Wednesday, 17th August 2005

11.06

DGM HQ.

Broad accents no longer drift up from below, as this new (to me) & improved office is not above the chopping-block of our landlord in his family village store; the accents come through the wall between his office & mine. When his telephone rings, I stretch out my arm to answer the DGM line.

Wonderful splashes are falling upon my ears from the ceiling above, which is the floor of SoundWorld II, where David & Alex are preparing Soundscapes -- Blisteringly Alive At Stephen's Talkhouse, Amagansett (19-vi-2005) -- for future download.

11.32 Amagansett -- we are putting in PQ points for enhanced navigation between the endless bleeping & droning. Endings & beginnings are not always unambiguous in Soundscape performances. Conventionally, defined moods & areas ("pieces") have sonic thresholds between them to provide distinction. An aural sorbet or amuse bouch between cheesecake & apple turnover, as it were.

While loading in is underway, David & Robert discuss the propriety of a solicitor threatening libel on behalf of a client whose claims & assertions are unfounded, inaccurate & untrue. What is the responsibility of the solicitor to assure themselves of their client's bona fides when acting on their behalf? That is, does a solicitor have a professional duty of care to confirm for themselves a client's claims before acting on those claims? The answer is simple: it is a solicitor's job to represent their client, not investigate them. In a word, then, no. Where the solicitor asserts the accuracy of their client's (mischievous) claims, without investigating their validity, the solicitor's action seems dangerously close to bullying & impropriety.

So, what of truth & justice, professional legalism & fees?

12.17 The outputs of Solar Voyager I has been reconfigured in SoundWorld I.

13.08 IMAC is loading in.

16.00 David has been having an adventure correcting bumps generated by the pilot at IMAC. I reply: Yes, the pilot was useless but it was because the navigator sucked. David has invented a new way of dealing with extraneous bumps that repeat every 20 seconds for a very, very long time (other than discarding the entire piece).

Now, heading downstairs to SoundWorld I to record a contribution to a Judy Dyble song for her new album.

18.33 A soundscape & guitar lines for Judy's song. Standard operating procedure: I play too much, allowing for sampling, cutting & pasting by the artist / producer.

19.24 Sister has called: we were due to visit a local guitar maker today, rather than tomorrow. Mea culpa! But I was only one day wrong -- you don't get much closer than that.

23.22 This evening's listening: two superb jazz singers. Amanda Carr's Tender Trap & Kitty Margolis' Straight Up With A Twist. Both are excellent, demonstrate a standard of everyday excellence that does not, and cannot, attract attention to its value. There is no place in the world to sell CDs like this, other than at the venues where the music is performed, and off the artists' websites.

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