studio diary 20150501: back into the world of scape…

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

 

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

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

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

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

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

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

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

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

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

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

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

Until 2015, that is.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I certainly do not !

 

 

 

 

 

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the “eternal album” – and, sequencing with the fairlight pro app

with the recent release of my first “eternal album”, “music for apps: fairlight pro” I’m now moving much more publicly into the realms of app-based music, so far, I’ve kept most of my application-based music just in the world of you tube videos, with musical activities such as the purescapes channel, which is a you tube channel dedicated to music I’ve created with “scape” – the generative ambient music application designed by brian eno and peter chilvers… I’ve also done the odd live improv involving applications on some of my other you tube channels such as “applicationHD” and “synthesizerHD” but this is my first actual full “album” of application-based music.

I should take a moment and explain the “eternal album” concept; this is an idea I’ve been working on for about one year, I’ve mapped out a series of these albums to be made using existing and future music recorded with applications – and application-based music is like science fiction to me; I still can’t really believe that it exists, and that for the last year and a half, I’ve been able to create music (and, a lot of music at that) on a tablet; using a myriad of music-making applications – to create music of  incredibly varied styles, from super ambient (scape, mixtikl, bloom) to frenetic, heavy, synth music (nanostudio, imini, animoog, addictive synth, thor, nave, n log pro, magellan, sunrizer, and so on…) to almost anything in between (launchkey, loopyHD, cantor, mugician, sound prism pro, beatwave, and so on…) – five years ago, I would not have thought this possible.  however, a practical problem has emerged, that the “eternal album” solves – how to present a large number of finished compositions (far too many to assemble into ordinary “albums”) in a way that makes sense for both artist and listener.  the “eternal album” solves this new world, application-based problem.

so, after 41 years of making “normal” albums – i.e., for release first on cassette, then on compact disc, and eventually, online (a mixture of downloads and compact discs), but this…this is a new “kind” of album, one that recognises that the album concept has become slightly outmoded.  of course,  I will still continue to make normal “albums”, where I collect songs together (such as “gone native”, my recent collection of active music, or ambient albums such as “sky full of stars” and “the haunting” – and many others, too) – this will continue, and it will revolve mostly around music made with electric guitar, or guitar synthesizer – I still feel in particular that for ambient music, the normal “album” full of songs is the best presentation method.  there are many reasons for that, the foremost of which is that by selecting a group of songs, and ordering them in a particular way, the artist can control the “mood” of the ambient album experience – so I think a defined set of tracks, carefully sequenced, is very often a good idea, and in ambient music, it’s particularly effective.

but…not so for music made with applications.  since to me, with my old-fashioned brain, this is futuristic music, science fiction music, music that I never dreamed could be made, mixed and published on a tablet device, in vast quantities (example – in just about one year of creating “scapes” using eno and chilvers remarkable application, I’ve created in excess of 1000 scapes) – and, the majority of them are of a quality I would absolutely publish – so – I feel that this music, in these quantities and at this level of quality (there is really no such thing, for example, as a “bad scape”) – this music deserves a new kind of album – the “eternal album”.

the concept is simple:

1) there is no finite number of tracks – tracks are added as they become available.  we begin with existing, completed tracks, and add new tracks as they are created and completed

2) there is no ending to the album itself – it’s end is dictated either by the disappearance of bandcamp, or by the disappearance of myself from the planet (both will happen eventually – this is inevitable)

3) customers can download any number of tracks and construct their own “versions” of the album, from a single track to hundreds of tracks if available, or anywhere in between

4) customers can either use the suggested running order or create their own, four seconds of silence has been added to the end of each track for this specific purpose

5) there is no album price, as the “album” is whatever the customers want it to be, from one track to hundreds of tracks (if available) in any order they please

6) a word about track pricing, because of the nature of the “eternal album”, we have set the track prices at a special low level to compensate for the higher track count

so what this means for me as an artist, is what I need to do to present the work for a particular application, is to create a normal bandcamp album, in this first case, the album is called “music for apps: fairlight pro” (in fact, all of these albums will have similar titles, such as “music for apps: scape” and “music for apps: nanostudio” and so on) and I then upload the existing, finished master tracks that I’ve created with that application.  that might be just a handful of tracks, it might be many, but once uploaded, I would then add to the album at any point in time over the next 30 or 40 years,  many, many more completed tracks – as they become available.

this might mean that if I have a very prolific period of composition next year, that I might add 20 or 30 new tracks during 2014, to the existing fairlight pro tracks that are already part of the album.  or, if I do not have the urge (or more likely, the time, due to other commitments) to work with the fairlight, it might be that no tracks are added until 2017, when I finally find the time to record new fairlight sequences…the input is totally flexible.  note: if customers indicate a demand for more tracks of a certain type, i.e. they ask for more fairlight sequences, or more scapes, I will do everything within my power (and my schedule) to provide same.

so any “eternal album” can have any number of tracks at any time, more tracks can be added at any time, or, they might remain static for many months or years depending on what apps I am currently recording with.  it’s the ultimate in flexibility for me, the artist, but it’s also the ultimate in flexibility for the customer for these reasons:

1) the customer can listen to all of the available tracks before making any purchase, and decide if they like none, one, a few, many, or all of the tracks

2) the customer can download only the tracks they like, ignoring those tracks that do not appeal to their “ear”

3) for completists, they can own every available track and get the full musical impact of perhaps a decade or two decades’ worth of the artist’s work in that particular format – perhaps, a hundred or more songs recorded over ten or twenty years – something that most artists do not necessarily make available to their listening public (but I wish to as much as is humanly possible)

4) having many “eternal albums” to listen to and choose between, gives the customer a very good idea indeed “which” of the applications that he or she likes the sound of, so some folk, for example, who are more used to my ambient work, will favour the scape and mixtikl “eternal albums” while others who perhaps like the louder, more active side of dave stafford, will opt for the “eternal albums” created with the fairlight, nanostudio, or other active/synth tools.  it provides a much greater range of choice, which appeals to me.

it’s really all about choice, and to me, having a range of albums, sorted by application, with a comprehensive catalogue of tracks created within each application available to listen to at no charge and no risk, gives customers the chance to listen, compare, and decide which applications they feel drawn to or that resonate with them, and, which applications do not appeal to them at all.  it might be that one customer only likes the sound of scape and mixtikl, and does not enjoy the fairlight pro or nanostudio albums.  or, the complete opposite, or any mix of styles/apps – but the beauty is, as with all albums presented in bandcamp, you can listen, compare and contrast before making any purchase decision.

since I have just been through a complete review of every single track I’ve ever produced using the fairlight pro (peter vogel cmi) sequencer, I wanted to take some time to talk about the joys and frustrations, the highs and lows of creating music with the fairlight pro app in particular, since it’s the subject of the first dave stafford “eternal album” and is our featured application today.

whether you call it by it’s current official name, “peter vogel cmi”, or if you are a bit lazy like me, and you call it “the fairlight” or “fairlight pro” – this is one of the most unique applications that appeared in the early days of the ipad tablet revolution.  despite it’s high ticket price, it was one of the very first applications I purchased, because I wanted that sample library – the one that kate bush and peter gabriel used in the early eighties, I wanted those sounds!

I had a bit of a learning curve, I am first a guitarist, second, a pianist, and lastly, a synthesist – and despite playing both guitar and keyboards, sequencing was a skill that I had really never got the hang of…until the fairlight pro application appeared in the itunes store.  it took me a few weeks to really understand and take advantage of what the app can do, but once I got the hang of it, my skill set just skyrocketed, and within a few months, I found that I was creating pieces of music that really surprised me in their complexity for one thing, but at the same time, it was the sound of the pieces…and that takes us right back to those incredible samples.

in uploading the tracks to the album, I’ve taken the unusual step of defining in full, in the attendant metadata, a detailed description of each piece, it’s duration, tempo and the instruments used in the creation of each track, so for each track that is part of the album, there is a list of the eight instruments used to create it.  the reason I’ve included this is because it’s so, so difficult, when listening to a completed, mixed, stereo sequence, to tell what the component parts are.

but even knowing what “went into” the piece is sometimes not enough, sometimes it’s more about unusual choices made with note durations, or adjusting the tempo to make a certain melody sound a certain way, a lot of the fairlight “magic” is in the combination of instruments used – and sometimes, strange things happened, and instruments that sound one way juxtaposed with three other instruments, suddenly change their sonic character when paired with say, two other different samples.

there is something about the fairlight that you can’t explain in words, and at that point, you can only listen.  the samples are just classic, and I love the quantity and diversity on offer, but even more important, the insanely strange combinations of instruments you can achieve by mixing and matching across categories, and if you think about it, each fairlight “instrument” consists of (a maximum of) eight instruments, so just how many combinations of eight can be made from the many hundreds of samples there are??

what amazes me, too, is that I can create a new instrument, and it always, always sounds completely different from any other instrument I’ve ever created!  no matter how many I create, each instrument seems to create an utterly unique sound, which you can’t replicate easily using other applications.

yes, you could physically collect those eight instruments (although it might be difficult, for example, to get ahold of “jetpasso1” – mosts musicians do not have a jet in their studio) and record with them, but it would be utterly impractical in a lot of cases, again, I don’t have a digeridoo in my studio, but with the fairlight – well, I do.

listening back to the sequences I created beginning in february 2012, and then moving up to the present moment, it’s a journey of pure discovery, a joyful, joyful journey, with a few moments of frustration, a few paths that I shouldn’t have gone down, but mostly, it’s just one of the most unique, interesting and entertaining bodies of work I’ve ever had the pleasure of creating and being the composer of.  I’ve created silly sequences, sequences composed of bird song, classical music, pop music, heavy synth music, rock music, progressive rock (quite a bit of prog in there), it’s unbelievable the variation of tracks I’ve created over the last year and a half – I even have one sequence that accidentally sounds a bit like an obscure XTC b-side…

I think that this unassuming little app, with it’s amazing set of classic 1980s samples, has a remarkable power – it allows you to play eight very diverse instruments together, in an impromptu “band” that you then arrange measure by measure…creating completely unique pieces of music with these one of a kind “instruments”.  I love spending time creating with it, and I hope that you’ll enjoy some of the fruits of this labour, it’s always an amazing feeling when you push “play” for the first time, and a remarkable and very unique piece of music plays back…which was built literally, note by note.

so – I think it’s appropriate that the music made with the fairlight pro application is the subject of  my first “eternal album”, it seems right, it’s both a classic synth from the 80s but also, one of the first high quality sequencer/samplers to be made available for the ipad and iphone, so therefore, it’s part of our past and our present and our future.  I love working with this tool, and I recommend it highly to anyone who plays keyboards, that wants to learn how to sequence – it’s how I got started 🙂   note by beautiful note !

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.

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. 🙂

fairlight fifty-one – the first dave stafford “application-based” album

even with all the other projects that I am working on, and the list just seems to grow and grow, I am still finding time to work with my beloved fairlight app.

so in between the synthragas and the scapes, and being “scorched by the sun”…I’ve still been finding time to use my favourite sequencer, the fairlight.

a number of new pieces have emerged in late october and early november 2012, including a halloween-themed piece called “hallowed evening sequence” which uses some very unusual sounds (such as “wild boar” and “elephant”) to create a dark, haunted feel – I’m not normally a big fan of creepy music, but the fairlight does creepy so well – well, I just couldn’t help myself.

the piece alternates between the strange strangled cries of, alternately, the wild boar, then the elephant, then both – and a lovely, halting electronica/synth piece – including a very quick section that comes as a complete surprise in the context of the otherwise slow-moving piece.  I am getting used to the idea now, of composing music for “instruments” that range from animal to submarine, from cutlery to machinery, so having wild boar and elephant as my two main instruments, does not seem as strange to me as it once did.

it turns out, actually, that they are eminently suited for a halloween-themed piece of music, because of the similarities to the sounds of panicking, screaming humans – I know that may sound a bit odd, but trust me, it just works!  it does seem a bit strange still, to have “sword” and “whoop” as accompaniment – and I make good use of the “sword” sound – which is simply the sound of a sword being unsheathed, but used as a melodic device, it works great.

next up is a sprightly, [or spritely :-)] little piece called “question mark?” that features a bassoon as it’s lead instrument, with “metal01” as the main percussion instrument – these are then joined by bass organ, electric bass, english horn and, the rest of the “drum kit”: crash cymbal, woodblock and snare. I have to admit I did struggle with this piece: I liked the composition, but I was not happy with the instrumentation, and I changed out several instruments over a couple of days until I reached this arrangement – which works so much better.

normally, I would not do that, and it’s only been on one or two occasions that I ever changed an instrument – usually, once I set it (and that’s the first thing I do) the instrument stays the same throughout the process – so, the composition may change, but the instruments do not.  not this time – it was the reverse – the composition stayed the same, and the instruments changed until the composition sounded right to my ears.

“question mark?” reminds me a bit of something from XTC’s “homo safari” series, it would fit in well between “frost circus” and “procession towards learning land” – somewhere in there 🙂

next we have a real favourite of mine, “the imperial” – featuring wah synth, bell synth, three different prophecy synth sounds, synth5ths, synbass and cymbsyn – so, initially, all about synthesizers – and yes, it does have a bit of a “synthy” sound because of this, but the composition itself ends up with a strangely human quality – I often use the wah synth as a lead instrument, and it works well here again, but the presence of the three prophecy synths gives this piece an amazing late 80s feel – with all the excitement of these “new” prophecy sounds.

“the imperial” burbles along, then hits a short organ-like break, then, some sort of utopian stop/start music – and then away into the high-speed chase solo section – one of the longest, most complex sequences I’ve ever created – I don’t know what came over me, but I was adding bars to this piece at a phenomenal rate – the music just flew directly from my brain into this very roger powell-like piece of music.  if you put “the imperial” into a playlist that included powell’s “air pocket” album, you probably wouldn’t even notice it’s presence – it does have a fantastic high-quality 80s synth feel about it.

I’m also very proud of it as a piece of music, as a composition, because it’s quite mature, it has a number of very logical sections, and then a long and complex solo, which then resolves beautifully back one of the main themes.

next is “electric gambit” a quickly little piece that features and alternating chimes and vibes melody, back by synth toms, a bell tree, snare and orchestra. I had originally intended for this to be a lengthy piece, similar to “the imperial” but as it’s ended up, it’s quite, quite short – concise – and I realised that if I add any more, it might spoil it – I reached a logical conclusion, using the orchestra (strings) to wind the piece down – and it just “felt” like the end – so I decided to stop.

it’s fast-paced, and the variable pitch, very roto-tom like syntoms sound great, the bell tree adding a lovely percussive/melodic element periodically, but it’s the ever-switching chimes then vibes, vibes then chimes melody that I really like – it’s bright, cheerful, melodic – and the roto-tom accompaniment is just perfect – it frames the melodic content beautifully.  I felt very, very fortunate on this one – it arrived quickly, practically arranging itself, and when I heard the string outro, it felt like the perfect ending that I should not mess with.

I think over the years, that the one skill as a musician that is the hardest to develop, is to know when to stop.  it’s often really difficult to know when!  I do think I’ve gotten better at recognising this now, whereas when I was younger, I would just keep going until excess got the better of me, nowadays – somehow, and I don’t know how – I just “know” when it’s finished – and “electric gambit” absolutely fell into that category – I reached what seemed like an ending, and I very quickly realised that even though I had meant to sequence quite a bit more – that the song had told me it was over – so it was over!

the most recent piece, that I’ve been working on over the past few days, bears the somewhat odd title of  “time wounds all heels” and is probably the most XTC-like piece I’ve managed (I am talking about “pop” XTC now, not “experimental” XTC!), using any instrument – it has a funky drum and bass part intro that really reminds me of a classic XTC track – but of course, with that fairlight twist.  I used a different approach on this piece – I decided to work out the drum track first, and then go back and add instruments.

that’s something I’ve never done with the fairlight, try to do things in the traditional drums first, ten bass, then instruments – the fairlight doesn’t naturally lend itself to that approach, but I thought I would try it anyway – and, it was surprisingly successful.

but of course, the best laid plans…I laid out half a drum track, and as I worked on the second half, I started adding in instruments (so much for the “drums first” approach!) – acoustic bass and a horn; and then, strangely, submarine and jet – so I ended up with a skeletal drum part for a minute or so, followed by a nearly complete second half – a very odd way of working…

I worked out the second half of the song quite thoroughly, and built up some very “prog-like” bass and horn parts, the second half is much faster than the first, so it goes then from XTC-pop to Yes-like prog in the blink of an eye.

that was the first day of work, then, on day two, I was faced with filling out the instruments in the first half…and hoping that as I did, that they would “meet up with” and complement the second half.  again, I went to the acoustic bass, and I created some alternate versions of the drum bars – first, drums and bass only, then, drums, bass and horn – and that gave me repetition and variance – the drum parts the same, the accompaniment, different.

as it turned out, I need not have worried, in no time, I had reached the “already finished” section – and a quick playback revealed that the transition was seamless – you would never know where the two halves joined up!  I could not have been more pleased, and I feel that “time wounds all heels” is one of my best works to date – and speaking of the date, I also realised that I am getting very, very near the required number of tracks to assemble an album!

nominally, I want 51 tracks for the album, and I am currently at track 056, however, a few of those won’t make the cut, so my plan is to continue, perhaps up to 60 tracks in total, which will then allow me to leave off a handful of tracks that are perhaps a bit too strange to “work” on the album.

I don’t know yet – I did put together a CD a couple of weeks back so that I could hear all the completed tracks to date, and, I was mostly very, very pleased with it – with one or two exceptions – but it actually boils down to “how strange do I want this record to be?” – an odd position to be in.

because a few of the songs are so, so strange, both in content and composition, that they do not make for what I would call – “comfortable” listening!  I might like them, because I enjoy the process of creation regardless of the final outcome, but when it comes time to put together the best 51 tracks – it might be best if some of my strangest pieces are omitted.

I suppose I could build a small cache of out-takes – for the really brave of heart – and have the 51 main tracks be the album, and then have the out-takes available at a reduced price or as some kind of bonus package, I don’t know – I am sure I will figure something out.

as this unintentional album project draws to a close, I feel very excited about the eventual end result. I believe I am going to present these tracks in absolute audio verite, with no processing or added effects – possibly a small amount of reverb? – I don’t yet know, but the fairlight samples are so unique, that even without effects, they sound very cool – so I am thinking that I will literally just record the pieces, as-is, with no processing – and that will be the album.

I’m also teetering on a decision about running order. most of me wants to stick to a strictly chronological running order, which would then allow the listeners to parallel my own journey of learning this instrument, and this running order does allow for the pieces of most sophistication to end up at the end, where I have the most proficiency.  but lately, I’ve begun to think that it might be better to try and work out a running order based on the sound of the songs – so not chronological at all, but based on how the piece sound.

generally speaking, when I master an album, I do neither of these things: I don’t believe I’ve ever presented pieces of music in a strictly chronological order, nor have I ever presented an album with no processing or mixing of the tracks – so these would both be firsts.  I have a lot of thinking to do…J.

of course, there is a basic “mix” right in the fairlight, every instrument has volume and panning, and indeed, I do have a job of work particularly with panning – normally, I set the instrument balance as I compose, adjusting the volume of individual instruments up or down as I go, but I haven’t set the panning for most of the pieces – I just leave them all default stereo to start.

so I will have to go back and work on the panning where I haven’t done so, because it really does add to the overall effect – when you only have eight instruments, stereo placement becomes somewhat crucial…

in any case, it’s actually fortuitous, as we approach december, 2012 – it was in december 2011 that I first got the ipad, and the fairlight was one of the first apps that I purchased – so as I approach my one-year anniversary of learning how to sequence, using this remarkable app (and, hats off to peter vogel – who has done a brilliant job on the app) – basically, I have a nice body of work to show for it – 51 unique and unusual pieces of music – and this is music, I guarantee you, like you have never, ever heard before.

when I first got the app, I never dreamed I would make an album with it, that was the farthest thing from my mind, but then, “feast for crow” happened, and I was away.  a month or two in, and I was so, so “hooked” on the device, it’s really so much fun to learn and use.  at first, it is difficult, but as with anything, you learn what to do and you learn what not to do – and your pieces get better.

I think everyone uses instruments and applications differently, but I have a strange approach, because of the rather unique skill set I’ve developed over the years, I don’t think that I … think the same way as other musicians do, and I think that’s actually a blessing – I just do things “my way” and often, I disregard the “proper way” – which can have great results, or disastrous results, depending 🙂

in the case of the fairlight, the whole concept was completely new and alien to me, but, I just got stuck in, and taught myself – only reading the manual when I absolutely had to – and I learned.  I’d never really worked with a sequencer of any kind before (even though I had played and owned synthesizers since I was about 18) so I had to learn how to compose bar by bar.  once I figured that out – it became quite easy.

sure, some of it is tricky – say you want to have a long melody line, you have to then split that melody across three or four bars – that’s odd, but, you get used to it, and there are a couple different ways of going about it on the fairlight.  as the year progressed, so did my knowledge, and now, at the end of the year, I am finding it easier than ever to create on the device – I feel at home, comfortable, so now I worry less about how to do it and I just get on with the pieces – and these last four or five have been a real pleasure to create.

the fairlight – otherwise known as “peter vogel cmi” – as used by kate bush and peter gabriel – I love it !!

the music of the moment

sometimes…I do feel frustrated when my life gets in the way, and I can’t find time to sit down and write about music, or, worse still, play music, mix music, work on music – but that’s what happens, there are these little obstacles and problems that pop up, and you have to deal with them, there is no option…but I do get annoyed when I fall behind on any (annoying) or all (really annoying) aspects of music.

unfortunately, I did lose a little bit of momentum with the recent, extensive work on the release of the physical CD of “gone native”, but I am getting caught up now, and this weekend should be the final session, when I can (hopefully) send the audio master away to the pressing plant next Monday and then just wait.  I am very much looking forward to it, I had no idea that the artwork would be so tricky and so time consuming, but I am happy in a way, because I’ve learned what’s expected (in 2012 terms) for physical CD manufacture – and that is useful for the future!

I can’t believe it’s been ten years already since I originally stopped manufacturing CDs, and went “all download”, but I feel strongly that “gone native” is an extremely important work for me, being the culmination of my craft as it were, a representation of my guitar playing based on the last 41 years or so of recording, performing and just playing the guitar 🙂 – so, a proper CD release was absolutely on the cards all along.

however…some progress at creating music, both past and present, is also being made; last weekend, I did find time to return to mixing audio and preparing video for the first time in about three weeks, and I think I managed to mix five or six tracks in total, including a couple from the “synthraga sessions” (there are four more of those waiting for me to mix this weekend, and, so much more…) – but again, the frustrating aspect of that, is that these are tracks that I recorded back in May !

talk about a backlog – but, I did make a start, a few tracks got mixed, video clips were prepared; and hopefully, if I can just find a few hours each weekend, I can keep mixing audio and prepping video…and eventually, in a few months, I may actually “catch up”…well, whether I do or not, I will just keep going…

meanwhile, new music creation still goes on thanks to the world of apps, with two new pieces emerging on the fairlight this week, I decided to see if I could create ambient music on the fairlight, and it’s quite challenging.  my first attempt, entitled “nightfall: silence”, is still languishing, incomplete, in the application, just three bars long – however, an enormous amount of very, very interesting music occurs in those three bars!  I think that runs about a minute, or something like that – because, I set the tempo to 5 beats per minute – something I’ve never done.  I then used a lot of very odd samples, pitched very low, and this strange, movie-soundtrack-like piece of music emerged.

I don’t think I’ve ever done anything with a tempo less then 30 bpm, and usually, more like 120 bpm!  but I thought I would try 5, and, something else very strange and glitchy happened – I sequenced a single note, a low C on a bowed acoustic bass – and it just repeated, as if it were looped, for the entire measure !  so suddenly, I had this very slow; very low, and very ominous loop like sound to build my strange ambient piece around.  I have no idea how, or if, it will turn out – but – so far, so good…

it sounds like nothing on this earth, it’s more atmosphere than music, it sounds like the strangest, most ominous incidental film music you ever heard – and it was never meant to be that, but with my “automatic writing” bowed low C note, how could I go wrong?  and, composing at a crawl, it’s an utterly surreal and very strange experience, you place notes into the sequence, but your mind can’t quite get around just how slowly they will unfold when played back…

today, september 13th, would have been my Dad’s 82nd birthday, so in honour of him, I created what should have been my second ambient fairlight composition, “eighty-two”.  this uses choirs, humans and orchestras, and one lonely percussion voice, the finger cymbal, which proved to be crucial about half way through the creation process.

it started out very choral, with big, deep, minor chords, which then took a sudden chromatic slide down, with a few very strange harmonies as the chords descended; this developed into a nice little piece, very lovely but also a bit wistful or sad…but then, just as it seemed to be developing into something very sombre, on a whim, I added a quick little finger cymbal solo in on top of a copy of one of the orchestra/choir “chords” – and suddenly, my would-be ambient fairlight piece became quasi-ambient-techno-electronica!! much to my surprise.

I developed three different measures of melodic finger cymbal, some of the notes insanely high pitched (so high I had to boost their individual levels so you could actually hear them!), which sound fantastic against the deep, low, choral backdrop of orchestra and choirs.  then I did one percussion run, with just a deep bass/orchestra backing – then one without any backing, then brought the bass back in, then the full choir and orchestra, and then eventually, returned to the original, chordal, choral motif…ending with a strange, solo four-note finger cymbal run – three whole notes followed by a cropped 1/16th note for that “sudden finish” that I love so much.

 

in just 30 minutes, “eighty-two” was complete, not what I expected, but as it turns out, I think the almost accidentally-created finger cymbal melodic section is a real highlight, and it made the piece, it really did.  so, my second ambient piece, actually became my first electronica piece.  you never know what will happen when you compose on the fairlight!