* Bio-Tonetix *
~ PLANETARY VOICES ~

~ Susan mastered the black keys and stage fright. No longer content with the equipment I provided; we drove into town to compare the sounds and feel, of the latest keyboards. She purchased the $2,500 KORG 01/W; with transposition, touch sensitivity, and 400 instrument sounds including 8 drum kits with a different percussion instrument for each key stroke. Evenings were spent selecting the right instrument voice for her accompaniment to each song. It soon became apparent that the Korg had more to offer than one sound for each raga. So I purchased a second KORG 01/W, as my main controller Keyboard.

~ The Saturday night recording parties were now producing music, with a depth of sound previously unimagined. With Susan flirting just enough to bring out the best from our guest audience & musicians, the Saturday night Jams took off..

~ My daughter Dera, returned and commandeered the best Ranch Cabin. During one of her Halloween Ranch parties, her friends heard me practicing on the new KORG. They came over to ask if I would compose music, for their High School play "Dracula"; using the KORG ‘S deeply dramatic haunting sounds. This instrument produces 400 instrument voices, with stunning accuracy and definition. Some of the voices are multi layered: with a second voice sounding, if I strike the keys with force, or hold the key down. Such finger control can also generate harmonic overtones for each note; like strings, Brass Ensemble, or an Angelic Chorus. To compose a waltz, for Dracula’s party scene, I selected No. 70; Korg’s - Percolater with time delayed percussion, layered under harpsichord. I record each attempt at composition, in case something brilliant occurs. I began to play a white keys waltz, and 6 minuets later "Heart Waltz" was complete. This first time perfect song, came as I replaced expectation, with delight in those Korg Tones. This miraculous recording, is "Thymus Waltz" on "Keys to Healing", with strings & harmonic tones, I added later to that spontaneous waltz. Dracula’s waltz was changed to "Ghoul’s Waltz" from our Halloween Jam.

~ The Saturday night crowd, was not interested in exploring the darker modalities for a High School play. So alone, the good father, produced music in descending modalities, drawing the Audience and Cast, on to "Dracula’s" dark Planet. The "Smithson Valley Players" debuted my first KORG recorded compositions, during the play’s intense scenes.

~ A year later, I was able to introduce these descending ragas, to the Saturday night Jammers, by throwing a Halloween Party, calling the music "Ghoul’s Night Out". Every year I get at least one cut, which replaces that song’s previous Best, on our "Ghoul’s Night Out", CD, & download. These Ghoulish Gatherings are recorded on Video, and posted at our web site, Free, all year long for your darker gatherings.

~ The multi layered KORG voices for "Dracula", did not resonate in the Seasonal, Gravitational, Elemental, or Light frequencies. Only the sounds recorded by NASA, of the whirling planets produced a similar resonance. Using the law of octaves, NASA computers brought the rhythmic tone (Hz. Rt.) of each Planet into the audible range, heard on certain PBS specials. Looping each Planet’s Voice for 6 minutes, controlling volume with a foot pedal, and each Planet’s whirling sound, is the singing voice heard on "Planetary Voices". Each week I would listen to only one planet’s whirling voice while watching the NASA video of Voyager, approach, encounter, and leave that planet. I knew no other way to extract the musical parameters of each planet’s long range, low octave pulses.. Composing each planet’s song in this way, revealed a planet’s influence clearer, than any astrology traditions.

~ The best way to musically express the resonance from the vast emptiness of space, required all attending musicians to play sparsely & sparingly. Over the years I learned the best way to accomplish this, was to play and record each song only once on Saturday night. Once musicians became familiar with the melody; they began expressing themselves, instead of the Planet. I always had the option of lowering their recorded volume, but if I was too late, the song missed the mark. The following Saturday, gave me another chance to avoid input, not conducive to understanding, "The Planet’s " resonant effect reaching earth.

~ As I watched the NASA video of Voyager’s encounter with each Planet; the rhythm of approach and retreat, like a train coming and going, was apparent. Each planet approaches Earth in it’s orbit, then retreats. To express this cycle in a 6 minute song, I turned the rhythm machine’s volume off, slowly quickening the tempo of the Planet’s oscillating Voice. Then half way through the song, I began slowing the tempo of the melody, as the Planet’s resonance faded. Without the rhythm machine, my recording of each Planet’s Voice controlled by foot peddle, along with my (sparse & sparring) KORG notes; set the changing tempo of each Planet’s approach & retreat from Earth. Our representation of a unified mass, was the hardest element to accomplish musically, & reason for most of the bad takes. In the end, I took the best, and added my far away guitar, since guitar players were sparse that year. Only two songs have guitar on the live track. Neptune, when Bob’s far-away guitar, collided with a unified mass; and the last song, "24hrs"; with Chris Jamison on guitar & Susan on bass keyboard. Ep, Barbara, Crystal, & Candy; were camping in the Ranch cabins, while looking for a proper place to live, in exchange for their "Positive" contribution to the music on Saturday Night. They loved Saturday parties, and are heard on most of the final cuts, along with Mell.

~ Mell came to learn my "Black Keys" method of playing piano; developing finger coordination & rhythm, by following the rhythm arrangements I programmed into Roland, for each song. As his musicianship grew, his desire to impress his friends with the ease of my Pattern Recognition technique, produced some generous upgrades for our presentations.

~ Here are the basics, I used to compose each Planet’s Raga ~

~ The music selected for each CD, in no way exemplifies the artistic potential of each musician. Remember; I record Live, for the random unexpected element, needed to maximize the listener’s response to the music, time, after time, after time, after time. The musicians, usually played and recorded a song the first time. All Jazz all night, they checked out this Modal -Sonification, Maximum -Biologically -Responsive, -Scientifically based, -black keys, Music. My only promise; not to use cuts that are truly embarrassing, and not to use their name if their contracts or goals prohibited. For instance: no musician wanted to be known as "The guitar player for "URANUS" on Maximus. " What if it became a HIT ?"" They let me add the guitar, to our live Jam of URANUS later. Also: in certain circles of musical competency; playing with (following) a computer generated band is " not Top Drawer". The last thing I want to inhibit, is a musician’s chance to explore his acumen during these live Sonification sessions. The remote 200 acre ranch location, with anonymity, produced some incredible insights.

GUITAR:

* Chris Jamison * Steve Pluck * Rudi M. * Bob * B.J. * Dave Underwood * Kramer * Memo Fernandez * Brant Miller *

~ KEYBOARD & VOCALS ~

* Julia Blaze * Susan Rodgers * Barbara Steingasser * Lauren Krock * Trish Nover * Candilaria Morales * Dera Massey * Susan McInelly * Mike Powell * Cinda Roseler * Pam Lambert *

~ PERCUSSION ~

* Johnny * Dillon Massey * Gilbert Ruffet * Joe Aycock * Tommy Bishop * Tabbitha Thundarr * Ed Pace*

~ VIDEO HOSTS ~

* Mark Roesler * Larry Savoie * Jim A. * Melanie * Travis Tompson * Swami Gozntite * Laurel Savoie * the Kids *

~ The only reason, so many good musicians contributed to Maximus Band, was the positive reaction Modal music {Mozart effect} stimulates in the listener, & performer. The ability to play without rehearsing or expectation , and Candelaria’s sweet sisters dropping by, to cheer us on. Candilaria is that rare improvisational dancer, capable of matching her movements with the unrehearsed dynamics of live Jazz. Focused in the elemental nature of each song, she rises and falls with the music’s whims. Her entrancing style, not only draws male musicians, she also entices our Video Jock (Mark Roesler) to handle the video mix of Crystal’s camera, & the background video I prepared for each song. His witty comments between songs, pulls our live webcasts together.

~ Most good musicians were playing for money on Saturday Night . My Video cycast of these Jams, as the "1st Cybar Band" on the internet; was the only way for local artists to be seen on the World Wide Web, but it paid us nothing. Still; based on the simplest melodic structure, any song could turn into a 40min Jam, all recorded through my mixers, to one track. Then sit back and enjoy the video broadcast, in the Cybars each night the following week. If desired, I would make them a copy to take home. Otherwise the only thing I could offer, was a 200 acre stage in the Texas Hill Country, playing live music designed to Maximize secretions; with " Only Musicians & Lovers Allowed ". With all future proceeds from our recorded efforts going to pay for more Sonification of Science & Ancient Data. That is; the musical expression of how things effect our biological reactions.

~ No one wanted to shovel gravel back on the drive way after a rain storm, or mend the barbed wire fences whenever the bull broke through, or pay the well fees when the pumps broke down. Only Farmer Howard & I, know the cost of sweat & blood paid to survive on this piece of Texas Heaven. Thank you Mr.& Mrs. Howard Roberts: Heaven is yours. Not only for the special view of His creation, he sees through your eyes; but for the mercy you show those whose lives are a short trip to the slaughterhouse.

~ Regardless of Breed or condition, you hear the awareness we share with Nature, and give a reason to seek closeness with Man, Earth’s guide to know God. I hear each new calf’s fearful reaction to my appearance delivering the daily overflow rations of water; and the determined insistence of the herds senior members that I be shown the same respect and consideration, they know I show to them. Slowly they begin to see Life does hold joy and man is not separate from the herd’s concern for abundance. The ranch’s Herd, from every scrawny breed reject to this Noah's Ark of fat healthy loving animals; prepared to thank God for the wonderful life made possible by Howard’s deliverance, Mike Anderson’s (owner) concern, & my daily chores. A strange team: Texas Rancher, Millionaire, & Jazzy Curandero; sheltering the lost.

~ My addiction to those resonant secretions, compelled my nightly practice, perfecting my performance for Saturday’s Jam. Developing the agility to play keyboard, controlling bass & rhythm instruments, with my left hand chord changes; and the percussion breaks, with foot peddles to the Rhythm Arranger; the melody of KORG tones with my right hand, then play Flute, Guitar, Digital Horn, Harmonica, or sing; as Drums, Bass, rhythm Instruments, & Guests play on. The direction of the music, responding to the "Jazz of the moment", through foot switches and chord changes.

~ "Planetary Voices" needed sparse and sparring, so the drum machine was off, allowing more freedom in the mid jam. On "Saturn’s song"; Ep‘s congas and my flute go through Saturn’s crowded Rings and Moons, with some of Ep‘s best recorded work. The first time I recorded "Moon" with guests; Mell’s black keys were set on high cello. I found myself raising his volume in mid-jam. For the first and only time I was able to record Mell in Musical Rapture. His eyes were closed and there was nothing in-between him and the music. No fingers, no charts, no audience, no plan, no responsibility. His high cello tones, gracefully encircling my Moon Raga across the sky.

~ Since then, Mell has that look in his eye; of one who desires to compose his own music. He will probably form his own band and begin to express his own musical nature. We will keep you posted at M B .C . We never could get him to play it that way again, or write it down; but for a moment he shared the Rapture, all musicians strive for. Realizing this Black Keys technique, enabled an unmusical white boy to merge with Rapture; I threw out any doubt that the healing power of music, can help anyone; even You.

~ Barbara’s lovely introduction, at the start of each Planets song; turned my condensed scientific description, into a personal invitation. She draws you in, and sets the mood. A true goddess of Space and Time. * . * . * .

~ By this time, a group of available Maximus Musicians was convinced we could make money with this music, in the Jazz Clubs and Bars. Taking the online shows, I developed to illustrate each CD; into a public forum, meant new stage speakers- $3000, amp- $600, mikes- $500, stands- $300, cables- $200, mixer-$70, compressor- $150, digital enhancer- $200, effects processor- $1000, DAT recorder- $1200, transportation van- $4000, drum set- $300, bass guitar- $200, digital guitar- $250, digital horn- $75, flute- $200, Sony video camera- $700, cases- $600, lights- $100, & clothing. With CANDILARIA dressed to kill for her mid-song dance (from Rene’s elemental ballet movements, the band knew they could make money with our crowd gathering potential. So I completed my stage set up, integrated vocals from my "Bar-Band" days, & familiarized the musicians with those upgrades, now on "Cyberboy", "Bio-Blues", "Romance", & "Polar Shift Prophecies" CDs.

~ The band’s efforts to develop a Stage for making money with our shows, declined. So the ladies & I put city cloths on & went to the managers of San Antonio’s New downtown Cyber Coffee Bar. A week later and the Maximus show "Cyberboy", was scheduled to premier there;, December of 95. So I knew our type of show could access public Staging; and current Maximus musicians did not really want to promote, distribute, or Play for money. Playing unhindered on Saturday night seemed to fulfill their weekly secretion requirements. I no longer had access to their Social, Radio, and local Staging Contacts. After 7 years on Mt. Shasta, my San Antonio was a different place.

~ If we were able to stage our shows, at that time for money; then the Albums that followed, might not have received the attention needed to complete them.

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Bio-Tonetix is held under Copyright 2001 ~ Dr. Johnsen