- Journal - Solo -
 

 

 

 (1999-2000) interests - polyphonic, cross-relationship, drums as resonators
in the bag - sticks, brushes, blasticks, mallets, superball mallets, chains, bow
extended techniques-friction rubs, cymbal harmonics, use of all parts of an instrument as sound sources
investigation of (every) sound source vs. (every) object used to strike it
practice with each striker/mallet, finding/searching for more possibilities
sampler as glue/texture stabilizer/some real time sampling (sampler on bass drum) -homemade samples, very lofi
4 piece with 2 cymbals/hi hat box of junk (mostly shakers/jingly) - some use of found objects in setup
searching for new/different uses for feet-how can the feet keep up texturally with hands, escape from traditional roles of feet - mounted anvil, others
frame 1 - delay/volume/wah-wah
sometimes contact mic on cymbal stand (separate effects loop) - picking up cymbal and tom
mostly using one large PA speaker w/ shitty PA head, sometimes stereo
old frame (original design) short, welding rods down below, 1 motor, large spring up top
some use of improvising with field recordings, find that (as with the sampler), the background vs. solo concept really doesn't work for me - how to combine would be the goal
drums/electronics still kept separate (playing wise) - still very afraid of silence - to much delay
smaller time frames seeming to work better (separate pieces vs. continuous set)
looking for - more flow/general pacing, better time concepts, escape from these "drumistic" tendencies
also need to extend my touch and find better shit for my stickbag
 

 

 

 

 (2001) new things- contact mic entire kit, more effects (pitch shifter, phase shifter, echoplex) - finally bought a mixer
many more gigs, some acoustic, some electronic, some both -different workings with different setups
form percussion trio NOD - bringing improvising, found percussion, and homemade instruments together
different sampler perspectives, more samples, sampling myself, also MD and CD to thicken the plot, mostly other solo gigs, home recordings or NOD rehearsal tapes
more smaller cymbals, sometimes gong, much better pick in the box, more junk metal, etc., used to extend the kit, placed on the drums or used to play the kit,
more attention payed to wood (ala the 3rd construction), different shakers, need to find lower wood instruments
still the red kit, 4 piece w/ two cymbals and hi hat, starting to use double pedal
mounting cowbells and woodblocks, bell cymbal
still deciding on a common setup (or do i want to be different every time?)
why am i using the same kit i use on jazz gigs?
begin to play with everything on the floor
redone frame, welding rods up top, more small springs and mounted cymbals
building mallets - different shapes of wood, smaller metal beaters, etc.
very interested in different relationships between wood, skin and metal (varese)
more extended techniques with each different beater,
still digesting Plimley and Bendians outlook on time
better flow, need more attention to development
better interaction between acoustic and electronic
finding it easier to integrate solo concepts in group music
12 steps - 12 concerts in 12 months, as a means for more steady development and playing - interested in different settings for concerts (art galleries, freeway underpasses, coffee shops, deserted mountain roads, rock clubs, parking structures, museums, etc.) maybe even concerts for nobody listening……..
longer time frames not working, playing solid sets and finding that each gig is shorter - must simplify and get to the heart of the matter.
 
 

 

 

 (2002) kit shifting, after the sunrise highway gig start using less, smaller drums and cymbals, 16" bass drum, 14" red sparkle gretsch floor tom, snare drum, junior conga and small (homemade) 6" PVC tom
more mounting- low temple block, woodblock, reco reco, lens drum, etc.
2 smaller cymbals and hi hat, desperately staying away from ride cymbals
almost all shorter sounds, short decay and sharp attack seem to be giving more options for development, lots of work on combining/overlapping sounds - often creating very dense continuous areas
transitions a major question - how long on each section? rate of development? (blurring the lines) does each piece need multiple sections? can the piece have multiple layers of sections? do they line up or overlap?
more junk drums, snare with beads in it, heater grate, garbage can lids, etc.
more focus, finding less interest in the box, forcing myself to not take it to gigs
finding that i'm using the sampler less, some use of drum machine, using the motors on the frame more
start building frame #2 - bigger, bicycle wheels, bass strings (buhlert), big springs, etc.
Born On Tuesday (CMCD SA-081) - first documentation of solo work -
interested in different grains of sound (lofi to hifi), extended miking techniques, pushing everything i've done a bit further
- also, overdubbing, different drums, drum machine, tape, different setups, some electro/acoustic, some one or the other
end up with enough for solo CD and frame EP (Aegis I, C&PMCD005) - a summer of good work
starting to feel more comfortable in the studio, believing in what i'm hearing
finish 12 steps behind schedule, nice CD release concert w/ Las Cajas del Ritmo (thank you jason), debut frame #2
 
 

 

 (2003) redo frame - more motors, cymbals, pipe wrap
more gigs - first solo gig in los angeles (line space line) and solo tour up west coast
play with garth powell, phillip greenlief, dave knott, steve barsotti
better sets, changing thoughts on development, trying for longer development
of smaller ideas, better transitions from thought to thought/overlapping thoughts
more focus on line, following things thru
extension of short sounds - muffling kit with tea towels (thanks garth), etc.
toilet brushes, egg beaters and other new mallets, motors/vibrating machines for more continuous sounds
starting to combine various extended techniques to create new timbres
most of summer and fall spent on Skeleton Key Orchestra recording -
how to place your voice within an enormous group
using lots of Born On Tuesday recording and production ideas for SKO
moving beyond earlier thoughts on changing fidelities to changing environments, multiple applications of the same idea
coming to terms with reverb, finding that each moment (piece) requires its own unique aesthetic
first solo concert with dance - great - on the beach, frame 1 + 2, two pignoses
Tidings with HeadOnOff - thanks Jessica and Alicia
getting into feedback via the pignose amplifier
duets with Curtis Glatter, Andy Burton, Marcos Fernandes
 

(2004) lots of work with Skeleton Key Percussion Ensemble and duets with Moe! Staiano, Don Nichols
solo//3 - three consecutive nights of three solo improvisers - inspired by Lytton, as a means to play solo several nights in a row - vibraphone, amplified junk kit and acoustic kit
first solo vibraphone gig - as a way of working on thoughts of line, shape and more development of ideas, am hoping to present more solo mallet concerts
bowed drumheads + cardboard
starting to prepare/modify cymbals + drumheads - cutting/bending into different shapes, attaching strings, springs and other devices
buhlert told me (when bowing) to start working on the fundamental + undertones as opposed to the high overtones i'm normally working with
spent a day with Maryanne, so many inspirations, thoughts on (multiple) environments, changing rooms, amplification and low end
is the destruction of an instrument a viable technique?
why am i still playing a (semi) traditional kit?
does the drumkit offer the most possibilities for this music?
i think so
Glatter/Hubbard Percussion Duo CD offering lots of exchanging interests from solo work - overdubbing, analog and digital processing, extended techniques to create new timbres, sampler as recomposition tool, the studio as an instrument, use of homemade instruments, etc.
great solo tour in the fall - Bakersfield, Portland, Eugene, Weed, Davis, San Diego -i forgot my toothbrush
didn't take my sampler on tour, but i did finally got the compression pedal buhlert told me to buy
- electronics getting more comfortable, seems like i'm really playing them instead of it just being an addition to the sound source
feedback a major preoccupation - mostly thru a pignose, small mics in vases, small resonant objects and/or frame
(have been for a long time) disenchanted with PA systems, i always loose myself - prefer a small amp behind me. Using the pignose for almost everything - it fits in my electronics suitcase for tours.
build harpophone, other new instruments
finding more interest in larger drums, lower tunings, experimenting with radical tunings and different heads
 

(2005) a strange year that flew by with a blink of an eye. i didn't perform many solo concerts this year. but i spent an enormous amount of time dealing with form, flow, layers, line, pivits and such - in two different aspects - 1. Something Strange Is Afoot (a vibraphone/bass/drum trio) and 2. finally finishing my CD (compositions 1998-2005), a four year process. couple that with a million different improv gigs and a lot of writing and you get an idea where my head has been.
On the physical side of things, it seems to be getting easier to let the room make decisions on my touch/technique and the music performed in a room. I've been buying far too many drums and things, obsessions with the "perfect" possibility for every situation continue to be fed. My hands and feet continue to function per usual, mostly getting along with occasional arguments.
Starting to use the mixing board less, the volume pedal has become a major staple of the setup. Finally bought a Sovtek Big Muff.
The start (but not the end) of a new solo CD - Blind Orchid. Slowly recorded at Termite Studios starting in April of 2005, this recording has split into two different projects - the first, a solo CD (blind orchid) and (of course), the second, a companion EP entitled Aegis II involving two large scale works for field recordings and processing.
 
 
(2006) work continues on Blind Orchid - this is taking forever.
I've been buying new gear - a Kaoss Pad, a Glitch Computer pedal, a POG pedal, some other stuff.
recording, recording - using every possibility of one room, and as a change from Born On Tuesday, i'm using a different setup (drums and mics) for each piece.
The pieces are varied, some use of overdubbing, processed pieces, an extended piece for tape and percussion, pieces for samples, etc.
extended use of voice - text, sound, etc.
a bit too much use of piano resonance, but i like it.
Getting in to the possibilities of a no input mixer (thanks Kris) and more use of radio in general.
I've started carrying a pedal table for the first time - i've doubled my pedal collection in the last several months.
Dresser and Dessen told me to get rid of the Pignose, they hate it.
 
 
architecture
- what is a room? - a resonant body
- what is a drum? - a resonant body
geometry
- point : line : plane
painting
- color : depth (perception) : shape
theatre
- setting : timing : flow

line 1 - thru each turn and development - following its course - multiples of line = harmony - multiple statements of the same thing/concurrent statements/disagreements on large and small levels. stepping back, modification of rate of change - how fast/how slow - if needed/wanted - multiple levels allowing layers (by panning/EQ(room)/volume) -

line 2 - plot (character development) - statement of purpose - non-sequitive statements - daydream - falling off topic - repetition to prove point/give chance for reflection/allow for segue - (repetition - denial of development? or different look at development?). (again) stepping back, out of order, tell a story, with a map or not -

color 1 - multiple looks at a single issue - giving background/placement in history/age - room - miking - surface - reflection - post - (multiples of each) - color wheel = western pitch - reading between the lines - saturation (dry vs. wet) - etc -

 
 

 

 (2007) finally finished Blind Orchid. i think this is the longest i've ever spent on one project, over two years from first recording to finished CD.
have been getting fed up with my setup, building new instruments, scaling everything down. If i could fit everything into two cases life would be good.
More single headed drums for easier stacking and packing (i built a new 16" floor tom).
I finally figured out how to stack four cymbals on one stand using hihat rods and clutches, at this point i have three cymbal stands plus hihat and am using eight cymbals plus hihat.
Trying out new amps, i hate them all.
Finally finished the snareframe, which is a smaller, more compact version of frame 1 for ease of travelling. I've also added pickups to a few of the drums in the setup for processing possibilities.
 
  (2008) A new frame, the squareframe, designed for travel, also have been redesigning frame 2 and working on several new things.
New amp, a small Crate tube amp that sounds good, i'm still getting used to it.
I've started to cut, lathe and hammer my own cymbals - i've started with aluminum.
Solo tour in the spring up the west coast, slightly new setup, a couple new pedals, a thundersheet. Got to play with lots of great people - Noah Phillips, Ted Killian, Paul Kikuchi, Bill Horist, Lee Elderton, Ward Baxter, Tim DuRoche and Scott Rosenberg.
Paul Kikuchi gave me lots of new ideas for instruments, and i met Gregg Keplinger, who showed me how far i have to go with cymbal making.
Have been playing a bit of laptop in ensemble situations and working it into the solo music.
 

(2009) Yes - my first time playing the Open Gate Series in Los Angeles solo. This year also saw the debut of the Three Concerts for the Winter Solstice, where i played solo at sunrise on a rock outcroping in the mountains south of Julian CA.
Release of Aegis II and Drive (for JS), two electronic/field recording based solo recordings.
New amp - Fender princeton chorus.
Got a play a great duo gig with Frank Rosaly.
We lost both Max Neuhaus and Maryanne Amacher.

 

 
 
  (2010) A strange year with only a few solo concerts. Lots of work re-doing drums, stripping finishes, etc.
The debut (and possibly only) performance by The Lost Balloon Company, a solo outing playing "autonomous music for windharps, windchimes and kits whistles", and also involving film and balloon messaging.
Building the Stringboard and the Aeol I, my first attempt at an amplified windharp.