A Cosmologically Bouncy Techno Guitar Pop track...
THE BIG BOUNCE is one of the Cosmology theories on the Universe. That after the BIG BANG, and expanding universe, there comes a time, some 30 billion years later, when it all collapses and the process starts again with another BIG BANG. Hence THE BIG BOUNCE.
Interestingly this "matches" the Hindu Nasadiya Sukta ( 1500 BCE ~1000 BCE). The Creation Myth. Even the billions of years time frame. The Cosmic Dance of Shiva is briefly shown.
As an individual, the UNIVERSE, what it is and how it happened is on time scales so vast it is irrelevant to our insignificant lives. Still really interesting though.
Carl Sagan talked about all this in episode 10 of his 1980 TV series COSMOS. 46 years later we are no closer to knowing the real answer. It is something for our descendants to discover, hopefully within the next 5 billion years before our Sun dies and burns our whole solar system to dust. Expect in a few billion years our descendants will look very little like humanity does now.
The lyrics of this touch on, the Creation Theories and the Hindu Nasadiya Sukta.Lyrics THE BIG BOUNCE
Before the breath of time was drawn,
Before the twilight or the dawn,
Did it spring from golden seed,
Or a silent, dreaming need?
時の息吹が吹き込まれる前から、
黄昏も夜明けも訪れる前から、
それは黄金の種から芽生えたのか、
それとも、静かで夢見るような
渇望から生まれたのか？
Who can say what sages saw,
Of the churning, cosmic law?
Was it woven from the dark,
Or ignited by a spark?
賢者たちが何を見たのか、
渦巻く宇宙の法則について、
誰が語れようか？
それは闇から紡ぎ出されたのか、
それとも一筋の火花によって
点火されたのか？
Even gods arrived too late,
To behold the opening gate—
So who knows if it will burn,
Or in cycles, just return?
神々でさえも、門が開くのを
目撃するには遅すぎた――
だから、それが燃え尽きるのか、
それとも循環を繰り返して、
ただ戻ってくるのか、誰にも
わからない。
Through the dark energy's pull,
Will the vacuum stay full?
Or a Big Rip ahead,
Tearing space until it's dead?
ダークエネルギーの引力によって、
真空は満たされたままでいるの
だろうか？
それとも、ビッグ・リップが
待ち受けており、
空間が死に至るまで引き裂かれて
いくのだろうか？
The drums are only a dubstep KICK and SNARE. I based it on a much longer instrumental thing I did a year or so ago. The bass patterns are a VITAL synth patch. Made it to be just under 3 minutes to not be as repetitive. It isn't a usual song structure, but that is what I like to do.
When doing vocal overdubs, the DAW latency becomes an issue. DIRECT MONITORING doesn't help when doing vocal multitracking. Have to turn off fancy reverb and limit backing to just what is needed to keep the rhythm and pitch right. Have found that when I do 3 tracks of vocals, aligning them in time manually becomes important to keep the words clear.
Track on our Bandcamp:
https://megacurve.bandcamp.com/album/ep-the-songs
Also updated the 8 page PDF booklet with the 7 songs info:
Edit: 6/28/2026 the next day and even though it got over 250 views on Facebook, YouTube only managed 31 last I looked.
Luckily, I do it just for my own entertainment...
Other Things
Been much rain this week, so haven't gotten out much. Did order the recent Moebius Library: The Depressed Hunter from Dark Horse. Even though THE AIRTIGHT GARAGE isn't a great comic to read, the artwork is amazing.
Interesting John Carpenter Interview.
Even as someone with successes, it doesn't last and he found some looked down on "horror", as a lesser genre.
He was also flogging his coming album and comic book combo.
Came across this video in the last week on why people buy expensive guitars. The Osaka Sound Messe I have visited the last years is mostly boutique guitars and other gear like hand made pedals.
I originally thought I would be interested in Mattia's FREAK GUITAR LAB ulv7 7 string. Till I saw the original price was 900,000yen and recently some 750,000yen. This is just luxury goods pricing, and that they are expensive and exclusive is what those buyers are after. As someone that's most expensive guitar at todays prices, (and I paid 20,000yen less!) is only 60,000yen and I don't have the guitar love that many others seem to have, I ask myself how did I get involved with this scene?
The answer I know was because of Mattias's clinics at SoundMesse. That was for his technique and approach demonstrations.
But I myself are more a Creator/ Inventor type recently working on my original MUSIC+COMICS. It is the resulting song and animation that is what I am about. Not the collecting of rare limited edition gear.
The thing is, on a recording, you can't hear the difference between an expensive and reasonably priced guitar. And it is the recorded sound that matters to me. I am not collecting art objects or status symbols, or performing live. Seems performing live is a significant part of the guitar scene and I have zero interest in that.
Anyway the why of buying expensive guitars is how it makes the guitar loving buyer feel. Recapturing their youth or the beauty of the guitars finish. The finish of a Custom Shop $7000 Fender for example, even though it looks exactly the same as the $500 model, makes it easier to play, even if it sounds the same when recorded.
They are just all tools to me though, and I agree with Adam Savages approach to tool purchase. Buy the cheapest one, and if you actually use it and it eventually breaks or has a problem you can not fix with it, get a better one the next time.
When I first started using REAPER, my audio interface consisted of a Behringer MC-100 and ASIO4ALL going into the motherboard audio of my PC. Used it for many years in fact. The specs were completely fine for metal guitar, synths and vocals stuff.
When I bought a Win10 Laptop in preparation to move back to Japan, I also bought a Roland Rubix22 as a reasonable carry on solution. Always found the Rubix inferior to my preamp plus ASIO4ALL approach though!
Biggest issue was the Rubix didn't go well with all the standard Windows stuff, like Skype. Skype couldn't see the microphone. Don't know if that was because much of Roland were Apple fanboys when I was there or not, and so didn't care.
The preamps also don't have enough gain for a dynamic microphone (you have to be kidding me!) and the level indicators are okay/ clipping only. Hate that! Looks like they copied a Scarlet 2i2 badly and got things wrong as they never used it.
The way Roland Japan always seemed to work was that if someone were an expert in something, that something isn't the job they would give you, so you wouldn't argue with management. No idea what the place was like during the development period of the Rubix units though.
On going to Windows 11 with a new PC, I didn't connect the Rubix, but used a MACKIE 402VLZ4, motherboard audio and ASIO4ALL again. It works fine, but without having an extra DIRECT MONITORING box, I don't have zero latency instrument or vocal takes.
The top diagram is what I currently have
Then I see SSL has introduced a new low end audio interface, the SSL1. A cut down SSL2 MKII.
The MIX button on this gives a 50/50 mix of direct inputs and output of the DAW to the headphones. To adjust the level of the backing you are singing or playing to, you adjust your DAW output level. What seems to be attractive about this unit though is the driver supports all kinds of windows driver ins and outs to make it very usable in all kinds of streaming and recording applications.
My current setup doesn't allow REAPER and GUITAR PRO to make sound at the same time, but not sure if the SSL1 driver would allow that. The driver for the Roland UA-1G did, but that isn't supported under Win11.
Edit: 6/30/2026 I looked at what I had and decided to try just using the Rubix22 just as a LINE-IN interface and ignore its not great preamps. So I have the Mackie mixer feeding into it, and instruments and microphone plug into the Mackie.
The Rubix22 is set for MONO DIRECT MONITOR, so the closed back headphones plug into it get the zero latency pre computer instruments sound, and the sound from the computer independently adjustable. Seems pretty usable so far, and driver plays fairly with other apps, such as ZOOM I use a lapel microphone with.
Edit: 6/28/2026 the next day. Did this silly thing with 4 tracks of vocals and it was all fine to do with existing system with 3.4ms latency and no DIRECT MONITORING.
Buried it in reverb in this animation, but don' know if will use it for the start of something else yet...
We can be found at ArtAndTechnology KYOTO JAPAN
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