studio diary – november / december 2014

The last several weeks have been more about getting equipment, computers, software and storage sorted out, than having a lot of time to actually play much music.  That is slowly changing, early this morning, I spent almost two hours playing and recording some beautiful sampled sounds in Kontakt, and it’s rare that I sit and play the keyboard for an hour and fifty minutes at one sitting!  I did capture a few interesting things, so I am hopeful that this long period of extended studio set-up, improvements, and testing, will also result in some new music along the way.

I’ve had more than my share of frustration with equipment; particularly, software and storage, but things are slowly sorting themselves out.  Hardware issues, software issues, strange computer behaviours – I’ve got it all.  But it is slowly getting better – all the time.  I solve one issue at a time, eventually, they will all get done.  Over the past two days, with a lot of assistance from my pal Ken Mistove, I have sorted out a number of long-standing issues in SONAR X3, and we have also made a number of improvements to how things work in the world of the music computer, external hard drives, and recording practices – big improvements, and things are running so much smoother, and better, already – which really pleases me, as I really just want to sit down and play music, not, troubleshoot for two hours, and then play for 10 minutes!

My attempts to film the Kaoss Guitar (the remarkable Ibanez RGPK6 electric guitar), well, on Sunday, November 30th, I finally got some takes that were better than my original session from the previous week, November 23rd; so we shall see, I’ve been going through the audio and video from the first session from the 23rd of November, and then I have to go through the miles of footage shot on 30th November as well.

I am hopeful that out of probably 25 takes between the two sessions, that there will be a handful of pieces that are worth making videos of.  It’s difficult to say, but I feel that some of the takes from the second session will yield video, I am less sure about the first session – besides being a bit under-rehearsed, I was still having a fair number of technical issues too, so I was not able to concentrate fully on the music.  So I may be forced to shelve the entire first session, although I believe that at least one of the final three takes from the 23rd may be good.  Time will tell.

Update: there are definitely some good takes from the 20141130 session, beginning with one almost-ambient-but-not-quite quiet track, entitled “just gone”, which is mixed and ready for video build now.

Then tonight, I mixed the next candidate, a remarkable distorted reverse guitar solo entitled “slicer” – so that’s two audio mixes ready for video. There are probably three or four more kaoss guitar trax to come from the second session, audio mixing continues this week, with video builds to begin soon as well. End update :-)

The Kaoss guitar itself – is an absolute joy to play, I had really hoped to get some videos made and uploaded so you can hear and see it, but I’ve decided that it’s more important to take some time, and get some really interesting examples of what you can do with this innovative instrument.

The recording set up for the Kaoss guitar is very, very simple indeed, I am using my Line 6 DL-4 delay (either bypassed, or, to provide reverse guitar on demand) to provide a stereo out, so it’s the guitar into the DL-4, and then directly into the sound card, thus bypassing all of the outboard effects in the mixer – and for the first time, I am relying solely on Guitar Rig for guitar tone and for reverb / delay effects – since it’s a live performance anyway, I didn’t feel that I needed to use the outboard stuff, so I am keeping it really, really simple.

As part of Komplete, and just in general, I’ve been relying more heavily on Guitar Rig 5 for a lot of my guitar-oriented projects, which allows me to create complex rack mount simulations of many, many excellent effects, which I can play through when I record, but then, if I am not totally happy with the patch I have chosen for the live take, I can then “remove” that patch, and replace it with a different one (re-amping, in essence) until I feel happier – so I’ve also started saving my patches, taking stock patches and changing them radically, and then saving the results, so I can re-use them on other takes later.  I’ve never done a lot of re-amping because I considered it to be a bit too burdensome in the past, but with Guitar Rig – it’s a pleasure.  It’s quick and easy, and there is such a huge range of truly exceptional effects, that you can very quickly build up some really complex and wonderful sounds – the kind of guitar sounds that 30 years ago, I could only ever dream of, or, hear on a Jimi Hendrix album (such as, “Electric Ladyland” – my favourite).

In that first Nov. 23rd session, I had played through one Guitar Rig patch that was a bit too echo-y, too over the top, so later on, I re-mastered it; removed the original Guitar Rig sound I used for the live take, and replaced it with a different Guitar Rig sound (a customised sound created by and saved by myself), a much better sound (if I do say so myself!), and really, that saved the day – it made the performances sound so much better.

So I am currently working on both audio mixes, and video creation and mixes, from the two Kaoss guitar performances; as well as, I captured a large number of new improvs using Komplete and Kontakt last night, which I need to go through next! after the kaoss projects, and see what is there – some of them are surely going to be good – the system is performing so beautifully now, it’s an absolute joy to use – and that is reflected in the music that comes out, too.

I think audio mixing is my favourite of those activities, or in the case of the Kaoss Guitar takes, well for any and all live takes that are simply live to stereo – I should say, “audio mastering”, as you can’t really “mix” a live performance, unless it involves multiple instruments, which these do not.  So you just have to get the best stereo sound, make sure the track is normalised to the right level, be happy with your EQ and effects (re-amped or otherwise) and then – that is that!

I was so pleased with the results of the somewhat tentative and somewhat technically challenging first session, I had very little experience with the new Kaoss guitar, it’s quite a struggle to work out the very best way to play it, without sounding awkward, and slowly, I am gaining experience with it, to the point where on Sunday, November 30th – I could almost make it do what I wanted :-) – almost, most of the time.  Sometimes – it’s still outwith my control.

I’ve also been shopping, what with all the sales on line – but not for the ordinary kinds of things that most people shop for at Christmas time – I’ve been buying samples.  During the past two months, I have added so much to my sample library, it’s just out of control, and this past week, I bought three amazing packages from my favourite software instrument maker, Soniccouture (http://www.soniccouture.com/en/products/) – I have a lot of these now, including the amazing Geosonics – sounds of the earth – field recordings adapted into music – astonishing stuff – at a huge savings, 50 percent off in total.  That was a short lived sale, but I am glad I acted – it was great to acquire all of those sounds for such a good price, I could not be more pleased:

1) “the conservatoire collection” – a collection of renaissance and baroque samples – very pricey, but you get things like baroque guitar, psaltery, flemish harpsichords, hurdy-gurdy and so on – fantastic one of a kind classical sounds.  I had an absolute blast using these instruments for the first time earlier today, and I can foresee a lot of interesting pieces forthcoming using this beautiful collection of antique sounds.

 

2) “glass works” – the sounds of various glass instruments, including a famous “cloud chamber bowls” instrument made by eccentric composer and instrument maker Harry Partch, I visited Partch’s studio when I was a teenager, on a school trip actually, and I actually played his original glass bowls instrument, so I am very excited to OWN those sounds! some of the pieces I recorded early this morning were made with the “cloud chamber bowls” instrument, and it sounded JUST as I remembered it – but perhaps even more stunning, is Soniccouture’s emulation of another of Partch’s unique glass instruments – the amazing “armonica”.  This instrument sounds like nothing on earth, like a weird combination of bowed glass, church organ and ethereal spaces – that’s as close as the English language will allow me at a very poor attempt to describe an incredibly beautiful sound!  Lovely beyond compare.

 

3) “ep 73 deconstructed” – this is the most intense, most detailed set of samples available for a 1973 fender rhodes electric piano – the kind my best pal Ted (RIP) used to use in our jam sessions back when I was about 18 years old – a great, classic sound, playing this vintage rhodes is a fantastic experience, it was literally, better than the real thing – and I could have easily sat and played it for hours on end – and, of course, it’s Soniccouture, so you get a lot of “extra” sounds, bowed, plucked, sound effects, and so on – variants on an already perfect set of electric piano samples – incredible attention to detail is Soniccouture’s watchword – the samples they create – are simply, the best.

However, best of all is this next item…

 

The final item in my “black Friday to Monday shopping spree” – based on Ken’s emailed link that simply said “HURRY!” – normally $200.00 I got it for $79.00 – one day only – it’s ADT from Waves Audio – a software “hardware emulation” where they take a classic piece of hardware equipment, and painstakingly re-create it in software.

In this case, “ADT” is, of course, “automatic double tracking” which was developed by one of the Beatles’ engineers, and it was used on classic Beatles albums from the late 1960s such as “Sgt. Pepper’s Lonely Hearts Club Band” and “The White Album” – this device used tape machines, that were slowed up and down to create a second, “doubled” track, it was basically built for John Lennon, who complained about having to double track his voice – he wanted a machine to do it for him.  So this guy, Ken Townshend, figured out a way to do this, using the existing technology of 1967 – which in itself is remarkable.

 

Even more remarkable is the fact that from ADT, a massive industry sprang, of doublers that are choruses or flangers; “Ken’s flanger” is what Lennon called the device, and the name has stuck – millions of “Flangers” have been sold since then, emulating this same “ancient” technique. While I have owned and do own a number of flangers and choruses, both hardware and software, this is the ORIGINAL, the one that started it all – and, I couldn’t own the original hardware, it only exists at Abbey Road Studios where it was designed, it’s not for sale, so having it as software, gives me the classic Beatles chorus and flanger sounds, WITHOUT tape machines and an impossible-to-buy-hardware item.  If that isn’t technological magic, I am not sure what is :-)

 

So 2015 is going to be a very interesting year indeed, I have a plug in version of the “original” chorus/flanger plug in now, so I can apply “Beatles” flanging or chorus sounds to my guitar parts (think of the lead guitar break in “Fixing A Hole” from “Sgt. Pepper’s Lonely Hearts Club Band” – or Clapton’s solo on “While My Guitar Gently Weeps” – what a sound!)  I will also be able to choose from a huge, huge range of samples, something I’ve never really had available in my first 40 years of music-making :-)

 

I wish I had a time machine back when I was 16, if I could have travelled 40 years into the future, and been shown what my tiny, modest studio would look like, in that far distant future of the year 2015, from the vantage point of 1975 – I would a) not have believed you, that such a thing could be possible, and b) it would have seemed like witchcraft, magic – the samples, a kaoss pad guitar (or, a kaoss pad itself, for that matter!!), synthesizers that can reproduce real sounds, sampled sounds, (or, a synthesizer itself), ipads, app technology, all of it is strictly magical stuff if you go back forty years.  40 years ago, I was 16, and I was working with my good friend and fellow musician Ted Holding, who had some recording and mixing gear, but neither of us had any access to the kinds of tools and software instruments available now to me, and to all musicians, in the year 2015 – we would have been dumbstruck with amazement, we really would have!

At 15 or 16, my “technology” was a knock off or off brand electric guitar, played thru a hand me down Fuzz Face, a Cry Baby Wah pedal, and later on, a borrowed echoplex – the kind with tape loops in them, not the new echoplex pro – played thru a Carvin bass head and a home made speaker cabinet. The guitar and the wah pedal were mine, the rest, mostly stuff left lying around Ted’s studio (aka garage) or built or repaired by Ted. I played through that bass amp for like, three years, until I could afford to buy an amp of my own!! Of course, when we hit 18, 19 and 20 we did achieve some manner of technology, but it was still a far cry from what is available now.

Ted expanded his selection of instruments, adding Fender Rhodes, Hammond Organ, and an ARP Omni string machine. I had better guitars, and I brought over a reel to reel tape deck to use as the worlds cheapest tape delay unit, which I would reach over and switch on during a guitar solo, and it was the best and most authentic tape delay I’d ever used…because it was real, real tape, on a reel, running past tape heads with a delay introduced…it sounded amazing to us then.

40 years on, a modestly priced delay pedal such as a Line 6 DL-4, can emulate tape echo very similar to what I was doing back then, plus a myriad of amazing delay effects, all in a small green box…no need to lug around a massive Sony reel to reel tape recorder, but I didn’t own any kind of delay or reverb unit, and couldn’t afford the expensive delays of the day…so using the tape deck as a delay pedal, was a no brainier. We were all delighted, it really made my guitar sound good!

Sometimes even now, even though I’ve now been doing “digital music” for quite some time – since 2005 at least – I’m still just stunned when I walk into my studio and I open up the computer, and I see the tools arrayed there, at my fingertips, for music production.  It’s difficult to imagine how my young self would have reacted to the idea of having real instrument samples playable on demand, on a MIDI keyboard – disbelief, shock, astonishment – at the very least.  But – I am glad I’ve stuck with music, because now, the toolsets are very nearly unlimited, and this gives you choice – choice to create sound worlds that previously, you could only dream of…

I plan on doing a lot of musical dreaming in 2015, and right now, I am making a start – I can’t wait to master the pieces from this morning, and start sharing some of the magic of glass works or the ep 73 deconstructed electric piano or to my very first attempts at playing the hurdy-gurdy – remarkable.

 

A good “problem” to have, I suppose – spoiled for choice, where to begin?  At the beginning, of course!!!

 

 

D.

 

 

 

 

 

pre-orders – remasters – alternative mixes – a boon or a curse?

Now that the good Steven Wilson has succumbed to the temptation to remix almost every important pop, rock or prog band that ever existed, in glorious 5.1 surround sound, with instrumental mixes, and extra tracks galore, I am afraid that I have succumbed to a new technological phenomena – the “pre-order”.

It was probably Amazon, bless their cotton socks, that started this trend (with my personal new favourite CD Store, Burning Shed, also well onto the pre-order bandwagon): order your favourite re-master or 5.1 expanded version of your favourite re-master, or an exciting new release, ahead of time, and you have the advantage of receiving it on the release date. That’s definitely a positive, it means you can get to the important bit all that much sooner: listening.

I mostly consider this concept a boon, my pocketbook, however, views it as a curse, especially since the advent of Burning Shed here in Europe, a specialist shop featuring all of the music candy that I cannot, cannot stay away from – so now, it’s a double curse – if Burning Shed don’t have it, Amazon probably do.

This is the problem though, another part of the curse, which might be labelled as “The Curse Of The Crimson King” because King Crimson (or rather, Robert Fripp) is guilty of this as much or more than many bands, as time goes on, they re-release their classic 60s or 70s music catalogue over and over and over again; on the one hand, taking advantage of the leaps and bounds of technological advance, so we can get ever-cleaner, ever more amazing-sounding renditions of our favourite music, on the other…making us buy it over and over and over again… Sigh.

At first, it made sense – so, using King Crimson as an example – I totally understood why: in the earliest days of the compact disc era, Fripp’s record company produced CDs of the original 10 King Crimson albums on CD when CDs came out, and they did a pretty poor job of transferring this very important music – so, Robert Fripp invented “The Definitive Editions” which were the first truly good-sounding versions of King Crimson CDs, and I had no issue at all with paying again, for something I had bought multiple times on vinyl, and then, on cassette, and then, on bad transfer CD, and finally, on Definitive Editions.

The problem is, more time passes, more technological leaps and bounds occur, and it’s that time again; time to remaster every King Crimson album yet again. Until finally, in 2014, we get what really is the definitive edition: the Steven Wilson remasters, in normal or deluxe versions. We get to hear the original multitrack tapes rendered into state of the art 5.1 surround sound, by someone who if he wasn’t already, is fast becoming the guru, the master, of the arcane science of 5.1 mixing, the remarkable Steven Wilson – who started out tackling one of the most difficult catalogues of all, the King Crimson catalogue; everyone held their collective breath, but, Steven was sensitive, understanding and very kind to these songs that we all grew so attached to in the early 1970s or even, the late 1960s.

This, begins to cost some serious money, and, I am not complaining, no one held a gun against my temple, but…if I had known, I would have just kept my chrome cassette tape of my import Crimson vinyl, until such time as the Steven Wilson expanded box 5.1 surround sound sets became available; if I had skipped the first three CD generations I would have saved, literally, hundreds of dollars / pounds i.e. a shed load of MONEY, on King Crimson alone :-(. I shudder to think how much money I lost across the entire Prog genre over the years :-).

But that brings me from one of the worst curses, which is not in any way limited to King Crimson, almost every prog band in the universe has immediately jumped on this same cash cow bandwagon, from Jethro Tull to Gentle Giant to Caravan, to one of the best boons – and that is the 5.1 experience itself. Now, when I was in my 30s, I decided to invest in a 5.1 system, mostly so I could watch films with their proper sound tracks, in theatre style. Audio 5.1 was a rarity for a long, long time, I was always interested in it, but, there really wasn’t much to buy for the longest time – so we had to be content with our wonderful sounding movies…

Of course, change is good, and the change came – now, 5.1 surround sound audio is becoming as common as nails, on both DVD and even nicer, on Blu-Ray (my personal favourite format) and I for one welcome it, and I say “boon”, it’s a good, good thing, it allows you to hear your favourite music in startling new ways, ways that can make you jump out of your seat they are so surprising and revelatory, ways that I cannot really describe using words – you have to hear it. I started getting into this seriously when the King Crimson 40th Anniversary / Steven Wilson editions albums started coming out, I got my 5.1 surround sound system back out of the box and set it up, because at last, I had something to actually LISTEN to on it….

And listen I did, and I do – and the Crimson catalogue is while an early triumph for Wilson –it’s still one of the very, very best jobs he ever did of re-configuring a strange and wonderful catalogue, into the 5.1 surround sound format, and of course, at the same time, unearthing all manner of remarkable rarities, from outtakes to alternate versions to previously unearthed live versions to, in one case, on Starless (either version, either the 2-disc Starless & Bible Black 5.1 package, 2 discs, or the new 27 disc version – yes, I said 27!) unearthing a live track that no one into the band could remember. Luckily, their lyricist did remember, so now we have the piece of Prog delight that is King Crimson’s “Guts On Our Side” – a remarkable track, rehearsed for a few days, performed once, dropped from the set, forgotten for 27 years, and now – it’s back!! You want to talk about bonus material – you need to see the new giant Starless box set, it is simply amazing.

But – also – see this brand new disc, just released on October 27, 2014, and arriving on that day via of course, my Burning Shed pre-order – the 1979 classic album “Drums And Wires” by XTC. Wilson already had one XTC disc under his belt, the most excellent 1992 album “Nonsuch”, but he was just using that to warm up, and now, in 2014, he has delivered what may be his master work – “Drums And Wires”. I sat down last night, and listened to the entire album in 5.1, plus, a generous helping of B-sides in 5.1 surround sound, and then, taking up over two hours of my evening, from the Blu-Ray edition, a massive number of “bonus tracks” – sessions, live tracks, and a full rehearsal session that is every XTC fan’s dream – including discussions, instrumental run-throughs, and a remarkable timeline of music that leads up to the recording of the actual album.

In the case of XTC, that series of sessions and rehearsals was really the sound of the band transforming, butterfly-like, from the “old” XTC of the madcap organ and piano of the ever so slightly deranged Barry Andrews, to the beautiful, all guitars attack of “Drums And Wires” – with new member Dave Gregory undergoing trial by fire, learning a massive number of songs – including some, from an early session, that sound very much like the “old” XTC, and it’s a wonderful thing indeed, to hear the band evolving at speed, and to hear Dave’s contributions to the songs – and, the leap of confidence that Colin Moulding underwent, with his song writing and performance “double whammy” of “Making Plans For Nigel” and “Life Begins At The Hop” – fronting the band, and changing the dynamic once again – his songs, of which there are several, suddenly leaping ahead into a new maturity that no one really expected, while Andy Partridge, as always, up his own song-writing game by several thousand percent – as always.

But if I leave aside the glorious batch of extra songs, including several I’ve never heard, and, including two wonderful promo videos that I’d never seen – and I just concentrate on the album itself – oh my. It’s a real beauty, it really is. Everything about this already amazing sounding record is amplified, enhanced, emboldened, and I nearly did jump out of my chair at several points, surprised, because I was for one thing, hearing this music in a way I never had done before, and, at the same time, Steven Wilson had pushed certain elements to the fore in the mix, making a lot of great choices on instrument placement in the 5.1 surround sound field – an amazing job this time, maybe his best (excepting the King Crimson catalogue possibly) – a lone tom-tom hit from Terry Chambers, bounces off of the rear right speaker, into a huge cloud of reverb that then pours across to another speaker…two astonishing, unexpected cymbal crashes during the first few notes of one of the songs, scared the life out of me – I swear I have never heard those in any other version of this album I’ve owned, or rather, I’d never heard them so well.

Then there was the instrumental version, and that’s something that over time, I’ve gotten really, really interested in, and I am so glad that apparently, Steven Wilson feels the same way – for example, the instrumental version of Gentle Giant’s “The Power And The Glory” is absolutely mind-blowing, it is so powerful, so precise, and yet, so full of the joy of music – Kerry Minnear is an incredibly joyful player – and that is the sound of a band at the height of their powers, captured perfectly across five speakers by the very talented Mr. Wilson.

Of course, there are others out there, re-mastering and re-mixing prog, pop and rock classics into 5.1 surround sound, including such luminaries as Jakko Jakszyk of King Crimson, but right now, it’s all about Steven Wilson – and who knows where he will turn his ‘magic 5.1 wand’ next?

Some bands don’t seem to want to go down the 5.1 road, at least, not yet, but, they are interested in re-masters, sometimes, re-masters that we the listeners have waited for, for a long, long time – and this time, it’s Mr. James Patrick Page that I need to wag my finger at, for making us wait until 2014 to hear the re-mastered Led Zeppelin catalogue! Torture. But, worth waiting for.

The first three albums arrived a couple of months ago, but, Led Zeppelin IV (an absolute classic rock album) and Houses Of The Holy (Led Zeppelin does prog – or something akin to it, anyway) – arrived as part of the October 27, 2014 pre-order event, this time, from Amazon, and while there are no 5.1 mixes to drool over, the re-masters themselves are absolutely pristine and exquisite, done only in the incredibly perfectionist / with painstaking attention to detail, and – lots of guitars – that Jimmy Page can.

Each re-mastered Zeppelin disc comes with a second disc full of out takes, alternate takes, and various other musical delights, and as the albums have been arriving, the quality of those bonus tracks has just improved and improved, with these two – “Led Zeppelin IV”, and “Houses Of The Holy” feature the most amazing bonus material of all, from gentle acoustic guitar and mandolin tracks for songs like “The Battle Of Evermore” and “Going To California”, to instrumental versions of “The Song Remains The Same” (replete with lots of extra lead guitar – as if the song didn’t have enough lead guitar in it already!) and “Over The Hills And Far Away” – a song I used to play in Pyramid, the band I was in when I was about 20 years old – hearing just the instruments, reminds me of the hours we spent learning the song, I had to do the solo, so I spent hours and hours with this track – and I know it backwards and forwards – so it’s great to hear it, with Robert Plant set to “mute”, and just the band, and of course, Jimmy’s many, many overdubbed guitars – the master of the overdubbed guitars if anyone is.

OK, I can forgive how long it took, regardless if this was due to a small, or even medium-sized monkey on Jimmy Page’s back, or just his loose, lackadaisical way of working – but I have to smile, when I hear the alternate version of the strange, disco-funk track that is “The Crunge”, the guitar part just cracks me up, it’s so unlike anything Page played before or since – and the rhythm section rocks, as Plant moans over the top of this funky mess – and then there are those amazing John Paul Jones synthesizers, sounding absolutely astonishing in this alternate version of the song – we all used to argue about this song, was it rubbish, was it great – I would tend to vote for great, myself, and it’s fantastic to hear alternate versions of all of these songs.

Hearing the multi-tracked lead solo of “Dancing Days”, the band are just kicking it, and such an unusual rhythm, too – I’ve always loved the odd “meter” of this track, and it sounds absolutely wonderful in this “new” version, in the vocal-less “No Quarter”, John Paul Jones’ keyboard masterwork, is brilliantly renewed in this alternate mix, I’ve always loved this song, I’ve played it on the piano or on electric piano or synth, for many, many years – another very, very progressive track – and Page’s sinister guitar riff is fantastic, while Jones plays wah-wah electric piano – fantastic, and, with the vocal focal point taken away, sounding absolutely remarkable.

I can still remember the day the original vinyl Houses Of The Holy was released, in 1973 – I went to the store, which was just a department store, that had a records section, that was nearest to my house, I was still in school at the time – the store was a White Front (because, the front was white) and I was there when the opened, had to wait while the staff un-boxed the album – and, there were a LOT of boxes – and a lot of us waiting to buy the album – this would be the per-cursor to the pre-order, back in the vinyl days – going to the store on release day, to get the record within the first five minutes of it being available. Fantastic. The strange Hipgnosis artwork fascinated me, it’s a truly beautiful record visually, too – and I took it home, and played it and played it, and then – played it some more.

What had happened to Robert’s voice? In the two years since Led Zeppelin IV, something happened, it just sounded so weird, until you got used to it. Pagey and the rhythm section, as always, made up admirably for any inconsistencies in Plant’s vocal performance, but in hindsight, I think he did a great job of the vocals on this record – they are excellent, especially on the rockers – like the wonderful “The Ocean”, another one that Pyramid learned and played, an absolute BLAST to play on guitar – what a rocker. “Got no time to pack my bags, my foot’s outside the door….”

The outro of the alternate UK mix in progress of “The Ocean” is absolutely amazing, with Plant singing in a very high register indeed – vocals that do NOT appear on the original album, but that are quite brilliant – so singing live, in this mix in progress, we catch a glimpse of the erratic vocal genius of Robert Plant – a great set of extra material this time, on both of these new Zeppelin re-master releases – they just get better and better and better. I am really amazed, and I really give Page a lot of credit for taking the time to produce this catalogue, and, to do such a meticulous, pristine, careful job of it – Jimmy Page is probably / possibly the 1960s equivalent to today’s Steven Wilson, maybe.  Or maybe, Steven Wilson is the 2010’s Jimmy Page – who knows?

I don’t know about you, but personally, I can’t wait for the re-master of Physical Graffiti – that should be another event entirely – and, for me, it’s the last “good” Led Zeppelin album – after that, they were never the same. But this period – 1971 to 1973 was awesome, two of their very best records, while really, from 1970 to 1974, was ALL sheer genius, on the road, and in the studio – well, really, starting with Led Zeppelin III – for me, this is the Holy Trinity of Led Zeppelin albums:

This is the 1970 – 1975 version, which does give a good overview of the changes the band went through…

1) Led Zeppelin III
2) Houses Of The Holy
3) Physical Graffiti

Or, the “Super-Purist” Led Zeppelin Fan version which covers the timespan 1971 – 1973, and this was an amazing short period of sheer creativity, on a scale that they never really got back to after delivering these three amazing records:

1) Led Zeppelin III
2) Led Zeppelin IV
3) Houses Of The Holy

It was at the end of this period, in 1973, that I saw the mighty Zeppelin, live at the San Diego Sports Arena, getting to delight in a tour that was half a tour in support of “Led Zeppelin IV” and half, the tour that saw some of the tunes from Houses Of The Holy being previewed for the first time ever. I then saw them again, twice in one week, remarkably (due to insane levels of ticket demand – on a Tuesday night, and then, on the Friday night of the same week – in 1975, which gave me the view from Physical Graffiti looking back). Both tours were amazing, and unforgettable, and the 1973 concert, also happened to be the very first rock concert I had ever attended, at the tender age of 15, but I was already rocking then, and starting out with Led Zeppelin live is not a bad way to start at all – it has stayed with me, and I try to remember that youthful energy now when I play the guitar – a few years on.  :-)

But, whether I like it or not, whether it is a boon, or a curse, or both (probably both, I am betting) the pre-order is here to stay, at first, I did tend to resist it, but now, I take advantage of it every time, so I can get that “waiting for the store to open to pick up my new album, by my very favourite band at the time” feeling again. Wonderful days, when I just had The Beatles, and then Led Zeppelin, and not a whole lot else, to listen to.

Starting out as a lead guitarist, for me, Led Zeppelin was a great grounding for the aspiring rock lead guitarist, learning all of those songs – some, simple enough, sometimes, it’s quite easy to imitate Jimmy Page (say, on “Tangerine” or “The Ocean”) – including some really difficult ones, like “Ten Years Gone” from Physical Graffiti, in trying to learn that bastard of a song, my respect for Jimmy Page went through the roof – he was really a very, very serious guitarist capable of a huge range of expression, and he wrote some cracking good songs, too!

Will we ever see or rather, hear, Led Zeppelin on 5.1? I don’t know. But I do know, now that I have a collection of 5.1 audio discs started, that I would probably be the first 15 year old kid, in line at a digital “White Front” called “Amazon”, no longer in 1973, to get my brand new shiny 5.1 version of “Houses Of The Holy”. I will be there.

Please.

 

Meanwhile, I would have to agree that pre-orders; re-masters with expanded bonus tracks, sessions, mixes, takes – are both boon and curse, the curse being, I haven’t really got the kind of money to buy all the AMAZING stuff that is coming out on CD – for example, I have my eye on the new five CD box from original Genesis guitarist Ant Phillips – but I don’t know if I can afford it, so I have not yet ordered it. I can’t decide, I know I would like it, that’s not an issue, it’s just the cost. So the curse, which started with having to buy multiple versions of the same King Crimson albums, over and over again, year after year – now continues with a positive river of reissues, re-masters, 5.1 expanded editions, box sets and rarities collections – and my mind says “I want it all, all of it” but my pocketbook does not agree with me, it does not automatically say “yes” to every new release.

Would that it would or could. But hey – if I skip one five CD set, maybe then I can afford a nice affordable 2 disc set? Or, I can save up to buy REV, the latest software instrument for Komplete / Kontakt, that I have had my eyes on for several months – I really should just lay off of CD buying for a while.

But – I probably won’t, because invariably, burning shed will send me an email, with just ONE thing I want, I will go to the website, and find another four or ten things that I really, really want – and I try to compromise, maybe buy two, or three, but not eight, or ten or 12.

This is so complicated. Almost like a Complicated Game. And then, you get pre-orders. Sure, they are handy; they mean you get the disc quickly, you can also get special promotional items if you are one of the first to order, I have both a beautiful “The Power And The Glory” postcard from the Gentle Giant set, and, a beautiful “Drums And Wires” postcard, personally autographed by the good Andy Partridge. That can go with my full set of autographed 2009 XTC re-masters, I suppose. Except…they are re-mastering them again. With the right music, with more of the music, much more, with the right artwork – I am so, so glad that Andy Partridge created APE records, and has put right the many questionable activities of his former record company Who Shall Remain Nameless.

And perhaps the one thing that APE records and Andy Partridge have “put right”, is in creating this absolutely powerful new version of “Drums And Wires”, which is visceral as all hell, and so powerful when rendered into 5.1 surround sound by the good Mr. Steven Wilson, I was truly riveted throughout both the 5.1 album version, and the 5.1 instrumental mix – utterly fascinating, and it really does give you an absolutely new appreciation for the songs, you really do “hear things you’ve never heard” when you hear a good Steven Wilson 5.1 mix.
In my humble opinion, not speaking as a musician now, but just as a fan of music, and a fan of the band XTC for many years – I was so, so lucky, to see the very last live show the original quartet (the one with Dave Gregory, so not the original, the almost-original, quartet) in San Diego, before Andy packed it in for touring – that this 5.1 version of “Drums And Wires”, is, to date, the BEST of the Steven Wilson 5.1 mixes.

He takes a great, well-made album, and turns it on its head, making you hear things that were there all along, but, that you never quite appreciated because you were too busy listening to Andy sing or listening to one of Dave’s incredible solos…but, the amazing musical touches of the original production team, and in particular, the power and majesty of the now long-departed Terry Chambers on drums, coupled with the rapidly becoming-McCartney bass playing of Colin Moulding, well, those two are an INSPIRED rhythm section, and you don’t realise just how good they are, until you hear this in 5.1 – providing the perfect rhythmic bass and drums “bed” for the two guitarists to work over – and, work they do.

A supreme effort for Mr. Wilson, then, (and a proud rendering of what is almost certainly the band’s masterpiece) and I for one, offer a tip of the hat for his amazing work on this disc, it floored me, I am so, so glad I opted for the Blu-Ray, it just sounds SO incredibly good – it really does.

And now, back to your regularly scheduled programming:

October 27, 2014

Three Pre-Orders Arrive in One Day:

1) XTC / “Drums And Wires” – The Surround Sound Series – Steven Wilson 5.1 Mix
2) Led Zeppelin / Led Zeppelin IV – Re-mastered by Jimmy Page and expanded with a full second CD full of alternate mixes and bonus tracks.
3) Led Zeppelin / Houses Of The Holy – Re-mastered by Jimmy Page and expanded with a full second CD full of alternate mixes and bonus tracks.

CDs for the collection, or rather, four Led Zeppelin CDs and one XTC Blu-Ray full of 5.1 mixes and bonus tracks, and one XTC CD – so, five CDs and a beautiful Blu-ray – not a bad evening at all, a very nice thing to come home to, I should say!

And I do say.

Let’s have then, next, along with the obviously-hopefully-forthcoming Physical Graffiti from Mr. Page, how about XTC – The Big Express – followed by XTC – English Settlement – two of my personal favourites, from Mr. Wilson?

This would be a boon to my ears, and a curse to my pocketbook – but never mind, it is all about the music – and it is the music that matters, as you will know, if you regularly hang around in the land of pureambient as I do.

I guess I will continue to do pre-orders; which means that more and more, I will be expecting x number of items to arrive on a certain date, which will mean then, an evening of listening, learning and exploring – for example, I saw two videos that I’d never seen, and I heard several XTC songs that I had never heard before, when I sat down to explore the “Drums And Wires” Blu-ray at some length – and that was a wonderful experience, the videos were hilarious, with our heroes goofing around in classic style, but again, it was hearing all that music, music I’d never heard, early sessions, a rehearsal – so much effort going into the preparation of the album – and finally, making the album, with a long series of abandoned tracks and ideas scattered in their wake – but, still ending up with a couple of dozen truly excellent, and often startlingly innovative, tracks, enough for the album and for any number of B sides as well – plenty of songs to go around.

Well – when you put it like that…OK, dammit, boon. Not curse, boon. Sigh.

 

[expensive boon?] :-)

scorched !!

or – “Dave Gregory – home at last…”

I suddenly realised, after many months of hearing the name “Tin Spirits” (but never, sadly, hearing their music – until now, that is…) the penny finally dropped: this is DAVE GREGORY’S band. Yes – that Dave Gregory, the one who used to play stunt guitar in that little ole’ band from Swindon, the redoubtable XTC. For 19 years, across 12 studio albums, from “Making Plans For Nigel” in 1979 (from the remarkable ‘Drums And Wires (1979)‘), to “Senses Working Overtime” (from the remarkable ‘English Settlement (1982)‘) on up to the celebrated “Apple Venus (1999)” (the last XTC album that Dave appears on).

Dave Gregory established himself as a stellar lead guitarist capable of precision-engineered, well-crafted and very creative guitar solos, including some truly unforgettable ones all the way from “No Language In Our Lungs” (from the remarkable “Black Sea (1980)“) to “The Ugly Underneath” (from the remarkable “Nonsuch (1992)“) and all points in between.

If Dave was the “quiet Beatle” of XTC, he wasn’t so quiet when it came to his solos, and if Andy Partridge wrote the songs and had that crazy, boundless energy, then Dave was the thoughtful musical foil to Andy’s uh, “Extrovert” personality. Dave also has an amazing collection of legendary electric guitars, vintage guitars and amps, and always had a few amazing vintage guitars to hand at every session, always the right guitar for the right solo – always well prepared, and always sounding just right for the song in question – whichever it may be. Yes, that’s a lot of “always”, but you count on Dave to come up with a great guitar solo for almost any song, no matter how strange, or how beautiful…

Don’t forget, too, that Dave was also in “The Dukes Of Stratosphear”, along with Andy Partridge, Colin Moulding of XTC, and his brother, Ian Gregory, on drums, the amazing 60s psychedelic rock parody band, and later on, worked with Steve Hogarth (and was a regular member of his touring band, too) and Dave has also appeared on albums by the Bournemouth prog band “Big Big Train”, and of course, pre-, during and post-XTC, he has always been in demand as a session guitarist, too.

As the old reliable wikipedia put it: “Since leaving XTC, Gregory has been much in demand as a session musician with a number of artists, including Peter Gabriel, Aimee Mann, Cud, Marc Almond, Bingo Durango, Johnny Hates Jazz, Jason DonovanMartin Newell, Louis Philippe, Lulu, Mark Owen, R. Stevie Moore and others. Gregory, who has been regularly involved in Steve Hogarth‘s h-Band, has also contributed to works by Porcupine Tree, including string arrangements on their sixth album, Lightbulb Sun, and for Dublin group Pugwash.

On 16 August 2009, English progressive rock band Big Big Train announced on their official blog that Gregory would be appearing as a guest musician on their sixth studio album, The Underfall Yard.[1] Gregory subsequently appeared on Big Big Train’s Far Skies Deep Time EP and is listed as a full band member on English Electric Part One (2012)”

That demonstrates just how in-demand Dave’s services as guitarist, arranger and musician are – one of Britain’s “most desirable” guitar note-slingers.

Dave’s newest band, Tin Spirits, first got together in Swindon, UK in the summer of 2008, when Aussie import, guitarist / vocalist Daniel Steinhardt from TheGigRig invited former XTC guitarist (and musical hero) Dave Gregory to a local studio to video record an ‘amp shoot-out’ with Dan’s band The Hi-Fidels, comprising bassist Mark Kilminster and drummer Doug Mussard. The rest, as they say, is history…

Me saying “Stunt guitar” is absolutely short-changing him, Dave played a huge, huge part in helping Andy Partridge and Colin Moulding to create the “XTC sound”, and if anything, not nearly enough credit goes to Dave, for his outstanding contributions to both their albums, and to their live shows – for two decades.

I remember when I saw XTC live, show 9 of the “English Settlement” tour, and I recall watching Dave playing, off to the side of the stage; he was multitasking in a really cool way, and when he reached over to play the squiggly synth line that follows Andy’s lyric “just a spineless wobbly jelly fish…” from “When You’re Near Me I Have Difficulty” (from “Drums And Wires (1979)”) – Dave makes the “jellyfish” sound on his little synth – and then, right back to lead guitar…my jaw hit the floor, and I spent most of the night, trying to see around the incredibly energetic Partridge, to see and hear what Dave was doing back there – it all just sounded amazing! All good.

That show, XTC live at the California Theater in San Diego, California, (my then-hometown) on April 3, 1982 turned out to be the 9th and final show of the US leg of the tour, the rest of which was completely cancelled due to “illness”; but the well-publicised breakdown of Andy Partridge (just hours after young 1982 Dave Stafford saw them play live!!) was the real reason the tour was halted. The band never toured again, occasionally, some years later, doing a small number of acoustic shows on radio or television, or the odd TV appearance here and there…

Dave had joined XTC at just the right moment, just as they were breaking away from their frenetic “dance band” persona, and with the departure of the sometimes alcohol-fuelled organist Barry Andrews, they were, much to their own surprise, already becoming “serious musicians” – recording and touring behind “Drums And Wires” – an album that I still listen to often, well, for me, that’s where it all started.

I have been a fan of XTC since the late 70s or early 1980s, indeed, I was fortunate to be at that very last live show they ever did, in San Diego back in ’82. That’s the only time I ever saw XTC or Dave Gregory play live, but the experience stuck with me, and based on seeing them that year (they were AMAZING!) I continued to collect their albums, and to follow their progress, as they moved into their own version of the Beatles’ “Studio Years” – when touring becomes a burden, and the decision is, let’s (still) make records, but, not play live.

This was mostly down to bandleader Andy Partridge, it was Andy who ended up so stressed out that he called time on live performance just HOURS after I saw him play a blinder of a show, and everyone was disappointed, because XTC live was one of the most energetic and interesting bands you could see live, in the early 1980s – they didn’t really have a lot of competition, especially once they had delivered both the most excellent “Drums And Wires (1979)” and it’s excellent follow-up, “Black Sea (1980)” – followed by the very excellent “English Settlement (1982)” – by the next excellent album, ‘Mummer 1983‘, it was time for Terry Chambers the drummer to go – and go he did, to Australia to marry his girlfriend, and, after playing with the Australian band “Dragon” for a couple of years, after that, he never really returned to the music business.

Now drummer-less, it did not in any way phase the remaining three members of XTC, who were all long-time friends from Swindon, and Andy Partridge, Colin Moulding and Dave Gregory, carried on through the rest of the 1980s, and into the 90s, until eventually, Dave could stand no more, and he left – and, then, XTC was a duo – and Andy and Colin went on to make more albums, although for me, once Dave left – they were lacking that spark – sure, Andy is damn near as good a player as Dave is (they are both amazing guitarists, let’s face it) when he makes the effort, and, he did make more of a real effort with the lead guitar parts on the ‘post-Dave’ albums, because I am sure he was conscious of the shadow and the memory of Dave sitting there in the studio, quietly ripping through some more amazing lead guitars for the latest XTC disk. The amount of lead guitar on records post-Dave, is noticeably less – Andy plays a few good solos, here or there, but it’s just not quite the same….

But the eventual fate of XTC is a story for another time, for now, suffice to say, that Andy and Colin went on to create a very respectable canon of work after the departure of Dave, who suddenly found himself at loose ends – playing on sessions, playing wherever he could, for a quite a few years after he left XTC. Things were almost beginning to plane out, Dave was almost forgotten, and could easily have faded from the ever-quick-to-forget music fans, but luckily, a chance encounter with a trio of Genesis / XTC fans ended up in more invitations to jam, and over time, Tin Spirits, was formed as a four piece, two-guitars-bass-and-drums band – with Dave Gregory on lead guitar.

So – once I realised that I had been missing the boat completely for a few years, that this amazing band, Tin Spirits, had toured the UK (and I could have SEEN THEM live – extreme dismay!) and indeed, they had been, and, much to my eternal frustration, on their earlier tours, they did a lot of covers of prog and other music that they had a shared love for, including Genesis “Back In NYC” from “The Lamb Lies Down On Broadway” and other songs by Rush, Yes “Roundabout”) and even Frank Zappa.  You can view some videos of some of these amazing prog covers on the Media page of the Tin Spirits official website.

Of course, it will not bother me one bit, if instead of these covers, that if we do get to see them (and I really, really hope we can…) that we might have to “endure” listening to them play most of the tracks from their new disc “Scorch” – and I will tell you, much as I would have loved to see and hear Dave Gregory play “Back In NYC” with his new band, it would be NO hardship whatsoever to sit and listen to Tin Spirits play some or all of the “Scorch” album – no hardship at all. :-)

I have heard Scorch about four times now, and each time I hear it, I just end up feeling so uplifted, and it really, really makes me want to play the guitar (and only the very best guitar albums have that effect on me); it also really makes me want to write on guitar again (not something I’ve done a lot of since ‘gone native‘) and one thing that Tin Spirits have been extremely effective at, is creating a very full, very prog sound, without the use of keyboards – none whatsoever were used on “Scorch”, it’s all guitars, bass and drums – as it should be, really.  Dave himself is an accomplished keyboard player, but I applaud their determination, and “Scorch” is proof positive that you can make a big, big prog sound just with two guitars, bass and drums.  Of course, guitar technology has come a long, long way, and the lines between guitars and synths, continue to blur.

But the main difference between Dave Gregory, amazing lead guitarist of XTC, and Dave Gregory, amazing lead guitarist of Tin Spirits – is that in the former, he didn’t really get to play much at all – a solo here, a solo there, a keyboard solo, the odd guitar bit here or there – but nothing that he could really get stuck into – whereas in the latter, he doesn’t just get stuck in – he excels, explores and explodes – you can hear that Telecaster cutting through the air during the epic “Garden State”, and the extended solos that Dave is now not only allowed to take, but should be legally REQUIRED to take, will knock your guitar-playing socks off.

This is really a master class for lead guitarists, and we could all learn more than one thing from listening to ”Scorch” – and the rest of the musicians in the band are not slouching, in any way – guitarist / vocalist Daniel Steinhardt (also a pedal board/guitar controller inventor – the inventor of the amazing TheGigRig) is damn near as experienced and as capable as Dave is, so it’s a remarkable pairing, almost, but not quite, like having two Dave Gregorys in your band – and that, my friends, is a VERY good thing.

Bassist / lead vocalist Mark Kilminster and Doug Mussard (drums and vocals) are one of the most experienced and adaptable rhythm sections I have ever heard, and the way they slot in their backing, providing rhythmic support for the two interlocking guitar wizards – this would be, a “sort of” analog / mirror of the prog / pop “version” of Levin and Bruford supporting Fripp and Belew – I cannot think of any other truly analogous pairing of “amazing rhythm section” with “two remarkable and innovative guitarists” – I can happily and honestly say that about both King Crimson, and, about Tin Spirits.

And, another thing – the “no keyboards” rule has been faithfully followed, so somehow, Tin Spirits have created truly Progressive Rock, without the use of the dread synthesizer, and to me, to use just the guitar technology available, to be able to write for two guitars, bass and drums, and create the complex, intricate and beautiful music that is contained on “Scorch” – that is quite an accomplishment.

I am absolutely gobsmacked by just how goodScorch” is, to the point where I plan to sit down this weekend, and order their first album, so I can have their entire recorded catalogue :-). I know that the first album is not rated as highly as “Scorch” is – but I am prepared and ready anyway, open ears and mind, and I am sure I will enjoy it.  If this video is anything to go by (link below), it’s going to be excellent – a 13 minute plus epic from that first album, “Wired To Earth”; here is “Broken” – this bodes well, sounds good to me!

I bought “Scorch” without having heard one note by Tin Spirits – and, as sometimes happens, it was an incredibly GOOD ‘blind’ decision. This album is currently rocking my world, and finally, after 19 years of tantalising glimpses of Dave Gregory’s genius, from the guitar solos on “That Wave” from the remarkable “Nonsuch” to his brilliant work on “Drums And Wires”, “Black Sea”, “English Settlement”, and so many other brilliant XTC albums; “The Big Express” is a huge favourite of mine, really, I love all of XTCs catalogue, one of the most enduring in this genre (start out punky, and then gradually mutate into the new Beatles – you know, THAT kind of band!) not to mention the 1986 smash hit “Skylarking” album, produced by Todd Rundgren – an amazing body of work, but now, Dave has started another one – and this one is the guitar band for guitarists who REALLY LOVE GUITAR – “Tin Spirits”. Album Two, “Scorch”, is fantastic. I haven’t heard Album One yet (“Wired To Earth”), but, I will be ordering it this weekend.

From those tantalising glimpses of brilliance provided by a great solo from Dave on a really good XTC song, to this: where Dave is utterly set free, where he can solo for as long as he likes, and, this record is full of extended, and super-extended, and ridiculously super-extended guitar solos, many of them by Dave – and the range of playing, from Hendrix ballad style drenched in prog beauty to scathing Telecaster lead lines, I could just listen to the guitar solos, and duos, on this record over and over and over – and, don’t get me wrong, the band has EXCELLENT vocals, but right now, I am bathing in the glory of a finally-unleashed, finally-unchained, doing it the way HE wants to, nearly endless guitar solos from Dave Gregory – FINALLY !!!!!!!!! If only Andy had let Dave play like THIS in XTC, we might have seen them become a brilliant Prog band too…

This boy can PLAY. He can PLAY good. He knocks my socks off on this particular disc, if you haven’t picked up “Scorch”, I recommend it highly – it’s the guitarist’s guitarist guitar album of the future, and I love what I am hearing – finally, freed from the 30 second XTC mini-solo, when Dave stretches out on album closer “Garden State”, it’s like getting to hear Hendrix practicing beautiful guitar for “Angel” or “Drifting” or “Little Wing” that’s all I can think about, when I hear the fluid, sinuous, sounds of Dave’s guitar, and his tones are pure liquid fire, they are musically SCORCHING, there is absolute purpose, and serious musical intelligence there, and never has there been a more aptly named album.

I will let others do the song by song analysis of “Scorch”; I am really more interested in conveying what an extremely excellent album “Scorch” is, and, also, trying to give it the back story it deserves, and how it fits into the chronology of both XTC, as well as Dave Gregory‘s long and very distinguished career as a great guitarist, arranger, and all-round musician, vintage guitar enthusiast, and now, playing in the band of his dreams – Tin Spirits.  And for me, even though I’ve started at the wrong end of their short and sweet catalog, “Scorch” is an amazing musical document, and it is absolutely worth checking out.

I will say, the album opener, “Carnivore” sets the mood brilliantly, it’s a proggy instrumental with lots of great guitar, but it’s when we move into the next few songs, and you start to get to where there are well-defined guitar solos…and you suddenly “hear” Dave, you KNOW it’s Dave just by the sound – and to my mind, the only guitarist that I think is similar to Dave, is the late, great Jimi Hendrix (but probably, the gentler, more melodic “side” of Jimi) – who is clearly, clearly a huge influence on Dave.  So when that first “Gregory” solo hits your ears – you are suddenly really paying attention, and it does not disappoint – instead, it reels you in, you want more – and you don’t just get more – you get a LOT more – more Dave Gregory guitar on this album than you will find on any three XTC albums ! And that is saying something…

The gentle, pastoral guitars of “Little Eyes” from “Scorch”, take you everywhere from an almost King Crimson “Discipline”-style “interlocking” or what I call “gamelan guitars” to fluid, beautiful, liquid Hendrix guitar solos – the whole effect is so uplifting, positive sounding – a brilliant track, “Little Eyes” gives you a very good idea of the basic quality of the album – it’s just a perfect little song – lovely.  It’s long instrumental outro, is a great showcase for Dave’s amazing guitar style, and in this solo, you hear him reaching for the stars – and finding them, sparks flying – just one of those so-perfect solos, that then merges perfectly right back into the rhythm of the song…seamless, timeless – beautiful.

Take someone like Dave Gregory, with his massive collection of amazing vintage guitars, his knowledge of how sounds were created in the past, and his ability to recreate very specific guitar tones by using particular combinations of guitars, amps and effects, add in his many, many years of guitar playing, almost always, as a lead guitarists in one form or another – and you have a mature, powerful, guitar-force-to-be-reckoned with: Dave Gregory; in 2014 – suddenly, I can hear the culmination of that career, a player at the top of his game, the craft of guitar is relaxed, confident, powerful – you can hear it – in the beautiful guitar solos that are featured in almost every track on “Scorch“.  Remarkable!  And really, really beautiful, too.

Get “Scorch” now, if you love prog, if you love pop, if you love guitar music, if you loved XTC, if you love the guitar work of Dave Gregory – heck, just get it – I bet you will like it! In Europe, you can get it from Burning Shed, in America, probably Amazon. This be rocking! I’m going back to listen to it again right now…ah…sonic bliss :-)

music for visuals – live sessions

I’ve spent most of my life concentrating on the audio side of music; gathering tools, learning techniques, practicing techniques, developing (hopefully) interesting sounds for the guitar, the guitar synth, and keyboards as well, via software synthesizers. And applications :-)

It’s always been about sound, how to get the best sound, which guitar, which amp, which devices, which processors, which looper. Or…which application.

And to a large degree, that will always be true – sound is the most important thing to music! They can’t really exist without each other.

Whatever your view, music is basically sound organised over time, and getting pleasing or beautifully harrowing or wonderfully dissonant sounds is something I have always loved – and always will.

However, I’d always wished that I could create a visual record of some of the performances, especially, live, improvised performances either just playing the guitar or guitar synth and/or keyboards, vocals, kaoss pad, etc. – and finally, in 2011, I acquired a decent video camera – and, because I am limited in what I can do in terms of playing live gigs – I decided to regularly film these improvs, and hope that some of them produced some interesting…audio.

So it’s back to the audio again, but suddenly, it’s 2014, August 2014, and I am now able to look back for almost three full years, at the videos shot, and the pieces of music recorded.

At first, I would record many, many takes, and only release one or two videos. As time went on, I tended to release a few videos from each session, in some cases, I have actually released an entire session, or, a good part of a session. In other cases, two of them I can think of off the top of my head, a video session produced music of such quality that I immediately knew it to be the basis for, or that it would form a part of, an upcoming album.

Those cases were, July 24, 2011, when I played almost the entirety of “The Haunting” album live on video (it was later combined with the already-existing title track – but the majority of the songs on the album – were recorded at this one, single session – totally live). August 20, 2011, was another very productive day, where several live tracks that eventually ended up on the “Gone Native” CD and download album, were also all captured live on both video and audio, all in one long session.

So the video sessions, which are available on the pureambientHD youtube channel, which were really just to capture a moment in time, began to create music that I could not have anticipated or planned – since they are all live improvs – and some surprising results, such as a ready-made album “The Haunting” or, a session that produces several tracks for an in-progress album (as the 20110820 session did for “Gone Native”.

Videos were also made for other purposes, such as for my own enjoyment, as an example would be videos created for my “ablackboxHD” you tube channel, this is intended to become an “anything goes” video channel, but so far, I’ve used it exclusively to perform peter hammill / van der graaf generator covers – because not enough people cover peter hammill or van der graaf generator.

I have long intended to take a closer look at the audio side of these videos, and the moment I began working to create “music for visuals – live sessions” I hit pay dirt – I found that the sessions from which my very first video, “St. Alia Of The Knife” came, actually had no less than 18 takes on it !!! I immediately found an alternate version of “St. Alia Of The Knife”, which I have titled “inside the keep (alia’s secret)” which I have mastered and is featured now as an outtake, on the new “music for visuals: live sessions” album. I am currently going through the rest of the session, to see what else might be worth presenting.

There are some startling pieces there – ranging from the very peaceful, ambient “oboe in clouds of reverb” of “St. Alia” and similar tracks, all the way to very, very loud metal guitar – basically, in this session, I am trialling patches on my then-brand-new roland gr-55 guitar synth, so there are a startling number of very, very different sounds on these 18 tracks.

I then looked at the folder for the second video I ever produced, “Folding Space” and I found a similar scenario played out – again, many takes made, only one released. So there will probably be a number of viable outtakes that can now be included on the new “music for visuals: live sessions” album.

There are two aspects to this, one is worthwhile but time consuming – in that, there is a lot of undiscovered, improvised music in these sessions, that’s not been heard or considered for up to three years; but of course, there is a hit in time, as I have to listen to them all, and clean up and master those that are worth preserving – the other aspect, is also worthwhile, and it saves time – because most of the video sessions already have a mastered, clean, audio track – I should not need to (in most cases) remaster the tracks – it should transpire that I can literally lift the audio masters, from the video build folders, which will mean – that once I reach sessions with few or no outtakes – that I will be able to populate this album with many, many tracks, quite quickly.

So I am hoping that this album will grow exponentially, at the moment, i am starting out slowly – I’ve recorded a LOT of videos, which are all still available on YouTube, but now, the “music for visuals: live sessions” album will be able to showcase all of the additional audio, the best of the outtakes from all of the video sessions – and, if memory serves – some of that music is quite remarkable.

Often, if a session goes well, it would be a tough choice – OK, I have ten good takes of this improv – and, I might have released them all, or, I might have released the best six, or, I may have, in the earliest days, only released one or two – which means there may well be up to EIGHT really fantastic alternate takes just waiting to be discovered…

And I suppose that’s the real joy of this project – finding and hearing music that was recorded three years ago – to my mind, it may as well have been thirty years ago, for all I remember it. Of course, once I hear the tracks, then I do remember – but initially, it’s very exciting, because I have NO IDEA what to expect when I press “play” !!! That is a lot of fun.

It’s a similar/parallel experience to cueing up old reel to reel tapes that you haven’t heard for 30, 40 years, and the surprise and occasional amazement you feel when you hear something that you played, but have no memory of – a very strange feeling, I can tell you!

Anyway, I am very, very excited about this album, because – well, you tube, beginning in may, 2011, has become my world stage – I’ve only managed a couple of live performances in the last decade, for a variety of reasons, but by filming and posting 100 percent live improvisations, listeners can see and hear me playing a variety of musics that hopefully, will be pleasing to the ear.

I am looking forward to a time when this album has many, many tracks, perhaps, hundreds (I know there will be a LOT of outtakes) and in a way, it’s like my “live album” – it’s the audio feed from live video takes made over a three year period – so it has more of a live feel, and it’s perhaps a more honest representation of how I play (compared to say, a studio album – nothing wrong with studio albums, but, they can sometimes lack a bit in immediacy – which is certainly not lacking from most of these live improvisations!) – it’s my ongoing live record.

Of course, much of what I’ve recorded elsewhere is also live, looping performances, solo guitar or keyboard performances, piano and vocal covers, kaoss pad loop improvs, energy bow guitar solos or loops, and so on – it just so happens, that I did not film on those occasions.

It’s interesting to me, I think that many / most musicians, tend to use the studio more than I do, to layer sounds, which I do also do, and I enjoy – but for me, perhaps due to my early involvement in Guitar Craft, I do not know – but for me, it’s always been about the live performance. I think I am unusual in that probably, in excess of 80 percent of my recorded output is 100 percent live. Maybe it’s closer to 90 percent – I do not know.

Don’t get me wrong, there is nothing more rewarding than a seriously considered multitrack “studio” song – witness “Wettonizer” or any other track from the “Gone Native” CD but in my case, those are few and far between – most of what I do is live, with the aid of the looping pedal, of course, but I don’t generally use pre-recorded loops – I do it all live, on the spot.

So I am hopeful that this three year long series of live videos, will produce a body of work that describes Dave Stafford as mostly, an ambient looping guitarist, who also does…other stuff. Loud stuff. Fun guitar. Rock guitar. Experimental guitar. Extremely Strange Guitar. All in a live setting, captured on film (but in many, many cases, the video was never made and never will be) but, the audio was captured and is available now, in 2014, to form part of “music for visuals: live sessions”.

I look forward to the next several months then, of digital archaeology; each time I open up one of those early folders, I never know what may tumble out! The first thing I found in the session for “St. Alia Of The Knife”, was a longer, slightly less ambient version, which I then mastered for the first time, and titled “inside the keep: alia’s secret” in honour of the original track – they are similar, but “inside the keep” is quite a bit more lively, and it includes some fairly wild guitar synth/oboe playing. It’s not perfect, but it sounds pretty good, and it makes a nice compliment to the original track.

The next track I am mastering, is so incredibly different to “St. Alia” it’s not funny, it’s a one minute demonstration of two of the wilder patches on the gr-55 guitar synth, which I’ve melded together and given the clever title of “metal synth lead / organ rock lead” – which is simply the two patch names combined] and it’s like a massive blast of raw noise after the two lovely, “reverberant guitarsynthoboe” tracks. It still seems strange to me, hearing myself switch from super ambient to super loud guitar mode at the drop of a hat, I do it a surprising number of times in a surprising number of sessions, many of which are meant to be primarily ambient or drone-like in nature – and then suddenly, after a really peaceful, relaxing, hypnotic piece of ambient music – you get this blast of heavy metal noise.

that will be the 15 year old Dave Stafford trying to escape from within the 50-something Dave Stafford, and sometimes, succeeding. I noted above that I don’t use pre-recorded tracks, and in the main, in 97 percent of cases, I absolutely do not – because I prefer to play the whole thing live, in real time, just to see if I can manage all those “threads” simultaneously. It’s a lot of fun, playing “all instruments”, live…and oddly enough, right now, I am in the middle of mastering and preparing a session from 20121207 – later christened as the “evolution” series, where I do just that – I play keyboards, kaossilator, distorted guitar, clean reverse guitar, ipad including iTabla, and various iPad synths – all to a running drum machine track. it’s very odd to hear myself doing a “quick change” a la Steve Howe, switching from distorted forwards guitar to clean reverse guitar and back again, repeatedly, without missing a beat – really fun to do.

I am thinking now, though, of another track with the rather silly name of “Big Rock”, this was a demo piece that was stored in the roland rc-50 looper, which I happened across, and I began selecting different roland gr-55 guitar synth voices, to play over this basic guitar, bass and drums “Big Rock” backing. While I never made a definitive version of this wild guitar jam, I know there are a few different versions of it lurking in the video archive, so hopefully, one or more of those will be useable for the album. It’s an absolute BLAST to play, just three chords, with a heavy rhythm section that does indeed, rock – so I would just solo in an incredibly free and wild way, and while imperfect, some of the existing takes are extremely exciting in content.

So without really trying, I hope I’ve given you some idea of what to expect from this new “music for visuals: live sessions” album, anything from:

• super quiet, intense guitar, ipad or synth loops – NOTE 4
• hybrid sessions where I play all instruments – NOTE 4
• distorted rock riffs or song fragments, using heavy distortion + effects – NOTE 4
• wild experimental jams featuring bizarre reverb and/or pitch settings – NOTE 3
• live ebow guitar loops similar to those I used to do back in the 1990s (I am thinking of the live session that produced “The Haunting” again here) – NOTE 4
• live loop performances using the korg kaossilator – NOTE 3
• live loop performances featuring classical and other bizarre sounding instruments via the roland gr-55 guitar synth – including “rich strings” loops with added ipad synths – NOTE 4
• lost piano and vocal performances and outtakes – NOTE 1
• “dream piano” instrumental improvisations – NOTE 6
• synthraga multiple apps controlled from an 88 key MIDI keyboard – with Indian itable, tanpura drones, and many different ipad synths soloing on top – all in real time – NOTE 4
• live loop duets of guitar synth and animoog (one of the best ipad synths) – NOTE 4
• live loops of almost anything musical or involving a guitar or guitar synth – NOTE 4
• fragments of instrumental songs from days past, played on the roland gr-55 guitar synthesizer, sometimes in old standard tuning, sometimes in New Standard Tuning – NOTE 4
• loops purpose built, using any number of instrument combinations (such as, for example, “scape” and ebow, or “animoog” and guitar synth “rich strings”, and so on) for the express purpose of creating very, very atmospheric, ambient music – NOTE 4
• a cappella vocal performances – ordinary or treated with effects – NOTE 1
• covers of songs by peter hammill, van der graaf generator, the beatles, todd rundgren, and others – usually, on piano and vocal, occasionally, on acoustic guitar and vocal – NOTE 1
• live performances, app synths, directly played on one ipad – NOTE 2
• live performances app synths, directly played on two ipads at once, using both hands – NOTE 2
• live performances app synths, directly played on three ipads, using one to produce a drone, and two to play on simultaneously, using both hands – NOTE 2
• live performances on the full size 88 key MIDI keyboard, driving various ipad applications or combination of applications, or, occasionally, using the onboard / internal voices of the keyboard – NOTE 5
• live electric guitar performances recorded using ipad apps (such as ampkit+ or bias) as amplifier, speaker emulation, and virtual effects chain – instead of a hardware set up, playing guitar through the ipad – NOTE 4
• live electric guitar performances through the pignose practice amp – NOTE 8
• live performances with the ipad using unusual ipad applications that do not have keys, strings or other ordinary means of triggering sound – for example, the “touch controlled” TC-11 synthesizer, which I have set up to play on two ipads – one for each hand, and, all sounds are triggered simply by finger or hand motions – a remarkable process – NOTE 2

NOTES:

1 see ablackboxHD for video examples
2 see applicationHD for video examples
3 see kaossilatorHD for video examples
4 see pureambientHD for video examples
5 see synthesizerHD for video examples
6 no current examples available as of this writing [August 2014] however, videos in this configuration have been filmed, they have simply not yet been processed, mastered or uploaded, so eventually, video and audio examples will become available.
7 no current examples available whatsoever, these are audio-only outtakes that will eventually be produced as part of the content upload for the new “music for visuals: live sessions” album – so, no video will be produced, but, audio examples will eventually become available.
8 planned future session, for which absolutely no video or audio examples exist at this time [August 2014].

The first five links above, in the “NOTES” key / explanation, are links to the five main “live improv” you tube channels we are currently maintaining. Each has a specific purpose, and each is meant to capture live improvs of certain types, so that similar works can be maintained together.

There are also two other you tube channels, not mentioned here, because they don’t contain live improvs, or at least, not contemporary improvs, and those are:

bindlestiffHD this you tube channel features the mostly live music of “bindlestiff”, a live / looping ambient duo from the early to mid-1990s, featuring my good friend and long-term musical partner, Bryan Helm – we’ve now formed a new group, to create new music with, called “scorched by the sun” – and our debut album is available on the “scorched by the sun” bandcamp page.

purescapes17 this you tube channel features recordings of “scapes” – ambient pieces created using brian eno and peter chilvers’ brilliant generative, ambient ipad application, “scape” – so in a sense, they are “live” – they were captured once, and that was it – so the first few tens of scapes, from over 1100 that I’ve created, are on the purescapes17 page.

And, just to confuse things even more, each one of these video channels has an audio equivalent, on the bandcamp site, and the bulk of my recorded catalogue, spanning a number of years, has now been uploaded to bandcamp for your listening / downloading pleasure….

I look forward to adding many (perhaps hundreds, who knows? – I certainly don’t) of tracks to this new eternal album, “music for visuals: live sessions” over the coming months (and knowing me, and long-term projects…over the coming years, I should really say!) – a voyage of discovery, and hopefully, I will find us all some items of interest to listen to – for all of you fans of many styles of ambient and experimental guitaring…this is the blog for you!! :-)

See links below for bandcamp sites (audio) and you tube (video) channels.

web: www.pureambient.com
twitter: @pureambient
blog: https://pureambient.wordpress.com/
facebook: http://www.facebook.com/pureambient
bandcamp: http://www.davestafford.bandcamp.com
bandcamp: http://www.bindlestiff.bandcamp.com
bandcamp: http://www.scorchedbythesun.bandcamp.com/

youtube channels:

pureambientHD http://www.youtube.com/pureambientHD
purescapes17 http://www.youtube.com/purescapes17
applicationHD http://www.youtube.com/applicationHD
synthesizerHD http://www.youtube.com/synthesizerHD
kaossilatorHD http://www.youtube.com/kaossilatorHD
ablackboxHD http://www.youtube.com/ablackboxHD
bindlestiffHD http://www.youtube.com/bindlestiffHD

SKYLARKING – XTC – a mini review – yes, the polarity, and a few other things, have been corrected!

Hello. This is a review of the re-released ‘Skylarking’ CD by XTC, written in a new style that I like to call, ‘stream of consciousness’. In headphones, my very first listen to the ‘new’ ‘Skylarking’. I hope you enjoy it. :-)

Ahhhh…..I am back now in “SUMMER’S CAULDRON” – drowning here, in actual, fact, sonically drowning in my headphones, at least! – with the insects buzzing in rhythm all across the sharpest stereo field of any version of “SKYLARKING” I’ve ever heard – from the moment the disc begins, I realise that ANDY PARTRIDGE is right – the original release does sound “thin and distant” – but that has now been sorted by original album engineer JOHN DENT, who, after discovering the album’s polarity issues, then applied just the right amount of 2013 technology to the problem, this strange problem of “incorrect polarity” – but whatever that really is, it’s been fixed, let me assure you – the backing vocals of “SUMMER’S CAULDRON”, so clear and clean, the vocal harmonies layered so beautifully, TODD RUNDGREN’S melodica part drifting beautifully through this wonderful, clear new mix – the insects and birds constant throughout, and then we are suddenly brought into “GRASS”, with its swaying, utterly beautiful violins introduction, one of COLIN MOULDING’S best pop songs, ever, from any album – and the guitars, finally, the XTC GUITARS have arrived – jangly, bendy, wonderful guitars – and there seem to still be some crickets lurking here and there in this song – with its double entendre about being “on grass” – lying on grass, or, is it lying on grass whilst BEING on grass – “the things we used to do on grass”…what a lovely tune, and when that big vocal harmony comes in near the end, and the violins switch back from pizzicato to legato – and then, the birds and insects return to help the feedback guitar to gently end the piece in their long fade out. Producer Todd Rundgren’s wonderful “musical” programmed birds and insects sound amazing throughout “SUMMER’S CAULDRON”, and then when they reappear at the end of “GRASS” in full, finally fading away so that we can all meet up in “THE MEETING PLACE” – this one is so, so quirky, but I love it, it’s just fantastic – with its gently moving up and down form, and that irresistible descending guitar riff, COLIN MOULDING supplying some wonderful PAUL MCCARTNEY style high register riffs as is his habit, and then “THE MEETING PLACE” gives away to ANDY PARTRIDGE’S ode to superwoman, “THAT’S REALLY SUPER, SUPER GIRL” – a fantastic and underrated piece of pop music, very complex background harmonised vocals, wonderful Electro-Harmonix phaser shifter style sounds, great effects on all of the vocals – this song is really all about harmony, and even counterpoint – the layering of main vocal, background vocals, and harmonising vocals is exquisite – and then, we get the first proper lead solo on the record, an absolutely snappy gem, ending with some truly sublime whammy bar bending, a super (sorry, there’s just no other word to describe it!) clean, super concise lead solo, the kind that XTC have become known for, ever since childhood friend and guitarist DAVE GREGORY joined the band, on their third album, the much lauded “DRUMS AND WIRES”. But now we are back to ANDY PARTRIDGE, and a song that has a very special place in my heart, as I spent many, many hours working up my own very special cover version of the song, for one of IAN STEWART’S wonderful XTC cassette compilations, this one entitled “SKYLACKING”. My version of “BALLET FOR A RAINY DAY” wasn’t meant to sound anything like the XTC version, I built the music for the song entirely out of ebow guitars, working in harmony, to emulate the pianos and guitars of the original – and then, I sang a very tenuous, uncertain lead vocal on top of the ebows – but, even if imperfect, working on this song just sent my admiration for XTC through the ceiling – the vocal arrangement, when those background vocals appear, and the amazing piano in the background, not to mention ANDY PARTRIDGE’S remarkable lead vocal performance – what an incredibly beautiful voice…and with the words “slow descending grey” a phalanx of violins introduces us to our next tune, “1000 UMBRELLAS” which features an all strings backing, very, very intense strings, which underpin Andy’s strangely agonised vocal, he seems at the point of desperation here, a huge contrast to the easy and beauty of the previous track, “BALLET FOR A RAINY DAY”, which just shows you how multi-talented he is – this vocal is practically a different persona – and then, hope returns at the end, the strings cheer up a tiny bit…Andy’s voice of desperation changes to beautiful pop mode again…and then suddenly, a slow ritard to our all-strings extravangza ending, and it’s the circus-accordion into to the bouncy, jaunty, and extremely fun “SEASON CYCLE” – “pushing the pedals on the season cycle – summer changed by autumn….” this piece is very, very PAUL MCCARTNEY to my mind, like something that belongs next to “GOOD DAY SUNSHINE” – but in this case, “SEASON CYCLE” has a curious central bridge section that is suddenly very solemn and serious, taking the mood down several notches briefly – before returning to the bright and wonderful refrain of this remarkable pop tune from ANDY PARTRIDGE. A very short silence now, for the first time, and suddenly, the incredibly powerful beginning of what may be my personal favourite track on the album, “EARN ENOUGH FOR US”, which every man seeking employment or a better job or a better paying job can instantly relate to, having a wife and family to worry about, but this age-old story here is told to the absolutely popping snare of ex-TUBES then-TODD RUNDGREN drummer PRAIRIE PRINCE, who plays drums on a number of these tunes (and completely kicks ass on this particular tune – it really is an amazing piece of drumming) – and this song, to me, is just THE perfect power pop song – it rocks, that’s all there is to it, it has a really strong drum part, and then, powerful, power-chording and lead guitar playing from both ANDY PARTRIDGE and DAVE GREGORY, a fantastic chord progression that the BEATLES would have been proud to use, it’s just an incredible piece of power pop / rock craftsmanship – and there a million reasons why it’s my favourite – COLIN MOULDING’S bass part is amazing, again, with those PAUL MCCARTNEY like high register sections, working perfectly with the drums – very REVOLVER-like at the end – this song just wakes me up, it’s bright, it’s message, while somewhat dark, is framed in the brightest of sounds – a wonderful dichotomy, and I can’t say enough good about this song. Amazing, beautiful vocals, too. “I’ve been praying I could keep you – and, to earn enough for us” – no sooner has it arrived, then the hopeful, beautiful pop masterpiece “EARN ENOUGH FOR US” has to end…leading into the a cappella start of “BIG DAY”, Colin’s foreboding warning to newlyweds everywhere, which while lyrically is not perhaps the most genius on this record, or as a song – this song still has a lot going for it, including that odd intro, which repeats during the song, which actually comes to a complete stop to allow this burst of harmonised “BIG DAY”S to repeat. I like the stop start feel of the track, it’s nice that it stops, and each time that vocal section plays, it gets odder and odder, the second repeat, a strong tremolo is applied to the vocals, and there are lots of lovely psychedelic sounds in the background…the tremolo then is applied to the verse itself – maybe it’s more of an auto-panner, difficult to tell sometimes, but a great effect nonetheless, this song is all about sonic imagery – and the sounds do evoke a lot of mental, visual images – so it succeeds wildly on that scale. The next song is one of the most eerie, beautiful songs that ANDY PARTRIDGE has ever written, with a vocal that is so remarkable, and has such beautiful effects applied to it – what an amazing piece of music is “ANOTHER SATELLITE” with it’s beautiful delay lead vocal, which then leads to other islands of different types of vocals, including some lyric-less “ta-ta” sounds, then, glockenspiel or similar arrives to accompany our spaced-out lead vocal, the rhythm is sort of drum machine, but with those big ringing, heavily chorused guitar chords ringing out in the background, it sound alive, not machine like – marimbas now appear, to tie up the verses – and then, a long outro of repeated choruses ‘don’t need “ANOTHER SATELLITE”…’ on and on into the distance, which then leads up to…the lovely (and for a time, the “omitted”) “MERMAID SMILED” a beautiful acoustic guitar number, with insane, high speed percussion courtesy of ex-TUBES percussionist MINGO LEWIS, another awesome musician who participates on this amazing album, due to the RUNDGREN-EX-TUBES axis of power. Meanwhile, muted trumpets, and intense bass part, and some just amazing melodic and chordal ideas, bring “MERMAID SMILED” inexorably to its all-too soon ending…but then, more MINGO LEWIS mad percussion begins another one of the albums standout tracks “THE MAN WHO SAILED AROUND HIS SOUL” – with its hippie flutes and jazzy piano and bass parts, this is just an odd, odd song, but somehow, it absolutely belongs here – and it also sounds incredibly “JAMES BOND” – high pitched strings, heavily-reverbed “spy” guitars – in fact a lot of cliché spy guitar here and there in this piece – and then back to those jazz breaks – it’s so odd – but I love it to bits, what an amazing and unique ANDY PARTRIDGE piece – MINGO LEWIS popping the fastest bongo solos you ever heard, PRAIRIE PRINCE’S drumming is insanely clever, a mad break in the middle, then, back to bongo’s and flute for the outro, with Andy singing a lone refrain of the title…an absolute classic, with a perfect spy ending. And then – the other controversial song on the album, the incredibly poignant, sad and musically perfect “DEAR GOD”, this song is the first thing I heard from this album, except, at the time, it was just a single, it wasn’t actually ON the original album, it has only been added in in later years (and some purists object to its presence on these later releases – this one included) but personally, I can’t imagine listening to the rest of SKYLARKING without it. In this short, pop masterpiece, ANDY PARTRIDGE has a long chat with GOD, and he challenges him on several burning issues, whilst amazing, Beatle-like TODD RUNDGREN strings drift in sheer beauty in the background, a great tune – fantastic string arrangement, and ANDY PARTRIDGE’S acoustic guitar and vocals are absolutely sublime – and then, a strident, powerful bridge, where ANDY PARTRIDGE seems fairly disgusted with GOD’S performance – and finally, to an ending that mirrors the song’s beginning, both the beginning lines, and the final line, both being sung by a young girl named JASMINE VEILLETTE that TODD RUNDGREN suggested for the part. The amazing GOD-questioning “DEAR GOD” is followed, suitably, by COLIN MOULDING’S remarkable song, “DYING”, which features among other things, a sort of clip-clop horse-like rhythm (but not quite) some fragmentary acoustic guitar chords, a serious bass part, and then, a beautifully arranged bridge, with lovely clean electric guitars, and a lot of beautiful ATMOSPHERE – and finally, a clarinet during the songs fade out, “DYING” is a song full of regrets, and a song full of forlorn longing, not wanting to end like his beloved relative did – “I don’t want to die like you…” – very, very serious subject, but a wonderful and rewarding song…sitting in the penultimate position on the album, “DYING” is followed by yet another COLIN MOULDING tune, the very unusual “Sacrificial Bonfire” – with yet another absolutely incredible, truly beautiful orchestral arrangement from TODD RUNDGREN, which in the middle part of the song, threatens to overcome the vocalist with its power and presence. Luckily, COLIN MOULDING holds his own throughout, the song is based around a very simple acoustic guitar and bass figure, but it then builds to a fantastic crescendo thanks to TODD RUNDGREN’S orchestral contributions. In 1986, when the album first came out, I admit, I struggled with both “DYING” and “SACRIFICIAL BONFIRE”, but over time, as is their wont to do, their particular magic has worked on me, and I eventually realised just how beautiful, and just how important they are to winding your SKYLARKING experience in just the right way – it can’t all be triumphant highs, and COLIN MOULDING provides just the right amount of sober realism to create a rounded, beautiful end block of two remarkable songs. The contrast between the writing and performing styles of ANDY PARTRIDGE and COLIN MOULDING has always been one of the most important aspects of why the music of XTC is so successful – they each write in a very individual style, but by gracefully peppering a bunch of ANDY PARTRIDGE tracks with a smaller number of COLIN MOULDING tracks – you end up with the perfect masterpiece pop album – and SKYLARKING is damn near perfect in every way – I can’t think of a more consistent, more creative, and frankly, more beautiful pop extravaganza – 15 remarkable tracks by two writers who over time, have become national treasures in Britain – I just wish they were still writing together. So – SKYLARKING – Polarity Corrected version – get it- you won’t regret it. A beautiful setting-straight of the record, this is the way it was meant to sound, and, the way it was meant to look – and now that Andy has the rights, he has set right a grievous error, the release of the thin and distant, incorrect polarity version, from 1986 through to 2014 – it’s now, in 2014, finally “right”. Enjoy the fruits of ANDY PARTRIDGE’S labours: a new, improved, thick and lustrous SKYLARKING. :-)

“under the influence” (beatlesque)

I wanted to take a little time to try to give some indication of the vast scope and reach of the influence of the Beatles, and in particular, their influence on other musicians.  This has inspired everything from direct Beatle parodies such as “The Rutles” (featuring Neil Innes and Eric Idle) to tracks that sound very Beatle-like (such as any number of Raspberries, Badfinger, Todd Rundgren, The Move, Roy Wood, Knickerbockers, songs – and many, many others – see lists below) to whole albums of Beatles tribute (such as Utopia’s brilliant and very musical Beatles spoof album, “Deface The Music”, from 1980).

Even the world of jazz was invaded by the music of the Beatles, from Wes Montgomery and other guitarists of the day, inventing their own jazz versions of Beatles tracks, or someone of the stature of Ramsey Lewis, making, in 1968, an entire album of Beatles covers, all taken, amazingly, from the Beatles then-current 1968 “White Album” – in a completely unique and extremely jazz way.

Awesome inspiration, across all genres of music – the music of the Beatles actually can be called “universal” in its appeal, given the strange and disparate characters who breathe new life into a huge, huge range of covers and tributes and sound-alikes, from the very ordinary covers, to the truly bizarre spoofs, jokes and odd variations that abound the world over – everybody under the sun has had a crack at covering a Beatles song – and some go much, much further, either creating amazing near-carbon copies of Beatles songs (such as 1976’s “Faithful” album by Todd Rundgren – his “faithful” version of “Strawberry Fields Forever” is exquisite) or creating music that sounds so much like the Beatles, that it is actually thought to be by the Beatles (for some unknown reason, “Klaatu” was one such band, where folk thought that it was actually the Beatles, performing anonymously six or seven years after they had broken up…but, it was not).

For my money, there are other artists who create original music that is much, much closer in content and feel than the music of “Klaatu” (but, don’t get me wrong, “Klaatu” are a remarkable, very capable, and very interesting band to listen to – and, little-known fact, they are the actual authors and creators of the original version of the Carpenters’ hit single, “Calling Occupants (Of Interplanetary Craft)” – not too many people know that in that case, the Carpenters were doing a cover of…“Klaatu” !

I think, though, that in many ways, that the Beatles, and to a somewhat lesser extent, The Beach Boys, had a huge influence on musicians all over the world.  From Apples In Stereo to XTC, there are so many musicians, including some pretty unlikely characters, that have either covered Beatles songs faithfully (or unfaithfully in some cases), or have created either songs and/or albums of songs that mirror, mimic or even mock, the sound of the Fab Four.

I think that it’s very true what they say, that imitation is the sincerest form of flattery, if that is true, then the Beatles have been flattered until they are completely flat, because so, so many musicians have cited them as a major influence, and have unashamedly copied their songs, their sound, their harmonies, their guitar playing, their bass playing, their song structures and so on – and the list of people who do cite the Beatles as a musical influence is just simply too long to print in this forum.

What always surprises me is the number of extremely progressive musicians who claim a serious Beatle influence, when you listen to the music of a band like Yes, or King Crimson – you wouldn’t necessarily immediately think “Beatles” – but Yes were obviously fans of the band, in the early days, they covered the Beatles “Yes It Is”, and I believe that both Steve Howe and Chris Squire have said they are fans of the Beatles music.  Robert Fripp has also acknowledged the influence of “Sgt. Pepper’s Lonely Hearts Club” band on him upon hearing the whole album on his car radio one fateful evening, and Beatles references are embedded, sometimes deeply, into the music of King Crimson – “Happy Family” from the third Crimson album, “Lizard” is an unconcealed tale of the Beatles breakup, penned by then-Crimson lyricist Peter Sinfield.

So sometimes, there are Beatle-influenced bands and musicians, where the music made by those musicians, music sounds nothing like the Beatles to our ears – but for them, the Beatles still loom larger than life, buried deep in their internal, musical DNA – just waiting to get out, in the form of new songs that are about the Beatles, influenced by the Beatles, or simply sound like the Beatles, intentionally (usually) or not (occasionally).  Perhaps yet another splinter-list should be “Songs That Sound Like The Beatles But Their Composers / Performers Did Not Intentionally Try To Sound Like The Beatles – It’s By Complete Accident” but I feel that my already non-legendary non-skills as a list producer have already fallen flat, and that’s too complicated for me to work out who did or did not “intend” to sound like the Beatles!  I don’t think I can write that list – but if you can – please do, and please send it in, and if it’s complete enough, I will post it here.

Speaking now as a guitarist, I don’t think I’ve ever met a guitarist who did not care for the guitar playing of  John Lennon or George Harrison, nor have I ever met a bassist who did not respect the massive skills of Paul McCartney on the bass guitar – the absolute, indisputable master of melodic bass playing – and when I listen to Chris Squire play, I do hear echoes of Paul McCartney’s style in his playing – especially the “high register” bass work.  This famed skill at playing beautifully in the higher and highest pitch ranges of the bass guitar has been imitated by many, but for me, well, it’s Todd Rundgren’s “Determination” that showcases this technique in an incredible way (see below for more on “Determination” ).

The same can absolutely be said for drummers admiring Ringo Starr, everyone knows that Ringo is not a “flashy” drummer, he doesn’t often “show off” but what Ringo has that many, many drummers do not have, is the steadiest tempo imaginable, and, a sense of when to play, and when not to – he always provides just the right amount of percussion to any given song, never overplays – just what is required.  This is borne out when you hear live sessions by the Beatles, while John, Paul and George make error after error in the earliest takes of any given song, it’s rare indeed to hear the almost metronome-like Starr make an error.

Even guitarists who also play bass get the whole “Paul McCartney high-register bass playing” concept, as can be evidenced by the multi-talented Todd Rundgren, from his 1978 solo album “Hermit Of Mink Hollow”, there is a brilliant track called “Determination” , which not only features pitched up, trebled up, “jangly guitars” but a beautiful, beautiful, McCartney-esque bass line, that just pulls the heartstrings as it flies beneath the open chords, beginning in the high register, and then sweeping down to become a bass again – McCartney’s early adoption of unusual styles such as playing bass melodically, playing bass in the very high registers, or playing bass in any number of innovative ways, not always melodic – playing with his low E string slightly detuned (as in the song “Baby, You’re A Rich Man”) or, playing the low E string so hard that it detunes as he plays (as can be heard in parts of the song “Helter Skelter”)  – has not gone unnoticed by Todd, and any number of other McCartney imitators.  Speaking of McCartney imitators, Eric Carmen and the Raspberries also recognise the genius of the Beatles front line which is evidenced by songs that closely resemble Beatles songs in form and content, lyric and guitar styles.

I wish more drummers were like Ringo, well, there is one that immediately comes to mind – Zak Starkey, Ringo’s eldest son.  Zak is a remarkably talented drummer in his own right (I was fortunate to see him perform with an early incarnation of “Ringo Starr’s All Stars” (a show which also happened to feature the above-mentioned Todd Rundgren) and, hearing Zak and Ringo Starkey nail the complex drum part of Todd’s “Black Maria” live was absolutely fantastic – Zak made it his own, but carried the band of mostly older musicians, through the set with his unshakeable rhythm, and he has certainly inherited Ringo’s steady hand – but Zak is also a thoroughly modern drummer, and in some ways, he goes far beyond his famous dad – which is what you might expect – I mean look at Jason Bonham, it’s the same thing, drummer with a famous drummer dad, and with that burden of being the son of a legend, they try that much harder to sound unique, and go beyond the “oh, he’s the son of Ringo…” or “oh, he’s the son of Jason” – and I am justifiably proud of both of them, for carving their own musical paths, and not relying on “dad” for their fame or ability, but making it on their own laurels.

witnessing one of the variations of “Ringo Starr‘s All-Starr Band”, on the 1989 tour featuring Todd Rundgren, it was remarkable to see Zak take sole control of the drums when Ringo went front and centre to sing, so for some of the classic Beatles songs that the band played, it was Zak on the drums rather than Ringo himself, but it absolutely mattered not, Zak did an amazing job on tracks like “With A Little Help From My Friends” and “It Don’t Come Easy” – and at other times, father and son played together, and that was truly a joy to see – amazing !

Two generations of Starkey’s, doing what they do best – playing the drums, and playing the music of the Beatles too – among other items from the various band members such as the aforementioned Todd cover – and “Black Maria” live  with Zak AND Ritchie Starkey is not something I shall forget any time soon – fantastic”!

And, because it was Todd’s big moment, Ringo was free to join Zak on drums, so it was the pair of them behind Todd – and you could see in Ringo’s face how much he enjoyed playing the song (I believe it was included in the set list, because Ringo always had liked the song, so much so that he insisted that it be the “Rundgren” moment in the concert – it being his favourite track off of Todd Rundgren’s seminal 1972 album, “Something / Anything”) and Zak was just head down getting on with the drum part – and that is the only time I’ve ever seen the song performed with two drummers – and if those drummers are Ringo and Zak Starkey, you know it’s going to go well – and it was an excellent cover, absolutely spot-on, and a real highlight of the show.

I don’t think anyone can argue that the Beatles had a very, very significant influence on musicians of many generations, and new generations of players are discovering the Beatles anew even now, in 2014, and are translating their experience of hearing Beatles material into their own new “musics” – so the process continues, of hearing songs influenced by the Beatles, even in new music created by young musicians – because, in 2014, maybe they just heard “Revolver” for the first time, and it absolutely blew their minds – just like it blew our minds back in 1966 when we (now, unbelievably, now we’re the “older generation”!) first heard it.

And – it’s undeniable – this is unforgettable music, genius music from the writing to the playing to the singing and even to the packaging – Beatle imagery is also something that has been oft-copied, and some of their most famous album cover designs have been copied again and again by so many bands.

Some of those copies are more on the side of parody, for example, Frank Zappa & The Mothers of Invention classic Beatles parody, made not that long after the original came out, “We’re Only In It For The Money” is directly made to look like a bizarre “version” of “Sgt. Pepper’s Lonely Hearts Club Band” and in some ways, the cover is the biggest part of the joke – the music on the album (which is brilliant, by the way – one of my favourite early Zappa / Mothers records) is not nearly as important to the parody as the album design was.  But the whole effect is…kind of hilarious :-)

In particular, some of the most famous Beatles album covers, such as the “bendy” photographs of the band that graces the cover of their innovative “Rubber Soul” album have been imitated by many other bands, time and time again.  Even in the earliest days, the unusual photographs of photographer Robert Freeman (as in, the classic shot of the Beatles silhouetted against a dark background) as on “With The Beatles” (UK) or it’s US counterpart, “Meet The Beatles” has been copied many times over the last few decades.  But revolutionary cover art is difficult to come up with, so bands just borrow from the best…The Beatles.

No article about Beatles’ influence would be complete without mentioning two gentlemen from different eras of pop music, firstly, the ridiculously talented eric stewart of 10cc, who has performed Beatles songs live in concert with 10cc, and also has an undeniable streak of “beatlesque” harmony and sound on various tracks throughout the long career of 10cc – the best example is probably part 1 and part 3 of 10cc’s pop opus, “feel the benefit” – very “dear prudence” if I don’t mind saying so myself :-).  the other gentleman in question is from a couple of decades later, from the 1990s and beyond, and that is Jason Falkner; unwilling conscript into pop genius band “jellyfish”, after he escaped their clutches, went off on a very successful if low-key solo career – and again, the sound of his vocal harmonies, the beautiful chord progressions in his music tell me one thing: he, like Eric Stewart before him, is under the influence of the Beatles.  Personally – I cannot get enough of the music of 10cc or Jason Falkner, two generations apart, perhaps, but, united in their love for Beatle harmonies, jangly Beatle guitars, beautiful Beatle chord progressions, and even Beatle-like lyrics.

I started out writing this edition of the Beatles’ story by trying to create various lists of bands that sound like the Beatles, and then, albums inspired by the Beatles, and I was really only able to touch upon a very few – I know that I have missed out so, so many – and everyone has a different “take” on what bands sound like the Beatles, what albums are directly or indirectly inspired by the Beatles and so on.

Regarding my attempts at filling in these lists – I am ultimately not satisfied by my primitive attempts at “list-making”, and in searching the Internet for valid lists of bands that sound like the Beatles, I kept finding lists that made no sense to me, personally – that would always include every big rock band of the day, so it would always be “Pink Floyd”, “The Who”, “Jimi Hendrix” – and I don’t think any of those bands sound like the Beatles at all !  Yet, site after site would cite (ha ha, get it – site – cite) Hendrix or Pink Floyd as a Beatle sound-alike – but I cannot bring myself to agree with this, yes, Hendrix loved the Beatles, he played bit of Beatle melody in the middle of his own songs, he covered many Beatles songs – but, he doesn’t really SOUND like the Beatles, does he?  Maybe very vaguely, on a song like “Crosstown Traffic” perhaps – but, I’d say, if anything, that Hendrix influenced the Beatles, as much or more than the Beatles influenced Hendrix.

Jimi Hendrix sounds like…Jimi Hendrix, and no other, really – he is utterly unique.  Hendrix did absolutely love the Beatles, and would indeed, often insert a perfect bar of George Harrison lead guitar, into one of his own original songs, in live performance – and then give a little laugh, like it’s an “in-joke”  – “here’s a cool melody that I nicked off of the new Beatles disc, it’s called “Revolver…”.

As for Pink Floyd, it would take some real convincing for me to add them into the list –  I love a bit of early Floyd as much as anyone, but I do not hear echoes of the Fab Four in their music (you saw what I did there….”Echoes”…Pink Floyd – and, it was completely unintentional!) I am afraid I just don’t get it, these constant references to Pink Floyd sounding like the Beatles – maybe they are talking about the odd Syd Barrett track, I don’t know, but it just doesn’t seem right to me….so I did not add them in :-).  Yes, the Beatles and Pink Floyd did both play psychedelic music, but it was very different in nature – so, no, I don’t see the connection, musically.

So – please send in your additions and corrections to any of the lists, and I will update them periodically to reflect world opinion – I am not a Beatle expert (although I have read extensively about them, in particular, I started out years ago with Hunter Davies’ remarkable biography of the Beatles;  in later years,  I’ve studied the remarkable works of Mark Lewissohn, whose “The Beatles Recording Sessions” is like the Bible, to me, one of my most cherished and most often re-read Beatles information sources).

I will read anything and everything written about the Beatles, even now – and I cannot possibly compile complete lists of the type I am presenting here, so any and all input from readers would be much appreciated – please comment, and in your comments, submit corrections or additions to any of the lists, and every few months, I will compile all of the comments and update the lists – so over time, maybe, these lists will become relatively complete – which would be great, because we would be creating a useful, accurate, and complete Beatle resource – or rather, a resource of bands and albums that SOUND like the Beatles, anyway – why not?

Meanwhile, on the subject of the Beatles music, I’ve been very happily really enjoying my two latest Beatle purchases: from 2013, the two-double-CD “Live At The BBC” – volume 1 (from 1994) completely remastered, and a new volume 2 entitled “On Air” which is a fantastic addition to this wonderful series – four CDs chock full of radio performances, studio out-takes, and the Beatles chattering – a fantastic Beatles music resource, of early live tracks and one demo, and at this point I say, thank God for the BBC !  Luckily, they kept all of these Beatle recordings, so now they have been compiled for future generations to enjoy.

My other purchase, “The U.S. Albums” is a 13 disc monstrosity, but hearing the albums in the U.S. running orders for the first time since I was a child, is just remarkable – even though John Lennon condemned Capitol for messing with the Beatles’ carefully considered running orders, the odd, arbitrary, Capitol-created running orders are unfortunately for we Americans, what we grew up hearing, so even now, I am still startled by the UK releases – because the songs don’t arrive in the order my brain expects they will.  So now I have complete choice – if I want the real thing, I consult the Stereo and Mono boxes from 2009.  If I want the Capitol versions – I consult the US Albums from 2014 – very exciting stuff for Beatle-maniacs such as myself :-)

The last time I bought this many Beatles CDs all at one go, was in 2009, when the long-awaited stereo and mono re-masters appeared – and of course, that was an essential purchase. Following that, though, I am truly amazed, and at the same time, very grateful indeed, that in 2014, I can almost casually pick up 17 “new” Beatles albums – four from the BBC, and 13 from Capitol – and that just makes my Beatles catalogue so much more complete and containing even more variations on their remarkable catalogue of music – beautiful, rockin’ Beatle music.

So we’ve gone down an alternative path this time, a path taken by the many, many musicians who revere the Beatles, and admire their music enough to copy it exactly, partially, or, some aspect of Beatle music has entered into their own songs, anything from a guitar riff to some high register bass work of a melodic nature, or a steady Ringo Starr back beat – so sometimes, you may have a completely unique song, but there is a section of it that REALLY recalls the Beatles very strongly – so, five percent of the song is 98 percent Beatle-like – but, the REST of the song is not !

As a musician and a guitarist, I do hear a lot of these “stand-alone” Beatle moments, it might be a few bars of music in a Jason Falkner or Michael Penn pop song that strongly remind one of the Beatles, or just a 10 second passage in a song on the radio – you hear “Beatlesque” bits of music almost every day, and I am often fascinated by them, sometimes, you work in your mind to try and figure out which Beatles song or songs is being referenced – sometimes it’s obvious, sometimes, it’s impossible to determine – but you do know, just by hearing, when something has the quality of being “Beatlesque”.

 

Lists Of Bands That Sound Suspiciously Like The Beatles

 

Bands Or Artists That Always Sound Like The Beatles:

The Rutles

Bands Or Artists That Often Sound Like The Beatles:

Badfinger – an Apple band

The Knickerbockers

James McCartney – son of Paul McCartney

The Move – featuring Roy Wood

Raspberries – featuring Eric Carmen

The Swinging Blue Jeans

 

Bands Or Artists That Occasionally Sound Like The Beatle

10cc

Apples In Stereo

The Bears – featuring Adrian Belew

Adrian Belew (ex-King Crimson) – solo artist

Electric Light Orchestra – featuring Jeff Lynne

Jason Falkner (ex-Jellyfish) – solo artist

Dhani Harrison – son of George Harrison

Jellyfish – featuring Jason Falkner

The Kinks

Klaatu

Julian Lennon – son of John Lennon

Jeff Lynne – Electric Light Orchestra – Harrison’s producer /  member of Traveling Wilburys

Aimee Mann – solo artist

Bob Mould (ex-Husker Du) – solo artist

Nazz – featuring Todd Rundgren

The New Number 2 – featuring Dhani Harrison – son of George Harrison

Andy Partridge (ex-XTC)

Michael Penn – solo artist

Michael Penn & Aimee Mann – couple (they did an incredibly lovely cover of “two of us” – gorgeous track)

Todd Rundgren – solo artist

Teenage Fanclub –  Scottish pop band

Utopia – featuring Todd Rundgren

Roy Wood (ex-Move) – solo artist

XTC – featuring Andy Partridge

 

Bands That Sound Suspiciously Sort Of Like The Beatles

Oasis – (in their dreams, anyway!)

Tame Impala

 

Albums That Are Directly Inspired By The Beatles

Fresh – Raspberries – 1974

Faithful – Todd Rundgren – 1976 (all covers album, including Beatles covers)

The Rutles – The Rutles – 1978

Archaeology – The Rutles – 1996

Deface The Music – Utopia – featuring Todd Rundgren – 1980

We’re Only In It For The Money – Frank Zappa & The Mothers of Invention – 1968

- visual parody of Sgt. Pepper’s Lonely Hearts Club Band

 

Well-Known Known Admirers Of The Beatles – Musicians

Jon Anderson (ex-Yes)

Adrian Belew (ex-King Crimson)

Eric Carmen (ex-Raspberries)

Robert Fripp (King Crimson)

Liam Gallagher (ex-Oasis)

Noel Gallagher (ex-Oasis)

Steve Howe (Yes)

Eric Idle (ex-Rutles)

Graham Gouldman (10cc)

Jimi Hendrix (may he rest in peace)

Neil Innes (Rutles)

Aimee Mann (solo artist)

Andy Partridge (ex-XTC)

Michael Penn (solo artist) – brother of Sean Penn

Todd Rundgren (solo artist) – w/Nazz, Utopia

Chris Squire (Yes)

Eric Stewart (10cc)

Alan White (Yes)

 

Please – agree or disagree with my choices; send in additions, recommend deletions, recommend changes – and if there is enough input, I will periodically re-published updated versions of any Beatles lists that have appear in this blog series based on your input.

Meanwhile, maybe there are some artists noted here that you were not aware of, that have obviously studied the music of the Beatles and learned from it, and I am always happy to listen to any musician or band that sounds like the Beatles – so, if I have missed any truly obvious ones – please let me know, and again, I will update the list, too.

Happy listening – the influence of the Fab Four runs deep, traverses the entire globe, and only seems to be on the increase over time, as successive generations re-discover their music (often prompted by their parents, but still…) and then integrate parts of it into their own new kinds of music – a process that I hope goes on forever.

Nothing would make me happier, “in the year 2025” (another 60s pop joke for the older folk in the audience!!), let’s say, to hear a brand new song on the radio that sounds very original, but, completely Beatlesque at the same time – that would please me no end, because we then will know – young people are still listening to the greatest rock band that ever was – the fabulous Beatles – and they rock!!

I don’t know about you, but I am definitely under the influence of the Beatles – always have been, always will be – my favourite band from childhood, the first band I truly appreciated, and in actual fact, I literally “grew up” with them and their music, it’s a joy to still be listening to them now, in the year 2014, and feeling just as happy about it as I first did back in 1963, when I must have heard them on the TV, on the Ed Sullivan show – being only five then, I don’t directly recall it, but as it was repeated on TV every year or more often every year thereafter, I feel like I do remember it – and I do remember their later TV appearances directly.

What a remarkable group, and what a remarkable influence they’ve had on a remarkably talented group of very respectful and creative musicians – my peers I am proud to say, who also “grew up” with the Beatles.  There’s no better way to end up “under the influence…”

universe of sound (the komplete world)

after forty-odd years in the music business, we decided at the start of this new year, that we would acquire a software suite called komplete 9 ultimate for use at the pureambient studio. the software comes from a remarkable german company called “native instruments”, who are truly the masters of sampling technology – and a few other things, too –

 

KOMPLETE 9 ULTIMATE – OVERVIEW & PRE-APOLOGY

 

this acquisition was intended to fill a few glaring omissions in our capabilities, such as proper strings, horns, basses, percussion, and so on, as well as providing the main elements for extending the classical music that we began releasing last year on the eternal album “classical”. this tool will allow for a speedier construction of classical pieces, rather than relying on the more piecemeal approach used on my first piece of classical music, “concerto no. 1 in e minor for oboe and guitar” – which was constructed almost line by line, using nothing but a guitar synthesizer.

 

as well as supporting classical music over the coming years, komplete 9 ultimate is also a natural for, and is eminently suited for, the production of music for films, which is another area that we hope to expand into over the coming years. this acquisition also bolsters the worlds of ambient music, as well as pop, rock, funk, jazz, and countless others – it’s hugely supporting in all genres, especially ambient.

 

we’ve only been using it for a short while, but already, we can see the enormous potential that this software suite has for adding quality sounds to the pieces that we create here.   and, it’s infinitely expandable, too, native instruments have purchased third party sound libraries and bundled them into komplete 9 ultimate, but you can also purchase other third party programs which you can play using komplete 9 ultimate “kontakt” sample player. so we will also be looking to acquire some of the best ambient libraries, which will also greatly expand our capability.

 

before I speak more specifically about what komplete 9 ultimate can do musically, I’d like to apologise to all early adopters and those who own komplete 9 ultimate or “kontakt” or both, I freely admit I am an absolute novice, I’ve been studying the suite in detail, learning the processes, slowly, over the past few weeks, and I do have a basic understanding in principle for most of what can be done with komplete 9 ultimate.   forgive me in advance if I say anything that shows just what a rookie I am at this, or I otherwise put my foot in my mouth – learning something like this can be a somewhat slow and painful process, even more painful when you are no longer young as I am. and – komplete 9 ultimate users – feel free to jump in and correct me, or offer advice or expand on anything I mention here – we are all of us learning at all times…and it’s best to share such knowledge freely.

 

my friend and collaborator ken mistove, my partner in saffron matted voids (the band), is a long time “komplete” user (I am talking about really long time – ten years! – and he has been doing electronic / digital music for longer still), and he warned me that I would be overwhelmed by this program – and, he could not have been more correct. in fact, weeks after it’s arrival, I continue to find more and more incredibly well-thought-out functionality, as well as becoming familiar with the synthesizers and the sample content. and it is almost totally overwhelming – it seems, almost, as if there is nothing this device cannot do…everywhere I turn, everywhere I look, I find something else that makes my jaw drop…

 

 

 

KOMPLETE 9 ULTIMATE – THOSE AMAZING SYNTHESIZERS

 

[ULTIMATE INDEED!]

 

 

so – where do I begin?   well, when it came down to it, even though I was incredibly excited about the sample library, and the sample player (which allows multiple instances of many, many instruments in one session – I had fourteen instruments loaded into a session yesterday, and the software coped beautifully) – it was the synthesizers that I gravitated to initially – because, perhaps, I knew they would be easy to set up and use – familiar. before we purchased komplete 9 ultimate, I had read in detail about the synths, so I couldn’t wait to hear them in person – and I was right about the ease of set up and ease of use: within seconds, I was up and running with “absynth”, a personal favourite synth that seems to favour ambient and atmospheric sounds.

 

but “absynth” is a drop in the bucket, a handful of stars in this incredible universe of sound, and while it features hundreds and hundreds of truly beautiful preset sounds, it’s just one of nine synthesizer models built into komplete. the entire list of available synths looks like this:

 

  • absynth
  • fm8
  • massive
  • monark
  • razor
  • skanner xt
  • reaktor (modular synth system – containing many synths)
  • reaktor prism
  • reaktor spark
  • retro machines (which contains no less than 20 classic synthesizer instruments within)

 

so far, I’ve only truly managed to hear and use five of these synths, absynth, fm8, massive, reaktor prism, and retro machines, but even so, I’ve been utterly impressed with the build quality and the amazing attention to detail – this is precision german engineering like we used to have back in the 60s and 70s!

 

I have created a few test pieces in absynth (consequentially falling in love with it); I created an entire suite of 23 pieces using the fm8 synthesizer dave stafford – music for pcs: komplete synths”, I’ve created one very complex ambient piece (which is incredibly atmospheric) using massive “wanders down to the sea”, and for fun, I’ve played some of the classic organs, electric pianos, etc. in “retro machines” – “synths within a synth” which is a strange way of working, but I am getting used to it :-)

 

in every case, the attention to detail, and the extremely fine level of control over sound in every one of these synths, has been overwhelming and most, most welcome. I have a lot of soft synths, but this collection of nine software synths kind of…blows away the competition, and as my friend ken mistove also said: “you will never need to buy another instrument” – and I can already see the truth in that.

 

while I might not “need” to, of course, there will still be some cases where I will “want” to – I am especially interested in some of the available third party ambient sample libraries, but that will have to wait – in the meantime, I have an awful lot to learn and trial just with the komplete 9 ultimate package itself.

 

after my initial very positive experience of playing and using “absynth”, I moved on to “massive”, and I decided to lay out and record a track using four instances of “massive”, each set to a different sound – and I then did a somewhat clever arrangement where I muted sections of each track, to allow other parts to shine through, creating a sort of ever-changing mood – a dark mood, with the sound of wind and seagulls crying and a vision of a bleak, grey storm-tossed day – again, I was amazed at how quickly and easily I could set up four instances in my host (my somewhat antiquated SONAR 8.5) and it coped beautifully – no problem.

 

I also created a short ambient piece within “reaktor”, using the “reaktor prism” synth; a portion of this track remains, entitled “fragment of a lonely molecule” – a truly beautiful sounding synth, which I plan to revisit often and use much, much more…

 

encouraged by the success of “wanders down to the sea” in “massive”, I then turned my attention to “fm8”, in which I created a whole series of tracks (“the rings of saturn”) from “dave stafford – music for pcs: komplete synths”, as well as some arranged “suites” where I took a set of smaller files and mixed them into long, linear sequences – providing a blended view of the basic tracks, as opposed to the individual view of each piece.

 

a few hours later, I realised I had created no less than 23 tracks using “fm8”, and I am so enamoured of this synth, it has a lot of great, visceral sounds, and a lot of charming, melodic, or dissonant, or strangely jazzy, arpeggiators, and the sheer range of voices available within fm8 is mind-boggling. It was a fun session, and as such, I made the decision to create two eternal albums for komplete: one for “komplete synths” (LINK) and one for komplete samples (LINK).   These have both been up and running for a couple of months now, and while the “komplete synths” album has a reasonable number of tracks, I’ve been very slow to create using the “samples” – but, I will get there, I will – I just need time! :-)

 

the 23 tracks made with “fm8” and the one piece made with “massive” “wanders down to the sea”, are all uploaded to the “dave stafford – music for pcs: komplete synths” eternal album. I plan on working with each of the synths in turn, and uploading the results, so you can hear what each one of these remarkable sound creation tools can do. If I have my way, by the end of this year, the “komplete synths” eternal album, will have dozens of tracks made with a myriad number of available synths – and I hope I can just keep creating and creating – those are 9 amazing synths, each a master of the domain it covers, and I can’t wait to create more music with all of them – the synthesizers built-in to komplete 9 ultimate are absolutely brilliant!

 

THE HIDDEN GEM WITHIN KOMPLETE 9 ULTIMATE – GUITAR RIG 5

before I continue on to the samples section, I must not forget to mention one of the biggest selling points of komplete 9 ultimate, for me, which is the presence of “guitar rig 5 pro” – I had been underwhelmed by an earlier version of guitar rig, which I got bundled with SONAR, “guitar rig 3”, so I’ve now uninstalled that and I am using “guitar rig 5 pro” instead.

 

what a difference. the preset library is vastly improved, and the range of effects, and the flexibility provided in setting them up in the rack, are simply astonishing – to me, this is one of the most important pieces of guitar software to come along. so after working with the synths, purely for fun, I recorded a handful of pieces using “guitar rig 5 pro” – and I am more than impressed with the sound quality and the presets – it’s an awesome and powerful guitar amp and speaker cabinet emulator, and it has a huge range of high quality guitar effects as well. a couple of these pieces may see the light of day, but they were mostly for reference, and just a way of trialling certain patches and sounds.

 

this is now to the point, since “guitar rig 5 pro” is clearly superior to many guitar processing devices in both the hardware AND the software arena – I am at the point, where I can now happily retire my ailing “line 6 x3 live” hardware pedalboard guitar effects processor, which is now basically redundant (it has served me very well since 2008, but it’s now time to be retired at long last).

 

because I can pretty much re-create every sound in the line 6 using “guitar rig 5 pro” instead, and more – so that’s actually a blessing – no more effects on the floor (although I will always have my faithful “output chain” of hardware effects, harmonizer, delay, reverb at the end of my signal chain) I believe I will now use “guitar rig 5” for most of my guitar sounds, and anything it can’t handle, I can program into my gr-55 guitar synth – so guitars, and guitar signal processing – are covered! and I mean…covered.

 

it’s always very difficult, because over time, you have various tools that you use to record guitar or synths with, and eventually, better tools come along. and, you can run both old and new, that’s not an issue, if you want to – but my preference is to keep effects units down to a dull roar – so I am going to TRY to retire the line 6 x3 live – I mean, it is six years old, which in dog years, is, I don’t know, 70 years or something – and technology has moved along SO FAR since the X3 Live was designed…

 

so for the first week of my fledgling native instruments life, I learned about the synthesizers and I learned how to run “guitar rig 5 pro” – and that was a huge amount to learn, but, I have the basics down, and I can rely on both the set of nine included synthesizers (plus 20 more vintage instruments within “retro machines mk II”) and the extremely impressive “guitar rig 5 pro” interface. I could have gone on working with the synths and guitar rig for weeks and weeks, but I wanted then to shift gears and look at the sampling capabilities of “komplete”.

 

SAMPLING – THE HEART AND SOUL OF KOMPLETE ULTRA

[REAL INSTRUMENT SOUNDS – AT LAST!]

 

the list of sample-based instruments is even more impressive than the list of synthesizers:

 

  • kontakt – the main user interface / sample player for all sampled instruments:

 

kontakt is a very powerful environment, that allows you to load multiple instruments (built by native instruments, and many other vendors as well), which can then be routed either each to their own output (for maximum recording flexibility) or they can be routed to various stereo or mono sub-mixes – really, whatever your heart desires. you can save overall “presets” in kontakt itself, so if you hit upon a winning combination, say, “abbey road drums 1960s” and “scar-bee rickenbacker bass” and “guitar rig 5” you can save that configuration, including whatever output configurations you have, as well as the specific settings of each device – to a kontakt “preset” – for easy recall / re-use..

 

another positive aspect of the kontakt sample player is it’s ability to play not just native instrument plug-in instruments, but also, instruments made by third party vendors such as soniccouture, waves, scar-bee, g-force, and many, many others.

 

each instrument that is loaded into your kontakt session, also has a page for it’s settings, where you can choose instrument presets, adjusting the sound of the instrument until you are happy with it – then, you save your changes – then, you save your kontakt preset – and all of the instrument settings are saved as part of your “overall” kontakt saved preset – fantastic. so you can create very complex presets, that contain your favourite instruments, set just the way you want them, which can be recalled instantly in any combination – it’s absolutely outstanding.

 

here is the seemingly never-ending list of sampled instruments that come with komplete 9 ultimate.

 

  • action strings
  • session horns
  • damage (industrial and orchestral, cinematic drums and percussion)
  • evolve
  • session strings pro
  • evolve mutations
  • evolve mutations 2
  • battery 4
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa (a personal favourite)
  • balinese gamelan (another personal favourite)
  • maschine drum selection
  • scarbee rickenbacker bass
  • guitar rig 5 pro
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • rammfire
  • scarbee jay-bass
  • the giant
  • vintage organs
  • alicia’s keys
  • george duke soul treasures
  • scarbee a-200 electric piano
  • scarbee mark I electric piano
  • scarbee clavinet/pianet
  • berlin concert grand piano
  • new york concert grand piano
  • vienna concert grand piano
  • upright piano

 

bear in mind that each one of the above instruments, has a broad range of “presets” giving you as many different optional sounds for each instrument as is possible, “muted”, “picked”, “fingered”, and so on – so it’s not just a “rickenbacker bass” – it’s a rickenbacker bass that can be configured from anything such as a very timid, high pitched highly eq’d clean bass sound, to various much louder presets that emulate different sounds that this bass is capable of, and that includes both DI and “amped” sounds, so you get an enormous range of flexibility with every instrument listed above!

 

as explained elsewhere, those settings can be saved as part of a kontakt “preset”, so you could have one set up with a super clean, thin sounding Ricky bass, and another with a very distorted Ricky played through an emulated British amp – two EXTREMELY different “bass guitar” sounds from the same instrument.

 

In the classical world, the options are of course, much different to the options for a rock instrument, so for violins, you would have a huge range of various playing styles or articulations, legato, staccato, pizzicato, and so on – and just about any kind of articulation you can imagine, including some rather obscure ones, and also, it’s incredible to get these precision articulations, and of course, as with all quality samplers, there are also extreme velocity choices, so that you can emulate the velocity that you would apply to the real instrument, on the keys of your keyboard instead. all of these options are on every instrument where they exist, although some instruments may have just a handful of possible presets or articulations, others may have dozens – maximum real-life playability issues have been addressed as much as humanly possible.

 

 

…not to mention a massive range of high quality software effects and audio processing tools included in komplete 9 ultimate:

 

  • solid EQ
  • solid bus compressor
  • solid dynamincs stereo compressor
  • rc-48 reverb
  • rc-24 reverb
  • vari comp compressor
  • enhanced EQ Equaliser
  • passive EQ Equaliser
  • transient master Equaliser
  • driver distortion unit
  • VC76 FET compressor/limiter
  • VC2A electro-optical compressor/limiter
  • VC160 drum compressor
  • the finger – live performance and remix tool
  • the mouth – generates melodies and harmonies from any audio input
  • reflecktor high performance reverb effect

 

 

for full details, have a look at the product page on the native instruments site:

and here is the effects page on the native instruments site:

 

 

my first foray into the world of sampled instruments was a piece I created using various sampled elements, entitled “the giant’s causeway”, which contains three sections:

 

1)     “the giant prelude” features “the giant” cinematic instrument (a cinematic / orchestrator / ambient piano kind of sample set) – I played one take, which was best, and that became “the giant prelude” – perfection.

 

2)     “allegro in a minor” features “action strings” (which include moving passages of strings created with an “animator” function – which is truly awe inspiring)

 

3)     “giants on the causeway” following, the third and final section of the piece; features a manually played drum part;/ the scarbee “rickenbacker bass”; and a truly beautiful flute and strings mellotron sample, plus a short solo on a vintage organ.

 

“the giant” instrument just blew me away, I did a take one take of a sort of reverse piano strings/unknown kind of sample, and it came out totally usable – in one take!!! I will absolutely be revisiting this instrument, and I could see creating large, ambient compositions using JUST this instrument.

 

once “the giant” section was recorded, I added in the “action strings” instrument, and spent quite some time writing and laying out a short violin quartet piece in the key of a minor. note: this is where the “staff” view in SONAR becomes invaluable!) while short in duration, the SOUND is amazing, it sounds so incredibly real (because, let’s face it – it IS real!) because of the use of the strings animator – which gives you real “sections” or “passages” of bowed strings – in a significant number of styles, legato, staccato, pizzicato and more. this section took me a while to complete, but eventually, I did finish it to my satisfaction.

 

the third part of this unfinished piece was a rickenbacker bass line, set against some manually played drums, finished off with a live mellotron take, flutes and strings – plus a short solo on a vintage organ – and I have to say, the scarbee rickenbacker samples are out of this world – there’s even a “british” setting which gives you a roaring live distorted chris squire sound that just blows you away. even on the clean settings, this instrument screams “I am an authentic ricky bass” – and the distorted scarbee bass part just SOUNDS amazing…

 

this piece remains unfinished, but I always considered it as a test piece, a learning curve, a learning tool, a learning experience. I did rough mixes, and kept the three sections separately as demos, but I don’t believe that this piece will be published, but if it does, it would definitely be “the giant” piece, possibly the string quartet, and doubtful, probably NOT the rickenbacker section…which SOUNDS great (especially the distorted ricky bass line!), but wasn’t (necessarily) a great piece of music…

 

so “the giant’s causeway” went onto the shelf, however, since it was my very first piece (beyond playing a few synths) – proper piece – done with komplete – I was happy enough with it. I learned…

 

I will very, very probably attempt the piece again; I would retain the original part one, since it’s a live, take one, that is basically flawless, I would rebuild and expand the string section, and completely revamp the “prog trio” of drums, bass and mellotron/organ at the end. so – I am keeping the shelved demo as a reference…for now.

 

I then turned to an instrument that I was very, very curious about, “west africa” – I lived in east africa for four years, and learned to appreciate african music back then (especially congolese music) so having high quality samples of african instruments was a very exciting prospect to me.

 

I first constructed a “duet” of two koras; one, playing midi patterns emulating a rhythmic picking cycle, and another kora, where I played melodies “free hand” on top of the moving background. I did two takes, both of which I enjoy, but since I am not entirely happy with the melodic content on either (although the second take is actually quite good) I have also shelved those – and since then, much more recently, I sat down again with the kora duet template, and create a third piece, another kora duet, entitled “the heart of africa” – and this take, I think is quite decent – and I thoroughly enjoyed working with these amazing sounds.

 

I plan to practice on all of the west african instruments, and I hope to arrange more complex pieces of music involving west african drums, flutes and stringed instruments…a side project that will keep me busy for years! I would never have dreamed that I would have a sideline in african music one day – but I will, because I love african music, and the more I work on it, the better I will get at emulating it…

 

after the two shelved kora duets, which were followed very recently by the successful kora duet, I then turned to my first use of “multi” instruments, and, with the invaluable assistance of ken mistove, I eventually learned and understood how to create multiple instruments within a single instance of kontakt – and once I “got” that, I could sit down and attempt a full on piece of sampled music.

 

I randomly selected a preset “multi” instrument from the evolve mutations instrument, and it proceeded to load 12 instruments that created one of the most atmospheric, eerie “drum kits” I have ever heard.

 

it took a couple of tries, but eventually, I got a good quality drum track, and then I turned to the other instruments. a proper bass part was in order, so I loaded up the scarbee pre-bass (amped version) and got a nice, full bass sound – recorded a bass part to go with the drum part – and again, very impressed with the scarbee instruments, they seem to do a very good job of getting the authentic sound of classic instruments sampled to perfection – the “pre” bass (i.e. based on the classic fender precision bass guitar) is another one that is of the highest quality, as the scarbee rickenbacker bass samples are as well – Native Instruments has scooped up two fantastic bass instruments from scarbee, and it’s a great acquisition – I hope they adopt more scar-bee products, I really do.

 

finally, I worked at overlaying a section of grand piano, courtesy of the “george duke soul treasures” instrument, an absolutely stunning set of riffs recorded on grand piano, electric piano, organ and other keyboards – and all simply classic – great sounding samples!

 

in this case, I actually reached the maximum possible number of instrument that can be crammed into one “kontakt” session – so once again, familiar theme emerging…I abandoned the piece unfinished – again. in order to complete it, I will need to mix down the drums and bass together from the unfinished session, and move to a new session to overdub many george duke piano samples atop the pre-mixed (bounced) bass and drums – and at that moment, I didn’t feel like going through that process.

 

instead, I set it aside, and I moved on to my next test piece, my next “komplete” learning experience.   I wanted very much to try the “session horns”, so I built a short introductory piece, entitled “softly, softly we go”, which featured a group of horns, in a nice reverb room, with a “soft” instrument setting, playing a mock classical theme – a lovely sound, and as far as it goes – a good intro or lead-in piece to some larger production.

 

to follow the horn intro, I wanted a drum track, using the abbey road 60s drummer (because I wanted to learn how to compose drum tracks) so using this instrument, I built a nice long drum part, with various sections, and some fancy fills, and I have to say, although completely unadorned, it’s one of my best pieces yet.

 

finally, I sat down and re-made my kora duet, creating a much better backing track, and, hopefully, performing better melodic lead parts atop the pattern generator rhythms.   that, “the heart of africa”, and my unadorned abbey road 1960s drum part, is where I am right now with sampled instruments – and using kontakt to create drum parts, using the abbey road 60s drummer – could not have been easier – in short order, I had the process down, to where I could build an intelligent, varied and interesting drum part quite quickly – the whole thing took less than an hour.

 

but – the piece remains unfinished, again, I have kept two separate demos, one of “softly, softly we go” – my gentle, quiet horn intro – and another of the untitled-so- it’s-called “abbey road drums 1960s” aka “run into town – run 1″ for reference, I hope to probably re-make the horn part, make it more concise, and create more space in it, and of course, I then need to decide what goes on top of my beautiful, recorded in abbey road studio no. 2 drums. sigh… (note: eventually, of course, a Rickenbacker bass part went on top of the drum part – and then, a host of live energy bow guitars…),

I also had an absolute blast doing a bass solo with the scarbee Rickenbacker bass instrument, “amber waves of grain” – over 10 minutes of sheer Rickenbacker tone.

another aspect of komplete 9 ultimate is the undeniable fact that it is making certain instruments and software, no longer useful, it is literally making them redundant – as komplete can do the job more easily, with better samples, with a mature GUI (kontakt) than earlier third party apps can, or, better than older hardware effects can L.

 

so in this case, for example, while I will probably install my old drum machine software, which is called “BFD2” (this was utilised heavily during the making of “gone native”), I will only do so, so I can see and use the drum kits / samples it contains – which I would use via kontakt within komplete – NOT through the much more difficult to learn, and use, BFD GUI.

 

in a way, I really don’t NEED BFD any more, because I have several sampled kits from abbey road studios, plus, I have “battery 4” and a few other percussion based instruments – there is functionality and samples far beyond what BFD offers. so as I say, I would still use their kits (which sound great) but not their interface J.

 

so, if I am honest, komplete has made the following software and hardware items redundant:

 

redundant software:

 

bfd2 drum machine software + sonar’s session drummer 3 drum machine software – replaced by:

 

  • damage (industrial and orchestral, cinematic drums and percussion)
  • battery 4 (massive drum machine / sample player, with many, many drum kits)
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa
  • balinese gamelan
  • maschine drum selection

 

note: both bfd2 and session drummer 3 are still available to use, either by using their kits from komplete / kontact, or by using their own GUIs if desired – but, not sure I would ever use either again given the list above.

 

redundant hardware:

 

 

line 6 “x3 live” guitar effects pedalboard – replaced by: guitar rig 5 pro, plus, sampled guitars and basses:

 

  • guitar rig 5 pro
  • rammfire
  • scarbee rickenbacker bass
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • scarbee jay-bass

 

 

 

“digitech” TSR24-S hardware 24 bit reverb unit – replaced by:

 

  • rc-48 reverb
  • rc-24 reverb
  • reflecktor high performance reverb effect
  • galbarnum breeze 2C reverb (reverb plug-in for SONAR) – additional reverb choice “outside” of komplete itself
  • all four of these reverbs can be “called” from within SONAR, so it’s very, very useful to have access to these high quality effects, even for improving content that was not created in komplete :-)

 

plus

 

  • eventide “space” hardware reverb – this is part of a permanent installation of three hardware four hardware effects that sit at the “end” of my mixer output chain – so, the final stereo output of the mixer, goes directly to these four hardware plug ins, and THEN to the sound card.

 

I’ve learned over time, that certain effects sound best in “front” (so just after the guitar, as part of your mix, occupying two or three stereo pairs on the mixer) while other effects work best “after” the mixer (such as pitch units, delay units, and absolutely, reverb units).

 

so, reluctant as I am to do so, it’s probably time to retire the “digitech”, and rely on the three high quality reverb units within komplete 9 ultimate – as well as galbanum’s 2c “breeze” reverb software – which in itself, was and is probably a replacement for the ancient tired “digitech” rack mount 24 bit reverb, not to mention the eventide “space”, which again, in itself, is probably a replacement / improvement over the digitech.

 

In a perfect world, I’d love to just run everything, and in some respects, I have been doing so, I’ve certainly kept a number of hardware devices running that I have replaced several times over – so I have to bite the bullet now, and actually remove the older, noisier technology, and whether I will or not, it seems that software synths and software effects are gradually taking over my set up, which is actually not unwelcome, and I hope that this summer, when the studio is moving, I can re-arrange the studio to support a less-hardware dependent sonic environment.

 

Purchasing komplete 9 ultimate gives us a lot of that software, bleeding edge software synths and effects, awesome high quality samples, and other factors, such as the emergence of very sophisticated applications for the ipad tablet and also, for the PC. In future, I will probably end up using a very hybrid system, were some tracks are created on the ipad (and eventually, too, mastered and mixed – tools have emerged…), and then moved into komplete, and then mastered and mixed in SONAR and/or komplete and/or Adobe Audition (where I do a lot of my simpler mastering now). The fact that I can do these processes in multiple “places” gives us an enormous amount of choice, it’s absolutely fantastic what can be accomplished.

 

Other tracks would be created wholly on the PC, using PC software only to create, master, and mix them.   Still others would involve the use of “real” instruments, guitar, synthesizer, keyboard, kaoss pad, percussion, etc. which can be processed through software packages such as “guitar rig 5” and also, the studio quality effects within komplete 9 ultimate. The RC-24 and RC-48 reverb units are especially absolutely lovely, they sound great, and I am really enjoying them.

 

The appearance of a massive army of music applications on the apple ipad, has changed forever the way I make music. Over the past few months, I’ve been scoring classical, acoustic guitar, and alternative music using a notation application called “notion” – and I can see myself exporting tracks from notion, and then importing them into komplete, to add the highest quality sampled instruments to the basic instrumentation created by my original score on the ipad.

 

I will absolutely be using a combination of pieces:

 

  • music created wholly on the iPad (which WILL include guitar and loop work, not just synthesizers – thanks to some truly quality guitar applications such as BIAS, Ampkit+, and GuitarTone)

 

  • music created using the ipad and my guitar or guitar synth

 

 

  • music created entirely on the PC, not utilising any ipad applications, the kaoss pad, or any “physical instruments” such as guitar or bass

 

  • music created using the ipad, the korg kaossilator, my guitar or guitar synth, bass guitar, live keyboards courtesy of various software synths, and anything else I can throw into the mix

 

(I call this last one the “all instruments” set up – it allows me to use, in a completely live setting, guitar, keyboards, kaoss pad, ipad, and of course, a lot of effects units, including loopers). The looper captures the live performance, and the output of the looper is optionally run through the pitch pedal, the delay, and the reverb (my standard set of output live hardware effects pedals), and finally recorded in SONAR.

 

The arrival of application-based music meant that my record-keeping was really thrown askew, because you can create so much amazing music so quickly with applications, I realised early on, I would need a special forum to create them in, so before things got out of hand, I split my recorded music collection into two distinct areas:

 

Music Dave Stafford – the traditional home of most traditional recordings, anything involving real guitars, real basses, real keyboards, and looping thereof – which may also include the occasional ipad or kaoss pad in a guest starring role – they are not banned, it’s just this is the home of more traditional instrumentation.

 

App-Based Dave Stafford – there is a folder for each app, containing both sessions and finished product, I am so glad I did this now, because now whenever I complete any piece in an app, I have a specific place to store it, from which to upload to Bandcamp, or Soundcloud, or to my website – or for whatever purpose I need it for.

 

This means that any very hybrid music, that crosses over between these two broad categories, I’ve chosen to move that kind of music into the “Music Dave Stafford” folder, because it contains the real instruments, which is really the main characteristic of the music in this folder – the presence of real instruments, played in real time or looped.

 

The arrangement is working well so far, I am not surprised by how many app folders I already have, and as time goes on, there will just be more and more, but I think that’s brilliant – and the emergence of more and more sophisticated application music creation tools, is almost irreversibly moving me more towards app-based music – my next eternal album is focussed on one of my more recent app acquisitions – the iVCS3 , a perfect replica of the 1969 beast of a synth that powered the sound of early roxy music and early king crimson – one of the first truly sophisticated modular synths, and the application version is uncanny for it’s realism – it’s a fantastic, primitive, visceral, wonderful device that spits and fires, drones and warbles, and has a fantastic set of pre-sets, too – including the famous never-ending synth pattern of the Who’s “Baba O’Riley” – and it’s very, very odd to hear that playing on your ipad, from an emulation of the device it was originally created on!   The makers have included the Who session as a preset – amazing!

 

I’ve been playing the iVCS3 recently, and I have recorded a number of tracks, which while not quite ambient, I am happy enough to give them the name “drones” – so, some elements of ambient, then, but, some other, harsher elements too.

 

I believe I recorded about a dozen tracks, a few of which turned out to be somewhat substandard (clearly a beginner with the device, you can’t win them all!) but I believe that about eight tracks have survived and are some cracking representations of what this amazing synthesizer is capable of. I’ve mastered three of the tracks, and I hope to work on the rest this weekend, with a view to get the album posted before Monday – that’s my hope, difficult to say if I really will make that date – I shall try.

 

The pieces recorded are simply remarkable, no thanks to me, my involvement is minimal, but, I did need to be involved, it’s strange, in that when you “play” the iVCS3, you don’t often really use the keys, you more often use the knobs to create variation of a running theme. I was very intent on getting some excellent tracks out of the device, so I very, very carefully and very gingerly turned knobs, until I understood what each one did…and then I felt free enough to really experiment, so I really branched out on the last few numbers, which were all longer-running pieces, one of them extending to over ten minutes.

 

So I have momentarily, turned away from working with komplete, but that’ not to say I have stopped, in any way – it’s my intent to work with komplete as much as my schedule with allow me – and my first goal, is to take a complete bass and drum track, that I did a lot of work on, and see if I can create a proggy version of it, complete with precision prog guitaring – that is my goal for this piece. So komplete is waiting for me, and as soon as I get back to it, you can expect a slow but constant stream of music, of many, many kinds and styles, to be built with the remarkable toolset available within komplete 9 ultimate – an awe-inspiring piece of music software that if you had told me about it 20 years ago, I would not have believed you, I would have said it was impossible for such a thing to exist, on a computer…

 

But – exist it does – and we really wanted to step up a bit, and have the capacity and ability to create a much, much broader range of sounds than we previously had available – and the nine synths and the many, many sampled instruments within Komplete, gives us just that! And – the future – there are many amazing instruments available that will run in Kontakt, so we do plan to pick up some of them over time – the first acquisition will be a very special tool, meant to bolster the ambient sampling capability of the studio – soniccouture’s remarkable “geosonics” instrument.

 

This remarkable third-party instrument, which runs in kontakt without issue, manufactured by soniccouture, is comprised of four different musical “sections”, each one representing a season, and many of the sounds have been sampled from nature, all over the world, and compiled into this unique instrument – and some of the “combinations” of sounds they have created are truly remarkable. So I have “geosonics” on my wish list…and I also have a large number of other third party instruments that I would love to add to my sample player set up :-)

 

In any case, I cannot recommend native instruments highly enough; who have patiently worked on kontakt, reaktor, and all the instruments that plug into them; and Guitar Rig, one of the most amazing software guitar processing packages I have ever seen –and their choice of subcontractors, i.e. companies that have created unique and very special instruments, which native instruments have added to their product offering to make it more attractive. That includes but is not necessarily limited to Soniccouture (whose “gamelan” instrument is included in komplete 9 ultimate – one of my favourite instruments so far – have a listen to my gamelan-created track “bird of paradise”), Scarbee, who make the amazing “rickenbacker bass” instrument (and several other bass and guitar emulations, too!) – which you can hear on “run into town – run 1” or “run into town – run 2″– that thing is just so amazing sounding, completely authentic, and when you couple it with a high quality sampled drum track, it sounds completely real – because of course, it IS completely real.

 

That…is the beauty of sampled instruments. They are real ! Therefore…they SOUND real.   Which is a good thing :-)