Steve Mueske

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Steve Mueske last won the day on January 12 2016

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About Steve Mueske

  • Rank
    Poet | Electronic Musician | Ghost

Profile Information

  • Gender
    Male
  • Location
    United States of America
  • Interests
    Poetry | Fiction | Art | Avant Garde | Electronica

Contact Methods

  • Yahoo
    stevemueske@yahoo.com

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  • Songwriting Collaboration
    Interested

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2,180 profile views
  1. *smiling* Thank you!
  2. Thanks for reading, Sreyashi and starise. Whatever you take away from your reading is good. Once it leaves my hands it belongs to the reader, hopefully providing something of interest and insight.
  3. Hey, David! Many thanks for listening. Hope you are well.
  4. I have a poem published in the new issue of Poet Lore (see attached image).
  5. Thank you, Sreyashi!
  6. Matthew, you are so kind. Thank you. I can't tell you that enough. Starise, one of my favorite albums is Angels and Ions, which you can grab here: http://micro.soonlabel.com/0-hosted-albums/angels.html He has several albums hosted in the Internet Archive, as well as a shitload of classical "interpretations". He's not consistent with his name. Sometimes "Jon L Smith" sometimes "J.L.Smith" sometimes "JLSmith" etc. He's the only microtonal one, though (I think). There are no interviews, publicity, or anything I know of. He's very humble.
  7. Crystalsuzy, I like when a listener is transported somewhere else! That's what I want to happen. You're right, microtonal music is hard to adjust to, but the worlds it can open up are remarkable. I still work in standard tuning as well, but every time I try a new tuning, it's almost like starting from scratch, like exploring the unknown. Richard, thanks for stopping by. Jon is amazing, and our styles and approaches are very different, so it was a unique opportunity to get to work with him. Originally we were going to do an EP, but I don't think that'll happen. I'll count myself blessed if we can do one more. Starise, Jon describes his style as "angular" and he likes to work more by putting in everything but the sink and then cutting down, whereas I like to work fluid and spare and build up. I learned a lot by working with him. It was completely open and we each could do whatever we liked, though I did the final "assembly" and mix. He's forgotten more than I'll ever learn about microtonal music.
  8. Richard, this has what I've come to think of as your signature vibe, a lush beautiful sound that fills out the stereo spectrum. Like the last piece I listened to, the vocals aren't sitting with the music. They're rushed and a bit choppy. I haven't sung in over twenty years, but my hunch is that you just haven't done enough of it yet to make it quite fit with your style. It'll come, I'm confident, if you just keep working on it. I really do think you want more of a laid back legato style for these pieces. The other thing is, IMO, there's still not enough low end. I think you'll find your work acquiring much more body (depth up and down) with more low end. You have the width and the distance down. Isn't Blue 2 awesome?
  9. This is quite beautiful. Very soothing. Your work always has such a wonderful depth and clarity. I really didn't notice an issue with the harmonica until the very last note. The only thing that I'd probably pick at would be the sound of the violin. It sounds a bit synthetic and could probably come up just a touch in volume because it is carrying the melody. I mention it because in an instrumental where every sound is authentically analog, it strikes me as being slightly out of place (in terms of "authenticity"). Do you have or have access to a sample library that uses switches between playing styles? If so, it would really be worth spending some time and focusing on that instrument.
  10. I listened very late last night (early this morning), but it was too quiet in the house to do a lot of typing. It's the first time I've heard one of your songs. The first thing that struck me was the beautiful character and uniqueness of your voice. The second thing was the cool chord progressions and display of confidence. A very quirky sounding combination, but in a very good, rare, and unique way. I think some of the lyrics early on caused you to rush the singing in a slightly awkward way, but you found your pocket as the song progressed. My suggestion would be to look for easier (though still unique) ways to phrase your lyrics, whether by simplifying a word here and there or by shortening a few lines. I think you have something remarkable going and will be following your news as closely as I do a few others around here. Very nice work!
  11. Oswlek, thanks for listening and commenting. In standard tuning, the octaves are 1200 cents apart. Divided by 12 steps, each step is 100 cents. In 13 edo, the octaves are still 1200 cents apart, but there are 13 steps, or a little over 92 cents each. It's a very odd and difficult temperament because there are no familiar intervals or chords. Smaller intervals sound flat and larger intervals sound sharp. Don't confuse temperament with scale, though. For example, in standard tuning, most scales are 8 notes. But you can have varying subsets (pentatonic, for example). There are non-octave temperaments, but every edo is an equal division of 2:1, which is always 1200 cents. I hope I haven't been terribly confusing There is more info here, if you're curious. http://xenharmonic.wikispaces.com/13edo
  12. I have really mixed feelings about this. What's here is very interesting, smooth, and well done. The rapping has a good vibe, fits the timing, and that epiano is gorgeous. But, I really don't like the ambient textural hits at the beginning and in parts of the wash. I know it's there for production depth, but there are a lot of ways you can achieve that. Also, for my tastes there was just no consideration for a low-end element. I kept waiting for a bass or a bass pad or something that would introduce more of the lower spectrum. With the exception of the bass drum, there is nothing there. I really want to hear something soft and sensual and low and winding and playful. I think it would really round out the track. Your production skills are obviously pretty good. I just need more from a listener's standpoint.
  13. I think this is a cool sketch. Has a really nice 80s vibe to it, but doesn't sound dated in a bad way. Kind of like a cross between Depeche Mode and Tears for Fears. What you have works for me. The vocal timing will be tricky. My feeling is that you want to aim for more legato type phrasing. I like the minimal feel, would probably try to keep that the focus (at least early on). Always enjoy listening to your work, and I particularly like hearing work in progress to get insight into other people's creative processes.
  14. About three years ago, I announced that I'd be doing a collaboration with J.L.Smith, who is one of my musical idols. I had no idea at the time it would take so long to finish. I've posted very early versions here, but here is the first "final" mix. It's written in 13 edo (13 notes per octave). The initial programming was done in Orion 8.6. Most sound design and all mixing and mastering was done in Reaper.
  15. Thank you for listening and commenting, Richard! I definitely keep trying to push myself. Don't know that it is avant garde, though I am very pleased you said that! I love a lot of avant garde and musique concrete stuff, and Aphex Twin is a god. I find myself going back to a lot of pioneering work, like Vladimir Ussachevsky, and thinking what he might do with modern technology. Not that I should be mentioned in the same breath. I just think a lot of the very early creativity has gotten lost due to commercialization. I feel very limited, but I think my strength is that tension between what I understand and what I want to achieve.