I think it’s a good thing, from time to time, to indulge your obsessions, and what musicians often refer to as “gear lust” has certainly affected me from time to time.
but these days, that very general lust for guitars, keyboards, amps, and all kinds of music gear, is also now joined by a very specific new affliction; the endless watching and listening to of, effects pedal demo videos. On You Tube, of course.
as with all new phases (if you will pardon the expression) of internet development and the progress of content, it started out small, as the occasional demo of a pedal to show us what the pedal looked like, what it sounded like, in case we might then wish to buy it for our own pedalboards at home.
from professionally produced by the established old world pedal manufacturers – your Boss, your MXR, your Electro-Harmonix, your Digitech, and so on – to videos by the boutique crews – your Earthquaker Devices, your Chase Bliss, your Catalinbread, your Z. Vex, your Robert Keeley – first came videos that were mostly about sales, but with generous helping of sounds, too – but ultimately, were on the whole, made with sales in mind.
finally, now, another type of pedal demo has arrived – the artistic, creative demo – and these seem to be non-commercial, not sales-oriented – but instead, they focus solely on the sounds that each device can make, and what a creative musician might do with those sounds.
A good example of one of these creative style effects video makerscreative style effects video makers, would be You Tube artist ‘Knobs‘, who tends towards more in-depth analyses of effects units, but using a unique artistic style – found objects, arranged around the device in a very careful way – combined with a fantastic, verbose, humorous set of titles (a veritable barrage of typed information, instead of verbal narration) and explanations, interspersed with jokes and bizarre video snippets, anything goes, but “Knobs” has a brilliant and consistent artistic style – and I NEVER ever feel like he wants me to buy any particular pedal. He just wants me, and the rest of the effects pedal world, to HEAR how brilliant each pedal is, in exquisite detail, providing both highly useful technical information alongside humorous vignettes of all types – you never know WHAT might happen in one of his videos.
I have been through a lot of these videos, all types, and I seem to have settled on a few favourites from both camps. For the ‘quick overview” type of video, which might run between 4 and 8 minutes in extreme cases, my very favourite vendor is “Andy” from Pro Guitar Shop (and Tone Report weekly magazine – the most brilliant magazine ever dedicated solely to effects pedals – and it’s free, every week!) – Andy is an extremely proficient guitarist of some experience, and his skill at showing each pedal he demos off in it’s best light, is undeniable – but, it is usually a quick demo only, just to get an idea of what the device in question sounds like.
Generally speaking, they don’t get into a lot of detail, or do in-depth videos, except in a few extreme cases. So for the quick overview – I always turn to Andy first, and his videos are always in heavy rotation at my house – plus, over time, I’ve watched him grow from a good guitarist into a great guitarist, and I really enjoy his playing, regardless of the subject songs or snippets, or what pedal he is demoing – he is just a good, good player.
My other (new) favourite has to be “Knobs” whoever he might be – his videos are always well in-depth, and he tries very hard to describe clearly and in great detail, what each control does, exactly, and, how the controls interact, and what combinations of controls you need to set to achieve certain musical goals – all typed out in his inimitable style. But – be prepared to keep your eyes glued to the screen – the titles go by quickly. Having the no-nonsense explanations of how an effect’s controls affect what sound you acquire, is extremely useful (to me) and I really appreciate both his attention to musical detail, a well as his remarkable sense of humour which has to be read to be appreciated!
Some videos favour verbal narration along with guitar sound, others, use titles as “Knobs” does, to explain what the pedal is doing (which allows the music and therefore, the sound of the pedal, to go undisturbed by narration, others, such as our friend Andy from Pro Guitar Shop, intersperses narrated sections with undisturbed musical sections to demo the sounds he has just discussed, and I’ve even seen videos where there are no titles and no narration – and the pedal, and where it’s knobs are turned to, has to tell the entire story without any supporting titles or narration. Those kinds of videos, while interesting, are probably a bit less informative than the other types, but really, no matter what the content, no matter whether they are short form, long form, or no form – I enjoy them all.
I would say that during the last two weeks, I’ve easily spent six or seven hours watching (and listening to) guitar effects videos, usually on YouTube on my television, but often, on YouTube on my tablet – either way works for me. It is becoming an addiction, and for example, today, a lazy Sunday, I started watching Earthquaker Devices videos from the moment I got up, and now, a few hours later, I have to admit – the videos are still running while I am typing this blog.
And I was watching them yesterday, too. Hmmm. I am sensing a pattern here. It started out, with a few Pro Guitar Shop quick overview with Andy videos, at night at bedtime – and then it started to move onto the real TV during the day, and today, I was even watching them during my lunch.
Another aspect of this that is good, is the musical ideas presented by the various musician-presenters, and you get some extraordinary guitarists demonstrating pedals, from Pete Thorn who has a massive collection of effects and pedalboard related videos, and onto other ridiculously talented guitarists hired by the big guns to demo their products, like the amazing Alex Hutchings who does demos of very complex Roland effects units. So becoming addicted to effects pedal videos does have some very positive side effects – one of which is learning about some of the amazing professional players out there, as well as learning about a whole new group of home or small business musicians, who are equally talented and are often extremely interesting to listen to.
I’ve even learned guitar techniques, riffs and other guitar content, just from watching these demos, they are often quite inspirational, and often, after I’ve viewed a set of guitar effects demos, my tendency is to then go into the studio and play some guitar, and use the pedals that I do have, to try and create some new ideas and uses for them. So watching these demos, and hearing how other guitarists put these very musical tools to use, is also very inspirational for my own development not just as a player, but also, in how I use the effects I have, to create unique and hopefully, amazing-sounding guitar sounds.
Mixing and matching different effects pedals (often called “stacking”) is yet another kind of pedal demo video, and there are endless demos where one or many devices are “stacked” to hear what the sound outputs of various interesting pedal combinations are, what is possible when you plug pedal a into pedal b, and then into pedal c? These are some of the most amazing videos, because the sounds that can be achieved via stacking, even if it’s just stacking two pedals, are often astonishing in themselves – from incredibly powerful, distortion based stacks, to eerie, spacey, ambient wonders – amazing combinations with endless musical possiblity.
Finally, there are the “versus” (or “vs.” or “v.”) effects pedal videos, which range from comparisons of different manufacturers’ pedals that perform similar functions, or, between reissues or clones, to the “original” pedals from the 60s, 70s, 80s and so on. Does the new version sound as good (or better) or not? The “versus” videos answer all of these questions and more – which fuzz tone sounds the best, which overdrive is the most transparent, which reverb has the most ambient possibilities, which ring modulator gives you the most insanely distorted and warped sounds?? – I am a big fan of the “versus’ style of effects pedal videos.
As time has gone on, I’ve become very interested in certain pedal manufacturers, and this is probably the last category of video I will mention today: the “about the manufacturer” video. For the lines I’ve become interested in, after exhausting the majority of their videos for their actual pedals, I recently branched out still further, and started learning about some of the people behind the products – beginning with a pedal manufacturer that I really admire, Earthquaker Devices, and while I so far, so not own any of their pedals, I am very interested in some of them, because – well for two reasons, really, they are all hand-made in Akron, Ohio, and, they often explore sonic territory that other manufacturers’ pedals do not. So I wanted to learn more – and boy, was there ever a lot of content available about Earthquaker – their history, the bands that their employees are in, and so on – absolutely fascinating to watch, and after doing so – it just makes me want to go out and buy my top ten EQD-wanted pedals – which would set me back a few thousand pounds that I do not have.
But – these videos do allow for one thing – I can dream. I have a want list, that changes almost every week, one week, I am wanting EQD pedals, the next, I am looking at Strymon pedals with my lustful effects desiring eyes – and so on. I dream of building special pedalboards, using all of the strangest sounding Earthquaker Devices pedals, in a special all-EQD board – probably containing an Arpanoid, a Space Spiral, an Afterneath, a Transmisser, and an Avalanche Run for starters (as the imaginary pound notes start to fly out the imaginary window…) which is huge fun – and while I probably won’t ever be able to build that imaginary EQD board, what I can do, is go into the sound libraries of my Eventide H9s, and see if I can emulate the strange and wonderful sounds that EQD pedals make, with the Eventide Algorithms and settings for individual voices.
That is then, giving me ideas for my own guitar sounds, which happen to be Eventide-based, but that is not what is important – getting new ideas for new sounds is always inspirational, so I think that this new addiction to effects pedal videos, is absolutely one of the healthiest addictions I’ve ever had the joy to experience, and I recommend it highly to both musicians and non-musicians like, and in particular, I think that visual artists and anyone who appreciates art, would enjoy some of the content in the more creative series of effects pedal videos.
I cannot recommend the experience of tuning in to You Tube for a morning of video enjoyment, preferably with your theatre speaker engaged so you can experience the subtelty of tones that the guitarists bring to us in these amazing, informative, inspirational videos – I think they are brilliant – please check them out on a tablet or a TV set near you.
And now, I am off to turn on my own pedalboards and see what new sounds I can coax from it, after a day of being very inspired indeed, by hearing what modern sound technology can do to the sound of a guitar or a keyboard or even a voice – these effects pedals have come so incredibly far from the early days, when if you had a pedal board at all, you were unusual, and it would normally have two devices on it – a Vox wah-wah pedal, and an Arbiter Fuzz Face.
A few players might have a third device – a primitive Octaver like the one Jimi Hendrix used to use – but for most, it was a wah-wah pedal, a fuzz tone of some sort, or if you were really lucky, both – no matter what, you learned to use those primitive devices make your guitar sound better…and nowadays, you have not hundreds, but thousands of different effect pedal designs to choose from – a mind-boggling assortment of sound-creating machines, designed by musicians for musicians – with making amazing sounds the goal – and so often, these manufacturers not only hit that goal, but they exceed it, producing devices capable of a stunning diversity of incredibly musical sound…it’s amazing how far these devices have come over the relatively short period of time from let’s say, 1963, to today. Simply astonishing technology.
I started out with just a Vox Wah-Wah, and that was my main pedal for a long, long time. Then gradually, I ended up with things like an original Echoplex, which I absolutely loved, primitive, monstrous, tape-driven delay – I also used my two-track Sony reel-to-reel as a delay, with a reel running in record mode so I could then switch on the delay whilst playing live. It wasn’t easy to do, but it sounded great!
Over time, I went through many Stompboxes, then onto rack mount devices (controlled by MIDI and switches and expression pedals – and then back again. I can tell you – it’s all good. I managed to make good music with every pedalboard I ever built, and I am glad to have been able to experience a wide range of musical products over time, and it’s made for the creation of a lot of very interesting music – from very loud and distorted, to as ambient and quiet as I could get – I am interested in it all. I think maybe it’s more of an addiction to amazing sounds, than the actual videos – I just love the sound of guitar effects!
It all sounds good to me 🙂
well somehow time has really gotten away from me, and I’ve not managed to write a blog for a couple of months now. I have an excuse (of course): I’ve been busy. Mainly, working on the new pedalboards and guitar system (more on that shortly) but also, still trying to “keep my hand in” by working on music in the form of a very, very large collection of new tunes created in Garage Band. I would venture to say that over the past few months, GB became a bit of an obsession, to the point where my iPhone overfloweth with Garage Band songs and drafts, sometimes, just one or two versions, sometimes, six or seven if a particular song needs a lot of detailed work.
the net result of that, is that actually, both my phone and my favourite tablet, are currently overflowing, and later today, I will be offloading completed tracks, and also, completing incomplete tracks and then offloading them, and then, making sure I have final mixes of all unpublished tracks…so that finally, I can master them and upload them. Normally, this would be a handful of tracks, but if I am not mistaken (and this number might not be exact) at the moment, I have no less than 16 NEW Garage Band tracks to sort out and add to my Garage Band Eternal Album on Bandcamp.
Sixteen new tracks! Now – I have been working pretty exclusively in Garage Band over the past several months, and not working so much with real instruments, etc. in the studio – and that is because when I have had time to work in the studio – I have had to dedicate that to working on the guitar system and pedal boards (plural). Those have now grown to four in total, and in fact, just yesterday, I worked out a brilliant new system, for accessing the different sounds – I am using a very simple device, a “pan pedal” which is made by Ernie Ball, to allow me to “move” between my main studio set up (which currently is comprised of two pedalboards, which I call “Pedalboard 1” and “Pedalboard 2” (imaginative names, I know) and a third board, which, surprisingly, is named “Pedalboard 3”. So I can be playing one sound via PB1/PB2 (which are currently chained together) and then I can “switch” over to take a solo on PB3 where a completely different sound is waiting patiently for me.
Having the pan pedal, also means I can “blend” the two sounds – and hearing that, you can get some amazing “stacked” guitar tones – because for the first time, I am actually running two complete stereo set-ups, through two separate guitar systems – and, I have the output of PB1/PB2 going to the board direct, while the output of PB3, is miked with two Shure SM-57 instrument microphones, and those are going direct to the sound card. This then means when I record, I can record two tracks of the direct sound on PB1/PB2 and two tracks of the miked sound of PB3 on two OTHER tracks which means I will then be free to mix and match however I want – using as much (or as little) of each of the two completely different-sounding stereo feeds.
I haven’t yet mentioned the fourth pedalboard – it has an incredibly imaginative name, which you will probably never guess – Pedalboard 4. But – it does have a distinct sub-title, unlike the other three – it’s the Guitar Synth board. It’s quite simplistic, but it is a viable very different sound source, and it can be easily chained to PB3 or otherwise incorporated into the mix since it’s also tied directly to the mixer. So the Guitar Synth library of sounds is also readily available now – directly out of the mixing board.
Also – with just a very quick change of cables – I can re-route the pan pedal to move between PB1/2, and PB4, or, back to PB3, or if I really wanted – I could have it pan between PB1/2 and PB3/4 chained together. Talk about sounds…that would be a lot of sounds. Right now, I am pretty happy with my PB1/PB2 combination, panning to the little PB3 board which is great for distorted soloing.
Getting all of that set up and working, and finalised (for the moment, of course, until I change my mind again, or, more likely, until I think of a “better way” to do things) has taken up the last several months’ time, meaning that I have not had time to work with real instruments in the real studio, except to test sounds and boards – and I’ve been doing a lot of that. I have successfully re-programmed my Ground Control MIDI controller with 200 awesome sound combinations, and successfully done a sysex backup of that new set of sounds. So that challenge was finally sorted out after quite a bit of trouble…I have, however, finally cracked MIDI Sysex – which for a long time, was a mystery to me – no more, now, I know how to backup, and restore, the entire contents of my Ground Control…it’s fairly easy to do, if you are patient.
I do have one other aspiration, which I actually got this idea from Vernon Reid (a great source of guitar ideas – he has helped Eventide with a lot of their distortion algorithms – so I offer up my thanks to Vernon wherever he is!), which is to stop doing ALL of my effects in series, and do them in parallel (to be honest, I also remember the late, great Allan Holdsworth, describing the same idea in a guitar workshop) – running effects in parallel. Vernon has discovered a nice little DOD Resistance Mixer (the model AC-240, to be exact) which allows you to run four in to one out, and he uses a few of these in his live set-up (which I saw on YouTube, of course!). It’s brilliant, and I do plan to look into that when time permits. For the moment, out of necessity more than choice, I am doing it “old school” – in series. Given that I am running a lot of hardware in series, it actually is all sounding very, very good now.
Note: later on this year, we are going to see Living Colour play live in a Glasgow venue, so I can’t wait for that – one of my guitar heroes – Vernon Reid, I will finally get to see and hear Vernon play – I can’t wait! A great and greatly under-appreciated band, Living Colour. One of my personal favourites…it”s going to be amazing. I am very excited about this concert!!
Anyway – based on the work I’ve been doing, I have decided that once I finished processing the outstanding 15 or 16 Garage Band tracks (which I plan to begin work on this afternoon) that I will no longer spend as much time working in Garage Band, or, if I do, it will be probably for ambient projects, rather than my endless exploration of Apple Loops mixed with “real” content i.e. bass parts “played” by myself, and instead, go back to working on real music with real instruments – primarily, the electric guitar.
I think that my obsession with Garage Band has finally run its course, but, the result of it is an already very interesting catalogue of music, but, once I mix and master the next 16 tracks of completed Garage Band music – it will become apparent what a brilliant tool it has become for music creation. It is pretty amazing what you can do with it, and I’ve been working more with matching tracks up pitch-wise and timing wise, so, matching a “real” bass part to an Apple loop, for example, or pitching different tracks to fit better with other tracks.
It’s amazing how well it all works, and, I have had an absolute blast creatively, it is endlessly fascinating to me what you can do with a stack of pre-made loops and a little bit of crafty bass playing. I’ve found that to be key in most of the compositions I have worked on – I might create an entire piece out of Apple loops, but then, to humanise it, I play a “real” bass part – and that does it, that suddenly makes the track “pop” – it’s weird.
For a while, another technique I would use, would be to have the first two thirds of each piece, be entirely artificial; all made from loops, and then suddenly, during the last third or quarter of the piece, bring in a “real bass” part and the effect is really dramatic – it really makes the tracks sound so much better, even if there is already a synth bass or whatever – having that wonderful, plain, “Paul McCartney” bass there makes the tracks irresistible.
I have spent a ridiculous amount of time perfecting some of those bass parts – which are often played on the fly in one take, and then close-edited later to sharpen them up – taking a wild, on-the-fly live performance, and custom-fitting it to the existing song. It’s a lot of work – but it’s so, so worth it, because it just brings the pieces full circle, and the artificiality that the loops create, gets seriously negated by the humanness of the Paul McCartney plays as “played” by yours truly.
So when you finally get to hear the next 16 Garage Band uploads from me – please listen especially to the bass guitars – because I have indeed, worked really hard on those bass parts – which you will find in most all (but not all) of my Garage Band work.
I should also mention the other “star” of the Garage Band tracks, which is the Korg IWorkstation synthesizer, with it’s two dozen different sets of presets – if you search long enough, you can always find the perfect sound, and since Garage Band’s Inter-App Audio is so well implemented, it’s easy to bring in a powerful synth like the “iWavestation”, and I use it extensively, on multiple tracks, on almost all of my Garage Band material. So those are my two secret weapons, really:
- Apple’s “Paul McCartney” bass, in “Note” mode, which I play like a real bass, then close edit later to “perfect” the bass part
- Via Inter-App Audio, I call up the “Korg iWavestation” synthesizer which can provide an absolutely astonishing universe of sounds from any kind of synth sound; any kind of beautiful, spacious pad sound, to drums, basses, whistles, you name it, it’s in there – one of Korg‘s most amazing products, ever. It has become my “go-to” synth whenever I am recording in an app that offers IIA connectivity – the first thing I do, is bring in an instance or ten or the iWavestation – I cannot recommend it highly enough, it’s a great synth and workstation, too – absolutely amazing and sounds great.
The third and uncredited star, is of course, those amazing Apple Loops – without them, none of this amazing catalogue of work would exist, and I can’t believe how this incredibly diverse set of music, where every piece is completely different, where each time, I try to find a new approach, a new sound, to make it utterly unique, and, importantly, different from the last piece I did – and if you are doing this across dozens of tracks, you end up with a diversity of music that is almost indefinable – I could literally, not describe the different genres, types, feelings, grooves, systems, concepts – I just can’t, the only way to describe it is to say, go to the Garage Band Eternal Album, and listen to it from start to finish – and then try to describe in words what you just heard.
And when I add in the next 16, which feature some of the most diverse and weirdest, most out-there compositions so far – that will make the above experiment even more interesting. If I were to continue with this, the madness of being addicted to Garage Band might send me right over the edge – I don’t know.
I am going to take a break, I am extremely happy with both the catalogue “so far” (note, as of this point in time, 20170705, the Garage Band Eternal Album contains 24 unique tracks) or to date, as well as, I am very excited about the next 16 tracks – which will close out the catalogue in the short term (bringing the total number of tracks to about 40 – which in itself, is amazing), because I am (with some difficulty, I admit) going to slow down or stop producing so very much Garage Band material, and return to working on real songs with real guitars and keyboards, and I am going to give the amazing, easy to use, fun to use, Garage Band – a well-earned rest. Because if I am honest, I have spent altogether too much time working on Garage Band songs, and not giving my other musical outlets a chance! Of course – that wasn’t intentional, they weren’t ready – but, now they ARE ready – so – I am ready.
It’s also my hope, to return to making ambient music, and in particular, ambient music made with applications. I still have unexplored areas that utilise ambient tools that I have had for many years, as well as some newer apps that I also have not spent enough time with – so I hope to rectify that situation, and in the process, hopefully, add some new ambient tracks to some of the catalogues / eternal albums up there on Bandcamp.
I am hoping I have reached, or nearly reached, the “cut-off” point, where the total obsession with Garage Band ends, and a new practice of music-making begins, which involves using real guitars and my new pedalboards and guitar systems plural. That is the idea, anyway – and that is why I have also spent the last several months trying to get everything ready for this day – and after extensive testing, and spending a lot of time creating 200 amazing and beautiful guitar sounds in my Ground Control Pro MIDI Controller – finally, everything is ready, and I have now, at my fingertips, a huge and diverse array of guitar sounds that I can use in my new compositions! It was a lot of work to get to this point, and I am beyond pleased with the way my guitar is sounding – and that is not something I’ve said very often in my life.
Of course, Komplete will still be there to play it’s part, since I don’t have the space for a physical drum kit, and, I’ve never had the opportunity / chance / space / time to learn how to play a real drum kit – I still depend on Komplete to help me set up my real guitars-based tracks – mostly, with the drum tracks. I also, often, will use Komplete to do basses – and certainly, I use it for keyboards and synths, along with other softwares like the M-Tron Pro mellotron software.
When the urge takes me, I do sometimes play real bass instead of Komplete’s bass, but using Komplete is truly tempting because it does contain toolsets like Scarbee’s amazing Rickenbacker bass samples, and I just can’t resist having the sound of a Rickenbacker or a Fender Jazz bass or a Fender Precision on my tracks – I love those basses, and being able to “Play” them, even via a MIDI keyboard – is heaven. My cheap throwaway bass cannot compete with those sampled basses for tone – it was so cheap, that I actually paid nothing for it – a good friend of mine, and an amazing musician, too, Michael Dawson, actually gifted that bass to me – which I have subsequently used on certain tracks, one of which was the tribute to the late John Wetton – “Wettonizer” is the one main track I remember using the “free” Washburn bass on. It is actually, a lot of fun to play (it’s tiny, and I am not!), so maybe I will add in some “real basses” as well as using the amazing Rickenbacker and Fender samples available via Scarbee via Komplete.
In essence, in the studio, Komplete is my “band” – they come up with the bass and drum tracks, and if needed, keyboard and synth tracks – and then, I am left to play real guitars on top of those created tracks. It’s as close as I can get to having a real band to play with at the moment – and again, I don’t have the space available for a real band anyway, so at the moment, the Komplete “band” does me more than proud – and you can hear exactly how well they do, by listening to a couple of my larger works, where they are heavily featured – in particular, on “the complete unknown” “planet obelisk” and “day seventeen” – these are examples of the full Komplete band – drums, bass, keyboards – supporting me, the man of many guitar parts :-). It takes weeks or months to get the drums, basses and keys in place on tracks like these, and it’s not uncommon that three months might pass, before I get to play a single note on the guitar.
(Note: all of the tracks noted above, are all taken from the dave stafford “progressive rock” eternal album – please have a listen on Bandcamp).
Of course, it does take time, creating drum tracks, and bass tracks, and keyboards and synths – but it’s worth the time, because I want the best possible backdrop for guitars – and with Komplete, I get the best there is. For example, depending on what kind of era I want to emulate, I tend to use the Abbey Road drum kits, and I can choose from a vintage 50s kit, a 1960s kit, a 70s kit, 80s, kit or “modern” kit – and each one has it’s own character and options, and they sound absolutely amazing – so I tend to mostly use those, although there are many, many other drum options within Komplete…Abbey Road drums are my current favourite, and they can be heard on a lot of my works.
I have also favoured the Scarbee Rickenbacker bass, using different pickups and presets, for a lot of my pieces, and I think Scarbee is an absolutely amazing company, the care with which they create their instruments is exquisite – the details are absolutely stunning. I can get so many amazing tones out of that Rickenbacker bass, I could just about not ever use any other – except of course, when I do need a Fender bass for a deeper, more traditional sound – and then, I turn to Scarbee once again – and in many cases, they even offer an “amped” version – so you can have just the bass, or, the bass sampled through amps – it’s amazing – I am totally spoiled for choice.
After a lot of hard work, especially the programming of 200 custom preset guitar “sounds” on the Ground Control Pro, I am ready to play some serious guitar – but, serious guitar with the best tones possible. I have really chosen a bit of a strange path, over the years, I have mostly stayed away from “guitar amps”, instead, using a plain power amp, and asking either software, or, my pedalboards, to be the main source of “tone”. Now I am in a hybrid set up – I am using an amp, or actually, two amps – one is a solid state guitar amp, which has a line out to the mixer, and the other is my plain power amp, where I am miking my two 1X12 guitar cabs direct to the sound card. The “tone”, however, is the tone of whatever guitar I am playing, plus, what sound colourations are available from the pedalboards – which of course, include the many-faceted Eventide H9s – each of which contains a massive library of absolutely astonishing, high-quality sounds.
When I think about what is possible with just the H9s (ignoring all other pedals for the moment) I kinda wish I had more than 200 slots in my MIDI pedal, but the truth is, by combining different H9 algorithms, the number of possible insanely good guitar sounds, is not just 200, or even 2000, it’s probably more like 200,000. Seriously – and, Eventide keeps adding in new algorithms, too, which just increases, exponentially, the possibilities, to basically, limitless – the latest new algorithm, “Pitchfuzz”, contains some amazing new distorted and / or pitch-shifted sounds, which are out of this world, and, of course, I have incorporated the best of those into my 200 presets. Using the H9s in multiples, makes it possible to create combinations of effects that are truly lush and incredible sounding – you have to hear them to believe them. Exquisite combinations of beautiful, individual sounds…
I did spend a bit of extra time on one particular sound that I truly love, and I got this idea straight from Allan Holdsworth (may he rest in peace) – on the first of several occasions where I was privileged to see Allan play guitar, he had this amazing “swell” sound, where while the bass and drums played a kind of “drone”, he would “fade in” or “swell” these beautiful, clean chords, which were drenched in layers of delay and reverb – and I never forgot how beautiful that sounded live.
During the Bindlestiff years, I even tried to emulate that sound, by fading the sound in manually with a volume pedal, into a huge reverb “room” – close, but not quite. But now – in the land of H9s – I can have auto-swell, at any time setting I want, and it’s brilliant.
I took this opportunity to create some special Dave Stafford auto-swell settings; starting with a short auto-swell (1900 milliseconds), then, medium (3100 ms) and finally, the “Allan Holdsworth” series of auto-swell (my “long” swell at 4000 ms or 4 seconds) – and I made several variations of that basic sound, running the swell through various different Eventide Space reverb sounds, and in one final example, through a beautiful Eventide delay and then into a beautiful Eventide Space sound. The result is a mini-bank of amazing “swell” variations, and I am so glad I took the time to work out the programming for those sounds – taking care of details like that, gives me an edge, it gives me something unusual, not stock – but with my own personality – these 200 sounds are Dave Stafford Guitar Sounds, regardless of whether they are “stock” or “custom” – they are my choices and juxtapositions – and it’s so nice to have such an amazing library of “algorithm meets algorithm” possibilities.
This afternoon, then, will be dedicated to downloading (and, clearing off, thank god) the 16 new Garage Band pieces, trying to first get the final mixes just right, then, the mastering, and finally, probably starting in a few days’ time, uploading them – and once uploaded, the Garage Band Eternal Album will have reached about 40 unique Dave Stafford compositions done over a relatively short period of time – months – but, in terms of sound, and quality – it’s a huge, huge sound – and, a catalogue of which I am both very proud and very fond of – I have really enjoyed my “time of Garage Band”.
You should try it – drop everything else for a while, and just create with Garage Band – a piece every couple of days was usually my method, although some of the more complex pieces might then stretch out to a week or two until I was happy with the final version – and then, immediately, start another one – preferably, something that sounded COMPLETELY different to the piece just completed.
In a week or two at most, you will be able to hear all 40 tracks, and these should give you a good glimpse (at least) – if not an amazing view – of what this creative and innovative Apple tool – one of the oldest “computer-based” music making tools (now, mobilised on the iPhone and iPad, of course – in the Apple way) can do; and, with it’s latest updates, it has become one of the most fertile, stable, and unique grounds for growing musical ideas.
Anyone can have a go – drag some Apple loops into your song, and you are away – dream up any kind of music you like. Just do loops if you don’t want to play, or don’t know how – you can still create, using the magical Apple loops, if you do play an instrument, then you have the opportunity to add in some keyboard based or drum or bass content of your own. It’s easy to learn, and endlessly expandable, you can add many, many bars and create very long pieces, or create three minute pop masterpieces – it’s all there with Garage Band.
And now – to mix, download, master and start getting those new tracks uploaded – I can’t wait !!!
peace and love
I have to admit, of all of the few unusual instruments I have run across, the Ibanez RG Series Kaoss model guitar is one of the best in so many ways. It’s simply fun to play, and what you can do with one electric guitar that interfaces with one set of 100 (yes, that is One HUNDRED) kaossilator effects to give you one of the most tactile and hands on guitar to synth “instant treatments” experiences since Brian Eno ‘treated’ Phil Manzanera‘s guitar on stage with Roxy Music back in the early 1970s. No longer do you need to run your guitar through a very large and very expensive VCS3 synthesiser, but you can do the ‘treatments” by yourself, as you play – and the sounds you can get out of it are simply amazing if you just work at it….
What more could I ask for? What more could any guitarist who also happens to be a Kaossilator Pad player, who also is a synthesist – ask for? This is the inexpensive way into a Kaoss-pad-controlled-by-a-guitar or rather, by-a-guitarist – you.
Before I try to describe the experience of playing this unique instrument, I should probably approach the negatives – of which there are one or two – depending on your viewpoint. The guitar is deliberately built down to a price, it’s possibly, the cheapest Kaoss guitar on the market – and that is possible the way Ibanez and Korg wanted it – who knows? So some of the features you might expect in an expensive electric guitar simply aren’t really here in this guitar. Like super low super easy action. Not here – you have to work to play this guitar. I am going to need to take it in, and see what can be done about the action – which is less than ideal. I end up thrashing the fingers on my left hand every time I play it – but I am determined, so I don’t let something as unimportant as somewhat high action bother me – I just play anyway, and ignore it.
One alleviating factor or solution I have found, is to go to an extra light gauge of string. This DOES help a little bit, when the guitar you are playing has action that is too high – for me, it seems to help on the higher strings, but no so much on the lower strings. It was strange – I hadn’t tried an .009 on my high E since I was about 13! But I find it helpful to switch from, in my case, Regular Slinky, to, Super Slinky – with a .009 top rather than the .010.
The other thing that I really miss, is a whammy bar. I think that alongside the awesome distortion circuit built into the guitar, that a whammy bar would have been just the ticket – switch on that fuzz and start yourself a crazy whammy solo….but not this time. So – two negatives; it’s hard to play, and, no whammy fun – but I can easily forgive both – there are actions I can take, I can get the guitar set up, I can put lighter strings on it, I can even get the neck fretted or shaved – I mean, there is room to improve the action, that is for sure – but it needs investment, and a good luthier too.
Getting over the whammy is easier, for one thing, you have 101 on board sounds to replace it with, the first being, the very usable on board distortion circuit which I really like, it isn’t the most amazing distortion box in the world, but, it gives you plenty of sustain when you want a sudden kick-ass solo – and so easy to switch it in!
So that is the 101st effect, I would say, and then what you have is 100 more on the kaoss pad, to make up for that missing whammy. For example – may I suggest, voice 16, “vinyl break” – that gives you the ultimate dive bomb, and you can have it at any speed imaginable – very quick indeed, or, very very slow…taking a high note down to a low note that my 12 inch guitar speakers have trouble delivering it’s so lowl!
Or really, instead of thinking of it as 101 effects – the built-in distortion plus 100 Kaoss sounds, you could actually look at it as 201 sounds – the built-in distortion is 1, then you have 100 kaoss sounds with clean guitar, and, 100 kaoss sounds with heavy distortion – and some of these Korg sound respond very well to clean or distortion, and, behave differently depending on what is chosen.
So now that I have got through the tricky stuff, I can go on about how much fun it is to actually PLAY this guitar – and, you have to understand, the kaoss pad that is built into it, is not like the kaoss pad “synths” (like the little hand held pink synth kaoss pad I started out playing a few years back) you buy to play on stage – it is instead, an “effects” kaoss pad, a “Mini-Kaoss pad” – and it’s been made into part of the guitar’s circuitry – it has actually been embedded into the guitar’s DNA – being at the end of the guitar’s audio output.
I think that learning how to play this guitar effectively is something that has to be learned over time, and each time I pick up the Kaoss guitar, I learn a little bit more about what is best in terms of technique – and a lot of the sounds aren’t totally suited to using them like a normal effect, they actually seem to work the best as sudden events in between notes, or, at the end of phrases.
Vinyl Break, good old number 16, is suitable for either, and I had a blast just suddenly DROPPING a note, a millisecond after playing it, down a few octaves, and the real beautiful of the Kaoss pad becomes apparent in the amount of control you have over the timing of that event, of that note drop – if you do it at the “top” of the pad (i.e. the edge nearest the strings, rather than the edge near the edge of the guitar’s body) the drop is incredibly fast, and you are at that low, low tone so fast you can hardly believe it.
If you drop it in the centre of the pad, it drops substantially more slowly, but still at a pretty good speed, and you can learn to “time” these smoother, more elegant drop curves to suit your musical taste…it becomes quite an art, can I make this note drop really smoothly down to it’s lowest tone and then still hit the next note in my solo or improv at the “right” moment, and most times, I can. It’s a huge amount of fun, trying to control the duration of a note drop event, and get it to work in a really musical way.
Finally, if you choose to drop at the bottom of the pad, well then you are going to get the longest drop of all, possibly a bit too slow to be very musical, but just as useful – and everywhere in between, you get all the different speeds. So to put it into phonographic terms, it can be like dropping from 78 to 16 rpm in a millisecond, or from 78 to 16 rpm in a second, or maybe take five seconds to get there – or, you can stop the process anywhere along the way, so maybe you might just go from 78 rpm down to only 33 1/3rd rpm, instead of all the way down to 16 – it’s entirely up to you.
The pad is physically pretty tiny, and you have to learn to use it … sort of… “in between” your notes, or, at the end of a series of notes – it CAN be used while you are playing, but that is hard – it’s possible, with some of the more standard sounds, like a jet flanger or a nice phaser, you can hold a finger on the pad while you are strumming or picking, but – it’s a difficult act of co-ordination, and really, you would be a lot better of concentrating on playing your notes properly, and using your stomp box flangers or phaser, and they very probably will sound better – and, they stay on, too, until you shut them off, whereas, the pad stops working as SOON as your finger or fingers lift off of it – and that makes it tricky to use as a “regular” effect (whatever THAT means lol).
However, the real strength of the Kaoss guitar, isn’t the more “standard” effects, but the ones that work well when used in between notes and in between phrases, like my best friend the vinyl break, but also, the large selection of various loopers are truly useful and give you some remarkable effects if used well. It’s tricky, but, it’s do-able.
There are different ways to approach it, and I keep trying new things, or picking one of the 100 voices I am not as familiar with, and trying to see what I can do with it over a longer period of time – high pass filter, low pass filter, mid filters, you name it, it’s all there, there is even a decimator, which is an amazing patch – I absolutely love the decimator, it’s a brilliant sounding effect. Most of the effects sound really good, but some of them are hard to use in the sort of “momentary” way you need to use this guitar to it’s best effect (no pun intended).
One trick I have found helpful, in making sure I co-ordinate playing a note or chord, and then, immediately applying the pad (before the more or chord fades away so much that the pad then does NOTHING to it – very embarrassing!) is by likening the pad to a whammy bar in your brain – a whammy bar used, of course, in the more usual way, where, at the end of a phrase or chord, you use it – well, the Kaoss pad works best that way.
Just as with the whammy, of course, you CAN whammy WHILE you are playing – but it is more difficult to do, and the results might not always be consistent. So if you tell yourself to use it in the same times you might use your whammy -and if you are fortunate, it will work well – although there is no guarantee. And that’s where you can have surprising and dismaying failures – let’s say you’ve worked out a part where, you stop playing and then do a move on the pad, a really dramatic move like a drop or a pitch shift of some kind, and you do it say, for four bars in a row, once each bar….and on the fourth one, you are a tiny bit too late on the pad – and out comes….silence.
That can be embarrassing, and even disappointing, because maybe that fourth amazing Kaoss swoop – should have been the most flamboyant and remarkable of the four in a row – but instead, you play three good ones, and the fourth one – just isn’t meant to happen.
So you lose an entire perfect take, because you timed your Kaoss sound off by nanoseconds – and that resulted not in an error, but instead, in a fail – a silence when your audience would clearly be expecting some kind of fantastical Kaossilator effect – and that is annoying! I have lost solos and takes because of one failed or less than spectacular Kaoss swoop.
The remedy for that, of course – is more practice, and, of course, the more you practice, the less likely these time-based mishaps will haunt your kaoss playing. No one said this would be easy – but sometimes, it is pretty easy to make the pad sound good, on other occasions, not so much so – but if you work at it, you can play some truly extraordinary and more importantly, utterly unique chord patterns, notes, guitar solos and sound effects – I mean, with 100 sounds to choose from, you have an enormous palette of high quality Korg effects with which to modify your beautifully clean or very distorted Ibanez guitar – and that to me, is a winning combination.
Aka Eventide Heaven for ambient guitarists…
September 2016: mad flurrying to Aylesbury on the train for the Return Of The Crimson King (please see my previous three blogs – 3/9, 4/9, 5/9) …a day at the truly remarkable Bletchley Park, taking in an evening play at the Old Globe, and the guilty pleasure of a Warner Brothers tour of the Harry Potter sound stages…then, chaotic problems with trains over-packed with frustrated commuters, only, we were just trying to get home to Scotland from Aylesbury…
Then – finally, back home again, later than anticipated but intact – and trying to assess what already recorded music needed to be dealt with – and the answer, as always, was “quite a lot”.
A spur of the moment decision to attend the live Eight Days A Week screening at the Vue Theatre, a very enjoyable three hour plus evening of Beatles music – absolutely fab. The boys were playing their hearts out, George played some excellent solos, and I really enjoyed seeing “The Touring Years” – and as Giles Martin did the music, this meant that murky bits of Beatle history such as the now ancient-looking “Beatles At Shea Stadium” suddenly now rock hard, you can HEAR the music now and what Giles did here, and throughout the project, is nothing short of amazing. I am sure George M. is smiling, grinning actually, somewhere…
Meanwhile, I’ve been quietly working on a number of new pieces, or new pieces a number of I’ve worked quietly on meanwhile, I am not quite sure which.
Most of the past year and a half, has been filled with the large amount of work required to complete just three lengthy pieces of (progressive rock) work: “the complete unknown”, “planet obelisk” and more recently, “day seventeen”.
These creations required a lot of painstaking work, and since they are all built from scratch as I went…it takes time. I think the first one took the longest, “the complete unknown” but by the time I got to “day seventeen” something had affected me, and it took me far, far too long to create this most difficult of pieces. I struggled, which is unusual, normally, I just move along apace, it takes time, but I keep going. But this time, I had to re-play guitar parts multiple times, some of the parts just wouldn’t reconcile…it took weeks, maybe months, longer than it should have, and I was so, so pleased when it was finally done! A huge sigh of relief.
In the end, though, I managed to complete all three, and have since decided that I will be taking a break from progressive rock and very long songs, and will be revisiting my first love: the electric guitar.
To that end, I recently created one of a very few new “eternal albums” planned for this year: “electric guitars – an eternal album”. Which then meant that I could begin to work on shorter, live pieces and use some of the great new guitar tones I have available as well.
Thus began a couple of different work streams, one looking back and the other, looking forward. It also meant that the relatively “new” eternal album has suddenly grown to about 50 tracks – or rather, it will once I upload the outputs of the past one week of work on mixing and mastering.
Beginning with the “looking back”; sometimes, in the middle of a project say, when I might be feeling frustrated by a lack of progress or frustrated by simply not knowing what sounds to make next in a piece in progress, I will “take a break” and just play some guitar for fun.
June 15, 2016 was one such day, smack dab in the middle of the sessions for “planet obelisk”, one afternoon or evening, I sat down, plugged my guitar in, and played for some 60 minutes plus, doing an extraordinary, non-stop 26 takes in a row, using various sounds from the (then brand new) Eventide “SpaceTime” algorithm..
If you haven’t yet heard what SpaceTime can do – you should! It’s a remarkable amalgam of echo, delay, reverb, shimmer, reverse and I don’t know what else, and I had only just received the update when I decided to embark on a sort of “SpaceTime Jam 1” exploration of the sounds that the H9 pedal could make with this brand new algorithm..
Over the past few week, I reviewed and assessed these tracks, and a remarkable 25 of the 26 takes from the 20160615 session, were viable. So I decided I would do a sort of arbitrary “grouping” of these very live takes, into short song cycles of 3 or 4 takes per “song” (and in one case, just 2 takes making up the final song of the cycle).
So I ended up then, with eight quite interesting songs, mixed and mastered – and as I was working on them I thought…I could add some drums to these, and then release them, explaining that they were sort of made up of the same musical DNA as “planet obelisk” is. In some cases, in many cases in fact, I used drums leftover from the “planet obelisk” sessions.
In other cases, I would create new bespoke drum parts, or adapt existing parts to fit the improvised electric guitars. Adding the drum parts in ended up taking quite a bit of time, off and on, but when all eight tracks were complete, I was glad I’d made the effort. I also did one bespoke tabla part, which utilised Native Instruments “India” and that was a blast – I played one take, live, along with the three guitar tracks, including not playing in between the takes…and coming in at the right time. I managed to hit it all on take one, and “playing” the tabla is an absolute blast – I love this instrument (India).
The guitar takes are all improvised, on the spot, and in almost every case, the natural spaces between them, as it happened, have been preserved – because the session was rapid-fire, and the 26 pieces were played in surprisingly quick succession, with very little time between takes – in some cases just a few seconds, long enough for me to change the patch, and then dive into the unknown again.
Every take used the same basic preamp sound, which is my >Frippy patch from the new Sculpt algorithm – that’s the constant. A plate reverb was also used, and I then changed SpaceTime patches on one device as I played. Being able to use the H9 Control application on my tablet really was a life saver, I could change the patches manually with almost no effort, so you do get to hear a broad, broad variety of the SpaceTime algorithm’s many amazing patches.
More than the sum of songs, because in some cases, i would change the patch mid-song, sometimes multiple times within one song. Also, where I was able and it felt appropriate, I also used expression pedal on some of the patches, which then gives you deep and wild control over many variable aspects of any SpaceTime patch you are using.
The expression pedal implementation in the Eventide H9 is remarkable right out of the box, and every one of the patches features a range of possible expression pedal values, carefully chosen for the best effect – for rotary sounds, obviously, it’s the speed that the pedal controls, but the range of expressions possible with the H9 is simply staggering – what a brilliantly designed device.
I was mesmerised by the beautiful sounds that SpaceTime gave me, and I play a fairly joyous hour of happy and heavy lead and rhythm guitar. And that hour of music, took me 65 minutes to do – so no faffing about between the takes – I really just got on with it, trialling dozens of SpaceTime patches and taking many, many expression pedal excursions too. A wonderful session that I really enjoyed, which does contain quite a lot of “planet obelisk” DNA – without really sounding anything like it.
The 25 viable tracks then, were edited into these eight new “songs”; which vary in length from perhaps, five and a half minutes long, to over ten minutes in length in one instance. The total running time actually becoming about 55 minutes of music in total, mostly because of the fact that take one was unusable, it was a great take, but the levels were far too hot, and it suffered from multiple wounds of digital distortion, and nothing I could do would have saved it – a sad loss, but I was very happy that I turned everything DOWN after that and captured nice clean versions of the remaining 25 tracks.
The resulting eight tracks are:
building the obelisk
all good children go to heaven
beautiful metallic noise
the occasional chord (to remind us)
it’s echo soup in here
the heavens unfold
since the dawn of time
reaching catharsis (bridge)
A possible ninth track may be uploaded:
the road to obelisk – 55 minute track compiled from the above listed eight tracks – this recreates the continuous nature of the original session – if successful, it will be added to the upload list as well.
It is my hope to upload the above eight (or nine) tracks over the coming week if all goes well. Along with the appropriate outputs from the forward-looking project, which came from a session that I had somewhat arbitrarily named “brief session” – and it was, if compared to the “planet obelisk” 25 takes – the new “brief session” contained just 10 takes, although take 7 was an extended take with something like six individual parts on it.
The first six takes are very, very ambient, indeed, and are really a highlight of the session – the remaining four, used distorted guitars instead of clean, and although interesting, they did not come out nearly as well as the first six, which used clean guitars and more Eventide H9 wizardry.
I am very, very excited about these six tracks, which represent the bulk of the session time-wise, because for the first time in my memory, I was able to play ambient guitar, without the use of either a looper or of an ebow (energy bow) – I can now create very, very ambient guitar, just using the stock algorithms from the Eventide H9.
That is an incredibly freeing experience – yes, you do still have to play the guitar, but, the beautiful sounds that come out, whether produced by SpaceTime, Resonator, or MultiTap (such as “UltraTap”….heavenly patch) it matters not – there is not just one ambient sound available, but in fact, droves of them, and I can see myself playing a lot of clean, careful guitar into an H9 (or two) that can translate that input directly into the kind of soundscape I’ve always wished I could produce.
My best method of creating that atmosphere has always previously been, running an ebow guitar into a looper and then into a good reverb unit. And of course, I will always, always still do that, because I love to do it – but, the H9 gives me an alternative to that, where I don’t need to rely on the ebow or the looper (however, I have retained and have used the ebow on several of the eight tracks above), because that made them sound even better, so ebow + SpaceTime is a winning combination for me. Ambient guitar made…a little bit easier than it used to be.
For the six tracks below however, I did not use the ebow – I didn’t need to, the pure ambient output from the H9 was all I needed. What a brilliant device!
The resulting six tracks are:
I cannot express how wonderful it was to be able to create these pieces, and I sat there in awe of the sound design that has gone into the Eventide algorithms – especially those that I would call “totally ambient” – and there are many, many of these sprinkled here and there within the algorithms.
I see this then, this set of six songs, to be very future oriented, very forward-looking, and I will very probably be exploring much, much more along these lines, in hopefully some longer-form improvs, just what I can achieve for ambient guitar, without resorting to ebow + looper + good reverb – although, that is still a great formula for ambient music!
I feel like a man who has been given the actual sound of heaven, and by gosh, I am going to use that sound – those sounds – as often as I can, because they are truly remarkable. Even one of the oldest of Eventide’s algorithms, “Space” – their do-all reverb magic box – is an incredible tool, and contains reverbs that can also act as ambient guitar creators – it’s all in there, in that little white box…
“exogenesis” was the starting point for me, I could just close my eyes and hear those ethereal sounds, and realising that I was just playing clean guitar notes, slowly, carefully – and this river or ocean of beautiful, ethereal, reverberant sound just flowed all around me – as it should do. I could really get used to this – I really could.
The six super ambient tracks from the “exo” series will also be uploaded in the near future – as soon as possible.
So, I haven’t been absent at all – I’ve been busy!
love peace and order
Monday night, and it is the last of three (in a row, no less!) King Crimson concerts for us, and for the band, the last show on British soil for a while, after tonight; it’s off to Europe for the rest of the tour. But before they go, there is the remaining matter of the last of the three Aylesbury gigs, on a cool, cloudy Monday night at the Riverside Theatre.
Being the third show in as many nights, the kinks in the performances are starting to work out now, and the band is settling in to the routine of playing, the dealing with of cues and counts and stops and starts, pedals and programs, guitars and basses; allowing the players to relax just that little bit more, which made it possible for some interesting improvements and a bit more improvisation when compared to the previous two concerts.
Speaking of basses, we observed something last night that was interesting: Tony Levin has too many instruments! Mel Collins has no choice but to bring several instruments, for example, he plays baritone, tenor and soprano saxophones, so that’s three right there that he has no choice over – he has to have those, to be able to replicate all those very different sax parts from those early albums in particular. A selection of flutes is inevitable too, and I would not say a word if Mel turned up wth seventeen instruments…because each one would have a specific purpose for a specific song or songs.
Tony I think, could actually get by with fewer instruments, because his function nominally, is bass player. Robert has one or possibly two, guitars. Jakko gets by with just one guitar, his beautifully painted PRS electric. But Tony has a veritable arsenal of bass-related weaponry:
Yellow Three Of A Perfect Pair 5-String Bass
Pink 6-String Bass
…and maybe a fifth bass
Note too that except for the fretless,they all have more than four strings!! This makes me believe that over time, Tony has become more of a frustrated guitarist to some degree (as you would do in the company of Jakko and Robert) than an ordinary “bassist”. He’s now graduated from 5-string to 6-string basses, which sound great, but aren’t actually “basses” by strict definition.
It may be more a matter of orchestrating the changes to minimise the number of changes required, but sometimes it seems like every time I look towards the centre of the stage, I see Tony Levin changing basses yet again, and again. It’s a tiny bit distracting if I am honest. OK, to be fair, Mel is changing instruments multiple times during many songs, but he has no choice, he can’t play a flute line with a baritone sax. And when he changes instruments, it’s subtle, quiet, you barely notice that he is doing it.
Tony, being Very Tall and also, standing basically at Centre Stage – cannot in any way disguise or downplay the swapping of one bass for another….over and over again.
Tony however, can get bass notes out of any of the basses in my slightly incomplete list of his basses, so why all the fuss and constant back and forth from Stick to Fretless to Yellow to Pink and back to Stick again? I get that songs that require Stick, require Stick, but songs that require bass, do they require 5- and 6- string basses? Not really, in my humble opinion. I love Tony and the way he plays, I just wonder if he can minimise the visually distracting bass changeovers by reducing the number of instruments. If he has any spare basses, I could sure use a good bass 🙂
But that is just an observation made over three days and an observation that first started really gelling on night two, last night, and tonight I’m happy to report that the bass-changing has settled down a bit, thanks in part to changes in the set list, but overall, I didn’t seem to notice it as much – so that is a win.
Also noted on the previous two nights, were instances where it appeared that Robert was playing something, but zero sound came out, so we could see him playing but not hear it, and in one case we got complete silence for a moment before the sound kicked back in and the audio then supported the visual, instead of RF strumming away with no sound emerging until he got things under control.
But these observations really just prove that this band of superhuman players, are really human after all, and in the main, the sound you hear from those seven instruments, whatever combination they are in, is 99.8 percent perfect if you compare it to just about any other band.
Each player knows their space, knows what has to be played, while still leaving open what might be played…and it’s in those moments, when one or more of the players just grab the bull by the horns and move out into previously uncharted territory, that’s when the live “Crimson magic” begins.
It happens with Mel in almost every song, sure, he plays his parts, but then, he loses himself in the moment and is soon soaring on a high-flying improv that proves that he was and still is, the most innovative horn player in rock music (and you can’t forget his history either, of working with the Stones and being in Camel and of course, being in King Crimson for albums two, three, four and five), if you count “Earthbound” as the fifth album (I do). Mel has been around the block in terms of playing experience.
It happens to all the players in the band at some point, although the better the improviser they are, the better their ability to transcend an ordinary “part” and play something truly extraordinary instead. Mel and Robert do this almost constantly, while Tony and Jakko must stick to the script more, so opportunities to improvise are fewer, and for the drummers, probably only they themselves or the members of the band are aware when they do something amazing, although I feel that the drum section have produced both rehearsed and slightly improvised music each and every night – they are so well co-ordinated, but each also has his own style and their own series of wildly improvised and very astonishing percussion moments.
What a trio they are, and when you combine that three-man percussive prowess with Mssrs. Fripp, Collins, Jakszyk and Levin…you get the “Crimson magic” – and every night, you will hear this, to a greater or lesser degree, if you listen with your ears open. Sure, they are “playing” the songs; but there is also opportunity for the occasional amazing riff or chord or entire solo or other Amazing Accidental Musical Moment In Time (AAMMIT).
By the way – in one of the silences someone shouted out “Happy Birthday Mel!!” which got an enormous cheer from the whole audience as well as a huge grin and sweeping wave of thanks from the man himself.
Before I go any further, here is the full set list:
The Battle Of Glass Tears
Unknown / New Song (Instrumental – featuring two guitars)
Pictures Of A City
Hellhounds Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)
Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio)
Suitable Grounds For The Blues
The ConstruKction Of Light
One More Red Nightmare
Banshee Legs Bell Hassle
21st Century Schizoid Man
The only band I’ve seen recently that can even come close to King Crimson 2016, was King Crimson 2015 – who we were fortunate enough to see three times in three different cities last year – and those shows were brilliant.
This time around, after a little time, I would say that the first of the three shows was overall winner, because the band was more relaxed, and the setlist was amazing – and despite some technical teething problems, it was a superb performance that I will not soon forget.
The second night was sort of in the middle for me, it was nice to have “The Talking Drum / Larks’ Tongues In Aspic, Part 2” back in the set, but not really at the expense of “Sailor’s Tale” which made a very welcome return tonight.
Tonight, the band opened with the eerie and beautiful “Battle of Glass Tears” my personal favourite new / old track, which was just sublime, so atmospheric, and you could hear a pin drop at this point – followed immediately by that new song, minus it’s 2 chord intro, and of course, the audience had NO idea what was going on at this point… That came to a slightly uncertain stop, and finally they launched into “Pictures Of A City” and all was well again.
While I have awarded the “Friends & Family” show as my personal favourite, there are of course, one or two exceptions I should note. Tonight’s show got off to a bit of a shaky start in that, the audience didn’t know whether to applaud or not after the second piece – so out of politeness, they didn’t applaud, so it wasn’t until the end of “Pictures Of A City” that they could let their hair down and scream and shout for the return of the Crimson King. The show only got better from there, and some particular highlights for me were, in no particular order:
“Fracture”, which was fantastic, and in my opinion, by far the best version over the three nights (so, as far as this song is concerned, THIS was the best version – even better than night one’s version). Robert and Mel were right on form, Jakko’s “mock violin” was incredible to watch and listen to – and the rhythm section simply smashed it along with Tony – a rocking version, and really tight – I loved it. Out of all of the new / old songs, I welcome “Fracture” back into the setlist with the most joy – it’s been a long time since KC tackled this twelve minute musical monstrosity – what a great tune, and the new arrangement is fantastical – really beautifully done.
It was great to hear “Cirkus” for the third time, it was consistently good each night, and in some ways, Mel’s solo in this is probably one of the best solos he has ever done, so to get to hear and see him play that beautiful, beautiful horn solo, for three nights running, is an incredible privilege – and, the saxes on “Cirkus” are amongst the most beautiful I have ever, ever heard, in any context or in any song – it’s an absolutely sublime, lovely solo – and I got to hear it three times in a row – so beautiful!
“One More Red Nightmare” – “Red” was great, every night, but this was better, and another “welcome return” to the setlist. A brilliant vocal from Jakko, indescribable ensemble work from the drum team, and just a blast of fun, all about a cool riff, with sinister saxophones and Jakko’s distorted auto-Wah sounded absolutely astonishing at the end – a great guitar sound! This track totally rocked tonight…in fact, the whole second half of the show was really exciting, and the section containing “Vrooom”, “The Letters”, “Sailor’s Tale” and finally “One More Red Nightmare” very nearly changed my mind about which concert was my favourite. Very nearly, but not quite 🙂
A stunningly beautiful “Starless” followed, which did bring the temperature down quite a bit – but then, we get to that amazing end section, with the fabulous guitars sliding up and down and the bass ripping a la John Wetton (Tony did really well on this version of “Starless”, I have to say – and it’s not an easy bass part to play!).
“Heroes” was pretty much a carbon copy each of the three nights, I still think night one has the edge, although tonight’s version got a very very good reaction from the audience, as did the final number, “21st Century Schizoid Man” including the aforementioned New Standard Tuning tasty jazz chords from Mr. Robert Fripp.
I noticed that sometimes during one of Mel’s longer tenor or soprano sax solos (and since we are talking about this song already, one prime example of this tonight was the final encore, “21st Century Schizoid Man”, which is possibly Mel’s longest solo of the night); that as soon as Mel settling into his solo, wherein he will absolutely be screaming away at speed – that Robert starts comping along to the solo, playing what he might call “particularly tasty inversions” of jazz chords, and that’s been an interesting thing to hear – Mel is soloing his heart out, and Robert starts slipping these fantastically lovely “jazz chords” into the tiny spaces that Mel leaves open in his solo – and how RF can select and play a series of interesting, jazzy chords to comp along to Mel’s insanely good sax solos is actually, beyond my musical understanding.
I wish I even knew those chords, and then I would worry about when to play them. And of course, they are all now in the new standard tuning, so over time Robert has relearned his 11th and 13th and 9th/b5th chords, and knows them well enough in NST now, to confidently insert them into the spaces left by one of rock’s master musicians, the extraordinary Mel Collins.
The resulting sound, with the whole band in full on jazz swing mode, is nothing short of extraordinary. Mel is the not-so-secret weapon, who can be called upon almost on demand to produce a honking or screaming or deadly smooth slinky sleazy sax solo, with Rock’s best jazz guitarist Robert Fripp comping along with the tastiest of chords. What a sound that is. He may also have been doing this during Mel’s soloing in “Pictures Of A City” – but I am not sure about that, I can’t actually remember if “Schizoid Man” was the only time Fripp did this astonishing, clean jazz chord work – it blew me away.
Prior to Mel’s selfsame long solo in “Schizoid Man”, Robert took his solo, but it was different this time, to any of the previous shows – including the three shows we saw last year – I’ve only seen / heard this happen one time out of six shows, and that was during this guitar solo – he started it out with one of those impossible high-speed three-note trills (a la “St. Elmo’s Fire” by Brian Eno, where Fripp plays impossibly fast three-note trills over and over again) and also, the solo was quite a bit longer than on the other nights, and it included some more brief “exhibitions of reckless speed” in the lead guitar arena – he was really going at it, and it was a great little solo – and then, he handed it over to Mel as he always does – who then proceeded to attempt to out-do what Robert did – and that is when Robert changed over to a lovely clean sounding guitar, and did the chord comping I described previously.
What a great, great version of “Schizoid Man” – I loved it, if only just for the little extra bits of stunning Fripp guitar – that really added a lot to the experience for me – so again, of the three nights, that’s my favourite version of this particular song – but overall, I still think I preferred the first show out of the three – except for “Fracture” and “21st Century Schizoid Man” which were both definitely better tonight – they were absolutely brilliant, and along with the two tracks from “Islands” plus the two tracks from “Red” – there was a lot of very hot music going on this evening!
Here and now, in September 2016, for us, having the absolutely unique experience of seeing King Crimson play three gigs over three nights in the same elegant, beautiful theatre – and, each of those shows had its own individual “feel”, while at the same time, the three taken as a whole, gets you a really good overview of just exactly what this band is capable of…all I can say about that, is:
Europe, be ready – the great Crimson Beast is lumbering towards you (in an odd time signature, of course) so I hope you are ready, this band is going to change the way you see (and hear) live music forever, with its amazing “front line” of three incredible drummers, and it’s impossibly talented and experienced “back line” full of virtuoso strings and horns – and just 30 seconds worth of “Level Five” will melt you right into your seat! 🙂
Thanks for listening!
King Crimson, “Friends & Family” Event, Friar’s, Waterside Theatre
Aylesbury, UK – September 3rd, 2016
The first unofficial show by the “new” King Crimson ended just a few short hours ago, and with the sound of the final selection of the night, “21st Century Schizoid Man” (complete with the original introduction mind you!) still ringing in my ears, I want to very quickly give my impressions of the show.
First of all, it was a “secret” show, a warm-up gig to the warm-up gigs tomorrow and Monday night (both at the same venue, on the 4th and 5th of September respectively). Attendance was by invitation only.
Second, I would very briefly mention that it really *was* friends and families, while we were waiting for the show to begin; in the foyer, and then later, in our seats – I kept seeing familiar faces and I kept getting greeted by many Crafty friends who had travelled from far and wide to see this special concert. I spoke to a couple of Crafties that had flown from the United States, and I was told that one Crafty had even travelled from Australia to see the show- now that made our own 7 hour journey from Scotland, by train and taxi, seem pretty tame – but it was a lovely, low-key way to travel, I can tell you for free. So I must have known 20 or 30 people in the audience, and spoke with a handful of them, or shook hands as I went by…it was very unusual and very nice to see and speak with a lot of people you know – mostly fellow Crafty guitarists.
But I digress…I return now, to the performance itself.
When I said the “new” King Crimson, I did mean King Crimson, 2016 version as compared to King Crimson, 2015 – the difference being, a swap of drummers – Bill Rieflin departing the band in March, 2016 and then being promptly replaced by new member Jeremy Stacey. So this “warm-up” gig would have been his first ever live performance with the band.
I’ll take just a moment to say what a welcome and capable replacement Jeremy is: he sits in the same position (centre) of the three “front line” drummers, and like Rieflin before him, plays lots of piano, Mellotron and synthesizer parts as well as being an ace drummer. It’s a very, very seamless integration, and in fact, I would say that due to some excellent changes to the band’s repertoire, that Stacey actually played quite a bit more Mellotron especially, than Bill R. ever did. And he played it with complete confidence, as if he’d been doing it all along. He is a fully integrated member of the drum front line, and then by extension, since the drum front line works so well – of the band, too, the more string and horn oriented “back line”.
In short, Jeremy is an excellent, almost fit for fit / fit for purpose replacement for the departed Rieflin – and excellent choice, and his playing, both on the drums as well as on the keyboards, was basically flawless. A brilliant night for the front line, then.
In the back line – there were some opening night issues. Robert’s guitar was sometimes too low in the mix, as was Jakko’s, and there was a fairly disastrous tuning issue in the slow “relentless” section of “Starless” – which after about two minutes, was finally corrected by Jakko, which then put the song back on track. Mel’s soprano sax on this song was sublime, Beautiful playing.
Robert’s solo in “Easy Money” for me, was at first, so overly-reverbed, that I couldn’t distinguish the notes he was obviously playing, those notes, literally lost in space by a slightly too ambient patch on his effects unit. Then, as the solo progressed, he switched to the treble pickup, and finally I could start to hear the solo. It was almost inaudible for almost a minute – I could see him playing, but I couldn’t hear him playing. A few minor adjustments on the fly, and the solo finally took wing and flew – consummate professionalism every time.
Beyond those issues, there wasn’t much I could really find fault with, as we found with the 2015 band, the performances were well-rehearsed, well-polished, and the songs were filled with virtuoso moments from every player on the stage, from Tony Levin’s incredibly delicate fretless electric string bass solo on “Vrooom” to Robert Fripp’s impossible ascending / descending moving scales on “Fracture” (yes, I said “Fracture”!!!) this is a band of seasoned professionals, and the band’s collective ability to create virtually perfect renderings of material old or new is simply astonishing.
For me, having the incredibly capable Mel Collins back in the band, who then gets to re-create a series of basically impossible horn and flute solos, that he ad-libbed (probably) in the studio on albums made in 1970 (Lizard) and 1971 (Islands) and Red (1974)…
He also got to play horn parts originally performed by original King Crimson horn man Ian McDonald, and he got to replace Adrian Belew vocal parts with amazing flute solos or baritone saxes or soprano sax – and he is constantly switching between the flute and one of those saxes, and it’s fantastic, too, to hear him playing along with Fripp on pieces like “Starless”. The two sounded good together in 1970, 71 and 72, but they sound absolutely amazing together in King Crimson 2016.
I can’t of course, not say something about the redoubtable trio of drummers, Pat Mastelotto, new man Jeremy Stacey, and now-veteran (almost) Gavin Harrison – who is the “leader” of the drum team. Their unique approach to re-arranging some of the Crimson repertoire, for example, the song “Red” gets a whole new treatment from the trio, with a strange but wonderful slipping / synchronised tribal beat, that takes the song to a completely new place – it’s brilliant.
They also take quite a few solos, and have a couple of their own pieces which I can never keep straight, which one is which, so Crimson-drum-aficionados must forgive me if I guess the name of one of their drum numbers wrong. I probably WILL get it wrong…
Now – before I forget, I want to give you the set list, and I might then say one or two things about some of my personal favourite moments. As the 2015 band brought back and re-vitalised two tracks from the fourth Crimson studio album, 1971’s “Islands” in the form of “The Letters” and “Sailor’s Tale”, the decision was apparently taken that the oft-maligned third Crimson album, 1970’s “Lizard, now deserved some air time as well, so as I sat there tonight, I got a couple of real shocks to my system in terms of, ‘oh my God, I know what THIS is…’ …in fact, that happened three times: twice for two tracks taken from 1970’s “Lizard” and probably the most surprising of all – a track from “Starless And Bible Black” (1974) entitled “Fracture”.
I was startled when Robert started playing this familiar riff, and his guitar was giving him a little bit of trouble during the first couple of bars, but he managed to straighten out whatever was wrong, and then dived into a nearly-faultless version of “Fracture” which of course contains long passages of his patented “perpetual vertical and horizontal picking” which to hear and see live, was absolutely amazing – he somehow managed to work out this entire, extremely complex piece of music in the New Standard Tuning, and with ace violin-emulation from Jakko Jakszyk – the band pulled off a pretty ripping version of the tune.
But I am getting ahead of myself here – here is the set list:
Hellhound Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)
Larks’ Tongues In Aspic, Part 1
Pictures Of A City
The Battle Of Glass Tears
Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio)
The ConstruKction Of Light
Suitable Grounds For The Blues
Unknown / New Song (Instrumental – featuring two guitars)
Banshee Legs Bell Hassle
21st Century Schizoid Man
Finally, some very memorable moments for me…during the last section of “Pictures Of A City” Robert suddenly played an incredibly beautiful, long jazzy lick on his guitar that just shocked me – it was that good, and it just sounded so, so perfect in that moment, it really blew me away – brilliant!
When “Cirkus” started, I knew I was going to be bowled over by it, and it did not disappoint in any way. A powerful vocal from Jakko, and Mel had clearly spent many hours studying the original recording, has taken his already impossible, sleazy, beautiful, jazzy sax riffs and he’s gone and IMPROVED on them – meanwhile, new member Jeremy Stacey was playing the ominous Mellotron riff, as well as the piano introduction, switching between piano and Mellotron and drums effortlessly – an amazing performance, while Robert played the same riff on guitar, and would occasionally add additional Mellotrons to parts that required more than one – and in “Cirkus” you get this requirement.
Mel was absolutely spot on, and to hear this song performed live is a dream I never dared dream – and a few hours ago – I watched and listened to King Crimson playing one of my favourite tracks from “Lizard” – the dramatic and strange “Cirkus” with perfect Gordon Haskell bass lines from Tony Levin and a great Jakko vocal (not to mention, Jakko playing the famous very rapid classical sounding acoustic guitar parts that occur twice in the song – at an incredible tempo) – brilliant!
But strangely enough, what really, really blew my socks away, was a near perfect rendition of “The Battle Of Glass Tears” (which was originally the third section of the side long so-called “Lizard Suite” which originally ran as):
1. Prince Rupert Awakes
3. The Battle Of Glass Tears
4. Big Top
So removing it from the context of that, and playing it as a single, live piece of music, was an inspired move, the lyrics are absolutely beautiful, and Jakko did a fantastic job of rendering original singer Gordon Haskell’s somewhat strange melodic vocal – and in doing so, made it into an even better vocal performance than the original – and the band, were in complete jazz stealth mode, all playing super quietly while Jakko sang this strange tale of a sort of dream battle with it’s amazing Peter Sinfield lyrics – it was the most surprising of all – and I had just heard both “Cirkus” followed by “Fracture” – both of which had blown me away,,,but when new member Jeremy Stacey started playing the eerie, strange mellotrons from “The Battle Of Glass Tears” I knew what it was instantly, or rather, where it came from, I knew every word, and I actually sang along quietly because it’s such a beautiful lyric.
The whole band just excelled on this short, very odd piece of music, which was literally snatched out of the middle of a much larger work, but, for me, it draws attention to a single song that I always felt was one of the best moments on the whole album – it’s certainly my favourite lyric on the album, and it’s also the first time you hear singer Gordon Haskell’s voice after the sort of fairy-tale voice of guest singer Jon Anderson on the first part, “Prince Rupert Awakes”. Haskell’s voice is an acquired taste, but I absolutely love his bass playing (perfectly emulated thanks to the good Mr. Levin) and his singing on “Lizard” – I think he is top notch, especially at interpreting the rather tricky Peter Sinfield lyrics.
“Lizard” has taken a lot of abuse over the years, sort of the unwanted jazz child of “In The Court” and “In The Wake” but I love all four of those earliest records, each in their own way – the fourth one being “Islands” of course – and I was SO very happy that they have retained the two tracks from “Islands” in the setlist, the show wouldn’t have been the same without them!
I know this won’t be a popular opinion, but I really tend to enjoy the tracks from “Lizard” and “Islands” more than the tracks from “In The Court” or “In The Wake”. That’s just me. Don’t get me wrong; I love “Epitaph” and “Schizoid Man” and “Pictures Of A City” but I just prefer hearing the rarer (and somewhat more eccentric) tracks from “Lizard” and “Islands”.
They introduced then, new for this tour, three “old” King Crimson songs, that King Crimson 2015 did NOT play – and those three songs, two from “Lizard” and one from “Starless And Bible Black” we’re probably my favourite moments of this concert.
They also played what I believe was a new song, a sort of menacing two guitars piece that was quite short, but quite enjoyable, it had a slightly strange beginning featuring Robert Fripp playing a major chord up a half step, so something like F sharp major to G major, not unlike the beginning of “Jailhouse Rock” but then it immediately mutated into twin guitar Krimson territory – I don’t know what the name of it was, but it was pleasant enough.
Just prior to a roaring final encore of “21st Century Schizoid Man” (which was firing on all cylinders tonight my friends!) they did something else a bit unexpected – they played David Bowie’s song “Heroes”, with Jakko doing his best David Bowie vocal imitation, while Robert Fripp reprised his beautiful, soaring long guitar riff that has made the song so famous, that he originally recorded on the original version of the song from the David Bowie album of the same name, way back in 1980 – when it was Eno, Bowie and Fripp all working together in Berlin.
So that felt like a really nice send-off for David – Robert Fripp reminding us that it was his guitar on that song, but also offering up a really bright, poppy almost, version of the song with an excellent vocal and great supporting guitar from Jakko – while the rhythm section and Tony were just having the time of their lives – it sounded (and looked) really fun to play, and hearing Robert keeping that one note sustained for so long, over and over again, you forget that he is the absolute master of the long, sustained guitar note – and he doesn’t depend on a gadget (like the energy bows that I favour so much) – he just keeps that note going, somehow.
It was an impressive performance, when it ended, the familiar steam organ type sounds that are the recorded “prelude” or short intro piece that precedes “21st Century Schizoid Man” were playing through the speakers, and with a huge crashing chord sequence, we were off on the final track of the evening – it simply couldn’t be anything else, could it?
I loved every minute of this show, the skill and the musicianship and the professionalism on show, the virtuoso playing on show, is almost too much to take. I was alternately fascinated by the interplay between Jakko and Robert, and sometimes absolutely gobsmacked by riffs or ideas or techniques that both would employ, and some amazing guitar tones were also to be heard during this concert – great guitar sounds, including acoustic emulation from Jakko during Epitaph, the only other number we got tonight from the classic first album, “In the Court Of The Crimson King”.
But I am willing to give up the title track of that album, in exchange for “Cirkus”, “Fracture” and “The Battle Of Glass Tears” – especially the last one, whose lyrics are still rattling around my brain…
Burnt with dream and taut with fear
Dawn’s misty shawl upon them.
Three hills apart great armies stir
Spit oath and curse as day breaks.
Forming lines of horse and steel
By even yards, march forward.
I could not have dreamed in a billion years, that one day I would see and hear King Crimson play “The Battle Of Glass Tears” – It’s simply not possible. But – earlier this evening – I did just that – and it was gorgeous, too!
By all accounts, besides a very few technical issues, an excellent first foray for King Crimson 2016!
Now I can sleep happy!!
Peace and love
Somewhere near Aylesbury, waiting for night 2
Dave & Dawn