白鶴飛翔時 / 12000英里 – 繁體中文譯文 T

從字母謎案（自A）專輯中免費下載曲目

白鶴飛翔時 / 12000英里

“非同凡響的自由創作作品集” Radio Indy
“如同‘Thermal Riders’一樣，Dixon的長笛配上零落的電子斷音、吉他，音調婉轉清冽，堪比范吉利斯（Vangelis）大師傑作，現在——神奇的銀翼殺手管弦樂曲” MuzikReviews.com

《12000英里》是drongomala和Boofa異想天開的產物。 2005年網上接觸之後，兩人立即決定一起完成一個項目，就這樣《12000英里》誕生了。
12000英里是Drongomala（英國曼徹斯特）到Boofa（新西蘭惠靈頓）的距離。 此外，發行時特約了國際知名的英國曼徹斯特笛手Iain Dixon。

《白鶴飛翔時》是三年間歷經寒暑幾易其稿之作。

Drongomala和Boofa於2005年在Myspace上偶然相遇。 其時，Drongomala已出４張專輯並組建了六個樂隊，已初步開拓出試驗音樂之路，而Boofa正披荊斬棘製作純樸但卻能激發感情的下拍電子音樂。 連鎖反應是自然的，他們決定共同趕制曲目，不久開花結果出了一張專輯。

為了讓示範檔的開頭“低重量”，兩人在網路上來來回回無數次交換看法，最後確定了全部修改內容。 曲目形成以後，接著就是音訊和MIDI檔的大小，最終兩人利用《Reason》和通用聲庫直至Ableton Live音序器和音訊。

“我們確實互相挑戰聲學極限，最終到達個人無法期冀的高點。通過實驗和做單獨無法奢望之事，總的聲音效果已趨極致。每次對話都是通過網路交換檔且是開放式的，材料完全揉碎從而使我們無法仰賴任何材料或者固執任何觀點”Boofa。

隨著檔交換週期漸長，兩人歷經分裂和兩次中斷合作，最終樂隊倖存下來。期間，兩人又發行了三張唱片，草創了一家T恤公司，拿下 了一個音樂學位，搬家４次，但是他們在這兩年裡彼此勉力“如影隨行”創制樣本唱片。 Boofa飛抵倫敦原籍探望朋友和家人，然後折往曼徹斯特，在此地Drongomala和Boofa僅用短短六天就將大約20多張樣本唱片搬上舞臺，屆時 於格拉斯頓伯裡音樂節第五天在曼徹斯特演員休息室裡由Drongomala演奏。

此次演出雖未經訓練但卻獲得好評，實際生活中的合作密切了原有關係。 Boofa離開英國之後，兩人開始錘煉材料製作專輯，但是最初計畫最多六個月完成的專輯最終卻拖延了兩年。

Drongomala特邀性格管樂演員Iain Dixon加入演奏長笛，進一步融合專輯去除支離破碎之感。 這是Drongomala與他灌制的第二張唱片，他曾對Iain說過：

“我如何評價都不為過——他是管樂大師。他既是馬克白又是一個頑童，經常只需優雅地點點頭就行雲流水般地彈奏起來。我說‘鶴在海灘上進攻小矮人’，喇叭／長笛／單簧管就應聲而起。真正的音樂家就像魔術師一樣。此外還有一件有趣的事，臨到他與我們灌錄唱片之時，Iain縮短了Van Morrison行程” Drongomala.

此後，D&B重新遠端加工原始材料——音樂融為一體，聲音得到淋漓盡致地發揮。 仙鶴正在起舞。

此專輯完全獨樹一幟。 某些曲目的衝擊力可比歌劇，定音鼓區域的聲音如同電纜鐵塔傾頹而下，而其它音域卻波瀾不驚。 此專輯已超過一加一等於二的簡單相加——魔力無法破除。

曲目
1. 字母謎案（自A）
2. 暖流騎士
3. 瀕危物種
4. 二賢慧心
5. V字隊形
6. 鶴與小矮人
7. 巨石滾落之前
8. 潛特
9. 鶴
10. 字母謎案（至Z）

誠心推薦

• （艾福克斯）/ Aphex Twin
• 加拿大滑板 / Boards of Canada
• 邁爾斯·大衛斯（Miles Davis）

• 流派
• 電子
• 智能舞曲（IDM）
• 鼓與貝斯
• 配樂

對鶴的瞭解會影響理解這些歌曲。

• 鶴群遷徙時常排成人字形一起飛行，因此領頭鳥之後的鳥群可無需拍打氣流節省體能。
• 據說，阿波羅曾數次變作野鶴巡訪塵世。
• 荷馬曾講過小人國的故事，每年春季在海神俄刻阿諾斯的岸邊，小矮人都要騎鶴征戰。
• 據說赫爾墨斯在觀察鶴及其身體形態之後，受到啟發創造了羅馬字母。
• 一群鶴睡覺時會指定一隻鶴爪握石塊站崗，因此如若睡著石塊會掉下來，這樣鶴群知道他們無法再受到保護了。

白鹤飞翔时 /12000英里 – 简体中文译文 S

从字母谜案（自A）专辑中免费下载曲目

白鹤飞翔时 /12000英里

“非同凡响的自由创作作品集” Radio Indy
“如同‘Thermal Riders’一样，Dixon的长笛配上零落的电子断音、吉他，音调婉转清冽，堪比范吉利斯（Vangelis）大师杰作，现在——神奇的银翼杀手管弦乐曲” MuzikReviews.com

《12000英里》是drongomala和Boofa异想天开的产物。 2005年网上接触之后，两人立即决定一起完成一个项目，就这样《12000英里》诞生了。
12000英里是Drongomala（英国曼彻斯特）到Boofa（新西兰惠灵顿）的距离。 此外，发行时特约了国际知名的英国曼彻斯特笛手Iain Dixon。

《白鹤飞翔时》是三年间历经寒暑几易其稿之作。

Drongomala和Boofa于2005年在Myspace上偶然相遇。 其时，Drongomala已出４张专辑并组建了六个乐队，已初步开拓出试验音乐之路，而Boofa正披荆斩棘制作纯朴但却能激发感情的下拍电子音乐。 连锁反应是自然的，他们决定共同赶制曲目，不久开花结果出了一张专辑。

为了让示范文件的开头“低重量”，两人在网络上来来回回无数次交换看法，最后确定了全部修改内容。 曲目形成以后，接着就是音频和MIDI文件的大小，最终两人利用《Reason》和通用声库直至Ableton Live音序器和音频。

“我们确实互相挑战声学极限，最终到达个人无法期冀的高点。通过实验和做单独无法奢望之事，总的声音效果已趋极致。每次对话都是通过网络交换文件且是开放式的，材料完全揉碎从而使我们无法仰赖任何材料或者固执任何观点”Boofa。

随着文件交换周期渐长，两人历经分裂和两次中断合作，最终乐队幸存下来。期间，两人又发行了三张唱片，草创了一家T恤公司，拿 下了一个音乐学位，搬家４次，但是他们在这两年里彼此勉力“如影随行”创制样本唱片。 Boofa飞抵伦敦原籍探望朋友和家人，然后折往曼彻斯特，在此地Drongomala和Boofa仅用短短六天就将大约20多张样本唱片搬上舞台，届时 于格拉斯顿伯里音乐节第五天在曼彻斯特演员休息室里由Drongomala演奏。

此次演出虽未经训练但却获得好评，实际生活中的合作密切了原有关系。 Boofa离开英国之后，两人开始锤炼材料制作专辑，但是最初计划最多六个月完成的专辑最终却拖延了两年。

Drongomala特邀性格管乐演员Iain Dixon加入演奏长笛，进一步融合专辑去除支离破碎之感。 这是Drongomala与他灌制的第二张唱片，他曾对Iain说过：

“我如何评价都不为过——他是管乐大师。他既是麦克白又是一个顽童，经常只需优雅地点点头就行云流水般地弹奏起来。我说‘鹤在海滩上进攻小矮人’，喇叭／长笛／单簧管就应声而起。真正的音乐家就像魔术师一样。此外还有一件有趣的事，临到他与我们灌录唱片之时，Iain缩短了Van Morrison行程” Drongomala.

此后，D&B重新远程加工原始材料——音乐融为一体，声音得到淋漓尽致地发挥。 仙鹤正在起舞。

此专辑完全独树一帜。 某些曲目的冲击力可比歌剧，定音鼓区域的声音如同电缆铁塔倾颓而下，而其它音域却波澜不惊。 此专辑已超过一加一等于二的简单相加——魔力无法破除。

曲目
1. 字母谜案（自A）
2. 暖流骑士
3. 濒危物种
4. 二贤慧心
5. V字队形
6. 鹤与小矮人
7. 巨石滚落之前
8. 潜特
9. 鹤

10. 字母谜案（至Z）

诚心推荐

• Aphex Twin（艾福克斯）
• Boards of Canada
• 迈尔斯·戴维斯（Miles Davis）

• 流派
  1. 电子
  2. 智能舞曲（IDM）
  3. 鼓与贝斯
  4. 配乐

对鹤的了解会影响理解这些歌曲。

• 鹤群迁徙时常排成人字形一起飞行，因此领头鸟之后的鸟群可无需拍打气流节省体能。
• 据说，阿波罗曾数次变作野鹤巡访尘世。
• 荷马曾讲过小人国的故事，每年春季在海神俄刻阿诺斯的岸边，小矮人都要骑鹤征战。
• 据说赫尔墨斯在观察鹤及其身体形态之后，受到启发创造了罗马字母。
• 一群鹤睡觉时会指定一只鹤爪握石块站岗，因此如若睡着石块会掉下来，这样鹤群知道他们无法再受到保护了。

Round 2 – Buenas Almas

Round 2 of pre-production for the record Almas Buenas (Good Souls) begins this week. All songs have been demo´d with new arrangements and given to the musicians. Jorge Soldera is the producer and co-arranger for this record and I couldn´t have been luckier in choosing him to mentor me through the project and music scene here. Jorge has extensive experience in most forms of Latin music and has worked with some of the big names in Argentina. Importantly, he has a big heart and great ear not to mention his list of contacts which he used to put together a great bunch of musicians which we will begin rehearsing with today. The record will be recorded live which makes the project more difficult but I hope it will give it the edge of drama I am looking for. We record on the 17th-20th of this month. Jorge is also coaching me on my singing in Spanish and his patience is the kind that people attribute to Saints. His lovely wife and family also look after me and feed me as I am never out of their place.

The artwork for Almas Buenas will be done by the rising comics star Sergio Martín Carrera who is most known for his graphic novel The Eternal City which is set in Buenos Aires. It is available on iTunes/Android and will soon be put out in a compendium print in Spanish. It is a story of a reluctant agent of Death who escorts expired Porteños (Buenos Aires folks) to the afterlife. For me Eternal City is a love story to Buenos Aires by Sergio and throws light on not only the characters of the grand city but provides the city with a face too showing the different districts, landmarks and buildings. I went out for drinks with him and his friends the other night and it was great fun and before I knew it I found myself p*ssed at 6am staggering into a cab in San Telmo. They were a smart bunch and gave me great insights and anecdotes about life in the city. The lead character in The Eternal City was based on one of Sergio´s friends who was also out drinking with us and it was odd to have a sense of accelearted familiarity with him as he talked, stood or sat in positions echoing the scenes in the novel – almost like meeting Peter Parker or Wolverine.

My boxing continues and after some rounds of anti-inflammatories my back has settled down meaning I can get through the sessions without agony in the last hour. I will miss the club when I go. Sparring exercises with people who don´t speak English always have the extra element of danger and I can see the look in their eyes saying ´Does he know what we are meant to do and is there is going to be an accident?´.

My house-disco song (When You Go You Take The) Garden With You will be complete by the end of this week and I am really happy with it. All final mixes for Garden With You have been done. There are two main mixes and two remixes. Track listing is :

1. Main Mix by UK´s Glen Nicholls who has worked with Prodigy, Bee Gees, Depeche Mode and a host of others.
2. Alternate Mix by Arimaka aka Manuel Jiminez from Los Angeles who has worked with the likes of Madonna.
3. Dub Mix by Emiliano Gomez from Argentina at the DubSalon – a rising star of dub.
4. Sleeping on the Couch Mix by Boofa. A dark electro mix by this NZ multi-media artist who is the other half of the 12000 Miles album.

The artwork is also underway which promises to be something special and hopefully a little risqué .

http://www.youtube.com/v/UnHYumtz6o0&hl=en_US&fs=1&rel=0&border=1
One singer that Jorge has inroduced me to is the legendary Argentinian singer Mercedes Sosa. Unfortunately she died last year but left a massive legacy behind. Some say that if the soil of Latin America could sing that it would have her voice and I tend to believe it. Her last album was a series of duets with some of the most famous musicians in Latin America and the record was called Cantora (a double album also featuring a documentary). The position she holds in Argentina is a little like the position that Nusrat Fateh Ali Khan holds in Pakistan which is of a statesman that helped give the country a musical, philosophical and cultural cornerstone. She was much feared by the repressive government in Argentina and many times had to flee for her life. I reccomend you check her out.

As the White Crane Flies

12000 miles’ debut album As the White Crane Flies is out now. You can buy it from the Flying Mountain shop for now – it will be on iTunes and other places soon.

12000 miles is the silicone egg brainchild of Boofa and myself. After meeting online in 2005 we decided to work on a project together and 12000 miles was born.

12000 miles is the distance between drongomala (Manchester, UK) and Boofa (Wellington, Aotearoa).

AS THE WHITE CRANE FLIES is three years of bouncing files through cyberspace, winters and summers.

12000 Miles have played ‘in analogue’ once in Manchester in 2007. Also guesting is the stellar flutist Iain Dixon of Manchester.

The Story…
Drongomala and Boofa met by chance on myspace in 2005 – they stumbled on each other’s music and dug what they heard. Drongomala was already 4 albums and six bands into his experimental musical path and Boofa was just finding his footing making simple yet provocative down beat electro. There was a natural alchemical connection that both D and B felt, they decided to work on a track together which soon turned into an idea for an album.

Keeping the demo files ‘low weight’ in the beginning allowed the pair to bounce whole suites of changes back and forth across the net. As the tracks developed then so did the size of the audio and midi files and eventually the pair moved from using Reason and a common-soundbank to Ableton Live and audio.

“We really challenged each other sonically and ended up with something that we could never have made alone. The overall sound is something that we came to by experimenting and doing things that we weren’t doing on our solo stuff. By exchanging files over the net, each session was open to the other completely ripping the material apart, so in a Buddhist styley we couldn’t become to attached to any material or ideas, just two takes each of sonic experimentation” Boofa.

The file exchange cycle became longer and the pair survived a band splitting up, 2 breakins, released three other records between them, started a t-shirt company and a degree in music, moved house 4 times and much else but they still managed to ‘tag’ one another over the two years with the developing demos. Boofa flew to his home town of London to see friends and family and made the trip up to Manchester where Drongomala and Boofa spent 6 short days working their 20 or so demos into a manageable live set for the 5th day in Manchester at the alternative Glastonbury event put on in Manchester’s Green room.

The set was raw and well received and the real life collaboration cemented the original connection that the pair made. After Boofa left the UK back to Wellington NZ the guys got to honing the material for an album, but what started off as an idea of 6 months max for a finished album turned into two years.

Drongomala got the auteur wind player Iain Dixon to come in and play flute over the material to cement the feeling of air and wings in the album. This was the second record that Drongomala has done with him and he says of Iain:

“I can’t rate him highly enough – he’s a master wind player. He is Macbeth and Puck in the same breath and regularly only needs to gentlest of nods to click into constant motion. I say ‘Cranes attacking Pygmies on the beach’ and that’s what comes out of the horn/flute/clarinet. A proper conjurer like a musician should be. Iain also turned down a Van Morrison tour just before he recorded with us which is a fun detail” Drongomala.

D & B then reworked the original material remotely – the music melted together and produced an expansive sonic landscape. The crane mojo was at work.

The album is quite different to anything that’s out there at the moment. It’s dynamics are almost operatic with some tracks sounding like a dropped pylon cable in a timpani section while others are gentle and conciliatory. As an album it is more than the sum of it’s parts – the spell doesn’t seem to break.

Don’t take our word for it – listen now !

As The White Crane Flies by 12000 Miles

Online Music Collaborations (Part 2)

I’m coming to the end of a musical collaboration with my initially online and now real-life friend Boofa (from Wellington, New Zealand).

We began our collaboration ‘12000 Miles as the White Crane Flys’ in 2005 and met via MySpace and it’s only now that this record is finally at the stage where the last mix is being done – three years later!

In between I’ve finished three other records and it’s now time to write the Part 2 of the blog on online music collaborations (see part 1 here)

Boofa and I have learned alot during the collaboration and I thought I’d share a little bit of it with you.

It seems that the collaboration we did had a few distinct phases to it :

1. Flurry of ideas : this was the beginning phase where we threw lots of files back and forth. This is easily the most ‘fun’ section and it’s exciting to get regular musical deliveries in your inbox. We were careful not to use any proprietary software so that what we heard was the same. We used the out of the box Ableton Live software with no 3rd party plugins…just what came with the software.

2. Flesh on lots of bones : We had around 15 tracks in a very basic state and this phase was to put some more work into them. The way we approached it was to take half the tracks each and spend more time trying to develop the ideas.

3. Switch: We swapped the tracks with each other and did a little more each.

4. Agree on the tracks to jettison: we both produced a top 10 list. We only had one or two disagreements but were easily solved.

5. Hook up : Boofa came over to the UK and he stayed at my place. He arrived with a big beard and a massive neon suitcase. It was great to meet up. My band was playing and we used it as an excuse to test some of the 12000 material on a live audience. We hooked up some midi controllers and practiced performing the tracks as they were. We only had a day to prep and then perform in the night.

6. Taking the candidates to the next level : over the lifetime of the recording we discussed the concept we were looking to hang the album on – it was something to help us understand what we were doing. We came up with the idea of Cranes and both liked the metaphor of our files thrown back and forth being like some sort of migratory birds flocking between Manchester and Wellington. I had been working with Iain Dixon the legendary flute player from Manchester and it struck me that nothing would communicate birds wings on the air better than a flute. I popped round to Ians with a laptop and recorded him playing to what we had. His single takes for each track added a super useful navigational tool to lead us to the final arrangement. I did a bunch of editing and once I was demented with the sound of flute I threw the tracks over to Boofa. At this stage file sizes were beginning to swell so DVD’s were used to send data.

7. Some crackhead broke into my place and nicked my laptops. This was a setback and Boofa worked on the tracks adding calm and coherence. I moved house/town a few times in between before settling and getting more recording gear.

8. The final furlong : Mix time. By far this was the most difficult phase of the project and I think this is where Boofa and me had the most disagreements. In retrospect this is understandable as mixing is often a matter of taste and the final ‘render’ of the tracks is something that we both had a vision on. This is the one part of the process that I think would have been better sitting next to one another – we got there but not without some blood on the tracks.

But all the time and pain dissipated – we both feel it sounds great. It was worth the 100 transfers, the fights and the frustration. It’ll be available in April 😉

In Summary..

• Don’t be too precious – whole tracks, complete mixes, great performances are all subject to your partners opinion. Keep your eye on the prize and let some bits you care about hit the cutting floor.
• Credit the collaboration equally – writing and arranging and mixing. Even if one of you did more than the other for a track or the whole thing breaking it down into who did bit ‘x’ will only lead to bad blood.
• Have patience. Life gets in the way when you are working on a big project that is online. If you are trying to make something that is timeless then it doesn’t ultimately matter how long it takes….if you are trying to make something that is ‘now’ then perhaps online isn’t the best approach for a big project
• Don’t use the tracks you are working on for some other reason without consulting your collaborator

Tools Used
Here is a list of tools we used for our online music collaboration. I’ve listed them in the order that we used them….

• Ableton DAW software – this was he workhorse of our tracks. Can’t recommend highly enough. I notice that now we are finished Ableton have announced new collaboration features. Three years too late for the benefit of this project though.
• www.yousendit.com – this is a great free service that allows you to exchange large files
• www.skype.com -when it’s all getting to be a bit too impersonal it’s nice to do a video call and shoot the breeze. Keep it human.
• Google Documents – we used this for track notes and developing the text for the album cover. Google docs is a great service – don’t be fooled by the tag ‘Beta’ as it’s been in use for years
• www.soundcloud.com – This is a great tool and worth even a basic subscription. This online service allows you to upload tracks and exchange mixes with one another. The best feature is that you can see the waveform of the track and click anywhere to make a timed comment. This allows for simple exact commenting such as “that cymbal sounds wack”