Dearly Beloved

It’s been a little over two weeks since the release of When We Were Vampires, and the response has been amazing. It may have taken me 147 tries, but I finally achieved the coveted “more…” link below the supporter list on my Bandcamp page for the album. I also got a pretty killer review from a listener:

The album has done really well on GetMusic, so well that I had to add more codes today. If you’ve been slacking and haven’t got a copy of the album yet, you can get it for free by clicking on the button or link below.

Get the album

Of course, if you really would like to give me money, you can also…

Buy the Album

I was pleasantly surprised when Neuguitars shared the album on their newsletter, which is where I get most of my news on the avant-garde and experimental guitar scene. Check it out here:

Neuguitars’s Substack

Records: When We Were Vampires by Qid Love

This album is a collapsing of time and a processing of grief, despair, and anger. It's about sanctuary and fear, power and betrayal, longing and belonging, living to see tomorrow, dying alone, and laughing nervously at the absurdity of life…

Read more

a year ago · 1 like · Neuguitars

I’m also happy to share that my track “The Garlic Incident” from the album was included today as part of Audio Interface’s Disturbing Dreams podcast. You can check that out on Mixcloud or get the full details on the Audio Interface website. Thanks to Pete Xylander for including my track in this great selection of dark music.

Today’s Track

I recorded Blood Philosopher during today’s morning ritual. It has a similar vibe to the Vampires album, although I’m playing with a few new apps. The track is based on xenome 820, which is the start of a new group of scales in this series. Listen if you dare, and let me know what you think.

Leave a comment

Elsewhere in Book News

Although it’s been in the wild for a bit, I’m happy to announce that The Book of Xenomes has been officially released on Metalabel. You should probably read it.

Show me the xenomes

Thanks, as always, for your support!

How to Listen to My Music

My music specifically is meant for deep listening with headphones. This is an approach to experiencing music that is mindful and centers the music listening experience as the thing you are doing, versus passive listening, which is how we generally experience music. Like with meditation, clear you mind and focus on the music as it happens, paying attention to the distinct elements that come and go. Allow yourself to focus on different parts of the mix: the guitar, the background sounds, the little glitchy sounds that move around. Consider how the music makes you feel in your body, and give awareness to the thoughts or memories that come up.

When We Were Vampires

This is my latest album, released November 12th! This album will only be available until the next one comes along, so get it while you can!

Buy the Album

The Book of Xenomes

It’s been a long time coming, but the Book of Xenomes has finally been released, with a surprise foreword by composer and music theory guru Ian Ring. Here’s an excerpt:

Qid Love eschews random colonization of the pitch universe, and has instead developed a system of naming that encodes each scale’s structure in a meaningful form. Each musical scale is represented as a compact notation – a “xenome” – that functions like an acronym for the scale’s identity. Xenomes allow musicians to recognize and work with pitch-class sets intuitively, without needing to engage with the deeper mathematical calculations typically associated with set theory. The approach empowers musicians to bring the insights of xenomes directly into their practice, in a format that feels accessible and memorably simple. Notably, thinking of pitch-class sets as xenomes illuminates certain symmetries that will spice up your scalar vocabulary.

There is no expectation that the reader will already know set theory, hexadecimal notation, binary or modulo arithmetic. Qid explains each concept so clearly that both seasoned theorists and beginners alike will find the system intuitive and engaging.

Whether you’re hoping to deepen your grasp of musical set theory or are simply curious about an innovative approach to scale identification, this book offers a refreshing take. Qid Love bridges the gap between the highly theoretical world of pitch class set naming and the everyday reality of making music. A gift to musicians and theorists alike: a practical, accessible way to explore one of music’s more enigmatic subjects. - Ian Ring

I’m also thrilled that xenomes have been added to the scale reference pages on Mr. Ring’s “The Exciting Universe Of Music Theory” website, right above Forte numbers. This is a huge moment of validation for me, and I’m extremely grateful to Ian for taking the time to read my book, write a foreword, and integrate my system into the most comprehensive scale reference on the internet.

Buy the Book!

Let’s Talk About You

I’m accepting new coaching clients. If you want to work on your art or your life, I’m happy to spend some time chatting about your goals and dreams.

Tell me more!

Dearly Beloved

I released my new album today with an in-person listening party last night and a virtual Bandcamp listening party this morning. Thanks to everyone who took the time to hang out with me and celebrate this moment.

This album means a lot to me, as it represents both the current state of this moment we’re living in and also a remembering of some important parts of my past that still cling to me. This is a processing, a letting go, a reconnecting, and a moving forward into the unknown.

As I’ve promised/warned over the past few weeks, all of my back catalog has been locked away in the vault. Going forward, releases (like this one) will only be available for streaming and purchase until the next one comes out, so get it while you can.

It’s fitting that this album must now wholly represent who I am as an artist to the world, because it is very much where I am right now in this moment. This whole exercise of focusing on a single work at a time illuminates the importance of being present, of seizing the moment that is here, right now, but will be forever gone in the blink of an eye.

When you buy my albums on Bandcamp, they stay available in your collection for you to listen to or download as desired, even after they are moved to the vault. If you’re not familiar with Bandcamp, there is a mobile app that lets you play music from your collection just like Spotify, with the added benefit that independent artists actually get paid on Bandcamp. You can also listen in your browser, of course, or download high quality files in the format of your choice.

It’s really nice for me to look back at past releases and see the little icons of all the folks who supported an album. Please take some time to listen to my new album if you can, and consider buying it if it speaks to you in some way. Drop me a comment or email to let me know what you think.

The Track

Woke Up Dead is the final track on the album, based on xenome 81F. I pulled out my E-Bow for this one for extra dramatic effect. Most of the tracks on this album make heavy use of Baby Audio’s Atoms synth, which was just released on iPad last week. AudioThing’s new FrostBite 2 effect app is present on the guitar for most of the tracks as well.

How to Listen to My Music

I think I’ll start including this little bit of instruction, because I realize folks who spend most of their time listening to 3 minute pop songs don’t necessarily have a clear context for experiencing this type of work. Elayne, the amazing documentary filmmaker who’s following me around with a camera these days, made a comment last night at the listening party that reminded me that many folks never really encounter this type of music and may not know how to engage with it.

One way to think about my music is as a soundtrack to a movie. This album specifically could very well be the soundtrack to a horror movie. Soundtrack music is meant to evoke and sustain a feeling or vibe to complement what’s going on visually. Without the visual part, soundtrack music can sort of make you feel like you’re existing in the same world as the movie. So one way to experience this music is to allow it to be a soundtrack to whatever you’re doing in your life as you listen to it.

My music specifically is meant for deep listening with headphones. This is an approach to experiencing music that is mindful and centers the music listening experience as the thing you are doing, versus passive listening, which is how we generally experience music. Like with meditation, clear you mind and focus on the music as it happens, paying attention to the distinct elements that come and go. Allow yourself to focus on different parts of the mix: the guitar, the background sounds, the little glitchy sounds that move around. Consider how the music makes you feel in your body, and give awareness to the thoughts or memories that come up.

Let me know if you have questions, or thoughts about how you like to listen to music.

Leave a comment

Album Release: When We Were Vampires

This is my latest album, released today! This album will only be available until the next one comes along, so get it while you can!

Buy the Album

The Book of Xenomes

It’s been a long time coming, but the Book of Xenomes has finally been released, with a surprise foreword by composer and music theory guru Ian Ring. Here’s an excerpt:

Qid Love eschews random colonization of the pitch universe, and has instead developed a system of naming that encodes each scale’s structure in a meaningful form. Each musical scale is represented as a compact notation – a “xenome” – that functions like an acronym for the scale’s identity. Xenomes allow musicians to recognize and work with pitch-class sets intuitively, without needing to engage with the deeper mathematical calculations typically associated with set theory. The approach empowers musicians to bring the insights of xenomes directly into their practice, in a format that feels accessible and memorably simple. Notably, thinking of pitch-class sets as xenomes illuminates certain symmetries that will spice up your scalar vocabulary.

There is no expectation that the reader will already know set theory, hexadecimal notation, binary or modulo arithmetic. Qid explains each concept so clearly that both seasoned theorists and beginners alike will find the system intuitive and engaging.

Whether you’re hoping to deepen your grasp of musical set theory or are simply curious about an innovative approach to scale identification, this book offers a refreshing take. Qid Love bridges the gap between the highly theoretical world of pitch class set naming and the everyday reality of making music. A gift to musicians and theorists alike: a practical, accessible way to explore one of music’s more enigmatic subjects. - Ian Ring

I’m also thrilled that xenomes have been added to the scale reference pages on Mr. Ring’s “The Exciting Universe Of Music Theory” website, right above Forte numbers. This is a huge moment of validation for me, and I’m extremely grateful to Ian for taking the time to read my book, write a foreword, and integrate my system into the most comprehensive scale reference on the internet.

Buy the Book!

Dearly Beloved

I took the day off of work Monday because I didn’t get much sleep. I had cooked some yummy food involving garlic cloves Sunday night, and one of our mini Aussies ended up with one of them and was pretty violently ill. She’s ok, but that was the catalyst for my last post, The Garlic Incident, and the associated track.

Wednesday I took the day off work again, but this time it was a mental health day. I don’t think I need to tell you why I needed that.

Today I was supposed to drive out to see a dear friend, but ultimately decided it was too risky. It’s the first weekend after the election, and a long weekend at that, so there will be plenty of lifted pickup truck owners tying one on and celebrating their manliness in the vicinity of my proposed destination. As a trans person who doesn’t pass in either direction, the risk of traveling too far outside my sanctuary just doesn’t seem worth it. The world got a lot smaller today.

What I did instead was stay home locked in my little bedroom studio and recorded an album’s worth of material. It’s dark and moody, but I like it a lot, and I hope you will too. The album is called When We Were Vampires, and here’s the album description:

This album is a collapsing of time and a processing of grief, despair, and anger. It's about sanctuary and fear, power and betrayal, longing and belonging, living to see tomorrow, dying alone, and laughing nervously at the absurdity of life.

The album will be on pre-order until November 12th. If you purchase it before then, you’ll get 3 tracks immediately and the rest on release day. I’m doing another virtual listening party that morning, right after the album launch, so come by and chat with me and listen to the album together.

I’ll do another post on Tuesday after the release party, so this is the last newsletter you’ll get from me before a lot of cool things happen. Keep reading and clicking buttons or you’ll miss it.

On a side note, please check on your trans, queer, and femme friends. We’re not OK.

Album Pre-Order: When We Were Vampires

Get 3 tracks for ordering early and the rest on release day!

Buy the Album

Listening Party

Experience the full album with me and other listeners as soon as it releases. I will be talking about the album and answering your questions via text chat.

RSVP Now!

The Book of Xenomes

It’s been a long time coming, but the Book of Xenomes has finally been released, with a surprise foreword by composer and music theory guru Ian Ring. Here’s an excerpt:

Qid Love eschews random colonization of the pitch universe, and has instead developed a system of naming that encodes each scale’s structure in a meaningful form. Each musical scale is represented as a compact notation – a “xenome” – that functions like an acronym for the scale’s identity. Xenomes allow musicians to recognize and work with pitch-class sets intuitively, without needing to engage with the deeper mathematical calculations typically associated with set theory. The approach empowers musicians to bring the insights of xenomes directly into their practice, in a format that feels accessible and memorably simple. Notably, thinking of pitch-class sets as xenomes illuminates certain symmetries that will spice up your scalar vocabulary.

There is no expectation that the reader will already know set theory, hexadecimal notation, binary or modulo arithmetic. Qid explains each concept so clearly that both seasoned theorists and beginners alike will find the system intuitive and engaging.

Whether you’re hoping to deepen your grasp of musical set theory or are simply curious about an innovative approach to scale identification, this book offers a refreshing take. Qid Love bridges the gap between the highly theoretical world of pitch class set naming and the everyday reality of making music. A gift to musicians and theorists alike: a practical, accessible way to explore one of music’s more enigmatic subjects. - Ian Ring

I’m also thrilled that xenomes have been added to the scale reference pages on Mr. Ring’s “The Exciting Universe Of Music Theory” website, right above Forte numbers. This is a huge moment of validation for me, and I’m extremely grateful to Ian for taking the time to read my book, write a foreword, and integrate my system into the most comprehensive scale reference on the internet.

Buy the Book!

Un-Release Party

This is your last warning. On Monday 11/11, I will be hosting a small private ritual in Seattle for only the most willing victims. Seats are very limited.

Buy a ticket before it's too late

November 11th is Getting Close

After 11/11, all of my past Bandcamp releases are going into the Vault. If you want to purchase individual releases, take advantage of the current special price on my back catalog, or just stream for free like there’s no tomorrow, now’s the time.

Take a Good Last Look

It’s OK. She’s OK. No more whole garlic cloves in the pot roast.

Album Release: Walking to the Temple

So, I snuck out a new album on Bandcamp yesterday. A few folks were paying attention, so thanks to those who have already bought the album. It’s “name your price” until after the scheduled listening party on Thursday, so if you want to own it for free, now’s your chance. The price will go up to $5 Thursday afternoon and the album will only be available through 11/11.

Listening Party

As I mentioned above, I’ll be hosting a virtual listening party on Bandcamp on Thursday at 12:30 PST. Hang out and listen together and chat, ask me questions, or whatever. If you’ve never done one of these, it’s just synchronized listening with a text chat, but it’s a fun way to experience the music with the artist, in this case me. The album is around an hour and 15 minutes long.

RSVP

The Book of Xenomes

It’s been a long time coming, but the Book of Xenomes has finally been released, with a surprise foreword by composer and music theory guru Ian Ring. Here’s an excerpt:

Qid Love eschews random colonization of the pitch universe, and has instead developed a system of naming that encodes each scale’s structure in a meaningful form. Each musical scale is represented as a compact notation – a “xenome” – that functions like an acronym for the scale’s identity. Xenomes allow musicians to recognize and work with pitch-class sets intuitively, without needing to engage with the deeper mathematical calculations typically associated with set theory. The approach empowers musicians to bring the insights of xenomes directly into their practice, in a format that feels accessible and memorably simple. Notably, thinking of pitch-class sets as xenomes illuminates certain symmetries that will spice up your scalar vocabulary.

There is no expectation that the reader will already know set theory, hexadecimal notation, binary or modulo arithmetic. Qid explains each concept so clearly that both seasoned theorists and beginners alike will find the system intuitive and engaging.

Whether you’re hoping to deepen your grasp of musical set theory or are simply curious about an innovative approach to scale identification, this book offers a refreshing take. Qid Love bridges the gap between the highly theoretical world of pitch class set naming and the everyday reality of making music. A gift to musicians and theorists alike: a practical, accessible way to explore one of music’s more enigmatic subjects. - Ian Ring

I’m also thrilled that xenomes have been added to the scale reference pages on Mr. Ring’s “The Exciting Universe Of Music Theory” website, right above Forte numbers. This is a huge moment of validation for me, and I’m extremely grateful to Ian for taking the time to read my book, write a foreword, and integrate my system into the most comprehensive scale reference on the internet.

Buy the Book!

Un-Release Party

On Monday 11/11, I will be hosting a small private ritual in Seattle for only the most willing victims. Seats are very limited.

Buy a ticket before it's too late

November 11th is Getting Close

After 11/11, all of my past Bandcamp releases are going into the Vault. If you want to purchase individual releases, take advantage of the current special price on my back catalog, or just stream for free like there’s no tomorrow, now’s the time.

Take a Good Last Look

Crossing over
Leaving time and space
Releasing the illusion of being
Remembering I never existed
Only here
Only now

The Book of Xenomes

It’s been a long time coming, but the Book of Xenomes has finally been released, with a surprise foreword by composer and music theory guru Ian Ring. Here’s an excerpt:

Qid Love eschews random colonization of the pitch universe, and has instead developed a system of naming that encodes each scale’s structure in a meaningful form. Each musical scale is represented as a compact notation – a “xenome” – that functions like an acronym for the scale’s identity. Xenomes allow musicians to recognize and work with pitch-class sets intuitively, without needing to engage with the deeper mathematical calculations typically associated with set theory. The approach empowers musicians to bring the insights of xenomes directly into their practice, in a format that feels accessible and memorably simple. Notably, thinking of pitch-class sets as xenomes illuminates certain symmetries that will spice up your scalar vocabulary.

There is no expectation that the reader will already know set theory, hexadecimal notation, binary or modulo arithmetic. Qid explains each concept so clearly that both seasoned theorists and beginners alike will find the system intuitive and engaging.

Whether you’re hoping to deepen your grasp of musical set theory or are simply curious about an innovative approach to scale identification, this book offers a refreshing take. Qid Love bridges the gap between the highly theoretical world of pitch class set naming and the everyday reality of making music. A gift to musicians and theorists alike: a practical, accessible way to explore one of music’s more enigmatic subjects. - Ian Ring

I’m also thrilled that xenomes have been added to the scale reference pages on Mr. Ring’s “The Exciting Universe Of Music Theory” website, right above Forte numbers. This is a huge moment of validation for me, and I’m extremely grateful to Ian for taking the time to read my book, write a foreword, and integrate my system into the most comprehensive scale reference on the internet.

Buy the Book!

Un-Release Party

On Monday 11/11, I will be hosting a small private ritual in Seattle for only the most willing victims. Seats are very limited.

Buy a ticket before it's too late

Read the Fine Text

After 11/11, all of my past Bandcamp releases are going into the Vault. If you want to purchase individual releases, take advantage of the current special price on my back catalog, or just stream for free like there’s no tomorrow, now’s the time. (By the way, for those who read all the way to the bottom, there’s a special surprise waiting if you hit this button before the next post goes up tomorrow.)

Show me the secret!

Frail, fleshy mechanisms
Delicate, decaying shells
Imperfect, impermanent vessels...
Precious, priceless cargo

Faulty, fraying wires
Corroded, collapsing conduits
Cracking, crumbling, crying...
Splendid spiritual machines

Un-Release Party

On Monday 11/11, I will be hosting a small private ritual in Seattle for only the most willing victims. Seats are very limited.

Buy a ticket before it's too late

Going, going…

After 11/11, all of my past Bandcamp releases are going into the Vault. If you want to purchase individual releases, take advantage of the current special price on my back catalog, or just stream for free like there’s no tomorrow, now’s the time.

Buy some music before it's too late

I walk the space between worlds
Silently singing wordless melodies
An invocation to the Becoming

Lift the veil of flesh
Whisper me into being
Return me to my primordial home

Un-Release Party

On Monday 11/11, I will be hosting a small private ritual in Seattle for only the most willing victims. Seats are very limited.

Buy a ticket before it's too late

Going, going…

After 11/11, all of my past Bandcamp releases are going into the Vault. If you want to purchase individual releases, take advantage of the current special price on my back catalog, or just stream for free like there’s no tomorrow, now’s the time.

Buy some music before it's too late

One-on-One Coaching

I’ve launched my creativity and existential wellness coaching program and you can now book time with me to help envision a better life for yourself. Check out my coaching page for more info.

Work with me

Dear Diary

I’ve been thinking a lot lately about deconstructing things. has been rocking my art brain in ungentle ways for a couple of months now, most recently with a live Zoom call where they talked about releasing music, and today with a post about bio writing that once again led me to ponder deeply what the hell I’m doing with my life.

After some trial and error, here’s my new bio (for today anyway):

Seattle neuroqueer prophetex Qid Love (they/she) crafts deeply personal sonic sanctuaries at the intersection of spiritual practice and experimental music. Through a distinctive blend of guitar and electronics, they create meditative improvisations that question the very nature of music. Following the un-release of nearly 150 albums, Qid Love is deconstructing sociomusical norms through private sonic rituals and singular artifacts.

My previous official-ish bio was like 4 or 5 long paragraphs, and didn’t quite get to what this one does, so I see it as a win. Thanks, Cass. 💕

The bit I want to elaborate on here is a slight shift that’s been happening over the past few months from simply “questioning the very nature of music” to “deconstructing sociomusical norms.” I’ve gone beyond completely breaking music to deeply inspecting how I present and share music in the world. All of this pondering has led to my impending Un-Release party, wherein I will lock away all of my work in the ominous sounding Vault, beyond the reach of those who don’t lay claim to their digital copies in time. I’ve already removed everything from your favorite exploitative streaming platforms, which means really soon my back catalog gets utterly rarified.

The big question is what comes next. If you’re paying attention, you’re about to find out.

I’m getting locked away in Seattle’s Recreational Psychoacoustics Lab for the foreseeable future to commune with the spirits and work some musical magick with a focus on getting to the very core of musical purpose and experience. I have a manifesto, so it’s serious.

The Cryptid Soup Manifesto

Make art that can’t be digitized.

Make art that only we can make.

Make art that could only exist in this space, in this time.

Destroy the audience.

Don’t worry, no one will be harmed. The goal is to share immersive, participatory experiences that necessarily includes everyone present in the process. Going back to the bio though, these will be small, exclusive, private rituals resulting in singular artifacts which you may read about in future newsletters, but you’ll have to be there for a chance to own one.

I will continue to post these Xenome Diaries tracks here on Substack so that you have something to listen to while you read about the madness going on in my head, so keep watching your inbox.

On Letting Go

As I mentioned earlier, after 11/11, all of my past Bandcamp releases are going into the Vault. If you want to purchase individual releases, take advantage of the current special price on my back catalog, or just stream for free like there’s no tomorrow, now’s the time.

I’m hosting a private Un-Release Party on 11/11 in Seattle. Reach out to me if you’re around and want to attend.

What happens after that? Did you even read what I wrote above?!?

One-on-One Coaching

I’ve launched my creativity and existential wellness coaching program and you can now book time with me to help envision a better life for yourself. Check out my coaching page for more info.

I want to hear from you!

I’ve made a lot of changes lately and I want to hear what you think. Missing something or wanting more? Let me know. Leave a comment, or reply if you’re reading this as an email.

Is this thing on?

Leave a comment

I'm walking to the temple,
Following a map I saw in a dream,
Straining to hear a song in the distance,
And falling in love with myself.

Dear Diary

After we parted today, I found my way into a workshop where everyone was listening and breathing to music. I hid behind a veil, as many others did, but I could see the smile of the teacher as they knew (of course) what happens behind the veils.

I remembered my body, maybe discovering it for the first time. I felt myself dancing to the music… no, I felt her dancing. I felt her dancing in me. She and me, me and she. We are the same.

And I began falling deeply in love with myself.

I want to remember this forever. I want to live in it every moment. I want to share her fully with the world, or at least the ones that won’t try to smother her and kill her off.

That’s why I’m going to the temple. I’m not sure it’s real, but I want to believe. I have vague visions of a map, or maybe it’s a blueprint. I can’t be sure. But I want to get there more than anything, so I’ll keep walking.

One-on-One Coaching

I’ve launched my creativity and existential wellness coaching program and you can now book time with me to help envision a better life for yourself. Check out my coaching page for more info.

I want to hear from you!

I’ve made a lot of changes lately and I want to hear what you think. Missing something or wanting more? Let me know. Leave a comment, or reply if you’re reading this as an email.

Is this thing on?

Leave a comment

Dear Diary

Recorded on October 7th, this bluesy minimalist meditation is part pleading confessional and part acquiescence to the frustrating futility of striving. It’s the sound of one hand letting go.

On Letting Go

This is a reminder that after 11/11, all of my past Bandcamp releases are going into the Vault. If you want to purchase individual releases, take advantage of the current special price on my back catalog, or just stream for free like there’s no tomorrow, now’s the time.

I confirmed today that all of my music has been removed from Spotify, Apple Music, and other major streaming services. That means Bandcamp and Substack will be the only places to hear my music online for the foreseeable future. After 11/11, I plan to keep only my most recent release available on Bandcamp for non-subscribers. The cost to subscribe to the Vault is currently $725 per year, and will increase with each release.

I’m hosting a private Un-Release Party on 11/11 in Seattle. Reach out to me if you’re around and want to attend.

What happens after that? It’s a secret. Wait and see!

One-on-One Coaching

I’ve launched my creativity and existential wellness coaching program and you can now book time with me to help envision a better life for yourself. Check out my coaching page for more info.

I want to hear from you!

I’ve made a lot of changes lately and I want to hear what you think. Missing something or wanting more? Let me know. Leave a comment, or reply if you’re reading this as an email.

Is this thing on?

Leave a comment

Dear Diary

I’ve been pondering existential loneliness and belonging (or not) quite a bit recently. There’s a place that I go when I practice music that is persistent and vivid and lonely. Well, it feels lonely, but I am also keenly aware that I am not completely alone. And this spiritual practice of music is my way to get closer to the presence that I feel there.

If I can be honest for a moment, I think I share my music for three reasons. The first is that I want to connect with other musicians, especially those who are interested in experimental music, improvisation, electroacoustic music, avant-garde guitar, or making music on iPads. I love talking about this stuff, especially with folks who can turn me on to stuff I might not be aware of.

The second reason is that I’m an artist, and for me part of being an artist is putting your art out into the world. Putting these tracks up on Substack is like standing on the street corner and reciting poetry to whoever will listen. Posting my albums on Bandcamp is like hanging my paintings in a quaint little gallery that barely anyone ever visits except me, but it’s there if anyone does want to take a look. It also gives me a sense of history and a feeling of nostalgia to look at album artwork and listen to music I made 10 or 15 years ago.

The third reason is what this post is ultimately about: I share my music because I want someone else to experience this place I go, and I want to share with them the person I am when I go there. My loneliness stems mostly from the existential isolation that is the illusion of being separated from source and the interconnectedness of all things. I want someone to hold my hand and walk with me to the place where we can remember together that we’re never alone.

Put on your headphones, hit play, close your eyes, and dance with me.

Subscribe now

About the recording

This live meditation was recorded on October 4th. This track is notably minimal and intimate, starting almost tentatively with just the guitar before the backing drone and glitches slowly make themselves known. This is probably the most minimal drone, glitch, and noise guitar track I’ve recorded.

Xenome 811

811 is a 3-note xenome. In traditional western music theory terms this is “Major Seventh Omit 3”. According to Mr. Ring, it’s “BANian” in Justin Pecot’s Dozenal system, or Scale 2177.

Tools and stuff

Gear: Strandberg Boden NX 7, iPad Pro M2, Positive Grid Spark Mini

iPad Apps

Audio Damage: Other Desert Cities, Replicant 3

AudioThing: Noises, Speakers, Reels, Outer Space 2, Moon Echo, Wires, Fold

Kymatica: AUM, AudioShare, AU3FX:Space, AU3FX:Push

Igor Vasiliev: Stellarvox

Jam Origin: Midi Guitar 2

Fabfilter: Pro-Q 3

Arturia: iSEM

Moog: Animoog Z

AudioModern: Gatelab

Sugar Bytes: Cyclop

Arthur Kerns: midiLFOs

Leave a comment

She is everywhere but here
Everything untouchable
Every moment but now
The expansiveness of existence 
Just beyond perception

I miss her dearly

Dear Diary

There are recent shifts in reality, some of which I’d like to make you aware.

First, the name associated with this publication has changed from Love Letters to Music for Drowning. While the previous name was a fun play on my own name, I ultimately felt that it failed to accurately set expectations for the content being shared. The new title better captures the dark, immersive nature of my recordings. There is a brand new domain name for ease of remembering and navigation at musicfordrowning.com.

Second, as I prepare to enter into the sanctuary of a multi-year artist residency, it feels like the proper time to store away old things to make room for the new. I will be hosting a private Un-Release Party on 11/11/24, at which point all 145 of my previous releases (currently hosted on Bandcamp) will be stored away in the Vault. If you have purchased my digital albums there in the past, you will still have access via your Bandcamp Collection. If you will be in Seattle on 11/11 and would like to apply for a ticket to the Un-Release Party, please contact me privately.

If anyone wishes to help support my residency, you can subscribe to the Vault for the annual price of $725, which will immediately add my entire back catalog to your collection permanently, as well as giving you permanent access to any digital works published there throughout the year, and options to purchase other things made available only to Vault subscribers. Subscribers will also receive the gift of one unique artifact created specifically for you as a token of my eternal gratitude.

If you’d like to purchase any of my albums at their current price, or take advantage of the current discounted price for my full discography ($145), please do so before 11/11/24.

Finally (for now), I have removed the Qatalog section and entries from Music for Drowning, as the Bandcamp embeds would fail to function after everything is moved to the Vault. I have also put the content of Drone, Glitch, and Noise behind a paywall for my paid subscribers on Substack. (Folks who’ve been following my Substack for a while should have all of that content stashed away in your email somewhere, unless you deleted it… tsk tsk.) I will soon be releasing a new book for paid subscribers, so upgrade your subscription if you’d like access to those.

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About the recording

This live meditation was recorded on October 2nd. This is the first xenome in this new set of 16 (81x), so it understandably has a slightly different feel. The track opens with the hum of sacred machinery, soon joined by the un-bodied voices of digital cherubs. I spent a few minutes honoring ⊙ at the beginning, with the harmonic form starting to emerge about 3 minutes in. The track is peaceful and resolute, a pleasant start to this leg of the journey.

Xenome 810

810 is a 2-note xenome. In classical western harmony terms, this is the perfect fifth interval. Mr Ring tells us that this is the Japanese Niagari Diatonic scale, and dubs it Scale 129.

Tools and stuff

Gear: Strandberg Boden NX 7, iPad Pro M2, Positive Grid Spark Mini

iPad Apps

Audio Damage: Other Desert Cities, Replicant 3

AudioThing: Noises, Speakers, Reels, Outer Space 2, Moon Echo, Wires, Fold

Kymatica: AUM, AudioShare, AU3FX:Space, AU3FX:Push

Igor Vasiliev: Stellarvox

Jam Origin: Midi Guitar 2

Fabfilter: Pro-Q 3

Arturia: iSEM

Moog: Animoog Z

AudioModern: Gatelab

Sugar Bytes: Cyclop

Arthur Kerns: midiLFOs

Caelum Audio: SUBscription Synth

BLEASS: Dragonfly

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Dear Diary

I messed up my process a bit and recorded 4 different xenome tracks today, resulting in a 4 part album. Rather than creating 4 different posts, I’ve decided to just do one to cover all 4 tracks. That does mean that the embedded audio for the podcast only includes the first track, so if you want to hear the full album, you’ll need to hit Bandcamp.

I’m going to skip the scale diagrams going forward, because I don’t really need them, and I don’t think anyone else is using them. If I’m wrong, let me know and I’ll do the work to put them in. This project is really about me “showing my work” in public, and at this point, the xenome system is working perfectly with my guitar tuning to the degree that I don’t need a visual aid to play any scale.

I’ve recently discovered the amazing website of composer Ian Ring, which is a wealth of scale information. So, perhaps in the future, instead of searching the 2600 pages of the Universal Encyclopedia of Scales, I’ll use Ian’s nifty scale finder to ease my pain in finding common scale names. I’ll link to his scale pages so you can dig deeper if you so desire. For now, I’ll also continue to include the UES names for the super rare scales.

This album completes the first set of 16 xenomes (800-80F), and in that way is significant. It took me a little over a year to accomplish this, so only 128 more years to go. Seriously though, I do plan to pick up the pace, so perhaps these multi-track posts will become the norm.

About the album

This one feels close and personal, like an invitation into the back room of my soul. That’s probably why I recorded 4 tracks today.

There’s a purposeful flow between tracks, and it’s a narrative if you pay attention. As with all my solo guitar albums of the past 4 years, the guitar plays the protagonist. And like most of my albums, this was fully improvised in one take.

I’ve been beta-testing a new app called GlitchStep, so you’ll hear it driving SUBscription synth, but that’s all I can say about that for now.

Xenome 80C (Part 1)

80C is a 3-note xenome with 2 anchor notes. Mr Ring tells us that according to Justin Pecot’s Dozenal system, this is the ENBian scale. Mr Ring calls it Scale 769. The Universal Encyclopedia of Scales calls this one Mixolydian b9 Trichord Mode 3.

Xenome 80D (Part 2)

80D is a 4-note xenome with 2 anchor notes. 3 of those notes are in the last niblet of course, which gives this a more diatonic scale kind of feel at the upper end. This scale also relies almost solely on a Dozenal name, “RUHian”. Mr Ring calls it Scale 2817. The UES says Altered Tetrachord Mode 4.

Xenome 80E (part 3)

80E is another 4-note xenome, but at this point the last niblet is almost chromatic. Guess what happens in part 4? Once again, Mr Ring has only a Dozenal common-ish name to offer, “LAJian”, and calls this one Scale 1793. The big bad encyclopedia calls this Messiaen VI Tetrachord Mode 4.

Xenome 80F (part 4)

80F is our technically our first pentatonic xenome. Unfortunately, 4 of those 5 notes are crammed in at the end, so this is functionally chromatic. Mr. Ring’s Exciting Universe of Music Theory dubs this Scale 3841, and also offers Pentatonic Chromatic Descending. (Kind of like “falling down”). The UES calls it Chromatic Tetrachord Mode 4.

Tools and stuff

Gear: Strandberg Boden NX 7, iPad Pro M2, Positive Grid Spark Mini

iPad Apps

Audio Damage: Other Desert Cities, Replicant 3

AudioThing: Noises, Speakers, Reels, Outer Space 2, Moon Echo, Wires

Kymatica: AUM, AudioShare, AU3FX:Space, AU3FX:Push

Igor Vasiliev: Stellarvox

Jam Origin: Midi Guitar 2

Fabfilter: Pro-Q 3, Timeless 3

Arturia: iSEM

Olympia Noise Co: Patterning 3

Moog: Animoog Z

AudioModern: Gatelab

Korg: Module

K-Devices: TATAT: midi streams generator

Sugar Bytes: Effectrix, Looperator, WOW Filterbox

Arthur Kerns: midiLFOs

Caelum Audio: SUBscription Synth

Alex Matheu: GlitchStep (beta)

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Dear Diary

It’s been a few weeks since I’ve given you an offering, but I’ve been super busy with lots of secret, powerful things. If you were afraid I had disappeared, I have… but only mostly.

A number of things have gone missing from my Substack, but perhaps that’s the ephemeral nature of a mostly digital existence. I suspect this is only the beginning. For now, guard closely the vast aural illusions at your disposal while you still can. Soon they may demand more…

I’ve said too much…

About the track

I’ve taken to performing my morning meditations with a fully portable rig, just in case. The hardware is currently just a single iPad and a custom Spark mini, which is much simpler to set up and easier to shove quickly into an overnight bag.

I’ve added two new apps to the toolkit recently, Patterning 3 Drum Machine and the fabulous LoopMangler, both of which feature prominently on this track.

Xenome 80B

80B is a 4-note xenome with 2 anchor notes and a chromatic run to the exit, I mean octave. I think this may be the first non-interval xenome thus far in the journey with something resembling a name: Messiaen III Inv. Tetrachord Mode 4 (according to the Universal Encyclopedia of Scales). Olivier Messiaen was a French composer and musical genius-type who also liked to color outside the lines of western harmony quite a bit as I understand it. Maybe he would have found all of this amusing.

C-80B scale diagrams

Xenotuning

6-String Guitar

Keyboard

Tools and stuff

Gear: Strandberg Boden NX 7, iPad Pro M2, Positive Grid Spark Mini

iPad Apps

Audio Damage: Other Desert Cities, Replicant 3

AudioThing: Noises, Speakers, Reels, Outer Space 2, Moon Echo, Wires

Kymatica: AUM, AudioShare, AU3FX:Space, AU3FX:Push

Igor Vasiliev: Stellarvox, LoopMangler

Jam Origin: Midi Guitar 2

Fabfilter: Pro-Q 3

Arturia: iSEM

Olympia Noise Co: Patterning 3

Moog: Animoog Z

AudioModern: Gatelab

Korg: Module

K-Devices: TATAT: midi streams generator

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Dear Diary

I think I’m giving up on the morning meditation Zooms for now. No one has shown any interest, there’s still some kinks to work out, and honestly it’s probably not that interesting to watch me play durational improvised music in my pajamas anyway. If you’re sad you missed a chance to hang out with me in my pajamas, maybe send me a message ;)

I will continue to use the time to get the guitar in my hands and make these tracks, because that definitely is working.

About the track

I wanted to do something different today, so I swapped out a number of apps to find a different vibe. I have a love/hate relationship with drums, honestly, because they can easily push a track into a rigid grid, but I think I managed to avoid that here. Overall, the track has that Stranger Things sort of feel, which inspired the title.

The track does kind of have sections, so if you’re impatient and can’t sit through a 30 minute track, you’ll miss some stuff, and you’re honestly probably not going to really get most of my music.

Xenome 80A

80A is a 3-note xenome with some nice whole-step intervals, and it includes two of the anchor notes, which is swell. There is, of course, no common name for this combination of notes, but the Universal Encyclopedia of Scales gives us the options of “Ionian Trichord Mode 3” or “Aug7 Omit 3”.

C-80A scale diagrams

Xenotuning

6-String Guitar

Keyboard

Tools and stuff

Gear: Strandberg Boden NX 7, M-Audio Air 192/14, iPad Pro M2, iPad Pro, Macbook Air, Zoom LiveTrak L-20R, Zoom Q8n-4K camera, 1x Spider Capos

Pedals: Gamechanger Audio Plus, tc electronic Subnup, electro-harmonix Ravish

iPad Apps

Audio Damage: Other Desert Cities

AudioThing: Noises, Voice, Fold, Texture, Moon Echo

Kymatica: AUM, AudioShare, AU3FX:Space, AU3FX:Push

Igor Vasiliev: Stellarvox

Woodman’s Immaculate Maple Syrup Studio: Wood’nGate

Jam Origin: Midi Guitar 2

Lumbeat: Funk Drummer

Gestrument AB: Gestrument

Fabfilter: Pro-Q 3

Arthur Kerns: midiLFOs

Bleass: Dragonfly, Reverb

Arturia: iSEM

Victor Poroff: Atom Piano Roll

Mac Software

Plogue Bidule, Neural DSP Archetype:Cory Wong, Best Service NADA, Animoog Z, Glitchmachines Fracture

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Dear Diary

Improvisation is very much like meditation. At first it seems foreign and strange, but after regular practice it becomes something else, bringing forth insights and feelings that are hard to put into words and not really achievable outside the practice of making art without knowing the outcome.

I really like the cover photo above, which I took this morning in my back yard. Photography, specifically iPhone photography, has been a passion since I got my first iPod touch a long, long time ago. I haven’t done much in the way of deliberate photography in the past few years, but it feels good to get back into it for this project.

About the track

The title of today’s track was inspired by Joseph Goldstein’s mantra on impermanence and this post.

I didn’t have time to prepare yesterday, so all of the sounds and settings were worked out about 15 minutes before hitting record, as it goes sometimes. Honestly, It’s important to me that I can just quickly get to making something new, though it is nice when I have time to sit down and tinker a bit.

I recorded this during my morning meditation Zoom. If you’d like to come meditate with me in the mornings, the info is in this post over here.

Tools and stuff

Gear: Strandberg Boden NX 7, M-Audio Air 192/14, iPad Pro M2, iPad Pro, Macbook Air, Zoom LiveTrak L-20R, Zoom Q8n-4K camera, 1x Spider Capos

Pedals: Gamechanger Audio Plus, tc electronic Subnup, electro-harmonix Ravish

iPad Apps

Audio Damage: Other Desert Cities, Replicant 3

AudioKit Pro: VHS Synth

AudioThing: Noises, Voice, Fold, Texture, Moon Echo

Kymatica: AUM, AudioShare

Igor Vasiliev: Stellarvox

Woodman’s Immaculate Maple Syrup Studio: Wood’nGate

Jam Origin: Midi Guitar 2

Lumbeat: iBassist

Klevgränd: Borsta

Gestrument AB: Gestrument

Fabfilter: Pro-Q 3

Arthur Kerns: midiLFOs

Mac Software

Plogue Bidule, Neural DSP Archetype:Cory Wong, Best Service NADA, Animoog Z, Glitchmachines Fracture

Xenome 809

This is a 3-note xenome containing the augmented fifth/minor sixth interval and the major seventh interval. This is technically a superset of the last xenome, 808, because it contains all of those notes. I’m partial to xenomes that contain two or more of the anchor notes (C-E-G#) because they’re just easier to find under my fingers.

There isn’t a common name for this xenome, but the Universal Encyclopedia of Scales dubs it “Harmonic Minor Trichord-End”.

C-809 scale diagrams

Xenotuning

6-String Guitar

Keyboard

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Dear Diary

I had a weird sort of nightmare, but I wasn’t playing myself in the dream. It was more like I was in a horror movie. There was a glowing book that fell behind a shelf, and the other person in the dream was kind of freaking out. I wasn’t taking it seriously and was reaching slowly behind the bookcase (or whatever), planning to pretend that I was being pulled in by a monster or something.

And then I fell… for real. Out of the bed and onto the floor. In real life. It was maybe 5 AM in the morning. It was a bit embarrassing and slightly painful.

About the track

This track is a little darker, but I’ve been feeling some things lately I suppose. It’s also pretty minimalist, but then again, I only had two notes to play with. Overall, I like the vibe, and there are some super slow modulations and subtle background things going on that keep it interesting, at least for me.

I muted iBassist, but used it to drive Continua for more of a dark synthy feel. I put a super slow LFO on the big wheel in Fold, which is why the bass drone works its way in and out. The quick fade out of the background instruments at the end was a total mistake, but I think it actually works.

I recorded this during my morning meditation Zoom. If you’d like to come meditate with me in the mornings, the info is in this post over here.

Tools and stuff

Gear: Strandberg Boden NX 7, M-Audio Air 192/14, iPad Pro M2, iPad Pro, Macbook Air, Zoom LiveTrak L-20R, Zoom Q8n-4K camera, 1x Spider Capos

Pedals: Gamechanger Audio Plus, tc electronic Subnup, electro-harmonix Ravish

iPad Apps

Audio Damage: Other Desert Cities, Replicant 3, Continua

AudioThing: Noises, Voice, Fold, Texture, Moon Echo

Kymatica: AUM, AudioShare

Igor Vasiliev: Stellarvox

Woodman’s Immaculate Maple Syrup Studio: Wood’nGate

Jam Origin: Midi Guitar 2

Lumbeat: iBassist

Klevgränd: Borsta

Gestrument AB: Gestrument

Fabfilter: Pro-Q 3

Arthur Kerns: midiLFOs

Mac Software

Plogue Bidule, Neural DSP Archetype:Cory Wong, Best Service NADA, Animoog Z, Glitchmachines Fracture

Xenome 808

808 is a 2-note xenome, also known as the minor sixth or augmented fifth interval.

C-808 scale diagrams

Xenotuning

6-String Guitar

Keyboard

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Dear Diary

It’s been quite a while since I’ve done one of these, and hopefully this is me beginning to get back on track. I’ve been struggling a bit to make time to get to my own music lately. I’ve decided, at least for now, that getting a guitar in my hand once a day is more important that a 40 minute silent meditation every morning, so if you’re seeing this post, that’s what’s going on.

Honestly I probably get more out of dropping in, improvising, and making some numinous noise than I do falling asleep halfway through a 40-minute sit. I’ve always been a little inspired by my friend Peter Blue who did these daily morning guitar jams but never got to the practice myself until now. I should look him up to see if he’s still doing them. That was like 15 years ago.

About the track

This year’s 5090 (a 50 songs in 90 days challenge hosted by the FAWM folks) is in full swing and I have yet to start, so this will be the first track. The title/poem was inspired by the “Get Lost” challenge. I’m also knocking out a late entry to the Moon Echo challenge by using AudioThing’s cool new app on this track. Oh, and it just so happens that this xenome perfectly facilitates a descending chromatic progression, so I’m knocking out that challenge as well. Nothing like cramming two weeks of challenges into one track.

This is my first recording with a lot of things, including the Macbook Air and everything on it. I love the amazing meditative sounds in NADA for this kind of work, and I’m digging the guitar tone coming from Archetype:Cory Wong. I’m controlling the synth stuff on the MacBook Air with the original Gestrument over bluetooth.

I recorded this during my morning meditation Zoom. If you’d like to come meditate with me in the mornings, the info is in this post over here.

A thing I wrote

See me
Dancing in starlight

Hear me
Chanting your name

Feel me
Beating inside of you

Lost in the light of your love

Tools and stuff

Gear: Strandberg Boden NX 7, M-Audio Air 192/14, iPad Pro M2, iPad Pro, Macbook Air, Zoom LiveTrak L-20R, Zoom Q8n-4K camera, 2x Spider Capos

Pedals: Gamechanger Audio Plus, tc electronic Subnup, electro-harmonix Ravish

iPad Apps

Audio Damage: Other Desert Cities, Replicant 3

AudioThing: Noises, Voice, Fold, Texture, Moon Echo

Kymatica: AUM, AudioShare

Igor Vasiliev: Stellarvox

Woodman’s Immaculate Maple Syrup Studio: Wood’nGate

Jam Origin: Midi Guitar 2

Lumbeat: iBassist

Klevgränd: Borsta

Gestrument AB: Gestrument

Fabfilter: Pro-Q 3

Mac Software

Plogue Bidule, Neural DSP Archetype:Cory Wong, Best Service NADA, Animoog Z, Glitchmachines Fracture

Xenome 807

807 is a 4-note xenome containing the root, major 6th, minor 7th, and major 7th. Yes, it’s four notes in a row. While there is no common name for this set of notes, the Universal Encyclopedia of Scales calls it Chromatic Tetrachord Mode 4.

C-807 scale diagrams

Xenotuning

6-String Guitar

Keyboard

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Dear Diary

Every now and then you come across something that will stick with you for the rest of your life. This week I followed a concept in some post I was reading to Wikipedia and beyond and somehow stumbled upon In Lak’ech and Pensamiento Serpentino by Luis Valdez.

In Lak'ech

Tú eres mi otro yo. / You are my other me.

Si te hago daño a ti, / If I do harm to you,

Me hago daño a mi mismo. / I do harm to myself.

Si te amo y respeto, / If I love and respect you,

Me amo y respeto yo. / I love and respect myself.

This Mayan philosophy and greeting is similar in concept to the deeper meanings attributed to “namaste”. The understanding of the interconnectedness of all beings is something I’ve carried with me since childhood. Another version I learned came from a class I took on Kabbalah a decade or so ago, stated as “there is no separateness”.

It’s often difficult to hold the fullness of this idea in a world filled with hatred, violence, and bigotry. But maybe if we can just greet the people we meet with this intention, the world will eventually be a better place.

Progress

About the track

This track has several names. I always found naming instrumental tracks absurd, especially improvised ones. It’s a moment in time, but just like this post, it needs a handle to hold on to, so ultimately you just make something up that seems meaningful.

It was originally saved on my iPad as “1. Receive from Bus A - 20 bpm - 001.wav”. I normalized it and trimmed it and then renamed the final track “092823-01-C806.wav”. I went on to record another two tracks of free improv, decided I’d put an album together, and somewhat arbitrarily named the album “Unprepared Guitar”, which would have made this track “Unprepared Guitar, Part 1”. But then I needed a title for this post and landed on “You Are (Another Me)”. So I’ve renamed the album and the track, and here we are.

This track completes about 5 hours I spend noodling on 806 over the past month or so. I didn’t record all of my improv on this xenome, but this is hopefully a decent representation, or at least an interesting one.

This is the first appearance of AudioThing’s Valves, which I’m really digging, and I think it adds a lot to the guitar tone. There’s also a new beta app I can’t talk about.

Tools and stuff

Gear: Strandberg Boden NX 7, M-Audio Air 192/14, iPad Pro M2

Pedals: Gamechanger Audio Plus, SSS SRV, Strymon Deco, tc electronic Subnup, electro-harmonix Mel9, electro-harmonix Ravish

Apps

Audio Damage: Other Desert Cities, Replicant 3

AudioThing: Gong Amp, Mantis, Noises, Valves, Texture, Springs

Blue Mangoo: Attack Softener

Igor Vasiliev: GlitchScaper

Jam Origin: MIDI Guitar 2

Kymatica: AUM, AudioShare, AU3FX:Push

Paul Driessen: PD Space Guitar

Sugar Bytes: Looperator

… and an app I can’t talk about.

Xenome 806

806 is a 3-note Xenome containing the root, major 6th, and minor 7th. While there is no common name for this set of notes, the Universal Encyclopedia of Scales calls it Phrygian Trichord Mode 3.

C-806 scale diagrams

Xenotuning

6-String Guitar

Keyboard

Magic Square

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Dear Diary

I come back to Zen Guitar often, jumping around the pages, reminding myself of its wisdom. I envision myself as unsui, traveling monk, truth-seeker, embodying the spirit of cloud and water.

This Xenome Diaries project is a Zen guitar journey. I wear the white belt, starting as as close to the beginning as I am able by picking up a new guitar and tuning it in a new way. I am playing through all possible harmonic combinations, not to memorize or master or feed the ego, but to experience the endless possibility contained in twelve notes.

This is a spiritual path. I will stumble, and occasionally lose the way; I already have. But I know that once I dust away my ego and listen to my inner song, I will be reminded that the true path is always the one right in front of me, and the path goes on forever.

Progress

About the track

This is a 20-minute meditation, harmonically based on C-805. I did record video for this track. Unfortunately, in reorganizing the studio, I forgot to reattach the audio feed, so it was unusable. Better luck next time, I suppose.

I tried a number of new things for this track, most notably using Wotja to generate a lot of the ambient background and some of the piano. I removed the expression pedal from my Ravish pedal, so that it only generates sympathetic strings when I’m actually playing guitar, and in addition to recording the sound from that, I also bussed it through MIDImorphosis to drive Factory.

Alchemy Pro is playing “200 Critters” from the factory bank.

Tools and stuff

Licensed audio samples from Loopmasters and Sony.

Gear: Strandberg Boden NX 7, M-Audio Air 192/14, iPad Pro M2, iPad Air

Pedals: Gamechanger Audio Plus, SSS SRV, Strymon Deco, tc electronic Subnup, electro-harmonix Mel9, electro-harmonix Ravish

Apps

Arthur Kerns: midiLFOs

Audio Damage: Eos 2, Other Desert Cities, Replicant 3

Audiomodern: Gatelab

AudioThing: Gong Amp, Mantis, Noises, Speakers

BLEASS: Granulizer, Delay

Camel Audio: Alchemy Pro

Fred Anton Corvest: FAC Alteza

Intermorphic: Wotja 23

Jam Origin: MIDI Guitar 2

Korg: Module Pro

Kymatica: AUM, AudioShare, AU3FX:Push

Moog: Moogerfooger MF-104S Analog Delay, Moogerfooger MF-107S FreqBox, Moogerfooger MF-108S ClusterFlux

Olympia Noise Co: Patterning 2

Secret Base Design: MIDImorphosis 2

Sugar Bytes: Factory, Looperator

Woodman’s Immaculate Maple Syrup Studio: WoodnGate

Xenome 805

805 is a 3-note Xenome containing the root, major 6th, and major 7th. While there is no common name for this set of notes, the Universal Encyclopedia of Scales calls it Dorian Trichord Mode 3.

C-805 scale diagrams

Xenotuning

6-String Guitar

Keyboard

Magic Square

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