“a philosophical theory or approach which emphasizes the existence of the individual person as a free and responsible agent determining their own development through acts of the will”.
The concept behind the track was the phrase “I have no mouth & I must scream” is repeated throughout the track until it is drowned out by the progressively more aggressive noise and sound. The way I interpreted the track was the phrase “I have no mouth & I must scream” is a way to say no matter how loud I scream, no matter how much I do. Does it matter in the end? This relates back to the ideas of Existentialism. Exploring the issues of humanity, dread, and anxiety. Existentialism is an absurd concept, but a very real one.
Eraserhead is the debut film of surrealist extraordinaire David Lynch. The film follows Henry, a man living in an industrial world. He accidentally impregnates his girlfriend, a woman he really is not too fond of. The baby is born prematurely. To the point, it doesn’t look human.
(Above is the baby). Frederick Elmes – Cinematographer
How Eraserhead inspired this project was primarily through the use of sound in the film. Created by Alan Splet and David Lynch. The sound is industrial, using lots of low drones, noise, and samples. The use of drones is what in particular inspired me. The way this was recorded was done in a very D.I.Y. mindset which I personally am very fond of. e.g. David playing a sound through a radiator vent, then having alan on the other side of the vent recording the sounds coming through. Which would have a natural reverberation to it.
I have no mouth, & I must scream – (short story)
I have no mouth, & I must scream is a short story from 1967. This short story was a pioneer of mixing horror and sci-fi. As they were both very separated genres at the time. Horror typically is religion-based (rosemary’s baby) and sci-fi typically was quite goofy and camp (star trek). For me, it was more the title of I have no mouth, & I must scream, than the actual story itself. I think it’s such a fascinating title that can be used and interpreted in many ways for myself.
Ramleh is an experimental band that has spanned many genres over many years. From power electronics to noise rock. The way they influenced this project was with their 1987 release ‘Hole in the heart’.
Hole in the Heart explores power electronics in a more subtle way to other artists in the genre (e.g. Whitehouse) by having more of an emphasis on drones, and more melodic content as well. The opening track ‘Bite The Bolster‘ almost gives off a Fripp & Eno -esque sound. With what sounds like looping guitar melodies with these faint reverb-coated vocals.
On my piece, I tried lacing in some more subtle moments, primarily at the beginning and end. With the usage of drones, field recordings, and using effects like resonators, reverb, and mishby (broken tape machine vst). I like the way Ramleh used these sounds and still created a very unsettling atmosphere without being too in your face. But that being said, being in your face isn’t always a bad thing…
Throbbing Gristle – Industrial, Ambient, Noise.
Throbbing gristle was experimental audio and visual arts project from 1975 to 1981, 2004 to 2010. Throbbing Gristle were pioneers of industrial music and electronic music as a whole. With records like ‘The Second Annual Report‘ and ‘D.o.A: The Third and Final Report of Throbbing Gristle‘ under their belt.
How Throbbing gristle influenced this track was primarily through the song ‘Hamburger Lady’, one of their most well-known and infamous tracks. From the album ‘D.o.A: The Third and Final Report of Throbbing Gristle‘. The track has this deep synth drone that lingers throughout the piece and a slow kick pattern. The part that took the most inspiration on my part was the way vocals are used.
The vocals sound like they are being run through a vocoder and tremolo. Resulting in the chopped-up pattern of the vocals. The song is about a victim of a horrible car accident. Below is a passage of lyrics that brutally describe the injuries this woman has suffered.
“She’s dying She is burned from the waist up On her arm Her ear is burned off, her nose is burned off, her eyelashes are burned, her fingers are burned She can’t hold anything up and with medical advances, there’s no end in sight for the hamburger lady “
Throbbing Gristle – D.o.A: The Third and Final Report of Throbbing Gristle Artwork by Hipgnosis
The lyrics are based on a letter written by “Blaster” Al Ackerman”. I always liked the way this track unsettles you. In particular with the vocal passages. In my piece (i have no mouth and I must scream). I repeated the phrase through the song. To the point, it is drowned out by pure chaos. Until the end.
Whitehouse – Power Electronics.
I have talked extensively about Whitehouse in this document, and for good reason. William Bennet & Phillip Best (among other members in their long-spanning career) have created something incredible. Bennet coined the term ‘power electronics’ on Whitehouse’s seventh record ‘Psychopathia Sexualis’ in 1982.
Whitehouse influenced this project through the usage of rhythmic noise. As seen on songs like ‘Why You Never Became A Dancer’ and ‘Wriggle Like A Fucking Eel’ there is a constant rhythmic quality to it, but done in such an abstract way that it’s completely different to throwing a jungle drum rhythm over the vocals. On my piece ‘I have no mouth and I must scream’ when the power electronics start to fade in there is a rhythmic pattern to it that really suits the track
Power electronics is an inherently extreme genre, in terms of sound and lyrical content. Sound-wise power electronics contain passages of noise, screaming vocals, distorted synths, and some rhythmic qualities to name a few. A good example of what power electronics ‘sounds like’ would be with the track ‘Why You Never Became A Dancer‘ by Whitehouse.
This song features some of the main features of power electronics. Distorted rhythmic loops, yelling vocals, and graphic lyrics. The song is a response to the short film ‘Why I Never Became A Dancer’ by Tracy Emin. In which she talks about her casual sex life as a teenager among other topics. She entered a dance competition to try and get out of London. But was yelled at by a gaggle of boys in a harassing manner. In the track William Bennet (sole consistent member of Whitehouse) critiques Tracy. With lines like “Another bed staining cunt” which is in reference to Tracy’s art piece called ‘My Bed’. Possibly critiquing the work as being pretentious. The track perfectly shows off what power electronics has to offer.
Lyrically lots of power electronics focus on the themes of child abuse, murder, sexual assault, racism, sex, misogyny, and drug addiction just to name a few. Examples of this would be Deathpile’s song ‘Shrine‘ of his record ‘G.R.’ which is an album written from the perspective of Gary Ridgway, aka the Green River Killer.
Gary Ridgway is a convicted serial killer responsible for the murders of 71 people through the years 1982–1998. Most of these murders were of young women. Gary was sentenced to life imprisonment without parole and was convicted on 49 murders, though he confessed to 71. Shrine is written about the murder of Carol Christensen that took place in May of 1983, she was 21 at the time of her murder. Below there is a brief summary of what happened to Carol.
Passage from https://www.karisable.com/grkchristensen.htm
“It appeared her body had been dunked in water and reclothed backwards, she had one shoe on the wrong foot, the other shoe was not found. She had a bag placed over the head. Two cleaned fish were laid across her body. She had raw sausage around her, a wine bottle in her hand, and two cleaned fish across her chest, believed by some to symbolize the Eucharist, the body and blood of Christ.”
Hence the title is called ‘Shrine’. She was turned into one.
Jonathan Canady (one half of Deathpile) writes about the actions committed by Gary, with lyrics like…
“I told them I never had sex with herBut I not only fucked her I made her into a shrine Body and blood “
This is an example of the raw, and brutal lyrics power electronics are known for. As graphic as it is, it makes sense why. Since the whole record is written from the point of view of a real serial killer. And it is interesting to hear this tragic story from the view of a sociopath. Some other lyrics are…
“The beginning of May ’83 I picked her up on the strip Fucked her Choked her with fishing line Took her body to Maple Valley Stripped her Baptized her in the river Put her clothes back on Bag over her head Two fish across her body Meat in her hand Wine bottle next to the body My shrine”
G.R. album cover
In the lyrics above you can see that deathpile took exactly what happened to Carol and wrote it from the point of view of Gary. It is a very unsettling track to listen to. With this repeated phrase ‘Body and Blood’ being said throughout the song.
G.R. is a very influential project, even being sampled on experimental hip hop trio ‘clipping.’s song ‘Body and Blood’. Named after the repeated phrase in the song Shrine.
It’s not just the contents of the songs that can cause ‘controversy’. Even the titles are provocative, like Whitehouse’s ‘A Cunt Like You’, Deathpile’s ‘The First Whore’, and Anenzephalia’s ‘Mechanical Rape’. Is it done for shock value? I mean sure, it’s not uncommon for power electronics acts to thrive in controversy.
Power electronic artists are infamous for using nazi and fascist imagery in their live shows, and graphic imagery in general. In my opinion, I find the use of nazi imagery quite boring and comes across as they are trying too hard. It goes without saying, but personally, I am fully against racism, fascism, homophobia, and any hate directed towards people because of their heritage. I like exploring disturbing ideas and concepts. And using graphic imagery, But do not agree with them in any way, shape or form.
A lot of power electronics (in particular Whitehouse) are incredibly satirical, like in their song ‘Wriggle like a fucking eel.’ Which is a critique of modern dance songs telling people how to dance. Here’s an excerpt.
“You boy! How’d you like to wet your feet in a cold swimming pool? What does your voice sound like underwater? At night? Can you do the chicken-skin swim? Can you do the chlorine gargoyle? Can you wriggle? Like an eel? “
With lyrics like “Can you do the chicken-skin swim? ” and “Can you do the chlorine gargoyle? “. Clearly, mocking dance moves that both William and Phillip view as dumb and pointless.
Even though groups like Whitehouse are satirical in their content. They do not shy away from discussing difficult subjects. In the aforementioned song ‘A Cunt Like You’ of the album ‘Mummy and Daddy’. Whitehouse is talking about mental abuse. Here’s an excerpt…
“Listen to the sound of being alive You look like a fucking bat You old slut I really loathe vulgarity, so common Your disgraceful cellulitis You will never be the same again, cunt Fucking stereotype Fucking stereotype You take just like a cunt Cunt fucks just like a cunt You ache like a cunt Cunt fucks just likes a cunt Cunt ”
Whitehouse – Mummy & Daddy Album Cover. Artwork by Trevor Brown
You can see how Whitehouse doesn’t shy away from vulgarity in their music, showing how hateful they are against whoever they are talking about. I find this song, amongst many other tracks in their discography, very moving. As it brutally describes these awful actions taking place in such a raw and unfiltered way. It’s quite refreshing. I also find it puts you in the shoes of someone completely different from yours. The song is produced by Steve Albini of Big Black fame, another group that isn’t afraid to provoke. Even though the lyrics are vulgar, it works with the context of the track and works very much in its favour.
Conclusion
Power Electronics is a largely misunderstood genre I believe. There is a general misunderstanding of what the power electronics scene stands for and advocates. At this moment there are more black, lgtbqia+, and female noise and power electronics artists. For example, Dreamcrusher is a queer African American noise artist challenging the boundaries of noise music. Lingua Ignota is a female producer, vocalist, and multi-instrumentalist combing noise, power electronics, neo-classical, and other avant-garde genres together.
Now just like in any genre, there are genuine racist, misogynistic, and fascist bands and artists for sure. But I believe labelling power electronics as a racist, homophobic, and misogynistic genre. Is just plain false.
Japanoise is a subgenre and subculture of noise music based out of Japan. Pioneerd by the likes of merzbow, harantash, masonna, and Hijokaidan to name a few. Japanoise had a huge influence on experimental music and the noise scene as a whole. The believed start of Japanoise was on the 8th of May 1960. On this day 6 young musicians, all Japanese. Formed a group called ‘Group Ongaku’. They had two tape recordings of noise music, all created using a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. They then manipulated the tape of the speed, which in turn would distort the music even more. This is where it is believed Japanoise was truly born.
After Lou Reed’s undisputed masterpiece ‘Metal Machine Music’ was released in 1979. An at the time 23-year-old man called Masami Akita decided to start making noise music. This is the man we now know as Merzbow, a force to be reckoned with in the noise scene. Merzbow really started coming into his own in the late 1980s. This happened because when he started to tour more, he could only bring a specific amount of gear. So this ended up with him making the noise music he was known for in the 1990s (Pulse Demon, Venerology, etc).
I have a very personal connection to Japanoise, as it was my entry point into noise music, with artists like Merzbow, harantash, and masonna being big turning points for me musically. You can hear the Japanoise influence in the piece for this project. With the harsh repeating noise, with a mixture of both low and high frequencies.
Just as a content warning for anyone viewing this page, in particular in the section titled ‘Fascism, misogyny, and racism in power electronics‘ there is discussion and examples of lyrics containing very strong language with themes of murder, sexual assault, rape, and mental abuse, to name a few. I refuse to censor this as it is art. But I know the discussion of these topics can be uncomfortable for a lot of people, it is for me too. So heads up. This is a combined post of multiple blogs I wrote relating to this project.
Japanoise
Japanoise is a subgenre and subculture of noise music based out of Japan. Pioneerd by the likes of merzbow, harantash, masonna, and Hijokaidan to name a few. Japanoise had a huge influence on experimental music and the noise scene as a whole. The believed start of Japanoise was on the 8th of May 1960. On this day 6 young musicians, all Japanese. Formed a group called ‘Group Ongaku’. They had two tape recordings of noise music, all created using a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. They then manipulated the tape of the speed, which in turn would distort the music even more. This is where it is believed Japanoise was truly born.
After Lou Reed’s undisputed masterpiece ‘Metal Machine Music’ was released in 1979. An at the time 23-year-old man called Masami Akita decided to start making noise music. This is the man we now know as Merzbow, a force to be reckoned with in the noise scene. Merzbow really started coming into his own in the late 1980s. This happened because when he started to tour more, he could only bring a specific amount of gear. So this ended up with him making the noise music he was known for in the 1990s (Pulse Demon, Venerology, etc).
I have a very personal connection to Japanoise, as it was my entry point into noise music, with artists like Merzbow, harantash, and masonna being big turning points for me musically. You can hear the Japanoise influence in the piece for this project. With the harsh repeating noise, with a mixture of both low and high frequencies.
Fascism, misogyny, and racism in power electronics
Power electronics is an inherently extreme genre, in terms of sound and lyrical content. Sound-wise power electronics contain passages of noise, screaming vocals, distorted synths, and some rhythmic qualities to name a few. A good example of what power electronics ‘sounds like’ would be with the track ‘Why You Never Became A Dancer‘ by Whitehouse.
This song features some of the main features of power electronics. Distorted rhythmic loops, yelling vocals, and graphic lyrics. The song is a response to the short film ‘Why I Never Became A Dancer’ by Tracy Emin. In which she talks about her casual sex life as a teenager among other topics. She entered a dance competition to try and get out of London. But was yelled at by a gaggle of boys in a harassing manner. In the track William Bennet (sole consistent member of Whitehouse) critiques Tracy. With lines like “Another bed staining cunt” which is in reference to Tracy’s art piece called ‘My Bed’. Possibly critiquing the work as being pretentious. The track perfectly shows off what power electronics has to offer.
Lyrically lots of power electronics focus on the themes of child abuse, murder, sexual assault, racism, sex, misogyny, and drug addiction just to name a few. Examples of this would be Deathpile’s song ‘Shrine‘ of his record ‘G.R.’ which is an album written from the perspective of Gary Ridgway, aka the Green River Killer.
Gary Ridgway is a convicted serial killer responsible for the murders of 71 people through the years 1982–1998. Most of these murders were of young women. Gary was sentenced to life imprisonment without parole and was convicted on 49 murders, though he confessed to 71. Shrine is written about the murder of Carol Christensen that took place in May of 1983, she was 21 at the time of her murder. Below there is a brief summary of what happened to Carol.
Passage from https://www.karisable.com/grkchristensen.htm
“It appeared her body had been dunked in water and reclothed backwards, she had one shoe on the wrong foot, the other shoe was not found. She had a bag placed over the head. Two cleaned fish were laid across her body. She had raw sausage around her, a wine bottle in her hand, and two cleaned fish across her chest, believed by some to symbolize the Eucharist, the body and blood of Christ.”
Hence the title being called ‘Shrine’. She was turned into one.
Jonathan Canady (one half of Deathpile) writes about the actions committed by Gary, with lyrics like…
“I told them I never had sex with her But I not only fucked her I made her into a shrine Body and blood “
This is an example of the raw, and brutal lyrics power electronics are known for. As graphic as it is, it makes sense why. Since the whole record is written from the point of view of a real serial killer. And it is interesting to hear this tragic story from the view of a sociopath. Some other lyrics are…
“The beginning of May ’83 I picked her up on the strip Fucked her Choked her with fishing line Took her body to Maple Valley Stripped her Baptized her in the river Put her clothes back on Bag over her head Two fish across her body Meat in her hand Wine bottle next to the body My shrine”
G.R. album cover
In the lyrics above you can see that deathpile took exactly what happened to Carol and wrote it from the point of view of Gary. It is a very unsettling track to listen to. With this repeated phrase ‘Body and Blood’ being said throughout the song.
G.R. is a very influential project, even being sampled on experimental hip hop trio ‘clipping.’s song ‘Body and Blood’. Named after the repeated phrase in the song Shrine.
It’s not just the contents of the songs that can cause ‘controversy’. Even the titles are provocative, like Whitehouse’s ‘A Cunt Like You’, Deathpile’s ‘The First Whore’, and Anenzephalia’s ‘Mechanical Rape’. Is it done for shock value? I mean sure, it’s not uncommon for power electronics acts to thrive in controversy.
Power electronic artists are infamous for using nazi and fascist imagery in their live shows, and graphic imagery in general. In my opinion, I find the use of nazi imagery quite boring and comes across as they are trying too hard. It goes without saying, but personally, I am fully against racism, fascism, homophobia, and any hate directed towards people because of their heritage. I like exploring disturbing ideas and concepts. And using graphic imagery, But do not agree with them in any way, shape or form.
A lot of power electronics (in particular Whitehouse) are incredibly satirical, like in their song ‘Wriggle like a fucking eel.’ Which is a critique of modern dance songs telling people how to dance. Here’s an excerpt.
“You boy! How’d you like to wet your feet in a cold swimming pool? What does your voice sound like underwater? At night? Can you do the chicken-skin swim? Can you do the chlorine gargoyle? Can you wriggle? Like an eel? “
With lyrics like “Can you do the chicken-skin swim? ” and “Can you do the chlorine gargoyle? “. Clearly, mocking dance moves that both William and Phillip view as dumb and pointless.
Even though groups like Whitehouse are satirical in their content. They do not shy away from discussing difficult subjects. In the aforementioned song ‘A Cunt Like You’ of the album ‘Mummy and Daddy’. Whitehouse is talking about mental abuse. Here’s an excerpt…
“Listen to the sound of being alive You look like a fucking bat You old slut I really loathe vulgarity, so common Your disgraceful cellulitis You will never be the same again, cunt Fucking stereotype Fucking stereotype You take just like a cunt Cunt fucks just like a cunt You ache like a cunt Cunt fucks just likes a cunt Cunt ”
Whitehouse – Mummy & Daddy Album Cover. Artwork by Trevor Brown
You can see how Whitehouse doesn’t shy away from vulgarity in their music, showing how hateful they are against whoever they are talking about. I find this song, amongst many other tracks in their discography, very moving. As it brutally describes these awful actions taking place in such a raw and unfiltered way. It’s quite refreshing. I also find it puts you in the shoes of someone completely different from yours. The song is produced by Steve Albini of Big Black fame, another group that isn’t afraid to provoke. Even though the lyrics are vulgar, it works with the context of the track and works very much in its favour.
Conclusion
Power Electronics is a largely misunderstood genre I believe. There is a general misunderstanding of what the power electronics scene stands for and advocates. At this moment there are more black, lgtbqia+, and female noise and power electronics artists. For example, Dreamcrusher is a queer African American noise artist challenging the boundaries of noise music. Lingua Ignota is a female producer, vocalist, and multi-instrumentalist combing noise, power electronics, neo-classical, and other avant-garde genres together.
Now just like in any genre, there are genuine racist, misogynistic, and fascist bands and artists for sure. But I believe labelling power electronics as a racist, homophobic, and misogynistic genre. Is just plain false.
Artists that inspired me
Ramleh – Power Electronics, Noise.
Ramleh is an experimental band that has spanned many genres over many years. From power electronics to noise rock. The way they influenced this project was with their 1987 release ‘Hole in the heart’.
Hole in the Heart explores power electronics in a more subtle way to other artists in the genre (e.g. Whitehouse) by having more of an emphasis on drones, and more melodic content as well. The opening track ‘Bite The Bolster‘ almost gives off a Fripp & Eno -esque sound. With what sounds like looping guitar melodies with these faint reverb-coated vocals.
On my piece, I tried lacing in some more subtle moments, primarily at the beginning and end. With the usage of drones, field recordings, and using effects like resonators, reverb, and mishby (broken tape machine vst). I like the way Ramleh used these sounds and still created a very unsettling atmosphere without being too in your face. But that being said, being in your face isn’t always a bad thing…
Throbbing Gristle – Industrial, Ambient, Noise.
Throbbing gristle was experimental audio and visual arts project from 1975 to 1981, 2004 to 2010. Throbbing Gristle were pioneers of industrial music and electronic music as a whole. With records like ‘The Second Annual Report‘ and ‘D.o.A: The Third and Final Report of Throbbing Gristle‘ under their belt.
How Throbbing gristle influenced this track was primarily through the song ‘Hamburger Lady’, one of their most well-known and infamous tracks. From the album ‘D.o.A: The Third and Final Report of Throbbing Gristle‘. The track has this deep synth drone that lingers throughout the piece and a slow kick pattern. The part that took the most inspiration on my part was the way vocals are used.
The vocals sound like they are being run through a vocoder and tremolo. Resulting in the chopped-up pattern of the vocals. The song is about a victim of a horrible car accident. Below is a passage of lyrics that brutally describe the injuries this woman has suffered.
“She’s dying She is burned from the waist up On her arm Her ear is burned off, her nose is burned off, her eyelashes are burned, her fingers are burned She can’t hold anything up and with medical advances, there’s no end in sight for the hamburger lady “
Throbbing Gristle – D.o.A: The Third and Final Report of Throbbing Gristle Artwork by Hipgnosis
The lyrics are based on a letter written by “Blaster” Al Ackerman”. I always liked the way this track unsettles you. In particular with the vocal passages. In my piece (i have no mouth and I must scream). I repeated the phrase through the song. To the point, it is drowned out by pure chaos. Until the end.
Whitehouse – Power Electronics.
I have talked extensively about Whitehouse in this document, and for good reason. William Bennet & Phillip Best (among other members in their long-spanning career) have created something incredible. Bennet coined the term ‘power electronics’ on Whitehouse’s seventh record ‘Psychopathia Sexualis’ in 1982.
Whitehouse influenced this project through the usage of rhythmic noise. As seen on songs like ‘Why You Never Became A Dancer’ and ‘Wriggle Like A Fucking Eel’ there is a constant rhythmic quality to it, but done in such an abstract way that it’s completely different to throwing a jungle drum rhythm over the vocals. On my piece ‘I have no mouth and I must scream’ when the power electronics start to fade in there is a rhythmic pattern to it that really suits the track
Concepts that inspired the track
Existentialism
Oxford dictionary describes Existentialism as…
“a philosophical theory or approach which emphasizes the existence of the individual person as a free and responsible agent determining their own development through acts of the will”.
The concept behind the track was the phrase “I have no mouth & I must scream” is repeated throughout the track until it is drowned out by the progressively more aggressive noise and sound. The way I interpreted the track was the phrase “I have no mouth & I must scream” is a way to say no matter how loud I scream, no matter how much I do. Does it matter in the end? This relates back to the ideas of Existentialism. Exploring the issues of humanity, dread, and anxiety. Existentialism is an absurd concept, but a very real one.
Media that inspired the piece e.g. book, film, game, etc.
Eraserhead – (film)
Eraserhead is the debut film of surrealist extraordinaire David Lynch. The film follows Henry, a man living in an industrial world. He accidentally impregnates his girlfriend, a woman he really is not too fond of. The baby is born prematurely. To the point, it doesn’t look human.
(Above is the baby). Frederick Elmes – Cinematographer
How Eraserhead inspired this project was primarily through the use of sound in the film. Created by Alan Splet and David Lynch. The sound is industrial, using lots of low drones, noise, and samples. The use of drones is what in particular inspired me. The way this was recorded was done in a very D.I.Y. mindset which I personally am very fond of. e.g. David playing a sound through a radiator vent, then having alan on the other side of the vent recording the sounds coming through. Which would have a natural reverberation to it.
I have no mouth, & I must scream – (short story)
I have no mouth, & I must scream is a short story from 1967. This short story was a pioneer of mixing horror and sci-fi. As they were both very separated genres at the time. Horror typically is religion-based (rosemary’s baby) and sci-fi typically was quite goofy and camp (star trek). For me, it was more the title of I have no mouth, & I must scream, than the actual story itself. I think it’s such a fascinating title that can be used and interpreted in many ways for myself.
References
Bennet, W., 2021. Whitehouse – Why You Never Became a Dancer Lyrics | Genius Lyrics. [online] Genius. Available at: <https://genius.com/Whitehouse-why-you-never-became-a-dancer-lyrics>
Genius. (n.d.). Whitehouse – A Cunt Like You. [online] Available at: https://genius.com/Whitehouse-a-cunt-like-you-annotated
Wikipedia Contributors (2019). Japanoise. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Japanoise.
Wikipedia Contributors (2019). Gary Ridgway. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Gary_Ridgway.
Sable, K. (n.d.). The Green River Killer Carol Ann Christensen. [online] www.karisable.com. Available at: https://www.karisable.com/grkchristensen.htm [Accessed 24 Nov. 2021].
What icon is used for the Zoomer tool in the Edit window? How can you use this tool to quickly zoom out, filling the Edit window with the longest track in the session? (See “Zoomer Tool” beginning on page 52.)
Which Edit tool is represented by a hand icon? What is this tool used for? (See “Grabber Tool” beginning on page 54.)
Which tool is active when the Trim, Selector, and Grabber icons are all selected (highlighted in blue) in the Edit window toolbar? (See “Smart Tool” beginning on page 55.)
What are the four Edit modes in Pro Tools? How can you switch between them? (See “Edit Modes” beginning on page 56.)
Why should you use caution when editing synchronized material in Shuffle mode? When is Shuffle mode useful?
How does editing a clip in Slip mode affect the timing of other clips on the track? (See “Slip Mode” beginning on page 56.)
When is it helpful to work in Spot mode? When it is helpful to work in Grid mode? (See “Spot Mode” and “Grid Mode” beginning on page 57.)
What are some ways to set the Main Time Scale in Pro Tools? (See “Main Time Scale” beginning on page 59.)
What are the two types of Rulers available in Pro Tools? What is the difference between them? (See “Ruler Display Options” beginning on page 60.)
What are some ways to hide Rulers that you do not need displayed in a session? (See “Hiding Rulers” beginning on page 61.)
Which Pro Tools windows provide access to MIDI controls, such as Wait for Note, Metronome, and MIDI Merge? (See “MIDI Control Features” beginning on page 62.)
What is the purpose of the Metronome button in the MIDI Controls area? What kind of track must be added to a session for the Metronome button to work? (See “Metronome” beginning on page 62.)
What are the two states or modes available for controlling the current session tempo? How can you switch between these modes? (See “Tempo Ruler Enable” beginning on page 63.)
What is displayed by the Tempo field in the MIDI Controls area? What are some ways to set the session tempo using this field? (See “Tempo Field” beginning on page 64.)
Awnsers
It is a magnifyingng glass, Double click on the zoomer tool
The grabber tool, it is for arranging or positioning clips
The smart tool
Slip, Shuffle, Grid, and Spot
Because it can cause timing issues, It is useful when editing dialog
It does not affect the timing of the other tracks
Spot – When you want to place it in a specific place – Dialog box appears. Grid – When you want it to align to the grid based intervals – helpful when needing precise timing.
View > Main Counter, From the Main Time scale pop up menu(down arrow next to main counter), Click on its name on the ruler.
Time Based and Conductor, Time base measures time in various ways. Conductor contains events that map out locations, changes, and characteristics.
View > rulers to unselect, Alt click on ruler name
Transport window
To provide an audible beat for your musicians, Need a click track
The current tempo based on the cursor location, You can enter the tempo manually or tap the tempo by pressing T or using a MIDI controller
1.Name some of the folders and files that ProTools creates as part of the session hierarchy. Where is the session file (. ptx) stored?
2.What is the WaveCache.wtm file used for? What happens if the WaveCache file gets deleted or goes missing?
3. Where are audio files stored in the session hierarchy?
4.Where are Pro Tool’s is MIDI files normally stored?
5. Which components should you turn on first when powering up a Pro Tools system? Which component should you turn on last?
6. What type of processing does the hardware buffer size affect? What type of processing does it not affect?
7. What kinds of commands can be found under the ProTools View menu? How does the view menu differ from the window menu?
8.What kind of commands can be found under the ProTools Options menu? How does the options menu differ from the setup menu?
9. Which main Pro Tools window displays audio waveforms and can be used to work directly with audio, MIDI, and video files on tracks?
10. Which ProTools window provides access to Pan controls and Volume faders for each track?
Answers
– Audio files, clip groups, session file backups, video files
– WaveCache.wfm file stores all of the waveform display data for the session. If the WaveCache.wfm file gets deleted, Pro Tools will create a new one the next time you open the session.
Each take of the audio recording is stored as a seperate file inside the corresponding session’s Audio Files folder. Pro Tools natively supports audio files in either the AIFF or WAV format. WAV is the default file format for Pro Tools systems.
Midi files are kept and stored in the session, no midi will be stored out of the session. Only in the session. You can export midi though to other sessions. EXPORT > MIDI command. Exported MIDI files can be recognized by their .mid extensions.
Turn on the External Hard drives e.g. SD cards, memory stick. External MIDI interfaces, MIDI controllers, Audio interfaces if they are not bus powered first. Turn off the Audio Monitoring System last.
Native plug-in processing. DSP Processing.The Hardware Buffer Size settings in the Playback Engine dialogue box controls the size of the low-latency buffer. This buffer handles host-based tasks, such as Native plug-in processing, during recording or live input monitoring. Lower Hardware Buffer Size settings reduce monitoring latency when you are recording or monitoring live input. Higher Hardware Buffer Size settings provide more processing power for tracks that are recording or monitoring live input, at the cost of higher monitoring latency. The Hardware Buffer Size setting does not affect DSP processing on hardware-accelerated systems. DSP processing is available on systems with Pro Tools|HDX cards.
Its commands control how Pro Tools windows, tracks, and track data are displayed. View menu commands affect what elements are displayed within Pro Tools windows, tracks and clips. Most View menu commands show or hide parts of the main Pro Tools windows. Selecting a command will display a component part of a window, and deselecting the command will hide it. Though commonly confused, the View menu and the Window menu serve distinctly different functions. Commands in the View menu affect parts of a window or change how the elements within a window are displayed. By contrast, commands in the Window menu show or hide entire windows or arrange the windows on the screen.
