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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Please.

 

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

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

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

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

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

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

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

And now, back to your regularly scheduled programming:

October 27, 2014

Three Pre-Orders Arrive in One Day:

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

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

And I do say.

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

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

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

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

 

[expensive boon?] 🙂

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

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

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

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!

the shortest blog in history?

we all know that the world of ipad applications is an incredibly rich and varied one, and for artists and musicians, it’s a world full of amazing tools with which to create music.

over the past year or two, I’ve watched as a myriad of incredible applications appeared, beautifully designed synthesizers that rival their hardware counterparts, and allow us to create incredibly beautiful music – all without leaving the comfort of our ipad‘s screen.

audio and MIDI studios abound; an early favourite of mine is still nanostudio, and I continue to compose in nanostudio to this day (two new nanostudio songs are ready to be mixed as we speak…).  then there are the Moog and Korg apps, fiercely competitive those two; each coming out with ever better and ever more beautifully designed synths – and some of the earliest entrants are still some of the best: I give you Moog‘s Animoog and Korg‘s iMS-20, two of the very best on ios.

sometimes though, something comes along that really throws you for a loop. audiobus was one such; giving musicians the power to have a real workflow for music apps: input, effects, output all in one easy to use interface. sheer brilliance of design; economical, functional – and audiobus made life so much easier for us all!

I’ve watched my ever-growing app farm with some trepidation, I am amazed at how many wonderful synthesizers I’ve collected (my next blog will actually be about that topic) and also at the studios: auria, nanostudiocubasis, isynpoly, isequence, tabletop and so on – wonderful tools, and it’s so much fun to make music on the ipad because of the brilliant design, and excellent sound quality, of all of these apps.

today though, I was caught off guard – I got up, a typical Saturday morning, and for some reason, I opened up the app store, and looked to see if there were any new music apps…and there it was:

Korg Gadget.

Get it.  I did.  OK, yes, it’s pricey, but I look at it this way:

1) You get a fabulous new studio for music creation

2) It has fifteen, count them, fifteen amazing synthesizers:  drum machine, bass synth, synths for harmony and lead – polyphonic and monophonic synths…

3) So if you think of it that way – you are getting FIFTEEN premium Korg synths…for 20 quid!

4) There is no number 4

5) Get it !!

Without consulting the help, I managed to load up some synths, create a scene, record a drum track, a bass track, and synth tracks – and then, went back and manually edited them in piano roll view (the default view) until I was happy with the track.  Without the manual or any help at all – I created a fairly complex track.

Gadget is quite intuitive, it does has one odd attribute: it’s set up in Portrait mode – which, after using it for an hour, I really quite like – but others may find the lack of a Landscape view disappointing – I don’t, really.

But the synths….sound GOOD.  And the studio itself is very sharp, really nice graphics, extremely good controls on the synths.  I was in shock, I was just sitting there on a Saturday, when an absolutely amazing and very unique korg studio dropped in my lap – and, fifteen fantastic sounding synthesizers, too – it’s worth it for those alone!  and – one of the synths has some M1 patches in it, which is very cool – the M1 was my “dream synth” for years, which I never could afford – but I love the sound of it.

I really felt a shock when I opened up that app store page and found Korg Gadget sitting at the number one spot in music; (of course) and all I can say now is, it’s a fantastic app, it sounds great, it’s very, very easy to use, and you can create good sounding music without reading the manual – ticks all the boxes in my book!  And I’d have to say to Moog: Korg has just upped the game here, and you need to look sharp!

Kidding aside, with Gadget, Korg have raised the bar very, very high, and the other manufacturers are going to have to work hard to beat Gadget…but I actually hope that they do, a Moog studio as good as Korg’s Gadget would be amazing.

Still raining, still dreaming…

Korg Gadget.

One hour with it was all I needed to convince me.  It’s well worth the money, it sounds really, really good.

But don’t take my word for it, just go and read the reviews: after two days, it’s already at four and a half stars.

What an awesome way to start the day !

Enjoy.

d 🙂

turning a disadvantage into an advantage…and “the perception of music”

today I want specifically to talk about perception, in this case, my own perception of the music that I create, and some observations I’ve made regarding this.

first off, I’d like to suggest that I think all musicians may experience what I am about to describe, namely, that feeling, while you are playing, performing with, or recording your instrument(s), that what you are playing is possibly:

a)     not as good as it should be

b)     not “right”

c)     going horribly wrong, but you carry on anyway

d)     is a “disaster in the making”, but you carry on anyway

e)     sometimes, that bad feeling is so strong, that you actually abort the take (or worse still, stop the performance!)

I don’t know about you, but all of the above has happened to me; most of them, many, many times.  blessedly, the last one, not too often 🙂

but, based on some listening and performance experiences of my own, I would like to suggest that if we are feeling this way when we play, that we are maybe doing ourselves (and therefore, our music) a huge disservice.

a case in point, is a track I recently mixed, that I had recorded live in the studio on september 30, 2012, entitled “into the unknown”.   this track, a lengthy improvised piece (an 11:48 scape and energy bow guitar duet), is the perfect example of what I am talking about here, in that, while I was recording it, I really didn’t think it was going well at all.

I had concerns about the tuning of my guitar; concerns about the ambient guitar parts I was playing; and concerns about the solos I played.  those concerns stayed in my mind, from the day I recorded it, september 30, 2012 – until february 10, 2013, when I finally sat down to mix the track!!  all that time – I held a very, very negative view of this improv in my mind – I was pretty sure it was not going to be a good experience to hear or mix it.

how very, very wrong I was (thankfully).

much to my amazement, when I mixed “into the unknown” – while it wasn’t perfect – to my everlasting astonishment – it’s actually a very, very beautiful and good track, with nothing particularly “wrong” about it !!!!

but, at least for me, as it so, so often does – my “self-criticising circuit” just kicked in automatically, every tiny imperfection I perceived as I played it, magnified a million times, until I was sure it would be a waste of time come mix time – and boy, was I ever wrong – it’s a gem, and I am now very excited about this track – I really enjoyed creating and publishing the video of it, because it’s a unique and unusual scape and guitar synthesizer duet – a very, very unusual, (and quite lovely, too), piece of music indeed.

surprise number one: when I sat down to mix the track, the first thing that struck me was how very beautiful the underlying “scape” was, and that meant immediately, that 50 percent of the track is automatically “good” and beautiful, too.

surprise number 2: the other 50%, which is what I “live looped” and played live with the guitar synth – OK, some of it required a little work, I did have to “treat” a couple of the guitar synth solos to make them sound better – but mostly, there was nothing much to do, except trim the track, add a tiny bit of reverb overall, and master and produce it.

and with fresh eyes and fresh ears, that nasty (mental) list of problems and complaints, looks slightly different using my february 9th, 2013 “ears” – I’d say that list should really have read this way:

a)     song is better than I thought – much better

b)     it’s very right – the scape is great – the guitar synth is good – the solos are acceptable

c)     it was going well, and I was right to carry on – a good decision

d)     not disastrous at all, and I was right to carry on – a good decision

e)     luckily, I did NOT abort the take, because if I had, it would have been a tragedy – a travesty, as it would have meant throwing away a really, really interesting, utterly unique, and perfectly good piece of live music!

so this is how the perception can change, and of course, now, being aware of all this, I do make a serious effort to look more positively upon music I’ve recorded, because much of it is probably (but not necessarily!) much better than I initially think it is.

what I take away from this is at least twofold:  one: I need some time, a significant amount of time, to pass, before I “pass judgement” on any of my recorded works, and two: I shouldn’t be so hard on myself.

another track, “escape from the death star” (a seven minute scape and ebow loop/live duet recorded on october 20, 2012) proves the same point – for a different reason.  I had the usual mental list of “what is wrong with this track” – as above, but in this case, this track came from a truly disastrous session, where things really DID go wrong, and badly wrong, on the first fourteen of fifteen tracks recorded total (now THAT is a bad day in the studio!).

so, based solely on it’s presence within this “disaster session” (unfortunately, an accurate name for it) – I think I just assumed that this track would somehow be tainted by the failure of the other tracks, harshly judging it by the same criteria with which I rejected tracks 1 through 14 – which again, is a ridiculous assumption, and again, I was quite surprised on first playback, to find that it is a very intense, very powerful, ebow and scape loop – and, to be honest – it’s not bad at all!

once again, I placed a mentally “negative filter” over this piece, which was unfair and incorrect – needing to measure the piece based on it’s musical merit rather than it’s inclusion in a set of bad music.  time seems to be what I need, hindsight I guess…that seems to be the main catalyst for me swapping my negative view for a much more positive one.  I am hopeful though, that since I’ve written this article, and discovered these behaviours within myself, that I can be less negative at the time of recording, and shorten the time needed to achieve the correct and positive view of these improvised pieces of music.

now, I am not saying that you should automatically assume that every take you make is golden!  you do have to be critical, and even ruthless, and remove takes that are less than inspiring, have substandard solos, or are too much like one another.  I’ve never had too much trouble with that, although there have been occasions where I felt like I really had to publish many, many examples from one session, just because the quality was high overall, and the different takes reflected different aspects of the improvs that were important musically.

but that is a rarity; very few sessions produce a 50, 60, 70 percent, or higher, success ratio (for me, anyway) – most sessions end up with one or two very good takes at the most, a few decent takes, and several that are not taken further. very occasionally, 90 percent are good.  very, very rarely, all of them have merit – very rarely indeed – but it has happened.

but otherwise, it’s actually the norm for me to record a dozen or more pieces of music, and then in the end, only publish perhaps three or four of them.  sometimes, maybe just one or two…or in the case of “escape from the death star” – maybe even just one!  depending on the session, it may also be that I might publish eight or nine out of 12 tracks, or 14 out of 20, or whatever makes sense to me from a strictly musical point of view.  some days, you are fortunate, other days, not so fortunate.

as always, though, it’s about finding balance – finding the sweet spot between being fairly and justly critical, but not automatically assuming that everything you record is really, really incredible – just finding the right pieces, the ones that reflect well on you, that express your musical ideas well but not too overtly, regardless of if they are understated or “over the top”, the ones that represent “you”  as composer, musician, performer – but, at the same time, trying not to be too critical on yourself, giving yourself some slack!  give you a break… 🙂

now – I can just imagine you all scuttling back to look back at those tracks you recorded four months ago, six, seven months ago…desperately hoping that they have miraculously turned from bad to good while you were busy elsewhere – but you may be disappointed.  or, you may find a hidden gem or two…

I just know that for me, I can often be very, very overcritical at first, especially at the time of recording, just after, and probably for a few weeks afterwards – but interestingly, as I found, after a few months, when you listen (with fresh ears), you may well find that you were too critical, and you have perfectly viable music sitting there just waiting for that final mix and master.

while we are on the subject of behaviours and perception, I’d like to mention another curious behaviour that I’ve noticed in myself recently, and I wonder if any of you have ever experienced this – it’s what I now call the “I don’t want to know” syndrome.

a very current and very real example of this is my current and ongoing relationship with a peter hammill song entitled “the siren song”.  over the past several months, I’ve had several recording sessions devoted to this very, very difficult-to-play, difficult-to-sing track from “the quiet zone/the pleasure dome” album, by van der graaf, from 1977 – and I have struggled mightily to get a take that I am entirely happy with.

some of those sessions ended up yielding absolutely NO candidates (usually due to unrepairable and disastrous and horrific errors in my piano playing – it’s devilishly difficult to play!); others, perhaps, one or two at the most, and those with too many faults, although I will say, as the months marched on, my understanding of the song (and particularly, the piano parts) has grown immensely, and the last few sessions with it were far and away, the closest I had come to getting “a take”.

but here’s the interesting thing.  I love this song; I am absolutely determined to capture a good quality version, completely live, at the piano, and, I have done a lot of work, both in learning the piano part much better than I ever knew it before, and in recording the track over and over and over and over again, slowly getting better at it in the process.

as you know, because I record so much music, using so many different instruments or apps, that there is always a backlog of songs that need to have their audio assessed and mixed.  I did a couple of sessions for “the siren song” several months ago, that went quite well, and I was even wondering, just kind of wondering…if possibly, one of the takes in that very last session MIGHT be “the take”.  but – I couldn’t face listening to them back, to find out if a good take was present.

eventually, after months of dread and procrastination I finally went and listened – and there it was.  a good take!

however – for some reason – for a long time, I absolutely, steadfastly, and repeatedly, AVOIDED going back to listen to those last two “siren song” sessions!  because…I didn’t want to know!  I did not want to find out whether I “had a take” or not!  what a strange thing to do, but for some unknown reason, I assessed the first few “the siren song” sessions, up to a certain point in time – and then, fully intending to carry on the next time I mixed – I just STOPPED – utterly inexplicably.   I kept avoiding it, until eventually I had to face it – and much to my surprise, that good take I was looking for – was there…with very, very little wrong with it.  a minor miracle, in my experience 🙂

instead of continuing the seemingly never-ending sessions devoted to capturing THIS song, and this song alone, I could then move on to other projects, and at last, let go of the seemingly endless search for that elusive “good take” of “the siren song”.  🙂

I think as musicians, we do sometimes do strange things with regards to the music we create, we are in denial about certain things, we hope that certain takes ARE takes when we know deep down, that they are NOT, conversely, as described in this blog, we thing takes are bad when they are really OK…and so on.

I was really hoping not to solve any great problem here, but just to draw attention to some of the psychological aspects of recording modern music (as opposed to the physical challenges, such as dealing with computers, MIDI, soft synths, DAWs, digital noises, pops and clicks, and so on…), but mostly, how very important indeed it is to give yourself a break, let music sit for a while before you judge it too soon or too harshly or both – and also, I think you will find that the passage of time gives you different ears with which to listen, and when you do find the time to listen, you will see – and hear, more importantly – the work you’ve done in a whole new light.

I noticed certain behaviours during the creation and mixing of these songs and recordings, and I wondered if any of you had had similar or identical experiences, or, if there are other behaviours not noted here, that you indulge in that you may wish to share with us all – if so, please feel free to fill in the “comments” below – we’d be very glad to hear from musicians and listeners alike as to any issues they find with “the perception of music”.

as always, we encourage you to participate, and we do want to hear your views on this blog, so please feel welcome to comment on this or any of the blogs, we’re always happy to discuss / dissect / deviate from topic / whatever it takes to communicate, learn and grow.  I think this is a very real problem for many musicians, yet I can’t remember ever hearing anyone talk about it – so I decided that I had better say something! 🙂

being overcritical may be another symptom of OCD, which I do have a mild case of, but I don’t really believe that.  I think it’s something basic in my personal make up, I tend to focus on “what’s wrong” with each piece of music, rather than celebrating “what’s right” and being kind to myself, and letting go of “what’s wrong”.  so being aware of this – I can make changes, and start to view things more positively.  I do try now, to give myself a buffer zone of time, a week or two, preferably more – and THEN go back and listen…and invariably, things sound better once they been around for a few weeks – strange but true.

of course, I WILL go and fix what is “wrong” – even if it takes a week to fix 30 seconds of music.  [does this sound familiar to anyone ????? 🙂 :-)]

happy mixing and mastering to all!!

peace and love

dave

a new year, a new beginning – and the piece that is – providence suite

here we are, then, on the cusp of another year, 2013 is over, seemingly in a flash, while 2014 is about to begin: and with it, my second major classical work, “providence suite” which has now been published on bandcamp – on the newest eternal album, “classical”, available for your listening and downloading pleasure.  if you read my last blog entry, you will know about the music for this project; it was meant to be a collaboration between John Orsi and myself, but, this was one project that was fated not to be, at least not in the collaborative sense that it was originally intended.

the seven new pieces that make up “providence suite” join my only-just-released first-ever classical work, which was a piece written on the guitar synthesizer and released earlier this year (2013), “concerto no. 1 in e minor for oboe and guitar”, from the dave stafford eternal album, “classical”.  originally known here on the blog as “the orsi-stafford project”, at some point during the work in 2012, after some months and some deliberation, John and I had agreed that our new band should be called “providence” – so – “providence”, the band, was born, from our collaborative / collective imaginations.

when I heard the sad news of John’s untimely passing earlier this month, I felt even more determined to see if I could complete and finish my “providence” demos – which consist of two fruitful days’ recording in the studio, back in march, 2012.  so over the 2013 christmas holidays, I sat down for another two days, and had a good look at the material.  these two sessions done three weeks apart during march 2012, over the past week or so, with 2013 winding down and 2014 looming on the horizon, have captivated my attention and my ear; the music has somehow, almost magically, transformed from two (rather large and somewhat daunting) batches of unrealised tracks into a substantial piece of classical music: “providence suite” by dave stafford (music inspired by the band “providence”). I was surprised (and still am, if truth be told) at both the quantity and the quality of the music, I remember being satisfied with it at the time, but I had forgotten exactly what was there…musical buried treasure.

inspired by our discussions and plans for the band, I sat down to record “sketches” for John to listen to and consider, so he could listen to what music I was thinking of for the project, from which he could then work out what his percussion goals for the album were, and respond with sketches of his own. the bulk of the demos for “providence suite” were played by myself on the keyboard, for the first two movements, on march 4, 2012, and for movements three through seven, from (what became) the final “providence” demo session on march 24, 2012.

since I am known primarily as an ambient looping guitarist, I didn’t want to sit down and create lots of really beautiful, but perhaps, predictable ambient music, it seemed too easy:  I could just set up my guitar, and create a bunch of ebow loops (which, I now realise, I’ve been making for over 25 years…sigh), and send them away to John. so I decided to purposefully do something unexpected: instead of doing what was comfortable / expected / easy – instead, I played the piano.   and, stranger still, I wrote classical themes, instead of ambient or rock or pop.

such an ambitious move might well have backfired, but good fortune smiled on me; my many years of self-taught piano playing stood me in good stead (not to mention my fortunate / apparent / ability [??] to improvise without rehearsal or plan!) – the two sessions went very well indeed.  of course, if you are known as a guitarist, ambient or rock, what you do is…play classical piano?  well, strange though that idea may seem – it worked out quite well in the end.

so, I set up my MIDI grand piano in the now-familiar way, with more than one sound output; so I could have a choice of grand piano, and various mellotron “versions” of the pieces, with which to later build the album.  I then sat down and played – and for the most part, with some minor editing, what you hear in “providence suite” is exactly what I sat down and played.

played extemporaneously, I might add – for example, “grace”, is compiled from a series of 16 takes of the same evolving theme, with a number of mini-musical-themes within those 16 takes, originally, it was three mini-themes: takes 1 and 2 were “theme  I”; takes 3 and 4 were “theme II”; takes 5 through 15 were “theme III”; while take 16 was my attempt to incorporate all three themes into one single take – certain piano phrases, chord changes, and melodies that repeat in different configurations, as the takes…and hence the resulting movement…progress.

when it came time to assemble the piece, it just sounded “right” with all of the variations intact (the original plan had been to use the “best” takes – but what do you do when all sixteen tracks seem to be…”best”?. you publish them all…of course!)  🙂

so, the movement consists of all 16 takes, in sequence, in the order that they appeared – simply “tacked together”.  I merely “closed up the spaces” between the takes – and that was the movement – “grace”– it could not have been simpler.

this is an example of myself composing classical music on the fly, and luckily, with the recorder running; but at the same time, it’s a glimpse at the creative process, too; with each take, I am improving the themes, testing out alternate ideas, and generally perfecting the themes on the fly, as I was playing them. the takes for “movement no. 1 – grace” start out fairly basic, and then they grow and grow, and then for the final take, take 16, I attempted to reiterate each of the three mini-themes within the session all in one take – so that take does a wonderful job of recapitulating the 15 takes that went before, and was the perfect way to conclude the movement, too.

using both the piano tracks and the various mellotron variations, the music recorded in the first session, on march 4th, could then be assembled into the first two movements, “movement no. 1 – grace” and “movement no. 2 – redemption”.  “grace” is strictly solo grand piano, to clearly establish the themes using a familiar instrument; while “redemption” (which uses 17 iterations of the same 16 takes from grace, re-configured) restates those themes using the various mellotron voices and piano, including some unusual-sounding voices such as “after glow”, along with the more traditional, and more easily-recognisable, string and choir voices.

originally, there were four main keyboard themes, which shared two titles (“grace” – representing the march 4th session; “providence” – representing the march 24th session) – so originally, themes one and two, from march 4th, were “grace”, and themes three and four, from march 24th, were “providence”.   in the end, while I was assembling the pieces, and realising that I had a lot more viable material than I at first thought, I expanded the titles to seven distinct movements, which incorporate the four original themes.

when I read the above paragraph back, it seems a bit unclear ! so perhaps the simplest way to clarify it, is to draw a mapping from “theme” to “movement”:

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

providence demo session – march 4th, 2012:

themes I & II      “movement no. 1 – grace” (solo grand piano themes) – from 16 sequential takes total (essentially a live performance, with some minor edits)

themes I & II      “movement no. 2 – redemption” (piano and mellotron variations on the themes) – 17 iterations total (from 16 takes)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

providence demo session – march 24th, 2012:

theme III             “movement no. 3 – providence” (piano and mellotron variations on the themes) – 13 takes total – including. from march 4th, one short excerpt from theme I and one short excerpt from theme II – which neatly ties together all of the themes from march 4th into the “providence” movement (the only movement to contain music from both the march 4th and the march 24th sessions)

theme IV              “movement no. 4 – atonement” (live performance – takes 1 through 5 of theme IV) – 5 of 9 takes total

theme IV              “movement no. 5 – purity” (live performance – takes 6 through 9 of theme IV) – 4 of 9 takes total

theme IV              “movement no. 6 – perfection” (piano and mellotron variations on the themes – takes 1 through 5) – based on the same live performance as “atonement” – 5 of 9 takes total

theme IV              “movement no. 7 – transcendence” (piano and mellotron variations on the themes – takes 6 through 9) – based on the same live performance as “purity” – 4 of 9 takes total

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

the themes were originally intended to be first piano; then piano and after glow mellotron; and then, finally, a combination of those two plus additional choir / electric piano tracks, which were recorded live / direct from the output of my MIDI keyboard (using it’s very high quality internal voices).

however, thanks to some relentless digital noise (a constant problem with “pops” that plagued my studio for many months, and is now blissfully, mostly gone), all of the MIDI keyboard choir, strings and electric piano tracks were scrapped (ALL of them – from both sessions – so, dozens of tracks – all too damaged to salvage), which at first seemed an insurmountable loss – until I came up with the idea of re-creating them in an even more beautiful way, using a violin orchestra and a specially-designed stereo choir.  problem solved.

that is the beauty of working with MIDI – your output can be literally anything – although for classical music, I would basically always stick with using true pianos software for the grand piano sounds, and the m-tron pro mellotron software for more exotic sounds, in this case, strings and choirs.

by adding the additional three mellotron elements in – violin orchestra, choir ahs, choir oos, I was then able to “mix and match” instrumentation for any of the sections within each theme or movement.  and where the instruments change, that’s an indication of one take ending, and another one starting – so in some of the pieces, you can actually hear where each individual take “is”, because the instruments change each time the take changes from one to the next – solo choir, then piano and strings, then piano, strings and choir, then solo strings, and so on.

some of the pieces are presented just as I sent them to John, and pretty much just as I played them, unrehearsed, unplanned; especially the solo grand piano pieces, which had his approval – “movement no. 1 – grace” is very close to the demo versions; while “movement no. 3 – providence” did require some editing – there was simply too much material, too many takes, so I had to (reluctantly) remove a couple of the sections, and edit together what remained – but I was careful to preserve the musical themes – very, very little in the way of music has been taken out, just excessive repetitions of certain phrases were carefully removed.

so “grace” and “redemption” share the themes from the march 4th session; while “providence” presents the third theme (plus a reprise of theme I and a reprise of theme II – one take of each added in to the piece to tie all of the march 4th themes together – within the first theme from march 24th).

in the mixing stage, “movement no. 3 – providence”, gave me the most grief, it took three tries to get a mix I could feel happy about, the exuberance of the young pianist knows no bounds – but a little creative editing sorted that out – while some unplanned and exciting juxtapositions in the last four movements, and indeed, the inclusion of some of the earlier themes in “movement no. 3 – providence”, to tie the whole suite together, well, this was as much of a joy to assemble and mix as it was to play, it really was a pleasure – and it’s difficult for me to comprehend that all this music came from just two days of unrehearsed, extemporaneous piano playing – it was as if I’d composed it in my head beforehand, or in my sleep, in a dream, perhaps, and then; just sat down and played it from memory – the themes appeared like magic, with little conscious input from myself.  I recorded quickly, take after take, refining the themes as I went along.

when I sent the demos to John originally, his responses were both enthusiastic and very positive, and, he paid me an incredible compliment; when speaking about one of the pieces, he said “this piece is complete as-is, there is nothing I can add to it – it’s perfect” (paraphrased but you get the idea) – and that speaks to the sort of “completeness” or “completed-ness” if you will, of the pieces – they felt complete, they felt composed, despite the fact that I literally sat down, pushed “record”, and started recording with no notes, no rehearsal – and from that – this massive suite of music now exists – much to my everlasting astonishment!

I was particularly eager to mix and master the last four movements, because they utilise the incredibly beautiful “ebow ensemble” mellotron voice, which while it consists of sampled ebows (my normal instrument of choice) when played back on the mellotron, it doesn’t sound quite like ebows, it has a more ethereal, beautiful, string orchestra-like feeling to it, so it’s like a cross between the most beautiful ebows and the most beautiful strings you never heard…a magical, beautiful musical voice for the final four movements of the suite.

again, I used the strings and special stereo choir to augment the “ebow ensemble” voice on the final two movements, but for “movement no. 4 – atonement” and “movement no. 5 – purity”, you hear just the “ebow ensemble” in it’s purest form, with nothing added and no variations – and again, these two movements are basically what I played on the day, march 24th, 2012 – “movement no. 4 – atonement” is made up from combining takes 1 through 5, unchanged and unedited, while “movement no. 5 – purity” is composed of takes 6 – 9, unchanged and unedited, of nine takes total – every note I played is presented in these two themes, as they were played. so in this case, movements four and five are live recordings of theme four, and in fact, they represent every one of the nine existing takes of theme four, as they happened.

by that criteria, in actual fact, movements four and five are completely and totally “live to digital”, while the other themes underwent very minor editing (with the exception of “providence” which did have to be edited more severely) so these two live “ebow ensemble” pieces give you an idea what it was like for me, sitting there at my keyboard, hearing what would become “movement no. 4 – atonement” and “movement no. 5 – purity” come out of the mellotron – an unbelievably beautiful sound, which was utterly inspirational, and I hope you can hear by the soaring theme four, just how exciting this last session was – unforgettable.  I had never recorded using just the ebow ensemble voice (no piano) and it just sounded amazing to my ears – a remarkable experience.  when you press down the keys and that sound comes out, it’s just breathtaking and extremely inspirational.

I should take a moment and talk about the missing piece (my apologies, I am listening to gentle giant as I type this blog entry) ; during the march 4th session, I did record some guitar synthesizer pieces for the “providence” project (before I began this keyboard-based work); these were mostly unsuccessful, requiring a lot of time and effort to make them useful, however, there is one very simple and overriding reason why they are not included here: they are not really classical music – and while I can play classical music on the guitar synth, the pieces I recorded on guitar as demos from providence, were simply not the right material to be added directly to “providence suite” – they were going somewhere else musically – so if and when they are released, it will be…somewhere else :-).

if time permits, I do intend to sit down with these guitar themes (including the unreleased theme “intransigence”) and see if I can create something to listen to, although it may be more in demo form than in completely mixed and mastered form as “providence suite” has ended up – there is not a lot of the guitar material, certainly not enough for an album or possibly even an EP, but if I can master any tracks from that part of the session, of course, I will – but that’s something I plan to look at later on in the new year.

once I set the guitar aside, and sat down at the piano, where I proceeded to play the “grace” theme pretty much as you hear it here…everything started to go right in an incredible way.  I can remember feeling so excited about these pieces, and I burned all of the tracks (which were quite substantial) to disc and mailed them away to John for his comments…which came back very positive, he seemed happy with the material, and I was looking forward to hearing his sketches.  that never came to pass, so my “half” of the music of providence, now released under my own name, is all there is of the band that was-to-be-known-as “providence”.

life is a funny thing, it never goes as you plan it, as john lennon once said, “life is what happens while you are busy making plans” and that could not be a more true statement for this project – I am amazed, though, that some 22 months after it was recorded, that this piece of music would be so epic, so challenging, so dramatic and so clearly filled with emotion.  I tend to pour emotion into the music I write; the chords, melodies and harmonies I choose (minor motifs are common) reflect this, but in this case, it was if these pieces were already present inside me, in the memory of my hands and mind, and the act of sitting down at the keyboard released them into the world.

and here they are – the seven movements of “providence suite”:

grace – 18:54

redemption – 19:46

providence – 20:34

atonement – 10:40

purity – 6:22

perfection – 10:38

transcendence – 6:22

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

for John, without whom, this music would not exist

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

www.overflower.com the music of john orsi

www.pureambient.com the music of dave stafford

POSTSCRIPT:

I recommend that if possible, to listen to the entire suite as a single work – that’s how it’s intended, of course, you can listen to any of the movements in isolation, but playing the seven movements in sequence gives you the music in the way John and I discussed and intended it to be, as an “album” – and given that John was not able to actually contribute any recorded music, I still very much valued his input, I valued our collaboration, and the ideas we exchanged, and his intentions are as well-reflected as they can be in these pieces – I have worked very hard to do justice to his memory, by assembling this plaintive,  sometimes sombre set of musical movements, made up of the raw material that was originally meant for the first “providence” album – the album that was not to be.

“providence”, as a band, never completed or released any actual music, which is why I have taken the time to mix and master “providence suite” now, at the end of december 2013, and to release it with my best wishes, sending my positive thoughts with it into the new year 2014.  reluctantly, I release it under my own name, rather than under the name “providence” – but that’s not a problem, it’s just an unavoidable issue – this is the way I can release this work, which features only myself performing, unfortunately.  if John had had time to send me his parts (it is actually unclear if he ever was able to actually record any parts, or if they were recorded, he never sent anything to me beyond letters), it would be a very different story…and a very different album, too.  so what was to be a collaboration of many instruments with ambient and active percussion, with ebow loops and solos, with collaborations…instead, I am presenting these “solo” versions of the seven movements, taken from the original master recordings made in march, 2012 – because that is the only option.

“providence suite” was conceived to honour the memory and intention of the band “providence”, and to honour the input of John as much as is humanly possible when the music presented does not contain any of his recorded sound – but his heart is in it (as is mine), and when I hear this music, I think of the music of  “providence” – not of “dave stafford solo recording” – that’s a choice that was made for me, I am very happy indeed, but at the same time, it is with a heavy heart, because John isn’t here to see it happen (and more importantly, he is not present to hear the music inspired by the band – beyond in demo form – and from our collaborative thoughts and communications) – I am most happy to release these pieces now, comprising “my half” of the work, in John’s honour and in his memory.

I never met John “in the real world” but from his letters and other communications, I felt a kindred musical spirit, we shared a vision of a new kind of collaborative effort, across an ocean, from providence, rhode island to the wilds of central scotland –  we…stood poised…to set the world on fire with our music – and in hearing “my half” of what the band would have eventually released, I’d like to think that we actually would have :-).

this one is for you, John, wherever you are.

on the road to red…

Impressions, feelings, memories. a journey made by my favourite band of all time – King Crimson – across the USA and Canada – ending in some professionally recorded gigs and ultimately, to that final gig, on July 1, 1974, in New York’s Central Park – the end of an era – the end of the original King Crimson which had existed in one form or another since 1969.

Ten very diverse albums, embracing prog, jazz, rock and musics in between; countless tours, one of the most road-tested bands of all time – and in many cases, Fripp, the band leader, would work in reverse: instead of recording an album and then going out and playing it, he would “rehearse” the band by going on the road, and then once the songs were worked in, then it’s time to record them – a wonderful way of working, a method which gave us “Starless and Bible Black” – a studio album that is mostly live.

The Road To Red” if you haven’t heard, is Fripp’s latest “attack on culture”: simply, it’s as many of the 1974 live shows, from the US/Canadian tour, that could be eked out of whatever tapes existed, brought together on 21 CDs for your listening pleasure (yes, I said 21) – if you have a few days free to listen!  It’s an impressive feat, and actually, given that some of the source tapes are dodgy bootleg cassettes, the set as a whole is extremely listenable, because, the occasional lapse in sound quality aside, this band was on fire – they went out each night to try and change the world, just a little bit – and every night, they were rewarded with something memorable.

now, we are reaping that same reward, but with the added time, these performances seem even more extraordinary – this was a band with a particular musical vision, and they stuck to that vision – night after night.

It’s not all perfect – things happen, as Robert once said “a foot slips on a volume pedal…” but it’s pretty damn consistent, and given that they were using not one but two of that most temperamental of instruments, the mellotron, it’s amazing that things didn’t break down more than they do.

There are no surprises here in terms of musicianship, except perhaps how very effective David Cross could be with his extremely distorted electric piano, or in occasional quiet moments, on the violin, there is almost no need to describe just how incredibly well the rhythm section play on this set, it’s an object lesson in power and precision, the Bill Bruford / John Wetton team, topped with the amazing guitar histrionics of Mr. Robert Fripp himself – soloing with passion, power and even humour – there is one moment during “Easy Money” where Fripp tries to get Wetton to laugh, and it’s there in almost every take of the track, Wetton trying to sing but instead, listening to and laughing out loud at whatever silly riff Robert has inserted into “Easy Money” on this particular night.

I said there were no surprises here, but what I mean by that is that there are no surprises that these four players play so, so well, individually, and as a unit, but, there ARE surprises, sometimes, something will happen one night that doesn’t happen on any other night.  Perhaps it’s the guitar solo in “Lament”, which may sound much the same from night to night until one night, when Fripp decides it’s time to try something completely different, and holds one note for ages as the start of his “solo” – and then plays a blinder that is nothing like previous “Lament” solos. The next night – back to the “normal” solo.

Or, Robert might decide that tonight, the guitar solo for “Easy Money” is going to be done double time, and when he comes in with said solo, the ferocity, the determination, is truly awe-inspiring – the band are very comfortable with these tracks, and they don’t mind deviating from the script – in fact, it’s positively encouraged – and from night to night, each of the four will change up their parts, just for the sheer joy of seeing what might happen…

And sometimes, what happens is remarkable.  There are some truly beautiful renditions of King Crimson classics here, and it’s especially gratifying to have so many versions of “Fracture” and “Starless” to luxuriate in – personally, I can’t get enough of either track.

For me, too, often, it’s the “Improvs” that make these shows truly interesting, where the band goes completely off-script, and sometimes, the results are truly inspirational – stunning, loud, fast, amazing, slow, beautiful, peaceful – these improvs can be almost anything, and it’s fantastic that the band includes them in every show – they break up the sets beautifully, often providing a springboard in or out of one of the pieces in the set list.

Maybe the best anecdote that sums up the professionalism, the camaraderie, the teamwork, of King Crimson Mark 3, as Fripp calls this band – is the story of the “John Wetton Save”.  This occurs early on in the set, near the end of one of the versions of “The Night Watch”.  The piece is nearly done, Fripp is on his own, playing the short, repeating mellotron chordal section that leads up to the final violin melody, which then leads to the song’s end.

Fripp is playing away, the revolving mellotron part, when the band all seem to realise that there is no violin coming in (apparently, it had broken down completely) so what happens next is astonishing: Fripp decides to play the part a second time, so another few bars of music go by, when once again, the moment has come for when the violin solo should come in.

But what happens instead is, we hear John Wetton playing the violin melody as a bass solo, with feeling, playing it note perfect, slowly, deliberately, as if it were MEANT to be a bass solo (even though it’s NOT a part he is required to know – somehow, he knows it!) which then brought the band to the end of the piece perfectly – without missing a beat – and a successful conclusion, sans violin, to a beautiful piece of music. 

And – it’s a bonus, it’s the ONLY time you will hear Wetton playing that particular melody anywhere on record – it was a demand of the moment, an equipment failure causing an unscheduled bass solo emulating a missing violin solo…brilliant !!  It could only happen in King Crimson, and it’s to Wetton’s credit that he picked up that melody so quickly and perfectly – saving the day and rescuing our distressed violinist.

I could sit here and write about each disc of this set, exhaustively, pointing out certain gems and certain gaffes (not too many of those, actually) but I think it’s best if I just keep this concise and say, if you like King Crimson live, you could do a lot worse than to pick up this beautiful box set, which comes with all kinds of goodies, a huge booklet featuring the good Sid Smith; excerpts from Fripp’s diary, photographs, and various facsimile lyric sheets and so on – a really, really nice package, which also includes a treasure-trove of DVD and blu-ray material.

Another nice feature of this set is the fact that five of the shows were recorded professionally, multi-track, so that means those five shows can be presented in extra pristine sound quality versions.  You even get two different mixes of one of those shows – the Asbury Park show – one mix from Robert Fripp, Tony Arnold and David Singleton, the other, from Ronan Chris Murphy.

The presence of the high quality recordings near the end of the set nicely balances out some of the less high fidelity moments earlier on, so you actually end up with increasingly better sound quality as the set goes along (with the exception of the final Central Park concert, where we sadly, must return to a cassette source).

That’s a bonus you don’t get in most live series, professionally recorded shows – but this was intentional, and all of the material for the official live King Crimson record of the day, “USA”, is culled from those shows.  So really, this record might have been called “The Road To Red And USA” but I guess that doesn’t really have the same ring to it!

Disc 21 is the culmination of the “road” – a new 2013 mix of the studio album “Red” which followed this tour – mixed by the unstoppable Steven Wilson. So you get to hear the live shows that lead up to the recording of “Red”, so you can feel the energy that was in the band when they went to make that record.  It’s no wonder that the studio version of “Starless” is so incredible, being built on the back of these live performances – that is proof that the rehearse-on-the-road method really works when it needs to.

For a fan like me, ordering this was an absolute no-brainer, yes, I did have a few of these shows already, but this brings them all together in perfect chronological order, so it’s nice to have them all in one set.  Some of this material was released on the most excellent “Great Deceiver” set (but, only in part) and others were variously, DGM CDs or DGM downloads – but, to be fair, there is also a fair amount of previously unreleased material, which makes it an absolute “must have” for the voracious King Crimson fans – of which, I am admittedly one.

This set rocks, I’ve sat for the last two days, playing disc after disc, hearing the band get better and better at the tunes, and hearing the improvs develop – and I can tell you, the conclusion of “Starless” night after night, does not get ANY less beautiful or inspiring, it’s just incredibly beautiful, and Fripp’s final lead solo at the very end of the song, is soaring, searing and intensely, intensely beautiful – that one note just rings and rings…and then fades away as the mellotrons also fade.  it’s starless…and bible black.

I am surprised, I would have thought that after about ten discs, I would be getting tired of hearing “Lament” or “The Talking Drum” over and over and over again, but I absolutely do not, because interesting things happen – different things happen from night to night, show to show, venue to venue, and it’s fabulous hearing the band experimenting, trying out new ideas, as they tour across North America.

Then, finally, July 1, 1974, live in Central Park – the great Crimson beast of 1969-1974 was finally laid to rest – the last live show ever by this line-up, and the continuous series of various “King Crimson’s” finally brought to an end – and at that time, of course, we didn’t know that Crimson would indeed re-emerge, re-built from the ground up, in 1981 – but for us, suddenly in 1974 to find that Crimson was no more! – this final line-up was probably the best line-up, it’s arguable either way, many cite the 1969 line-up that only existed for 11 months as the “best”, or, this final quartet that worked for about 18 months (from 1973 through half of 1974) – I am not counting the 1972 – 1973 period when they were a quintet with Jamie Muir.

I think that this band had a better chance to really work out their repertoire, and they actually had material that stretched from Larks’ Tongues through “Starless and Bible Black” – two full albums (and, two of their most adventurous, complex, mature works from which to draw on) – plus, they played old worlde Crimson pieces such as “Cat Food”, “Peace – A Theme” or “21st Century Schizoid Man” – and, also, odd unreleased tracks such as the illustrious “Doctor Diamond” which was never recorded in the studio (I think).

It was great fun, for example, hearing Wetton tackle the vocal to “Cat Food” – that is really something (not found on “The Road To Red”, but available on earlier live recordings) – and this band’s take on “Schizoid Man” is not to be taken lightly.  “Schizoid Man” isn’t played at every gig on “The Road To Red” but when it is – you notice 🙂

I am staggered, though, just listening to a randomly selected version of Fracture, first, at the complexity and maturity of Fripp’s biggest challenge to himself (of the time) – and second, at the world class, incredible fuzz bass and loud distorted bass and beautiful soft bass that John Wetton plays during “Fracture”.  Yes, what Bruford and Cross do in “Fracture” is very important, I am not downplaying that – but what Wetton does with this piece, you can hear him, hanging on for dear life, trying to follow Fripp on his cosmic guitar journey – and then that bass solo at the end – it’s fracking impossible – he rips it off like it’s nothing – and then right back into that climbing coda.

All four players have their moments, and all of them can solo like four houses on fire, but for me, this set gives you John Wetton, one of the most powerful bassists in rock music, in all his glory – loud, belligerent, confident, capable, subtle, and always, always present, always in the moment.

I don’t feel like I can really critique the guitar playing of Robert Fripp, occasionally, equipment gets the better of him, there’s one awkward silence where something goes wrong and he actually stops playing for a few seconds – but then, consummate professional, comes back in as if nothing had happened.  Some guitarists have criticised his tone, his endless distortion through wah pedals and so on – but I really put any such problems down to the equipment of the time – and really, with Fripp, you aren’t there to hear a bitchin’ tone, you are there to hear him play.  And play – he does.  With blinding speed, with innovative ideas, with surprising and strange note selections – always questing, always pushing the limits, and it’s a joy to hear him work his way through this amazing catalogue of music on the live stage – absolute genius at work.

Not meaning to ignore the good drummer – to me, this tour just shows what an incredibly good decision it was to quit Yes and join King Crimson – to me, Bruford was BORN to play drums with John Wetton – and there has never, ever to my mind, been a better pairing.  They just work perfectly together, and no need for more than that.  The perfect rhythm section, which made things much easier for Cross and Fripp, the two soloists – because they know they can depend on the Wetton-Bruford powerhouse – which can also transform into the most delicate, beautiful sounding accompanying bass and percussionist imaginable, and on some of the very pastoral, violin-led improvs, where Wetton and Bruford are both playing so carefully and gently – you can’t really believe it’s the same band that had just been belting out “21st Century Schizoid Man” at full volume four minutes beforehand !

But there it is – a band capable of great dynamic range, from a whisper to a scream – and I love both of those bands – the quiet, gentle melodic King Crimson, and the hard rocking, jamming, improvising King Crimson.

You will find both aplenty on The Road To Red.

Available in fine music shops everywhere.

living in the past

no, not the classic album from jethro tull, nor, the tendency of mature folk to wistfully long for days gone by; but instead, just a state of mind I’ve had to become accustomed to with regard to my own music and…how much of it there is! 🙂

the problem is, stated simply, is that I record far more music than I have time available to “process”.  as a result, there is an ever-growing backlog of tasks, two of which are always, always on my mind:

1)     audio mixing and mastering

2)     video creation and upload

things have changed for me, in some quite radical ways, two years ago, I had music made with instruments: guitars, basses, keyboards, soft synths, the kaossilator pad, and so on.  familiar instruments, that I’ve been working with all my life (or, in the case of the kaoss pad, some of my life!).  with the instruments, I had already become so prolific that I was about a year behind on video mastering, and some months behind on audio mixing and mastering.

but then came the advent of applications.  that really threw a monkey wrench into my musical affairs, because suddenly, I had not one new instrument, but 40 or 50 new instruments, seriously, all of which allowed for the very quick production of a lot of high quality music.  this overwhelming amount of new music made with a huge number of apps, became such a problem so quickly, that I was forced to invent a new kind of album to deal specifically with application based music – the “eternal album”.

the first four “eternal albums” are now live on bandcamp, and from what I can tell, they are working correctly.  having these means I am free of having to worry about compiling albums for any applications-based music – which is great.

so now, I have two main, massive streams of music, which are kept physically separately, to maintain clarity:

1)     music made with traditional instruments

2)     music made with applications

however, I do view the backlog as a whole – I have audio mastering and video mastering to do for both instrument-based and application-based music, and I actually just tackle it in chronological order, regardless of what it is – maybe it’s a session done with addictive synth arpeggiators, then next, some live electric guitar improvs, then, some guitar synth improvs, then, back to the ipad for some n log pro pieces…it might be anything.

the one thing all of these mastering projects have in common, is how far behind I am on them J.  at one point, I had the video backlog down to about three months – and then, things happen – and suddenly, not even sure how it happens, it’s back to over a year – 13, 14 months!  so what can I do, what choice do I have, except to go back and master those 14 month old videos, to clear the way to mastering the 13 month old videos…and so on, ad infinitum, video without end.  followed by, audio without end.

I will never, ever run out of work.  sure – I could stop making videos.  but that’s my “stage”; since both physical constraints and time constraints prohibit me from playing real gigs (I’ve played very few in the last decade, sadly), so performing live guitar improvs on youtube, or playing the kaoss pad, or singing peter hammill tracks at the piano, creating music with ipad applications or on the synthesizer– takes the place of that stage – in fact, it’s in a way,  it’s better, because it’s a world stage, where anyone, from anywhere, is welcome to listen and watch the improvs and loops and songs.

in another way, it’s not better, because I miss the feedback that a “real” audience provides.  I have to remind myself, though, that the youtube audience is just as real, and they do provide feedback in the form of comments, both online and offline, so that’s a great relationship – and besides all that, I don’t WANT to stop making videos – I love it!

all I can really do is keep going, and hope that I find enough time to eventually, get “caught up” – or at least, close to it.  I know it’s possible, because I nearly was “caught up” at the beginning of this year.  now, due to circumstances beyond my control…I am far behind once again.

however – there is hope.  the “eternal albums” truly, truly help me, and once I have a couple dozen of those in place, life, and the backlog, will get substantially better.  why?  because for a full fifty percent of the music I make, the applications-based music, I no longer have the task of creating bespoke “albums” – I can literally complete a track; master it, and add it to the existing, live-on-bandcamp “eternal album” – and that is win / win / win:

  • it no longer sits “in the can” waiting for enough material to form an album
  • it’s out to the listeners and fans faster
  • it’s off my backlog !

so once I have a couple dozen “eternal albums” all growing slowly and organically, as tracks using that application get completed, they go straight “up” and onto the appropriate album – that will mean I can spend MORE time working on the Instrument side – audio mixes and videos, which I hope means I might actually get caught up !

possibly.

now, I do also have plans to create a few special “eternal albums” for some of my instrument-based music too.  at the moment, what I have in mind looks like this:

new instrument-based dave stafford “eternal albums”:

1)     “longer” by “bindlestiff” – lost live recordings from 1994, these were never assessed, over 70 tapes exist, so instead of trying to pick the best seventeen songs from 70 tapes, and make a single, traditional album, I plan instead, to go through them over time, as time permits, and as I locate viable tracks, upload them to the “longer” album – until all 70 tapes have been gone through.  this will hopefully generate a long, long record, which will be a wonderful history of the “lost year” in the life of the band (including some very, very rare tracks, like our ambient, ebow-driven cover of jimi hendrix’s “the burning of the midnight lamp” which we rehearsed many times but never performed in public – somewhere, there may be a take of this – I hope) – even if there is just an average of one good track per tape, that means a 70 track album – and almost certainly many, many more.  I am also hoping that these tapes will present many, many different “versions” of one of our signature pieces, “without difference” – which went through some really interesting evolutions, so I can’t wait to compare the versions from “longest” with the existing versions on “quiet” and “live” – and to hear multiple versions of songs, to hear them slowly evolve and develop as we become more and more comfortable and familiar with them as pieces of our repertoire.

2)     “classical” by dave stafford – this is to cover a little-known side of my music, which is given away by the title.  since acquiring the guitar synth, I’ve taken an interest in creating classical music, and I’ve got a nine minute plus, nearly-complete concerto for “nylon classical guitar” and “oboe”, which has been sitting waiting patiently for me to finish it and release it, for something like three years.  it’s a lovely piece, that started life as a short classical-style loop (of guitar synth “oboe”, “clarinet”, and “flute”), which I then developed into a proper piece of music, and then – started expanding. it features the “nylon classical guitar” heavily, and the aforementioned “oboes”, (one of the “oboe” solos I play, I consider, may be the single best solo I’ve ever played in my life – not sure) – meanwhile, I’ve added “cello”, “organ”, “vibes”, “piano” – and, in the final coda – I used massed “string sections” to create real drama – in wonderful stereo – and a plethora of other classical instruments, too, and the piece is really, really coming along.  I would say it’s about 90 percent plus complete at this point in time – so very close to ready.

it’s absolutely remarkable to me that a person can compose for “orchestra” – and I mean full orchestra, any instrument you dream of – with a single roland gr-55 guitar synth!  but really, that’s all you need –you don’t need to hire musicians, or score all the parts – you just play them all yourself 🙂 so I really want to get this album set up so I can release this piece, and hopefully, if time permits, record and add more “dave stafford classical pieces” over time.  a bit indulgent, perhaps, creating an album for one track – but I really want this track to be available, as it shows a side of my music that you might never, ever imagine – one where my prowess with the guitar synth “oboe” is much more important than my prowess with lead guitar 🙂 how very strange indeed!

3)     “classical ambient” by dave stafford – this would collect all existing classical ambient pieces, there are many that were done as live videos, and some studio pieces, too, that are sitting “in the can”. this would give these works their own platform, as they are unique – mostly “strings”-based pieces, but “strings” performed as ambient loops – such as “bela teguese” which you can hear on youtube on the pureambientHD channel at the moment.  there are also some string + guitar synth based pieces, pieces created with two guitar synths, that might fit in well on this album…but that gets tricky, as those are actually one instrument and one application – so not truly “instrument-based”!

4)     “straight to video” by dave stafford – this would collect the best of my video performances (most of which, have never been compiled or collected into albums – with a few notable exceptions such as live ebow tracks for “the haunting” and tracks from 20120820 that ended up on “gone native”) – but in the main, these videos are shot live, produced, uploaded, and then never formally collected into albums or any other presentation – and also, we’ve had requests from fans for “audio” versions of some of these video tracks, so this would be a way to satisfy those requests, too.  this would also include alternate mixes and alternate versions – in some cases, I might have done three takes, and only uploaded one video – meaning that there are actually three audio versions available, one from the video, and two unreleased – that’s the kind of thing that would be featured on this album.  or, in some cases, I created alternate mixes of a single audio mix, to try out, so an alternate mix of “folding space”, for example, exists – “folding space (hypercardioid mix)” – same track as the video, but “treated” in a separate audio file – and then not used in the final video.

it’s remarkable how all this music has appeared in my life, often, I actually have no idea how it all gets done, but it does – somehow.  I am working diligently to find the best way to present it to you, and bandcamp seems like the ideal platform, because, most importantly, you can listen first, which is a great feature, and secondly, you can select just the tracks you want, and not the ones you don’t – not every track appeals to every person – so it provides the ultimate in choice, the most flexible choice possible, which I think is really good.

I’m also very pleased that recently I did finally find the time to upload some of my archival albums – I always thought it strange, just seeing four or five of my more recent records up there, knowing that there is this huge back catalogue – and really, it’s just finding time to upload it – not easy, there is a lot of detail that needs to be entered to make the albums as complete and accurate as possible…for example, last night, I was working on the “song with no end” EP, which, because it contains four vocal numbers, actually meant that I needed to transcribe the lyrics to all four vocal songs directly onto bandcamp.  I made certain that this was done, as lyrics are vitally important to vocal music.

bandcamp is a great platform for both artist and listener, and we hope long may it live.  we shall continue uploading the back catalogue, and we’d like to take this opportunity too, to thank the many, many listeners who have been visiting bandcamp, and who have been checking out some of these archival releases – and in doing so, we are experiencing the highest visitor levels of all time on the bandcamp site.  so – thank you for that, we really appreciate all of our visitors.

the early and mid 90s were a very, very exciting time for looping and ambient, we had “looper’s delight” – a mailing list where loopers could share their experiences; we also had, again under the auspices of that most excellent of communities, “looper’s delight”; various compilation CDs where we could submit music and become part of this very early looping community – and at the same time, for bryan helm and I, we had the support of the crafty community as well, and our ongoing interactions with guitar craft – and I think sometimes, that this amazing time is a bit overlooked, when “new” loopers like the oberheim echoplex pro were just arriving, this was such a great time in music.

for me, it was 1993 – 1995, as a member of live looping ambient duo “bindlestiff” that I experienced the bleeding edge of live looping and live ambient (and, the added inspiration of continued close involvement with guitar craft) – an unforgettable experience, that spawned solo albums for me from “other memory / sand island” to “transitory” to “1867” to “the autoreverse sessions” and so on, and concurrently, a string of seven brilliant “bindlestiff” CDs, too – and all of these recordings document a remarkable decade for both looping and ambient music in general – and I’m very proud to have been there right in the centre of it all !

happy listening!!!!

the future of generative music – beyond bloom, scape and mixtikl…

as one of our readers recently pointed out, the ios is a fantastic place for generative music to blossom and grow.  already, we have a surprisingly high number of generative music applications available, and I am sure that list will grow over the next couple of years.

I’ve expressed before that I am a late arriver onto the generative music scene, but as with every new music that I discover, I tend to jump in head first, and continue to dive in as time goes on.  my purescapes channel on youtube is one example of this ambition – to eventually, over a number of years, to publish all 1100 scapes (and counting) so that the world can hear what an amazing, ever-changing, ever-surprising generative application brian eno and peter chilvers‘ “scape” is.  I could sit here and wax profound for paragraph after paragraph, trying to describe what a beautiful, generative, ambient sound “scape” has, but I realised early on, that the ONLY way to describe “scape“, would be to simply capture and publish every scape I’ve ever created.

and across those 1100 plus scapes, there is such a huge variance in sound, composition, approach, ambience, melody, dissonance, mood, atmosphere – and I allowed scape to “grow” organically, so I started out with the minimum tools, and allowed the app to “reveal” new sounds as I went along, so for many, many months, every few days, I would “get” another new element, which I would then experiment with, on it’s own, in multiples, with existing elements, through different “mood filters” – until the next new sound arrived.

so the scapes in the 300 range, will have double or more the elements of the first 30, and those in the 700 range, more elements still, until now, in the 1000s, where I have all of the elements and backgrounds exposed and at my disposal.  I had deliberately set scape aside for a few weeks, until last night, when I picked it up, and within 10 minutes, another 30 scapes are added to the ever-growing catalogue, and – the sound of a completed scape, with carefully chosen backgrounds and elements, based on my now many-months of experience – still does not fail to UTTERLY delight me – the sound of scape is mesmerising, I can and do listen to scapes for hours; creating them is a joy, and my only regret is that I cannot produce the next 1090 videos fast enough – I would give anything to be able to push a button and upload all 1100 scapes to youtube, just so the whole world can HEAR this music – it’s like I’ve made 60 new eno albums over the past several months – which in an odd sense, I have, since I am merely assembling, re-assembling, breaking down and building up, a lot of sounds either found or created by eno, and chilvers – so of course, that does make most scapes sound a LOT like…the music of brian eno.

and that, my friends, is a good thing.  I would go out on a limb and say that in some regards, out of some hundred or so music apps I now have (that in itself is gobsmackingly astonishing!), some of them absolutely incredible – that scape is possibly, my single favourite music application, and the one I probably get the most enjoyment out of.  but – I tell you what REALLY excites me – the idea that within a few years, I will have uploaded hopefully at least the first few hundred scapes, so that you can hear this amazing music – I feel like I have this secret cache of eno music, that I really want everyone to hear – so – hence, the purescapes video page – slow going I am afraid, but in time, I hope it will become a point of reference for anyone interested in acquiring and using scape – which I unreservedly encourage and recommend most highly.  if you are even thinking about downloading scape – I urge you – do not hesitate, just do it – you will have hours of fun, and, you will create your own library of “new” eno compositions – to enjoy now and for always.

and scape, of course, led me to it’s predecessor, mixtikl – an application that I am just now becoming familiar with.  and what an application it is!  massive sound libraries of the most astonishing weird and wonderful sounds; create your own sounds (I am dreaming of recording many, many samples of long, long ebow guitar notes, and then assembling them into strange mixtikl creations…) – and then load them either by design, or by using the random generator, into wonderful pieces of generative music.

mixtikl, despite sharing a founding  father figure in mr. brian eno, is the polar opposite of scape in terms of elements being exposed and available.  scape is entirely hidden, the rules are hidden, control of volume, eq, effects is primitive or non-existent, but in mixtikl – well, you have almost TOO much control of what is going on.  every cell, every sound, every effect, can be adjusted, tweaked, and modified to your heart’s content.  while scape creates it’s pieces using a very tightly limited set of elements, mixtikl allows any sound imaginable – and yet, both apps, create wonderful, ambient, generative music.

it’s true, that in mixtikl, you can easily create very noisy, very active pieces, but I am not particularly attracted to that – although I have used it to create a great quasi-ambient drum-driven backing track for ebow guitar – I tend to steer mixtikl down the ambient path, because, to my mind, that is what it does the best.  I am sure active music creators might disagree, and I am sure it’s extremely capable of creating great active music – but that’s just not my interest.  but what mixtikl can achieve in the ambient realm – well, I am just getting started, and so far, the pieces I’ve created do not disappoint – you do have to tweak things quite a bit to get it to sound truly ambient, but it’s worth the effort.

in scape, it’s almost too easy to make a good sounding piece – the samples, and the rules, just automatically add up to a great sounding, eno-sounding, eno-soundalike – almost every time.  very rarely, I produce a scape that is not quite eno-like, but – that is rare indeed.  in mixtikl, it takes much, much longer to assemble and tweak a piece of ambient generative music, but it’s always worthwhile, because once you do get things sounding good (usually, by removing elements and turning elements volume DOWN…) – it sounds REALLY good.

I feel as if I’ve been short-changing bloom this entire time, but for some reason, I always felt like bloom was a prototype for scape (which in many ways, it was), and while bloom can make some really lovely sounds, it just doesn’t seem like an instrument to me – it plays back some really beautiful eno-esque sounds, but when scape came along, with it’s infinitely more varied sound palette, plus the ability to capture scapes very, very quickly as finished pieces of generative music…it kinda knocked poor old bloom off the charts.  which is a shame, because bloom is a really lovely app, well worth spending time with.

I tended to just create a track in bloom, and listen to it, rather than capture it – so even though I’ve created many, many bloom tracks – I’ve never recorded one – which is a real shame, as some of them were downright beautiful.  I think though that eno went back to the drawing board, and came up with scape – which is a million times more capable – I just like the sound of scape a little bit more than I like the sound of bloom.

even though I am singularly unqualified to say, since I really have only had experience with a few of the many, many generative music creation tools that have come along over the past decade or so, I really believe that the next few years may be a real game-changer for generative music.  if I just take the toolsets of  the two generative music applications that I am personally most familiar with, scape and mixtikl, and I think about the power and choice on offer to create beautiful, or dissonant, generative music, it’s difficult to imagine where things might go next.

the change from bloom to scape was like a quantam leap, and the strange, secret complexity of scape’s hidden “rules” is most impressive.  since it’s been expressed out loud that folk would like a version of scape where they are able to, a) load in their own samples and b) create their own not-hidden “rules”…to which chilvers basically replied that it was very unlikely that eno and chilvers would produce such a thing, simply down to the way the programming had to be done, it’s not readily adaptable to either the use of user-created samples OR users being permitted to set and manipulate “the rules”…so knowing that eno and chilvers won’t do it, it’s my hope that some other enterprising application writer will.

the future: imagine then, if you will, a sort of open-source app that is like scape in design, but with one staggeringly different difference – the samples are created entirely by the user; the rules are written and set by the user, the coloured filters/effects are set by the users – like scape with a mixtikl-like level of control.  that would really be something, and I would imagine too, that the visualisation, regardless if it mirrored the scape “screen” or the mixtikl “visualisation” screen – probably this new super-generative app would allow for either approach – and all the VISUAL content would be user-generated.

this would mean, for example, instead of assembling a scape using the “shapes” the eno and chilvers created and related to a musical event, that multi-media artist/musicians could create entirely unique, and utterly personal, multi-media artworks, where each musical background, and each musical element, relates to a user-created music sample, and all aspects, from the visual design of the artwork, to the relating of the artworks’ elements to sound events, to the final EQ, mixing and filtering – the application of effects – all completely controlled by the user.

sort of an amalgam of mixtikl, bloom and scape, but with complete user control.  maybe no one will build it, but, because somebody asked chilvers the question, and he said no, scape isn’t going that way – then maybe, just maybe someone will pick up the fallen standard and carry it forward to a brave new world of generative music that right now, I can barely imagine, but then, three years ago, I would never have dreamed I would have 100 amazing sound creation applications on a tiny tablet from which I can produce world-class music of not just ambient, but of any time, that I would be able to play my guitar through virtual amps, cabinets and effects in an application such as ampkit+, and that audiobus would revolutionise recording of synths and other sound sources in the ios.

so the whole thing is impossible, so a future with super-generative applications that are far, far, beyond koan, mixtikl (and all it’s “-tikl” brethren, too many to mention!), bloom and scape – is totally and entirely possible – and I will actually be surprised if it DOESN’T happen.

I am continually astonished by what happens in the ios – someone conceives and then invents audiobus – and suddenly, every music app creator worth it’s salt, immediately adds audiobus capability to their apps (the latest entrant, addictive synth – that make me so, so happy, because that is one of my top three favourite ipad synthesizers of all time!) meaning that a huge number of sound producing apps can now be used together under audiobus – which, if you have something like auria or cubasis installed, makes professional multi-track recording a reality, not just for synths and MIDI devices, but also for guitar apps – that is astonishing.  I would never have dreamed, a year ago, that something as clever as audiobus would free us to make recording on the iPad very simple indeed.

a few weeks ago, there were at most, a dozen apps on the input side of audiobus.  today – there are 25, and more being added every day. some music apps have taken audiobus support so seriously, that they have configured their sound-generating app to work in all three audiobus positions – input, effects, output.  that’s dedication!

so when I see growth like that, I can readily imagine that generative music apps might go through similar startling adaptations, and great leaps forward, audiobus-style, which might eventually make the very, very complex and capable mixtikl and scape, seem simple by comparison.  I do not know – I could be wrong – but the ipad’s ios is clearly the place where developers come up with startling, innovative concepts like audiobus, not to mention several miraculously life-like and sound-perfect recreations of classic hardware synthesizers, or incredibly high quality amplifier, speaker, microphone, and effects modelling in a product like ampkit+ or stomp box (my absolute two favourite ipad guitar apps – hands down).

to me, all of that is magic, magic of a high order – and what it’s done for me, since I never had the money to invest in a lot of music hardware, I never could afford a moog of any kind, or a korg, and I absolutely would never have had the money to buy a hardware fairlight! – yet now, I “own” all of those instruments in the incredibly low cost application version – and more importantly, I can now have the experience of creating music with those tools that were always beyond my reach – because I can afford to pay twenty quid for a fairlight, but twenty grand – no 🙂

I think that music making on the ios has already exceeded our collective expectations, but I shiver to think what the future might hold, not just for amazing, super-generative music apps, but for all music-making, not wanting to particularly paraphrase the carpenters here, but I have no choice: we’ve clearly, only just begun.

I can’t wait, I am so, so looking forward to the next five, ten years of music development on the ios.  the sky is the limit!

🙂

generative music applications – mixtikl and scape

today I am giving some thought to generative music, which is a kind of music that I don’t have enormous personal experience with (save, perhaps, with “scape”), but at the same time, I feel a close affinity to generative music because it seems to resonate with me in a similar way to the way that looping and ambient do.

a lot of generative music is ambient, so that may be why, but it can also be quite active, so that can’t really be it.  maybe it’s the fact that you have limited control over the elements – well, depending on what you are using I suppose.

ABOUT KOAN

the first generative app I used, was an early version of koan, that I must have had in sometime in the mid to late 1990s, and I remember finding it to be most strange, but also, quite wonderful, because you could literally set off several odd sounding music generators and the pieces would “make themselves”.  I did create a few pieces using koan, but I am not aware of any that ever got mastered, released or even survive.  I may eventually find some of my koan pieces somewhere, when I finally sit down to go through all of my reels and cassettes (when I retire!) – maybe.  of course, it might also be better if I don’t find them, because I doubt they could compete with the generative music apps of the present!

ABOUT MIXTIKL

starting with the one I am least familiar with, “mixtikl” – I had long wanted to purchase this, and when the price was lowered recently, I did.  I immediately kicked myself for not buying it sooner, despite some vaguely negative feedback I’d heard and read, I personally find mixtikl quite easy to use, and the quality of the sounds is extremely high – a lot of great, great sounds, which of course makes it very easy to make some great sounding music.  in fact, just a couple of days ago, mixtikl put three of it’s sound packs up for free download, so I absolutely took advantage of that.

the addition of that rather massive library of super high quality sounds put “mixtikl” into a realm of it’s own, I was trialling some of the sounds and I found them to be exquisitely beautiful, or odd, or weird – which suits me just fine – and I feel very impressed by mixtikl – they have worked very, very hard to make an app that just lets you create.

I’ve completed a few tracks in “mixtikl” (see below), but have yet to publish any – that’s simply down to my schedule.  I have two or three that are probably in their final mix state, so I do need to try and finish up some of those tracks so I can publish them.  tracks completed so far are:

 

20121217 almost waking – a super ambient, shivering bundle of ambient nervousness (two versions, the completed one, and a prototype)

20121218 embellishment – very, very ambient piece made with modified bells (hence the title – get it?)

20121220 pulsating – a slightly more active piece, waves of ambient sound crashing on an ambient beach…

20121220 pulsating wisdom – an active track in the style of bill nelson, built on the ashes of “pulsating” (and sounding nothing like it – so titles will change)

20121220 pulsating wisdom – drum version – same as above, but with a drum track added – making it even more in the style of bill nelson

 

ABOUT THE NEW VIRTUAL ALBUMS (FORTHCOMING 2013 – 2015) – MUSIC FOR APPS series:

speaking of publishing music made with applications, I am planning on setting up a number of new “ongoing” albums up on my bandcamp account, to contain tracks made with mixtikl, scape, fairlight, nanostudio, korg ipolysix, korg iMS-20, animoog, iMini, and so on.  so once mixed, the tracks above would be added to the never-ending-ongoing-mixtikl- virtual album, and then, as I create, I will upload more and more tracks, until eventually, these albums become large free-form bodies of dave stafford application-based music.

for my normal guitar based music, I will probably continue to record and release “albums” in the normal way.  but I am finding that making music with apps, it’s so prolific, and at any time, I have a number of tracks “on the go” in many, many different apps – that the idea of gathering them together into “albums” just doesn’t make sense any more.

so I’ve designed this new, virtual album – it won’t have an album “price”, because the tracks will be added over time, ad infinitum.  in this way, too, customers can pick and choose – they can listen to each track, and only buy the tracks they like, instead of having to buy an entire album, it will just be an endless series of tracks…

so, if over time, say that over the next 20 years, I end up making…245 tracks using “mixtikl“, then, the virtual mixtikl album will start out in 2013 with one track, and end up in 2033 with 245 tracks.

one virtual album per application.

MORE ABOUT MIXTIKL

but I digress.  getting back to mixtikl for a moment, I find the way you construct your pieces to be quite excellent, it’s so easy to add content into your composition, and the mix tools are excellent as well, I think that given the complexity available, they have done a great job with the GUI, I love that you can have track effects OR cell effects, I love how easy it is to insert sounds (and now that I have those three new, free sound packs (or tiklpaks as they are called)…my hardest decision will be WHICH of these amazing sounds to use…) it’s a really well thought out tool.

I believe that one of the main reasons that mixtikl appeals to me is…that in mixtikl, unlike in scape, you have a modicum of control.  you have control over what sound sources you select, what level they play at, what effects they have, you have control over tempo, key and EQ.  there are global effects as well – which is important to me, because often with ambient musicyou may wish to drop the entire track into a bit of reverb, to further the ambient feel of a piece.

it’s interesting, because I bought scape first, and used that for many months, and then when I finally picked up mixtikl, it was such a shock – the level of  control you have in “mixtikl” is really freeing, you can take any number of sound sources, drop them into your mix, and adjust the level, eq, and effects of each one – treat the whole piece with effects, make alternate copies and add or subtract sounds (as I did with “pulsating wisdom” last december) – so much control !!  so with mixtikl, I can make a lot of decisions that I cannot in scape, I can decide if a piece will be very, very ambient or very, very active – I can decide if it will be very present, or drenched in reverb.

and with the number of awesome sounds now available to me, that means an endless variety of percussive, keyboard, sound effects, bells, god only knows what, is available as sonic building blocks to build generative masterpieces.  I hope to find time in the near future to create new works of generative music, using this most excellent of tools, the mixtikl application.

and lest I forget, it also comes with a really well thought out visualiser, that creates truly beautiful graphics to accompany your mixtikl compositions, including a word generator that you can put your own words into (or use the default sets).  even though it serves no real purpose, it’s inclusion I think is excellent, because it provides a beautiful visual representation of the music that you have created.  an excellent visual addition to an excellent music creation tool.

ABOUT SCAPE

…and then there was scape.

scape is…the odd man out of generative music.  unlike mixtikl, in scape, you have almost NO control.  yes, you can select sound generating objects and add them to a mix that is purely visual…yes, you can pick a filter to run the track through…yes, you can add different background tracks to provide different ambient backings to your pieces.

but that’s about it – you don’t have any control over the parameters that you do have control over in mixtikl, so the design of scape is so, so different.

it’s almost ridiculously easy to use.  basically, there are menus of sounds represented by shapes, which you drag onto a palette that “is” your scape.   there are several different categories of sound generators: backgrounds, bass parts, synth parts, sound effects, and other quite difficult to explain sounds.  since the entire tool is visual, as you use it, you begin to make up names for the different elements, like the blue spikey shapes, which sound like nothing on earth, very odd and atonal, or the pyramids which  are like keyboards, descending luminous arrowheads make a beautiful, swooshing synth sound, bass parts are represented by squares turned on their sides and so on.

so learning scape is very easy, you just drag out backgrounds or objects onto the palette, and listen.  if you don’t like the sound of the element you brought out, you can just drag it back off the palette and try another element.  the placement on the palette also makes a difference, and the objects change size depending on the position they are placed in on the palette.  you can lay objects on top of each other, but they will change size as you do – it’s very odd.

you might add four bass parts in, three of them would be pretty large, but if you place your fourth bass part on top of a pyramid, the bass part will shrink to a tiny size depending on how much it overlaps another object.   there is also a feature that prevents you from adding too many objects to any one scape…if you reach the maximum number of objects (I don’t know exactly what number that is, perhaps 50 or 60 objects in total) – something very odd happens – you add an object – and scape removes a DIFFERENT object! I assume that feature has been built in to prevent scape from clipping, so it does make sense.

but this is the first instrument I’ve ever used where you, as the “player” of the scape, really cannot control anything except the background, the elements, and the filter that the track runs through  – and that is about it.  you can’t name your tracks, they are auto-numbered for you.  you can play back any scape, you can also make “playlists” allowing you to play back several scapes in a row.

at first, I really had quite a time adjusting to scape, and how very, very much it’s a closed system, and how very little actual control you have over the music – you can drag shapes onto the palette, you can drag shapes off of the palette, and you can move existing shapes around on the palette to effect change, but that is it – there is not a dial in sight, volume, tone, eq, reverb – nothing.  it bothered me that I couldn’t name the pieces, I couldn’t do anything to them – except change backgrounds, elements, filters.

so, the totality of your control over scape:

three actions; change backgrounds, elements, filters.

plus three  sliders marked “density”, “complexity” and “mystery”.

 

ABOUT MIXTIKL & SCAPE

so scape really is the odd man out, a totally different animal when compared to mixtikl, the design approach almost polar opposite: scape, where the magic rules are hidden, in fact, almost everything is hidden, versus mixtikl where almost everything is exposed to the operator.

because scape is so very easy to learn, I found that I could create many, many very different and very wonderful pieces of ambient music with it.  mixtikl is still new to me, but I know that over time, I will be using it more and more, for the simple reason that I want a generative music tool that I control, as well as the sort of “eno preset magic” that scape offers.

it is interesting too, the difference in output – scapes tend to sound a certain way, because of the backgrounds, elements, and filters chosen by brian eno and peter chilvers, plus the hidden “rules” – whereas the output of mixtikl, because you can add any number of randomly selected elements into any mix – sounds widely varied and wildly different from track to track.

CONCLUSION

while I have recorded well over one thousand scapes to date, I am only just beginning to work with mixtikl, so I have a long way to go there…hopefully, over the next year, I will find more time to create with mixtikl, and I look forward to releasing mixtikl tracks as they are created, alongside the scapes which already exist – those will also be released over time.  but I must say – I am more than pleased with both tools; despite their polar opposite design philosophies, I am equally happy creating with either, because generative music is still an under-explored area of music – and I hope to change that 🙂

 

 

to hear the existing collection of dave stafford scapes, please visit the purescapes channel on YouTube.

audio only versions of the first 17 scapes also available on soundcloud.

a short session with the “shredder synth”…

I recently mixed a really interesting session from june 16, 2012, where I did my first ever testing of and recording with an app I had just recently acquired, which is called “shredder synth” – a bit of a misleading name, because it neither shreds (well, it probably can, if you work at it) nor is it a synth – at least, not a normal synth – but nonetheless, it’s a truly remarkable app, and I wanted to share my experience with it with you…

first of all, I cannot for the life of me imagine how the developers of this app even got it to work, because, somehow, from a normal analogue guitar input, they have made a fairly flawless translation to a full on guitar synthesizer – an amazing acheivement for a tablet-based device!

so all you need is an input for guitar (any will work, I happen to use the “apogee jam”, which has worked flawlessly with every app I’ve ever tried it with – and that is several now) and that is all: ”shredder synth”does the rest – it detects the input, and somehow translates audio into MIDI to drive the synth.  god, and the developers, know – I do not 🙂  and I don’t actually care, all I care about is how it sounds – and that is wonderful.

the sounds – are beautiful.  that’s why I say the name of the app is misleading, OK, sure, you can get some heavy/metallic sounds with it, but it’s mostly capable of very, very beautiful sounds, very subtle, or very strange sounds.  the only negative comment I might make is that there are not very many “presets” – but, that’s not really a negative – I just happen to like apps that give me many presets, because that gives me that many more “starting  points” to modify from…but either way, presets or no, this is an excellent application with enormous creative potential.

I find the interface to be really easy to use and understand, it’s very, very simple to edit a voice, and on my very first day with it, I took a standard voice, modified it to my liking, gave it a name, and saved it for future use – a beautiful, beautiful sound, which I then, two days later, recorded two really lovely improvs with. one of those improvs, entitled “a string of islands“, can be found on soundcloud – I am so pleased with this simple but effective piece of guitar – but guitar played through a tablet guitar synth – remarkable!

some of the stock voices are really, really beautiful – one in particular caught my ear, “appalachian” – which is a very pure sine wave sound, with a serious hint of slow attack that gives it a quasi-reverse sound – so it’s sort of halfway between a forwards and backwards guitar sound, but a very, very pure tone indeed, and really works beautifully in any improv or piece that I’ve used it in – a definite “go-to” tone.

I really, really hope that this app does well, because I already like it in it’s current state, but I could imagine, with more features, more presets, and more functions, that over time, it might become one of the most amazing and capable guitar apps anywhere.  I hope the developers will really put some thought into improving this app, and making it truly world class – it’s well on it’s way already

I only have a handful of guitar apps (compared to a ridiculously large number of keyboard based apps I own) and”shredder synth”is utterly unique among them – three of the main guitar apps I use,  are guitar amp/cabinet emulation / effects multi-purpose apps (“stompbox”, “ampkit +”, and “jam up pro xt”), basically, different versions of the more familiar “guitar rig” that appeared some time back: devices to run your guitar through.  and I’ve been astonished at how good some of them sound, right out of the box – replacing thousands of dollars worth of gear with a 20.00 dollar application – that’s astonishing.

I have a couple of other guitar rig type of apps that I don’t really use, like “amplitube” and so on, because the main three I have are so, so capable – really powerful guitar processing devices, particularly peavey’s “ampkit +”, which I absolutely love.  I have high hopes for the newly acquired “jam up pro xt” but it’s a bit underpowered right now – ampkit plus is miles beyond it in terms of devices available and presets available – miles ahead – so I hope “jam up” will catch up 🙂

but, so far, ”shredder synth”is the only guitar synthesizer in the bunch, and it’s a beauty.  what I realised during this session was, that along with all the processing I can do to a guitar signal, using ”shredder synth”means that now…I can drive those processors with two unique guitar synths – the roland gr-55, and, “shredder synth“.

and actually, of course, since the roland is capable of two simultaneous synth voices (and, one modelled guitar voice) that actually means I can have three guitar synths (and one modelled guitar, too!) running simultaneously. 

so I can imagine producing some very, very complex waveforms, with one stereo pair of guitar running from the roland gr-55, and another stereo pair running through ”shredder synth” – and then of course, taking those strange “triple guitar synth” constructions, and then running them through the many processing options…my guitar continues to mutate further and further away from sounding like a guitar – which to me, is usually a good thing!

some of the pieces I recorded in this session from june 16th, 2012, demonstrate this beautifully, and even when there are just two synths running – say, poly sitar from the roland, and digi-lead from the shredder –  it’s uncanny to hear a melody played by two completely different synth voices – especially since in some cases, the differences in adsr, particularly, differences in the attack, mean that the melodies seem to interweave, since one synth voice might “start” it’s phrase many milliseconds before or after the other – a great effect, because even though there is only one note playing, one melody, the aural illusion is of multiple melodies – because the voicings are so very different in their sonic characteristics.

I was astonished to realise that suddenly, I now have an extra guitar synth added to my main guitar sounds – so going from the already very lush combination of two synths and one modelled guitar, to now three synths and one modelled guitar – which while it may not sound like much on paper, in terms of my guitar sound – it’s huge.

given my now-very-flexible routings situation, it will also be possible to route one synth through one set of processors, and the other, through another, and, sending separate stereo pairs to the recorder, as well – allowing me to record the output of the roland on one pair, via one set of processing devices, and the output of the shredder on another, via another set of processors – giving me maximum mixdown flexibility, plus the ability to level match precisely between the two after recording.

one of the test pieces utilised a second app, so as well as”shredder synth”and the roland, I was running a tabla/tanpura drone as a backing track, using my favourite “itabla” application, and that piece, even though just a rough run through, really gave me the flavour of just how good this “two guitar synths” set up is going to be going forward when combined with other applications like “itabla”.

other “shredder synth” presets that merit special mention are “hidden talons” which is almost impossible to describe in words, running a “glass cello” on the roland into the “hidden talons” patch on the shredder, created a complex and beautiful stereo output, with oddly-moving-from-major-to-minor organ chords – plus, strange bubbling sounds, a beautiful drone-like sine wave output – and the constant, gorgeous glass cello driving the whole thing – a really lovely sound (if a bit out of control at times!).

I also am quite partial to the preset “keep your ears” – a sort of oddly-arpeggiated sine wave synth – again, when coupled with a more constant roland voice – the glass cello again – it works really well because the two voices are so very, very different – great sonic contrast.

glitchiness? – well, I’d say, all in all, that the “shredder synth” is about the same as the roland. let’s face it – all guitar synths suffer from this – if you do not hit that note precisely, perfectly, carefully – you get little glitchy sounds sometimes, depending on which voice, and which fingering, and how much care you take in the accuracy of your fingering.  this can be controlled via the application of very precise technique.  sloppy, random playing generally results in a rapid increase in “glitchiness”.

this applies equally to the roland gr-55 and to “shredder synth” – it’s part of the slightly glitchy technology of input tracking – whether that be the roland’s special GK pickup, or. the way the shredder synth’s developers have captured the guitar’s input to use to drive the synth – sometimes, I love those glitchy, weird extra “sounds”, their randomness and sudden appearance can add character and excitement to a piece.  other times, they can and do sometimes annoy me, because sometimes, I really want the pure sound of the patch.  but the “shredder synth” is truly no better and no worse then the gr-55 – it tends toward glitchiness on some voices more than others – as does the roland.

this is something that can probably be improved over time by the developers, but, to be honest – a big part of it is the player’s style – when you start out playing guitar synth, you quickly learn that it’s not “just like playing guitar” – in fact, you actually have to spend time and make a deliberate effort to develop a specific picking style for each synth voice, that works with that particular sound – and every voice has it’s idiosyncrasies, that you have to allow for – and great care must be taken to perform each note so that the device doesn’t glitch.  but – with practice – you learn , and it sounds better and better as you learn more precise fingering which translates directly into better tracking and fewer glitches – usually 🙂  it’s not an exact science, but to me, it’s miraculous that guitar synthesizers, of any description, exist at all…they are an astonishing thing.

hearing this session now, there are maybe only a few viable takes from the session, because the whole idea of playing with two guitar synths at once was new to me, and I just didn’t do that well – I was still adjusting to the double-synth concept – but when I hear the tracks, including imperfections and my own learning curve – I can hear great potential here.  particularly the track I recorded using itabla pro, could easily lead to a whole new kind of guitar-synth-based “synthraga orchestra” piece – using not a keyboard synth, but perhaps the roland gr-55 driving “shredder synth” atop itabla – the potential that these test recordings reveals is really encouraging – and I love the sounds that this unique and interesting application makes.

but the jewel in the crown from this session, are the last two tracks, which were both recorded using the first custom guitar synth voice that I created – so I had tailored an already-beautiful sound to my own ear – it sounded just like I wanted it to – and I was good and warmed up, so, I sat down and did two very, very satisfying and quite beautiful pieces using this custom sound.

that is possibly the most attractive feature of the “shredder synth” though, the ability to create your own synth voices, either from scratch, or by modifying existing presets – and there you have an almost unlimited palette to work from – and I am looking forward to getting creative in this area, creating a number of patches of my own to use in ambient and active pieces of music…particularly ambient, and the custom sound I created is in that category – which is why the last two ambient pieces in the session are so, so successful.

shredder synth” is another real winner in my book, and one of my very favourite guitar apps to date – highly recommended if you want something a bit “different” – and, if you have no guitar synthesizer at all in your set-up – well, if you have an ipad, you can now have a guitar synth for an extremely reasonable price.  it’s not perfect, it’s not as capable as  the roland gr-55, but for the money, it does do an awful lot, and it does give you a lot of really interesting and unusual and also, frankly strange! new sounds for your guitar – you can’t really go wrong!! 🙂

animoog – jam up pro – loopy hd – riding the audiobus :-)

well, I finally had a chance to do a “proper recording” using audiobus – and I am not disappointed in any way.

I made it simple – I just used one synth, albeit a synth with a huge vocabulary of amazing sounds – the recently expanded animoog.

I quickly gave myself a refresher in loopy hd, I re-taught myself how to use it, because I hadn’t really “got it” before (I had used it exactly once, a couple weeks back), and now have a degree of competence in it’s use. 

then…I fired up audiobus, loaded and “woke up” my input (animoog) my effects (jam up pro xt) and my output (loopyhd) – and then, switching to animoog, recorded my first loop in no time. elapsed time: less than two minutes.

then I began to record overdubs on other loop channels in loopy hd, and within perhaps seven or eight minutes, I had all six loops populated and playing a very jolly little tune in the key of c major – bright and beautiful.  five melodies, and one sort-of bass part/slidy thing.

I used five or six different voices from animoog, some from the standard menu, some from the metallic set, some from the richard devine library – all, very, very beautiful indeed – animoog is the secret synth weapon on my ipad, without a doubt.

another minute adjusting final volume levels.

another minute adjusting pan to get some nice stereo going on.

result, in less than 10 minutes, a beautiful stereo multi-track loop of the highest quality.

a final mix in audition, adjust it’s levels, and maybe a tiny spot of reverb (it already has some nice reverb and delay courtesy of the jam up pro xt, but maybe it would like a tiny bit of reverb – maybe).  it’s quite, quite lovely the way it is, to be honest, so I may just leave it as is.

(note: in the end, I left it as-is – nothing added – no additives or preservatives used 🙂

based on my experience here, and thinking about all those inputs that are already compatible with audiobus, I am imagining using six different input devices, and recording six loops – each totally different, one with a bass line, one with a drum machine, and then four different synthesizers – to get four utterly distinctive melodic sounds…but that’s just in the world of loopy.  when auria comes on line (note – it since has!)….then the sky’s the limit.

or, of course, guitar could be one or two of them, so maybe…bassline, drum machine, synth 1, synth 2, guitar 1, guitar 2.  and of course, you can have more than six loops in loopy, so there is no limit – and the quality recording that came together so quickly by just using one synth…is brilliant, so I can see almost no limits to what can be done with this device.

the beauty of using loopy hd is that in this case, it actually brings the record button from loopy onto the animoog page, so I never had to leave animoog – I could trigger, stop and start loops without ever going to loopy !!.  I did go there – to clear loops and try again, but mostly, I just stayed in animoog; trialled different sounds, found the one I wanted, hit record, recorded another good loop…what a great experience, and such a different experience to the last time I tried recording with several different apps (the synthraga orchestra sessions).  much simpler, much easier, and – it just WORKS!  brilliant.

in fact, I am kinda…stunned by how well it does work, and how quickly I adapt to using it – as if I’d had it all along.  it just becomes natural – switch to the looper.  do what you need to do.  now back to the synth.  play another melody.  now play a harmonising part.  back to the looper, adjust the levels.  back to the synth – new voice, new part – and so on.  smooth, beautiful, easy – and the results are stunning – a really, really nice piece came out of my ten minute six loop audiobus experiment – and that is perhaps, the most impressive thing of all – from this new technology – music has emerged.

and – even better – it’s quite beautiful music, too – always a plus.  I have posted the piece on sound cloud just now, it’s entitled “the sixth sense” – six animoog loops working together to create a mini-symphony of looping synthesizers – all thanks to the miraculous and very, very clever idea that is audiobus.

 

creating this piece using audiobus, and realising just how quickly, easily, and painlessly I was able to build up a really nice piece of music, I feel very excited about the future – and about being able to just endlessly layer different sounds from different instruments, in such a fluid and live atmosphere – that is just brilliant.  now that auria has come on line, over the past couple of days, I’ve been working on a new multi-track master – and it’s been an even better experience than my first try with loopy HD.

using audiobus, with auria as my recording device – I was quickly able to lay down a full length drum part using korg ielectribe, and then I set out to build a bass part – but, I wanted to build it in sections, using many different sounds – so I set up several tracks in auria in my 24 track master, and then, calling up different synthesizers, one by one, and adding, bit by bit, my “composite” bass part (which for the record, is comprised of magellan, animoog and korg ims-20 synths).  a couple of hours work, at the most, over a few days, and I have now completed the bass part from end to end – and it all worked so well, so flawlessly – and now I have a great basic track, over which I can overdub guitars, synths, you name it.

I had a great time playing with loopy HD, which, after all, is a brilliant live looping device, really well designed, so there is no harm in learning the best looper I have on the ipad.  but I am even more excited after having used audiobus to create a full on proper recording session in auria – that is just brilliant.

drums, bass synths, hell, real basses via jam up pro xt, stompbox and eventually, ampkit + (once it’s compatible), real guitars via same, any number of synths and synth-like applications, you name it – kaoss pad in the form of the ikaossilator –  anything that a) makes sound and b) has been made compatible with audiobus.  and now I’m even happier, because one of my very, very favourite guitar applications, stomp box – is now audiobus compatible!  so I am looking forward now, to setting up some awesome guitar sounds in stomp box, and overdubbing my new drum and bass part with real guitars.  I am waiting for ampkit plus, to give me that third set of guitar set-up possibilities – but I am well set up now with stompbox and jam up pro – that’s a great start.

I can’t believe that in the space of 13 months (the time I’ve used ipad applications), I’ve gone from having two synths, the fairlight pro and korg ims-20, to having a full on recording studio with more instruments than I have time to learn…the growth of music apps on the ipad has to be one of the most exponentially staggering growths of technology ever to have occurred.  during this last year, we’ve been given things like ipolysix from korg; the amazing auria multi-track recorder, like jam up pro, like audiobus – and each one, in it’s own way, a game-changer…

first, it was multi-track recording.  now, it’s being able to near-seamlessly move between inputs, effects and outputs during live performance or live recording via audiobus…not to mention the two amazing generative music tools, mixtikl and scape, as well as the super educational and extremely useful and beautiful itabla pro, which gives me tablas in a large palette of very real and very realistic presets and modes – and the drones, those beautiful, beautiful tanpuras…

and then I step back and realise, this huge, huge palette of instruments, effects, processing, recording, drums, tablas, bass lines, and synthesizers galore can now be ADDED to all of the other “normal” instruments I have available, so the combinations that are available to me, as a creative musician, haven’t doubled or trebled or quadrupled or quintupled, they have…seventeenified.  I’ve seen the tip of this iceberg in my most recent studio set up, the “all instruments” set up, which demonstrated to me, during the last couple of sessions – that just about anything is possible now.

choices to the seventeenth !

or, to the thirty-fourth…

 

I used to be a bit skeptical about technology, but when I see what they have done with it at audiobus, for example, I just fall in love with it, it’s brilliant, clever, amazing. part of me thinks I am dreaming – I keep asking myself, how can a £7.99 synthesizer on a tablet sound so fucking GOOD?  the answer is: it can.  it does.  it will.

In just over a year, I’ve gone from technophobe to technophile, and there is no looking back, take no prisoners, I can play hard rock/metal detuned guitar through a tablet – I don’t need that marshall stack I could never afford anyway – I can rock with a tablet – and now that I have two guitar apps, soon to be three –stomp box and jam up pro XT, hopefully followed soon by ampkit plus, please…I know I keep saying this, but…the sky’s the limit for guitar sounds.

so the old set ups are out, the new, in, guitar to ipad to auria, via audiobus – hit record.

I am also so, so pleased to announce the return of an old, old friend, adobe recently made version 3 of adobe audition available for free on their website, so how could I say no – after all, this is the direct successor to “cool edit pro” – the first audio multi-track I ever owned, and upon which I remastered all my analogue tape albums with – so as well as having the most tricked out ipad around, I also have my favourite audio multi-track recorder back, for free – a good price.

now I will be using adobe audition for pop and click removal, and also, removal of clipped audio, and especially for it’s FFT style noise reduction, which is a beautiful and very effective “old” technology.  so – hats off to adobe for their very, very thoughtful free gift to us all.  an old adobe program is probably better than a lot of very expensive NEW products…and for me, it’s like getting back an old friend – a friend named “CoolEditPro”.

I am so, so pleased !  🙂

and recording with audiobus, using loopyHD or auria as the recorder – could not be easier or more fun – it’s absolutely brilliant.

audiobus rules, and if you haven’t tried it, I can heartily recommend it.  it’s not perfect, very occasionally, auria will stall or crash, but I am running it on an ipad2, so some exceptions have to be made – and the code will only get better – they’ve just had an upgrade giving us buffering options in case of stuttering, so they clearly care about the user experience.

it works so well already, in it’s infancy, that I really look forward to using it when it’a a mature and robust application – I cannot wait!

music making has changed forever with the ipad, but the innovation of audiobus has now propelled both live performance and on-ipad multitrack or loop recording  – into the distant future…right now.  the future of ipad music making has arrived…and it’s called “audiobus”.

or so it seems to me. 🙂

king crimson – larks’ tongues in aspic (40th anniversary super deluxe edition) – the album I almost didn’t get

more three months after the rest of the world, i’m finally enjoying my super deluxe 15 disc edition of king crimson’s seminal 1973 album, “larks’ tongues in aspic” – the 40th anniversary version.

despite the difficulties I had in acquiring the super deluxe 14-disc larks’ tongues in aspic cd box set, in sitting down to listen to it, well – it’s worth the wait – it’s worth any wait – and as the last of the 40th anniversary series from the “classic” crimson period (1969 – 1974) (save – “USA”, which has been through various re-issues, currently up to 30th, not sure what the future holds for “USA”). I can see why they took their time with it – it’s a massive undertaking, basically, it compiles every single note ever recorded by the quintet version of the band: robert fripp, john wetton, bill bruford, david cross, jamie muir.  every note ever recorded !

I won’t delve into a lot of specifics here (although the temptation to do so is overwhelming – there are a lot of remarkable performances in this box!) but instead, will attempt to speak in generalities – which, when faced with 84 pieces of music that revolve around one album, is really all one can do – well, to start, I will offer just two words “astonishing musicianship”.

at a time when most rock bands worked in a very, very predictable and formulaic way, king crimson worked in reverse.  so, where most rock bands would go into the studio, write music, record music, and then go on tour in support of that record – fripp’s idea of how a band should work was completely different, completely innovative, and very, very intelligent: – and, the proof is in the pudding – the concept is simple, but it works:  while on the road, develop songs, play them in, improvise on them – and then, once you know the repertoire inside and out – then, and only then, go into the studio and record the material.

brilliant !  so the six tracks on the album were all pieces that the band had been playing for a number of months…honed to perfection, battle-tested, altered, mutated, fully road-tested until the perfect incarnation could then be conceived and executed once in the studio.  this approach actually makes a lot of sense, because you work out all the issues in the songs on the tour, then you sit down in the studio and say, “OK, what have we learned about this song over the past x months  – how does “easy money” go?” – and, instead of talking about it – they can just play it until they get the version they want.

so it’s fitting that first, you get to live with the band for several months, in an astonishing series of live recordings, some only recently unearthed, as they “work through” these songs, and at the same time, have a blast playing long, complex and sometimes bizarre live jams of almost indescribable variety and consistency.  how much live material ?? – well, if you download the bonus two-disc live show that you get a coupon for in the box (including a disclaimer concerning it’s very poor sound quality – but, it’s a good show, so I am glad I downloaded it…), you end up with exactly 60 live tracks, which start with the band’s first live gig at the zoom club in germany in october, 1972, and ends just prior to the recording of the studio album itself in early 1973…

the remaining 24 “studio” tracks are divided up as follows: a copy of the 30th anniversary mix (the original mix remastered for the 30th anniversary), the 2012 new mix of the album, a full disc of alternative versions (either alternative takes or alternative mixes, including one incredibly revealing piece – the jamie muir track, solo, of his performance on “easy money” – an astonishing revelation, which clearly shows what an important part muir played in creating the extremely unique percussion sound that this band had) – and, finally a fascinating nearly 80 minute “session reel” that contains the first take of each piece on the record, as well as various run-throughs and bits – absolutely fabulous stuff.

so – a record with six songs, represented by a massive box set, 15 discs, 84 songs, (the box also contains various 5.1 mixes, a video shot in Germany, in both regular and blu-ray flavours – and hearing the album in 5.1 is yet another remarkable revelation, I can tell you that for free!).  those six songs had a lot that went into them, and if you sit down and listen to the 60 live tracks spanning some five months, you hear each one of those six songs go through transformation after transformation – and, you begin to understand how they came to slowly mutate into the final form that they eventually reached in the studio.

even if you follow the journey of just one of the songs, from the shortest “book of saturday” – also known as “daily games” – or a song like “easy money” – the amount of creative change that the pieces go through is astonishing.  you can just about imagine the band meetings after the gig – “OK, that went…OK tonight, but tomorrow, we are going to try doing it this way…” and, night by night, the songs…improve.

sometimes they take unusual courses to get to their final form, changing, and changing again, some early sections end up disappearing altogether (as in “easy money”) while others have more subtle refinements on their path to the making of the actual album.

but there is a lot to be said for fripp’s method of “playing in” a record in the live setting, and he went on to do this successfully with many, many different versions of king crimson over the years – playing the material live first, and then recording the album…it just works!

having said that, it might not work for other bands, it might only work for king crimson – that’s difficult to say.  I don’t know what other bands may have tried a similar technique, but certainly, some very famous albums are mostly “road” albums, written on the road, learned on the road, then recorded in the studio (led zeppelin II leaps to mind) – but I think in the main, most groups stuck to the “formula” – i.e. they did what the record company said, “make the record, then go tour it and make us a million dollars”.

it’s a credit to fripp’s integrity that he refused to tread that well-worn path, refused time and time again, and the albums produced by this “working in reverse” method are a testament to the method’s success – larks’ tongues in aspic, and it’s followup, “starless and bible black” – another largely live album – are two prime examples of this technique working very, very well indeed.

but getting back to the matter at hand – sixty live tracks of the quintet 1972 – 1973 version of king crimson.  60 tracks of any band live is a lot to wade through, but if you have the patience (and in some cases, it does require patience – the majority of these shows are restored audio bootlegs – from cassette – so sound quality is sometimes an issue) it’s a more than rewarding ride.  some of the live CDs have been available before, either as crimson club releases, or as downloads from dgm, some, are heard here for the first time anywhere – but as always with every version of the band, what you get is…amazing musicianship. truly amazing musicianship!

this band was put together very, very quickly indeed, before the ashes of the “islands” line-up had even cooled – that band stopped performing live in early/mid 1972, and by october 1972, fripp had re-formed (mostly via a chance meeting with wetton) this entirely new line up and had them out and playing by october 1972 – there is apparently, no rest for the wicked.

and while I personally have huge, huge respect for the “islands” band line up, I can’t deny that the “larks’ tongues” line up is a dramatic upgrade in terms of sheer musical prowess – fripp now attracting the best young players of the time, and the group he gathered around him this time is no less than magical.

the fierce, aggressive power of wetton’s bass playing, which spans an incredible range of emotion – from beauty to fear to raw power and back to beauty again – alone is remarkable and unique and unlike anything you will hear anywhere else in rock, but add to that, a man with a beautiful, smoky voice capable of expressing great emotion (some of the takes of “exiles” or “book of saturday” are just heartbreakingly beautiful – wetton’s voice is so, so beautiful – something not too many people notice) – and you have an incredibly talented bassist / singer, and a very experienced, capable player as well (coming most recently from 13 months with family, and a long string of other bands prior to that, wetton was a seasoned veteran by the time he and fripp decided to finally form a band together (something they had discussed numerous times previously, but never did until 1972).

bill bruford’s musical pedigree can hardly be argued – and his move, from leaving the very, very successful “yes” to join the totally unknown, “dark horse” that this brand new king crimson incarnation represented, has often been remarked on – but, bruford is primarily interested in music, so he went where the music was likely to be best, not where commercial success was in the offing.

speaking of “dark horses”, the two other new members of this new band, david cross on violin, flute, mellotron and electric piano, and jamie muir, drums, percussion, all sorts – well, while neither was as well known at the time, but when you hear the live tapes, you will immediately hear how crucial these two “dark horse” players’ contributions are – particularly muir, whose strange stage antics, and ever-increasingly large collection of kitchen implements and sheets of metal and so on threatened to make the band’s set up the longest on record – muir’s contribution to these performances is incalcuable.

a track like “larks’ tongues in aspic part I” would be nothing without muir, and in the video, you see why – he is a whirlwind of percussive motion, and yet, on cue, lands on the drum kit seat to bash out the power chord coda of the track along with a frankly admiring bruford – for bruford, muir represented a kind of free playing that he himself could not quite get to until later on, long after muir left the band.

the fact that muir left the band after only a very short time, meant that this line-up was very, very short-lived indeed, measuring in months, and leaving the band to the more familiar quartet line-up that went on to tour and record the next crimson record, “starless and bible black”.  when it all became too much for david cross, the band ended up life as a strange, progressive rock power trio, for their final (studio) release “red” (and, posthumous live document “usa”, too).

some might argue that the three of them – fripp, wetton, bruford – were the core, and – yes, they were, but in the case of larks’ tongues in aspic, it was really more about those five people coming together at the same moment, to make the music that was in the air – and I really feel that both david cross and jamie muir have tended to have their roles’ downplayed – but I am hopeful that with this extensive “proof” (which is exactly what this super deluxe box is) of just how good this band was live, that opinion will change and we will understand that this was indeed, a quintet, not a power trio with two extra players!

having only ever seen the original beat club broadcast verison of “larks tongues in aspic part 1” video prior to owning the LTIA box, it was a revelation to see the properly filmed version (along with two other full tracks that are on the included mono video) because I’d never really realised just how much real drums jamie muir played (and he plays trombone on stage t00 – amazing!!) – and he and bruford together, were for robert fripp, replacing the long-departed michael giles – whom fripp has said could not be replaced with one person, so he decided that the only way to get the drum sound he wanted, to replace what michael giles had brought to the 1969 king crimson – was to work with two drummers.  it’s a testament to both giles’ skill as a drummer and the level of fripp’s respect for giles as a musician, that it took two drummers of the calibre of bruford and muir, two excellent drummers, one, a brilliant percussionist, too – to replace him – that’s quite a compliment from fripp, really.

musically, it works.  two drum kits sometimes, at all other times, one drum kit and one most unusual collection of percussion “instruments”, many of which were found percussion items, sheets of metal, kitchen implements, and so on – non-traditional percussion implements – was just what the 1972 king crimson needed to set them apart both live and in the studio – and, set them apart, it did.

in some ways, it’s a shame that it only lasted for one tour and one album, but at least we have that – and now, it’s well, well documented (the box includes a long interview with robert fripp, as well as a most excellent essay from king crimson historian sid smith) – but really, to fully understand the contribution of jamie muir, you need to see the full film, and also, to hear his performances on the live shows and in the studio – the solo alternate version of easy money, which is just muir’s part isolated, is remarkable – I’ve never heard anything like it.  so personally, I would not have minded another tour and another album including jamie – but, it was not to be.

what about the guitarist then?  I would not know where to begin, fripp here has upped his personal game once more (the one about playing guitar from an intelligent standpoint), building on what he learned during the lizard / islands era, and, with a very different kind of band, sets out here to bring a new kind of fripp guitar to the proceedings.  for me, in some ways, this was the first time we really heard fripp let the cat out the bag – sure, we heard some of it in the live 1969 concerts, but here, he has four more years of playing experience to draw on – and draw on it he does.

I will never forget the day I first heard this album, at about 8 am in the morning, I bought the cassette and drove over to the drummer in my bands’ house – we put it on – and when that first set of power chords came in, we about jumped out of our chairs – this record was something else.

for me though, as a guitarist, to hear fripp’s solos, chords, comping, jamming, bending, scraping – he does it all – but this time, for the first time since greg lake, he has a musical equal in the band – john wetton.  wetton’s proficiency on bass is arguably better than lake’s (no flame wars please, I love the bass playing of greg lake, he is amazing – I just happen to slightly prefer wetton! – personal preference only), although they are both very, very good players, for my money, wetton is the more creative player (despite it being lake who came up with the nearly impossible bass part for “21st century schizoid man”) and I think that fripp and wetton had a much longer time together to really work out their style together – as evidenced by the blistering very late 1974 live recordings, such as “asbury park” from the USA album – by then, wetton and fripp are like a well-honed improvising machine – but even back in 1972, and all through 1973, the two soloed, harmonised, battled, clashed, flowed, dreamed and worked beautifully together – fripp on lead guitar, wetton on lead bass.

sometimes though, that would be wetton on melodic lead bass, and fripp on flute mellotron.  or other unusual combinations…but with fripp on lead guitar, and wetton on lead bass, with those amazing fuzz tones and monster bass cabinets – that’s the set up that I prefer :-).  I think fripp solos with such confidence and authority on these recordings, and indeed, throughout the life of this band in all of their incarnations – and that confidence immediately rubbed off on wetton, who felt challenged and then upped his own game considerably.  I think that they challenged each other, so the higher fripp flew, the higher wetton flew, and vice versa.  unavoidably, this results in some insanely amazing guitar/bass solos, some of which are just unbelievably fluid and well executed.

moments of peace though, are equally important, as evidenced by many, many lovely versions of “book of saturday” (aka “daily games”) where fripp plays quiet, complex chord based guitar, and wetton sings and plays melodic bass – a very quiet, very beautiful musical space (and personally, my favourite piece from the album – and somewhere, eventually to be put up on the blog companion page – there is a live performance of byran helm and I playing “book of saturday” together at a bindlestiff gig).

or on the beautiful “exiles”, again, a pastoral, beautiful, melodic song with great lyrics from the rarely mentioned lyricist, richard palmer-james (a school friend of wetton’s), who provided really lovely lyrics for this record.  wetton and palmer-james worked together on the songs, and both “book of saturday” and “exiles” are beautiful examples of their work together.  fripp’s guitar contributions to those two tracks are the icing on the cake, and I love those two songs in some ways, above the “loud” more obvious choices that a lot of other fans might choose.  “book of saturday” in particular has a very special place in my heart, since I worked for so many weeks on learning it (and while I could play it, I couldn’t really play it correctly or very well – ever!) it is deceptively difficult – as fripp guitar parts often are !!!

on the earliest live quintet recordings, wetton sounds like he’s just been released from prison (note, I am not suggesting that the bass player role in the band family is akin to prison!) – he is a bit wild, he sings along to his bass lines as if he is a jazz bassist, he is soloing in an almost uncontrollable way – singing really powerfully but almost in a very funky way at times – the very first shows are extremely strange! but as time goes on, wetton very quickly finds his place, and he begins to calm down, and fit in – and that’s when the magic happens.

by the end of the quintet, wetton had moved from world-class bassist to universe-class bassist…which is where he’s been ever since.  and really, in 73 and 74, he reached even more dizzying heights of bass playing.

I know I said I wouldn’t single anything out, but “a boolean melody medley” (taken from the november 25th performance at new theatre, oxford, uk) is one live track I do want to single out – coming out of a performance of “book of saturday”, the band move into this amazing piece of quasi-classical music, and suddenly, this band is transcending, I’ve never heard anything so beautiful…wetton is playing beautiful, melodic bass while fripp and cross soar over the top with the most gorgeous, astonishing solos I’ve ever heard either do – fluid, beautiful, astonishing – and the two drummers are quietly playing along, almost afraid to intrude – and for me, it’s moments like this, that it all becomes worthwhile – for every slightly dodgy improv, for every slightly imperfect moment that can and does occur in other king crimson live shows – when you get an improv THIS beautiful – this is what it’s all about.  sigh.

this piece was new to me, and it’s as if “book of saturday” suddenly-yet-gradually “turned into” this giant, beautiful improvisation – it just floors me, completely.  it moves from quasi-classical, to a bass solo, and then an almost jazzy kind of jam – but it’s just stupendous, and all five players are amazing on it – I cannot recommend this piece more highly.  it goes completely wild, and then somehow, near the end, the quiet part returns – or a quiet part returns after it had reached maximum sonic madness – and it then quietly wends it’s way along towards it’s conclusion – after an astonishing twenty minute improv – the conclusion is to seamlessly move into the beginning of “exiles”.

so – the band are basically playing the three songs that made up what was “side one” of the vinyl album, in the same order as they appear on the album – with the slight detail of an impossible, beautiful, classical, jazz, rock, improv – a 20 minute improv – appearing out of nowhere, being placed between “book of saturday” and “exiles” – that is just nothing short of remarkable.

and to me, the bit where they move out of the improv, and then moving onto to “exiles” as if nothing had happened – that is sheer genius.  not to mention, that the band had only played a handful of shows at this point in time, they had been on the road for perhaps, five or six weeks, when this miraculous piece of music appeared – that’s astonishing – some bands practice and perform for years and never play a blinder like this one. a totally awesome, totally amazing, totally beautiful piece of music!

moving back to the world of generalities, generally, this band played very, very well live – sure, there were problems, for one, the tuning between the electric instruments and the acoustic violin was often a problem, as of course was the problem of the tuning between two mellotrons, and between said mellotrons and the rest of the band – but, for the most part, this is not a problem – just occasionally, and the violin is notoriously difficult to keep in tune in the fast moving environment of progressive rock or jazz rock.

unfortunately, when they filmed the video, the first long improvised piece, “the rich tapestry of life” is quite out of tune at the start, and takes a while before it gets a bit more in tune – but that’s life, it’s just the way it goes – at least there is film of the band – the first time, really, that this group was ever properly filmed – otherwise, we have nothing except the french television performance that was included in the “red” 40th anniversary box set, but that’s a much later version (1974, near the end of their seventies career) of king crimson.

from the classic 1969 band, there is that tantalising clip from the hyde park gig – less than a minute of footage I think, a tiny excerpt from “schizoid man” that the TV crew happened to film – which has since been synced to it’s bootleg sound – from the next three records – nothing – except perhaps the odd tv clip here or there – this time though, you get three full tracks, including one very long improv – so this film does add significantly to the recorded visual history of king crimson.

I should also mention here, from the long, long line-up of live performances, an incredibly spirited performance from glasgow, from december 1, 1972 – where the audience are louder and more vocal than on any other performance (scottish audiences are not renowned for their reticence) but this, uh, verbal communication from the audience, spurs the band onto a brilliant performance – so sometimes a bit of heckling can have a very positive result.

at one point one audience member gets a huge round of applause for swearing, which I must admit, is a much loved pastime of “we scots”.  even as a transported/imported brit, I find myself swearing much more than I used to, since emigrating to scotland nearly ten years ago – I do swear more than I used to.

this glasgow gig contains a variant of “a boolean melody medley” with the even more unlikely title of “a vinyl hobby job”, which ends up more like a scottish reel, with a long, droning violin section which is quite lovely and quite hypnotic – a very different version from the original done at the oxford show; but starting out in a very similar way – moving from “book of saturday” into the boolean improv, but this time taking a very different path indeed, featuring an excellent performance by cross – playing in a way I’ve never heard him play before or since – most excellent.

the glasgow show has a completely different feel to the other shows, during “exiles”, fripp plays a normally distorted guitar solo with a much cleaner guitar tone; then we have the very violin-centric drone/raga improv, it’s just an odd gig – with a very vocal audience!

at this point in time, december 1, 1972, then, jamie muir had only a handful of december gigs, the making of the album, and one gig only afterwards before he left the band for good, to retire to a scottish monastery.  it’s odd to think that only a few months in…he was already on his way out – but his participation, particularly in the recording of the album, pivotal in live performances – is key, so while short-lived, it’s still amazing the contributions jamie muir made to the band – on stage, the “wild man” of king crimson, biting on blood capsules and spitting blood, smashing his pieces of metal plate…in the studio, innovative to the highest degree – and ultimately, not cut out for the rock and roll lifestyle (as so many of us are not).

I about fell out of my chair when I first heard his tour de force one-take live percussion run through for “easy money” (included as the “alternate mix” for that track on the “alternates” disc) – you don’t realise when you listen to the finished track just how much input muir had into that track – but when you hear his “solo” performance of “easy money” – which is absolutely impossible to describe with words – it all makes perfect sense.  “my my”…

it’s not really surprising though, that muir left after just a few months as part of the quintet version of king crimson – I am sure he fulfilled his desire to have a brief dalliance with the rock world (coming from a very sort of avant garde/experimental musical background) and I am sure he had a blast playing with bruford and the rest of the band, but the level of energy, the level of commitment – it was probably quite exhausting, so I think he had just had enough, and decided to go.  there was some kind of injury, too, a broken ankle on stage or something, which probably tipped the already-weighted scales.

muir did re-emerge briefly, once, in the 1980s, curiously, to record an album with ex-crimson alumni michael giles in about 1983, titled “ghost dance” but beyond that, after his short but very memorable time with king crimson – he left music behind, never to return.

and then there were four.

those four still had another 18 months of music ahead of them, including, for the quartet, the followup to “larks’ tongues in aspic”, 1973’s “starless and bible black”, and for the trio, two albums, 1974’s “red” and 1975’s posthumous “USA” (david cross appears on all of the tracks on USA, but tracks 2, 3 and 7 included “in the studio” overdubs from violinist eddie jobson – for reasons never stated).

but for many, it’s “larks’ tongues in aspic” that resonates the most, and until now, I never really totally understood why it stands apart from the rest of the 1972 – 1974 king crimson’s catalogue – and really, the reason it does boils down to two things: the presence of one very remarkable individual, jamie muir, who took the percussion and drums side of things to a new extreme, and, the combination of those five men in that place at that time – those two factors, made this album what it is – one of the best and most unique examples of forward-thinking, intelligent, truly progressive rock – a masterwork of the genre.

the 40th anniversary version of “larks’ tongues in aspic” is available in three different versions, although the super deluxe box set is a limited edition of I believe, 7000 – and I very nearly didn’t get one – dgm managed to lose my copy in the post, and then failed to replace it (for reasons I will never understand) which eventually forced me to cancel my order, and buy it from a more reliable, local vendor – who delivered it in one day, on a saturday.  the abject failure of dgm to honour my order (which was one of the very first placed, a pre-order in fact, which should really guarantee you a copy) very nearly caused me to not get a copy – which would have been disastrous indeed.

my “box of saturday”, if you will 🙂 – delivered by the best and most reliable vendor ever: amazon.  utterly dependable.

I feel really disheartened by what happened, it has really disappointed me pretty seriously – it was so, so important to me to make sure I had reserved a copy, so I was first off the mark – I rarely ever pre-order anything, but it was that important – and what did that pre-order get me?  absolutely nothing; sheer frustration; months of waiting, with no product ever delivered – and after having to wait all that time, I then had to cancel the order and re-order it from amazon – just to be SURE that I got it…that’s really pathetic.  and can you imagine how heartbroken I felt, each time one of my friends across the world would post a picture of their happy, smiling face, holding aloft the box set – the one I very, very nearly did not get?  it was, shall we say – most upsetting!

so I decline to celebrate, you will not see me holding up my copy in victory, because that moment came and went a long, long time ago – and listening now to it, the happiness I feel at hearing this music will actually be, ever so slightly, forever marred by the nerve-wracking, anxiety-inducing “experience” I had of trying to chase up my “pre-order”.

…but – luckily for me, there is that “little shoppe on the corner” (called “amazon.co.uk”) that is very dependable, very reliable, and they got me my copy in 24 hours – after waiting in vain for over three months and repeatedly receiving nothing whatsoever from dgm – so at long, long last I can join all my friends who have been listening to and enjoying the album for the past three months…I’ve finally caught up with you.  I am finally getting to see and hear this record.  for a while there, during december 2012, there was a time when I began to believe I might NEVER hear it – until I wised up and ordered it from a reliable vendor 🙂

meanwhile, since I began listening to it last Saturday, it’s hardly been off heavy rotation – and I am currently listening to all 60 live tracks in chronological order, which is a remarkable experience in itself, to say the least!

the 5.1 mixes, too, are an absolute revelation, and I could sit in that sound field forever listening to music that is utterly familiar, yet, configured in a new and very unfamiliar way – with fripp’s ominous power notes at the beginning of “larks’ tongues in aspic, part I” slowly revolving across all five speakers – a wetton bass part emerging behind me – just beautiful, and steven wilson deserves all the praise the world has been heaping on him – as does robert fripp, who also worked on these mixes along with wilson.

the video, while not of my personal favourite live performance, is essential, if not at least so that you can visually see just how important both cross and muir were to this line-up – in fact, muir is so visually interesting, that the camera spends most of it’s time on him – and wetton, you hardly see at all, by comparison.

the new 2012 stereo mix – well.  it’s beautiful.  I love it.  but for my money, you cannot go wrong with the steven wilson / robert fripp team, they have done a stupendous job on every one of these 40th anniversary re-issues, and this one is no exception – it’s very possibly the best, although personally, I would say that “in the court”, “islands” and “larks’ tongues in aspic” are all tied for first place…in the “most absolutely stunning, astonishing, amazing and thorough re-issue” category.

so as robert fripp wends his way up the scale for an amazing lead guitar solo in the live verison of “easy money” from december 1, 1972, from the glasgow green’s playhouse (a really unusual and remarkable live performance, with a lot of audience interaction), I go now to immerse myself in the never-ending live world of “larks’ tongues in aspic”…a beautiful experience from any and every angle – and, with up to 60 live tracks and 24 studio/live tracks on offer, you can’t really go wrong – it’s all good.  I mean – it’s king crimson, after all :-).

I waited a long, long time for this record, and then I was made to wait three months longer than that, but now that I finally have it, I would have to say it takes the prize, it’s all folk have said and much, much more, and I am happy to add my voice to those who support it – a most excellent effort indeed from team wilson / fripp – bravo!

highly recommended.

the art of mixing…

well, for the past few weeks, because I really, really want to clear my backlog of recordings, or at least, get it to a reasonable state (say, four weeks behind), most of the musical activities I’ve been engaging in lately have been mixing, followed by more mixing, and then, just for variety, a bit of mixing…

over the holidays, I mixed 51 pieces, which of course, if they had been multi-track masters, would have been more like 5, but when I say mix – for me, I am very fortunate, because the bulk of what I record are live improvs, so for these live tracks, “mixing” really consists of a few simple, standard operations (trimming, level balancing & settings, and, deciding if reverb or other treatments are needed and then applying them).

obviously, when I was working on “gone native”, or even “dream time” by “scorched by the sun”, those sessions take much, much longer, you can’t knock out 51 mixes in two or three weeks as you can with the live tracks.  this difference is crucial, of course, it still takes quite a bit of time to mix the live tracks, but what it means is that there is hope – I MAY get caught up, since all the mixes I still have “to do” are live stereo pairs – not multi-tracks.

since the holidays, I’ve managed to mix two more sessions, one with one song, another, with eleven, so I have an additional 12 under my belt.

these sessions have been a real variety, and it’s been very interesting hearing these different sessions and approaches, and hearing the wild diversity of tools and instruments that are at my disposal – mainly due to the incredibly music diversity of the ipad, with it’s ever-growing list of music applications. within this last batch of 63 mixes, I’ve worked on: straight guitar synthesizer sessions; guitar synth & shredder synth & addictive synth (applications) sessions; guitar synth & beatwave (application –NOTE – apology: I erroneously called this “beatscape” in previous postings – my mistake!) sessions; mini-moog V (soft synth) sessions; and finally “all-instrument” sessions – where I play many, many instruments in a completely live setting.

I am not quite sure what is next on the list to mix, but I am sure it will be interesting! I think I am mostly finished with sessions running from the start of the year up through about august – anything left is hopefully in the september to december period.  I know I have some october sessions waiting, 20121028 I think, but I can’t recall what they are – possibly more of those “all instrument” sessions – and those are full of surprises, since there are so many instruments on call.

I have actually mixed a couple of recent sessions, from 20121225 and 20121226, so I know what is coming in that area, the “all instruments” set up already well established at that time, so there will be items from those two sessions appearing eventually.  there are also various sessions involving “scape” –  from october and november, which I am also looking forward to hearing again – hopefully something interesting might come out of those…

 

the one upside/downside is – for each set of audio mixes completed, this generates a list of tracks that require a video to be made – which is good and bad, good, because I captured a decent take that I can present on one of the you tube channels (my only real outlet for live performance at this point in time); bad, because – I have to actually make all those videos.  with 62 audio mixes recently completed – a LOT of tracks are now marked “make video” under the heading “next action”in my tracking document.

 

so in the last session that I mixed, this past Sunday, the 20120616 shredder synth session, for example, which had eleven decent tracks in it – eight of them seem to be viable, so I will need to make eight videos out of that session.  a lot of work, sure, but for me, totally worth it, because I think it’s interesting to see how this music is created – looping shouldn’t really be shrouded in mystery, it’s just a process, and it’s a process that I truly enjoy.

 

before I forget, I have good news: I’ve confirmed with bryan helm, my partner in crime in the band “scorched by the sun”, that the latest master mix of “dreamtime” that I sent him, is a “go”.  we are both very happy indeed with the master recording of “dreamtime”, so it would appear that the début “scorched by the sun” album is ready to go.

this will require a little work on my part, but mostly it will involve preparing the artwork, but I am optimistic that I will find the time to work on this (hopefully this coming weekend) and it’s entirely probable that you will be able to download the album (which is one very long, very ambient track) from bandcamp within the next few weeks – hopefully well before the end of january.  we will keep you posted on this, of course!  this album took a lot longer than expected, mainly due to my manic schedule, but it’s been well worth it – it’s one of the most satisfying, most ambient records I’ve had the pleasure to work on in a long time.

back now to the topic at hand, I was thinking how very fortunate I am to be mostly a live performer, and how fortunate I am that I have these very straightforward, simple-process mixes to take care of – if every piece I recorded was a multi-track, I would currently have a ten year back log, instead of the one year backlog that until very recently, I’ve actually had.

I now have that down to months, probably about three months, and I plan to persist in mixing (despite being just a TINY bit tired of the process!) until everything I’ve recorded has been mixed, and then, moving forward, work harder to stay on top of things, and not end up with a major backlog as I have right now!

 

looking forward, I am really excited about the possibilities, and I think that 2013 is going to be a year of very, very interesting performances and recordings.  I am definitely going to look at live streaming performances, probably through the very convenient new you tube live streaming facility, so I will set up a recording session, and then invent listeners to tune it.

I also plan to try a lot of recordings using new and interesting technologies, the forerunner at the moment being “audiobus” – a unique application that allows you to move back and forth between audio applications that are an instrument, a sound source, and applications that are used to effect that sound, and finally, applications that record that sound – I’ve been testing this out over the weekend, and it works really, really well.  this means then, that I can record and perform live with much more ease on the ipad, because you don’t have to manually open and close applications – you just move between them as you perform – it’s fantastic.

 

if I think back over the past two years, I had two very, very different experiences – going back to the mixing sessions for gone native, which were very traditional, since they involve traditional rock back instruments – drums, bass, mellotron,  guitar, guitar synth – most of the year was spent mixing and remixing multiple instruments, and getting a good sound balance between 20 or 30 instruments can be very difficult, harrowing, stressful – and very, very time consuming.

contrasting that in my mind with the last several months of working on live material for video, where I’ve done about three times the number of mixes on live tracks than there are tracks on “gone native” – because, thankfully, mixing these live tracks is relatively quick, easy and painless, compared to mixing multi-track – they are like night and day.

and to be honest, while I enjoyed both processes, but I will always prefer mixing a two track stereo master of a live track to a multi-track – it’s just so much more straightforward.  I’m actually really lucky, because the majority of the albums I’ve made, and will make, are all consisting of live tracks – there won’t be too many “gone natives” in my future, unless I decide to make more studio-style rock creations – which I very probably will, but in the meantime, I am still patiently, sometimes impatiently, wading through those many, many live stereo mixes – one at a time.

 

I’ve really enjoyed having adobe audition available to do the processing on the live mixes, I have a standard process now where I trim the track in sonar and set the levels roughly; I add any required reverbs using breeze (since it lives in sonar) and then I export the track to a special directory…where I then pick it up in adobe audition.

once in adobe, I open the file, run the amplitude statistics, once I have the numbers, I calculate mentally the amplitude offset I need to get the output to sit exactly at – 6 db, and I then run the amplitude update based on the numbers…  then I save the file which creates the final 24 bit, 8 khz wav master, then, I “save as” a 320 kpbs mp3 file so I can put it on my portable device to listen to.  this also gives me a chance to hear it in compressed form, to make sure the sound quality is liveable compared to the original wav file.

this new process is working really, really well, and I am loving adobe audition – I have also used it to remove pops, to remove badly clipped audio (it did marvellously well at both of these notoriously difficult clean up tasks) and to apply effects and eq to tracks.  I will definitely be depending on adobe audition more and more in the future for most audio work – I love it!

 

 

there is certainly no lack of tracks that need to be mixed, level matched, and so on, and I continue to work through this backlog, I really want to get it  (the backlog, that is) down to nothing so that when I complete a session – I can immediately mix it, instead of it waiting weeks or months for me to “catch up”.  that is the ideal, anyway…

 

of course, it’s not just my tracks that need mixing, I also have the cassette restoration project calling to me, a lot of material there needs additional clean up, and again I will look to adobe audition for some of that, in particular, it has a most excellent fft style clean up available, based on the one originally within it’s ancient ancestor, “cool edit pro”.  I love this kind of noise reduction (where you sample the noise, and then run the reduction based on the sample), and it will be brilliant for cleaning up hissy old cassettes – but it’s finding the time to get back to the cassette project – I have to concentrate on and give priority to the current work, then my collaborations (the “dreamtime” release) and then and only then return to work on the cassette project – as time permits.  and right now, it isn’t !

I am listening this morning to a set of mixes from 20120708, which was my first ever session with the mini-moog V soft synth – and what a beauty it is, possibly the most capable and beautiful soft synth I own outside of the mellotron (m-tron pro).  the artist patches alone are really amazing, and it has a rich and beautiful palette of very analogue-sounding patches…I am in particular looking forward to publishing the work from this session, as a lot of it has come out really well indeed.  and in this case, I am not looping, I am just sitting down at the keyboard, and putting the mini-moog V through it’s paces – and it absolutely performs – a genius instrument. hats off to arturia

so: this coming weekend, I hope to work on finalising “dreamtime” and making the début “scorched by the sun” album available – and then – it’s…

 

…back to mixing, mixing, and more mixing.  next up: remove “pops” from an applications session (live performances on the ipad itself from 20120414 – can’t wait, those were some really exciting first-ever attempts at playing synthesizer directly on the tablet – so those should be really interesting…

🙂