News – Page 12 – Kai Strandskov Music

January 2, 2013January 2, 2013

Trying to prioritize

One of the metaphors I keep running across is the 80/20 rule. I’m pretty sure it comes from the Pareto Principle. Much like any number combination, I started seeing it everywhere. Actually, I first encountered it in the business world, relating to something only partially related: learning. If you search online you’ll see articles like Pareto Principle, and 80 20 Life, and 80 20 Learning. It’s pretty common. Of course, most simple number combinations are pretty common. Search for 70 30. You’ll find a new list of sites advocating the 70/30 ratio in life. Number pairs are everywhere in nature, and we humans just can’t help but try to seek out patterns in them.

I am more attached to 80/20, simply because it’s got an old dude’s name attached to it–and there is a long tradition of the rule in the software business. You can pick another rule. But here’s the point: it’s useful to devote resources toward more of one thing than another. Or conversely, it’s useful to expect results from more of one source than another. Not always useful, but useful maybe 80% of the time. See what I did there? The rule applies to itself. Meta.

Anyway, here are a few ways that I think it might apply to music.

Writing music by inspiration, not consensus

In the business world, you have 20 percent of the people do 80 percent of the work on a specific project. Then everyone gives feedback, and that completes the remaining project. Of course, the original 20% choose what feedback is included, and politics can play a role there I guess. Hopefully, the good feedback is mostly taken and, more importantly, the original vision stays in place.

In music, you often have a different hierarchy, but I have found that it’s similar. If just 1 person in the band works on 80% of an arrangement, then the rest of us won’t mess up the source of inspiration.

The reason for this, is that a consensus is only best for finding the common denominator. Consensus is where everyone overlaps. It’s not interesting. It’s not provocative or inspired. It’s safe. It’s watered down. It’s already understood. It lags behind. It’s conservative. Music by consensus isn’t going to create something visionary and exciting. If you are a kind of band where all are creative equals, then consider each of you individually writing your own songs–and then getting feedback to polish each song a little. This is already understood in business.

Practicing

There’s always something to work on and improve. It never ends. So do you work on everything at once? I would argue that you focus on one thing, knock it out, feel good about it, get that burst of inspiration of accomplishment, and then move to the next. On the other hand, you don’t want to go soft on what you already know. So… 80/20. Search up how to get rid of debt–you’ll see the same advice. Pay off one card at a time, but pay the minimum payment on the rest.

Last minute rehearsal

I was asked at the last minute to sit in at The Them’s final show, at the Funhouse in Seattle. So, I applied the 80/20 rule to make sure I was optimizing the resources I was putting toward the project. I think it went really well. That show rocked! Anyway, rather than memorizing and practicing 100% of all the songs, I put 80% of my resources into 20% of the songs–focusing on how songs start, the key transitions, and the end. I had a short amount of time to prepare, and I knew I could read my notes and look for cues on stage that would help me fake through each song… and it worked out really well! Oh yeah, and I also spent 80% of my time rehearsing alone, so that I didn’t waste the time of my bandmates who already knew the songs.

Cool stuff. Have you used this rule? What other rules are out there?

December 26, 2012December 26, 2012

Trying to be consistent

Previously, I’ve mentioned the importance of regulary producing art, over and over, so that you keep up with yourself. Otherwise your art gets stale before you’re done, and you end up scrapping it or never completing it.

The other benefit of regularly producing art is that you learn to be consistent. Consistency is an important aspect of trust. Trustworthy musicians are fun to play with. Of course, good musicians are even more fun! But, it’s good to be trustworthy. I’m not going to get into the band dynamics that come from being trustworthy, that’s what sites like How to Run a Band are for (disclosure: I’m in a band with Seth). And I won’t get into the importance of your fans trusting you, and so on.

But if the quality of your art is all over the map, then you will suffer. If you’re awake one day, and hung over the next, then you’ll suffer. If you only make art when you’re inspired, then you’ll suffer through long periods of time without productivity. You probably already suffer. That’s why you’re an artist. Might as well avoid letting your art suffer, too.

But make sure you’re being realistic. I set a goal to make a blog post once/week, which I thought was realistic at the time, and yet I’m quickly closing the gap of only being a few weeks ahead. I started a few months ahead. By the time you are reading this, I will be on vacation. Good thing I am still ahead! I can focus on my family over vacation. It’s a challenge, but it pays off. And I hope this is a realistic challenge. If I stop delivering a blog post every week, then I expect people will stop checking up on me to see what’s up, and I will get even farther behind when I have tours or vacations.

On a related note, if I don’t write good content, then you’ll stop too! Another example of setting realistic goals: you need to have consistent quality.

This post is probably on the low end of the quality spectrum, but just a thought that I felt was worth sharing.

December 19, 2012December 19, 2012

Trying to change

During my recent time spent studying under Brian Oppel, I had the opportunity to learn some techniques that made drumming more efficient. I would work on my assignments, and could track my progress. It felt great.

And then I’d play a show, and would feel like a complete moron. All these songs that I had previously learned started to feel stiff and awkward. I hated the technique and inflections I was playing. I complained about this, and he suggested that I not worry about it so much. He told me to just let the new techniques slowly integrate themselves into my playing, and just play old songs however I had originally learned–and not stress out so much about it.

Since then, I’ve thought about this some more. One of the things that changes with experience is your perspective. I was perfectly happy with how I was playing old songs, up until I learned a new way to play. I also have to manage my resources: am I really going to go back and relearn every single song I might play live? That’s not realistic. It’s far more productive to focus on being a better musician in the long term and practice the more efficient techniques. Actually, now that I writing this… perhaps use old songs as exercises and kill two birds with one stone. Just make sure you are practicing correctly.

Here’s a pitfall: integrating a new “efficient” way of doing something into your life immediately. You may understand how the new thing is awesome, but you’re not even close to mastering it at the same level as the old “inefficient” way. So you’ll probably mess that up, too. If you’re going to replace a way that you do something, you better be coming out ahead. Give yourself plenty of time to practice the new way in situations where no one is depending on you or where you have low visibility.

So, I think the point is that change can’t happen overnight, and it’s disruptive to try to force it. Instead, better to allow the new techniques to just integrate themselves into your life as you move on. Otherwise, you’ll get stressed out and be unhappy, which will just slow you down even more.

December 15, 2012August 2, 2020

New recording with Shiplosion: Exploding in the Void

Let me know what you think! We recorded the music live at Vera project, and then Seth went back and worked his vocal magic.

<a href="http://shiplosion.bandcamp.com/track/exploding-in-the-void">Exploding in the Void by Shiplosion</a>

December 14, 2012December 14, 2012

Darbuka

Hey, I just performed darbuka, aka doumbek, in front of a live audience for the first time last night! I was just sitting in with the quite talented Marchette DuBois and James Hoskins at Cafe Paloma here in Seattle, playing some Balkan rhythms on the side from time to time. But it’s always exciting to play a new instrument in front of people for the first time! I also learned to play the tupan this year, so really expanding my horizons lately and it feels great.

December 12, 2012June 16, 2017

Why you should play the drums

Eleven reasons why you should not play the drums

1. You will not make any money.

Musicians don’t make much money. The vast majority of us supplement our income with a day job. Plus, programmed drums can be cheaper. If you’re lucky, you can be a poor professional who competes with drummers who care more about music than you. The richest drummer is Ringo Starr, who a lot of people seem to mock as if he sucks. Even the richest drummer has a curse.

2. You have to haul stuff.

You spend more time hauling than performing. You must own a car, unless you live in New York. Don’t expect others to haul your stuff–that’s why they are playing another instrument. You spend 2 hours/day just setting up and breaking down your equipment. You are the only person in the band with a car. Or worse, you don’t have a car, and you’re constantly being kicked out of the band because you’re such a mooch becuase you’re so poor buying equipment.

3. Equipment is expensive.

Drumsticks, Cymbals, Heads. They constantly break, and must be replaced or you can’t play. No, you’re not getting a sponsorship remotely soon. Only superhumans get sponsorships. You need a cymbal bag to store your cymbals, or they will break more quickly. You need a stick bag. You need a freaking car.

4. Playing is hot and sweaty.

You can’t play anywhere without having to change your clothes every time, or else you smell bad.

5. You aren’t the center of attention.

The singer should get all the attention, for a great reason. Everyone likes to sing. People rarely get a drumbeat stuck in their head. They never see you anyway, because there’s always a person or a cymbal in front of you in every direction.

6. You’re loud and annoy people.

Pike Place Market bans percussion for this reason. And you seriously have to go out of your way to play quietly. People would rather just hear a singer/songwriter.

7. It takes a long time to learn, and it’s repetitive.

Stop playing drum fills all over the place because you’re bored. The musicians mostly want someone to lay down a beat. Beat It, by Michael Jackson, is a massively successful song with the simplest possible rock beat for 5 minutes straight. That is what they want.

8. Most people don’t want to hear a drum soloist. If they do, it’s in context of a song.

See rules 5, 6, and 7 for more info. You’re not going to be a solo artist. Everyone hates that person on the street who plays drums on buckets.

9. You probably don’t have a sense of rhythm.

If you don’t constantly tap on things and annoy your parents, then it’s too late. You must practice to a metronome all the time.

10. You take up a lot of space, and usually play in a corner.

You’re trapped behind your drums, while everyone else gets to move around and interact with the audience. If you have to go to the restroom, you need to physically move your hi hat to get out. Or you’re pushed at the back of the stage, and may fall off on your back.

11. You have a bad attitude.

The previous ten rules bum you out, and you complain all the time. No one wants to play with you anyway.

The only reason you should play the drums

Because you know inside your soul, this is what you are meant to do.

December 5, 2012April 4, 2013

Trying to choose

When I was a kid in band, my teachers would say different versions of something like ,”You have to learn the rules before you can break them.”

Recently I went through a year and a half of drum lessons with Brian Oppel to make sure I still had some perspective, and it occurred to me that there is something a little more subtle going on here. It’s not just that you need to learn the rules–it’s that you need to be able to be aware of your options. The rules are only part of the story; common tone theory, cadences, secondary dominants, rudiments, ghost notes, whatever. Even if you break those rules, you may still be reinventing the wheel. You have to listen to John Zorn, you have to listen to noise music, you have to listen to Asva, you have to listen to Classical and Country and Gamelan and Romani. Or if you listen to those things, then go and listen to Rebecca Black. And that just touches the surface. You also have to seek out all the art that you hate, and you better have a good reason for hating it other than “it’s different” or “it’s stupid”. You’re developing your pallete, so that you are aware of both the rules and the known broken rules. You have to be aware of all the options.

Essentially, the more you can zoom into every little thing that you do and turn every single note or action into a choice, the better you become as an artist. But that’s not enough. You have to practice enough so that each choice is both informed and instinctual, so that you can make choices quickly in the middle of a performance without deep thought. That’s the hard part, only borne from repetition and experience. Choose quickly, and choose often.

November 28, 2012December 5, 2012

Trying to finish things

I went through a phase where I would spend a lot of time perfecting grand opuses or highly complex beats before sharing them with people. Or grand collections of grand opuses or rhythms. But the problem was that, during the long process, the music would start to feel outdated, or I would improve as a musician, or my interests would change, or I would get better hardware, and on and on. So I would have to change course mid-stream, and that would be a set-back. The art was a struggle because I was racing to keep up, and yet never finishing anything.

I mentioned in a previous post that I’m trying to finish things more regularly now. Part of the reason is because you just have to finish sometime! But here’s my main point: No matter how quickly you create a piece of art, you will have changed by the time it’s done. Because it’s changed you, and hopefully you have matured. At least this is what happens to me. It changes me as I work through the process, and I grow. So, art should never be good enough to the artist, if the process runs its natural course. I now accept this, and I am trying to record as much as possible. As long as I can look back in the long term, and see the trend of each recording getting better and better, then I figure I should be content. If I just look in the short term, I only see something that feels outdated.

In the software world, it’s often said “shipping should be considered a feature”. Or there’s the saying, “The perfect is the enemy of the good.” I think both apply here. Just keep creating and sharing, and try to keep up with yourself.

November 21, 2012November 21, 2012

Trying to push the boundaries

If you search up images of fractals, you see what hippies are into. But you also see some cool patterns that are pleasing to the eye. It turns out DNA is really like fractal seeds–using concepts of iteration and recursion–and so all of life as we know it on Earth is much like a fractal pattern too. Pretty cool. That’s probably why fractals are so pleasing on the eye. It would suck to look around at the world around us and have it be ugly. Compare Julia sets with ferns, as a good example.

Anyway, fractals are also fascinating because you can zoom in and zoom out and yet always see the same amount of complexity. You can probably search up some animated fractal .gif files that zoom in. Try the Mandelbrot set. That’s a good one for that. You keep zooming in, and you keep seeing the same pattern getting repeated. Pretty cool. (It’s like a heat map of how quickly complex numbers approach infinity when you keep squaring them.)

But notice this: The animated gifs don’t zoom in and out on areas where there is no clear pattern. It’s just the pattern that’s the most interesting. With fractals like the Mandelbrot set, the pattern is actually just the borders between regions of space. As you zoom in on the borders, they stay interesting.

It’s the borders where the excitement happens. The boundaries. That’s what people care about. Like the boundaries between land and sea. Tide pools are brimming with life. The boundaries between earth and sky. The boundaries between the chorus, the verse, the bridge, and the solo. The beginning of the song, and the end. The boundary of a black hole, or basketball hoop, or a nation. The boundary between inside your body and outside your body. The boundary between where relativity and quantum mechanics matter more. The boundary between the performer and the audience. The boundary between control and chaos. The boundary between love and hate. The boundary between being full and being sick. The boundary between truth and fiction. The boundary between repetition and redundancy.

I think boundaries really matter. Play with them. Explore them.

November 14, 2012December 1, 2012

Trying to be creative

When I’m behind the drumset, I’m just not that creative. It seems like moments of inspiration happen any time but when sitting behind an instrument. Mostly when a song’s been running through my head, or after having just woken from a dream.

Sitting behind the drumset is about doing what I can already do, or about practicing to get better. I can have some ideas within that framework, but creativity seems to be all about letting my mind go crazy in a way that is not constrained by my limited drumming ability at this moment. There might be some rare moments during a solo.

For consistent creative results, I’m using my imagination, free of existing assumptions and free of what I’m comfortable with. Then comes the fun part: sitting down and trying to reverse engineer what I just came up with. Usually it takes a while.

How do you push the creative boundaries of your current abilities?