iOS 11.0 – the application killer

I set out, in mid November, to try to fully understand and realise, just how many audio, sound, keyboard, synth or guitar / guitar effects applications I was going to lose permanently…if and when I finally updated to ios 11.0 on my devices.

The list started out OK, I basically started opening all of the music related apps on my most-used main music ipad, going page by page, app by app – and found a startling number with the ominous message attached “this application will not work in ios 11.0”….far more than I expected, and a lot more than are in the list.

So here are these very pathetic, and very, very incomplete lists – which I abandoned almost as soon as I started (and I am sure that others have compiled proper lists out there, if you really want to understand the full horror of this nightmarish scenario…) in the meantime, you can see some of what I was faced with, in terms of what I was about to lose:

 

Apps About To DIE in ios 11.0

(Very Much Partial!) List of iPhone apps that WILL DIE in the iOS 11 update – 20171115

ELectus
Fast Tune HT6
Jam Player
Key Chords Mini
MIDI Designer
Nano Studio
Reap DFX
Rhodes Piano
Swipe Guitar

(Very Much Partial!) List of iPad apps that WILL DIE in the iOS 11 update – 20171127

Audio Palette
Cantor
Electric Piano Synthesizer
Grantophone
Groove Maker – 3 versions (but not Groove Maker Free)
ImproVox
LH Rubbing
Mini Synth Pro
Mixtikl 5
Oblique Strategies (Black logo)
Organ+
Spacelab.
Synthmate (already dead)
Thereminator
Vio
Yamaha AR and DR Pad

Guitar Apps

Pearl Guitar
SHREDDER SYNTH
12 String HD

 

And I am not sure, but I believe that Drone FX, another one with an eternal album dedicated to it (music for apps:  drone fx) and an ambient music application of incredible capability and beauty – in a league with perhaps, Eno’s Scape and very, very few others – I love Drone FX, I truly do – strangely, when I went to open it – I didn’t get the warning message – but I believe it is one of the doomed apps anyway.  Only time will tell.

 

If Drone FX disappears – well, for one thing – there will be no more additions to the eternal album dedicated to works created with it – and I would then have to live in hope that the developer of Drone FX, decides to revive it or create a brand new version that I can purchase someday – and then, I could continue to create and upload new drones to the eternal album.  If the developer doesn’t – and Drone FX dies – so does my eternal album of the same name.  Dead – gone – stuck in time with the pieces I’ve done to date, with NO HOPE of the addition of additional tracks in future (the whole POINT of an eternal album, I might mention).  If it is gone, and doesn’t come back – then it’s a sad, sad day for lovers of the truly beautiful and the truly ambient – Drone FX is one of the finest apps I’ve ever used – mixing up to five ambient sound streams into a live, evolving ambient composition…it sounds absolutely amazing – but don’t take my word for it – please, have a listen.

 

So I stopped working on the lists, because I realised it was just futile,and I also realised there was not much I could do about it – because I will need to update to ios 11.0 just to keep my devices secure.  But – there are considerations, and in the case of musicians like myself, that work in many, many different apps all the time – I can and often do have, many, many partially finished, unfinished, nearly finished or completely finished songs, on many apps – at all times.

Now, intellectually, I understand why Apple are doing this – but my human, emotional reaction is one of unmitigated DISMAY.  I just don’t welcome the death of some of my favourite (and some, less so) applications, and one or two of the intended victims of this purge, upset me quite a bit – because I have a personal attachment to them, and a long history of music making with them, too.  This includes not only the examples I’ve given, but other groundbreaking or awesome musical applications, anything from Mini Synth Pro to Cantor – all gone.

I don’t think that Apple, representing Giant Faceless Corporations Everywhere, but trying to appear like a harmless old man shuffling down the street, understands the devastation that their little message “this application will go up in flames when you update to ios 11.0” can cause to the dedicated Application Musician.  Real dismay, real upset, a real sense of loss.

 

I am here to set the record straight, to let Apple know, using just one or two examples of applications that will cause me grief in more ways than one – that to me, these are the senseless murders of beautiful creative tools.  APPLE – are you listening??

Example 1:  Nanostudio

Nanostudio was one of the very first music applications I ever purchased, something like five or six years ago now – and I have spent many, many hours recording, composing, mixing, and uploading tracks made with it.  It even has its own dedicated “eternal album” on my bandcamp site, “music for apps: Nanostudio” which contains the bulk of the work achieved with this humble little app.

I love Nanostudio – so I was horrified to realise that it was one of the apps slated for the chop.  Not just because I love it – that’s almost beside the point, but because I have a number of finished but not mixed, or unfinished and not mixed, tracks sitting in Nanostudio, that I really MUST finish and upload before the dread 11.0 ios arrives.  If I don’t do that – I will lose them.

Why – well, because the makers of Nanostudio, have wisely decided to retire the app gracefully (heartbreaking!) and release Nanostudio 2 – which of course, I will have to pay for all over again – so they are saying goodbye to Nanostudio 1.  Now – maybe, maybe I will be REALLY fortunate, and I will be able to import projects from 1 into 2 and continue working on them in real time.

However – I seriously doubt that, and being somewhat pessimistic sometimes, I have to assume the worst – that there will be NO backwards compatibility – and that if I don’t complete, mix and master all the tracks IN Nanostudio 1 – they WILL be lost forever.

Now – take that nightmare scenario – and multiply it across any and all apps that you can record with, that are going to die in the update – and you can begin to see why it’s not just upsetting, it’s downright threatening to the creative work that I have completed, but not mixed, or is nearly complete – I now MUST finish those tracks, at all costs, PRIOR to updating.

Example 2:  Shredder Synth

This app – well, this one really broke my heart, it’s the single most amazing guitar app around, a working audio-to-midi guitar synth that I’ve been using for years, with which I have created a few pieces of extraordinary beauty, playing my guitar through an iPad.  I love Shredder Synth, it’s a very creative and beautiful app, and I don’t actually know what the developer is planning if anything – I HOPE for a Shredder Synth 2, but I am too afraid to look it up – so I am letting it be a mystery to me.

I had such a blast with this app when it first appeared, I could not BELIEVE (and still can’t really) that someone could design and build a GUITAR SYNTHESIZER that you could play on an iPad !! That is truly remarkable.  I only have one other such app, and it is not nearly as capable.  Of course – it’s going through unharmed, while the one I love – is being destroyed.

 

So – using the apps above (and below) as my working examples – these are living, breathing music creation tools that this update is MURDERING.  It’s KILLING them, and all of the beautiful musical dreams they have inspired – but, worst of all, are the unfinished pieces, trapped in a strange limbo of impending death, hoping that I will make the time to save them from destruction by at least mixing and mastering them and eventually uploading them to bandcamp.

 

But that is just one facet of this issue – there is another issue.  Most of the beauty of working in iOs music applications, is the fact that you can create variations, or completely different versions, of tracks – by making copies of an existing project, and then making changes, deletions or additions until you have created something completely different – and often these “spin-off” tracks are more interesting than the originals.  The problem is, though – that you HAVE to have the original app they were made in, so you can open them and work on them.

 

Over in Garage Band, which is not under threat (thank God) I often will create multiple versions of tracks in progress, to try out different ideas, or, to make sure there is a snapshot of the track in its current form, which I am totally happy with – but, I want the OPTION of trying other versions.

Again, not knowing what kind of backwards compatibility will exist, with any of these apps, throws real uncertainty into this scenario – I am assuming, that for every lost app, I will then LOSE the ability to work with the track in an editable form – all that will be left are the MIXES – and what if, for example, you suddenly hear in your head, a version of a track where a certain bit is REMOVED to create a space, and you can no longer achieve that because the song has been completely mixed down – and unless you can open the original file, and use the current version of the app to edit “old sessions” – you are out of luck.  Completely out of luck.

 

Example #3:  Mixtikl 5.0

A third example is Mixtikl.  I “grew up” using Mixtikl 5.0 – in which I created more than 60 unique compositions, some of which are quite extraordinary (please see “music for apps: mixtikl”) so I felt so sad to find out that Mixtikl 5 is one of the victims – while 6.0 and 7.0 (both of which I also own) will continue on.

Or at least, 7.0 will.  Now – 7.0 is fine as far as I can tell, but it won’t be like 5 – and I love 5.0 – it’s the bee’s knees.  Sure, I should like 6.0 and 7.0 more – but it’s just not necessarily so.

Now, I think in the case of Mixtikl, that there may be the ability to work on old sessions – so in 6.0, you can still load 5.0 projects and amend them – but I am not sure about that.  If that is so – great, that avoids the dread Nanostudio Scenario – but, it’s still not the same, because the tools within 5.0, gave the tracks made with 5.0 – a unique musical identity – and to my mind, if I used 6.0 to update and amend a basic track made in 5.0 – it would NOT be as good as if I had been ALLOWED to complete the track within 5.0.

 

Why not keep them ALL alive?  If you can keep six and seven going – why not five too?

To be honest, I’ve barely looked at six or seven, just enough to briefly assess what is going on, but I’ve not used either to make tracks yet.  I have not been in “applications mode” for a while, but I am planning on working more with applications again starting in December 2017, and moving on into 2018 – and I would have loved to have had Mixtikl 5.0 available to work with. (Sigh).

Oh well,

Again – intellectually, I understand the need to move forward, for both Apple, they need to move to a 64 bit architecture (I assume that is the main reason for 11.0 but I don’t actually know!) and for each affected developer, there will be one of three scenarios I should think:

  • Upscale the existing app to work in ios 11.0 and give it out as a free update to users
  • Retire the existing app, and replace it with a completely new version with the next numeral identifier incremented upwards – (note: variable on this scenario – the new version MAY, or MAY NOT, be backwards compatible with the old version) – I continue to assume “MAY NOT”.
  • Do nothing, let the old app die – and replace it with nothing.

I think that for developers, those are the choices, and I doubt if any of them seems all that palatable.

It all means a mass of work for them (except for 3) which they can ill-afford to do, and I couldn’t actually blame someone for choosing number 3 above.

It’s my hope though, that most will choose 1) or 2), and there will be some kind of continued existence for these remarkable music-making applications – which mean the world to me – I love them all.

Is there a workaround?

Well – maybe.  I have a vague plan to update some devices (my main one has already been updated to ios 11.0 – luckily, I did not have anything in that particular implementation of Nanostudio except for a very forgettable drum track, so I exported that and then “pushed the button”.

However – on other devices, where there IS unfinished content in various states of development – I may choose, as my “workaround”, to NOT update them for many months (at some considerable risk) or at least, for long enough for me to mix, master and upload all of the unfinished tracks leaving me free to finally upgrade that device.

This is my vague plan, not sure how well it will farm out, but I have to try – I have to.  I want to save the work where I can.  Other, lesser apps may have had tracks that were mixed, but I have decided to just bite the bullet and essentially destroy the working masters in the apps – what choice is there, really?

You can save a mix.  You could even save the individual tracks and rebuild your session in a future version (with a lot of painstaking work, you could do that) but if you import those tracks into a brand new version of the app, and then do work on it in that “new” app – I can guarantee that the finished track WILL sound different, to how it would have if completed in the original, now “dead” application.

 

So I suppose there are some positives here, but I am struggling to really see them – mostly, it just feels rotten, and despite understanding, intellectually and technically, “why” this has to be done – emotionally, and as a musician who is fond of his musical creations (for those of us with no actual children, songs can often become like our children) I don’t like the thought of losing unmixed or incomplete pieces of music, so I will be spending some time, trying to SALVAGE what I can, for example, from each implementation of Nanostudio – I’ve got songs on my iPhone, I know – so I will need to get that sorted out ASAP so I can wipe it by installing ios 11.0.

I don’t mind change, when it’s change for the common good.  But in some ways, this change feels wrong, and I do wonder if the people at Apple ever think about the very human consequences of their actions – i.e. how will the users react to the idea of their favourite music apps being gone forever, and, to having works in progress suddenly be sentenced to death – and having to scramble to save them, so the inevitable update can finally go forward – and my instinct tells me that they have not given it a single thought – it’s just business as usual, who cares about a few “old” applications, anyway?

I have a feeling I am not alone in this, and that other musicians will have their own favourites, which they will be, like me, bemoaning the loss of due to the 11.0 update.

Not to mention, now having to scurry about, seeing what unfinished Nanostudio pieces are on which devices, and trying to finish songs that perhaps, you weren’t ready to finish – but now you HAVE TO, because a clock is ticking…you have no choice any more.

Speaking of that ticking clock, I had better get to assessing what work is sitting unfinished on which devices, find SOME way to complete  them, get them mixed and mastered and offloaded – and then kiss the working files goodbye, forever – forever, that is – forever.

 

 

It’s all in the name of progress – I promise.  It really is.

 

 

Until next time, then

 

Dave 🙂

 

 

 

 

Having A Friend Like Michael Dawson…

I met my friend Michael, in a thing called a “record store” called “off the record” which was located on El Cajon Boulevard in San Diego, California, when I was about 20 years old – I am guessing – it was a long time ago, I can tell you that!
I don’t know what year it was, I really don’t – perhaps Michael knows.  But it was a long, long time ago, and Michael is one of the very, very few people that I have known continuously during that entire timespan.  For the record then, (not, off the record lol) that’s at least 35 years, probably a bit more.
I was buying, or re-buying rather, a few records that I was hoping would have less surface noise, and fewer clicks and pops, than the copies of them that I already had at home – I was trying to get a better sounding version by re-buying LPs that I already owned – sometimes, had owned more than once already.  This was one of the problems with vinyl – it was scratchy!  Surface noise, clicks and pops and other soul-destroying sounds damaging the precious music, which should be pure and pristine – it was still a long way to the age of compact discs.
Anyway, among other newer releases, I was holding prog rock classics by Genesis and I am not sure who else – and this tall, very skinny person, with a short, tidy beard and distinctly reddish hair, who was standing nearby as I was checking out, who spoke with an unforgettable, deep voice full of character “those (he said, nodding towards the albums that I was holding) “are  three of my favourite albums of all time”.
So that started a conversation, that has been going on, off and on, on and off, ever since – and a friendship that just grew organically out of that first meeting.  I’d seen Michael in the store before, it was a favourite haunt of both of ours, but this was the first time he’d ever spoken to me, and it turned out, we did share a lot of artists in common that we both really, really loved – and he just couldn’t help himself saying so when he saw some of HIS favourite records in my sweaty grip 🙂
It started out then, first by sharing our love of music, I can remember many a trip over to Michael’s, to listen to records (and he had a LOT of records back then, I mean – a lot of records!) and he introduced me to a lot of things with which I was then unfamiliar – for example, Marillion, who I had never heard of, who were actually playing prog in the middle of the very un-prog-friendly 1980s – so that must have been in about 1985 that he played me parts of “Script For A Jester’s Tear” and “Fugazi” – which I found to be quite remarkable, and of course, I started collecting Marillion albums myself then.
The story gets a bit blurry here, but since I’d found out that Michael was a fellow musician, it only followed that we should at some point, sit down and play some music together.  Michael was (at that time) primarily a bassist, which suited me perfectly as I was, as always, a lead guitarist; but he also played a lot of other instruments, including flute and saxophone, to name but two.  I can remember inviting Michael over to my place, and also, visiting him where he lived, and we did start a band, whose name I cannot recall – it was a trio, of myself on guitar, Michael on bass, and a friend of Michael’s whose name I do not remember (I am definitely getting old lol!!), on drums.
What did we play?  I can remember a couple of the titles:
Roxy Music “Love Is The Drug”
Talking Heads “Psycho Killer”
and an original piece in 5 that I couldn’t really master (composed by Michael, I believe).
At that time, pre-Fripp, I was strictly a 4/4 kind of rock and roll wannabe prog guitarist, and playing in anything but 4 was mostly, beyond me.  It wasn’t until I started going to Guitar Craft, starting just a few years later, that I actually was able to play in the odd meters – 5, 7, 9, 11, 13 etc.
I think we also wanted to learn “Crying Wolf” by Peter Hammill, but we didn’t get far with that one.  We were trying to play music that we loved, rather than resort to playing the popular music of the day – we wanted to play GOOD music, hence the selections we made.  I don’t really know why, but this band never really amounted to anything – we rehearsed, and then I think the drummer lost interest and left, and we couldn’t replace him – so I moved on, and that was the end of our attempt at being in a band together.  We never played even one gig, which always makes me a bit sad – a lot of good rehearsals, a huge potential – and then, for whatever  the reasons – it just never comes to fruition.
But – I am proud to say, to this day, that I was in a band with Michael Dawson !  It was great fun, because it was one of the first times that I got to play music I really loved in a band, instead of the dreaded “covers” – so that was fantastic.  I can remember really enjoying playing Phil Manzanera‘s chord sequence on “Love Is The Drug” – it’s a really nice piece of guitaring.
Michael is a very good bassist, and he had a quality bass, a Rickenbacker, which I wasn’t used to – most of the bassists I had played with up till then, had played Fenders or other basses like Music Man or whatever – but he had a real Rickenbacker, and it sounded amazing. That was really a great selling point for me, having a truly prog “bass” in the band – that’s the way it should be.  There wasn’t much else “prog” about us, we didn’t have a lead singer or a keyboard player, although I seem to remember that I did sing the songs off mike just as a reference (not the first time, or the last time, I was called upon to become the de facto lead vocalist in a band – I will say that!).  But that is another story for another time…
After that band broke up, life went on – I still saw Michael down at Off The Record, and we remained friends – to this day.  Not too many years after this, Michael moved up north, to Northern California, where he got the day job that I believe, he still works at to this day.
I remained in Southern California, but, we still occasionally got together – most often, to go see live concerts together, I can remember giving him a lift to some concert in the back of my pickup truck, which was not a good experience for Michael – but at least we got to the concert.  Not sure who we were going to see – it could have been just about anyone.
One of the nicest things about Michael is his incredible kindness and his infallible generosity, of which I will speak in a moment.  He is a remarkably kind and gentle person, and I was glad to have such an intelligent and well-read friend – he had, and has, far more culture and education than I ever did!  He was also an artist, I remember he was always painting, which was something I did not even approach until I was much, much older.
He has often “turned me on” to new artists that I knew little or nothing about; one of those would be the indomitable Richard Thompson – I remember that Michael was the one who first played Richard Thompson albums for me, and got me hooked on his amazing guitar playing – to the point where, alongside collecting his many solo albums, I then went to see him play multiple times at multiple gigs, including one very, very small, intimate acoustic gig (in a restaurant, no less) and once, I managed to see him with full electric band – and that was amazing.    I became a big, big fan for quite a number of years, and I still love and respect his music to this day.
I would have done none of those things – if it weren’t for Michael P. Dawson.  I would have no Marillion, and no Richard Thompson in my musical life.   He also introduced me to Gryphon, based on our shared love of Gentle Giant – so that added yet another brilliant branch of prog to my ever-expanding experience of progressive rock music.  He also introduced me to the music of Bi Kyo Ran, remarkable King-Crimson-cover-band-turned-professional-prog-band from Japan.
So even for adding those four amazing musicians / groups to my musical repertoire and experience (and it was many, many more than just those four!), just for that, I am forever in Michael’s debt.  He always knew the kind of thing that I would like, and he was always, forever saying “listen to THIS, listen to this guitar solo, here…” and I would be hooked once again, on a new musician that up until I’d met Michael, I knew nothing about.  He was a great friend in that way, he genuinely did not want me to miss out on these incredible listening experiences that he was having, he wanted to share the music, not keep it to himself – and for that, I am very grateful indeed – indebted!
I mentioned that Michael was generous.  One day, about 20 years ago, I was sitting at my day job, when a VERY large cardboard box arrived for me – and I was not expecting anything that I had ordered, so it was completely out of the blue – and upon opening it, I discovered that is was a Washburn Bass guitar – that Michael had just SENT to me, gratis – he was going to get rid of it, and rather than sell it; he’d remembered me saying that I wished I owned a bass – so he thought of me, and he very, very generously gave me his old bass!  I could not BELIEVE that – I had never had a friend, or known anyone as generous as that – he could have made money off of it, he could have sold it for cash – but instead, he remembered his old friend Dave – and Dave not ever having a bass guitar of any kind – and he just mailed it to me one day.
I didn’t expect it, and I had no way to reciprocate, all I could do was send an astonished THANK YOU THANK YOU THANK YOU note to Michael, and try to express what it meant to me to have a real bass to record with and play.  Many years later, when I was recording multi-track progressive rock tracks, I actually used “Michael’s Old Bass” as I call it, in the recording of several tracks – one of which is “Wettonizer” (a tribute to the late, great John Wetton) which was recorded back in about 2008 or 2009).  It’s actually, a really nice bass to play, and it’s short scale and easy to play neck really inspired me when it came to do the distorted bass solos in”Wettonizer” – and really, that song and the others that included the bass, possibly would not have been made, if it weren’t for the fact that Michael provided me with a bass to use and play. when he knew I did not have one.
That was such an incredibly surprising and generous act, which I never, ever forgot, and to this day, I have to smile when I look at that bass sitting in the corner of my studio – I do tend to use sampled basses now just for the speed and convenience, and also so I can get classic Fender or Rickenbacker tones – but if I wanted to do any real bass tracks – I would still absolutely, happily record them on “Michael’s Old Bass” – I mean, can you believe it – he just put it in a box, and sent it to me, from San Jose, California, to San Diego, where I lived back then.  And it then traveled with me, all the way to Scotland – where it lives now.
How often in your life, do you get a Bass Guitar in the mail?  If you have a friend like Michael Dawson, then the answer is, surprisingly – once.
[Meanwhile, back in the present day for a moment:]  Imagine my total surprise then, when, just a few days ago, a parcel arrived for me at home – and I recognised the handwriting on it immediately, and said to my wife – “that’s from Michael Dawson” and wondered aloud, what on earth has he sent me?? (even while, my brain was telling me “effects pedal, effects pedal…”) and in fact, what it was, indeed, was and is, an effects pedal – a lovely, mint condition, Earthquaker Devices Organizer pedal.
A week previously, on a Sunday, I had published my recent blog about watching guitar effect pedal demonstration videos.  In California, Michael read that blog of mine on a Sunday, and on the following Monday, packed up and shipped this effect pedal to me, and on the following Saturday, five days later – it arrived with the mail here in Scotland.
Now, I was utterly blown away when he gave me the Washburn bass, and no one else has ever just given me a musical instrument before.  But to receive what is basically, a brand new effects pedal (which when queried, he said he wasn’t using it, and he wanted someone to own it who would make good use of it – me) which is just the nicest thing – but it absolutely blows me away, that he would read an article about me lusting after these effects, and just to make me happy, just so I could then own an Earthquaker Devices-manufactured pedal – he pulls one out of thin air and ships it half-way around the world to me!!  That is so thoughtful, so good – I wish I were that generous and that thoughtful!
Unbelievable generosity, and an unbelievable kindness in the thought that “Dave would like this pedal – he could do something good with this” – that just blows me away, and, it’s not like we have been close of recent years, we exchange emails only occasionally, and as happens, we have led pretty separate lives – although we have always remained friends, and we have never fallen out – we’ve always been friends.  I would say, it had probably been a year or more since we had emailed, when this EQD pedal appeared again, totally out of the blue – which absolutely shocked me to the core – what a nice thing to do, what an amazing friend – what a great and kind act – to indulge my desire for endless effects pedals – wow, that is truly amazing.
But I don’t have any other friends that are that astonishingly generous, Michael is the only one who has consistently blown me away with his kindness, thoughtfulness, and his good, good heart – he’s just a good man, a nice chap, and I am proud to know him, proud to call him my friend, proud of him as a fellow musician – he’s a brilliant player – and I would also say, you should absolutely check out some of his music – he’s been sharing his own albums with me from early on, and he makes the most incredible music you have ever heard – you really must try it – it’s amazingly cool.  It’s mostly beyond my comprehension, Michael is a serious composer when compared to me, I just mess about with songs, and improvs, but Michael writes real music, serious music, and I have a huge respect for that.
A few years back, I released a live improv on the internet, which I believe featured energy bow guitar and music created with Brian Eno’s “Scape” application for the ipad. A few days after I released it, Michael released a video of himself, overdubbing a live flute solo and flute part, onto, on top of, my improv !!!
I was then able to share this with people as a collaborative effort (our first, since that attempt at a band – way, way back when) and I was and am, incredibly proud of that little improvised number – and to be honest, I absolutely prefer Michael’s version – to my own. The flute parts and solos that he plays, are just perfect for the improv, and I was so surprised and really pleased that Michael had done this.
That was yet another very kind thing, that he has done – the ultimate compliment, he must have liked the piece quite well if it inspired him to play the flute along with it, so by adding his live flute overdub, he was taking a decent piece of mine, and elevating it to a much, much higher level – I think it succeeds far better with his parts added, than it ever did by itself.  That is the power of Michael Dawson – adaptable, and very adept with a multitude of instruments – I wish I could play half as many different instruments as he does.
I would say that like so many musicians, that Michael is a “musician’s musician” – and I would encourage any of you that are musicians (or not, artists, or anyone, really!), to have a listen to any of Michael’s existing published works – he is a brilliant and intelligent composer, and he creates albums celebrating creatures and features of the natural world that have to be heard to be believed – he excels when it comes to synthesizers, which he often employs in his compositions, but he plays all manner of instruments, bass, electric guitar, acoustic guitar, flute, saxophone (in at least two different flavours) and a multitude of others too numerous to mention.
He is a remarkable and talented musician – and I believe, you can also hear him play live on the sort of “jam night” scene near where he lives – I believe he now sits in on saxophone or flute at these live, impromptu musical events.  I envy him that – I am currently not performing – so he is really fortunate to have that musical outlet available to him.
He is also a very creative person, I remember he played one of his new songs (and by that, I mean, what was a “new song”, thirty years ago 🙂 ) for me, and it had a most unusual sounding lead instrument, it sounded slightly Indian or eastern in some way, but I just could not place it, so I said “Michael, what is that instrument that you are playing the main melody with?” and he then revealed what it was – it was his flute – but played through extreme distortion – he’d played it through a fuzz box and it sounded truly out of this world.  So there is really no limit to the creativity that he employs when he creates his solo works, they are full of surprises and I don’t think you can find a more original, progressive, modern composer around – and if that isn’t enough, his love of the music of the late, great Frank Zappa is more than apparent when you hear many of Michael’s pieces – Zappa being the only artist that I could really comfortably compare Michael’s work too – he sounds like he listens to a lot of Zappa.
And that is probably, because he does.  I have always loved the music of Frank Zappa, but I have only ever put my toe into the water, whereas Michael jumped headfirst into the Zappa pool many, many years ago.  And that has paid off, and rubbed off, on the styles of music that he has created over the years – and you couldn’t really ask for a better influence – I’d love to be compared to, or even audibly / heavily influenced by,  Frank Zappa !
Michael turned me on to a whole world of new music, and that changed my life in a good way, and we shared a lot of musical experiences together, everything from just chilling and listening to records, or later, compact discs, to going to the occasional concert together.  His influence on me musically, over the last 35 years or so, has been immense, and I am grateful to him for enriching my musical life by sharing so openly from his vast library of recorded music.  In so very many ways, Michael is a really, really good friend to have – and good friends, they say, are hard to find, and I would imagine – even harder to keep, which is why I feel so blessed and fortunate to have a friend like Michael Dawson – he is one of a kind, a true gentleman, and I am proud to be able to say once again, “my good friend Michael Dawson” as I so often seem to find myself saying whenever I sit down to write about music.
I felt it was high time that he got the recognition he deserves, and this blog is a very public “thank you” to a true gentleman and musical scholar, Mr. Michael P. Dawson. Long may he reign over the flute solo in “Girl From Ipanema”; and any other pieces that he attempts, live or studio, on any instrument – just keep on jamming, Michael !!!

studio diary 20170705

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:

  1. Apple’s “Paul McCartney” bass, in “Note” mode, which I play like a real bass, then close edit later to “perfect” the bass part
  2. 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

 

dave 🙂

 

 

 

 

 

 

 

 

 

 

more app magic… and there’s a last time for everything

well, I am here again to talk about ios applications, which have become such a part of my life, that I can hardly recall the fact that four years ago, I knew absolutely nothing of them.

 

one of the first and most lasting of ios applications, has been the subject of a quiet revival over the past few months for me, and that would be, the remarkable scape, by brian eno and peter chilvers.

scape was one of the first applications of any kind that I downloaded (at some point in late November 2012!!), and I proceeded to work with it, following it’s “hints”, watching my tools and palettes grow organically, and recording scape after scape after scape after scape.  every time a new tool arrived – I would record new scapes.  a new “background” arrives – and I must records scapes, including, a scape with just that background, nothing else, in it.  and – some of the most incredibly minimal and amazing scapes were created that way.

in fact, I was so incredibly excited about the app, that back in the day,  the I authored no less than three blogs in a row that were mostly about…scape; scape week one, scape week two and scape week three…followed by a fast forward to week five of scape!  during scape week two, I noted that in the short time of just two weeks, that I had created something like 146 scapes.  most of which did not see the light of day until very recently, in early to mid 2015.

in 2012, and during early 2013, though, still feeling my way through the scape processes; I would take a new tool, and mix it up with the familiar, to see what kinds of crazy combinations of instrumentation I could come up with, mixing bells with synths with basses with just plain strange sounding samples.  some times, I would work in a very, very minimal space, one or two objects, very quiet, super ambient – on other days, I would load the scapes to capacity, hmmm, let’s see, what happens if I insert 20 or 30 bass guitars into one scape?  interesting!

so this went on, for a number of months, perhaps, six months – until, one day, abruptly, I stopped.  I had made around 1100 scapes by then, and at the time, I did take the time to record the first 30 or so, so that the world could hear how beautiful this app truly is.  I published those 30, I think I added a few more later on, and there they sat – until 2015.  for some unknown reason, I got the idea into my head, sometime near the beginning of this year, that I should capture ALL 1100 scapes, record every single one of them, capture each and every scape image (and, of course, it’s that “image” that “is” the music – the shapes, generate the music)…I would record them all.

this became then, the great project in the background.  I would work on my progressive rock song – still unfinished – and then, record a few dozen more scapes.   I would spend a Saturday working on my data, or cleaning up my music data – and, the whole time, I would be capturing dozens more scapes.  I developed tools, in SONAR, a special scape “template”, or actually, two of them – one that covered the first 50 numbers of a hundred, and the second, which covered the second 50 numbers in a hundred – which then meant, you only had to choose the appropriate template, and change the prefix from 101, to 401, or whatever you were “up to”.  soon enough, my prefixes started looking like “801”, or “901” and eventually, “1001” – and I then knew the end was in sight.  a few more weeks, and finally – they were all recorded.

of course – the work doesn’t stop there.  each file, has to be lovingly trimmed, removing the header and the tail, and then normalised to -3 db to match all of the previously released scapes – all of which have been normalised to -3.  basically, it’s the simplest mastering job in the universe, because I don’t add EQ, I don’t add reverb (tempting though THAT might be!) – I leave them untouched, exactly the way they come out when the app generates them.  they sound good enough, without me tinkering with them.  however, even though that’s a simple job, I still work on them file by file, one file by one file, to make sure there are no problems (a few stray “pops” have had to be removed from one or two captures – and occasionally, I may have to go and re-capture scapes if they have significant problems – try again – although thankfully, I’ve not had to do that yet…) and that they sound as perfect and as pristine as they can.

the best part of it though, exceeding all, has been HEARING them again.  and looking at the images used to create them, and remembering my thought processes – for example, one thing I loved to do, was, create a “basic scape” – a scape with certain elements, and then, simply copy it over and over again, each time, just changing one aspect of it – which was almost always, the “effects” – the coloured icons on the right side of the GUI, which add flangers or tremelo or chorus or whatever.  originally, that was maybe four or five different “treatments” of the same scape – but towards the end, some new effects – bright orange, and a pale blue, if I recall correctly – arrived, so towards the end, if I did a full sweep, you might get seven or eight “versions” of the same scape.

and – if it was a particularly lovely scape in it’s initial incarnation – then – you ended up with eight absolutely outstanding scapes.  so it was a good technique – take something that is proven sounding good, and then “treat” it seven different ways – and then, pick your favourite of the eight, too.  often, for me, that would either be the deep pink effect, or, the dark, mysterious green – and the green effect, whatever it is, is definitely my favourite.

I could “see myself” thinking up these processes, I could “see myself”, just by looking at the icons, the paintings that I did, that powered the scapes, what I was thinking – here was a section, where everything was COMPLETELY about minimalism.  a single effect, with nothing else.  a single background, with nothing but an effect.  two backgrounds, mixed together.  a single “E” yellow “note”, playing atop a single “mountain” or pyramid.  I could see, that often, I was stuck in “minimalist mode” for days at a time, and then, I would go back to much louder, much crazier scape designs, especially those that contain far too many bass guitars, and yet, still, somehow, work, others, where I intentionally used the most dissonant “elements” possible, to try to create a more “index of metals” vibe, and in fact, I have made a note somewhere, that one of my scapes does sound a bit like “an index of metals” sans Fripp.

as I recorded them, I would occasionally note down the names (of course, I mean the “numbers” of the scapes, since none of them have names!!) of certain scapes that I particularly liked.  then, when I moved into the mastering stage, I would do the same – so I now have a document that I’ve officially started, that is my “scapes of note” document, and once I have completed the mastering (at the rate I am going right now, that will be sometime in 2017 but who knows?) I will publish that list on the music for apps: scape eternal album on the bandcamp site – because believe you me, if you sit and listen to those “chosen” scapes in one sitting, it will blow your mind – it will be like hearing a lost, super excellent super ambient eno album that you never knew about.

for me, in the real world, it’s the equivalent of getting the remastered “neroli”, so that I could get the previously unreleased second disc – a “new”, long form eno ambient piece called “new space music” – which is right up there with “neroli” and “thursday morning” and “music for airports” in terms of being supremely beautiful and supremely ambient.  hearing those chosen scapes, will be not unlike, the first time I heard “new space music” – 50 minutes of previously unheard long-form eno ambient music – it does not really get a lot better than that.

if you had a LOT of time, my recommendation would be – listen to them ALL, from the beginning.  basically, I’ve just done that….listened to over a thousand scapes, and it was the most relaxing, beautiful experience…really relaxing.  with the odd moment of dissonance.

why?  because in my innocent, quiet way, I followed their rules – I did not jump ahead like so many scape users did – and in fact, when I found out there was a hack that allows you to expose all of the instruments, sounds and treatments in one fell swoop – I deliberately didn’t take note of it, and I have never ever done that with any scape install – I would NEVER spoil the journey of discovery that eno and chilvers worked so hard to create.  that’s just me…some want to get to all the toys right away…I was happy to wait.

the advice that the app gives you, and the way you keep receiving more and more amazing sounds, all the time, and the excitement you would feel, when you realised you had just got a truly beautiful eno fretless bass line, or, an amazing floating eno synthesizer riff – every other day, every 20 or 30 scapes – you would get another “present” – it is an amazing way to grow with the application, instead of “cheating” and going to the end…OK, for some, that’s the way, I get it – but, I can tell you – if you listen to these 1100 scapes – what you will hear, is first, a limited palette of sounds.  that directly affects the sound of the resulting scapes, and for a while, it was almost impossible to create a loud or annoying scape.  as you got more voices, and you had more ability to mix voices – then the chances of cacophony or dissonance, or both, increased significantly.

in the middle period, in the 400s and 500s, you get a medium to large compliment of instruments, and, the scapes get more complex, denser – although, I still go on self-imposed minimalist streaks, using the newer tools to create new minimalist scapes even right up to the very end.  and of course, during the last few hundred, I am finally, using ALL of the instruments, and I was receiving no more new updates – I had at last, revealed all of the instruments, backgrounds, and treatments – and then, I kept going…until one day, I just…stopped.

and then, three or four years passed, and I thought – hmmm, I really, really wish I had recorded all of those scapes.  and then that other voice, the one that thinks big, says “well, why don’t you…” and that was that.

four, five months down the road from that internal conversation – and I have them all captured and recorded.

I have, as of a few days ago, mastered 187 of them (which took me up to scape 200 – the numbers don’t match because several scapes were lost, i.e. when you erase a scape, you lose it’s auto-generated “number” – so the track number no longer matches the scape number), and as time permits, I master more and more and more and more.

Until I finish.  And then, once mastered, I upload.  Actually, as I master, I try to upload, because the more I upload, the clearer the decks are for more scapes, to upload later…to date, about 118 of them have been uploaded.

So the sound of scape, and the musical DNA of brian eno and peter chilvers, has been filling the studio monitors for many, many months, weeks and days, and it’s so strange, I’ve listened to well over 1000 scapes this year, all recorded in late 2012 / early 2013.  and just hearing them – it was so mesmerising, it was so, so incredibly relaxing – I would have scapes playing all day long, all weekend long – as I captured them – and after a day or two of listening to scapes being captured, I would be so chilled, so relaxed – they really are like a tonic, I swear – there is something about them, they are ALL so incredibly reminiscent of brian eno’s music, no matter what weird things happen in the scape – it just sounds like eno…they ALL sound like eno.  even the really strange ones – eno.

normally, it’s the ambient eno, but occasionally, you get the really strange, really dissonant eno – or other eno’s – not always pleasant.  but most of the time – you get real ambient beauty – with the very occasional journey into slightly more alternative types of ambient.  it’s a trip worth taking, and if you don’t mind waiting – well, the first hundred and some are up there, free to listen to, on bandcamp – so go have a listen – those top secret never-before-heard brian eno ambient albums are just there waiting – it’s uncanny, how after you hear 20 or 30 0f these scapes, that you get the uncanny feeling that you were just privy to a top secret performance of an unreleased eno ambient masterwork – they just sound great, to me, it will always be the best of the best generative music apps, and it’s difficult to believe sometimes that it IS generative – that the songs are literally created, by creating a visual input, of shapes, colours, backgrounds and effects that are colour-based.  but – that is how it works – you paint a picture, or, you randomly throw shapes onto a canvas – either way, it works if you spend hours meticulously building something very visually appealing, or, if you very randomly add different shapes together, or even on top of each other – or whatever, no matter what the input – it ALWAYS sounds good.

often, I would spend time working on carefully composing and arranging the shapes, more often than not, there would be a plan, a purpose, a desire to make a beautiful visual piece of art…that also happens to generate really beautiful music.

Only very occasionally would I work randomly, when I did, I’d still get good results, but I always preferred creating something beautiful and intentional, trying to make a good piece of art.  scape always rewarded me with interesting, challenging ambient music no matter what the input; I do like to think that taking time to create more meticulous art resulted in better scapes, but I can’t prove it.

 

and now for something completely different.

I told you last time about my frustrations with Notion.  It seems to be working again now, and I have managed to salvage and finish my interrupted recording, but, I am still not going to publish it yet – as I want to move it from the iPad to the desktop, to see if I can get some better instrument sounds for it – I am just not happy with some of the sounds in Notion for IPad, and I am hoping that via some process, I will be able to create a new mix of the track, using BETTER sounding instruments – so the song is on hold, I won’t release it until I’ve had time to research this.  it’s complete, it’s alternative / jazz, it’s about 8:00 long, and I’m really really happy with it – working title “abstraction distraction retraction”.  though it will be delayed, I hope to have it finished one way or the other and published this year – it’s a good track.

I have started a new track in Notion, another guitar quartet, but this time, steel string guitars rather than nylon strings, as the last guitar piece I did (“fantasy no.1 in d major for four guitars”) was. it’s only a few bars long, but it’s off to a good start, it’s in 7/4 time to start, so that makes it unusual.  working title (likely to be changed) is “relentless refraction of light”.

now that I think of it, I have a number of new tracks in various stages, from embryonic to complete; besides one complete Notion track and one just started, there is also a new proggy piece in Gadget, which is coming along nicely, and a very interesting piece, featuring vocoder vocals recorded in Attack, my new favourite drum machine, I love it!

so there is a lot of music in progress, but given my commitments over the next two months, most of these tracks wont appear until November or December – but, they will all get done, and they will all come out…

and of course there is my song made with real instruments, “the complete unknown” which is probably about 85% complete, that one may need more time, because I am in the middle of real guitar overdubs, which do take time.

I’m very happy though, that one of my very best works in a long time, “abstraction distraction retraction” is done, I do want to see if I can improve the instrumentation, but if I can’t better it, then I will just do the best I can with the existing tools.

in fact, I would dearly love to re-record ALL of my non-classical Notion tracks, with better instruments – I really would.  But – we shall see, time will tell…and all that kind of stuff…

 

so setting the problem of improving the instrument sounds in Notion for a while, I want to talk about two newer apps that I’ve been playing with, that are both in their own way, quite exciting.

 

the first one is a free app (well, it was temporarily free anyway) called “YouCompose” and at first, I scoffed – when I realised what it’s premise was – this is it:

you record a melody using a keyboard to input it, and there are various templates you can use, I used a stock quartet of horns, so my solo instrument was a saxophone – so, I played a sax melody to the best of my ability – and then, I pushed the “harmonise” button – and, in just a second or two, literally – it produced three horn harmonies – and damned if they didn’t sound half bad !!

I tried again, with a longer, more complex melody – and again, the almost instant four part harmony – well, three part harmony to your input melody – came out quite well – almost palatable.  With some difficulty, you are able to edit the  parts, you can erase bad notes, change notes with the wrong durations, and so on – it’s not too bad, although it’s no Notion when it comes to editing !

today then, I had a second session with it, and I did a session with guitar harmonics, bass guitar, clean electric guitar, and distorted guitar 2.  I did the harmonics part first, and let the rest be created by the master of harmony, YouCompose.  this time, it was quite a flop – it couldn’t seem to really figure out what to do with just harmonics for input.

so – to give it a better chance – I took command of Distorted Guitar 2 – and recorded a fake “lead solo” with no accompaniment.  pushed the magic “harmonize” button again – and this time, it produced the goods – bass, guitar and harmonics, that accompanied the lead solo really quite well.

it’s fine for free, but it does leave a lot to be desired – I tried to copy my harmonics clip into the bass slot, and it refused to paste it where I placed the cursor – it would only paste it AFTER the two existing clips of harmonics – not alongside or on top of them, as I was wanting to do (I wanted to create some counterpoint, by having the bass “follow” the harmonics – but the app simply would not let me.

so until it’s a bit more flexible with editing, moving, copying, and manipulating clips, I will continue to view it as a fascinating toy – sometimes, it does an AMAZING job of harmonising, but, there is an equal or better chance, that it will produce something quite plodding, or quite inappropriate, that does NOT sound good – and I found that I tended to delete more of it’s harmonisations than I ever saved – I only saved a few, where it had worked particularly well.  And even then – I would probably go into every clip, and make changes, to make it a bit more…human?

It is, however, an amazing experience – to play a series of notes, a melody, on your own, and then, literally two or three seconds later, you have a fully notated set of complex harmonies.  The rules for this thing must have been an absolute bastard to write, and it does operate in different keys and time signatures, as well as having some basic tempo controls (I kept selecting “lethargic” – the slowest tempo – which resulted in some dire and terrible four part harmonies, going by at dirge pace – yuick!) but I do admire the sheer bravado of it – it is hit or miss, but for me, it’s just fun, it’s kinda like spinning the wheel of fortune – will it come out beautiful, plain, or awful?  will it be OK, but flawed in places?  will it, and this is very rare – will it be achingly beautiful?  maybe, once every 100th attempt.

I don’t think that ANY computer can make up harmonies as well as a human computer, but – it can sure do it FASTER.  And if you don’t like the “detail” work of having to write out harmonies for your melodies – well then, this may be the tool for you.

I do find myself gravitating towards it when I don’t feel like working on serious music – hoping, I guess, that the magic three second harmony creator button, might create something truly amazing…and very occasionally – it does.

 

now, to my final recent discovery, I ran across this last night on the old app ticker – it’s called, I kid you not, “play the golden gate bridge” – and again, at first, I thought – this must be a joke – but it’s not, it’s actually a project by the San Francisco Synthesizer Ensemble (which you can buy on CD) where they have literally, sampled the bridge (and, the app has a special page with nine of the original samples, which are simply amazing) and then there is the actual app, which allows you to play the cables of the golden gate bridge in the manner of a harp – but, using a selection of more than a dozen possible sounds, including “fog horn” (my personal favourite), “waves”. “railing”, “lamp post”, “cable thock”, “cable click”, “south tower”, and another favourite “reverse hit” – you can select any of these amazing voices, which are developed from the original samples – and that sound becomes the sound you play on the “harp” – which is of course, the golden gate bridge, set against a cloudy sunset sky – a lovely image, and it makes beautiful, beautiful sounds.

it also allows for recording, and in fact, it has a little second page where you can record up to four different parts – so it’s like having a four channel TEAC tape deck or something, right there in your app, to overdub parts with – I think that is really excellent, and I can see myself writing pieces for this odd “instrument”, and doing videos of performances with it, too, because it is an absolutely unique way of performing (the only other app I have that is anything like this, is “VOSIS”, where you “play” a marble statue) and it’s actually a lot of fun to play.

also, some of the sounds are so beautiful, really ambient, really natural, strangely – even the metallics, all of them have a wonderful, organic feeling to them – and to me, this is such a beautifully made app – you can just about feel the love that went into it’s making – and, it’s apparently a long-standing tradition with this ensemble – their CD, celebrates the 50th anniversary of playing the bridge, while the app, celebrates the 75th anniversary – so these samples are clearly, in their blood, but also as clearly – in their minds and hearts.  there is also a beautiful art film of the bridge featuring the Ensemble’s music.

this app gets my vote, beautiful, useful sounds coupled with excellent design and playability, I can see myself performing and recording with this app for many years to come – it will especially be great for live performances.

 

what a wonderful sounding app, and so much fun to play, too!

 

 

 

 

 

 

I had a notion…

on August 3rd this year, I went from having Notion for IPad as my main compositional tool and constant companion, to sitting here once again, rebuilding the instrument database yet again,  and after a full ELEVEN DAYS of having no working Notion, and the score I was working on, which was truncated and horribly damaged, has now been “repaired” three times by Presonus themselves…I’m now walking muttering to myself “well, I had a Notion…”.

I hadn’t realised how very under my skin this handy little app had gotten, I was locked into a happy routine of working on a score almost every day (for something like two years now!) and truly looking forward to that time, too.  To suddenly be without it, and, to have a two month old score ripped into pieces by the app that gave birth to it…I was nearly traumatised by that, to be honest.

Why did this happen?

I can answer that with just two words:
Untested Update.

Presonus rolled out a massive, sweeping update to Notion for IPad, at a point in time that for me, was and still is, utterly disastrous.  A two month old score, more than 90 percent complete…

Woke up one day, turned on Notion…and 90 percent of my score just disappeared.  Like magic, but not the good kind of magic.  The bad kind.  The kind where you push “play”, and the first eight bars roll by as usual, you hear the familiar glockenspiel and timpani introduction with the crashing, distorted guitar chord…and then, while the music is still playing…

the screen goes blank.  Bars 9 thru 200 and something, are now just a big, white, empty, probably scrolling sheet of nothing.

Panic.  I never made a single audio mix of the track.  Not one.  Why would I? … When it wasn’t finished.
Right now, I am really wishing I had,  because I will consider it to be a minor miracle if I do fully recover this piece of alternative jazz-rock-something genre music…which still remains unknown.

Several very unhappy email exchanges with Presonus later, I just received the “fixed” file from their support guy.  I just played it back now.
There’s good news and other news.   The good news is, they did manage to rebuild the score’s notation, the frightening empty white pages are gone, and the piece is complete again.  Huge relief there, the piece may survive…

However…almost all of the sounds, have defaulted back to pianos.  Both guitars, became pianos.  The jazz trumpet part…became a piano.  Both of the Jazz trumpets, I should say, 1 and 2…now pianos.  The solo trumpet,whose unmistakably voice was critical to one part of the song…is now a piano.   The really good news?  Hmmm.  The English Horn still works, and, it even still sounds good.  Unlike the rest.  

The drums seem ok.  The bass guitar is absent, so I guess that it, too, is now…a piano

I re-installed the app a couple days ago, while the guy was “fixing” my score.

I had tried to re-download or restore / re-load the instruments a couple times, you have to leave your iPad on and open until it completes, which, when you have the “all” bundle…takes a few hours.  I left it on all night as usual…

Then the fun part comes.  You get a message saying: “All your sounds have successfully downloaded”.  Ha ha ha ha ha!!! VERY funny.  Not even true, either, usually.  Not reliable.

So you try your broken score again…but the glockenspiel is missing.  And you then find that in reality, NOT all your sounds have downloaded.  So you have to restart the process…again.  And sometimes, again.  Before you can even try to save your piece.
Why is the glockenspiel missing? Why because, it’s not part of the “all” package, it’s a separate download, because it’s “free”.  Only in this case, “free” means, you can have this instrument, but you need to “register” with your full name and email address.  So that’s a cost, you have to give up your personal info, if you want the “free’ glockenspiel.  That’s actually, more like mild extortion.

Truth be told, right now, the way I feel…I’d rather I’d just paid too much for it, than get it for “free”.  Jumping through Presonus’ hoops once, mildly annoying.  Twice, quite annoying.  Thrice, very, very effing annoying.  And when you have to enter your details that fourth or fifth time….you’d rather eat your own hair by then.

They don’t think about that,about what an annoyance and what a waste of precious time, it is, to type in your email address over and over and over and over and OVER again.  When you are already, maybe, the most unhappy customer a vendor could really possibly have.  Why would you put a good customer through that?

Haste makes waste.  It’s not like I am using one of my old IPad 2s, here.  I’m running this app on state of the art hardware.  It should be perfect in this clean environment.  Instead, it’s not just messed up, it’s majorly messed up.

They’ve done one update…the one that wiped out my score, and they are doing another one “soon” to fix these issues.  In my humble, unsolicited opinion…that app was FAR FROM READY to see the light of day.   Not even close!! Clearly, it cannot have been tested properly? I expect better from my vendors, and I am feeling mightily disappointed right now.

To their credit, they are trying to make it right.  But the disruption it’s caused me, the trauma of my nearly complete breakthrough-new-genre-defying piece of music being so damaged, but worst of all, my daily compositional time is taken away, for almost two weeks.

And now, I am waiting for instruments to download…waiting.  Still waiting…

I had a Notion.

Yet…I love this product.  It enabled me to (re)learn notation, which I did understand, but had never written.  My first half a year with it, I wrote notation, and in that first full year, I learned that I could write classical music, I could write jazz, I could write alternative music…with notation, much was possible than was not possible in my pre-Notion pre-IPad days.

I’ve gained skill as a serious composer of serious work, I am now on my fifth piece of classical music, thanks to Notion, so until they broke it, it had been a real game-changer for me…a brilliant piece of kit.

The beauty of the IPad version, was that portability.  Work on your pieces anywhere, anytime, thru headphones, thru Bluetooth speaker…fantastic.  Hear your changes instantly.  Compose on the fly…truly brilliant.  I am really missing that, and I hope I can go back to it, soon,

However. I have not been idle during the unfolding of this great Notional drama.
Some good things have been happening, too.  Believe it or not.

A new song in Gadget, which utilises the new Korg iM1, their beautiful emulation of the classic M1 synthesiser, heavily.  It’s only perhaps, a minute or so in length so far, but it’s really coming along nicely.  I can’t really describe it, except to say it has a quasi classical / jazzy fender Rhodes intro, and from there, breaks into M1 drum kits, mellotron emulation and nothing quite sure what else is happening, but it’s definitely going to be a song,,,I can just tell!  Watch for that eventually, “from hero to zero” it’s called,  on the Gadget eternal album.

Work continues apace on “the complete unknown”, my first long form piece of progressive rock, made with mostly real instruments.  It’s currently at stereo reduction version 8; which means in lay terms, that the acoustic guitar duo-then-trio, has been built (including a final eight hour acoustic recording session last Saturday, ouch), and, along with an extemporaneous live iPad improv using the remarkable TC-11 touch controlled synth, those two pieces have bridged the second intentionally silent section, meaning that this is the first version to play continuously (i.e. no silences) ; the first version featuring the acoustic guitar / TC-11 synth bridging piece; and the first version to be at the extended current running time of 15:57.   The previously tested mix, Version 5, was a minute or so shorter.

What does it sound like…well, it’s still early days in some respects, but there are Rickenbacker basses (dedicated to the late, great Chris Squire, who was a huge inspiration to me as a guitarist, I thought of him constantly whilst composing the bass guitar parts of this song) – so maybe, at a stretch, you could say, “Yes-like basses”…at a stretch,

Powerful drum parts, in the Dave Stafford style, with two silent sections that were back filled later on…and lots and lots of vintage keyboards…Hammond organ, mellotrons, and featuring a keyboard quartet of vintage keys, a one minute-14 second “intro” to the piece proper…but, no electric guitars yet, or guitar synths.

That’s next; wish me luck!!

Best of all, as of a few days ago, Phase One of a Very Large Ambient Music Project is now complete.

Because of that, I’ve now increased the number of scapes available on the scape eternal album, to a nice round 100 !!    So please, go and have a listen…always free to listen.

So until I can change “I had a Notion” back into “I have a Notion”, and my composing ritual can be safely re-established, you will have to make do with reports of other projects, of which, as always, there are many, and, a rather large number of new Brian Eno and Peter Chilvers samples to delight in, contained with the last 30 or 40 scapes uploaded…happy ambient Eno/DNA/ambient dreaming…

Dave

studio diary 20150501: back into the world of scape…

suddenly, I found myself there again, after a long, long pause – a two year pause – I’d acquired the “Scape” application very, very early on, worked with it over a very, very intense but quite short period of months, and just as suddenly, stopped creating scapes when I reached about 1100 in total approximately – I found myself listening to “scapes” again, every day.  In 2015.

 

back to 2012 for a moment, then – after the fairlight and scape, I moved on to learn about, and explore other ambient, generative and synth apps, from the wonderful mixtikl to the equally fabulous drone fx (huge news – drone fx for the desktop – awesome news!) and on and upwards and on to some of the truly strange apps, the VOSIS and the TC-11 (huge news – TC-11 is at V2 now – MORE awesome news!!) and so many weird and wonderful apps to learn about, attempt to master, make recordings of…

“Scape” was my second “long session” with an app, my first “long session” was with the fairlight, or what is now known as the peter vogel cmi  – but to me, it will always be “the fairlight” – “the fairlight” of peter gabriel – [this link is to a pretty interesting video of Peter and The Fairlight, and how he used it on the song “The Rhythm Of The Heat”] – and kate bush fame [and this link it to a very rough but very interesting Kate Bush and The Fairlight clip] .

but “Scape” was the first ambient app I worked with – and what a great place to start – an ambient app, where BRIAN ENO was one half of the design team, and, where he played some of the samples and worked with his app-making partner musician PETER CHILVERS to design, produce, and market scape – a device that has a wonderful simplicity to it, you have an empty palette, and you have tools – which you can drag out onto the canvas, and when you do – music begins.  each tool is a different sound, or background, or filter for the whole piece.  there are bass sounds, synth sounds, melodic sounds, dissonant sounds, buzzing sounds, just your general sound palette that you might find on many a BRIAN ENO album.

in other words, sonic heaven in an app.  the app reveals itself to you slowly, so, you start with a few instruments, a few backgrounds, a few filters.  as you make and save more scapes, the app then present new tools to you, which you can then use to create “scapes” with new sounds in them, or, use them in conjunction with the older sounds that you are already familiar with.  OK, yes, it is very, very simple, but, once you work with it for a while, at least, for me, I began to approach working with it more compositionally.  sometimes, I would draw scenes, you know, mountains and clouds and bushes just to see what a “painting” would sound like.  then, I began trying symmetry, then, asymmetry – to see what results that brought.

later on, I tried minimalism – just one background, say, and no instruments.  I also developed certain techniques of my own, my favourite of which, was to create a scape I liked with one filter, and then copy it over to the next “slot” and change just the filter, then do it again, so I would have the orange version, and the green version and the blue version – the same basic “scape” – but through completely different filters.  I would often record these one after the other, and it’s truly interesting to hear the differences between the filters (those being the tools on the right hand side of the palette, that seem to control what is done to the whole piece, so I call them “filters” – and that’s another wonderful thing about scape, there is no standard terminology, therefore, everyone calls the objects by different names! which is fantastic, I think.  awesome.

working with “scape”, for the three or four months that I did, was a remarkable time.  to have produced 1100 “scapes”, I would never have dreamed of – but, that is what I did – and I was quietly amazed, privately amazed, at how incredibly complex and wonderful some of the later creations became, when there were perhaps, double the tools that you start out with – when you have, finally, the full selection of tools, and there are, no more new tools – then, you can combine things in amazing combinations of the old and the new, the new, the middle period, and the earliest – whatever your heart desires.  want dissonance? bring in one of the “crosses” – they all sound horrible!  wonderfully horrible.  want a nice sounding scape?  use a lot of the “letter shapes” “E” “H” “I” etc., the yellow melodic shapes, and use the green or dark pink backgrounds.  green is the nicest background of all.  dark pink, a wonderful second.  some of the other backgrounds are a bit more active, including some quite “jittery” ones, so it really does make a difference which background you run your “scapes” through.

but that is all getting a bit into the history, I wanted to recount to you the events that lead up to this sudden re-surgence.

at the time I began working with scape, in late, 2012, I had a decent enough home studio.  I worked out a reasonable way to record a scape, and to this day, that is the single-most asked question that I get “Dave, how do you record the scapes”?  It  wasn’t easy to figure out.  But it wasn’t hard, either!

I later on learned, that Eno and Chilvers intentionally didn’t leave a method for scape to be recorded (which also explains why it’s one of the few apps that is NOT Audiobus-compatible) – in fact, I learned, they didn’t mean for people to even “keep” “scapes” – but of course, many of us crazy musicians, wanted to keep them anyway.  I don’t want to let Brian and Peter down here, and I always feel like I have disappointed them, by not just enjoying the “scapes”, and then throwing them away – but I will tell you know, why I can’t do that.  Because they are so incredibly beautiful.

It’s that simple.  These scapes are such unique, precious pieces of music, and to me, they are amazing in so many ways, because of the high, high quality of the samples, because of the brilliance of sample selection, because of the genius programming of the app – I could go on.  No matter what – it boils down to this – even the strangest, most dissonant of “scapes” – is a unique thing of beauty.  For a very, very intense several months, I experienced from one to several of these amazingly lovely songs almost every single day.  And I was mesmerised.  I wanted people to HEAR this beautiful music, to hear what I had heard, to be able to experience my four month trip with “Scape”, for themselves.

I set out boldly, to record and upload as many “scapes” as I could.  at the time, that turned out to be just 41.  at first, I made videos for each one.  very quickly, as I reached the 800s or something, I realised, I was not going to be able to make 850 videos.  I really enjoyed making those videos, and I used the single screen shot of the art for each scape, as the starting point of each video.  So then I worked on audio only, but I soon ran into space issues, I didn’t really have the set up or the disk space, to record unlimited numbers of “scapes”.

Until 2015, that is.

Now, with larger, faster, better hard drives, a much better client, SONAR X3, and a good, fast system – I can record scapes en masse.

I hadn’t really thought about it, but for some reason, a few weeks ago, I started to think – I would really, really like to recover, and record properly, the “rest” of the 1100 “scapes” that I had recorded all on my first decent ipad, an ipad 2.  so one evening, I set up a 24 track session, recording 24 bit 48K audio, and began recording.

It takes time; “scapes” run anywhere from 3 to 4 t0 close to 9 minutes, and what I tend to do is, the moment I get in, I set up the session, and start recording, while I am going about other business. and when I can, I stop by, stop a recording, and start the next recording.

Every few weeks, I sit down, and trim, master and produce the tracks, and then, as time permits, I upload them to the dave stafford “music for apps: scape – an eternal album” eternal album.  I recently uploaded a handful of these “newly recorded old scapes”, and I think it’s lovely to finally, be able to hear the work I was doing in 2012 / 2013, now, in 2015 – it’s about time.

Over the next several weeks and probably months, I will continue to upload as many of these as I can master, and if we are all lucky, I will actually make it to the end this time – maybe.  We shall see…

If I can stay the course, and, to be honest, I do not know at this point, if I can – then, eventually, I should think, maybe I might actually “finish” the job.  I would love that, because if I actually could finish – well, two things would come out of that:  you would get to hear a thousand plus scapes done at all different stages of app “growth”, from simple to more complex to most complex and back again, and, I would be free, after discharging my duty to myself to complete the work I began, I would be free to make NEW “scapes” in real time, in 2015, to add to the collection.

And I think that might be the most interesting thing of all – to start all over, and go through the process again, and see what happens “this time around”.

But right now, well, it’s early days yet – at this moment, I am recording “scape” 138, which is an impossible construction that has 18 bass players and 13 yellow letter melodic events – and it’s a cacophonous mess, but oh, so incredibly unique!  some of the scapes I’ve heard over the past couple weeks of recording, have blown me away – they are either so strange, so weird, so unique, so powerful, but often, just so, so intensely beautiful, usually in an ambient way, but sometimes, in a fairly active way, too.  This particular scape is ever so slightly overloaded, and I know the app has protection against this (if you reach the max number of instruments, it begins to remove the earliest instrument as you add the latest) but I actually managed to create a “bass overload” in this case, one of the few times where I beat the system – my poor JBL monitors are baffled because they have never had 18 eno or chilvers fretless bass riffs all starting within microseconds of each other, and it’s overwhelming for the poor speakers!

but it’s an utterly unique “scape”, and I can’t wait to see if I can even make a usable master with that much bass content…we shall see, that one will be a test of my skill, it truly will.  terrifying bass overload!  power, power, power – and you just don’t expect a piece like this, it’s truly out there, but – ANYTHING can, and does happen, when you are “scaping” – trust me.  I’ve been there.  what an incredibly strange piece of music, which is now receding gracefully into the land of fade out…

so for the past two weeks and a few days, I’ve been hearing “scapes” again for the first time really, since 2013, when I actually uploaded the 39 existing scapes many months after they had been recorded in late 2012 and early 2013 – the scapes came before the bandcamp pages did.  but now we are somewhat caught up, we can now return to this arena, and see what we can see, or – hear what we can hear, rather.

I’d like to talk for a moment, though, about the visual aspect of “scapes”, which isn’t something that many folk speak about, for me, when I was heavily into this process, how I constructed a “scape” visually was very much an art, I tried to use the skills I had as a musician, to “compose” my “scapes”, and I was particularly enamoured of using symmetry, or putting instruments in long, diagonal rows (as in the next “scape”, “scape” 140, that I am working on now… see below).  I just wanted to say, you can follow what is happening in the music, by looking at the image of each “scape”.  In the early days, you can see that I drew nice little scenes, trying to make art, and trying to make that art into music, and, it worked, to a degree, and then, as more object become available, you can “see” the “scapes” getting more complex, you can see my experiments with symmetry, and as you identify the various instruments, you will learn, just like I did, what causes what.  a square turned to have it’s corner pointing up, is a bass instrument of some kind – several different kinds, from normal bass guitars to fretless guitars, to some longer fretless phrases, and so on.  so you will be able to “see” in “scape” 138 and in “scape” 140, where I have lined up a whole series of basses into a long, diagonal line – and the resulting chaos that this approach brings.

I am now onto scape 140, which is apparently, another “bass overload” test, this time, with 13 bassists, two melodic events, and one descending arrow complex synth event.  the cascading bass players are just amazing, a single, slinky, throbbing, ever changing bass note, made up of 13 horribly overlapping notes, grinds across the musical landscape, while bell-like melodic tones appear and disappear randomly in the background…it’s madness once again, but a beautiful, mental landscape.

Carrying on with the discussion of the visual aspect, you would then be able to see, and hear, for example, in scape 141, that there is only ONE bass part, which plays occasionally, and the three melodic letter shape instruments carry this tune instead of the basses as in 140.

Scape 141 is fairly minimalistic, but there are others even more so, so when you run across a truly minimalistic scape, it will be obvious, again, from the “track” image I upload, which is actually, the map or the “artwork” that created the sound of that scape – you will see an empty workspace, with just a speckled background – that is literally, just a background, with no instruments, so you end up with a very, very ambient, minimal piece.  So if you look at each piece of art, that comes along with each uploaded scape, you will be able to literally “see”, the journey I took, see the paintings I made, to produce the sound you are hearing.

That means, that when I get to one of my “filter series” – where I take the same “scape”, and run it through five or six or nearer to the end, perhaps seven different “filters” – the exact same painting, except the filter is a different colour, and you will see that – first the pink, then the green, then the grey, then the orange, and so on – until I’ve run that one “scape” through every possible filter.  you will also be able to HEAR the differences, and realise, that green filter makes one sound, while pink filter, makes a different sound, while orange filter, maybe, is a delay or whatever.  you get to know them, and you get to know what they will do “to a piece”, and this is the best test of all – try the same song, through each one of the various filters, and see what happens then…

Another kind of series, involves using the same “background” on different filters, or, different backgrounds against one type of filter.  The combinations, and the possibilities, are actually, almost limitless, they really are.

So for me, the fact that a visible artefact, a “painting” that I did – that’s actually, a huge bonus, and this is why: I sometimes struggle to describe music with words, but, describing it with a piece of artwork comes pretty naturally to me, so I love the fact that if someone asks me, “hey, how did you make “scape” 844, anyway?” my answer is right there and I can say – have a look at the track art for the piece, that is the actual piece of art I made, which creates the sound of “scape” 844…that uploaded track art, IS the answer to the question “how was this track made”? – answer – “this is what I drew, in “Scape”, to get that sound that you are hearing…”.

Additionally, if you really, for example, fell in love with a beautiful, ambient “scape” that I have made (something I do regularly) there is nothing on earth stopping you from buying “Scape”, the app, looking at the track art that I used to create the beautiful, ambient scape, and then, recreating it in your “Scape”, on your own ipad – by mimicking what I did in my “painting”.  I am sure that as long as you got it close, that it would end up sounding very, very similar to my version – very similar indeed, but not identical.  Very close.

At the same time, if you like my unattractive, sonically bizarre and / or dissonant “scapes”, you can easily “see” the tools selected to get that sound – and in no time, you will be able to control what “Scape” does, in the same way that “I” control it – although “control” is a dubious word – you will be able to do similar things, if you copy the art in my track art, the uploaded artwork for my “scapes”.  Or if you like my super minimalistic “scapes” – you can easily re-create those, as they are very simple to make!

A whole lotta nothing.  But sometimes, small input means big output, in terms of beauty.  Some “scapes” are not particularly beautiful, but then, they may have other charms that appeal to other senses, so it’s not a requirement that they BE beautiful.  A constantly ringing bell might actually remind one a bit too much of that early morning alarm, and when you have several of these admittedly, more melodic alarm clocks going off at once, it can be a bit overwhelming.  But – still beautiful in it’s own way, in the way the bells land within the composition, how they fit together, and so on.  Scape 145 is a perfect example of that, it’s all bells all the time, ringing incessantly, but – there is still something about it that I really like, a freshness, a randomness, and sometimes, those bells hit some nice accidental harmonies.  then, they start to fade away…only, it’s a false alarm (get it?) and then they are back, ringing like mad again…over and over,  you think the piece is about to end, and it’s not – it’s just wonderful repetition, and scape always does whatever I don’t expect it to – it’s full of surprises.  you just never quite know what you are going to get, but, I can guarantee one thing – it will ALWAYS be interesting!  always.

I don’t know exactly how many “scapes” I have recorded over the past couple of weeks, in this new burst of scape activity for 2015, but I do know one thing, I’ve been astonished at the quality, the variety, the different moods, the different techniques, the different results, that this remarkable tool can produce, and while I’ve maybe heard something like a hundred scapes, in two weeks or so – and there has been such an intense variety of music, from the most ambient to the most incredibly overbearing to the most powerful to the most jarring to the most fantastic of melodic, beautiful, ambient composition – it’s really just an amazing success, and it proves that generative music is here to stay, it proves too, that the inventor of ambient, is also, one of the master practitioners of ambient – because, decades have passed since those groundbreaking Eno ambient records – Discreet Music, Music For Airports, Thursday Afternoon, Neroli (to name but four of my favourite Eno titles) and there it was, 2012, and out comes “Scape” – which to my ears, SOUNDED like Discreet Music, Music For Airports, Thursday Afternoon, and Neroli  all rolled into one beautiful set of ambient samples, and each “scape” I created, sounded like a new track from a new, unpublished Eno album – priceless, beautiful, unique.

To add gravitas to my words, I am now recording “scape 146”. which features what was then, the “new” filter, a very squelchy filter, so this scape, which is bells playing in waves, over this amazing distorted, squelchy backing – is like alien music from the future, I’ve never heard anything quite like it, and it’s a remarkable and unique composition – generated by this app, based on my instructions – but, guided, ever guided by the ambient hearts and minds of mssrs. Eno and Chilvers – what an amazing juxtaposition of sound sources, I can’t explain it in words, but when you eventually hear “scape 146” – you will know exactly what I am talking about…

I really do hope that I can make it through all thousand plus recordings, for one thing, after a two year absence, it’s really, really been interesting to “re-live” my intensive several-months long experience, but without the intensity of actually creating, hearing it at leisure, as I record it two years later – it’s a very, very nice feeling indeed, it truly is.  If you don’t own the scape application, I would heartily recommend it to you now, and I would also recommend – don’t cheat, don’t do what some people do, which is find out how to expose all of the tools at once, and begin using the maximum toolset from the beginning.  I strongly urge you instead, to do what I did, to discover the app in the same way I did, one new tool at a time, this gives you a chance to get used to each type of tool, gives you time to play with each type of tool, and then, you recall better too, what each one does, whereas if you start with the whole lot exposed – which is an option – then, you lose the fun and the excitement of being presented with new tools periodically, and you also lose the experience that Eno and Chilvers wanted for you – they felt that the full toolset was too much to start out with, that learning “Scape” in the “slow learn” mode was the best way to learn the toolsets thoroughly, and give you the best, least overwhelming user experience – so I strongly recommend doing it that way.

I can’t imagine doing it the other way, it just doesn’t feel right to me, I guess I am more patient than some, and I’d rather get new tools every few days, along with the lovely, lovely written suggestions, which are of course, modified oblique strategies – I found those suggestions to be gold, and I did indeed, try many of them out, exactly when and how they suggested that I do – and I was always very, very pleased with the results.  the tips are good, they are good ideas, and I suggest paying heed to them as you are able to – it makes for an even more enriching experience.

I personally, though, doubt you could have a “bad” experience with “Scape” – because it’s a good tool !  You can’t really go wrong.  I think it’s well designed, and if you start slow and build up your instrument library as suggested, you will learn what each tool does, what each instrument does, what each background sounds like, what each filter sounds like – and you can then, tailor your “scapes” to use all of the backgrounds, instruments and filters that you love the most!  I think that is brilliant.  It’s almost easy to forget, too, that this is a generative instrument, one of the first of it’s kind, a very different generative instrument compared to something like “Mixtikl”, which gives you perhaps, too much choice, whereas, “Scape” limits your choices somewhat, but there is so much scope for inventiveness, and the generative programming is far superior to anything previously seen – so that scape can create music so complex, so unique, that almost no other generative instrument can compete.

Many months after I finished my first go-round with “Scape”, and, after I’d had time with “Mixtikl” and “Drone FX” respectively, I wavered a bit on what generative app I love the most.  In “Mixtikl”, I created 61 quite complex utterly customised pieces of music over a several month period, which I think stacked up comparably to the much more prolific 1000 plus that I did with scape in the period previous to that one.  At the time, I slightly favoured “Mixtikl” over “Scape”, but in hindsight, I would have to say, “Mixtikl” requires some knowledge of mixing at least, and music, preferably, while “Scape” requires neither.  All “Scape” requires is that you can draw a picture with shapes, and backgrounds, and filters – and just about anyone can do that.  The other requirement is that you listen…

So for ease of use, for amazing programming, for the most amazing samples, and for the overall best generative app, after hearing just the first hundred or so of the 1000 plus “scapes” I have recorded – I absolutely would say that “Scape” is the “better” app, although, having said that, they are BOTH utterly remarkable and amazing, and on some levels, I don’t really think comparing them is truly fair – I love them both, I will hope to make more music with both as time goes on, and, once I put right the “wrong” of not releasing these scapes, then we can see where we are with ambient apps, and where we are with generative apps, and indeed, where we are with ambient, generative apps…and, really, who knows what the future may hold???

I certainly do not !

 

 

 

 

 

I’ve got this notion…

After recently completing a couple of new tracks in the “music for apps” series, one piece done in korg’s  remarkable gadget app, entitled “fair play (advanced version)”, and the other, a very new piece made in my old friend nanostudio , entitled “treeclimber” – my most recent application-based work to be uploaded – I was thinking about what I should work on next.

I always have in my mind, a massive backlog of ideas for work with apps, and there are still a number of apps that I have not had the chance to record with – and in some cases it’s almost criminal, because they hold so much promise.  And I promise that I will get to them – borderlands granular being but one of them – an amazing ambient music application.

This is my current, “off-the-top-of-my-heid” list of apps that I own, but have simply not had an opportunity to record with yet:

borderlands granular

sector

moog’s animoog  – (note – I have quite a lot of material recorded using animoog, which dates back to the earliest times, almost three years back – that I have yet to publish any of – and it’s an incredibly beautiful application, one of the absolute best)

nave

thor

arturia family: imini and isem and iprophet

not to mention…

synergy

addictive synth

nlog pro

sliver

alchemy

arctic pro

and, no doubt, a host of others 🙂

 

And maybe what this list is…is the list of my next half dozen or so “eternal albums” series for 2015 – possibly.  I need to look at this carefully, and recently, I have been working with my app data (i.e., a mass of audio recordings made over the past few years, involving applications – and lots of them!!), of which there was such an overwhelming amount, created so quickly, over the first couple of years using apps, that I am just now sorting out the data (this is the curse of being prolific and incredibly inspired all at once, I dove head first into apps, recording so much video and audio, that my backlog has at times stretched out to about two years – and it’s only very slowly being worked through now, very slowly indeed! – it will take a long, long time to “catch up” – if I ever do!), and seeing what I have to present to you – and there is quite a lot sitting here, just waiting for me to find time – and I am constantly torn between the need to present this backlog of interesting application-based music, and playing new app-based music which will then also need to be presented – it’s always a choice, a choice I don’t want to make – I truly wish I had time to do both, but as it is, I am constantly bouncing back and forth between… – music of the past, music of the present, music of the pastmusic of the present.

 

Before I could sort through my mental files and choose one of these neglected apps to work on, another thought appeared in my head, which I kept trying to push away, I kept resisting it – until I realised, that I am much happier if I always have a project going in notion. So – without any remorse or hesitation whatsoever, I dived in, and began a new piece in notion, with a temporary title of “quartet in d major for four guitars” – it is another work in the classical genre, but this time, I am [temporarily, I assure you] moving away from the concerto form, and I am trying something new.

 

I have worked with notion and guitars before, in fact, my very first notion piece, “notionally acoustic”, was scored for two acoustic steel stringed guitars, as was the later “once more (into the fray)”, but to date, never really in the Classical genre, so I loaded up four nylon-stringed, classical guitars into notion – and began writing.

 

Very soon, I realised, that this is an amazing opportunity to apply some of my very limited Guitar Craft knowledge, in a writing situation, being very aware of the place that Guitar Craft already has within classical performance – i.e. where groups such as the Orchestra Of Crafty Guitarists (and their predecessors, the League Of Crafty Guitarists) and the California Guitar Trio, have used the new standard tuning, and, techniques such as “planned circulations” when performing classical works from Bach to Beethoven to Bartok.

 

With that strong history – and I was there, when the California Guitar Trio started doing a lot of classical repertoire, arranged by the remarkable Bert Lams, a musician that I respect more than most, and those early performances were the first time I had seen circulations used to play the very trickiest portions of some of these compositions – which might just about be “impossible” for three guitarists to play without using the circulation to share out the workload.  So any passage that is too incredibly quick or complex for a single guitar to play – can be shared across the three guitars, which makes the piece performable.

 

Or – it might also be, that in some cases, it’s not because it’s a tricky section of the piece, it’s rather that, Bert takes real joy in breaking up these melodies and harmonies into their component notes, and sharing them out between himself, Hideyo and Paul – and I was astonished the first time I saw this – it’s truly impressive, a remarkable way to perform classical music, and one of the most innovative I’ve ever seen.

 

Bert’s “planned circulations” truly inspired me, and now, while I cannot, unfortunately, work in new standard tuning (NST) in notion (I really, really wish they would add this capability to the application; then my life would be absolutely complete!! But it would involve new samples for all of the missing notes, that would have to be matched to the existing notes…not an easy ask, I am afraid), I can work with circulations.  I learned how to notate a circulation when I was working on my alternative track “once more (into the fray)”, so I already know how to do it – so I realised, when I set up this piece, that this is an opportunity to really expand this experience, and I plan to use “planned circulations” whenever and wherever I can within this new piece.

 

Of course, there is already a small one (a circulation, of course!) in place (!!) in the first section of the piece, the earliest melodies and ideas arrived very quickly and sorted themselves out very easily, so I am perhaps into minute two by now – a brand new composition, but, one that is already using circulations – I think it’s very exciting.

 

A chance to blend what I learned in Guitar Craft, actually, one of the single most important and beautiful things I learned in Guitar Craft, the “circulation” (where a single note is passed around a circle of guitarist, improvised or planned) – with classical music – something which, at the time, I did not have the skill, inspiration or tools to write – but now, fast forward to 2015 – and I have all three – amazingly.

 

Which means – at last – I can integrate the beauty and delight of the circulation form, into any classical composition I do involving guitars – so, four guitars, and of course, since I am notating sampled guitars in notion, rather than notating for real guitars in the real world, I use another tool to simulate the presence of four real players, an old, old piece of technology that I think is often criminally overlooked:  panning, or stereo placement.

 

OK, I am not able to do this in 5.1 (yet) or build up a 3D model a la Dolby Atmos, but – I can begin with what I’ve learned from the world of recording – if you want to simulate the physical position of different players, especially in a classical piece, you have to give careful thought to their stereo placement.  Now, in this case, it happens to be wonderfully simple, I set the four guitarists up like this:

 

Guitarist 1           Hard Left

Guitarist 2           30 degrees left of centre

Guitarist 3          30 degrees right of centre

Guitarist 4           Hard Right

 

Incredibly simple, but also, incredibly important – and I think, that this very simple technique, sounds wonderful – if you have a nice reverb room for all four players, and you put on the headphones and close your eyes…the stereo is simply amazing, and you really start to be able to pick out each player, and hear each distinct contribution to the piece.

 

It means too, that I can work in pairs – but not just the obvious, but in every possible configuration.

 

The most obvious two pairs would be Guitarist 1 and Guitarist 4, which gives you a very wide separation, and when Guitarists 2 and 3 fall silent, you get a particular ambience with just 1 and 4 playing.  At the same time, the second most obvious pair, Guitarists 2 and 3, sound almost as if they are in mono, wonderfully blended, being closer to the centre, and when 1 and 4 fall silent, this pairing have a completely different ambience, which provides a wonderful contrast to the wide separation of 1 and 4.  (Note, obviously, if you had a fifth instrument in this scenario, it would, of course, be set to dead centre).

 

Of course then, I am able to do any of the other remaining possible pairings, 1 and 3, 1 and 2, and 2 and 4 – so that’s five basic pairings…but for me, the most satisfying thing of all, personally, musically, and aurally – is when I run a planned circulation using all four players.  That means, if I score the notes starting with Guitarist 1, and then moving through the other three players in order, that you get the notes moving right across the stereo image from Hard Left to Hard Right (or, moving across your speaker system, or, moving across and through your head, in your stereo headphones) which just sounds wonderful to my ears!

 

If it is a particularly quick series, this almost then becomes a wonderful blur of musical motion, as the notes splay across your headphones, first, from left to right, then, back, but there is also the possibility of changing direction at any point in time, and sending the notes into almost any sequence – the most obvious being 1, 2, 3, 4, then the reverse of that, 4, 3, 2, 1 but there is no reason at all that I might not use other more unusual “orders” such as 2, 1, 4, 3 or 3, 1, 2, 4 and so on.  It’s also interesting the way these circulations “resolve”, when you are working on them, and you get to the end of the four bars or whatever, and you hear the way the circulation “works” within the large composition – it’s fascinating.

 

The possibilities are many, and I am very, very excited to see what works, what sounds good, what doesn’t work, what makes the most musical sense – what also pleases the aural senses the most.  I think it’s amazing that I am able to create this unusual sense of space, where you can distinctly hear each of the four players, and when they begin to “circulate”, you can follow the notes in “stereo space” which lends interest to the performance, while it adds sparkle to the music itself – do I play it straight, where the guitarist just “play” the notes, or do I put in the extra effort, and get them to work out quality “circulations” that do the most aural, and musical, justice to the piece?  I have the options, and I love it – these possibilities are truly exciting for a composer, which is what I’ve become, and I believe that because of this, I will probably begin to use circulations much, much more in my compositions, because I can, mostly!

 

There are a number of ways to accomplish this in notation.  Probably the simplest, and this is the way I do it, is, I write out a section of music, let’s say its four bars, in regular notation.  I then copy that across all four instruments, and then I simply decide who will play the first note – and I turn the other three guitarist’s corresponding notes into the equivalent rest.  Then I figure out who plays the second note, and I then turn the other three into rests.  Continue to the end – and you have a circulation.  Then – play it back.  If it doesn’t work – start over.  Or – make adjustments.  Sometimes you need to work on these a bit, because they don’t sound right – I’ve even decided to change notes in one or two of the copies to provide some alternate notes – so the circulation will then be subtly different from the original four bars of “straight” music that I had written.

 

That is just one way to do it, you can also decide what your notes will look like, by creating entire sequences of dummy bars, containing all rests, i.e., if you are in 4/4 time, then you would have four quarter rests per measure, or 8 8th rests, etc.  Then, you can go in and add notes manually, overwriting the rests, with the notes.

 

I’ve done it both ways, and both work fine, although I tend to use the “notes to rests” version rather than the “rests to notes” – it’s just my personal preference.

 

Another possibility, is to run two paired circulations – so, get Guitarists 1 and 4 playing one series of notes, while Guitarists 2 and 3, play a different one, perhaps in counterpoint or as a round – I haven’t really tried that, yet, so that might be interesting.

 

I just think that circulations and classical music were almost made for each other, and I love the idea of combining classical composition, with one of Robert Fripp’s best ideas ever.  It just works for me, and I believe that this new piece is going to really shine because of it – I am already very pleased with the first several bars, and their little “mini-circulation”, and my mind is racing ahead to imagining massive four-part guitar solo sections, no chords, just the four guitarists all soloing like mad – and then, cut it up into a circulation.

 

Imagine streams of 32nd notes or 64th notes, descending across four guitars, moving back and forth like a jagged triangle across the page, from guitarist 1 to 2 to 3 to 4 then back through them all to 1 again – like a wave of music, shared by these four players – I can’t wait to get to this imagined “solo section” – wherever it will be.

 

I am having to restrain myself a bit here, and make sure that I also have the piece centred and still based in the classical tradition, where I do have long stretches of music that are played “normally” – in fact, I want “normal” playing to dominate the piece, not the circulations – they need to be the exception rather than the rule.  They need to remain special, and I think that whenever they do appear, even if it’s fairly regularly – that they ARE special – and I am pleased and proud to have them available to me as an interesting tool that will hopefully, make my classical works more interesting and more unique – of course, any other “Crafty” that writes notation and is aware of circulations, might well also be crafting classical music including circulations, and frankly, I hope they are.

 

I really feel that the beauty of the circulation, is something that should be much more widely heard, and much more widely understood – the first time I was involved with one, in my very first live Guitar Craft circle – it absolutely blew my mind, I realised that I was a human being, being used by Robert Fripp in a live experiment in looping – and it was basically, a massive circulation involving 30 people, with Fripp directing and deciding what each player should play. Incredible, and, unforgettable – once you’ve been a part of such a unique thing.

 

That was in 1988, a long, long time ago now, but, I’ve carried that with me all this time, and now, the excitement I felt, that feeling of discovery – and later, at other Guitar Craft courses, I was fortunate enough to participate in many, many “unplanned” circulations, and planned ones, too – and sometimes, the absolute beauty of what happened in the “unplanned” ones especially, was just almost too much to bear, I would go to bed literally shaking my head at what a beautiful piece I had had the great fortune to be a part of.  A good circulation is a tonic, it literally heals me, it feels amazing, and it’s one of the most satisfying musical forms I have ever encountered.

 

The unplanned ones, where you have 20 or 30 players – or sometimes, in more intimate circumstances, with 7 or 8 players, as in some of the kitchen teams I have worked with (I made Kitchen Craft part of my Guitar Craft experience at almost every course I ever attended) where amazing things happen that you just can’t forget – “you remember that circulation we did that night, after we did the breakfast prep – that was astonishing?!!…” – all I can remember is that amazing circulation magic, and shaking my head in astonished disbelief – what an experience.

 

It does stick in your brain, and of course, there were those amazing early performances by Bert and the trio, and hearing Bert’s remarkable, unique arrangements of standard classical works, was a huge inspiration to me too, because I could then see the power of the “planned circulation” within all music – especially, in classical music.  It was interesting too, to watch and listen as the California Guitar Trio developed, more and more circulations crept into their work, so some of their later CDs and live performances still feature Bert’s special circulation-filled arrangements of classical, and other styles of performance, too.  To my mind, the trio are the best of the “Crafty spin-off groups”, because of the incredible variety of styles and pieces they perform, but also, because of the amazing arranging skills of Bert Lams.

 

I couldn’t write notation back then, in fact, I finally learned how thanks to the remarkable notion application, and I am still very much a beginner, but, I can now write it well enough – and it’s pretty easy to “hear” too, I do have “an ear” for music, so having Notion is such a blessing – I can write it, and instantly, I can HEAR it – get a good preview, and then I can “hear” if it is right or wrong – and make the appropriate adjustments – and try again.

 

It works.  It’s a good process, and I am so glad that I worked it out – it will definitely mean that I will want to create more repertoire for Guitar Craft, both classical and non-classical, I also plan to use circulations in some of my “alternative” works featuring steel-stringed acoustic guitars rather than nylon-stringed classical guitars – and in fact, one of my recent compositions, “once more (into the fray)” was done in this way – in that case, featuring two acoustic steel-stringed guitars.

 

In any case, the new piece is well under way, and I am hopeful that I can feature circulations in it in a fairly substantial way, without going over the top, and produce a pleasant, intriguing composition that will be enjoyed by all.  That would be a good thing.

 

notion was in constant use for the first year or so that I had it, so much so that I had to take a break from it, I did not want to, and it’s been a struggle keeping away from it all this time, many months, because I wanted to give the other apps a look in – which, to some extent, I have managed to do – except for the ones that I have yet to work with – but at least, I am keeping my hand in by working on existing eternal albums such as music for apps: “music for apps: gadget” and music for apps: nanostudio.

 

During my self-imposed “break” from notion, I did have a chance to sort out my data of stored music for applications, which allowed me to clean up, prep and upload the music for apps:  thesys eternal album, I also have set up sector as the next catalogue of recorded music to look at – sector is a remarkable application – and also during that time, I completed the two songs I mentioned earlier, “fair play (advanced version)” in gadget and “treeclimber” in nanostudio – and then, I lost my will power, I felt it calling to me, and suddenly, I am back in the world of notion once more (ahhh-bliss!…) – and feeling extremely happy about it, too, I truly enjoy working with this app, and writing notation, and having the instant feedback of being able to play back your music instantly, seconds after you put note to page – and that is hugely invaluable to a composer.

I’ve now already made significant progress with my new “four guitars”-driven quartet, and I am very excited about the possibilities for this piece – it’s sounding pretty good already, which is unusual – often, embryonic music refuses to take shape, or you struggle mightily to bring it into the shape you see in your head – but not this piece, it flows, it doesn’t require much tweaking, or at least, not so far – I am perhaps, two or three minutes in now – just working through the details :-).

 

I missed you, notion, I feel “normal” now – because for so many months, I always had at least one notion piece “on the go”, sometimes, two or even three, and I feel that music for apps: notion is one of my strongest works.  I am busy working on the next piece that will form a part of this ongoing eternal album and I am very excited indeed, about the musical possibilities inherent in a piece like this, when using classical notation mixed with the very potent Guitar Craft / Robert Fripp “circulation” – to my mind, that is quite a combination!

 

 

 

 

 

 

 

 

 

 

 

 

 

studio diary 20150315 – or, that was then…this is NOW

today I had the uncanny realisation, that I am about to embark on the creation of my 18th “eternal album”, which is a large series of recent recordings featuring mainly apple iPad music applications, along with the odd PC music program or “generic eternals” such as the “classical” album.

that in itself is no more significant than the fact that I launched the 17th one today, “music for apps: thesys – an eternal album” and while this album focusses on the fantastic “thesys” application from sugar bytes,  I am already planning the next (which is set to feature the absolutely remarkable app “SECTOR” from Kymatica – which involves one of my favourite developers, Jonatan Liljedahl – inventor of audioshare, and the AUFX series of awesome effects apps).

I did some pre-planning last night, and I could see that I had sufficient material for at least two new albums in the series almost immediately – and I’ve been a bit remiss this year, waiting until March to release the first eternal album of the year – of 2015 – but – hey, I’ve been busy. 🙂

 

what is significant about the fact that I am about to release my 18th album in the “music for…” or “eternal album series”, is this:

prior to the world of ios applications, I used to make “normal” albums ( from the mid 1980s till about 2011, when I got my first ipad…)  – so, you would record music, work on songs, mix and master those songs, and after x amount of time, usually, months, sometimes, years, you would release another finished album of music.  that’s how it always worked – until ios applications came along.  so the compile, wait, compile, wait, compile, wait some more, way of making albums, gradually gave way to a new way – a single album, dedicated to one instrument, app, software or even genre, where there is no limit on tracks, and I basically just keep adding tracks to each one of these “eternal albums” –  forever. so in 20 years’ time – I could have a very, very large number of tracks up there 🙂 on a broad variety of topic-based albums.

so – in the period between 1992, which is the year that my first album proper came out (“voices from the desert”) and 2012, which is the year my “last” “normal album”, “gone native”, came out – so, in 20 years, give or take – I had released 18 “normal albums” during this time – or, I should say, 18 normal “dave stafford” albums – I am not counting bands or collaborations here. that would have probably put the total count for the 1992 -2012 period to “over 30” – but I am focussing solely on my “solo” albums now.

however, more recently, and, overlapping the end of that period slightly, I realised tonight that as I am planning my 18th eternal album album right now, that this means, that I have done exactly the same number of applications-based, or pc-based / generic, albums in the “music for…” series, in just over three years, that it took me to make 18 “normal albums” in !!

 

that is – remarkable.  and difficult to believe, too.

but – it’s real.  I started out working with apps in about December, 2011, and of course, have worked with them ever since (in some ways, it feels like I am just getting started!!) so that means through 2012, 13 and 14 – and here we are, now, in March 2015 – so actually, approaching 3 and 1/2 years in total.

twenty years – to make 18 Dave Stafford albums in the traditional way.  Then, a mere three and a half years, to make the NEXT 18 Dave Stafford albums – in the “eternal album” way.

 

that is simply – astonishing.  oh, how I wish I had thought of the “eternal album” concept back in the late 80s, when I started recording in earnest, as an adult, and as a looper.  just imagine the one, massive “music for loopers” album I would have compiled by now – featuring 246 looped or live improvs played with guitar, ebow and looper, over twenty years.  and, another similar one for rock and prog works…and so on.

instead, I worked the way we all worked, we would not release anything until we had the whole album, built painstakingly one track at a time – “in the can” – even if that took three or four YEARS !  You just kept going, until you had “enough” songs, to make a decent length record, or, until you had the right songs for the album concept you had. it was quite a realisation, though, that, thanks to the “eternal album” concept, and thanks to advances in recording techniques and processes (no more tape recorders for me!) that I was able to mirror my first 20 years’ output, in just 3.5 years, using these new tools to my distinct advantage.

I would stress, too, that it’s not just that things took longer back then, or that it’s more time consuming when you are working with tape machines than in a purely digital environment, and so on – it’s also because, the tablet itself, in my case, the apple iPad – has radically, and unalterably, changed the way musicians work.  if you ask me, it’s revolutionised the way we work. everything is designed for speed, and ease of use.  everything can be done quicker, and usually easier, than in a real studio.

so the ipad, the tablet, the way that some of these absolutely, practically magical applications work…that just changed everything – and that is why I was able to produce 18 albums, with probably, more tracks than my previous 18 albums, in such an incredibly short span of time – 3.5 years.  that’s something approaching six full length albums each year – which, back in the day, would have been not only a prohibitive schedule to maintain, but also, a punishing one.  No one would “try” to make six albums in one year – it was unheard of.  OK, maybe two or three albums per year, at a stretch, maybe, in pop’s heyday, or at the beginnings of rock music – but generally, established patterns of record production mixed with touring, were established and pretty much, followed, by all bands and artists.

then, in 1967, the Beatles actually slowed down this process, by taking an unheard-of six months to complete “Sgt. Pepper’s Lonely Hearts Club Band”. and for a while anyway, from then on, bands would compete to see how long it could take them to make one record, in the same way they competed for the “biggest crowd” or the “loudest concert in history” or whatever silly, prideful contests went on during the worst of rock’s excesses – whenever you consider that period to be (1980s, anyone?) 😉

 

of course, you do tend to work more quickly with applications, in most cases.  There are exceptions, and certain pieces just require a little more time.  But nowadays, even if it takes me, say, six weeks to finish a concerto in three long movements – the MOMENT it is finished, I can load it up to the “classical” album to join other tracks in the classical genre.

so the new system is working really, really well – for a number of reasons, and I can’t really get my head around the idea of making 36 Dave Stafford albums across 23 years – with the first 18 taking up the first 20 years, and the second 18 taking up a little more than the remaining three years!!! that is just – really stunning.  something to think about, I suppose.

and of course, at this rate, it won’t be long before the “eternal album” series exceeds the pre-2011 “normal albums” in numbers, and I cannot imagine how many albums, not to mention, how many tracks, these 17 soon to be 18 eternal albums will have at the end of THEIR first 20 years – a staggering amount, even assuming that my output will slow somewhat, as I grow older 🙂

track wise, I am not sure how it rates, I would have to do some manual counting, but I would guess that it’s probably a case where there are nearly as many “eternal album” tracks, or maybe more, than the original 18 albums would bear – because back then, tradition said put 12 or 14 tracks on an album, and of course, I would ignore tradition, I had one double album, “other memory / sand island” that had a whopping 33 tracks; while other “normal albums” maybe only featured seven or eight lengthy pieces – and EPs, of course, which I’ve counted as “albums” – might be as short as four tracks.

so I would bet that the track count of the “eternal album” HAS already exceeded that of the original “normal” albums.

I will actually be able to find out over the coming weeks, I’ve begun work on a thorough updating of the discography on the old pureambient website, I plan to pair it up fully with bandcamp, which has all of the albums, old and new, up there – so I will get full counts as soon as I expand the track details and so on, I will have a more concise resource that I can “count tracks” from much more easily.

however, please do not hold your breath, to include more useful information, I’ve had to alter the format of the discography entries slightly, which means an extensive, laborious re-write – but, I really want to do this, for one reason, so there will be a one-stop resource for information about each of the albums, old or recent, for another because it appeals to my own internal sense of order :-).

I do have an interest in statistical information, I can’t really help it, so things like this fascinate me, but it’s a really interesting comment on the speed of life, too – now, I have tools that I can use, to VERY, VERY quickly, build music of real complexity and beauty, on a tablet device (that’s where the magic comes in, I reckon – anywhere and everywhere, I can work on music – with dozens of amazing, powerful music-making tools – incredible!!!), which I can also use to make high quality art work, and then the music can be uploaded to bandcamp, instead of being made available on media as it used to be – it all happens so incredibly quickly now, it’s no wonder that I was forced to invent the “eternal album”, just to deal with a situation where suddenly, after 20 years of slow and steady music production; the ios music apps suddenly turned me into the most prolific musician on the globe – and I had to do something about it if I was to even be able to process the ios music I was creating!

what I did, of course, is invent the “eternal album”.

it took a while to get it all working, but in a very short time, for example, I was able to upload no less than 61 tracks to the album “music for apps: mixtikl – an eternal album” – and that right there, is the equivalent of five or six normal albums – produced in perhaps, six months at the most – astonishing!  so everything is…very much faster, there are no more endless delays waiting for the drummer to set up, or dealing with instrument problems (although, I do still get those, since I DO still use real instruments, and I do plan on making at least a few more “normal” albums of guitar music over the next few years – so please, watch this space!).

music just took longer back then, you had all hardware devices, so to do looping – you needed a LOT of gear.  And a nice rack mount to put it all in.  with a nice digital reverb in it.

now – all of those rack mount devices, exist not just on your computer, where all your recording takes place, too, but also – on your bloody tablet device as well ! and that is a downright miracle – multi-track studio apps like auria, sophisticated effects units like effectrix and turnado, begin to rival the quality of that expensive hardware that now sits in a corner in the studio, rarely if ever used any more, which is really sad, so I continue to make the time to use both – because as much as I love and fully embrace the music / ios technology – I still have a huge love for real guitars, basses, keyboards and drums – real instruments, recorded the old fashioned way – that still has a lot to be said for it!

 

sure, for playing guitar, I still use a LOT of hardware, especially, “loopers”, but more and more, any processing, any effects – are almost easier to apply using your PC, or even your tablet – which to someone from my generation, who grew up with electric guitars and amps, where basically, it was all about the hardware – hardware was the only option in 1971, when I started playing electric guitar for the second time, in earnest, when I was in my first few “garage bands” – is almost incomprehensible.  yet – it be.  it definitely be !!

I was really quite taken with this revelation, then, about just how much has changed.  but it’s today’s young musician that can benefit the most from all of this amazing technology, bypassing the difficult skills of learning to actually play the guitar, bass, drums or keyboards, but instead, in their bedrooms, using technology – to replicate it – and, much, much faster than we could ever do it back in the 1970s with hardware.

sure, they won’t have some of the hard-won skills that those of us who grew up in my generation will have, but, they will have the advantage of the “quicker, better, faster”, etc. – technology – and I hope we hear some amazing music being created by bands that, for example, have five members who all play the iPad.  how fun would that be!

things have changed, and today’s music making person, has a huge range of devices, software for PCs, and apps for tablets and phones, none of which we had back in 1970.  I think that this unavoidable fact has both positives, and negatives, and I can only hope that the former outweighs the latter – because the danger is, that we get too many folk who have no musical talent, “playing” the iPad, and finding limited success – because of the mediocre skill levels that CAN be used to operate some of the simpler music apps – we will, unavoidably, have an even larger stack of not-so-good “electronic musicians” to wade through than we did five years ago – but, at the same time, there are still a fairly large number of “traditional musicians” around – so, I am hoping for a balance – and I think there is merit to both types of musician – the traditional such as myself, the electronic, and, hybrids – such as, myself again – because I absolutely love playing with ios music applications, very nearly almost as much as I love playing my Gibson SG – so, for me, it’s win, win – and win.

 

have fun – until next time –

 

 

peace and love,

 

dave at pureambient

 

 

 

 

studio diary 20150214

I had thought that “fair play”, my new “korg gadget” piece, was finished, I did make the odd adjustment here and there, but I thought it had reached its final form, until I sat down to listen to it a few days ago.

 

the listening session was fine, I am happy enough with the song, “fair play”, as it stands – but, I felt like I wanted to hear more of the “middle section”, which, as it happens, is a key change up to C major, there were only a few bars, so I copied those three bars, inserted them before the existing three bars, and then set about modifying just the Chicago bass / synth (which I am mainly using as a lead synth, not a bass – the hammond has taken the role of the bass for the majority of this track) part so that I had, effectively, three “new” lead lines, and the third, was sort of a very monotonous, circular sort of riff, so I instructed the device to play that bar twice, which gave us this:

Chicago 1 Modified Chicago 4 X 1
Chicago 2 Modified Chicago 5 X 1
Chicago 3 Modified Chicago 6 X 2
Chicago 4 Originally Chicago 1 X 1
Chicago 5 Originally Chicago 2 X 1
Chicago 6 Originally Chicago 3 X 1

so, wonderfully, that means that the “middle eight”, which is a whole tone above the basic song (which appears to be in F or Bb, I am not exactly sure!) is…seven measures long ! I love stuff like that – it makes it odd – but musically, you would probably never notice, it just sounds like a synth “solo”, which is in a different key to the bulk of the song – and it brings musical relief because it jumps up a whole tone – it’s very exciting, it builds tension beautifully…and hopefully, no one is counting bars, and the fact that my middle eight is not, in fact, a middle eight, but a middle seven – will go unnoticed by everyone except; everyone who just read this paragraph. 🙂

we have then, a whole piece of music, at last, that begins (and continues for most of the song, to be honest) in the staggered, drum-driven rhythmic world of gentle giant, moves to some beautiful acoustic v electric piano sections, with a solid and wonderful hammond bass underpinning everything – it then, finally mutates to a seven measure long “middle eight” – (perhaps, I have invented the world’s first “middle seven” – who knows? I’d love to take that credit) and then, via a reprise of the opening segment, moves onto a spectacular ending featuring a four-measure version of the “middle seven” – why not?
So at no point does the “middle eight” ever equal eight bars, it’s seven in the middle of the song (and four when I re-use it at the end) – and I think that is just fine.

 

“fair play” to me, is a proof positive that the newly-enhanced “korg gadget”, which to be fair, they only added a few instruments, but, the instruments they added are so awesome, that it makes creation with them easy, in fact, with the 15 original synths, you could do a lot, already, but having the core electronic keyboards – well, one is acoustic, I suppose, so having one acoustic and the rest of the core electronic keyboards, to hand – gives us CONTROL…it means you can build songs using those more familiar, more comforting keyboards, and then bring in the 15 original korg synths – the “gadget” originals – to add colour and shade and light and dark…

 

I basically started this piece out with organ, acoustic piano, drums and electric piano – and that IS the core of the song, and all of those are instruments that are made available in “korg gadget” from “korg module” – which, right away, shows us the real value of “korg gadget” – and that’s just the start – what will it be like when you can access ANY instrument via “korg module”, in high quality samples??

I vote for mellotron, sitar, and anything else they fancy sampling…go for it. I want to see “korg module” become the premier sample based app on ios – unless native instruments jumps in – then, I would have to wait and see what THEY come up with 🙂

I was eager to try “korg gadget” now that it’s been “upgraded” – simply by the existence of “korg module”, that gives “korg gadget” a whole new face, and transforms it into a player of high quality instrument samples – directly parallel (in its basic function, anyway) to kontakt in komplete – we have our world class sample player now – the ubiquitous “korg gadget”.
this is a really clever idea from korg (they seem to be having a lot of really good ideas lately – witness the Ibanez RGKP6 guitar and bass, which feature a korg kaoss pad 2S built right into the guitar’s body – a fantastic idea whose time has finally come – a very clever idea). korg makes really interesting synths and other products, too, and the more I get into their stuff, the more I enjoy it – they have been around the block, they obviously listen to their customers, and, their stuff is well built and long lasting – korg is a name that says “quality” to me.

 

they seem too, to be able to compete in the world of ios, in the app world, at the same level and with the same commitment to quality that they show in the virtual world, the bricks and mortar world. I like that about a company, and I think that they are handling themselves well in both arenas – not something a lot of companies can probably boast about.

 

I have listened again now, to the playback of “fair play”, and I am now fairly certain, that it is indeed, complete. I hope I will not change my mind about that again! It’s ended up just about four minutes in length, which for this type of piece, is ideal. I hope to master it and upload it as soon as possible….(update: now done! “fair play” can be found here).

 

and then…well, things happen 🙂

I was and am totally happy with the completed track, “fair play”…but, while I was doing some final tweaks to levels and stereo placement, it struck me that I’d really like to do two things: I already have finished and mastered “fair play” as it stands, in it’s complete form, but also, I’d like to take it from the point it is at, and do some further work on it, make it an alternate version of itself – so I did a “save as” of the completed “gadget” track, and named it “fair play – advanced version” – and immediately began work on transforming the by-now familiar “fair play” towards new musical areas, I have removed some of the sparser parts, I’ve added more drums, there is far less “space” in this new version, it just rocks straight through rather than having dynamic sections as the original does, and so on.

I’ve also been doing some serious “randomisation” – this is a process that I tend to get into in “korg gadget” especially – where I will lift one melodic pattern, and randomly copy it over a different pattern in a different instrument, so, organ bass part becomes electric piano riff, or acoustic piano now doubles with electric, synth solo becomes hammond solo, and so on…taking existing themes, melodies, and solos and moving them to different places within the composition – it’s huge fun.

I might also decide to just remove four bars of music here, and then, copy two others into their place, remove five bars here, and not replace them, add some of my favourite bars from the first half into the second half, and so on – endless possibility, and it’s very quick, very easy, to edit in korg gadget, too – add extra snare drum hits, add extra bass drum hits, change single hits into double hits – it can all be done so, so quickly – and probably, within the first fifteen minutes of editing, I had radically altered the basic DNA of “fair play” into a completely oddball variation of itself – “fair play – advanced version” – which I plan to work on for a few weeks, to give it roughly as much gestation time as the original got – and then master and upload it as well.

I am very, very glad that korg has jumped into the area of high quality samples for ios, with the beautiful “korg module” app, and I am extremely glad that by chance, they made those samples available to the “korg gadget” app – that, prompted me to re-visit “korg gadget”, and create a song that utilised some of those amazing samples – and I find that it makes a HUGE difference to me, to have hammond organ, acoustic piano, and electric piano as three of the most important samples in my new piece(s) “fair play” and “fair play – advanced version” – which might get re-titled “unfair play” or “fair work” or some such – I don’t know.  or…it might just stay as “advanced version” – this remains to be seen.

I have a lot of work to get on with now, I’ve recently recorded a lot of guitar sessions which should hopefully yield some new videos (down the road a piece, probably, but, maybe some interesting takes in this last batch of videos…) as well as a lot of audio mixing to do before I even think about the video side of things – this is always the challenge for me – I am now able to record a lot of material very quickly, but with only myself to handle post-processing, it takes me weeks, or in some cases, years, or in some case, never, to create video content – or sometimes, even process the audio and create master audio mixes.

the backlog is not getting any smaller at the moment, which is actually OK, and what I’ve finally decided is that I will abandon utterly my original intention of trying to present my video work chronologically, I will master and upload what videos I feel are the most important, what videos are the most interesting or unusual, and then, as time permits, I will go back and continue work on the “old” video backlog.  controlling this, will be playlists.  I’ve already created video playlists, by date, for many of my legacy video sessions so I would suggest that whenever you visit the pureambientHD channel or indeed, any of my video channels on youtube, that you always go to the Playlists section, rather than the Uploads – because as of 2015, uploads will no longer be chronological, but completely random – so you will find instead, that in the Playlists section, you will find “dated” dave stafford live music video session in chronological order – and this then frees me to pick and choose between the now, and the historical-that-haven’t-yet-been-processed – so I am recommending that you stick to the chronology as imposed by my “dated” session Playlists – or else, complete and utter confusion may be the main result 🙂  as for me – well, I am chronically chronologically challenged anyway – and confusion, well, it might be my epitaph 🙂   but playlists will get you the unconfused view of dave stafford live music videos.

I really enjoy creating these music videos, and trying out new instruments and techniques, I have never gone in for the “here is my demo of the roland gr-55 guitar synth” and then sit there, and play you ten seconds of each of it’s voices – instead, when I acquired the synth – I just started making videos with it, I just started using it, so you can learn along with me – and I hope that this can, will and might inspire others to pick up some of these interesting instruments, and have a go yourselves – I reckon that it’s easier to learn about something just by trying it – so, for my first ever video, “st. alia of the knife”, I selected the “oboe” voice, set up a nice reverb, ran an existing reverse loop – and did a live oboe solo / improv on video.  from there – I just kept working with the synth, until I eventually used it to create my first classical composition, my “concerto no. 1 in em for oboe and guitar” and also, I’ve continued to use it on improvs, as well as part of multi-track recordings such as “this is a test”, as well as the title track, from the “gone native” album, and in fact, I used it on several of the tracks on “gone native” – I really think that the roland gr-55 guitar synth is a great instrument – and I find that all of us who use the device can compare notes and share what we’ve learned via video, audio, and other modes of communication – indeed, why not?

but I digress, this is mainly a report of the now split-into-two “fair play” – and I hope you enjoy the original version while I continue to develop the second version, “fair play – advanced version” 🙂

 

until then I remain

your faithful servant

yours truly, etc.

 

 

dave

pureambient HQ – 20150214

 

 

 

 

studio diary 20150202

it’s a new year, and since during the past two months, I have completed not one but two major works, first, “concerto no. 3 in D major for piano & strings”, and more recently “concerto no. 4 in F major for harpsichord & strings”, I thought it was high time I turn to some of the other very neglected, and very excellent apps – I am not ashamed to admit that I have allowed Notion to dominate my musical life in the area of applications, for pretty much all of 2014 – and, that’s fine, because out of that, I’ve created two very interesting bodies of work: “music for apps: notion – an eternal album” and “classical – an eternal album” – and the quantity and quality of the pieces in those two albums meets with my wholehearted approval – I think these are strong works using an excellent application, and I know that over the years, both Notion the iPad app and Notion for the PC, will be my go-to apps for classical composition, and for alternative works involving a lot of orchestral instrumentation.

that is for the future though, right now, in the here and now, I have embarked on a new composition, entitled (at the moment, anyway) “fair play” – and this is my first piece created (this year) using the most excellent “korg gadget” application, which, in a sense, is like a new app – because of the presence now of “korg module”, which, interestingly, directly interacts with korg gadget” – in practical terms, this means that I now have available high quality grand piano and high quality electric piano samples available within gadget, via module – which is brilliant, don’t get me wrong, the original 15 synths supplied with the original gadget were and are, they remain, very functional and some of them, like the beautiful ambient synth, are both unique and very pleasing to the ear – and, very useful when composing for 15 synths, too!

so, I had downloaded “korg module” several weeks ago, and I had played through most of the extremely high quality samples available, and, really, as someone observed, that if you have this, and “neo-soul keys” (which I have but haven’t used much so far), and maybe, what is it, “sample tank” (which I don’t have) – that is “all you need” for sample-based jamming fun. I agree, but at the same time, I would actually welcome any number of products similar to “korg module” – basically, world-class samples, available for use on ios. Not just the ordinary ones, either, sure, those are great to have, but I’d welcome a sort of “komplete” for ios, obviously, it couldn’t have the many GB of content that “komplete” does, but, in a very scaled down version, with only the best and most essential samples – it would, it will, be brilliant !! come on native instruments – build for ios! teach korg how to do it right lol !  🙂 🙂 🙂 🙂 🙂

another example of this type of thinking, in new applications, is “ruckers 1628” a high quality harpsichord sample that I was very happy to obtain, so there are more and more of these apps out there based on quality samples – quite a lot of them already, really.

 

knowing that I now had the high quality keyboard samples available to me within “korg gadget” from “korg module”, I decided to create a new piece of music in honour of that. however, the song itself, had a strange genesis; when I first got “korg module”, I went through whatever process there was, and I was testing within “korg gadget”, to verify that I could indeed access and record with, say, the electric piano sample from “korg module”. I opened up a new, empty file, and randomly stabbed at the keyboard, just to make a noise, and recorded two bars of “music” – and there I left it. “fair play” for the first week or so of its existence, consisted of a sort of vaguely-gentle-giant-sounding electric and acoustic piano “riff” – so that was how it started. and when I say vaguely…I mean…vaguely :-). the riff was just about nothing, just a feeling…

 

a few weeks went by, and finally, I found some time, and I went in to create this new song – and I decided that its intro, at least, and possibly, part of the actual song, would be based on these random events that I had stabbed carelessly into the app weeks ago – so, I made a couple of very minor changes, and away I went. within a day or two, I had a lovely, 17 bar tune, with two decent themes, one of them based on that accidental intro.

 

The accidental intro worked beautifully, in fact, I ended up using it as one of my main themes, with various modifications, and it sounds as if it were planned into the song – when it absolutely was not – a complete and utter accident.

 

In the next incarnation, now at 34 bars, a third theme was added, which included some lovely parts done with the electric piano v. salzburg, one of the existing solo synths – a nice lead sound – I had them trading melodies back and forth, and it was really a lot of fun. I did also use acoustic grand piano, but not in a solo capacity, more in a supporting role, it’s time will come, but immediately, I was really enjoying the fantastic and very realistic electric piano sound – and I even took the opportunity, in the next incarnation of the song, to have a couple of bars of it “solo”, playing a lovely circular once-again-a-bit-like-gentle-giant riff – and it sounds great, when the drums stop, and then, when they start up again, it just rocks – really nice effect, having JUST that beautifully-sampled electric piano playing on its own out there for a moment, into a nice bit of reverb – fantastic!

 

the final session to date, added yet another 17 measures, bringing the total up to the current 51 bars, and this was really just further development of the existing themes, some different juxtaposing of electric piano v. salzburg riffs, and other refinements and improvements. when I do a play back now, I can’t believe this started with just two stunted, inaccurate bars of non-music riffage – it’s really sounding quite, quite good already.

 

It’s odd, when I read back the above description, it sounds like a really long song, so I should probably say, that the entire piece right now, in its unfinished state, waiting for a resolution to bar 51, which is just hanging in space, in the middle of a song, clocks in at a modest 2:15 !!! so I am thinking that I am perhaps, half way through the piece, compositionally speaking – I can’t see it being a lot more than four or five minutes – maybe, but it depends what happens next. I like the activity of the piece, I love that there are a number of themes and changes that really grab the listener’s attention; but I am far from finished with the piece.

 

so now I am just in a period of reflection – what will happen next? – add more instruments? carry on with additional content?, more refinements?, repetitions of themes? – or, make it short, end it sooner? – I have no idea (!?!?!?!!!!!) – what will happen next.

 

 

I will say, though, I have REALLY enjoyed working with “korg gadget” this time, moreso than ever before, and that is simply because the app has grown up, instead of those 15 synths of varying usefulness, there is now a core of truly great sounding important, core, sampled instruments, with the 15 synths providing a bit of variety and spice to those central samples. It’s amazing how going from 15 to 17 or 18 synths (depending on what you get in terms of in-app purchases) makes all the difference, but, it really does.

 

the weak spot: users of “korg gadget” will already know what I am going to say: drums. yes, there is a choice of drum machines, and some pretty decent and some pretty interesting choices of instruments within those drum machines. but…they all sound a bit wimpy, when I mentally compare them say to the drum samples in “nanostudio”” – well, then, I long for the powerful sounding drum kits of “nanostudio”. ok, sure, for a lot of modern styles (which I have almost no interest in) such as I don’t really know, dance music or whatever today’s version of “hip-hop” is) – the drum machines provided with “gadget” are probably sufficient.

 

I can (almost) make them sound like rock drums if I really work at it, but that’s really my only “gripe” about “gadget” – and I would have said so from the very beginning. I should be a bit clearer here: the drum synths are not BAD, they are just not in the Dave Stafford style, and they don’t have a lot of big, loud, rock and roll drums like some other devices do have – “nanostudio among them.

 

I think in time, with a few more high-powered, well-sampled sounds inserted, that “korg gadget” will be top of the heap, at least in terms of a sort of “studio” where you have a lot of good instruments from which to create whole songs. It’s already one of the top (MIDI) studios, along with “nanostudio and a few others – there are a lot of these, and some are better than others – but “korg gadget” is one of the good ones – and, it’s made better now through its marriage to “korg module”, which gives you more powerful sampled keyboards – which has taken a great app and pushed it towards the fantastic – well done to korg for that.

 

It still surprises me sometimes, after being away in the wilderness for many months using mostly “Notion” for everything, occasionally dabbling with other apps just to learn more about them, that I can return to an app like “korg gadget” or “nanostudio” after many, many months of not working with it – and (much to my surprise!) I can set up and build a new song as if I’d been using the app every day for a year! I think apps are like this – once you learn them, you don’t forget – unless it’s really, really tricky, in which case, you will need a written procedure ANYWAY – so for “korg gadget” or for “nanostudio” – I just sit down, and I build a drum track, and then some bass, and then some synths…and then I’ve got a song. they are equally easy to use, and I actually really love working with both of them.
there are others, like, “synergy” – I’ve done exactly one piece in “synergy”, which came out ok, but I’ve never “finished” it; same for “isequence” – one song, never finished; same for “cubasis” – one song or part of a song, never finished; same for “impc” – well, that’s a sampler, really, but again, I have started a song in it – and it’s an interesting process; never finished – but not nearly as easy to use and not as easy to get going in, as “korg gadget” or “nanostudio” are – those are the two most user-friendly, almost without a doubt.

 

then there is “auria”, which is audio only, and works well enough, it took me a long time to really get going with “auria”, and actually, it was through de-constructing that amazing james mccartney song that I learned about editing in “auria”, and it’s extremely useful for throwing tracks together quickly, just to see if they “work” together, or for editing audio which isn’t easy to do elsewhere on the iPad, I am glad I have “auria”, although my tendency is to master tracks in their original app, and then take them to the DAW on the PC for proper mastering, EQ and reverb – I have a LOT of tools for those processes on the iPad, but I just don’t trust them, and it’s just a bit tricky getting around on the iPad – I can do it SO fast, on the PC, that usually, my goal is, get the piece done, mixed as well as possible, and then, get it exported – get it OFF the iPad ASAP – and then take it to the DAW for all processing.

 

when I have time on my hands (almost never) I promise myself, that I will spend time working more in “auria”, using my various stereo placement and mastering tools, using my beautiful reverb units (and, I cannot fault the quality EFFECTS available on the iPad – I have a lot of those, and I do use those on tracks), in Audiobus, when I want a beautiful atmosphere for a track – I will use ipad reverb units – the best of which, strangely is probably AUFX: Space.

 

but it really depends, most songs, I tend to get to a certain point, where the playing is all done, and the mix is OK, and all I want to do is get it off the ipad! And hence to the PC for some PROPER processing! Master it, reverb it, etc. using the superior PC tools available in SONAR – I have an audio mastering template that is fantastic, where I can add appropriate amounts of compression, EQ and reverb – at will, whenever I finish a track – I tend to finish it here.

 

so somehow, I am not able to commit fully to the idea of making music FULLY on the ipad – I am happy enough to create in the apps, and mix in the apps, and even sometimes, use reverb to treat whole tracks – but then, it ends, and I want it off the device and onto the PC, so I can master and eq and compress and reverb to my heart’s content, the old-fashioned way.

 

I am completely set up for making music on the ipad, the WHOLE process, so I could carry on, add EQ as necessary, work on stereo placement, add reverb, etc. – and create FINISHED tracks that would not require a trip through the DAW mastering stage. I will try to start doing this in 2015, to see if I can “let go” of this desire to do things half and half – I want to create ipad music on the ipad, from start to finish, and PC music on the PC, from start to finish, and maybe even some pieces that combine the best of both worlds – who knows???

 

So that is what I will attempt to do, for one of my many resolutions I suppose…see if I can resist the temptation to do it the “easy way”, in SONAR, and instead, develop high quality, quick way of mimicking the PC process on the ipad – thousands of musicians are doing that every day, and I am avoiding it! I guess I am more old-fashioned than I had realised…

 

However – I am sure I can do this, there are already a few tracks of mine that were created without the PC process, so I know it’s possible. I can do it – it just takes time 🙂 :-). The challenge will be to create a mastering process that is just as quick and easy as it is on the PC (and, more importantly – just as good) – and I think that now, in 2015, that is actually possible. There are some nice mastering tools available now, for the iPad, and I am sure with time, they will just get better and better.

 

As time goes on, too, there seems to be more and more a “merging of church and state” – i.e. PC and ios ideas and processes are often duplicated (for example, “Notion for Ipad” and “Notion 5 for PC”) ok, that’s a bad example, because they are not duplicated, but, they are essentially the same, it’s just that the iPad version is less capable. So I believe that often, the processes on PC and ios are becoming more similar, although ios has lagged, and because of Apple’s desire to be a bit of a CONTROL FREAK, for example, Apple makes the “what SHOULD be the simple act of moving a WAV file”, into a ridiculous production – a little thing called “iTunes file sharing”. It took me a long, long time to accept that this is actually the way I have to move files in most cases (thank you, “nanostudio” and a few others, for your Nanosync or equivalent…bliss) but now, I am used to it, so I just hook up, attached to iTunes, download all my files, and distribute them to the correct folders on the PC for processing.

 

So Apple wants to control you, it wants to make things difficult to accomplish, and that is annoying and that is partially why everything takes so much longer on ios than it does on PC – it’s just SLOW!!! Annoying! Too slow…PC is a million times faster, for every process. But – the gap is closing, slowly.
Audiobus, was a huge gap-closer, a great workaround, and I love it, especially now the turbo-charged version where you can have multiple chains – wow – that is amazing! I love you Audiobus, – long may you reign.

 

OK, I have bent your collective ears long enough, I really just wanted to say that I am very happy to be working in “korg gadget” again, and I am looking forward to working in a LOT of different applications this year, to try and keep up the good work – please wish me luck – I really want to add many, many tracks to all of the existing eternal albums, while at the same time, I’d like to ADD as many NEW eternal albums as is humanly possible.

 

So we move from the notion year, to the everything else year – that’s my plan, and I hope I can stick to it. Am I missing “Notion”, am I craving lines and notes on the staff?

 

You bet I am.

 

But I will resist, and I will work in many, many other apps – without a doubt – and I will present the results somewhere on a Dave Stafford eternal album; existing or new – that’s my 2015.

 

Oh – and, I will also be doing guitar work, and guitar songs, and guitar improvs – including some new things which I will talk about next time around…can’t wait till then !!!

 

peace love apps and guitars

 

dave

🙂 🙂

studio diary 20150126 or, the making of a monster (concerto)

I find an evening at last, to sit down and attempt a final mix of my most-ambitious-to-date piece of modern classical music, the above referenced “concerto no. 4 in F major for harpsichord & strings“. I’ve been working on the score for weeks, and for the past couple of those weeks, I’ve been reviewing the score, the arrangement, the instrumentation, the relative instrument levels, and actually, over a period of many days, I have made numerous small edits to the instrument levels in particular, trying to make sure none of my brash, overbearing solos are indeed, too brash or overbearing.

trying to keep the beast tame and submissive, without taking away any of his brute strength – maybe that is easier said than done. I know this piece like the back of my hand, better, in fact, because I really want it to be the best of breed, my first classical release of the new year; the second longest in duration, but, it has also become, what is almost certainly the most ambitious classical piece I’ve composed so far..

so to that end, I’ve spent even more time, than I lavished on my previous classical works, let’s face it, classical music is slightly more serious than rock, prog, or even ambient loop guitar, and, due to it’s relative complexities, it does take more in the way of time to acheive the perfect mix, the perfect master, the best sound quality that I can manage, and I don’t mind in the least that it does – because I believe it’s worth any amount of time – if the results are what I can “hear” in my head. and…they are.

concerto no. 4‘ to me, is like an old friend, that I’ve recently spent a lot of extra time with, and in doing so, learned new things about that old friend – and I think that’s really the best analogy that there is, a friend, and now, as I sit down to mix and master the piece, it will be like taking that perfect snapshot of my friend, as I wave his / her car down the drive and he / she heads off into the sunset.

the snapshot that maybe at the time, you take, and set on the top of your desk, and forget about for a while, and then, you run across it, weeks later, and you reflect back on the time you and your friend spent together – and you smile, because the snapshot has successfully caught the image, spirit and soul of your friend, as perfect of a moment in time as can be.

I undertook a piece of work last year, which was the rebuilding of the studio in a new premises, and that work is finally “done” – well, at least to an acceptable stage, so what I am doing now, is that each time I engage in a musical function, I make sure I have my tools and processes in tip top shape, so as to consistently get the best sound quality possible, to try and instil as much life and joy into the recordings as I possibly can.

in this case, that means a standardised mastering session in SONAR X3, one developed by me over the passing weeks, this one’s current template is called ‘Audio-Masteringx2’ and it is a very straightforward session indeed, consisting of two audio 24 bit 48 Khz stereo audio tracks, a pro channel preset that includes a compressor, an equaliser, and an RC-48 reverb from the world of komplete.

various presets have been developed, and this piece uses a fairly standard one, with a subtle, evenly matched compression that is hopefully undetectable to the ear, a gentle frequency enhancement from the hybrid equaliser, and finally, one of my very favourite reverbs at the moment, from the RC-48, “large random hall with random echoes” which at the moment, is set at about 32% wet. in this case, that might be the final level of the reverb, or not, depending on how the master I create tonight plays back in the morning.

I’ve carefully readjusted both the compressor and the EQ until they sound right to my ears for this particular piece of music, and the reverb level is the icing on the cake, the large hall is perfect for the boldness of this piece, and the keyboards and the strings fly out into that beautiful stereo reverb with equal beauty – it just enhances everything that I drop into it.

so I have done what I can as an engineer, after rejecting the first exported Notion file as too hot, the second export came out just perfect, still strong but never clipped, which is right where I want to be. I’ve spoken elsewhere of my penchant for producing music that is not slamming the underside of zero db; preferring a nice, gentle -4 db or even -6, occasionally moving up to a -3 or -2 db final output level if it’s rock, or prog, and it’s meant to be very ‘in your face’ and ‘LOUD’. I do like a good sense of dynamics, but I don’t like senseless or extreme volumes battering my poor, tired ear-drums.

for a piece like this, my final target will almost certainly be -4 db, but that will be subjected to several listening tests before I accept it. if need be – I will adjust it as my ears dictate.

but – there are many other things to consider when mixing and mastering this piece of music. I’ve made some unusual mix choices, for example, I have purposefully “placed” one of the main instruments in the piece, the harpsichord, panned almost all the way to one side. this is because I visualise this piece as being performed live, so I am sitting in the centre of the audience, the harpsichordist is on my far left, for example, the pianist, on the far right, and the poor celeste player is sat dead centre on the stage.

yes, this is to simulate a live situation, yes, it is intended to create an unusual stereo effect unlike that on many other classical recordings, but there is an even more unusual reason for my unusual stereo panning set up – it enables me to perform live circulations, a la Guitar Craft, using the keyboard instruments. and furthermore, I have also set up the string players into a similar scenario, because I have called upon them to harmonise with the keyboard instruments, while what happens is in essence, a “classical double-trio circulation exercise’ during the performance.

If you listen to the second movement, which begins at 7:18, after a brief introductory piece, begining at 7:39, you will hear the world’s first harpsichord – celeste – piano ‘circulation”, which at this point, is just single trio, from 7:39 to 9:00; but at 9:00, you will hear the second trio arrive; string trio of violin, viola, and cello, also set up with similar radical stereo imaging, ‘join in’ with the keyboard circulation, playing in unison or harmony with it up until 9:43, so from 9:00 to 9:43, we have the world’s first ‘classical double trio circulation’ – which was very interesting and exciting to score – I love the idea of using one of the best things about Guitar Craft, in my own classical music of today – why not? To my ears, a circulation of guitars is one of the most beautiful events in music (just listen to the California Guitar Trio or indeed, the League or Orchestra of Crafty Guitarists if you don’t believe me!!) so why not create one (or two, indeed) in my music now? And why not use keyboards instead of acoustic guitars?

I don’t have the luxury of having half a dozen Crafty Guitarists at my beck and call, so I can engage in acoustic guitar circulations, whenever I please. years ago, I solved that problem by making an album of ‘solo’ circulations for one electric guitar and a very long delay; now, I just add my circulations into my latest classical score! why not?

I’ve described now, in broad strokes at least, some of the physical work that has gone into this piece. but – I still have questions. metaphysical questions:

how is this even possible?
where does the knowledge come from?
how is it that, almost as if by osmosis, I can score classical music?

on a more practical level how do a handful of piano lessons as a child, one semester of piano theory at college and a long career as an ambient loop guitarist (and sometimes-member-of-the-orchestra of crafty guitarists), prepare me to be able to score classical notation? starting at the tender age of….fifty-six??

and the honest answer is: I truly do not know. I have no idea how I am able to do this. I start with a melody, I add in more instruments, I build the pieces measure by measure. but what I really don’t understand is…where do the classical melodies, harmonies, counterpoint, come from?

when I write rock music or pop music, I can hear the influences, I am conscious of playing in the style of guitarist a or bassist b. but for classical music, I don’t have the education, or the mad skills, to copy or mimic any influences…I just start scoring melodies and the rest, takes time…and days or weeks later, yet another concerto appears.

this one being perhaps the most musical and surprising one to date.

but I am not rejecting this particular ‘gift horse’, he / she can stop by any time if this is the result,

I give you, ‘concerto no. 4 in F major for harpsichord & strings’ by dave stafford, created in the Notion for iPad application.

studio diary – 20150115

as always, there is a lot going on here at pureambient, I never quite know where to begin – so I will just start, and see what happens!

Dave Stafford – Concerto No. 4 in F Major for Harpsichord & Strings (approx. 27:30)

first of all, I am very happy indeed to report that the third movement of my fourth concerto is now complete, it required one last harpsichord theme to be reverse engineered as a piano theme with harpsichord support, from its original form of being a harpsichord theme with piano support. once I had transmogrified the section, I inserted it into its appointed spot somewhere near the end of the third movement – and voila, the movement, and therefore, the entire concerto – is done!

I don’t have my notes in front of me, but I can ascertain from looking at the score in Notion, that I began work on the concerto on November 6, 2014, completing it three days ago on January 12, 2015 – so two months and one week, approximately – and that is almost certainly a first – the longest time I’ve spent on any Notion project, the longest time I’ve spent on a single classical composition (not counting the first concerto, but as that was made painstakingly slowly anyway, note by note, using the guitar synth) – in the pre-Notion days – I can’t really count it – that was an absolutely insane process, and I am so glad that I now have Notion which allows me to score, and test my ideas instantly, without the whole “record a bar”, “record another bar”, etc. the very tricky manual playing of each part using all of the different instruments available on the guitar synth.

this long gestation time for the fourth concerto actually doesn’t bother me in the slightest, I was doing something a bit different, up until the fourth, I’d always used a lot of woodwinds and or horns in my classical pieces, and often, classical guitar, too – but this time, I kept both of those out of the score deliberately, and worked with strings, harpsichord and some piano, too – and, with these very different parameters, a very different kind of concerto has emerged, slowly, patiently – all twenty seven and a half minutes of it. I am astonished at how lengthy this piece has grown; it was really, as it always is, down to the creative processes when working on the final movement – somehow, the first two movements are always less fluid, they appear, they are set, that’s the way they are – but the third, the third is the place for soloing, it’s the place for wild new themes and ideas to appear and just as quickly, disappear, it’s the place where a lot of interesting instrumental passages occur, moods are set, and, a bit of a surprise to me: the string section with its mad harpsichord leader, proved to be a powerful musical tool.

I even wrote a section featuring unaccompanied solo harpsichord, something that, in the past, I would never have been so bold as to attempt, it just seemed right, and I felt that the soloist really wanted his moment in the sun, so there it is – almost impossibly quick, but still actually playable (by Johann Sebastian Bach or someone else at his capability level – a REALLY good soloist!!) – this “solo” harpsichord is one of my favourite parts of the piece. (For those of you following along in the score, the harpsichord solo, included in movement one, begins at bar 257).

so if all goes well, I will be able to mix and master the piece soon, although that process could take some time – it’s always very difficult to get your levels correct when you have so many instruments doing so many different things. I hope to have the piece out and published to both the Notion and the Classical eternal albums, hopefully no later than the end of January, if I am fortunate, significantly sooner.

Dave Stafford – sliver – live improv (2:14)

The next Kaoss Guitar video has been prepared and assembled, and was actually uploaded to the pureambientHD channel on YouTube on Tuesday night, January 13th, 2015. This is the third in the current Kaoss Guitar series, entitled ‘sliver‘, this one is all about power chords travelling backwards, with another go at the “slicer” patch, or rather, a variant of “slicer” called ‘mid slicer” I produced this little sliver of music using the “mid slicer” patch, which is a similar sound to the one used on the song ‘slicer‘, which was made with the “slicer” patch – if that makes sense. 🙂

I really am looking forward to both, producing the remaining videos in this series, but even more so, filming some new ones, where I push the boundaries of what can be done with the Kaoss Guitar – in one of my very first test sessions, which was, sadly, neither filmed nor audio recorded, I played some very, very chaotic and “damaged” pieces, where tools such as the decimator and the wonderful “grain shifter” literally destroy the sound of your guitar briefly, then, it comes back, only to be further tormented and tortured in the most wonderful way. 🙂

If you prefer your Dave Stafford music a bit on the quieter side, the first Kaoss Guitar video, ‘shiver‘, is in a much more ambient vein…which proves that Kaoss can be Ambient, too 🙂

Note: I have since begun work on Kaoss Guitar video number four, which is entitled ‘slider’. This should be forthcoming within the next few days, also on the pureambientHD channel. It is a decidedly completely more sonically radical affair, featuring the “grain shifter” patch which absolutely warps and wefts the sound of your guitar…to territories unexplored. I can’t wait for this video to be published, this is bleeding edge guitar sound…courtesy of the amazing Ibanez RGKP6 Kaoss Guitar.

Sonic devastation is more than possible with the Kaoss Guitar, it’s almost unavoidable – which I also hope will be featured in my next studio composition, which I started work on January 10, 2015.

Dave Stafford – Return Of The Native (working title only) (7:36) – Track 01 – of the as-yet-untitled studio rock / prog album – the follow up to 2012’s “gone native”.

Begun on January 10, 2015, I basically sat down and started recording a new studio album for 2015; beginning in the traditional way – with a drum track. I spent the entire day working on this rather tricky drum track, which has a lot of very interesting things going on in it, I wanted something that is quite heavy, I am going to introduce some elements of metal, I think, I’ve used a sort of “nu-metal” drum motif, but with many, many different permutations, to be used to create different sections of the song, for specific solos, one section for a keyboard solo, a few sections for various guitar solos or duets or trios or harmonising guitars, or..,Kaoss Guitars…maybe one section for a reverse guitar section, maybe one section for an ebow solo – a variety of guitar sounds and possibilities.

I always find this process to be very, very abstract – it’s very, very odd, constructing a drum part without any chords, melody, or idea what will go on top of the drum part. I’ve given up trying to imagine, although occasionally, something in the drums will suggest something. In this case, there is a pause, where a single cymbal builds up the beat again, back up to the full rock and roll feel – so in my head, I’ve designed an Allan Holdsworth- style clean-volume-pedal-chords-into-reverb part, like some of the amazing chordal work on Allan’s first solo record, I.O.U. – really atmospheric stuff, beautiful, strange chords floating over a huge reverb – delicately swelling up with a volume pedal, layering over each other – maybe I can do this, maybe not……..

Within this piece, which I arbitrarily gave the working title of “return of the native” to it on the first day, just so it had a name, there are various sections that can be assigned to various instrumental or solo passages. But when I am actually creating the parts, beyond trying to use logical numbers, so, an even number of bars of the same or similar beats, so 8 bars or 16 bars or whatever, but also, with interesting fills to break things up, and, a few specially-designed drum measures of my own, I feel that it’s OK to work with pre-made MIDI grooves, if they are of sufficient quality, but it gives you a much more “human” feel if you put in a few extra, non-groove non-approved bars of music here and there, just to get you to notice, or maybe, so you don’t notice – the drummer is then human, he plays something simple, so as to not make him or her to appear to be a faceless automaton, a machine (which, unfortunately, he or she IS) – anything to break up a drum part that could become too rigid.

I did then begin working on a bass part, I spent a lot of time playing with the almost endless tones available to me via the scarbee Rickenbacker bass instrument, once I found a basic tone that I am reasonably (but not totally) happy with, I did lay down a few unconvincing bass parts early on Monday morning – which came out OK, but not fantastically – it’s a start, and it gives me a launching point for the introduction of melody into the piece. Further work and I am approaching something usable. I will need to work on the tone more, and get some of the notes to sustain better, but it’s coming along OK now…

But before I put any bass down, and before I’d thought of the Allan Holdsworth clean guitar chords idea, or the other ideas for how to use all of the contrasting sections – it’s just odd, because I spent what, six or seven hours creating a seven minute and thirty-six second drum part – and if you sat there, and played that back – it is impossible to imagine what music might go on top of it – literally impossible. Yet – I am sure it will work out fine, because this is exactly the same procedure used by myself for a few of the songs on “gone native”; – and this “blind drum part” followed by “blind bass part” often evolved into some of the best pieces I have ever recorded – the title track of “gone native”, or “wettonizer”, or “sinuous thread” – in those cases, and others, there was this same moment, where I had just a drum track – and absolutely nothing else – and I literally could not imagine what would work “on top” of such a beast (aka “beat”) – especially this drum track, which is quite heavy compared even to “wettonizer” or “sinuous thread” – but, I am hopeful, I am sure it will turn into something good or awesome or unusual, if I just take my time and don’t try to rush any of the parts.

So I have a long, long way to go with this piece, but I have started the ball rolling, at some point, in the next couple of years, I will embark on the fourthteenth or seventeenth and final track of the album, and I will release the album at that point – when I know it is finished. It’s a nice process, a traditional process, that can operate happily at the same time that I am contributing to multiple eternal albums in real time as pieces of music, like the concerto mentioned above, get completed – and personally, I think that’s fantastic, because now (finally) I have the best of both worlds – I can create an album, which is a creative statement of the state of my music as of 2015, in the traditional way, track by track, until I am happy and I release it (on download only, I am afraid – no CD release this time unfortunately) and at the same time, I can continue to expand and build on the eternal albums that I’ve been working on – in two ways – by adding new eternal albums, to support new apps or pc-based music software packages – and, by continuing to produce music created with apps or pc software that already has an existing eternal album.

As of the end of 2014, I had created no less than 16 eternal albums; the first five, in 2013, the latter 11, during 2014 – so I would hope that I can at least, fall somewhere in between that this year, of course, I’d love to do one every month, but that just hasn’t worked out – I will try, but I would be very happy to create, say, nine more this year – 9 more for 2015 ! If I can get that closer to 12 – I will – but I’m happy with nine.

That would put me just past two dozen, although with the number of music apps out there, and the amount of pc music software, I could go a lot farther than 25 – with eternal albums, the sky is the limit. There are already several high quality apps that I’ve owned for several months, that I’ve done good quality recordings with – but these remain unreleased, simply because I’ve not had time to locate and master the tracks nor have I had time to create another eternal album on Bandcamp for that app. I do have this down to a process now, so if I can find myself a window in time, I will do my best to get app or pc app up – number 17 – soon. I look forward to it.

Once I have 30 or 40 eternal albums up there, I can literally sit back and just create – I can take my pick of the best of the best of the apps or pc softwares, I can spent time creating tracks in Diva, or Bazille – and knowing where to put them – up onto the u-he eternal album. A place for everything!

What Eternal Albums Can We Expect In 2015, Then?

MUSIC FOR APPS/COMBOS: THE AUDIOBUS SESSIONS (or similar name)

One of the proposed eternal albums for next year is “music for apps/combos: the audiobus sessions” – this would be for sessions like the ones I did with the ITablaPro app, where I enlisted the use of ITablaPro and then played one or even two different synth apps on top of the tabla beat and tanpura drone; the wonderful NLog Pro being one of those synths – huge fun, but what do you call it? You can’t say it’s “iTablaPro” music, because there is a lot more to it than that.

Three different apps were used – so it has no real name, except a name expressing something about the music – like my “synthraga” series for example – rather than the apps – nothing wrong with that, but, I felt that there will be more and more sessions where I am using audiobus to work with more than one app or effect – so it would make sense to have an eternal album where ANY combination of instruments and effects is allowable, which will be a wildly experimental album, but, it will also contain tracks of captivating beauty – like those beautiful iTablaPro tracks – in fact, those would be the first tracks to probably go up there, followed by a track made with Korg Electribe and another app whose name I can’t currently recall. Ah to be young again, and have a young memory that never, ever fails. What was I talking about? Oh yeah…

MUSIC FOR APPS: SECTOR

Next up, an amazing, amazing app created by one of my very, very favourite developers, the great Jonatan Liljedahl – creator of Audio Share, AUFX: Dub, AUFX: Space and many others – that I have actually done both audio and video recording with, but simply never had time to master any releases or put up the eternal album for it – and that will be “music for apps: sector” – “sector” is very difficult to explain, but when you hear it, you will get it – it’s out of this world.

It’s a beat slicer, it’s great for chopping up loops but that description doesn’t really do it justice, it’s absolutely one of the most amazing looking apps of all time, working with it is almost mesmerising, and it’s very intuitive, you just work the beat using the most unusual tools that are provided, and the results musically, are absolutely out of this world – so SECTOR is absolutely on my “to-do” list for eternal albums – no doubt about it.

MUSIC FOR APPS: SLIVER

Then there is SLIVER – another very interesting, very beautiful app, I’ve done a couple of audio recordings of this one, and I definitely want to create an eternal album for this app. The app store says that “Sliver is a powerful tool for soundscape and sonic texture creation” and I personally, would not disagree with that sentiment. It’s a bit tricky to get used to, but once you get started, you will find yourself getting lost in what this app can do – another definite choice for a high quality 2015 eternal album.

When I look at this list of possible musics, of eternal albums as yet unmade, I just get a bit annoyed – the video backlog ate up so much of my time last year, I could have released at least a few tracks on each of these apps’ albums – if only I’d had the time to create the albums!! Och well, ces’t la vie, etc…time. Time the avenger…

The possibilities…are simply endless.

back to the beginning …again

I’ve been doing a lot of thinking about what I want to accomplish in this new year, 2015, and I think one of the most significant objectives I have in mind, is to create “songs” in the old-fashioned way – using some new-fashioned tools to do so.

My last CD, “gone native”, from 2012, was a very, very enjoyable experience because it took me back to the idea of creating “songs” – I’d been so used to improvising, I’ve been playing largely improvised music since about 1995 when Bindlestiff disbanded amicably – once I became a “solo artist” again – and you really get into that “live” mindset – you have a guitar; a looper, a nice reverb – and your ebow – and you hit record, and you play.

If you are fortunate – music comes out.  Often – it did.  Sometimes, I am not quite sure what it WAS that came out – but, it was something, and, it’s a very, very enjoyable process.

Come 2012, and I challenged myself to make an album that is mostly “rock” oriented (which is about as far away from ambient loop guitar as you can get, really) and I believe that with “gone native”, I really succeeded quite well – the first ten tracks on the album were the core of my “band” or “rock” pieces, and some of them, were quite intense (such as “Wettonizer” which at one point, was as large as a 53-track multitrack master – which was toned down to about 35 tracks for the final mix!) others, such as “This Is A Test” came together very quickly, using existing elements (in that case, a guitar solo – around which I built a backing track by adding drums, bass and guitar synths) – but in every case, they were identifiable as “songs” – because for one thing, they all have rhythm sections – bass and drums – and also, some form of song structure, like repeating choruses or whatever – despite the fact that the album is, as most of my records are, entirely instrumental.

So composing the songs for “gone native” was a great experience, and as another example, the title track “gone native”, was fantastic fun to create, and I got to play a LOT of guitar, with a lot of nice guitar sounds – including once again, that wonderful roland gr-55 guitar synth, which can provide anything from a rainstorm in a teacup to a poly sitar in space – a fabulous instrument for adding colour, and with the track “gone native” I used it for several good effects, including the introductory cello which was just played over the existing intro – wham, there it was – it just happened one day.

I learned a lot during that experience, and, it was probably my last major work involving SONAR 8.5, sure, I’d used it since then for the “scorched by the sun” album for example, and for various improv loops or video music, but eventually, I upgraded to SONAR X3, which is a far better product – and now that I am running X3, I am truly set to record “songs” in multitrack – but with all mod cons – I have at my fingertips Guitar Rig Pro, and now, also, from Waves, I have GTR3 – which I can use instead of or in addition to my hardware effects pedals, I also have the rest of Komplete, which gives me an entire range of orchestral, African or other bizarre sampled and synthesized sounds – just about anything you can imagine, is probably available with Komplete – and of course, my beloved gr-55 is still there for a bit of that wonderful guitar synth colour.

On top of all that, though, I do have other new musical weapons in my arsenal, including the fabulous Kaoss Guitar, the Ibanez RGKP6 – which I absolutely plan to incorporate into my songs, not to mention, my original kaossilator, as well as my new Korg Monotron, a wonderful mini-analog synth – so sound colouration will not be an issue – I can knock out the basics using real guitars – my drums will still be virtual, but will be a vast upgrade from BFD2 (which is what I was using at the time of “gone native”, that and the stock SONAR drum kit) – I have all of the Abbey Road kits in Komplete, as well as Studio Drummer plus a host of electronic percussion available in various packages such as Evolve (by Heaviocity) or Evolve Mutations

So I can have a complex drum track using additional electronic percussion, or even african percussion if I want to break out the West Africa module…then, I can either play my real bass, or, design a Komplete bass part using a Rickenbacker 4003 or a Fender Precision or even a disco funk bass clone sample – just to get those amazing tones, I would happily give up the sheer fun of playing the bass part – or rather, I might play the bass part, and then REPLACE  it with a Rickenbacker or Fender !  That would be fun.

 

Then it comes to guitars – well, I would insist that these be real – but of course, with all the processing at my fingertips, from the remarkable and complex Guitar Rig Pro, to various hardware stomp boxes and other effects processors – and the amount of possibility I have in re-amping and post-processing of guitar signals is now approaching the ridiculous – guitar tone is not an issue any more, I can take even just a clean guitar signal and re-amp it into the most beautiful overdriven Mesa Boogie tone you ever heard, and then run it through the amazing Guitar Rig jet phasers so that I end up sounding like a latter-day Todd from the Nazz, circa 2015, with my distorted, swooshing jet aeroplane guitars…

Of course, I now also have ipad apps aplenty, including one game-changing ipad app for the guitar – the absolutely stunning FLUX:FX from Adrian Belew, mobgen and elephant candy.  I’ve been using FLUX since it finally arrived this past December (2014) and I am in love – it’s a dream to work with, it’s hands-down the best guitar effects processor for ipad, it surpasses by far even my very favourite apps, which would be Bias and AmpKitPlus from Peavey – both great apps, but what Adrian Belew has helped to design in FLUX:FX, just wipes the floor with ALL of the other guitar apps – they will be hard put to catch up with what FLUX is capable of.  It’s built for live performance, and I will absolutely play with it in my own version of a live setting – the live music video – but it will also work admirably as a very quickly configurable guitar effects processor in the studio, but, it has one amazing advantage over most effects boxes – it has the ability to run sequences of effects, so you can run a complex pattern of effects changes, where your guitar sound mutates WILDLY every few seconds – and you just play – and let the sequencer take care of all the wonderful morphing.

It’s fantastic to use, and it sounds so, so good – I love this idea, the idea of applying different effects over time, using a sequencer type arrangement – and it’s so easy to use, for any effect you are using, there is a default set up, so you can literally just hit the “sequencer” on button, and your “static” effect – suddenly becomes a moving target, a living, breathing, ever-changing, morphing kaleidoscope of sound – you have to hear it to believe it.

Belew has always been the king of strange guitar sounds, and FLUX:FX has some of those, too, in fact, there is an entire section of presets devoted to animal sounds – something Adrian Belew knows all about (The Lone Rhino, anyone? – Elephant Talk? – Ballet For A Blue Whale?) – and speaking of presets, never in my life have I ever seen or heard such an amazing collection of truly unique, unusual and eminently USABLE presets on any such device – it’s fantabulous, there are so many, it takes a long, long time to preview them all, but it’s worth it just to hear what is possible – and the answer to that is “just about anything”.   There are THIRTY basic effect algorithms, and you can have five (or is it six – I can’t recall) going at any one time.  And – they are very, very editable – each one has a deep edit screen, where you can edit and save your sounds endlessly – a lot of editing capability.

 

So FLUX:FX gives me an entirely new palette of guitar effects sounds and sequences (what a strange thing to be saying “effects sequences” – that is just weird!) and in combination with Guitar Rig Pro (and/or GTR3 from Waves), and my hardware devices, my guitar tone, in 2015, is going to sound like nothing you’ve ever heard before.  If I drive that with the Ibanez Kaoss Guitar– well, then, I am throwing synthesized real-time guitar effecting into the mix, so between using the Kaoss pad on the guitar, at the same time, FLUX:FX could be running an exotic effects sequence that I am playing the Kaoss pad “against” – and that could just go into the worlds of sonic wildness such as we’ve never heard before.  Re-processing that whole thing on the fly in Guitar Rig Pro, of course! – Why not?

I have then, a lot of sonic possibilities that I did not have when I made “gone native”, which in fact, I did not have last year – so having all of these new possibilities, means that the kind of songs I create, can be something new as well – sure, they will have a rhythm section – which will be played on drums recorded at Abbey Road, on a beautiful Fender Precision bass or on a nicely distorting Rickenbacker 4003 bass… and guitars – but those instruments will be processed and tweaked like never before.

And then – there is the keyboard section.  I wouldn’t even know where to begin with that, I really wouldn’t.  Within Komplete, I have many, many choices of keyboard – every vintage organ, clavinet, harpsichord, fender Rhodes, grand piano, etc. that you can imagine – and again, on the ipad, I also have an extremely large collection of keyboards, keyboard samples, and so on – so between those two, I have worlds of possibility – and I really want to incorporate more keyboards into my work, yes, I am primarily a guitarist, but I love to play piano, I love to play Hammond organ, I love to play the synthesizer – and God only knows how many of those I have now – between Komplete and the iPad – an incalculable number of synths are available to me in 2015.  I can’t wait – so many amazing sounds, so many vintage and even ancient sounds – which will sound fantastic in new songs.

This will allow me to make some of the most curious juxtapositions of sounds imaginable – say a solo section that rotates between a hurdy-gurdy drone/solo, an electric guitar synth raga/solo, and a distorted, leslie’d Hammond solo – why not?  In my latest classical piece, I am even experimenting with the idea of doing circulations using keyboards, and in that piece, I have a section where an entire section of keyboards is played note by note, first the harpsichord, then the piano, then the celeste, then back to the harpsichord, then piano, then celeste…this circulation goes on for a couple of minutes, and since one of those is in the centre of the mix, and one is full left, and one is full right, you can “hear” the circulation effect thanks to the stereo positioning of those particular instruments…

Since I now know that a keyboard circulation works effectively, I plan to use them in my rock compositions – why not, again, I think it’s a great way to play a melody – sharing it between instruments, and letting perhaps five or six different instruments “play” a melody, each one taking it’s turn, moving across and back and forth across the stereo field as it does so.

There are so many techniques and possibilities available to me, but, I also plan to stand on tradition:  I plan on, in most cases, starting with a drum track.

Then, once I am happy with the drum track, I would turn to the bass guitar – mostly likely using one of the remarkably high quality Scar-bee instruments, or possibly, playing the part on my bass – or maybe, doubling it up so that both are present – real and Komplete – that might be interesting!

Then, once I have bass and drums complete…then I start overdubbing guitars and ebow guitars and guitar synth and Kaoss Guitar.  For days and days.  And with all the sonic possibilities, this should be a hugely fun and exciting process – what sound to use today?  The choice is nearly infinite already, it really is…incredibly huge number of possible sounds given the effects I can bring to bear on a poor, lonely guitar signal 🙂

Then – keyboards, if desired, same thing – too much choice, amazing choice, so as long as I’ve left “space” for it – or for them – I can add in one or more keyboards to this emerging “song”.

 

Finally – does it want percussion?  More synth flourishes?  Special effects courtesy of Komplete or the roland gr-55 guitar synth?  A Korg Monotron solo?  Live percussion?

It’s all possible.  At some point, I will have a song on my hands, and if I spend the time, and tweak the mix until you can hear every instrument well but at the same time, they are nicely blended for smooth, clear listening…then I will know that the first piece of my 2015-initiated album is nearly done, and I can start thinking about the SECOND piece for the album…something totally different, probably.

Why not?  The amount of sonic choice available to us now, as technology finally catches up with music and musicians – it’s simply astounding, and I plan to take full advantage – it’s there, so I will use it, and I hope that my 2015 “songs” come out even better than my 2012 “songs” did – I am absolutely certain that they will.

Update: yesterday, January 10, 2015, I began work on the first song – working title “return of the native” – for the new as-yet-untitled rock album circa 2015 – a seven hour session has resulted in a very interesting 7:36 drum track, which is the start of…something.  we shall see what happens next…

 

To be honest, sometimes, when I am working on improvs, when I am looping, or playing apps in a solo or duet setting, or whatever I am working on – I really, really miss the “song” form – so that’s why I want to make an album of songs, or at least, start making an album of songs, this year.

I started out as a “rock” musician, playing in bands, now, I am my own band, I play all of the instruments, and I can create songs of a complexity and subtlety that I could not have even imagined in the bands I was in when I was 15, 16, 17 years old – it would be beyond our comprehension, back then, the idea that I could “play” an Abbey Road drum kit on the keys of a keyboard, the idea that I can choose between a Fender or a Rickenbacker bass guitar, again, played on the keys of a MIDI keyboard…unthinkable!  Not POSSIBLE!  Insane idea…how could that ever be?  I really wish I could go back, and show 15 year old Clapton- Hendrix- Gibbons- Steely Dan-loving rock guitarist Dave Stafford just what 2015 technology looks like – just to see the look on his face!

So – technology has really, truly changed everything, and the fact that I have both a powerful music computer with one set of amazing music tools, and, a portable, adaptable tablet device with an entirely different but equally wonderful set of amazing music tools – that is just astonishing, and it seems impossible to me even now, even though I know it’s not only possible, but, it’s up and running – and I can access it at any time, night or day.

Fantastic Technology – maybe that’s what I should call the album, if Reeves Gabrels and Bill Nelson can call their album “Fantastic Guitars” then I can call mine “Fantastic Technology” – I suppose.  I think I like their title better to be honest!!  By the way – that is a fantastic album that you really should hear – if you like Reeves Gabrels, if you like Tin Machine (featuring Reeves Gabrels and that other guy, oh – uh, David Bowie), if you like Bill Nelson, if you like The Cure (featuring Reeves Gabrels) – then you WILL like “Fantastic Guitars” – available via Bill Nelson’s web site.

 

Of course, this does not mean that I will stop doing improvised sessions – I absolutely will continue with those.  Some of the sessions pioneered during 2012 – 2014 were truly inspirational to me, such as, playing two instances of the TC-11 touch controlled synthesizer application on two different ipads, doing a “live duet” using two tablet devices – was huge fun, and I hope I can work out many other interesting ipad duets during 2015.

The recent series of “Kaoss Guitar” videos is also very enjoyable, and I want to hook up a looper next time, so I can really layer some awesome kaoss/guitar sounds in a live setting – and then be able to solo on top, too, with those fantastic harmonisers, decimators and other kaotic sonic madness that the Ibanez RGKP6 makes possible – a very interesting instrument, so I hope to work a lot more with the Ibanez during 2015, too.

 

Vintage and even ancient instruments, I’ve become very interested in these, as well as things like “glassworks” which features glass instruments designed by people like Harry Partch and Ben Franklin – fantastic instruments, and also, things like the “EP 73 Deconstructed” which is a 1973 Fender Rhodes Stage piano taken down to it’s component level, with five different basic sounds, key, pluck, mallet, bowed and FX – and this sound, the way this thing sounds, is nothing short of extraordinary, it takes me right back to my pal Ted’s home studio, in the early 70s, and playing his Rhodes and listening to him play it – a great instrument, and now, for the price of software, I have one too!

So I will be working with the Rhodes (which I have actually, a number of different sample sets for) as well as a number of other ancient and vintage instruments, including such rarities as the Ondes, and the Novachord, amazing early keyboards with extraordinary sound palettes (both from the wonderful Soniccouture – makers of the most amazing software instruments in the universe) – some of these early synthesizers were truly out of this world.

From the Conservatoire Collection, another Soniccouture act of genius, I have the beautiful beautiful baroque guitar, the amazing hurdy-gurdy, some lovely Flemish harpsichords, and some truly remarkable baroque timpani – which sound like no timpani I have ever heard – an astonishing sample set there.

Of course, there is always my familiar ambient loop guitar set up, with its counterpart, the “all instruments” set up, which includes a whole bunch of live instruments that I try to use in the loop or the solos over the loop, all in the space of one performance – it’s quite a challenge.  Ambient loop guitar should be better than ever, I have the best looper, the best reverbs possible, and a small but wonderful collection of ebows – and there is nothing quite like the energy bow out there, it’s a one of a kind sound source, and I also look forward to playing some ebow Kaoss Guitar – early tests proved very successful.

 

Right there then, are a series of possible live improvs or duets, using a broad range of current, vintage or ancient sounds – what a range of sounds it is – and I am so fortunate as to be here to bear witness to it all.  What a remarkable product Komplete is, and I really enjoy using it, and hearing the sounds of yesteryear brought to life as if it were yesterday – the Ondes and the Novachord in particular, are both astonishingly beautiful sample sets, and I can’t wait to do more work with both instruments – or maybe, both together, who knows?

 

Beyond all that, I am sure as the year goes on, that I will be able to add new “eternal albums” to the ever growing library of “music for apps” or “music for pcs” or other music data sets, and that I will be able to add more content to the existing albums, too.  Most recently, I’ve been adding several tracks to the “music for pcs: komplete samples” eternal album, tracks that I had completed but never had a chance to upload – I’ve been trying to get caught up, and slowly, I am…

Addressing the video backlog – well, during 2014 – I finally had to just give up, in one sense, and I have started publishing videos that were recorded recently, in some cases, very recently, and I have back-burnered the older videos that should have gone up to maintain the chronology.  I decided in the end, that I can easily control chronology by providing you with dated sessions, so that you can view the sessions by date, so as I am able to backfill the older videos, that you can still experience the live videos in chronological order, while at the same time, we can start to feature what is really happening NOW in the studio – rather than videos that were made two years ago!

I want to put up those older videos – in some cases, they contain truly ground-breaking footage, and they do deserve a spot up there, but – time is of the essence.  I’ve also reluctantly undertaken the decision to reduce the number of takes-per-session that get built and uploaded, so, if a session has say, nine good takes, in the past, I would have produced all nine as videos, and uploaded all nine tracks.  Now – instead – I will re-assess the nine tracks, and attempt to pick out the “best four” or “best five” and I will build and upload those, instead of all nine.  Depending on the session, this number (actually uploaded) may vary wildly from 1 or 2 to 9 or 10 (if there are 30 takes, then 10 isn’t very many takes, percentage-wise!!).

I hate to do that, but I truly do not have the hours in the day available to do all nine or all 12 or all 30 tracks – make a master audio mix and then make a video for each track – any more – in fact, because I was being so completest, and so chronological – that’s what got me to where I am – hopelessly behind – so I need to break the cycle, produce recent videos so you can see and hear what we are doing now, in early 2015 – and as time becomes available, I will backfill the missing videos from 2012, 2013 and 2014 until they ARE caught up.

By reducing the “upload-per-session” count to half or less, this will allow me to work through the backlog more quickly, which in turn, will allow me to get “caught up” sooner – which will be good when it eventually happens.  Once I am there – I won’t get out of sync again, I will just keep up!!  I promise!

If I post a truncated session, where I have made videos for just three or four of nine or ten good takes, if there is enough of a public outcry, i.e. “Dave, please let us see the other 7 videos from this session, please please” I will absolutely consider going back and filling in the blanks later.

 

In the meantime, those four or five videos will at least represent the spirit of the day’s or evening’s session, and will give a good idea of what happened during those sessions.  I will absolutely check and ensure that I select the very, very best of the tracks, so that the tracks with the highest quality, the most beautiful, the best improvs, are the ones that get their videos made, while less interesting takes do not have a video produced – that’s about all I can do, really.

All of these changes and adjustments are designed to gradually move the focus of studio events from a backwards-looking backlog view, to a view of current activities with occasional blasts from the past as time permits – hopefully, bringing everything up to date in a more “current” way, while still addressing the backlog as best as I am able given the circumstances.

 

Theoretically, at least, this will also leave me with MORE TIME to work on a number of the newer initiatives I’ve been talking about here, from more Kaoss Guitar work to more ipad duets to more applications videos to more new and unusual forms of ambient and looped, and, ambient looped, guitar and other instruments.  The more time I have for experimenting, for exploring new instruments, for improvising new music for new instruments – the better – I’d always rather be looking forward, then looking backwards – always.

I am definitely looking forward to a 2015 full of music from past, present and future – and hopefully, hit upon some new ideas, musical forms, formats and instrument combinations, that will enhance what we do here and bring some new and innovative joys of music to your ears.

And – also – the follow-up to “gone native” shall be begun in this New Year (note: was begun on January 10, 2015) – I am really looking forward to that, and with all of the new instruments, new technologies, new effects, new processing possibilities – I can extend the “guitar album” into the realms of the “amazing, extended, expanded guitar+++++ album” – 2015 style.

studio diary 20141230 – year’s end – the view to 2015 from here…

as the year end approaches, we are wrapping up a number of small projects, continuing work on others, and preparing for a very, very musical 2015 indeed,  the last few months have seen a lot of change, a lot of good change, and we are now more fully equipped to make music – a lot of music – on the fly, or with meticulous planning and execution, or maybe even, singing Todd Rundgren ballads at the piano, who knows?? – a little bit of everything, no doubt.

 

GLASSWORKS by Soniccouture

 

before we talk more about what is to come, we wanted to catch up with recent musical events, of which there are many.  on the mind at the moment, are the “Glassworks” instruments, there was a session recorded on December 6, 2014, using two different sampled glass instruments, one an emulation of an instrument invented by Harry Partch, the first track using the instrument called “cloud chamber bowls” the second one,  “armonica”, invented by none other than Ben Franklin (yes, the guy on those bills you never see any more) – we managed to upload the first track from the session, which was simply titled “cloud chamber” in honour of the “cloud chamber bowls” Harry Partch-based patch used to create the track – and it was at that point in time that events just caught up with me, and I did not, at that time, complete two other mixes from the session, both of which were made with the “armonica” tool.

 

I’ve now dealt with that issue, I’ve spent this entire morning – December 29th, 2014 – mastering these two remarkable and remarkably delicate recordings, I’ve been working very, very hard to retain the eerie beauty of the “armonica” instrument, it’s a very ghostly, ethereal sound to begin with, sort of like a floating pipe organ from heaven.  words are not really very useful when it comes to trying to describe Harry Partch‘s instruments, really the best way is to hear them – they are utterly unique, and in the case of the glass Partch instrument included in Soniccouture‘s “Glassworks” offering, they are also uncannily beautiful, fragile and other-worldy, ancient and somehow, because they are so ahead of their time, literally, they represent the future, too, Soniccouture have truly surpassed themselves with the “Glassworks” package, and I can easily see myself, and hear these instruments, making their way into future compositions – easily.

 

all three tracks from the December 6th “Glassworks” session are now up and loaded onto the “music for pcs: komplete samples” eternal album, the track listing for the three tracks is as follows:

 

21 glassworks – cloud chamber – recorded using the “cloud chamber bowls” instrument  2:07

22 glassworks – quiet grace – recorded using the “armonica” instrument  2:51

23 glassworks – quiet passion– recorded using the “armonica” instrument  3:00

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141206 by dave stafford for pureambient records

all rights reserved © & ℗ 2014 / 2015

 

 

 

REV by Output

 

and then there was REV.  I am very, very excited by the sonic possibilities that rev offers, I am still very much a new user, but I have indeed, set aside some time to work with rev, and I was not in any way disappointed.  on December 27, 2014 I sat down and recorded a few pieces using just multiple instances of rev, which is clearly one of the most innovative of all sample based instruments.  I actually agree with their marketing information, which states that this is not the sound of a few guitars going backwards, it has been designed from the ground up to be a playable instrument, with the option in every case, of using the reversed or the forward sample – it is left up to the user.

 

the reversed samples that have been utilised, are simply beautiful to listen to; and I can tell this because if you just sit and “trial” the voices, it sounds utterly amazing, almost like a beautiful song.  so they are right, this thing is way beyond a few reversed samples, it is a unique and beautiful instrument in it’s own right.

 

as with soniccouture’s “glassworks”, I can see myself using the rev library and instruments for many, many years in compositions and in on-the-fly improvs like these tracks.  I set up two instruments, one loop, and one “rise” and at first, I was so blown away by the sounds, I just sat there playing, drifting away on ambient clouds of reverse acoustic and electric guitars.

 

my first test of most new music software or sample instruments is usually ambient in nature, basically, I want to know if this sample set, or this synthesizer, or this generative device, is capable of producing beautiful, calming ambient music ?  happily, in the case of rev, the answer is a resounding “yes” – it did beautifully, and I feel that the two ambient tracks I produced using it were excellent – totally down to the instrument, not the player!!  rev is awesome for ambient music, but I can also already tell, it will rock in active music, too – it’s just a brilliant sounding instrument, and I cannot recommend it highly enough – it’s a fantastic and very musical instrument!!

 

on the day, I actually recorded at least three tracks, two ambient, and one active, which I have just now mixed and am in the process of uploading – it’s called “perpetual grunge” and it could not be more different to tracks 24 and 25 – hold onto your hats…

 

 

24 rev – time waits for no woman – recorded using the rev “instrument”, category: complex pad, patch: “beautiful”  2:50

 

25 rev – timeless – recorded using the rev “instrument” including  cctwo patches: both category: simple pads, first patch “electric guitar harmonics” and second patch: “acoustic guitar harmonics”  2:40

 

26 rev – perpetual grunge – recorded using two patches: first, a loop from the factory category called “pulses mid” run through effect “filter gate 1”; second, a rise from the factory category called “4 Bars + Tail” run through effect “rewind”  1:50

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141227 by dave stafford for pureambient records
all rights reserved © & ℗ 2014 / 2015

 

 

 THE IBANEZ RGKP6 KAOSSILATOR GUITAR

 

our other new star is this remarkable new instrument, that combines a normal electric guitar with the synth / effects processing power of a korg mini-kaoss pad, the mini-kaoss 2s – which, when used on the guitar, gives guitarists (in this case, me!) unparalleled ability to manipulate the sound of their guitar in realtime and in near-realtime, meaning, as you play, or, directly after you play when effecting notes or chords that are still “ringing”.

 

Either way, it’s an absolute joy, pure dead good fun to play, as I hope the videos demonstrate.  While I initially put it to the test with a fairly ambient guitar improv, as soon as I switched on the built-in distortion circuit…that’s when the real fun begins.  With a more sustained signal, the mini-kaoss 2s really comes into it’s own…it does WILD things to your guitar sound.

 

With 100 basic patches available, the pad allows you to slice and dice and squash and decimate and rip apart your normal guitar sound in more than 100 ways. Each patch can be tweaked by the user, and of course your technique also has a huge effect on “what come out”.  It’s such a simple but genius arrangement, only really made possible by the fact that korg decided to create “Effects” style kaossilators like the mini-kaoss 2s to complement their existing range of “synthesizer” kaoss pads…so the original idea was, you buy a normal kaoss pad, which is a mini-synthesizer with an xy input pad (instead of keys or strings) and then, you buy an “effects” kaoss pad and you plug the two together, running the synth thru the effects, to get the best of both worlds……

 

Ibanez simply replaced the mini synth in the above set up, with an electric guitar!! So instead of a synth, you get the guitar, which is your input / sound source, and it runs thru the “effects” kaoss pad which is of course, embedded physically on the guitars where your pick guard would normally be 🙂

 

AND NOW FOR SOMETHING COMPLETELY DIFFERENT

 

not forgetting the enormous amount of work done over in the arena of APPLICATIONS, we’ve worked on a huge range of projects from sample based PC apps like Komplete ultimate, to performing live duets using two instances of tc-11, a touch controlled app for the ipad.

 

THE FUTURE AND BEYOND…

 

So – what is to come in 2015?

 

refining and improving what i’ve learned in 2014 (and, a few of the years just before 2014!!) so I will be working in all of the arenas we’ve been looking at the recent history of:

 

1) More Kaoss Guitar videos, plus, the use of Kaoss Guitar in other compositions providing unusual textural guitar for solos or backings…long live the Kaoss Guitar !!

 

2) More work, both solo and combining sampled instruments, basically, diving deep behind the covers of komplete 9, native instruments effects, native instruments sample instruments, soniccouture instruments, waves audio effects, scar-bee sample instruments and anything we can get our happy sampling hands on, basically – a massive world of very, very real sounds – because – they ARE real – they are samples!

 

3) Much more visibility for the native instruments synthesizers, of which I have done so little with – there is a huge, beautiful, terrifying sound world there – that I plan on visiting soon…

 

4) Much more use of Guitar Rig 5, one of or possibly the best of the software guitar system emulators, I used Guitar Rig on the sessions for the Ibanez RGKP6 Kaoss Guitar; and it sounded great – more work with that, for sure.

 

5) Working with applications – a whole phalanx of them, existing, new and future – if it makes sound, I want to hear it, if it sounds good, I want to record it.  At the moment, I have planned a few sessions involving newer apps, probably starting with the mysterious and ambient “VOSIS” application, which I very much want to do more tracks with.  Also, I want to explore the relatively new world of the Korg Module iPad application, and how it is realised through their existing iPad music app “Gadget”Korg Module features world class samples, available through Module or in limited form, thru “Gadget” – so I have sessions planned for Module and “Gadget”, too.

 

6) Nearest and perhaps dearest to my heart – with all of the exciting new technologies I’ve been trying to absorb (with “trying” being the very most appropriate verb in this case) I feel that 2015 is the year to take all of those technologies, and use them to build an old-style, non-eternal dave stafford guitar album made mostly with real guitars, real basses, real keyboards, real kaoss pads, and so on…a normal album, in the style of “gone native” perhaps, or maybe one active album and one ambient album – I am not quite sure yet, and, it would be a case of starting such a venture 2015, but it might not be completed for quite a while…well, we shall see.  But – definitely – guitar based songs, and ambient dreaming music – will be here beginning in 2015.

 

7) Finally…both Bryan Helm and myself have made the commitment in time to begin work on the second “scorched by the sun” album – in our discussion so far, we are thinking we might do a “loud” or active album, instead of ambient, or maybe, as we sometimes used to do, one that starts out loud, and then gets gradually more ambient, with the final track being full on ambient.  The content is up in the air, and again, it will just be a beginning in 2015, it might take time to complete, but – we really want to work together more, we really enjoyed the process of making the first album, “dreamtime” – so it follows that it’s time for “scorched by the sun” to make their second record!  It is time.

 

 

 

 

So the new year looks to be our most active and intense to date, but we are gonna give it our best shot.  Meanwhile…have a safe and prosperous and happy, happy New Year – see you on the other side…

 

 

Peace And Love To All

 

D. 🙂

 

universe of sound (the komplete world)

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

 

KOMPLETE 9 ULTIMATE – OVERVIEW & PRE-APOLOGY

 

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

 

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

 

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

 

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

 

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

 

 

 

KOMPLETE 9 ULTIMATE – THOSE AMAZING SYNTHESIZERS

 

[ULTIMATE INDEED!]

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

THE HIDDEN GEM WITHIN KOMPLETE 9 ULTIMATE – GUITAR RIG 5

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

 

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

 

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

 

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

 

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

 

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

 

SAMPLING – THE HEART AND SOUL OF KOMPLETE ULTRA

[REAL INSTRUMENT SOUNDS – AT LAST!]

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

 

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

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

redundant software:

 

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

 

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

 

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

 

redundant hardware:

 

 

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

 

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

 

 

 

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

 

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

 

plus

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

I will absolutely be using a combination of pieces:

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

learning the beatle repertoire…

After a childhood dominated by the Beatles (I only had four long-playing vinyl LPs – all by the Beatles!) and their music, when I returned from Africa in 1971, armed with a rudimentary, self-taught knowledge of the guitar, one of the first things I did, was seek out other musicians to work with.  it came as no surprise, somehow, that we already had something in common – we all loved the songs of the Beatles, and in almost every band I was ever in as a young teenager, we tried to learn Beatles songs – with varying degrees of success, I must hasten to add.

 

Two early bands, both joined when I was still in Junior High School, provided the vehicle – and I was one of the few who purported to play lead guitar (and I could,  but, very, very haltingly, and, very, very slowly, and…not very well at this point in my life, age 13 – 14) I was “in” – it’s difficult to recall, and in fact, I have no idea what the name of either of these bands are, but for the sake of reference, I will call them the “Mike Lewis Band” and the “Stafford / Monaco” bands, respectively, because those were the alleged “leaders” of the two budding beat groups 🙂

 

There is even a recording of the “Stafford / Monaco” band, an amazingly good cassette tape (considering the age and the quality of the tape – recorded by my older brother John on a poor quality 120 minute tape, no less) of a live performance, where we tackle some Beatles numbers, and I even have a go at singing John Lennon’s “Imagine” – the verses only, no bridge 🙂

 

This is a perfect example of great enthusiasm for the material, from a group that did not have the chops or ability to play the songs particularly well – but – we were all just thirteen, so, I don’t really expect much out of either of these bands, to be honest!  So if a few of our songs were missing bridges or the odd verse, it’s just the way things worked out…

 

I think the “Mike Lewis Band” was the first band I was in, Mike was a gregarious, friendly bass player / acoustic guitarist who spent his entire life forming bands, writing songs, and playing in bands – he was determined if not incredibly talented.  I remember though that he and I did reach some dizzy heights, such as our attempts to play the beautiful acoustic guitar balled “Julia” from the Beatles “White Album” – I am happy that there is no tape of that !  But we even took turns singing the verses, so we could do the overlapping vocal bit – very sophisticated.  But – “Julia” was not part of our repertoire, Mike and I would tend to play acoustic guitars just for fun, playing the songs of the day, and singing, and I can remember we learned and played “The Needle And The Damage Done” by Neil Young, which was also very popular at the time.

 

In the “Mike Lewis Band”, we started out as a three-piece band; I think, with Mike Lewis on bass and lead vocals, Mike Brooks on drums, and myself on lead guitar.  Then Mike announced that he was going to bring around this amazing pianist that he knew of, to see if he would join our band.  That was when I first met Ted Holding, who later on, would become my very best and dearest personal friend, but at this point in time, Ted was quiet, unassuming, with his long, straight blond hair hanging in his face – but when he sat down at the piano – it was a different story.

 

Ted had the voice of an angel, a far, far better voice than Mike (which I am sure didn’t please Mike too much) – but, Mike was smart enough to know that bringing in someone of Ted’s calibre truly strengthened the musicality of the band, so he set aside any feelings of inferiority – he had such bravado anyway, that he would probably never admit that Ted was miles beyond us all in terms of ability and talent.  Ted on the piano – even at age 13 ! – was a revelation, and as we grew up together in the early 70s, I was privileged to watch Ted graduate from pop music, Beatles music, on through (of course) Elton John, and then, onto prog: learning the music of Genesis, ELP and so on, on the piano.  I watched, I imitated, I begged him to teach me songs – so really, my own keyboard ability came along in leaps and bounds directly as a result of working with Ted – may he rest in peace.

 

I don’t remember that the “Mike Lewis Band” played a lot of gigs, although we must have played some, I’m really not sure – I remember practicing in the back bedroom at Mike’s parents’ house, spending a lot of time there either with the band, or working with Mike on new repertoire for the band.  And that would have included some Beatles covers, although with this band, since it’s the farthest back, I literally cannot remember a single song that we actually played – the memories are gone, I’m afraid.

 

But – I do remember the “Stafford / Monaco” band a bit better, partially because of the taped show, and because it was later – I don’t know what happened to the “Mike Lewis Band”, but I ended up joining up with this kid Rick Snodgrass, and many an hour was spent at his parents’ house, learning songs and working out our repertoire.  I brought along one of my new pals, who lived in my neighbourhood, around – our drummer (who also sang) – the very talented Brian Monaco.

 

Our set list included everything you would expect from a cover band in 1971: the Beatles (of course!), Creedence Clearwater Revival (of course!), the aforementioned John Lennon (and our half-cover of “Imagine”), and Santana, that kind of thing.  For a band whose four members age was all exactly 13, we were remarkably accomplished.  In those days, as was always the case in the early days of most bands it seems, there was a shortage of bass players – so we just didn’t have one.  To compensate for this, we went from a standard two guitars and drums to a really confusing three guitars and drums – but somehow, we made it work – Rick brought in a friend of his on third guitar, so we had one rhythm guitarist (Rick) and two lead guitarists (myself and Tommy).  Rehearsals could be a real row if we weren’t all in tune !

 

Excerpts from this rare concert are available on the pureambient blog companion page, where you can actually hear the “Stafford / Monaco” band’s primitive renditions of Beatles and other popular songs of the day – here are the tracks that have been uploaded so far (the rest will probably not be uploaded – but maybe someday), but even this partial set list is stacked very, very heavily in favour of our favourite band – the Beatles:

 

Stafford / Monaco Band Live At Johnson’s, 1971

 

3 Back In The U.S.S.R. – drums & lead vocal, Brian Monaco

Imagine – (the verses only, no bridge) – guitar & lead vocal, Dave Stafford

And I Love Her – (Instrumental Version)

10 Born On The Bayou

13 Gentle On My Mind

16 Lucy In The Sky With Diamonds  – drums & lead vocal, Brian Monaco

17 Honey Don’t – acoustic guitar & lead vocal, Rick Snodgrass

20 Twist And Shout

22 Evil Ways

Credits:
Tracks 1, 9 & 16 – Lennon / McCartney
Track 7 – Lennon
Track 10 – Fogerty
Track 13 – Hartford
Track 17 – Perkins
Track 20 – Medley / Russell
Track 22 – Henry

Now, one shouldn’t approach this as a great musical tribute to the Beatles or any of the bands we covered, we were very, very young, very inexperienced, but I will say, we were enthusiastic, and Rick’s parents were endlessly supportive, too, giving us advice, listening, and making suggestions – it was a very positive experience overall.  What we lacked in experience and proficiency, was made up for by our burning desire to play the music that we loved – and, in later years, when I was in my late teens, I did participate in Beatles covers that sound much, much better than these very primitive versions, with typical very-old-cassette bad sound quality.  When I hit 19, 20 – I was playing in cover bands, and playing Beatles songs, reasonably well, every night for a couple of years.

 

But – learning these songs – what a struggle it could be !  I think what amazes me most about the the “Stafford / Monaco” band’ set list is the fact that we tackled two very musically complex tracks; one from “Sgt. Pepper’s Lonely Hearts Club Band” and one from the “White Album” – which, for a group of 13 year old boys, was incredibly ambitious.  I am especially proud of Brian Monaco, for his remarkably accurate drumming and his lead vocal on the rather difficult to play “Lucy In The Sky With Diamonds”.  I only wish the guitars were even close to the original – they are not !  But Brian’s performance of “Lucy In The Sky With Diamonds” is really remarkably good, all things considered.

 

The earlier Beatles tracks and covers that we did, were not much easier to learn – I do recall that our instrumental arrangement of “And I Love Her” – an early favourite track of mine, was especially arranged by myself for the band, and we worked very, very hard to be able to perform this song as well as we did on the cassette.  Of course, the straight-ahead rock numbers are a little bit easier to learn, the bread and butter of every cover band that ever existed – “Honey Don’t” featured Rick, while “Twist And Shout” was another Monaco lead vocal – a real rocker!

 

The inclusion, oddly, of Glen Campbell’s huge hit, “Gentle On My Mind”, is down to Rick, who was a huge fan.  While it’s not a track I would have picked – it actually works quite well.

 

Santana, of course, were huge at this time, so our final track of the evening, “Evil Ways” – again, featuring the unstoppable Brian Monaco on drums and lead vocal – made good sense.

 

There were several Creedence numbers in the set, of which “Born On The Bayou” was one of the most popular, this band had just skyrocketed to fame, and every band of teenagers with guitars was learning this now-classic piece of rock music – ourselves included.  This was one of the first proper “lead solos” I learned – two notes of it, anyway.

 

I cite these two bands as the earliest examples of myself learning Beatles music, a process that began when I was 13, and continues to this day (I recently recorded, but did not release, a live cover of “I’m So Tired” on piano – piano and voice) – and I plan to work on the track until I do get a releasable version – so even now, in my mid-50s, I am STILL learning, playing and singing songs by the amazing Beatles.  As I got older, my ability to play the guitar improved somewhat, and by age 16 0r 17, I could do a much better job of covering a Beatles tune than my 13 or 14 year old self could – that’s for sure!  By age 19, I could confidently reel off a three part Beatle medley that was part of the repertoire of another band I was in – Slipstream.

By the time I was 20 or 21, I had learned so much from the remarkable Ted Holding, that my piano playing skills were way beyond what they had been – which of course, opened up opportunity to learn Beatle songs on the piano, too – a whole new world of songs.

So where did this go next?  Time passed, school went on, friends, and fellow musicians, came and went – in fact, for example, I was in many, many different bands formed by the also-unstoppable bass player Mike Lewis – we remained friends, and he would pretty much bring me into every band he formed for a number of years (whether I really wanted to be in that band or not, sometimes!). Some of these, unfortunately to my ever-lasting shame, were Christian rock bands – a place that neither Ted nor myself belonged or felt comfortable in, but – we did it for our friend, Mike.  Later on, in high school, we teamed up with a new rhythm section, Mitch and Kent, and that was yet another Christian rock band, with the horrific name of “Soul Benefit” (and we could not play soul at all, so a complete misnomer) – but, Ted and I did it for our friend Mike, and, to play with superior musicians – Mitch played bass far better than Mike, so Mike switched to acoustic guitar/lead vocal/rock star, and Mitch took over the bass parts, Kent, the drums.  We were together for a couple of years, needless to say, except for “fun”, we didn’t cover the Beatles in those two bands 🙂  I do remember us playing “Smoke On The Water” by Deep Purple really, really loud one night rehearsing in a church!

Mike had a system, he really, really needed Ted’s talents on piano and vocals, so in order to convince Ted to join whatever crazy band Mike was forming this week; Mike would first get me to agree to be in the band, and then, we would work on Ted, get him to come along, and then, and only then, things would start to sound really good.  Ted’s ability on piano absolutely took off; he progressed far beyond his years, and his voice also just got better and better.  To be frank, he made Mike look pretty bad, and his piano playing was far, far beyond any of us – we were not as skilled on our chosen instruments.

The years after Junior High school are more of a blur, for my 14th year on the planet, I would have been moving on from those earliest bands into more sophisticated bands, and while I still worked with Mike Lewis on his many projects, I began to work more directly with Ted Holding, who happened to also love the music of the Beatles.  I began to hang around at Ted’s house, and we worked on music incessantly – all the time, for hours and hours and hours, usually just the two of us– I would play bass, or guitar, or even organ – and Ted would play the piano.  We would sing Beatles songs – Ted singing lead, me attempting harmonies – and it was just fantastic fun.

This became several different bands, some quite imaginary, like “Ted & Dave” (also known as: “Holding & Stafford”) and others more substantial, like “Ted & Dave & Rick & Jennings” (also known as: “Holding”, “Stafford”, “Corriere” and “Morgan”) – I was in a lot of configurations of these “for fun” bands – and it was enormous fun!  It really was.  “Ted, Rick and Dave” (also known as “Holding”, “Corriere” and “Stafford”) was probably my favourite, but who is to say – no, wait, my absolute favourite had to be the “Ted & Dave” configuration, because we could play every kind of music possible, from Elton John to the Beatles to Ted’s own original songs and so on – an absolute blast and one of the happiest times of my life.  By the way, Rick Corriere was a junior high friend of Ted’s and mine, an accomplished drummer, and when we were all about 18, 19, 20 years old, we would stage “progressive rock” style improv sessions in Ted’s studio that were just amazing – please see the pureambient audio companion, see the entry for 1977 – for more on this particular prog wannabe band.

 

One day, in the “Ted and Dave” configuration, Ted and I decided to try and work out a favourite Beatle track of ours, the beautiful, heartbreaking “No Reply”.  We decided we would record it (we must have been about 16 by now) on Ted’s brother’s reel-to-reel recorder, which had an amazing ability that was new to me – “multitracking”.

 

So we laid down basic instrumental tracks, Ted on piano, myself playing nylon string classical guitar (my first acoustic guitar purchase – a beautiful little guitar that I still have to this day) and we worked very hard to get it sounding just right.   Then – we overdubbed vocals.  When I say we…I mean, mostly Ted, I think I do sing on the track (I don’t actually know, it hasn’t been transferred from analogue yet) but I think he does the majority of the voices – and trying to work out the exact harmonies that the Beatles sang, was difficult, challenging, and exhilarating at the same time – we were so pleased with the result – it really sounded extraordinary to us – I mean, multitrack tape – incredible!.  Once this is eventually converted, I will add a link to the “Ted & Dave” version of “No Reply” – for now, I don’t have the track available – yet.

 

I hope one day to go through the reel to reel tapes (which Ted gave to me many years ago, because I wanted to preserve this music) and present this piece – but it is on a long list of analogue-to-digital conversions that need to be done, and I do not have a reel to reel deck set up at the moment.  So it’s a minor mystery, does it really sound as good as my memory tells me it does?  Hopefully, one day, I will find out.

 

But it was the process that was so fascinating – when you “took apart” any Beatles song, to try and learn the parts – first of all, it always amazed me how quite tricky many Beatles tracks are – not easy to learn, deceptively difficult, and maybe you would know the chord sequence, but for some reason, even though you THINK you are playing the exact, right chord sequence, it never sounds quite as good as the Beatles version!

 

Next up, was one of the more challenging Beatles tracks for me, this was still early on, I was probably 15 or 16 at this point, back in the famous downstairs bedroom studio once again and not yet such a great lead guitarist that I could easily learn the quite tricky solo in “Ticket To Ride”.  I remember struggling mightily with it, but luckily, Ted saved the day, he worked out the exact notes, figured out where and when to bend the strings – and eventually, I got it – I was so pleased!  I can remember him standing in front of me, almost WILLING me to learn it, telling me when to bend, pointing at the guitar neck to show me what note to play next –  my first true decent almost-right lead guitar solo – and, I get to do it twice during the song (or was it three times? – not sure – that’s the problem with memory).

 

Another memory from this time involves a different session at Ted’s house, this time, a couple of years later, aged, approximately 17 – and, we’d moved from his large downstairs bedroom studio, into the much larger garage space, probably because Ted was also working in other bands, often with his then brother-in-law, Joe Norwood.  One day, Ted and I were trying to learn “While My Guitar Gentle Weeps” and Joe, who was a few years older than we were, and himself, an extremely good lead guitarist (from whom I learned a lot) – stopped by – and then to our amazement, joined in with his guitar, working out the Eric Clapton parts that I was really not-quite-yet-able to emulate – so I happily switched to rhythm guitar, and held down the basis of the song with Ted, provided vocal harmonies, and let Joe wail away a la Clapton.

 

That was the beauty of being a young musician, with a lot of really quality musician friends, you always ended up playing music, often, with players far better than you (and for me, both Ted and Joe were far beyond my modest abilities – as pianist, and as lead guitarist) – Ted taught me almost everything I know about piano – that I didn’t teach myself, and, I learned a lot from watching and listening to Joe play lead guitar, and also, he spent time explaining a lot of things to me, about music, about guitar, and I owe a debt of gratitude – here was this really cool older dude (he was probably like, 19, or 20, maybe 21!) and I was a scruffy 17 year old wannabe lead guitarist – but Joe Norwood very kindly and patiently shared his knowledge and expertise with me – a good friend, and a great blues guitarist, by the way.  a video of Joe’s music can be found here.  Joe also sold me one of my best guitars, my Ibanez destroyer, which I still play to this day.

 

It was fantastic fun, “While My Guitar Gentle Weeps” is certainly one of George’s best-known tracks, and I think, quite a remarkable tune.  It’s very difficult to play well, the basic riff is one thing, but that bridge “I don’t know how, nobody told you…” is so, so hard to sing – George’s voice was really at his best in 1968, he was still young enough to hit some really high notes with relative ease, yet by then, he was an experienced enough lead singer to really write and sing some amazing songs – and on the “White Album”, George’s range of song contributions is absolutely remarkable: “While My Guitar Gentle Weeps”, “Piggies”, “Long, Long, Long”, “Savoy Truffle” – you could not get four more “different” songs – the sadness, longing and truth of “Guitar Gently Weeps”, the wonderful harpsichord and political satire of “Piggies” – incredible creativity there, and sense of humour; “Long, Long, Long” one of George’s unrecognised masterpieces, a love song of such beauty and intensity (I remember performing “Long, Long, Long” at a wedding reception with my friend, drummer Rick Corriere) that I really feel it’s an overlooked masterpiece, and George’s ode to Eric Clapton’s chocolate addiction, the wonderful, rockin’ “Savoy Truffle”, with it’s almost sleazy horn arrangement and awesome lead guitar work from George – and that sinister vocal “you know that what you eat you are, but what is sweet now, turns so sour…” – brilliant, ominous – George at his cynical best!

 

Another earlier recording / jam session back in Ted’s bedroom studio focussed on the fantastic pop song, “I Should Have Known Better” – with Ted on piano, and myself on guitar and harmonica – and, we shared the vocal duties.  I loved playing this tune, it’s always been a favourite, and it was easy enough to learn (for a change!) and it was fun trying to play harmonica and guitar at the same time – because I didn’t have one of those harmonica holders – I never have had one.  But that didn’t stop us, we just…did it, somehow.  I loved doing harmony vocals to Ted’s confident lead vocals, “and I do – hey hey hey – and I do !” – and, I got to play the fab guitar solo, which was fun to learn and even more fun to play.

 

When I look back at this time, from 1971 to perhaps, 1979 – so basically, the 1970s – I was 12 when they started, and 21 when they ended – I am looking back at one of the most creative, fun, exciting times in my life, and during those “difficult teenage years”, I was too busy playing guitar, playing piano, singing, and just having a great time playing music, with so many different bands and players – it was an absolutely amazing time to be involved in music.  And while the Beatles had broken up at the beginning of the 70s, their music had had such an incredible impact on the world, we were still reeling from the shock of their transformation, from innocent 50’s rockers, to 60s pop icons, to the musical revolution that was the “Beatles Studio Years” – beginning with “Rubber Soul” and carrying on through “Revolver”, and “Sgt. Pepper’s Lonely Hearts Club Band” and the “White Album” – the sheer musical change that the band underwent was absolutely astonishing, and I think the world was still absorbing this, sort of thinking “what the hell did they DO?” – how did they GET from “I Want To Hold Your Hand” to “Tomorrow Never Knows” in just three years’ time???  How could a band of self-taught teddy boy long-haired art-school drop-outs from Liverpool, end up in Abbey Road Studio No. 2 with a 40 piece orchestra, recording the incredibly complex and musically amazing “A Day In The Life”??  How can this have even HAPPENED?

 

It’s almost enough to believe that at some point in 1965, aliens landed, and planted seeds in the Beatles’ collective brains, which sent them on the musical journey that they then embarked on.  OK, maybe not aliens, but certainly, Bob Dylan, who introduced them to…”tea”, had an influence, but it can’t just be the ”tea” – surely, that music was already somewhere deep inside the Beatles, it just needed the right catalyst to bring it out.   In my opinion, one of the biggest and most significant catalysts was none other than the good Sir George Martin – who had the most influence over the Beatles, and encouraged them, even from the earliest days, to try new things.  And try them, they did.

 

So when it came to “Rubber Soul” – they tried new things.  Acoustic songs, folk-rock songs, volume-knob lead guitar.  But to my mind, the biggest transformation is “Revolver” – from that first count-in preceding George’s “Taxman” (which of course, is not from “Taxman”, but never mind – it was added in to the front of the song, later on) to the dying notes of “Tomorrow Never Knows” (which, curiously, was last on the album, but recorded first in the album sessions).

I personally think that “Revolver” may be the “best” Beatles album (if such a thing is even possible!!!).  It’s certainly one of my very, very most favourite records of all time, not just, favourite Beatles record.  Favourite records, full stop!

Almost every Beatle album has any number of unusual or interesting musical facts about it, and George’s brilliant tirade against the 95% tax imposed on early Beatle earnings, has the curious story as told by one Lindsay Buckingham from Fleetwood Mac, who, upon finally meeting George Harrison after many, many years, the first thing out of Lindsay’s mouth was “George, I loved your amazing guitar solo on “Taxman” – it’s fantastic!” to which George laconically replied “oh – that was Paul, actually”.

And that story, amazing as it is, was heartbreaking even for me, although it made my admiration for Paul McCartney increase, I had, like Lindsay Buckingham, for 20 years or more, had always thought that since it was George’s song, and George was the lead guitarist of the Beatles – that George had played the amazing, Indian sounding solo – only to find out years and years later, that it was the very capable McCartney who had actually done so!

But if you step back, and think about Beatle repertoire, and think about the content and song structure of “early” Beatles work, and then, compare and contrast that to some of the startling new kinds of music that began emerging on ““Revolver” in particular – I mean, even Paul’s “Eleanor Rigby” was a complete shock, like nothing else the world had ever heard – some say it’s a successor to “Yesterday”, but in my opinion, while “Yesterday” is a deservedly famous and uncontestably beautiful ballad, with a lovely string arrangement, “Eleanor Rigby”, by comparison, is high art – a heart-wrenching story-song, and George Martin’s string arrangement here, is absolutely sublime – so incredibly beautiful (which I was absolutely delighted when they included the live take of the strings alone, as recorded in the big room, Abbey Road Number 2 studio, on “The Beatles Anthology”what a sound!).

 

So what happened in Paul McCartney’s brain, that he would be able to write “Yesterday” one year, and the next, come up with something that is an order of magnitude more intense, more complex, and is certainly more musically amazing: “Eleanor Rigby”.  It’s almost like two different people, as if his brain did a re-boot and said “what if I wrote a song like THIS…” – and the rest is history.

 

“Revolver” also gives us Paul‘s astonishingly tender and beautiful “Here, There & Everywhere” – surely one of the best love songs of ALL TIME.  A song that John Lennon so liked, that his only comment was, “I wish I’d written it”.  One of Paul’s very best and most beautiful songs, with a vocal that is just heartbreaking (including John’s delicate harmonies…”watching her eyes…”) and the chord progression – wow – this is not actually that easy to play, either.

 

And yet – “Eleanor Rigby” and “Here, There & Everywhere”, for all their increased sophistication – are not even the “unusual” or “different” or “strange” tracks on “Revolver” – they are the “normal” sounding tracks !!!! The most normal of all the tracks on the record.

 

Something definitely happened in Paul McCartney’s brain, but at the same time, both John and George were experiencing a remarkably similar brain transformation.  “She Said, She Said” with it’s odd time signatures, and fabulous, distorted guitars, is one of John’s best and most amazing tracks, I love the whole sound of it, it just takes me somewhere, immediately – and when I think’I want to hear “Revolver”‘ it’s usually “She Said, She Said” that I am thinking of – but when I get to the album, it’s then generally going to be George’s songs that I actually start with – “Love You To”, “I Want To Tell You” and the redoubtable “Taxman” – three of George’s very best Beatles songs, and, that amazing combination of heavy fuzz guitar and Indian instrumentation on “Love You To” just knocks me out – it’s an amazing idea – mixing traditional classical Indian instruments with rock music – but it works, and, it works really, really well.

 

John’s brain was maybe the most altered of all, and besides the aforementioned “She Said, She Said”, his contributions to “Revolver” are among his very, very best Beatles output:  the incredibly beautiful “I’m Only Sleeping” – where George spent ages recording two “reverse guitars” – and that song is responsible for my own obsession with playing reverse guitar (or – “backwards guitar” – which is now available at the touch of an effects pedal) – which, in 1966, could only be achieved by turning the tape over, playing “forwards” while the song played “backwards”, then, turning the tape back over (I know this, because that is how I had to record reverse guitars in my own music for many, many years -a great technique!), and HOPING that your resulting melody line “forwards”, has resulted in a musically pleasing “backwards” guitar – a very hit or miss proposition; but Harrison painstakingly wove two guitar tracks into one of the most beautiful examples of reverse guitar ever created – and while many have tried, no one has every really quite captured the beauty of reverse guitar in the way that George Harrison did on John’s “I’m Only Sleeping” – which is an incredible song in it’s own right, the reverse guitars are just the icing on a very, very sweet cake.

 

Even though Lennon dismissed it in the “Playboy Interviews”, he was also mostly responsible for one of my very favourite Beatle tracks from “Revolver”, “And Your Bird Can Sing”, with it’s amazing dual lead guitar part that just drives the song so beautifully, when I first heard this song, I could not BELIEVE the guitar parts, and to this day, I still can’t quite imagine how they worked this out!  The interplay of the twin guitars with the rhythm section is just perfect, and Paul’s bass just soars in between the cascading, rising and falling lead guitars – plus, one of the best harmony vocal works on the album, I love the vocals on this song too – they just fly over the top of those guitars, which seem to be playing almost continuously throughout the song – and again, I can’t imagine how they worked out the vocal parts – but the end result is astonishing – a great song, often overlooked.

 

It’s no accident that this part of my memories of the early days of learning Beatles songs suddenly has become dominated by a somewhat-useful-but-far-from-complete review of the “Revolver” album, but, it does tie in (believe me, it really does!) because I would cite “Revolver” as the album where it first became utterly impossibly to replicate the songs live – well, some of them could be rendered, maybe, but in the main – they have become so complex as to not be easy to replicate on stage, or, by other musicians either.

 

So – none of my bands, ever played anything from “Revolver”, although I do recall privately playing “Got To Get You Into My Life” with Ted on piano – just for fun.  And I spent a lot of time studying the chords to, and learning as best I could, Paul’s very lovely “Here, There & Everywhere” – a truly beautiful and remarkable song. I’ve also played and sang “I’m Only Sleeping” on acoustic guitar, and I learned the main riff of “And Your Bird Can Sing”on a Guitar Craft course (at the 21st anniversary course in Argentina, no less), in the new standard tuning for guitar, no less!  That was hugely fun, playing “And Your Bird Can Sing” with other guitarists, “Crafty”-style – remarkable – a totally unique and unforgettable experience.

 

 

But most of “Revolver” – especially songs like “Love You To”, and “Tomorrow Never Knows” were so advanced, even “She Said, She Said”, were so incredibly strange and new, and so musically intriguing – that you can only really listen, you can’t really imitate – sure, Paul has now performed some of these songs with his live band, in the 2000s, but, it’s not the same, really – and while he has every right to play Beatles material live in the here and now – it’s never going to sound like the original sound of “Revolver” – one of the most distinctive sounding Beatles records of all time, and in my mind, the “turning point” from normal rock music, into the exciting and mostly uncharted territories that they experimented with from “Revolver” on out.

 

It is remarkable then, that at age 13, in 1971, the second band I was ever in, the “Stafford / Monaco band” played one track from the “White Album” and one track from “Sgt. Pepper’s Lonely Hearts Club Band” – two records made after the turning point, and while our versions are not musically accurate, the fact that we even TRIED these songs is remarkable – we tried!  It was down to a shared love of the Beatles, and to be honest, almost every musician I ever worked with in the 70s, loved the music of the Beatles.

Almost every drummer in almost every band, would at some point, sit up a bit straighter on their drum stool, and bash out a version of Ringo’s famous drum solo from the end of the “Abbey Road Medley” – every drummer worth his salt had learned that solo, inside out – and it was instantly recognisable – so there was a great love for the Beatles, and for Beatles music, in the musical community that I worked with in the San Diego, California area in the 1970s.

 

The Beatles were the benchmark to which every other group would be compared, even if that group broke a Beatle record, I don’t mean vinyl here, I mean, for example, that a band like Creedence Clearwater Revival might have surpassed Beatles sales figures from the 60s, in the 70s – certainly, bands like Led Zeppelin surpassed a lot of the Beatles‘ accomplishments, such as “largest audience”.

 

But the interesting thing here is, such news was ALWAYS announced, with a backwards reference to the Beatles, so it would be “In 1973, hard rock band Led Zeppelin sold out a show in Tampa, Florida, with over 56,000 people in the audience – the largest audience at a rock gig since the previous record set by the Beatles at Shea Stadium in 1965”.

 

Every new sensation, every new “record” was always compared back to the originals, to the masters, to the boys who did it first – the Fab Four.  It always amazed me, for example, Zeppelin were (rightfully) very proud of the fact that they had broken a record set by the Beatles – it was an honour, somehow.

 

Everything was bigger in the 1970s, in the 60s, large concerts were a thing of the future, and as the infrastructure of rock grew ever-larger in the 1970s, it was unavoidable that most of the then-rather amazing records that the Beatles did set in the 1960s – were easily surpassed by their more sophisticated 1970s successors – like the incredible Led Zeppelin – who for example, did no less than NINE US tours between the years of 1968 and 1971.  In the 70s – all records were utterly blown away by the eventual emergence of “stadium rock” – with Led Zeppelin leading the way to ever larger and larger productions.

 

The Beatles never had that infrastructure, and the technical aspects of their live performances were pretty primitive and often, quite dismal, with underpowered PA systems and insufficient monitors, you can see them in the film of the Shea Stadium concert, struggling to hear themselves sing and play over the screaming.  But of course, the screaming was always there, and that did eventually cause the Beatles to lose heart in the idea of live performance – which, while heartbreaking for the legions of fans who never got to see them play live (myself included, sadly) was actually, very, very beneficial – because escaping the terrors of the road, and moving permanently into Abbey Road Studio No. 2, meant that the Beatles could now blossom creatively – and by God, blossom they did.  An explosion of growth – demonstrated by the insanely fast musical progress made by the Beatles, across the albums spanning 1966 – 1969, a musical journey of unprecedented scale and scope – leaving one of the most remarkable catalogues of music ever created in it’s unstoppable wake.

 

Note: I have actually seen three of the Beatles live, but, as solo artists; first, George, at the Forum in Los Angeles with the Ravi Shankar Orchestra and Billy Preston in 1974, then, “Wings Over America”, Paul, at the San Diego Sports Arena, either in 1976 or 1977, and finally, twice, Ringo‘s All Stars, sometime in the 1990s, one of them featuring Todd Rundgren.

 

Every year, we would be treated to a new Beatles album (just one now in most years; not two a year as Brian Epstein and the record company had pressed the Beatles to do back in the early 60s) and each year, it would be a totally different musical experience – and if again, you step back and look at it – it’s absolutely astonishing; I view it like this:

 

1965 – “Rubber Soul” – the beginning of “the change”, Lennon starts singing and writing in a much more personal way, under the influence of a) Bob Dylan and b) ”tea” supplied by Bob Dylan – with songs such as  “Nowhere Man”, “Girl” and the amazing “In My Life” – a complete and radical re-invention of the man & musician,  John Lennon.

 

1966 – “Revolver” – a radical re-imagining of rock music, including heartbreaking string arrangements, classical Indian instruments integrated with heavy guitar rock, progressive bass playing, and the one-chord / one-note drone / raga style music concrète” sonic experiment, “Tomorrow Never Knows” – which was actually the first piece recorded for the new album – a groundbreaking record in so many ways

 

1967 – “Sgt. Pepper’s Lonely Hearts Club Band” – the world’s first concept record, with the famous photo montage on the front cover – and the lyrics on the back (a world “first”, there, too!) but to me, it’s just a bunch of truly great songs – and some of the best moments are maybe not the most famous, for example, the detuned and distorted lead guitar solo in “Fixing A Hole” is absolutely astonishing in it’s complexity and beauty, for a guitarist like myself, it was a revelation – and while after this, everyone began to use detuned guitars – created via a device called “Automatic Double Tracking” or ADT – the birth-device that all flangers and choruses since, have come from – the Beatles were really the first to come up with this kind of radical guitar sound in the studio – absolutely marvellous.  George and John begin to experiment with truly distorted and detuned sounds after seeing Jimi Hendrix perform – and you can hear it on tracks such as the reprise version of the title track – the lead guitars are really powerful.  And of course, the closing song is the absolutely unbelievably beautiful “A Day In The Life”, featuring what is surely one of the most beautiful John Lennon vocals ever recorded – George Martin said about John’s dreamlike vocal on the track – something like: “a voice…from the heavens”.  I agree with Sir George Martin – a truly beautiful song with an incredible Lennon vocal.

 

[1967 – “Magical Mystery Tour” – OK, this year, they made two records. “Magical Mystery Tour” is highly underappreciated, I absolutely love it – especially the wonderful “Hello Goodbye”, the title track, the wonderful only-instrumental “Flying” and even “Your Mother Should Know” – there are no bad songs on this record – much overlooked and underappreciated.  But then, “Sgt. Pepper” and then, the “White Album” really stole MMT’s thunder – hard to compete against those two behemoths.]

 

1968 –  “The Beatles” (aka The “White Album”).  A complete change.  Minimalism.  Stark white cover.  The pageantry and grandeur of “Sgt. Pepper” is wiped away, by 30 darker, more experience-driven songs, a strange batch of songs, no doubt, but with that amazing diversity that you get when you have three strong players and three strong singers and three strong writers in the band – and I shouldn’t downplay Ringo – he very much tried to hold his own (imagine, having to complete with the two impossibly powerful songwriting teams, the “Lennon-McCartney” team AND “Harrison” who was practically a team in his own right – that can’t have been easy !!!) and this album has two cracking Ringo tracks on it, “Don’t Pass Me By”, and the really beautiful “Good Night” which is maybe one of his most beautiful vocals – a lovely tune.

 

[1969 – “Yellow Submarine” – honourable mention.  OK, they made two records this year, too.]

 

1969 – “Abbey Road” – I am intentionally leaving out “Let It Be” because of it’s chequered past.  I love “Let It Be”, but, even though it was recorded before “Abbey Road” – it was then shelved, and eventually emerged in 1970, hanging it’s head in shame, but, gloriously re-invented by Lennon and Phil Spector as a grandiose strings and choir kind of record. However, I think that “Abbey Road” is truly the band’s swan song and legacy – they went into the studio, stopped arguing (for the most part) and recorded an album of songs “like they used to”.  The album was a compromise: to please John, side one of the vinyl LP was “songs”, to please Paul, side two of the vinyl LP was a suite of “connected” songs, the so-called “Abbey Road Medley” – which is a minor masterpiece in it’s own right.  The maturity of songwriting on display here is absolutely startling, especially in George (who, at this point, is about to blossom musically with his upcoming triple album “All Things Must Pass” – but that’s another story for another blog) who produced not just the awe-inspiring love song “Something”, but also, the fantastic, irrepressible “Here Comes The Sun” – featuring the Moog synthesizer, and the most beautiful, sparkling guitars imaginable – a great song, one of George’s best, and personally, I probably actually like and respect “Here Comes The Sun” actually more than “Something”. (I should give honourable mention for George’s guitar solo in “Something”, however; it was played live by George during the strings overdub on the song, remarkably – beautifully underpinned by one of the best, most melodic bass guitar parts ever recorded – really incredible work from Sir Paul).

I’ve played both pieces many times, usually, I play “Something” at the piano, while I would always play “Here Comes The Sun” on guitar – and I love them both – but it’s difficult to say which one is “better” – they are both fantastic, and showed the George could actually compose right at, or even better than, the level that John and Paul had been composing at all along.  He caught up, and in a way, with those two tracks, even surpassed John and Paul – and certainly, his first solo album, the redoubtable “All Things Must Pass”, shows us even more examples of his songcraft, and overshadows all of the debut solo releases by all of the other Beatles – it basically wiped the floor with the other Beatles’ post-Beatle output, selling millions – I bought two or three copies over the years in various formats.

 

Right up to the end, the Beatles kept writing and producing the most amazing catalogue of original music in the world of rock, that the world had ever seen.  Songs that became more and more sophisticated, and for musicians such as myself, became more and more difficult to play, or imitate – but it was sure fun to try !

 

Over the years, I’ve played a LOT of Beatles songs, a huge range of them, and learning them, was often quite a bit of work, but once learned, playing them was just sure joy.  Just for fun, I’ve attempted to write down every Beatle song (including both songs that they composed, and, their cover versions of songs that they also performed) that I’ve ever learned, and / or, performed or recorded – just to see how many I can come up with:

 

 

Baby It’s You (with the Mike Packard Band – successor to Slipstream – circa 1979)

Twist & Shout (with the Stafford / Monaco Band – circa 1971)

I Should Have Known Better (with the Holding / Stafford Band – circa 1972)

I’ve Just Seen A Face/Ticket To Ride/Help! Medley (with Slipstream – circa 1978 / 1979)

And I Love Her (with the Stafford / Monaco Band – circa 1971)

No Reply (with the Holding / Stafford Band – circa 1972)

Eight Days A Week (with the Holding / Stafford Band – circa 1972)

Honey Don’t (with the Stafford / Monaco Band – circa 1971 – and other bands, too)

I’m Only Sleeping (solo acoustic guitar & vocal  – circa 1970s)

Here, There & Everywhere (solo piano & vocal – circa 1970s)

Got To Get You Into My Life (with the Holding / Stafford Band – circa 1972)

Lucy In The Sky With Diamonds (with the Stafford / Monaco Band – circa 1971)

A Day In The Life (solo piano & vocal – circa 1970s)

Back In The U.S.S.R. (with the Stafford / Monaco Band – circa 1971)

While My Guitar Gently Weeps (w/ the Holding  / Stafford Band feat. Joe Norwood- guit. – circa  1973)

I’m So Tired (solo piano & vocal – unreleased – 2013 live -in-the-studio piano & vocal demos)

Blackbird (solo acoustic guitar & vocal – circa 1968 – the first“finger-picked” song I ever learned; summer 1968)

Rocky Raccoon (solo acoustic guitar & vocal  – circa 1970s)

Julia (acoustic guitar duet & vocal – circa 1972 – the second “finger-picked” song I ever learned, circa 1972 – with Mike Lewis, acoustic guitar and vocal)

Helter Skelter (electric guitar – various times, 1970s – present)

Long, Long, Long (piano & vocal – with Rick Corriere, percussion – circa 1970s)

Cry Baby, Cry (piano & vocal – circa 1970s)

Something (piano & vocal – circa 1970s)

I Want You (She’s So Heavy) (electric guitar & vocal – w/ Jim Whittaker, guitar – circa mid  1970s)

Here Comes The Sun (acoustic guitar & vocal – circa 1970s)

You Never Give Me Your Money (piano & vocal – circa 1970s)

Golden Slumbers (piano & vocal – circa 1970s)

Carry That Weight (piano & vocal – circa 1970s)

Two Of Us (acoustic guitar & vocal – circa 1970s)

Let It Be (piano & vocal – circa 1970s)

The Long And Winding Road (piano & vocal – circa 1970s)

 

So – remarkably, thirty one songs – which surprises me, I would not have thought it would have been as many as that, but it’s also NOT surprising, because, the Beatles‘ catalogue is something that musicians almost always “fall back on” at one time or other in their careers, and if you cover Beatles‘ songs, you are guaranteed that at least people will know the song, although they may not love your version of it – or, they may – but they are one of the groups most “covered” over time – not to mention, that in a list of the top ten covered songs of all time, the Beatles not only hold the top two spots, but they actually have four tracks out of the ten, plus, John Lennon’s “Imagine” makes five – so, either the Beatles or a Beatle own the record for most covered song, for HALF of the top ten – amazing!

 

Before I continue, I have to say, that even to the present day, there is nothing more satisfying than sitting down at the piano with a Beatles songbook, and having a go at a Beatles song you’ve never tried – or, for that matter – one you’ve played a million times.  Or – get out your electric guitar, turn up the distortion, and work on your Beatle rock riffs – “Hey Bulldog”, “I Want You (She’s So Heavy)”, “Helter Skelter” and so on.  And of course, that makes me realise that there are actually probably quite a few “partial” Beatles songs I know, or just the main riff, and, a few that I have learned and then completely forgotten because I didn’t keep up with them (including the amazing “Yer Blues” – with the guitar solos actually learned from tab – brilliant tab! – something I never normally use, tabs, but this one was spot-on – excellent) – but I REALLY wanted to learn that solo.  So really, “Yer Blues” makes it 32…but if I start adding in fragments of songs, I will never finish the list – so there it shall sit 🙂

 

I would say, that growing up, for those nine or ten years from 1971 to 1979, learning, singing, and playing Beatles songs, along with a healthy helping of Jimi Hendrix Experience, Cream, Led Zeppelin, ZZ Top, and so on, was the best musical education I could get – far better than going to music college, instead, just dive in and learn the music that you love.  That’s what I did – and I am glad of it.  Huge chunks of Led Zeppelin I are still in my fingers’ memory, and huge chunks of Hendrix music, too – I could play those two bands’ music all day long, along with the Beatles  But, the Beatles had the most profound impression, because of their incredible melodic values, and the hard-won vocal harmony which really, were what set them apart at first.

So while Cream and Zeppelin and Hendrix really, really rocked, they never quite had the songwriting skill and stamina that Lennon, McCartney, or Harrison did (and that may be why I found myself drawn to progressive rock fairly early on – seeking better songcraft – and often finding it) – although some of the late Cream and later Zeppelin, are pretty musically advanced.  But those are the successors, the Beatles, I think, wisely disbanding before the heavy metal bombast of Stadium Rock took over the world – by then, they were gone…

 

Having the Beatles so central to my education, music or otherwise, was hugely important, and it’s also simply given me a world of personal satisfaction and enjoyment, I will never forget the day I finally mastered Paul McCartney’s quite difficult “Blackbird”, the first guitar piece using fingerpicking that I ever learned, at age 10, no less – it took me a couple of weeks (being taught by a 16 year old girl, who had in turn, been taught the song by somebody else…) but eventually, I “got” it – and that was wonderful, because any time I was out with an acoustic guitar, I could play it – and everyone around me INSTANTLY recognised it, and responded positively – I never got a negative response to playing a Beatles song – ever.  People in general, either really like them, OK, maybe some younger people, don’t really know their the Beatles were the best band in the world, from 1963 to 1969, unchallenged.

 

At the same time, during 1969, was that “other” best band in the world that I like so much, King Crimson – whose leader, guitarist Robert Fripp, has described a personal, musical epiphany that he had one night, hearing back to back on the radio first, music by Bela Bartok, and then, the last part of “Sgt. Pepper’s Lonely Hearts Club Band” – with “A Day In The Life” – and it was the impetus of that, that eventually led him towards the pursuit of the creation of King Crimson – so, unlikely though it seems, one of the heaviest and most complex of all “progressive rock” bands – actually started out by a young guitarist being utterly struck with the incredible piece of music that the Beatles‘ “A Day In The Life” is.

I can just imagine Fripp, in his car, as the final orchestra part builds and builds, so loud, overwhelming the whole song…and if you think about it, on the first few Crimson albums, of course, the dominant sound (besides Fripp’s amazing lead guitar) is the mellotron – which they had two of – and they used it to create Beatle-like string sections in live performance – so again, inspired by “A Day In The Life”, young Robert Fripp imagined a band with two mellotrons in it – and then, he built it.  Repeatedly.

 

It’s amazing the number and diversity of musicians either directly or indirectly inspired by the Beatles, some of them wearing their inspirations out on their sleeve, others, are more hidden or difficult to discern – but they are still there. So, you get a band like Oasis, who unashamedly try to sound like a modern day Beatles (and mostly fail at it, in my opinion) although I quite like a lot of their songs anyway, on over to a band like Klaatu, who people thought might BE the Beatles, secretly reformed and making records under a mysterious new name in the 70s.  As it turns out, Klaatu are just some guys from Canada, who made Beatlesque music (I really enjoy Klaatu, especially their first three albums).

 

There are so many others who obviously admire the Beatles, from Todd Rundgren, his first band The Nazz, and the latter-day versions of Todd Rundgren’s Utopia, to any number of other latter-day Beatles soundalikes – the Raspberries in the early 1970s, Badfinger – an Apple band, discovered by the Beatles,  and far too many others to even mention.  Perhaps I will attempt a “list of bands that sound suspiciously like the Beatles” – but I am not quite sure I can do such a thing.  I will have a “think” about that…meanwhile, back to the subject of cover versions…

 

Here are the Beatle tracks and their positions in the list of “most covered songs of all time” – of course, these lists change all the time, and it was very difficult to find a list that seemed properly representative – this list, from 2008, contained no less than 5 Beatle-related tracks as “most covered”:

 

1)      Eleanor Rigby ***

2)      Yesterday

4)      And I Love Her

6)      Imagine (John Lennon)

8)      Blackbird

 

Apparently, for a long, long time, “Eleanor Rigby” was second to “Yesterday”, it was only in recent years when it knocked “Yesterday” out of the top spot.

 

I was surprised to NOT find George Harrison’s “Something” in these lists, I had thought it was one of the highest covered songs of all time – but I might be remembering that old Frank Sinatra joke, where he introduced “Something” as the finest song ever written by Lennon-McCartney – in all seriousness, he actually did not seem to know or realise that it was written by George Harrison.  That’s a famous story there!

 

***However…the Wiki contains some conflicting information here, because it also states, on the page for the song “Something”, that the song has more than 150 cover versions, which means it’s the second most-covered song after “Yesterday”.  So somebody needs to do some counting, and really find out a) what the top ten most covered songs of all time REALLY are, by all artists, and b) what the top ten most covered Beatles songs are – what song is REALLY, currently in the top spot – make up your minds !! 🙂

 

 

For those who might be interested, there is a very interesting page here on Wikipedia, that lists many of the most significant cover versions of Beatles songs

 

http://en.wikipedia.org/wiki/List_of_cover_versions_of_the_Beatles_songs

 

When I say significant, that refers to all of the real musicians in the list, it does not, however, actually refer to the included “group” called “Alvin and the Chipmunks” who did a whole album of Beatles covers in 1964, so they have twelve entries in the chart !  I am sure that’s a really, really good album (if you are a fan of sped-up vocals, that is).  But – it’s an interesting list, Chipmunks aside…and it includes some of my very favourite cover versions of Beatles tracks: containing everything from:

 

Herb Alpert & The Tijuana Brass to 10cc to Bela Fleck & The Flecktones to Adrian Belew to David Bowie to The Carpenters to Johnny Cash to Cheap Trick to Bryan Ferry to Neil & Liam Finn to Peter Gabriel to Jimi Hendrix to Allan Holdsworth to Eddie Izzard to Tom Jones to King Crimson to Sean Lennon to Marillion to Pat Metheny to Keith Moon to Nazz to Harry Nilsson to Oasis to Tom Petty & The Heartbreakers to Phish to Radiohead to Red Hot Chili Peppers to The Residents to Todd Rundgren to The Sandpipers to Santana to Peter Sellers to The Shadows to Sandie Shaw to Frank Sinatra to Elliott Smith to The Smithereens to Soundgarden to Stereophonics to The Supremes to James Taylor to Teenage Fanclub to They Might Be Giants to Richard Thompson to Transatlantic to Travis to Ike & Tina Turner to Utopia to U2 to the late, great Sarah Vaughan to The Ventures to Rick Wakeman to Paul Weller to Jack White to Roy Wood to XTC to The Yeah Yeah Yeahs to Yellow Magic Orchestra to Yes to Neil Young to Dweezil Zappa to Frank Zappa and I told you it was a great list – this is just a tiny portion of artists represented on the entire list.

 

A truly interesting resource for an incredibly diverse set of Beatles covers – and the diversity of artists who have covered the Beatles is immense, yet, they all share the same love we feel for the band – a love for Beatles music, reflected in the fact that they took the time to learn, perform, or record a Beatles track or tracks.  Shared love = love of the Beatles‘ music = All You Need Is Love – that’s an equation that I can understand and believe in – and I do.

 

 

 

“Love, love, love – love, love, love

 

There’s nothing you can do that can’t be done

Nothing you can sing that can’t be sung…”

 

 

 

 

– from “All You Need Is Love” – June 1, 1967

 

 

 

see you next time ~~~~~

“whisper words of wisdom…”

mobile universe of sound (the ios world)

the ios universe of applications…is heaven for synthesists and musicians alike.  as a guitarist, I appreciate guitar applications, but my passion is collecting synthesizers…also, real synthesizers were always big ticket items, and I couldn’t afford the nice ones.

for me, ios, and the availability of inexpensive apps that emulate great synths old and new, changed everything.

pre-ios, I had a limited number of hardware and software synths, and the soft synths mostly had to be run inside my DAW, or in some cases, as a standalone application on the PC, but still, I had no access to an almost limitless array of synthesizers – and now, with ios and the amazing developers who populate it, I have more choice than I can deal with!!

HARDWARE SYNTHS

or, how it all started…

imagine if you will, then, a guitarist who has been working on music for many, many years, and during that time, dabbled in synthesizers – in the early days, I had an arp odyssey (a mark I, no less!), surely one of the most difficult to tune synths of all time; I had a wonderful serge modular system, and to my everlasting horror, I foolishly sold them off many years ago…

then, by chance almost, I picked up a couple of classic yamaha hardware synths: a dx7s, and a dx11s, and the dx7 saw service in the live set up of the band bindlestiff, where I played synth on stage as well as ambient loop ebow guitar – and my partner played a korg, so that was a great contrast of two fantastic synths – and if you listen to some of the pieces we did with that combination, yamaha and korg, such as “the wall of ninths” or “pacific gravity” you can hear what two classic synths can do in live performance.

so – during the first thirty five or forty years of my career, I owned at most, five hardware synths, and now, I am down to three – and that was it.  then came pro tools and sonar and soft synths in general, and I have a reasonable selection of those, which made recording much easier – in particular, having a decent grand piano, “true pianos”, was very useful, and I’ve used “true pianos” for a lot of projects, from my own songs to covers of peter hammill and van der graaf generator.  I picked up the wonderful “m-tron pro” mellotron software, which inspired one of my best solo albums, “sky full of stars”, and I also have “BFD2” a dedicated drum program, which allowed me to have professional sounding drum tracks when making the rock / prog / ambient album “gone native” – and if you take your time with it, you can make really great drum tracks with, such as this one, “wettonizer”, from the “gone native” record.

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

having owned such a limited range of hardware synths, I never really got the chance to expand my knowledge of synthesis by owning and playing a variety of synths, and I certainly never would have been able to afford most of the desirable synths (I remember playing a korg M1 when they came out, and just practically drooling with desire – but I simply could not afford it) – so I never bought a modern synth.  I do love my yamaha dx7s, as eno has noted, it has a few really great sounds, it does certain things very, very well, and there’s nothing quite like it.

but overall, besides a modest collection of standalone and DAW-based soft synths, I really felt like I didn’t have much chance to understand, for example, the differences between additive synthesis and subtractive synthesis, I never really felt like I totally understood the magical relationships between oscillators, filters, modulators, and amplifiers, because I didn’t have examples of the many, many various hardware devices with their wildly differing approaches to synthesis.  arpeggiators and sequencers were largely mysterious to me, but after working with the fairlight app (now called peter vogel cmi) for a year or so, I really “got” how sequencers work – which then meant I could use them with better clarity in many, many other synths that feature them.

THE ARRIVAL

then came ios.  the apple platform, and, when you look at what is available for music – well, that’s what made me decide which tablet to get, when I saw what I could get on ios, at the time, compared to the relatively modest selection of apps on android – it seemed a no-brainer.  I realise that over time, android is catching up, but I still don’t know if they will ever match the range, scope and incredible diversity of synths and near-synths that the apple store boasts – it’s astonishing what is available, and it’s astonishing that you can buy a massive collection of the world’s best synthesizers for a fraction of what the hardware versions cost – a tiny, tiny fraction.

FIRST GENERATION SYNTHS & THE FAIRLIGHT

so I went for the ipad/ios combination (despite not being a huge fan of apple in general!) and it was the wisest choice I ever made.  within minutes, I was beginning to collect that massive set of synths that I could never in a million years have afforded in the hardware world – I started out by buying something that would have normally cost me about 20 grand, the great 80s sampler, the fairlight – and I spent about a year and a half, learning how to build sequences the slow way – and it was a fabulous learning experience, and I came to understand how the fairlight works, and how to arrange the instruments into sets, and create music in a way I never had done before (step by step) – quite inspiring, and very educational – and as I said, I could then transfer my new sequencing skills, to many, many other devices that support sequencing and sequences.

MOOGS & KORGS – GREAT EMULATIONS

another early purchase was moog’s “animoog”, and even now, when I have more app synths than I know what to do with, I am constantly returning to this synth, with it’s ever-expanding library of great sounds.  the korg “iMS-20” soon followed, and that was probably the synth that I truly started to learn from, because it’s so visceral, and so visual, with it’s bright yellow cables in the patch bay, and it’s utterly faithful graphics…  the first generation synthesizers that were first available on ios were already excellent, emulating hardware synths that would have cost me thousands, now mine just for a few quid on ios.  unbelievable – because I never would have owned any of those in my real life, because the hardware versions are so incredibly expensive – well beyond my means.  for example – the fairlight cost about ten thousand dollars more than my annual salary the year it came out.  now – it’s mine for a pittance…

AND ARTURIA TOO…

other early device purchases were my beloved “addictive synth”, the very, very capable “n log pro” – a great sounding little device;  “mini synth pro”, and another real favourite, the arturia “imini” – a mini-moog style synth on an ipad !!

between arturia’s “imini” and moog’s “animoog”, I was set to go for that style of synth. also, synths like the great bismarck “bs-161”, the very capable “sunrizer”, “cassini”, the amazing “alchemy” synth; the list goes on and on and on….

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

then you get unique and amazing synthesizers like the touch control “tc-11” synthesizer, which takes real advantage of the ipad’s large screen, and delivers a synthesizer-playing experience that is unmatchable – you place your hand or hands on the screen, and by moving your fingers and hands in various ways, you “play” the synth – there’s no keyboard, but this shows you that you don’t necessarily need a keyboard to make beautiful synthesizer music (something I’d learned once before, when I got my first korg kaossilator – amazing hardware device!) – and you can produce truly beautiful music using a non-traditional interface like this – “tc-11” is simply, one of the highest quality, most remarkable devices that’s ever appeared on iosios – I absolutely love it.  one of my very favourites, I do like synths that don’t have keyboards, but out of all of them, this is the most fun, and most creative, to work with and use to produce  startlingly different synth music, often of great beauty – the remarkable “tc-11”.

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

very quickly, I became a true collector of synth applications, and guitar applications, too – but it’s those synths that I keep going back to – and now, the second generation of application-based synthesizers are here, and they are beyond fantastic, with features and sounds that are incredibly complex, mature and amazing: the mighty “thor”; the incredible “nave”, “magellan”, the korg “ipolysix”, arturia’s amazing “isem” – the list just goes on and on and on.

the “dxi”, “epic synth” (1980s style synth), “launchkey” plus “launchpad”, “modular” (similar to my lost serge system, but reliant on in-app purchases to make it truly useful), “performance synth”, “sample tank” (the free version only so far), “spacelab”, “synth”, “synthophone”, “xenon”, “xmod”, and “zmors synth”….the list goes on still…

GENERATIVE DEVICES

then there were the generatives…mostly ambient in nature, and therefore, extremely well suited to the type of music that I generally make, so I happily adopted and became an adherent of “scape”, “mixtikl”, “drone fx”, circuli and so on…I worked with and continue to work with generative synthesis, which is a fascinating branch of synthesis, with it’s own quirks and interesting ways of working.  mixtikl in particular holds my interest very well, sure, anyone can make sounds on it, but if you get into it deeply, you really have an enormous amount of control of how it generates the finished product…which is endlessly changing, never the same, constantly mutating according to the rules and conditions that you control…

“scape” is just purely beautiful, the sounds, courtesy of brian eno and peter chilvers, are simply top-notch, and using art works to create your generative pieces is a stroke of genius – and it’s very simple, just…drag geometric and other shapes onto a canvas, and see and hear your generative piece grow.  more recently, I’ve picked up “drone fx”, which to my mind, is very nearly in the same class as “scape” and “mixtikl” given that you can set it up to create generative pieces, and the results are excellent – it’s a very ambient flavour, which suits me just fine, so I am very happy to add “drone fx” to my arsenal of generative music applications!

then there is “noatikl” (obviously, a spin-off or product related to the great “mixtikl”) – I don’t have much experience with this tool, I would call it a “sound design”-based generative music app, where you create loop-like pieces by connecting different sound generating nodes together – it’s quite odd, but it makes lovely music, and I hope to learn more about it and gain some skill in using it in the future.

THE LAND OF AMBIENT

this category includes most of the generatives, so please see “GENERATIVE DEVICES” above, for details on “scape”, “mixtikl”, “noatikl”, “drone fx”, and “circuli”.  there are other really, truly important synths in this category, in particular, the brian eno-designed “bloom”, which was the predecessor to “scape” – “bloom” is a generative player, you select wonderfully named style and “bloom” then creates them on a grand piano for you – it’s really lovely, I can sit and listen to it for hours.

then there is another from the “mixtikl” family, the lovely ambient music player “tiklbox” – this one is really simple, it has a die in the middle, and you roll the die, and it then randomly selects or creates a piece of music based on the number you roll.  It’s mostly very pleasant, I like the music it makes, but there is very little user interaction possible, you just turn it on, roll the die, and…listen.  but – that’s cool, too.

PHYSICS-BASED SYNTHS

then you have the slightly strange synths, two more in the semi-ambient category being “circuli”, which is literally, circles that grow and collide, and those collisions produce music, and the somewhat similar “musyc” that makes it’s music with bouncing objects – again, virtual objects collide to produce notes, chords or percussion sounds.  “orphinio” presents varying sets of intersecting circles, each set to a different tuning or modality.  both of these “shape-based” synths have truly great potential, but you have to be patient to get the kind of sounds you want out of them.

GRID-BASED SYNTHS

then there are the “grid” devices – visual sequencers with massive grids that scroll past, and you merely “click on” some of the buttons as they pass, and note events begin.  one of the best of these is an old favourite of mine, “beatwave”, which I have used as a background for guitar improvs, because you can very quickly “build” a good quality backing track (it’s very similar to looping, really) and then just let it run, and solo over the top of it for live performance purposes.  a similar and also very enjoyable device, “nodebeat HD”, works in a very similar way, and in fact, there are a good number of these “grid” types of synths out there, most of which sound very good.

MICROTONAL GRID SYNTHS

then…again…you have the static grid types, such as the classic “mugician” and “cantor”, which use a static grid that you play by putting your finger on the notes you want to play, and “cantor” in particular, has a great “auto octave” function which means that if you want to go up very high, you just swipe a big diagonal line upward – and the device leaps up through four or five octaves – and a reverse diagonal, takes you back down to the lower notes.  “cantor” is more note based, although it does have microtonal attributes, you mostly use real notes, whereas “mugician”  is totally and utterly microtonal, you can “hit” notes, but it’s more about being able to play in a microtonal fashion – something that takes practice to get good at.

early on, I used “mugician”  to play microtonal indian-style melodies over the remarkable “itabla pro” (one of my very, very favourite music apps of all time – I could write an entire blog about “itabla pro”; how good it is; and how much I LOVE it!) and that was great fun – it works really well as a lead instrument in that kind of musical situation.

slightly different in design to the “mugicians” and “cantors” (which while sounding very different, do have very similar interfaces visually at least) is the most excellent “sound prism pro” which features it’s own unique grid design, that is similar but different from the other two apps mentioned.  “sound prism pro” has it’s own unique musical vocabulary, and is a bit more melodic / harmonic, whereas “mugician” and “cantor” are essentially solo instruments – melody only.

VOCAL SYNTHS

then there is the “vocal section”, which on my pad, share a special page with my audio utilities – in this category, we have some great tools for creating vocal harmonies and effects: “harmony voice”, “improvox”, “vio” and “voice synth” – each boasting it’s own slightly different way of achieving vocal harmonies – some very innovative and good sounding tools in this category, a lot of fun to sing into, too.

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

just outside of the land of synthesizers, there are also a broad spectrum of recording studio applications, such as “auria” (professional audio multitrack studio), “cubasis” – professional AUDIO + MIDI studio, “nanostudio” one of the oldest and most respected MIDI studios, and a personal favourite (and it does qualify, because it has a synth in it – a GREAT synth, called “eden synth”, which I absolutely love), “isequence”, “isynpoly” and “synergy studio”, midi studios all; and the unique yamaha “synth and drum pad” which is a bit different from the rest and is a lot of fun to experiment with – some unique sounds there, too.

the most recent entrant to this category is korg’s groundbreaking “gadget” – an incredible studio with fifteen unique korg synthesizers, bass synths and drum synths (yes, fifteen) that you can combine in endless variations to produce some amazing music.  I’m currently working on my first three pieces with gadget – and of course, I feel another eternal album coming on…

STANDALONE ARPEGGIATORS

on the same page as the studios, I also have a couple of standalone arpeggiators, “arpeggiognome pro” and “arpeggio”, which are very useful for driving your other synths, and unusual apps like “lemur”, which I purchased at half price for future development projects.

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

I also have a few of what I term “idiot synths” (no offense to anyone) because you need know absolutely nothing to run them, they are really just sample players with controls to modify many samples running in parallel.  the “groove maker” series are really quite good, I love the “groove maker rock” version especially.  I also have “session band rock” which is similar, I’ve made a couple of nice “metal” backing tracks with “session band” – the “rock” version, of course!

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

then there is the more traditional section of keyboards, which features a variety of grand pianos, regular pianos, upright pianos, electric pianos (“iGrandPiano”, “iElectric Piano”, “EPS”, mellotrons, and a couple of really, really great emulations of organs – “galileo”, “organ+”, and “pocket organ c3b3” – I love all three of these!  I am really pleased in particular to have the organs available, and the work that’s gone into them, right down to the quality of that leslie speaker emulation – I love the “slow to fast” sound and vice versa, and all of these do a good job of that.  the sounds are simply beautiful, and, they are a lot smaller, lighter, and cheaper than real organs 🙂

DRUMS & BASS – AND PERCUSSION, TOO

this section of my ipad has really expanded of late, and there are a lot of great apps available for very little cost.  starting with the basses; we have a large variety of very innovative and interesting-sounding devices, from oddities like “amen break” to more practical devices such as “bass drop hd” and”bassline”. the drums section, by comparison, is massive – old faithful “korg ielectribe”, “dm-1”, “drumatron”, “easybeats”, the unique “impaktor” (which makes a drum kit out of any ordinary surface), propellerhead’s quintessential “rebirth” which of course, handles bass and drums, and is enormous fun just to play…”synth drum”, “virtual drums”, and a million other drum kits and machines too numerous to mention…

my absolute, all time favourite drum app, however, is not any ordinary drum machine or drum kit, rather, it’s the extraordinary “itabla pro” – one of the most excellent applications I own.  full on tabla samples, with several playing styles for each template; and an extremely large range of templates in all time signatures, it’s as much an education as it is a drummer. also featuring tanpura and other supporting instruments, it has two completely tunable tanpuras, the tablas and the two tanpuras are all tuneable within an inch of their life, and it makes outstanding music for interacting with other ipad instruments.  I’ve been working for some time using synthesizers with “itabla pro” as accompaniment, and it works equally well with microtonal synths such as “mugician”, as well as ordinary “western” synths such as animoog – on my ipad right now, I am working on a new piece that features two animoog solo melodies over a tanpura and tabla backing – and it’s sounding very, very good so far.

notably, while not a percussion instrument, there is also an excellent free app, called “samvada” that does tanpura only, it’s beautifully made, sounds great, and is excellent for use either in conjunction with “itabla pro”; or, for situations where you want a tanpura drone but you don’t need tablas.  sometimes, I just gang up the tanpuras on “itabla pro” with “samvada”, for the ultimate in rich, deep drones – fantastic.

ODDS AND SODS SYNTHS

other oddities include “tabletop” which is a sort of…table top, where you can arrange midi synths and drum modules to make music with, with a lot of in-app purchases if you want the really nice tools.  it is possible to make decent music with the free supplied tools, but it is limited unless you are willing to spend a lot on IAPs.

there are so many in this “category” that I cannot possibly list them all: “76 synthesizer”, “moog filtatron”, “catalyst”, “cascadr”, “dr. om”, “noisemusick”, “figure”, “lasertron ultimate”, “samplr”, the list just goes on and on and on…

IN CONCLUSION…

and as time passes, more and more synthesizers will arrive on ios, each more powerful than the last, it just seems like a never-ending process, there are so many excellent developers out there, as well as such a hunger from musicians (myself included, I am not ashamed to admit) for these synths – especially the vintage ones, the ones that emulate the classic keyboards that we all lusted after, but most of us simply could never afford.  ios, and the availability of cheap synth apps – gives us what we could never, ever have in the real world.

armed with this vast array of synthesizing power, I feel like there is no sound that I can’t make, and no requirement I can’t meet – if I need a sound for a project I am building on my ipad – I will, absolutely will, already have a synth – or two – that can make that sound.

I am utterly in my element here, I hope the synths never stop arriving, and as long as developers keep creating them, I will absolutely, absolutely – keep playing them.  rock on.

I will leave guitar applications for another day – suffice to say, they are equally diverse and fascinating, and several of them are putting serious challenges to existing stomp box and other guitar processing hardware items.  I love my guitar apps, and it’s a whole new world of guitar playing – instead of my traditional set up; instead, I have a guitar to ipad to sound card set up – and I can get a whole world of excellent tone just using ios ipad guitar applications…

in the meantime, synthesists unite, and developers, please do not stop working on new and better and more innovative synthesizer apps.   something needs to feed this addiction, and that’s truly what it has become – but in the best possible way, and I get so much enjoyment, hours and hours and hours of enjoyment, from just playing the various synths, to making various recordings using them – it’s created an entirely new application-based world of music that I did not realise I had in myself – and it’s an absolute joy to play these innovative instruments, and to try out new combinations of devices either by using them in a multi-track environment such as “auria”, or, for simpler set ups, the very practical “audiobus” (another game-changing device) and now, we have the new inter-app audio as well, so options for tying synths together via MIDI, or for triggering other devices from within one device, just grow and grow – it is truly amazing.  I feel truly blessed to live in such times, technology at work for good, for the sake of sound, and the sound quality of most of these apps far exceeds expectations.

for that, and for the massive number of free, inexpensive or even expensive synthesizer applications, I am truly grateful, and truly happy, that these exist for me to collect 🙂

happy synth-ing!