in a typical dave stafford multitasking way, even as one album project reaches fruition, another one is still in the creative, formative stages.
so even though I’ve been very involved in the work in support of “gone native“, at the same time, I’ve been reviewing in particular, my work created using applications, and I’ve also been working on application-based existing tracks, improving existing tracks, and, creating new ones.
before I speak about the upcoming “fairlight 51” project and the “fairlight pro” application, which is shaping up to be the next album release after “gone native“, I’d like to speak for a moment about three other applications that I have really been enjoying: “isequence“, “tabletop” and “nanostudio“. I have not had much time with isequence, but I would have to say that I will be using it for music creation in the future, as a sort of alternative to nanostudio. it’s laid out in a completely different way to nanostudio, but I really like the available voices, and the different GUI is challenging and fun – so even with just a couple of preliminary test tracks, I am really liking isequence a lot, and I am looking forward to using it much more over the coming months (and years!).
another application that is new to me is tabletop, which is yet again, a completely different layout to the other two, and with a lot of unusual and interesting instruments, many of which are free, and some of which are in-app purchases. I’ve also done a couple of test tracks in tabletop, and I am equally excited about using it, and isequence, as time progresses. these tools are so, so exciting to me, because of course each has it’s own synths, it’s own drum or percussion options and it’s just so exciting to hear some of the really sophisticated sounds that these tools can make – a lot of really fantastic sonic possibilities there, and I am excited about finding the best sounds, and using them in compositions, and trying new combinations of sounds…the possibilities are nearly endless, with so many great tools to make music with…
finally, there is my old friend nanostudio, which was an early purchase, that I have worked with for a long time, and I have probably six or seven pieces in progress. a couple of those are nearly complete or essentially complete, and I went through a full review of the pieces and I am very excited about a couple of them, “atlantis rising” and “alien…or sutin” in particular – these feature the fabulous eden synth, which is one of my very favourite ipad synths, it just has so many amazing patches, and both of these pieces are dense, exotic and full of really interesting synth sounds, some of which are quite odd, but with nanostudio, it’s so easy to sound good – you just lay out a drum track, and then start playing synth parts…and very quickly, you have a really beautiful and complex piece of music built up.
I am thinking that what I might do is dedicate the works that I do on nanostudio, tabletop and isequence to my so-far empty soundcloud account, just so I can get them out there, although of course I will probably gather and compile them for another application-based album down the road…so hopefully, over the next few months, I can get at least my nanostudio work mixed and uploaded to soundcloud, and hopefully add some isequence and tabletop pieces into the mix a bit later on.
and then there is the “fairlight 51” album, the fairlight is one of the first applications I purchased, and I now have a months-long relationship with the fairlight, and I have a great working relationship with the device, and recently, the pieces are appearing almost by osmosis – I build a new instrument, I begin to create passages of music, and often, not always, I have a complete piece of music 30 – 60 minutes later…
over the past few weeks, I’ve created quite a few new pieces for the fairlight, some of which defy description – some of which utterly surprise me – some of which I really cannot even explain rationally. this tool…makes you think in a completely different way, it makes you compose slowly, bar by bar, taking care with every note, every percussion sound, every cymbal splash – and of course, being sample based, you are basically conducting a strange orchestra of eight pre-selected samples, in a bar-by-bar composition that at least for me, well, I really never quite never know what is going to happen with any given composition, until I hit “play”… and then these pieces of music just come to life, and it’s a strange dichotomy – you compose slowly, yes; but sometimes, the process itself goes very quickly, and in the space of 20, 30 minutes – you’ve composed a very complete and intricate piece of music. as if by magic. it just…happens.
over the past few weeks, new pieces have been arriving fast and thick – I can’t believe how many have appeared, and most of them, in a single session, an hour or less, and they arrive almost fully-formed. sure, a few pieces need a bit of work the next day, but that’s the exception rather than the rule – most of them, arrive within 20 minutes or so, and that is pretty much their final form. that never happens to me when I use normal compositional tools, when I play guitar or keyboard – but when I compose on the fairlight pro…it almost always happens.
and each time, I start with a completely different “instrument” – and the effect that has on the sound, the feel, the mood of the piece – if I select brassy, bold sounds, maybe a cheery, poppy melody will appear, if I choose wooshy synth sounds, maybe something dark and mysterious, and what is also remarkable is how each piece sounds SO different from the previous one!! it’s as if each piece is a tiny island, a unique island, in a strange archipelago of sampled sounds – but the piece are so unique, and so far, with some 35 – 40 pieces recorded towards the project, there has been almost no repetition of anything whatsoever.
that’s astonishing to me, it really is – that you can create an instrument, then compose and execute a composition, then, the next day, when you repeat the process with a new instrument and a new composition – it comes out completely and wildly different. this is probably because you have eight utterly unique samples, that when “played together” as a virtual instrument, create one sort of “island” of sound; and then the next eight, create a completely different “island”, and so on…so you get this huge and amazing diversity that you wouldn’t think was possible.
over the past few weeks, I’ve been witness to the arrival of “mutant sheepish”, “monsoon season”, “long walk in the pouring rain”, “effective immediately”, “a passage of time”, “kiwi republic”, “the harold angels”, and over the past few days, “carbon life form” and it’s brother composition (which sounds COMPLETELY different) “silicon life form”.
I literally do not know where these pieces come from; each one has it’s own unique identity, and it’s getting to the point where the pieces just arrive almost automatically, I am just there to make sure they arrive safely…
I haven’t tried to figure out why, but recently, the name “fairlight pro” changed suddenly, to “peter vogel cmi” – and I actually don’t care about who owns the code or what the reasons for this change are, if peter vogel can’t use the name “fairlight” anymore – well, it’s been “the fairlight” to me for the past eight months, and I think it will always be “the fairlight” to me – and I am sure peter vogel will only make this app even better; I’m pretty happy with it now, and I am sure it’s only going to get better…
whatever name it goes by, the application formerly known as “fairlight pro” is one of my very favourite applications, of all time, and I can see myself continuing to work with it indefinitely…I love how surprising it is, how you literally never know what a piece is going to sound like until you hit “play” and the remarkable, unique sample set of the fairlight pro comes into play…whoever gathered those samples originally, really selected a remarkable and diverse selection of amazing sounds, such that, fast forward about thirty years from the original fairlight to the app version on the ipad – and those sounds still sound as fresh and otherworldly as they did when peter gabriel and kate bush and so many others made some of the most iconic music of the early 1980s using the £20,000 hardware version of the fairlight.
I could never, ever have afforded that, and as a guitarist, I never would have aspired to…but in december 2011, when I realised I could have that library of SOUNDS for a tiny fraction of the cost of a “real” fairlight – how could I say no? as a guitarist, I’ve always had a great love of synthesizers of every description, and I’ve always enjoyed creating and composing on piano, organ or synth – but now, to have such a huge array of amazing synthesizers all shrunk down to tiny applications that deliver big sound for very little investment…
these application tools are going to give me so many sonic options, and already, some of my hybrid experiments, where I am driving two or three app synths from one key-press, means that not only can I use the unique and astonishing sounds of an extraordinary array of app synths, but if I want, I can use three or four at once – and that’s when the possibilities extrapolate out into an unknown universe of sonic madness. and I plan on going there with them 🙂