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Tips for Aspiring Musicians - Iasos


Length: 1:30:36

Description: Bruce Tambling, a music professor at Foothill College, California, commissioned Iasos to give a talk, as part of a series of talks on Sound Healing. The focus of Iasos' talk was “Tips for Aspiring Musicians”.

The first hour and a half was the talk. The rest was Questions & Answers.

Location: Music Technology Dept., Foothill College, Los Altos, California. Date: Feb. 2013

2022/05/10 02:10 · thegarnet


On screen:

  • Iasos - Tips for Aspiring Musicians
  • In the spring of 2013 Foothill College (Los Altos, California) had a series of talks on Music Therapy.
  • One of the Guest Speakers was Iasos.
  • His talk focused on “Tips for Aspiring Musicians”
  • Shown here is the first hour & a half - the actual talk.
  • The second hour & a half (not shown here) was Questions & Answers.
  • This talk was organized by their music professor, Bruce Tambling.

0:26 Celestial Music - Iasos

Music Creation

(Sound of low frequency gongs?)


Professor: so, that's an example of harmonic distortion

Iasos: come up here

Professor: okay

  • the main thing i'd like to say tonight is this is a great opportunity for all of you to ask some questions. Iasos is one of those amazing people that is very very creative and he's also really really

organized and very very developed on left and right brain.

  • 01:20 - so Iasos has all kinds of stuff that he can share with us tonight but the thing that's going to really make this evening a great opportunity is for you all to ask your questions so start thinking about it and if you have questions that are pertinent to what Iasos is talking about at the time go ahead and ask it other word otherwise just wait until the ends and other than that welcome to Iasos

Iasos: thank you

01:48 - Applause


1:50 that was bruce tembling and he's responsible for getting me here thank you bruce

(more applause)

2:02 so welcome everyone to hotel business administration 301.


2:09 before i start i want to get a sense where you're all at so i can talk appropriately.

  • 1. how many of you are involved in or interested in music creation…. okay
  • 2. how many of you are involved in or interested in using sound for healing or sound therapy or music therapy
  • 3. how many of you are involved in or interested in metaphysics
  • 4. how many of you are involved in or interested in consciousness
  • 5. and lastly how many of you are involved in or interested in sex

(more laughter)


see i don't need to know the answer to that question i asked that question just to get all of you really alert and awake that's why i ask it

okay so we're in appreciation hall. I want to give first comment on appreciation but let me say that when bruce invited me to do this I started collecting tips that I could share with budding musicians people want to get into creating music so i've accumulated a whole bunch of tips which I want to share with all of you and after that it's going to be wide open questions and answers you can ask questions about anything anything yes anything anything okay


  • in the meantime while i'm giving my tips if you have questions about what i'm saying then you can ask then otherwise save it for the questions and answers at the end

now talking is very left brain and just so your brain doesn't get bored we're going to periodically sprinkle it in with our music or visuals just to keep it interesting, to keep the right brain stimulated so we'll be bouncing back and forth between music and music or visuals and talking

okay are you all comfortable?

Music Appreciation

Please yourself, don't guess about what others like


okay i want to talk about appreciation with respect to music or more general with respect to art i encourage you when you're creating music

  • do not try to please other people
  • try to please yourself
  • very very important!!
When you're trying to please other people: You're guessing you're stabbing in the dark you don't know you don't have a clue
When you're trying to please yourself: You know exactly what you like you know exactly what you don't like

now here's the bottom line:

  • no matter what you create with music there will always be some people that like it and there will always be some people that don't like it

4:54 so here's the basic formula for how it works:

  • art appreciation boils down to consciousness matching


  • if the person perceiving the music is in a similar consciousness or similar mindset as the one that created it they'll love it - “I think this is great it's the best music on the planet”
  • if they're on a different level of consciousness they don't get it at all, and,
  • if they're on a much higher level of conscious it's kind of crude and simple


for example when i do my music i try to make it as celestial and heavily as i can but there are angels who are cruising way higher than me and they listen to my music and say “well god bless him at least he's trying”


so music appreciation boils down to consciousness matching between the perceiver and the creator of the music.

this also applies to all of the arts: painting architecture sculpture all of it. So no matter what you do people with a consciousness similar to you will love it and people with a different consciousness won't. And that's the way it is.


Personally i'm happy with that arrangement i like that arrangement.

So because of that don't waste your time trying to please other people. You're stabbing in the dark you're guessing.

Please yourself that's something you know about you know what you like. Do that and know in advance that not everybody will like it, but people whose mindset is similar to yours will love it as much as you do.

Be Heart Guided, not Mind Guided


Another suggestion is be heart guided not mind guided.

Let your heart be the boss don't let your mind lead the way when it comes to music.

Music is primarily an emotional communication.

There are many years ago when i was auditioning guitarists for a band i had. And some of the guitarists when they're talking me on the phone before we met said “I graduated from uh Juilliard!” like “oh wow you know!”

well the Juilliard graduates were like exquisitely sophisticated machines.


They could play things so smoothly so perfectly with absolutely no feeling. It was like a machine, There's no heart in it at all. So don't do that don't be an efficient typewriter.

Follow your heart not your mind.

A lot of people like to think of their mind as being the boss, but your heart is really the boss and that's especially true with music.

Be heart guided don't be you know mechanical like that.

Cornell University trying to recruit Iasos into music department


When i graduated from high school went to cornell university i was studying different majors like anthropology psychology.

But my high school teacher kept phoning the director of music cornell university saying this guy is a great musician you got to have in the Cornell band.

So the director of music Cornell university kept phoning me up trying to persuade me to get in the music department.

I said no no way i'm not going to do it. He couldn't persuade me to do it and the reason i didn't was because i was hearing unusual music in my mind and i didn't want to be programmed by their idea of what music is supposed to be, because i knew i was hearing my own idea what music could be. Very different.

Now i'm not saying that's what's happening here (laugh) at Foothill College but then you know just like this is how music is supposed to be. Forget it! you know i told them i want to create a whole new type of music they thought i was crazy well is it jazz no it's pop no is it classical no then what is it. they couldn't get the new kind could exist!

Columbia University couldn't understand Iasos vision for music


When i went to Columbia records trying to release my first record all they knew was already established success formulas for music. They couldn't foresee any new genre being popular, which is new age music, it became very popular well known since then, But then they couldn't see it. They couldn't say “where's the lyrics”, “where's the catch”, “where's the beat”, you know they just totally didn't get it.

So very important let your heart be the boss.

Letting heart guide you to what is right


When I'm recording I might record a part many many times before i get it just where i like.

How do i know when i get it just right?

  • I listen to my heart - I played and I played back I listened to it my heart goes MMMMM MMMMM MMMMM, then i didn't get it.
  • my heart goes “aaah!” then i know i got it. then i'll go on to the next thing we're going to record.

So i let my heart guide me like an okay or not okay meter if that was a good take or not a good take. And if it isn't a “aaaaaaaaaahhh!” feeling in my heart i just keep doing it. I don't care how long it takes.

Advice on Live Performing

9:33 Now for those of you that perform live how much do you need to practice for a live event 9:39 i learned this when i was doing piano recitals as a little boy it's unrealistic to expect that in the 9:46 actual public performance you'll do better than average and it's also unrealistic to expect that 9:51 you'll do worse than average so if your average practice set is satisfactory to 9:57 you then you're okay to go public the average has to be acceptable by your 10:04 standards of whatever acceptable means yeah i have a question for you yasus 10:09 when you prepare for your current concerts you play a lot of instruments so you have to go into a practice period 10:17 so that you can be at the level that you want to is that right at least one month yeah how many hours a day do you 10:22 practice during that one month period i do one practice set in the evening however long it takes thank you i might 10:28 repeat one piece two three times if it's if it's a week and when i do the whole practice set through all my six 10:33 instruments if some are weaker than others i'll give more focus on the weak ones

10:39 a great magician doug henning said you practice till the difficult becomes 10:45 easy then you practice till the easy becomes effortless 10:51 then you practice till the effortless becomes automatic 10:56 and then you practice till the automatic becomes beautiful 11:03 difficult easy effortless automatic 11:10 beautiful if you really want to be slick on stage

11:20 okay now i'm going to be talking about how sound can heal i do a whole evening workshop just on 11:26 sound healing it's called using sound for light body activation and healing 11:31 and so you know i don't have time to get into it here like i do then but i'll just skim over the superficial structure of 11:38 it there are four basic ways that you can use sound 11:43 for healing yeah and i want to briefly discuss each of 11:48 these the first one is physical resonance the second one is the emotional resonance 11:55 the third one is intention and let's see now what's the fourth one the fourth one is beliefs

12:01 okay so i'm going to go into each of these physical resonance means that sound is 12:09 pulsing air pressure waves bouncing against your body 12:15 and those pushing of air pressure waves can rearrange things in your body 12:23 if you have a coherent sound an organized sound a symmetric sound it can reorder 12:30 the molecules in your body in a more orderly way if you have a dissonant sound a chaotic 12:37 sound a random sound it'll tend to dissolute you towards more illness and ill health 12:44 so physical resonance means vibrations of the sound have an effect on the vibrations of the molecules in 12:50 your body and if their coherence on it can tend to induce good health 12:55 what is good health it means a more coherent energy field ill health is a more random or incoherent energy field 13:06 hans yenni did a study he called cymatics which is very profound because he made 13:13 it visually obvious how sound can create order out of 13:19 randomness now when sound does healing with uh physical resonance it's not usually 13:26 complicated sounds like a symphony orchestra or a band of tiny people a stan kenton group no it's usually just 13:32 one sound or one instrument like a person toning or rubbing tibetan bowls or hitting a gong 13:39 or hitting a tuning fork there's a dolphin go swimming with 13:44 people and check people out see their aura and put out a sound zoom for that chakra then next track yeah different 13:50 sound like yeah yeah tune them up just by making sounds that he aimed at his chocolate first and swimming

13:56 so i'm going to show a very brief video just five minutes that demonstrates 14:03 some of hans jenny research he would have a speaker and on top of it 14:09 he put a plate with a very fine powder you have a camera looking at the plate and then he put simple frequencies of 14:15 sound on that speaker and would shake up the randomness of the powder and to magically rearrange itself into 14:22 perfectly symmetric patterns so this is a very gut level intuitive sensing of how 14:28 sound can create order or increase coherency out of pure randomness

14:37 okay i'm going to put it on 15:10 the human voice can also be made visible with a simple apparatus the various vowels show typical 15:17 characteristics depending on the nature of their sound we can see the spectrum as it were of 15:24 the sounds 15:43 so 15:56 a sequence of some notes comes out as a sequence of vibratory patterns 16:03 we can see a melody 16:11 so 16:31 in vibrating glycerin we see continuous waves which form the queerest figures 16:37 and yet the extraordinary things we see here are simply and solely the effect of 16:43 vibration 17:17 we can also use different shapes plate here we have a triangular plate with a 17:23 crystal attached to its underside and produce a sonorous fit we change to a 17:28 higher note and see a rather more complicated figure 17:40 lycopodium alone a sonorous figure 17:47 transition to a mobile flowing phase 17:56 and back again to the figure 18:04 because of the reduced adhesion the particles of iron have certain degrees of freedom 18:11 they can move fall into line form figures 18:17 and almost dance but only in obedience to vibration 18:22 imposed 19:10 and to end with here by way of contrast is a sonorous figure 19:16 a static figure instead of a dynamic one representing the opposite pole in the 19:23 vast range of phenomena that make up the world of vibration 19:49 does that give you a good intuitive sense of how sound 19:54 can physically rearrange molecules create more order and symmetry out of randomness 20:00 that's the direction of good health one many ways to do this but one very powerful way 20:07 is toning especially within yourself i'll give you an example 20:13 if you have some repressed emotion from some trauma that happened 13 years ago that is stored 20:19 as an energy block someplace in your body 20:25 and stuck energy in the emotional body also creates stuck energy in the chi or your vital life force 20:31 which means those organs aren't getting enough life force and therefore you may have health problems with that organ 20:36 wherever that spot is an easy way to get rid of it is toning you just close your eyes 20:43 think about that emotional block start making sounds with your mouth doing different pictures and different 20:49 vowel sounds you could do it all sounds like 20:55 you could try different pictures and you might find a certain you might 21:02 find a certain pitch a certain sound that resonates with certain part of your body once you find it just keep 21:08 resonating that sound because it'll shake it up shake it up shake it up so that so much energy shatters just like 21:14 an opera singer singing a pitch which is the pitch of wine glass shattering the wine glass it energizes 21:20 it it energizes so much can hold the energy it explodes the same way and so when you do that 21:26 you can use toning to break up emotional blocks and when that happens 21:31 the emotional energy there flows smoothly which means the prana and life force also flows smoothly which means 21:38 those organs that happen to be there get enough life force which means they get healthy again 21:44 so that's one of the four ways you can use that for healing physical resonance the next one is emotional resonance

21:51 in a nutshell here's how this works obvious everybody knows music affects your 21:56 emotions emotions also affect your health you have harmonious music 22:04 tends to induce harmonious emotions which has a beneficial effect on your health 22:09 also harmonious music tends to induce optimistic thoughts 22:15 and then both the harmonious feelings and the optimistic thoughts both tend to induce good health 22:21 so the way emotional resonance is you play music that for you is 22:26 harmonious happy uplifting makes you feel better 22:32 that makes you feel better emotionally it makes more optimistic thoughts and the harmonious emotions and the 22:38 optimistic thoughts both have an extremely positive effect on your physical health 22:45 the next way is intention the interesting thing about intention is it can ride on top of a sound wave 22:53 you can have one wave right on top of another wave and i'll give you a uh an analogy

22:59 if i'm standing by the side of a lake and a speedboat goes by 23:06 eventually the wake the waves from that speed boat reached the shore and there's small rolling waves like 23:12 this coming to the shore from the speed boat right and while those waves are rolling in like this from the speed boat if i get a 23:19 little pebble and i throw the water the little pebble will make tiny little waves that go like this but because the 23:24 big waves are coming in the little wave is riding on top of the big waves like this 23:29 so you can have a little wave riding on top of a big wave the same way you can have even more you can have intention 23:36 riding on top of sound waves you can superimpose intention on top of sound 23:42 waves now the obvious thing is to have the intention when you're actually creating the music and i do that very powerfully 23:49 i always intend to have extremely uplifting effects when i create my music but it's so far out that it doesn't even 23:55 have to be music that you created yourself you can even superimpose intention that someone else created 30 24:02 years ago you might have a friend that's sick and you want to play them some uplifting music you get a cd that someone else 24:08 created many years ago you bring them to your friend you put it on you can intend 24:14 that the sound coming from that cd has a beneficial helpful effect on your friend 24:19 and your intention will actually ride the sound waves and impact your friend

24:25 so intention is very powerful and it's not limited to the person creating the music 24:30 it can be anyone using music that anyone created intention is very powerful way to heal 24:38 and i encourage you to use it when creating music but even if you're never going to create music you can use it 24:44 on music someone else created just by wanting to intention is very powerful and you can 24:49 just ride on top of the sound waves just like little waves from the pebble road on top of big waves from the boat

24:58 the last way that sound can heal is through belief which you can think of as the placebo 25:05 effect you can take the most destructive sound you can possibly think of 25:10 maybe a sound of a machine gun 25:16 or the sound of a jackhammer just think of some really destructive sound and if you can convince someone oh 25:24 this is a sacred sound from tibet the sound is very healing you only need three minutes of the sound 25:30 and you'll be healed well the amazing thing is if you can convince someone 25:36 that it's healing to where they actually believe it if they believe it then it will be 25:43 healing for them beliefs are very powerful actually beliefs are very powerful in all aspects 25:49 of your life that's how you create your reality but in this case they're useful for 25:55 sound healing if you can persuade someone to believe that something's healing then by god for them 26:01 it really is healing

26:07 since you're musicians you probably know about filters i want to share a metaphysical concept with you 26:13 in my understanding there's not just one version of reality that we're all experiencing there's an 26:18 infinite number of versions of reality and they're all real and they all coexist simultaneously just like with 26:24 cable dvd there are many channels on they're all on at the same time they're all equally real you only get to see one channel at a time but the ones you're 26:30 not seeing are just as real as the one you are seeing they're all real when you change the channel tuner you get a 26:35 different station but the one you're watching before is still there and it's still just as real well the channel tuner for your reality 26:41 is your beliefs when you change your beliefs you're changing which channel you're on but the 26:47 transitions are so smooth that you think there's just one external reality there isn't there's an infinite number of 26:52 parallel realities so here's what beliefs do beliefs a belief is like extremely narrow iq 27:00 band pass filter that of all the infinite versions of reality that are out there it just 27:05 filters out absolutely all of them except for the one that aligned with the 27:11 beliefs that you're holding and then you see just that narrow slit this is our belief so this is what i'm 27:17 seeing so no matter what you believe you're absolutely correct because you will get versions of reality that uh verify and confirm that you're 27:24 absolutely right and having those beliefs all beliefs are self-validating and if they weren't then they wouldn't be generating experiences which is what 27:30 they do so think of your beliefs as a filter a bandpass filter a high q bandpass filter 27:37 that filters out all the versions of reality you're not believing in so you only see the version you believe in 27:46 there's a great book i want to recommend to you if you're interested in our music 27:54 tom kenyon the hawthorne material i don't have any economic tie to this book 28:02 and i'm recommending this book just for two specific chapters in this book makes the 28:07 whole book worth a hundred dollars just these two chapters these two chapters have a profound 28:13 understanding of sound chapter three feeling in human evolution you will get 28:20 such a profound understanding of feeling of course music is all about feeling 28:25 and then chapter 10 sound as key get this book just for those two 28:30 chapters chapter 3 feeling in human evolution chapter 10 sound as key 28:38 this has a profound interdimensional understanding of the effects of emotions 28:43 and the effects of sound i encourage you to get it

28:51 the hawthor material h-a-t-h-o-r 28:56 by tom kenyon on the piano 29:01 there are many octaves and the same note keeps reappearing different octaves emotions work the same way emotions are 29:07 on frequencies they're in a very high frequency range but they still work on frequencies 29:12 and they also work on octaves and i'll give you an example you can have the emotion of gladness i'm 29:18 glad and if you double the frequency which means an object fire like la la that's an octave higher it's twice 29:25 the frequency if you double the frequency of gladness which means one octave higher 29:31 then you get happiness an octave higher joy not just higher ecstasy knocked up 29:37 higher rapture if you go about four or five octaves higher than that then you hang out where the angels hang out that's 29:42 that's the emotional level they cruise at rare for humans one of my intentions with my music is to introduce people to 29:48 higher octave versions of harmonious emotions that they already know but just like a hierarchy version of love or 29:55 higher octave version of ecstasy musicians are merchants 30:01 selling emotion served on the platter of sound 30:07 what musicians are not really selling is not the sound that's just how to deliver that's just a delivery 30:13 medium what they're really selling is emotions for example uh 30:18 if you like romantic emotions you might like country music if you like extreme rage and anger you might like a heavy 30:25 metal if you like uh ecstatic feelings you might like yasuo's music 30:32 my specialty is uh ecstatic feelings that's what i specialize in 30:40 now the interesting thing is emotions are in different frequencies 30:46 and negative emotions are very small limited frequency range whereas 30:51 harmonious emotions are unlimited and infinite let me explain there's a certain frequency which is the 30:57 cutoff point between negative emotions and positive emotions negative ones are lower frequency 31:03 and that cutoff point is in the area of melancholy you can get slightly higher than melancholy and it's positive slightly 31:10 more negative and it's negative and melancholy goes lower lower lower lower 31:15 and it can only go so low it goes down to zero which is being frozen in fear you can't get any lower emotionally than 31:21 being frozen in fear that's zero frequency so negative emotions are a finite limited frequency range with 31:27 positive emotions there's no upper limit you go up to infinity just keeps going up when i tune into god i sense him being 31:36 in a state of like like a really sublime 31:42 blissed out state and also extremely infinitely loving 31:48 everything so harmonious emotions go from that cutoff 31:55 point between negative and positive in the range of melancholy all the way up higher octave then there's no upper 32:01 limit so it goes up to infinity whereas negative emotions go from that melancholy point all the way down to zero which is frozen in fear which is a 32:07 limited range popular on earth but still a primitive limited range

32:12 i did concert at the excellent institute and the next day i uh i was speaking to some of the staff members do you know 32:18 where excellent institute is big sur yeah and i asked the staff members well what 32:23 did you think yeah it was nice well what's the matter what did you like says well you did all 32:29 this ecstatic blissful stuff but you didn't have any of that primal pain in there at all 32:34 i said yeah i'm not gonna either that's not what i wanted earth has plenty of that already it doesn't need 32:40 anymore i'm here for the opposite end of the spectrum so i wasn't going to do that

32:46 so uh just to alternate i want to play play a piece of my music as an example of ecstatic music it's 32:53 actually the most recent thing that i finished it's uh the first piece first that i finished my next album it's called smooth sailing over enchanted 33:01 lands and i apologize in advance that for some reason my sound system is creating a subtle 33:07 amount of distortion when hooking up to their sound system it's not my fault it's not their fault somehow the 33:12 interface isn't working so i apologize if you hear a little bit of that it's not their fault it's not myself it just 33:18 happens to be there so here is smooth sailing over enchanted land just to give a little stimulation to your right brain

33:45 oh 34:20 love you 35:43 foreign 36:11 um 37:19 uh 37:30 you 37:36 oh 38:39 so

39:02 that's my most recent baby yeah just recently hatched

39:11 are there any electric guitarists in the room 39:17 electric guitarist i've got some bad news for you when you go to heaven 39:23 there's no fuss down at all fuzz at all why why why because there's no 39:31 distortion at all no distortion at all 39:37 and fuzz is distortion unless you filter out the high frequencies which is basically 39:42 smoothing out the sharp corners and the wave shape

39:48 i used to practice flute trying to imitate the passion effects of jimi hendrix i was trying to get a passionate sound of passionate feeling like he was 39:55 on guitar no matter what i did i couldn't get it eventually duh it occurred to me a flute 40:01 sound is not a passionate sound or a fuzz guitar sound is passionate you know you do a different sound you get a 40:06 passionate effect it's not going to get it that way okay there's one particular emotion i wish to 40:12 bring to your attention as a metaphysical tip and that is the emotion of excitement 40:20 you've heard the phrase follow your bliss follow your passion follow your excitement well 40:27 in my understanding each of us is a projection for my higher self which is outside time and space 40:34 the projected part of itself here and that's you and it's the free will of your higher self that got you here but once you're 40:40 here then you have free will to do whatever you like your higher self sees a much bigger picture of all your possibilities than 40:45 you see it's like you're in the valentine's up there in a helicopter seeing everything around you and you might think this way i should go 40:52 your high self says no no go that way it honors your free will but it sends you hints which way you should go 40:58 and that hint is the emotion of excitement excitement means you're aligned with 41:04 your higher self you were aligned in that instant if you're excited about doing something 41:10 that's your highest self saying yeah yeah do that do that do that do that 41:15 and so if you follow your excitement on a regular basis then you're following the compass 41:20 heading of your higher self your life becomes a lot more fun and you end up doing your life's purpose and also 41:26 enjoying fun with minimum hassles maximum joy just by following your excitement so 41:31 each day ask yourself if everything that's available for me to do right now what's the most exciting option 41:36 that i can do without hurting anyone else you know and do that and then late when you followed it as far as you can say okay 41:42 now the options are actually available for me right now i'm not going to think about the ones that are not available right now but of all the options what's 41:48 a bill available for me to do right now what's the most exciting option and then do that if you keep doing that throughout the day 41:55 you're following the compass heading of your higher self saying yeah do that that's the way to go because you can see much more than we can see down here we 42:01 have a lot more fun a lot less hassle and pain and we end up doing our life's purpose 42:06 so excitement is very special emotion that way

42:12 sound vibrates its frequencies your emotions vibrate as frequencies the more the sound pattern 42:20 is similar to the pattern of emotions the more it will affect emotions the 42:26 more of an emotional impact your music will have good musicians are better at mimicking 42:32 emotions than other musicians not as talented but i want to be conscious of the fact 42:38 that the more a sound pattern mimics an emotional frequency pattern the more 42:43 emotional impact it will have for example vibrato is great for emotional intensity but don't have such a wide 42:50 thing on the vibrato that's unrealistic because the emotions don't sweep that much in intensity of page this is an 42:55 example another example is a sliding between notes emotions slide between 43:01 notes on the piano you can't slide between notes on a trombone you can on a slide whistle you can on the slide 43:06 guitar you can on a voice you can 43:12 but even if you have a synthesized with portamento that doesn't mean use portmatow all the time just use it once in a while 43:18 just use it you know use it once a while not on all 43:24 the phrases so the more the sound pattern mimics emotional 43:29 patterns the more of an emotional impact they will have one thing which has a powerful impact is vibrating strings 43:36 which is why plug strings in both strings are popular in many cultures many civilizations many centuries 43:41 throughout the world because they have a powerful impact on emotions

43:46 one thing that's really powerful that i personally really excited about is feedback on a string 43:53 where the speaker is near the string and the sound from the speaker makes the string vibrate when the string's 43:59 vibrating the electromagnetic pickup here's the string vibrating it feeds the back speaker so you get a loop and that string can not only sustain but 44:06 it can flip into overtones it has a highly excitatory effect on emotions

44:11 when a string is flipping into overtones which is why i'm flipping out all the time i do it a lot myself for that reason

44:21 okay we are now inundated with so much technology both in hardware and software 44:28 that learning is always a big part of it and i'll give you some tips for learning 44:34 whether you're reading a manual or watching a video tutorial 44:39 i recommend you do it this way watch a little bit when you see them do something pause press pause and then you try it 44:46 yourself you try and explore it when you really understand it then resume press play 44:51 again when you see them do something else pause it again say well it'll take a lot longer if i keep pausing it yeah but that way you're really learning it

44:58 if you just watch the whole thing without pausing it you might have a 12 retention if you stop it and try every 45:05 single thing it might take you a lot longer but you might have 90 retention instead of 12 retention you remember and 45:11 learn way more so when you're learning anything whether it's reading a manual or nowadays more video tutorial 45:18 stop pause it try it yourself explore it yourself when you really understand it then continue 45:28 my father gave me many advice throughout my life much advice and i totally ignored all of it except for two things 45:35 and i follow those two things a lot one is whatever you do specialize specialize specialize and be the best in your field 45:42 and then the other advice was when you're studying something take very clear 45:48 notes take very clear notes the clear the notes the easier you can understand it 45:53 grasp it remind yourself of it remember it bring it from long-term memory back to short-term 45:59 memory very clear notes um

46:04 when i'm learning new stuff i make my own notes in a word document and you know you can have links document just 46:09 like on a website you can link to other places on it so at the top of my word document i'll have a table of contents 46:15 with all the subcategories for what i want to learn within that thing and if i click 46:20 on it it pops me down you know alt i k 46:26 defines an anchor and then ctrl k or command k gets you there you know for defining 46:32 anchor points in word and i recommend that you use those hyperlinks within a word document have a 46:37 table of contents at the top so when you find something oh this one look where you click on it boom you're right there in the word doctor

46:45 i want to give an example of really deeply learning something i got a korg wave station 46:52 and it was such a labyrinth the menu possibilities the menu 47:00 structure that i really wanted to understand it so i figured maybe if i schematic it out so i did that 47:10 and i ended up with this 47:17 this is for korg wave station now each of these is from their manual let's say page of 47:23 you know one window of menus but i also have 47:28 lines that i drew between different sections why would i do that because the things in different windows 47:35 that are functionally related for example transpose over here there's a global transpose over here there's a 47:41 transpose for one part over here there's a transpose for incoming midi notes over here this transpose just for the sounds 47:47 that you're playing on that keyboard over here there's a transpose just for what you're sending out on midi things like that so each of these orange lines 47:55 are things that are functionally related but that are in different parts of the menu tree

48:03 and so this is an example of really deeply learning something now what's the advantage of deeply learning something 48:10 the more deeply you learn any piece of hardware or software

48:16 the more creative possibilities present themselves to you and if you learn two pieces really deeply 48:23 then the possibilities of interacting between them multiply exponentially not arithmetically 48:31 what that means is i can learn this superficially and learn 48:37 the superficially and the interactions between the creative possibilities that occur to me is superficial if i learn 48:43 this deeply and i learn this deeply the creative possibilities of how i can interact them multiply might be 48:50 30 times as much so you can skim the surface like a water skier just giving the surface curving a 48:56 lot of ground i'll just use the presets on this synthesizer i'll just use the presets on that keyboard i'll just use 49:02 the presets or you can go deep and really learn wendy carlos just uses one synthesizer 49:07 but she really knows it but you can go really deep and just really learn something sort of like 49:12 scuba diving instead of of water skiing what i like to do personally is i like 49:18 to water ski underwater i like to do both i like to 49:24 go deep on something but go deep with a lot of different things because then the creative possibilities what occurs to you is just wild they expand 49:31 infinitely really really fast so i encourage you to learn deeply and take clear notes

49:40 now i want to talk about organization you know if you're into creative flow 49:46 you're creating something you're really excited it's like i want to use that sound where's that sound where's the sound oh i can't find it can't find it where can i put it 49:53

by the time you find the sound you've lost your creative vision you lost creative flow 49:58 if you want to maintain the creative flow you need to be able to find things that implement things quickly if it takes more than two minutes bam you've 50:04 lost that vision you're holding in your mind you're trying to manifest so what's the point of organization 50:10 the point of organization is you and the president doing a favor to you in the future 50:17 you and the president is going to take time and energy to organize something so that you in the future when it's looking 50:24 for something it can find it easily whether it's a patch whether it's a sound whether it's how to 50:29 hook up certain things together it's organized boom there it is boom you found it 50:35 so you're doing stuff a favor because that way in the future you're not wasting time you're not frustrated 50:42 you're not losing the creative flows it's how did i do that how can i do that i wish i could find that sound it's exactly what i need i can't find it i 50:48 have no idea where it is the time you found it you've totally lost the creative flow if you want to maintain 50:53 that creative flow you need to be able to implement everything quickly that you can do if you organize things 51:00 in advance so it's a trade-off organization is more work now 51:06 for less hassle later it's more work now for not losing the creative flow later 51:12 it's more work now for less frustration later and more just creative fun later

51:18 so it's a philosophical question do i want to go to the extra hassle and time and effort of organizing this 51:25 or would i rather not put that time but later just be frustrated because i can't find what i 51:30 was looking for that was so great perfect for what i want to do

51:38 yes when you're in the creative process do you try to keep things as organized as 51:44 possible or do you spend dedicated time organizing kind of before that's a 51:49 great question which is actually the next thing i was going to talk about when you're in a creative flow don't 51:54 waste your time organizing them follow your creativity but when you're finished with your creativity and you're 52:01 ready to settle down then do the organization while it is still in your short-term memory

52:08 if you just have some great sounds on some sampler or synthesizer or software synthesizer 52:14 create a preset then you know when the creativity's finished you're winding down you're ready to go to sleep but 52:20 it's still in your short-term memory that's the time to save all those settings save the file save the presets 52:27 save the setup you had now when you create a flow but immediately afterwards before you forget 52:32 it while still in short-term memory housekeeping i call it

52:40 okay now i want to talk about two musical tools 52:47 that are in my opinion extremely under appreciated they're outrageous 52:53 tools they're fantastic tools they're ignored they're really under-appreciated they use superficially i'll explain what 53:00 they are now musicians try to 53:05 create an emotional impact with their music and if you want to have varying intensity 53:12 typically the three standard ways of having increasing intensity in music you can make it louder you can increase the 53:17 high frequency content like turning up the treble or you can add vibrato those are three ways to increase emotional 53:23 intensity in the sound louder more high frequencies vibrato now typically 53:28 musicians implement this unless it's like a guitar or something where they do it you know live but if it's an 53:33 electronic keyboard like that they typically do it with a thumb wheel 53:39 or a foot pedal it might be ribbon control but basically one of those but there's another way that's much more intuitive because 53:45 let's say i'm doing it with the thumb wheel it's an abstract arbitrary connection in 53:50 my mind that i'm feeling more intense therefore when you're feeling more intense tell your left thumb to turn up this wheel that's an arbitrary 53:57 intellectual connection whereas breath controller 54:02 is an already pre-wired connection because you breathe more intensely when you're feeling more intensely 54:08 breath controller is an outrageous way 54:13 to to vary the emotional intensity of music because already you're pre-wired that your breath correlates with your 54:18 emotional intensity when you're feeling more intensely you breathe more intensely you can breathe more intensely that can 54:24 you can set it up to control whatever you want loudness vibrato 54:30 more high frequencies whatever you want so one of those is breath controller now in the continuous controller chart in 54:36 midi they made breath controller cc number two

54:41 that gives you an idea how important they thought it was cc number two continuous controller 54:46 number two they must thought it was really important that they put it that high up on the list only the mod wheels 54:52 higher up in that number one foot pedal is number four yes do you have a dedicated breath 54:59 control unit that you can use on different synthesizers yeah yeah

55:05 i have a dedicated breath controller that outputs midi information as a matter of fact 55:10 there's even a buttons on it where i can have it i'll put cc2 or cc4 or cc1 but i'll leave it in cc2 for breath control 55:17 but you can have it fake out to where they think it's a mod wheel or a foot pedal i usually leave the way it is 55:23 it's a very subtly emotional way because you can be just holding a note and if you have vibrato if you have breath 55:29 control controlling let's say a combination of both vibrato and high frequencies 55:35 just subtle differences in your breathing will affect the sound and it's not through your intellect you 55:41 don't have to think about it you're pre-wired your breathing correlates with your emotional intensity 55:47 so that's one piece of extremely underappreciated musical tool 55:53 the breath controller it's not just for yamaha dx7 sorry for interjecting yes so 56:01 a lot of the music that you do and what you played for us has that breath control all over the place 56:07 doesn't it that's my secret actually actually a lot of what i do has five channels of communication 56:13 between me in the machine my right hand might be playing notes my left hand 56:21 might be adjusting something like high frequencies 56:26 my right foot might be on volume my left foot might be on portmanteau and breath 56:31 control might be in vibrato and all five channels are happening at the same time and then later i can edit it as many 56:37 data to fine-tune it but they're all happening at the same time so i usually have 56:43 it's never just you know when you see a keyboard player with a keyboard rack with four keyboards on top of each other 56:48 that's the most superficial way just has one or two channels of communication you can't have foot pedals dedicated to each 56:54 one if they're on top of each other i'd rather waste space but have more communication 56:59 than each synthesizer rather than conserve space but have less communication which is what that system 57:05 is and so uh when i perform live i have two keyboards each one's got a whole foot pedal assembly underneath just for that 57:11 keyboard and i often have many channels of communication all happening simultaneously

57:19 the other extremely under-appreciated piece 57:24 of sound equipment is the recorder how many of you really understand what a 57:29 recorder does okay let me explain it to you 57:36 do you know what a graphic equalizer is yeah okay let's say you have a 10 band 57:42 graphic equalizer it's just like a normal home amplifier might have bass and treble 57:47 that's like a two band graphic equalizer treble i can crank it up or i can turn it down or i can leave it in the middle 57:53 the base i can crank it up turn it down and leave it in the middle so that's dividing the audio spectrum into two bands treble and bass 58:02 from your point of view treble and bass

58:07 ah well imagine you have a graphic equalizer with 10 bands it divides the audio spectrum into 10 bands and for 58:13 each one of these you can emphasize it or de-emphasize it if i emphasize the highest i would get 58:19 more emphasize the bass get more boom besides the mid-range you know you get 58:25 more mid-range sounds so you all know what a graphic equalizer is okay now over here we have a spectrum 58:32 analyzer that's passive it's receptive it doesn't do anything it just measures what's coming into it it measures how 58:38 much energy there is in each of these bands a graphic equalizer affects the sound it can boost it 58:44 or diminish any one of the frequency ranges it has an effect 58:50 the spectrum analyzer doesn't have an effect it just measures how much energy is there in each band 58:55 if if if i have a microphone going into the spectrum analyzer if i go ah 59:02 it's hearing all the frequencies if i go um steering mostly at the low frequencies if i go 59:07 it's hearing mostly the high frequencies so that's what a spectrum analyzer is if you hit symbol sounds little the heights 59:12 it will be there but nothing else get a gong the lows will be there if you have a french horn or flute will be in the middle 59:18 piano will be the full range so spectrum analyzer analyzes how much sound energy there is 59:24 in each frequency band each frequency range and for now let's just say we have 10 frequency ranges and graphic 59:31 equalizer the same exact 10 frequency ranges okay let's say we put a synthesizer sound 59:37 through the graphic equalizer so it can be doing chords and on the graphic equalizer if i have all them all 59:44 the way down you don't hear anything if i put them up in the middle you hear the normal sound you'd expect or i can emphasize particular frequencies or 59:50 de-emphasize particular frequencies on the spectrum analyzer i have 59:57 my voice going in with a microphone all it's doing is listening to this frequency content of my voice i don't 1:00:03 have to sing in tune because that noticing pitch you're just noticing the general frequency range you don't have 1:00:09 to sing in tune i go ah or ah or ah it'll be basically the same it'll be the 1:00:14 same spectrum same envelope

1:00:19 now here's where it gets magical over here we've got a graphic equalizer with a synthesizer sign going through it 1:00:26 and you can change the sound by filtering it over here we have a spectrum analyzer that's getting sounds from my voice 1:00:35 if i go um it's only low frequencies i go it's only high frequencies we go ah it's off you can see if i go ooh it's 1:00:42 mostly mid frequencies the magic happens is instead of the graphic equalizer being 1:00:47 controlled with your fingers turning the knobs up and down it's controlled by the spectrum analyzer over here 1:00:54 one to one correspondence there are 10 bands here there are 10 bands there so on the microphone spectrum analyzer if i 1:01:01 go so there's only bass frequencies then over there the bass is turned up 1:01:07 over here if i go only the high frequency so over here on the synthesized sound 1:01:13 only the high frequencies go up on the treble so the sound of my voice in the spectrum 1:01:20 analyzer it can change as fast my voice changes i can go oh

1:01:25 yeah and it's changing all the time and it's 1:01:30 tracking it in real time over here all those knobs are going up and down as fast as my voice changes 1:01:36 so it's filtering the synthesizer sound according to the tone of my voice 1:01:42 and that is an infinitely flexible wawa pedal 1:01:48 wawa pedal you just have you know band pass filter going up and down or a low pass filter going down 1:01:53 this can change all kinds of ways now people use it in the most stupid way like a robot voice great or a person 1:01:58 talking great that's obvious it's overused but they don't use it just as a subtle 1:02:04 sculpting tool for tone it's just the most outrageous scuffling tool for tone i can be just doing a melody a beautiful 1:02:11 melody and as the sounding on the on the spectrum analyzer i can be 1:02:18 thinking don't have to sing a tune because it doesn't matter what the pitch is it only matters the vowel sounds i'm making 1:02:25 all right and the other sound it's like all the things are going up and down just 1:02:30 tracking my voice and it's filtering the other sound in the most organic way it's really really organic

1:02:36 so yes what kind of vocoder are you using these days 1:02:42 i want to get the new electrosonic one with 256 bands but what i've been using so far 1:02:48 is an old uh roland roland hardware vocoder yeah yeah yeah they're both 1:02:53 hardware they're both hardware so uh the two most underappreciated 1:02:59 pieces of sound sculpting tools or the breath controller and the recorder okay now i'm going to get metaphysical

1:03:07 how many of you want to use your sound creation to help other people 1:03:14 okay well then you qualify for the first of four criteria there are music temples on the etheric 1:03:21 planes that you can visit while you're sleeping at night and you can go there and study music 1:03:27 and if you go there on a regular basis if you get admitted that is then uh eventually the ideas will stop 1:03:33 start popping into your mind not initially if you go there every night after about two weeks let's start bubbling up from 1:03:39 your subconscious to your conscious mind start getting ideas all these are great you get more and more ideas 1:03:44 but they really get admitted to these schools they won't take just anybody there's certain criteria

1:03:49 number one you need to have a sincere desire to create music that will uplift other 1:03:55 people or heal them or help them it can't be just for ego just can't be just for fame and fortune it can be just 1:04:02 because you want to be a big shot it has to be because you want to create music that's going to help other people

1:04:08 that's criteria number one and if you've gotten past that one then we go to number two you need to have a 1:04:15 reasonable understanding of music so if you hear some music in your head you can figure it out what you're hearing so you 1:04:20 can reproduce it out here number three you need to be reasonably 1:04:25 psychically sensitive so if they scream it into your mind you will hear it and you're not just so scatterbrained with a 1:04:31 thousand thousand thousand directions you never hear it you never meditate so you never get quiet enough to hear it

1:04:36 the advantage meditation is quiet in your mind so you can be a receiver all the static's gone so you can actually receive 1:04:45 so a lot of people qualify for those first three but then there's a fourth one 1:04:50 this fourth one knocks out 99.99 of everybody that's left 1:04:56 i'm on the ones that got through here's what the fourth one is 1:05:02 follow through what that means is if they're going to go to all this 1:05:07 trouble to get some beautiful composition that'll help people into your head and consciousness to where you 1:05:13 actually receive it and you're capable of manifesting it are you going to actually manifest it or 1:05:18 are you going to drop the ball because you lost your girlfriend or because you got kicked out of where you live or you 1:05:23 have to move out or because you're having trouble with your job if you drop the ball they're not 1:05:29 interested in dealing with you they only want people see with me they think of me like a tank they think of me 1:05:35 my powers of concentration are so developed that they have trouble getting new ideas into my head because i'm concentrating on this thing but they 1:05:41 figure yes it's like a tank if we can just get it in his head get him to commit to manifesting it he'll do it nothing will stop him just nothing will 1:05:47 stop him doesn't matter what happens he could die and he would still do it

1:05:54 so that's the fourth criteria is follow-through they want to know that once they can get 1:06:00 that into your head you will manifest it you won't drop the ball you won't stop oh i decided to go to 1:06:07 vacation to australia instead you know once you got it you will manifest it may 1:06:12 take a while but you'll do it that's very important to them so if you have those four criteria desire to help 1:06:18 others with your music reasonable sense of music so that if you hear music 1:06:24 in your head you can figure what it is reasonably psychically receptive so you can hear it and quiet enough like 1:06:30 meditate once watch you get still enough to hear it and fourth follow through so you don't drop the 1:06:35 ball once they've transmitted a gem to you for you to manifest

1:06:46 of you work in places that have a lot of metal or a lot of plastic 1:06:52 so here's a practical tip if the place where you do a lot of work like your music creation has a lot of 1:06:59 metal around or a lot of plastic around do not wear synthetic clothing 1:07:04 wear cotton or silk if there's a lot of metal around or a 1:07:09 lot of plastic around and you're wearing synthetic clothing it creates a static charge on you 1:07:15 which makes you ill at ease uncomfortable dull and not so sharp mentally you'll get fogged up 1:07:22 much earlier whereas if you wear silk or cotton you don't build up a static charge you 1:07:28 can stay alert way longer and be creative way longer and produce way longer so just another little tip 1:07:34 if you're in an area that has a lot of metal or plastic don't wear synthetic clothing while 1:07:40 you're working wear silk or cotton another thing that helps is to have a negative iron generator going because 1:07:46 that charges the air it helps compensate for the static charge the disadvantage 1:07:51 of negative iron generators is yes they clear the air but they dirty the walls because uh 1:07:57 negative eye generators release free electrons they attach to a dirt particle and then the dirt particle attached to 1:08:03 the near surface a wall or the floor so the walls get dirtier the air gets cleaner 1:08:09 ones are filtering systems so they try and catch as much of it as we can

1:08:18 okay here's another break bruce wanted me to bring this plate for 1:08:24 you this has nothing whatsoever to do with my talk tonight but he wanted me to play this song and play 1:08:30 this is something i learned from pam 1:08:49 m 1:09:19 all right oh your case you know this is the simplest thing i do in concerts and i get the biggest 1:09:25 audience reaction from it frustrating to me 1:09:30 oh by the way uh you also sound like crickets 1:09:41 put it on an intense full moon scorpio night to cook it sound like this 1:09:52 i don't want to get bored i gotta keep it active 1:09:57 okay right now we're living in a very interesting time in musical history 1:10:02 because we're living at a time in musical history where computers are getting sophisticated enough 1:10:08 the sound analysis is getting sophisticated enough to where they're getting to where they can do outrageous 1:10:13 things with sound now computers can do things with sound even 10 years ago 1:10:19 there's no way they could do that and now they're doing it just outrageous now i want to bring to your attention three 1:10:24 pieces of software that i personally am very impressed by

1:10:31 the first one is melodyne melodyne started life like antares 1:10:36 autotune doing auto tuning so if you're sinking out of pitch or your slide guitar is out of pitch or anything's out 1:10:43 of pitch you can correct it if it's a little bit too sharp a little bit too slightly corrected but then 1:10:48 melodyne got way beyond just that 1:10:53 you can move each note forward or backwards it can shrink it it can expand 1:10:58 it it can change the spectral content to make it brighter 1:11:04 or less bright and here's the outrageous one you don't need to feed it a monophonic 1:11:10 input you can feed it chords and can figure out all the notes are happening at the same time i couldn't believe it i 1:11:16 had a recording me playing piano one of my compositions chords the whole thing i fit into melody 1:11:22 figured out the whole thing translated to midi and i had midi 1:11:28 playing the part along with the original piano recording and they were doing the same thing i was amazed you could 1:11:33 actually do it you do it so that's an example of things that 10 years ago just totally 1:11:41 you never think of it you know so melodyne can correct the pitch of a polyphonic signal not just 1:11:48 you know you could have a chord and a piano with seven notes and one of them might be off the others are fine and you can 1:11:55 correct that one without changing the other notes or i can move one note earlier or later or expand it 1:12:01 as a matter of fact you can have a rhythmic loop four beats of rhythmic loop but you want 1:12:08 it to fit this amount of time which is a little bit longer you can stretch the whole loop to the time to fit the other 1:12:14 piece of music you're working on so that's pretty outrageous

1:12:19 another one is sony spectral layers pro 1:12:25 this does surgery on a spectral level let's say 1:12:33 you're recording somebody singing out in the meadow and she was thinking just beautifully in the middle of her singing a dog barked 1:12:41 you put that into sony spectral layers pro it can analyze where the dog part is 1:12:49 and remove it but keep the voice there even though the dog bark and the voice is singing are happening 1:12:55 at the same time that's outrageous 10 years ago you couldn't do stuff like that it's just outrageous and that's an example of what 1:13:02 they can do so it's like the spec i call it spectral 1:13:07 surgery the third one is isotope iris 1:13:14 and this is like a spectral sampler you can have any 1:13:21 general sound like the sound that broke so the sound of rustling leaves or the sound of someone walking gravel 1:13:27 and you can extract particular frequencies to get notes out of it and then you can play that sound to where 1:13:32 you can make out melodies on it if you play it like a sampler so you can feed it just a random 1:13:37 non-note sound like the sound of wind and it can extract particular 1:13:43 frequencies and turn it into notes so that you can be playing melodies with that wind sound or that person walking 1:13:48 on gravel sound that's outrageous 10 years ago you couldn't do stuff like that so we're living at a very interesting time where 1:13:55 sound equipment is getting really wild because computers are getting so flexible and analyzing 1:14:00 and therefore manipulating sound i have a question oh go ahead go ahead

1:14:10 isotope is the company and it's called iris iris 1:14:18 next thing i want to talk about is a technique for manifesting any complicated creation you have 1:14:24 i use this for music but you can use it for manifesting any complicated creation like a 1:14:31 democratic convention you know anything anything or a wedding party the same principle applies in my case i 1:14:38 typically apply it for manifesting a complicated piece of music 1:14:44 it's the zooming in zooming out technique and i learned this from vista the being that i get musical ideas from 1:14:49 that i work with he specializes in concentration so he explained to me how you can use your mind 1:14:55 as a zoom lens telephoto or wide angle 1:15:00 when you're telephotoing in on something you see one thing but you see in tremendous detail when you zoom out you 1:15:06 don't see in much detail but you get to see the big picture of everything well this technique for manifesting 1:15:12 is alternating between zooming in and zooming out first you zoom out you get to see the overall thing that 1:15:17 needs to be done you get to see the overall structure you see how all the parts interrelate 1:15:24 then once you see all that you see the sequence of events what order they need to happen in well this needs to happen

1:15:29 first now i see that that needs to happen second and this can't happen if that happens so this will be third so you get a sequence of events 1:15:36 and you're seeing how all the parts fit in that's the overview that's the wide angle and once you have that then you go 1:15:41 on the first thing on the list well this needs to be done first then you zoom in just on that one thing so all of your 1:15:47 tremendous mental power is no longer thinking of the overall project it's thinking just of this one step so you're 1:15:53 concentrating it just like a flame torch if you if you're trying to cut a hole in flame towards a piece of metal if you're 1:15:59 moving it all over the place you'll never cut through but if you keep it focused on one spot it burns a hole right through it same thing with 1:16:04 concentration if you can focus it in one area so after from the wide angle 1:16:10 you get to see the sequence you get to see the first thing on the sequence then you switch from wide angle to telephoto 1:16:16 and all your mental powers gets sharply focused just on that one step 1:16:21 all your energy is on there it's focused on that it's intense and bam you get it done once it's done then you zoom back

1:16:28 again it's like oh yeah here's the big picture again well here's my sequence well i did this one so this is the next step that needs to be done then you zoom 1:16:34 in again zoom in to that second set and all your tremendous powerful mental energy is focused only on that second 1:16:41 step you don't think about all the other steps you don't think about the final outcome you only think about the step 1:16:46 all your mental powers focus sharply like a flamethrower just on that step till it gets done 1:16:52 when it's done then you zoom back to wide angle see the picture oh i'm making progress look the first step's done the 1:16:58 second step's done i've only got 13 more steps to go and here's the third step this is what i need to do next 1:17:03 then you zoom in on that so that's the process zooming in zooming out zooming in zooming out you start zooming out so 1:17:10 you see the overall picture how all the parts fit together when you realize all that you get a sequence of events once 1:17:17 you get a sequence of events then you zoom in on just one of those steps the next step 1:17:22 that needs to be done and you put all of your mental power just on that one step when it's done then you zoom out go the 1:17:28 next one that needs to be done next you zoom in when it's done you zoom out and zooming in zooming out zooming out is 1:17:34 what gets it done so zooming in until a photo is concentration 1:17:40 zooming out wide angle is basically a great way to receive ideas 1:17:45 concentration telephoto zooming in is great for manifesting ideas zooming out wide angle is great for 1:17:51 receiving ideas assimilation so that's the zooming in zooming out technique which you can use for music 1:17:58 creation or for anything really

1:18:05 once my creativity start petering out 1:18:12 and i had a dry period it doesn't happen often it happened once and then i prayed for creativity i 1:18:18 prayed for creativity that prayer got answered so abundantly 1:18:23 that i had traffic jams of creative ideas and i develop very sophisticated traffic controls so 1:18:29 when i'm flooded with ideas coming at the same time i can prioritize and get the most important ones done then zoom 1:18:34 back to the other ones get them done so i developed a highly sophisticated technique for traffic overflow with creative ideas and 1:18:41 ever since then i've had creativity on tap like when you want water you open the faucet there's the water when you don't 1:18:47 want it anymore we turn it off that's how creativity is for me when i want to turn it on there it is when i've had enough thank you i want to manifest that 1:18:53 you turn it off you manifest that when you want more creativity open it up broom there it is great ideas not enough 1:18:59 thank you you close the tap and then you manifest that so creativity comes from your higher self

1:19:08 all you really need to do is get receptive to ideas from your own 1:19:14 higher self you know how niagara falls is always this continuous flow of water 1:19:21 that's how your higher self is with the ideas it's this infinite continuous outpouring of ideas 1:19:28 just like niagara falls is continuously flushing water all the time all the time all the time 1:19:34 in the same way your higher self is continuously putting out this tremendous flood of ideas and it's never ending it 1:19:40 never sleeps it never stops it's always flowing just like niagara falls 1:19:45 so if you can tap into your own higher self well yeah how do you do that well 1:19:51 the quieter you are more clearly you can perceive there's a metaphor for that

1:19:57 if i'm standing in a pond with water about this deep 1:20:02 now i want to look at the rocks on the bottom if there are no waves and it's very still i can clearly see every rock on 1:20:09 the bottom but if there's a lot of waves i can't see anything it's just a jumble well water 1:20:14 corresponds to the emotional body it's the same thing with your emotional body the more turbulence there is in your emotion the less clearly you can receive 1:20:21 or perceive the more still you are emotionally the more clearly you can perceive so inner 1:20:27 reception is proportional to emotional stillness the stiller you are emotionally the more 1:20:34 clearly you can receive so you want to get inspiration from your high self trying to get emotionally still ah calm 1:20:40 how calm really calm how come like a glassy lake not even a wave on the 1:20:46 higher dimensions they pride themselves on how capable they are of getting emotionally still there's even a legion of angels whose specialty is stillness 1:20:52 the angels of stillness and their job is to go places and just radiate the emotion of emotional stimulus just give 1:20:58 people emotionally still the stiller you are the more clearly you 1:21:03 can perceive that's how you can tune into your higher self which is a continuous continuous waterfall of ideas all the 1:21:10 time non-stop never stops never takes a break never goes on vacation 1:21:18 i want to play an example of music from a dvd this is called the fountain of creation 1:21:24 and on this piece i was trying to create the idea of 1:21:30 creation being a continuous fountain of creativity just non-stop creativity just going on and on and on it never stopped 1:21:37 a continuous flow of creativity and being music i wanted to be continuously changing emotions all positive emotions 1:21:43 but continuously changing just one emotion after another after another just a waterfall of continuously changing 1:21:49 emotions so it's called the fountain of creation and that created visuals to go with it from my dvd so i'm going to play 1:21:55 this it's short yes yes can you please share a little bit of how you evolved as a musician 1:22:00 into a video producer and what drew you to video just a little bit of background into your video yeah let's do that right 1:22:07 after i play this you asked me the question right after we play this it'll be more meaningful after we play this

1:23:04 hey 1:25:31 thank you i'm almost finished with my tips just uh one more but basically bruce 1:25:38 repeat your question something about videos um i believe that 1:25:44 music was composed before you created the video you did the videos afterwards yeah and so that's kind of interesting 1:25:50 from a production standpoint and also just a little bit of your how you got into doing video that's a really 1:25:56 amazing video production okay first of all there's two ways to do it you create music and fit the visuals 1:26:03 you create visuals to fit the music they're both perfectly valid ways of doing it i've 1:26:08 actually uh created music to fit my friend ken jenkins visuals as a matter of fact the piece 1:26:14 you just heard was me creating music to fit visuals that he did for this 1:26:19 and i created music to match it and then later i created my own visuals for this piece 1:26:25 so this piece actually has both of them in it and the way i did it when i finished my realms of light 1:26:32 cd this right here a lot of people said and i thought this 1:26:37 is very visual triggering music this would make a great dvd but nobody was doing the kind of visuals 1:26:44 i wanted to see with it so if i get no problem i'll do it myself little did i know 1:26:50 four years later i said well okay now i'm ready to record it it took me four years to get sufficient uh mastery 1:26:58 of visual special effects to where i felt i was ready to create visuals to go with it that's tightly synced so that 1:27:03 the visuals be tightly synced with the music and then three and a half years later i actually had it finished 1:27:09 so it was a seven and a half year project for me four years to learn video special effects software because when i 1:27:14 did crystal vista 1980 it was in hardware then not software so the whole new learning curve doing its software 1:27:21 a lot of tricks from before didn't work in this game arena

1:27:27 so four years to learn three and a half years to create the visuals to fit the music and i had it done that's how i did 1:27:32 it and basically a lot of it was just a plug-ins for after effects where i just studied manual experiment learning 1:27:38 create my own presets create a library of effects i've got a library of visual effects 1:27:45 just like i have a library of sounds same idea does that answer your question yeah 1:27:50 that's good okay the last thing i want to talk about was 1:27:55 a stiff time musicians are time architects 1:28:02 when computers first started getting into the game of fooling the sound people thought ah finally now we can 1:28:08 have precise accurate time finally well when they did it they realized gee this doesn't sound good 1:28:13 sounds cold sounds lifeless it sounds mechanical well then they realized that 1:28:20 real musicians time is not stiff it's not steady 1:28:26 it breathes it stretches it expands it slows up you have a concert penis it doesn't play 1:28:31 according to the metronome they're subtle speeding up and slowing down subtle speeding up and slowing down 1:28:38 so don't follow the metronome follow your heart 1:28:44 let yourself subtly speed up the slow now there's two different levels of this macroscopic and microscopic macroscopic 1:28:51 is tempo the tempo's speeding up tempo slowing down the microscopic is groove how many of you know what groove is 1:28:57 it's subtle adjustments of the timing of sixteenth notes in a four beat pattern 1:29:04 like boom boom boom boom those are four quarter notes there are four subdivisions for each one 1:29:09 of those duck duck attack attack attack attacker now you can divide them equally taka takataka dagger dagger deck but a 1:29:16 really good rhythm some of those will be a little bit early or a little bit later in defining what that timing is is

1:29:22 called groove and with modern software you can superimpose that groove on something so you can start with 1:29:27 something that's just stiff time while 16th nose are exactly equally spaced you can superimpose the groove so they'll 1:29:34 follow that pattern that you had what i like to do is sing a rhythm analyze it and then create a group from that then 1:29:40 analyze have a rhythm part follow that groove take your time 1:29:46 if you analyze that all 16th notes are not equally spaced somewhere a little bit earlier a little bit late and that's 1:29:53 what groove is so on the microscopic level avoiding stiff tie means using 1:29:58 groove do not have all 16th notes be equally spread apart on the macroscopic level it means let 1:30:05 your tempo breathe let it speed up and slow down now the only possible excuse 1:30:11 for using a metronome is if you're doing dance music okay with dance music you can have stiff time with tempo but even 1:30:16 then you can have a groove on the microscopic level so avoid the time follow your heart 1:30:22 don't follow the metronome so that ends my tips 1:30:36 you

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