Ultra Dynamic Obscure Sound Formulation
In the traditional band, instrumentation is primarily built around the buildup and delivery of the vocalist's lyrics and hook choruses. As a result, band members other than the vocalist play minimalistic supporting cast roles and the instrumentation is mostly just background accompaniment. If the vocals were taken out of the world's repetitive hook chorus music, there would be little of interest remaining. When people have songs in their heads, they simply replay the singer's hook choruses over and over again. With the drumming, bass, keyboards, vocals, and other player's instruments added to the mix, the guitarist's work is a mere 20 to 25 percent of the total product. At best, once in a while a lead guitarist gets to play a long solo that lasts a few minutes. The lead guitarist will rarely use this opportunity to showcase chords, especially not exotic ones. If a guitar player goes off course and does his or her own thing, it's neither practical nor conducive to the greater goals of the band. In UDOSF, the guitarist's work is always 100 percent of the total output. The same guitarist records all the lead guitar, rhythm guitar, bass guitar, synthesizer sounds, and percussion. An UDOSF musician doesn't just grab the bull by the horns, he or she picks the bull up and body slams it to the ground. When an individual creates an UDOSF song entirely on one's own, there is no greater form of artistic expression or representation of an individual's life force and character. Lastly, when the musician goes back and listens to his or her songs, he or she will have the satisfaction of knowing that every single aspect of the recording came from him or her self.
Let's face it, the noise pollution factor of drumming, singing, and loud amplified instruments disallows the majority of people from having a platform to perform music, which is why it's so important to remove every single one of these elements. Although most people won't admit it, deep down they do not really respect musicians. Not just because of what has been heavily promoted on radio, television, and the internet in the last seventy years, but also because musicians are perceived as being a loud nuisance. If one takes on a musical project in a traditional manner, it's not easy for an individual to even practice let alone produce an album. When someone buys a guitar, it doesn't take long before the individual realizes that the instrument is everyone else's worst nightmare. Likewise, when teenagers are in a school band and they try to practice at home with some kind of piano, woodwind, stringed, or brass instrument, no one wants to hear anyone practice at the most inopportune times with those instruments either. The current system of people playing loud instruments and being resented for it obviously doesn't work. While school bands continue to unleash noise into households and neighborhoods across the world, UDOSF offers an amicable solution to a problem that has plagued society for as long as musical instruments have existed. In UDOSF, the most that an innocent bystander would have to stomach is hearing an unamplified electric guitar, an unamplified keyboard, or an unamplified drum pad being hit from behind a closed door. I can go into any nursing home, library, monastery, or 55+ community and create the heaviest album ever made, and no one would even know that music was being played. Not bad, huh? Well, that is a bit of an exaggeration but you get the point. By using headphones, multi-effect units, and direct recording, an UDOSF musician can potentially play for up to 24 hours a day without bothering anyone.
A large part of what makes UDOSF so unique besides the ultra dynamic factor is playing chords outside the 1-3-5 spectrum. I have calculated that there are 3,257,424 numerical chord combinations that can be played on a six-string electric guitar. This is the exact number. There isn't one less or one more. Before the grand opening of this website on January 10th of 2023, no guitar book, mathematician, or person on the Internet had ever come up with this figure. 3,257,424 is now a number of great significance and it needs to be put into musical textbooks and taught in schools. While I'm at it, the total number of chord combinations on a seven-string guitar is 39,089,232. For a twelve-string guitar, the total is 9,726,655,034,448. The most common chords played by guitarists in rock and heavy metal are two note power chords--mostly perfect fourths and perfect fifths--plus major and minor trichords within the 1-3-5 spectrum. Country musicians play a higher percentage of chords that consist of three or more notes. The dominant 7th chord is what highlights the country sound. The Adom7 in particular is what I refer to as the king of all backwoods chords. As much as jazz is touted as being the most intelligent and progressive of all genres for guitar players, there are about 3,255,000 chords that aren't even on their radar. They play the more obscure side of the 1-3-5 spectrum and sometimes go outside of it, but not nearly enough. Just like guitarists in all genres of music that play live music in a band, they don't really get to do anything anyway. When the same chords are played, music ends up sounding too similar. When drawing from millions of potential chords instead of only a few thousand, songs will undoubtedly become more unique and such a genre should never suffer from stagnation. All chords have their own unique sound. I believe that every chord has a purpose and something to contribute to someone somewhere in some context. The main factors that influence how a chord sounds are how it is physically played, the amounts and types of distortion and effects that are used, and the selection of chords that precede and follow it. Of course, using chords outside the 1-3-5 spectrum that no one else was ever interested in playing usually requires extreme tuning from outside the standard deviation of E-A-D-G-B-E. The composing and recording process is time consuming and consists of a lot of experimentation.
In regard to drumming, for the longest time I actually wanted to be the first person to ever get rid of it. I had a theory that people didn't need to hear constant "click, click, click" and "thump, thump, thump" sounds and drumming elicited frantic bodily movements of headbanging, butt shaking, and foot tapping--and there was enough of that kind of behavior in the world already. I worried that the drumming would make the music too close to rock and heavy metal and didn't want to go backwards in time to something that already ran its course over thirty years ago. Also, I feared that if the wrong type of drum sounds got into this genre that things would get goofy really fast. Well, it turned out that my problem with drumming all along was that I wasn't the one doing it. One day, I bought two Roland SPD1 drum pad synthesizers along with drum sticks and began to set the world on fire with my fake little drum kit. I loved it. When I began to add the drumming to my songs, I quickly found out that--just like all the other instruments--drumming could indeed be extremely ultra dynamic. Real surprise, huh? It appears that drumming is a lot more fun to do in an ultra dynamic manner than to hear or watch as a spectator in repetitive hook chorus music. In UDOSF, the musician works on little sections at a time and never has to worry about replaying anything live, which means that the drummer has all the time in the world to strategize and create higher quality patterns within each layer than what would have been selected otherwise under the conditions of being in a regular band. Another thing I'd like to add, never outsource drumming to anyone else. Trust me when I say that no one in this world can do it better--no matter how inexperienced--than the individual who did the rest of the music, because no one else other than that person knows what is most suitable. The final point I want to emphasize is that drumming should always be done last in UDOSF.
Since the dawn of civilization, musicians have been disproportionately trying to express themselves through singing and lyrics. Songs have primarily been used either for comedic purposes, storytelling, as a way to impose political views and ideologies onto others, as romantic themes, or as a glorification of hedonistic endeavors. Historically, there has always been a much higher focus on singing and lyrics than on the creation of distinct and interesting instrumentation. With a lot of songs--especially in rock and heavy metal--the listener cannot fully decipher the words that are sung. In other words, people often think that the words to a song are something other than what they really are. Not only that, but the actual meaning of songs is usually a mystery. The lyrics itself aren't the driving force behind a singer's popularity. Physical appearance, the timbre of the voice, pitch control, and emotional dramatization are other factors that play a greater role in a singer's popularity. Also, lyrics rarely stand the test of time. As decades pass by, terminology, sayings, attitudes, and the importance of events become terribly outdated. Lyrics can also be a huge liability. Out of all the elements that go into a song, singing and lyrics have the greatest potential to make people highly uncomfortable. So, what is the workaround? I found that by using guitar and keyboard voice synthesizers, I was able to silently add a good combination of both male and female vocals. Voice synthesizers give the UDOSF musician the ability to craft vocal notes and harness the power of vocal energy without the drawbacks of lyrics. Use them wisely, sparingly, and ultra dynamically.
UDOSF follows what I have coined as the oil painting method to musical composing; whereby, song composition is approached in the same manner that a drawing artist approaches an oil painting. Drawing artists do not make paintings and then spend the next fifty years traveling from town to town redrawing them in front of drunken crowds that jeer as they draw. When a drawer finishes one painting, he or she moves on to the next one. The act of rehearsing to recreate the same painting over and over again would steal the limited time available to create more paintings. When music is created with the intent of being performed theatrically, the end product will always suffer because one will constantly be thinking, "Can I replicate this live?" and "How will the crowds react?" The more that the playing live mentality is ingrained in a musician's mind, the more simplistic, conformingly trendy, and repetitive the final outcome of the compositions will be. Therefore, one could form a conjecture that playing live is absolutely the worst thing to ever happen to music. It attracts people that are more interested in fame, money, and sex than in the actual music itself.
An UDOSF album would preferably be "silently recorded" exclusively by one person in absolute solitude. If more than one person is involved or if the music is amplified to where others can hear it, the creative process will be hindered. Musical peer pressure will kick in and the individual won't be able to get into the proper state of mind to create the desired magical sounds. The recording process should never be rushed nor have a time limit, which is exactly what happens when record labels and professional studios come into the equation. UDOSF is great for people that play guitar solitarily; have a regular job; and have neither the time nor the desire to run off and join the circus. By following the guidelines of this genre, the solitary guitarist or keyboardist will be able to create a final product that can be far more interesting to hear than the common secular music that is created by professional orchestras and touring bands that consist of three to six people.
UDOSF is what many people have yearned for, but such a style of music never existed until now. In ancient times, the genre could not have existed because it is entirely dependent upon multi-track recording technology. The first multi-track recorder was invented in 1955. Therefore, the genre couldn't have been created any earlier than that time period. UDOSF is actually more than just a genre; it's an entire avenue of music that never existed. When I use the term avenue, I'm referring to an actual path that one goes down during the course of his or her music career. Traditionally, there have only been a few of them. A musician could either go into an orchestra or become a part of a regular touring band. In orchestras, the players have absolutely zero input into the compositions being played. Therefore, creativity for the player in this avenue of music is nonexistent. In a regular touring band of rock, heavy metal, country, or whatever, there is more creativity for a band member than with being in an orchestra. However, it is extremely limited and constant friction exists between band members in regard to what can be done. On the other hand, UDOSF is an avenue that allows a musician to have infinite creativity. UDOSF has the necessary components to move humanity forward and create a new golden age of music. Over time, it will become known that UDOSF is the only musical genre built entirely upon the foundation of art, which triumphs over music based largely on theatrics, showboating, shock tactics, and whoring. As the genre grows in popularity and begins to eclipse what the mainstream world of systematic boredom produces, people will start to view music and musicians in a more positive manner. Musicians everywhere will finally wake up and realize that their entire careers have been wasted, and they will join the greatest musical revolution that the world has ever known. More importantly, millions of people who were never interested in doing anything with music before--because they didn't think that it was something they could do on their own and required being in a regular band and making a lot of noise--will start to create their own UDOSF recordings.