almost 8 years ago
sound-engineering stress
fictional credit card
"We don't accept 110 Hz"

Morning of January 26, 2014. Sunday.

This is an annoying dream based on too much time spent on one sound-engineering session. Normally, I notch out (or compress with polarity reversal with two "silent" matched tracks) the area 110 Hz (A) in a full percussion track (I also bring out 49 Hz (close to G) prior to that for the bottom of the track itself - some people use 50 (as well as much higher bottoms), but I like the matched tonality with a real implied note (many people could care less about tuned percussion or tonal bottoms - or in fact - as modern tracks prove - tuned anything - in fact, a standard in dance music is NOT to be in tune, even using the "detuning" function in VSTs - that is for people who like to use music as a "weapon" as they so often do these days). This allows more of the bass guitar (and low end keyboard in bass range). Sometimes I am meticulous and play around a bit too long. Taking out too much makes both the snare (bottom) and the kick (top) too light and may also create an effect that is too punchy and sparse in one range just above or below the 110 Hz peak. Messing about with sound waves is a very tricky business.

At any rate, I am buying groceries and other supplies. I take out my credit card which is supposedly a "110 Hz" credit card. The cashier says that they do not take that type of card and I am very annoyed, as that is mostly all I seem to have with me in my dream. I am not sure what to do. I am trying to remember if I have another card to pay and pay with a combination of my oldest son's card and a few dollars and coins that I find in my wallet. I am not sure why they do not take the card - I sense the bank may actually have issues with the store, perhaps in their business practices, not sure.

I also have a recurring dream of trying to align two sound-waves (that are polar reversals of each other) before I can properly make love. This does not make that much sense, as the audio would vanish if they were perfectly aligned - I think it has more to do with enjoying the "hidden" ghosting frequencies of misalignment and probably the hidden side (mid-side decoding) "thrills" especially with the odd "breathing verb" effect of some side extractions, which I sometimes tend to prefer in modern music over the actual intended tracks (depending on the level of out-of-phase artifacts in lower quality MP3s, of course, which is often too much to take).

sound-engineering stress
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