfred Webre by phone, just to throw everything off.

    From the perspective of a producer, it was lightning in a bottle. From the standpoint of myself today, half of this show is ludicrous, and should be viewed as the reason that Portlandia was able to come into our city and trounce all over us.

    There was an important question raised involving the status quo of peaceful use of outer space. There is a UN treaty and the idea is we don’t plan or execute any missions that could be used for violent purposes. I would say LCROSS legitimately could be viewed as a military exercise.

    Beyond this genuine public interest question, we made little sense. Kelly says something about how this can effect the Earth’s tides. Then I said something about debris coming back to Earth. I legitimately wrote to NASA’s press department asking for comment about debris from the LCROSS mission. I cannot believe that I passed a full year of college astronomy with straight A’s. In fact, I consulted my instructor Bob Ewing about it and read his comments on the show.

    Thankfully, I had the wherewithal to take a neutral position and have fun with it. 

    Kelly froze up at the beginning of the show and she couldn’t talk, even though she was co-host. I kind of forced her into that role because she inspired the show. When I showed her Jarret’s flyer and explained the mission, she cried, as if the moon was a delicate living being. As her Man, all I wanted to do was make her feel better, so I used my leverage at KBOO to squeeze a morning special in before the mission.

    Morning drive listenership was estimated to be in the tens of thousands easily. I bet we had good ratings, but in broadcasting you never really know how many tuned in.

    This program follows Democracy Now, and the audio file begins with Jeremy Scahill’s report. I leave in the whole context of the archival audio because it also includes a community calendar entry from Kelly, who joined me as a KBOO volunteer. We were a very close couple.

    A few days later, she and I set our alarms to wake up around 4am to watch the mission. We envisioned a kind of moon landing experience, assuming live analog video of the moon would be visible. Not the case, as it would turn out, it was all sensors and computer generated images.

    Despite this being one of the most highly propagandized videos of a lunar mission in decades, including a NASA commissioned rock song, a dedication to Walter Cronkite, and a publicized livestream of the mission, they did not have any video of the actual event.

    We were able to broadcast men on the moon in 1969 but we can’t do it today.

    I have a joke. If they had never faked the moon landing then nobody would have unrealistic expectations. Of course you can’t livestream from a flying rocket at the moon.

    I have never been able to recover the original LCROSS mission livestream footage, but it was hilarious. Kelly and I were cracking up when we saw scientists playing for the cameras. 

    I’ll never forget what I saw though. Kelly saw it too.

    One guy rose his hand for a high five, another guy let him hang. That guy, who let the dude hang, packed his briefcase in a hurry and stormed out of the room while everyone cheered on the success of the mission.

    I hope a good citizen taped that livestream. If so, I hope they would email me with the video.

    Finally, I will note that I was having my annual Portland cold, as the weather turns in late September, around when this show aired. You will hear my sinus but I push through it.

    Although I am a little embarrassed of this program, it’s pretty entertaining, and as a host I do a fairly good job keeping the content moving.

    It’s fun, enjoy it.

  • OHS Pieces Volume Two

    OHS Pieces Volume Two

    This is the second installment of three albums by Ongley Haning and Soga. As previously discussed, this music was a long time coming. The third volume is finished, I’m just staging it with some hope it might get a tiny bit more attention that way.

    My love for free jazz, even though it is often ugly and clumsy, remains steady. This trio is gritty. Jerry never learned music. He couldn’t play traditional music if you asked him to. He only knows how to do what he does. I struggle with music. I always had many interests, like Doug, so this music is more heart that training. There are thousands of hours of playing and listening behind this music. It is definitely art.

    This is anarchy. It is peaceful congregation. It is cooperative. It is better than democracy. It is love. We all get to be truly ourselves here.

    Please listen and consider purchasing a copy. Thanks.

  • Mic Check on Drums

    Mic Check on Drums

    Having no field recording equipment, I shopped around and settled on this Zoom iQ6 microphone for iPhone. It looks like the same microphones as the H1 field recording unit in a detached capsule that fits on the iPhone.

    I liked this possibility because it would improve audio on video caught by iPhone when necessary. The app that comes with it records in Wav format, so I get lossless audio. I found an open box unit on eBay and saved $40 compared to the Zoom H1.

    To test the quality on drums, I set it up on a tripod, and decided to make a video of it for the public. The result is this video right here. No big deal, I play the drums okay.

    For anyone considering buying the microphone, I do believe this video gives them something to judge it by, and I hope that is helpful.

  • OHS Sessions Volume One

    OHS Sessions Volume One

    In 2017, when I had settled into the THRU Media studio, I began to host music sessions of my own for the first time in years. I asked my friends Jerry Soga and Doug Haning to come over and do some good old “free jazz” with me.

    Jerry played acoustic bass. Doug played reed instruments, and a little bit of electric piano. I played drums. We didn’t have a band name, I just wanted to produce some sessions. In the end, I have called it Ongley, Haning, and Soga (OHS).

    Each volume consists of two sessions. Each session was combed through for pieces that could be recognized as having an organic start and end point. Each piece was labeled by sequence: sessions 1-6, cuts 1-xx.

    After isolating those cuts, I mixed and mastered them. Once I had the complete sessions, I listened through all five and a half hours of content to slim it down by half.

    The result is three volumes in diminishing length. The first is out now and the remaining are being staged for monthly release.

    It is interesting to hear how we progress over those sessions. By the end, we have a band with a certain kind of sound. My drumming tightened up, but it’s still sloppy, and difficult because we play outside of time. Sometimes we are united by tempo and rhythm, sometimes we each have a different sense of it, but we’re always listening.

  • New Electro Album: Sonny’s Plan

    New Electro Album: Sonny’s Plan

    Without fanfare, I present to you a collection of songs one decade in the making, featuring just one song produced within the last five years, which I made the title track to: Sonny’s Plan.

    Had this music been the exclusive focus of my creative life through these years, then this would deserve tremendous fanfare. Throughout that period however, I ran three more music festivals, played and recorded many hours of improvisational music, got deep into stand-up comedy, launched and disbanded a magazine and podcast, worked madly in a haunted house, while adapting a new life in Philadelphia.

    The music that I hear is deeply connected to whatever was happening in my life at that time. Usually it is positive, because I tend to compose music when I have the extra time and space to work. However, there are plenty of sad stories in here.

    “On the Rails” for me is pure heartbreak. While there is something triumphant about the peak of the song, it rises out of what sounds to me like the welling of tears in my eyes that I had while producing it.

    Only the title track was recorded at my home studio in Philadelphia. This music space is not quite what I’ve always dreamed of, but it is the most professional music space that I have put together for myself yet.

    Every one of these tracks were previously posted to a number of music hosting sites including my blog. All of these scattered songs with no context or proper mastering, something had to be done about them. It started with taking all of my old work offline. Now, it is up to me to package my old work in a cohesive way.

    It took a little time to select these tracks, lay them in order, remix when possible, and finally remaster the whole lot.

    These sessions were all archived in my hard drive, but I don’t have access any longer to the digital audio workstation (DAW) software involved. I was able to resurrect some sessions in a new version of Reason, which I ended up paying for on a monthly basis, to complete the project.

    I’ll break it down briefly how I produced each of these.

    “On the Rails” was produced inside Propellerhead’s Reason 7. The only analog instrument is the ARP Odyssey. This instrument threads across almost each track. It was summer 2015 and my studio was my living room at Penthouse 3 in the Lafayette Building, Portland.

    “Santa Crux” was fully formed in a single day, fall of 2013, in a studio apartment in Santa Cruz using Ableton Lite. I was traveling with a complete mobile production system. My friend had an empty apartment with a range of instruments, giving me the banjo and electric bass tracks herein.

    “Sonny’s Plan” is totally within Apple’s Logic X. The drums were recorded in my studio, clipped and looped. It was composed in 2020 but revisited to replace midi guitar sounds with live electric guitar. It is the first time I have owned a guitar in many years. I missed it.

    “Long House” was a cornerstone for me in early 2011, produced at the InterArts office/studio. Today, it would be a serious undertaking to remix this track, as it was produced with Logic 9 as the master DAW, rewired with Reason 4 and Ableton Lite, plus MOTU Symphonic Instrument.

    “She’s Back But I’m Gone” was produced in my penthouse studio in 2015, entirely in Reason 7.

    “Clap Trap” was produced around the same time as Long House in 2011, entirely using Logic 9.

    “Simple Structures” helped me snap out of a long music break in the spring of 2014. It reminds me of “Structures from Silence” by Steve Roach but I structured it with a simple house beat. Entirely made in Reason 7, in my Kenton neighborhood bedroom.

    “Autonomia” was produced at the same time as the previous track using Reason, but this time I took advantage of the new DAW features in the software. It is the only song on this album that includes live vocals, however, they are disguised under a vocoder.

    Naturally, I have had a variety of midi keyboards throughout all of this, however, none of them are noteworthy.

    Today, I look forward to what feels like a new life of creative work, and in many respects I put this music behind me. All put together for the first time, it follows a single thread of intention in a chaotic life. Even as so many things change, I can’t help but come back to music, and if it takes another ten years to generate an album of highly produced music, so be it, because I love the process.