Robert Fripp's Diary

DGM HQ A bright amp

DGM HQ.

A bright & sunny day in the Chalke Valley. Local accents of the broad kind began, on the other side of the wall, at 08.33.

Soundcheck Soundscapes from Trinity (May 2nd. 2006) are underway. Often, the music from soundchecks provide interesting departures from the music of live performances. Why? Usually, there is no audience to fire up the music & musician: so how is it that the music might be of interest?

One possible answer, this morning in the Chalke Valley, is that the music does not have to follow laws of process & unfolding. That is, a musical idea is not required to begin, develop & complete: it can jump in, jump out, whizz by, fall out, be abandoned, even stop suddenly, all without criticism & judgement. Clearly, the player has no concern for audience.

A second possible answer, is that the music of soundchecks are (in part) a form of play. This is a variation of Possible Answer Number One: one plays, without concern for the repercussions. The play of the mature artist assumes the virtue of play, but has the intention of generating repercussions; and this carries responsibility. Soundchecks do not carry a sense of musical responsibility, although one is responsible for making sure that the equipment works. In this area, one also sometime assumes the virtue.

So, interesting ideas emerge at soundchecks, most of which do not develop. As a listener, this is frustrating; but as a listener, I have no rights in the matter, nor am I able to whinge, whine & criticise (in the English manner).

18.32 A morning & afternoon spent programming Eventides & GP100: the US Solar Voyager has developed independently. The player is re-orienting their Soundscape mind, and moving into performance mode. Currently, at 75%.

Solar Voyager Enhanced…

A late-afternoon meeting with David, to overview current & future DGM arisings. A call from Director Bill, asking for my calendar: Slow Music looks like speeding up.

19.31 In SoundWorld II: continuing The Concise KC. David has made three superb edits of Crim classics. The top Eventide 3000 is now on the blink, and John is (hopefully) transferring today’s programmes to midi, for loading into the spare 3000. This is much of my day’s work, so fingers crossed.

Moderate dribbling, but more to go…