I think it’s a good thing, from time to time, to indulge your obsessions, and what musicians often refer to as “gear lust” has certainly affected me from time to time.
but these days, that very general lust for guitars, keyboards, amps, and all kinds of music gear, is also now joined by a very specific new affliction; the endless watching and listening to of, effects pedal demo videos. On You Tube, of course.
as with all new phases (if you will pardon the expression) of internet development and the progress of content, it started out small, as the occasional demo of a pedal to show us what the pedal looked like, what it sounded like, in case we might then wish to buy it for our own pedalboards at home.
from professionally produced by the established old world pedal manufacturers – your Boss, your MXR, your Electro-Harmonix, your Digitech, and so on – to videos by the boutique crews – your Earthquaker Devices, your Chase Bliss, your Catalinbread, your Z. Vex, your Robert Keeley – first came videos that were mostly about sales, but with generous helping of sounds, too – but ultimately, were on the whole, made with sales in mind.
finally, now, another type of pedal demo has arrived – the artistic, creative demo – and these seem to be non-commercial, not sales-oriented – but instead, they focus solely on the sounds that each device can make, and what a creative musician might do with those sounds.
A good example of one of these creative style effects video makerscreative style effects video makers, would be You Tube artist ‘Knobs‘, who tends towards more in-depth analyses of effects units, but using a unique artistic style – found objects, arranged around the device in a very careful way – combined with a fantastic, verbose, humorous set of titles (a veritable barrage of typed information, instead of verbal narration) and explanations, interspersed with jokes and bizarre video snippets, anything goes, but “Knobs” has a brilliant and consistent artistic style – and I NEVER ever feel like he wants me to buy any particular pedal. He just wants me, and the rest of the effects pedal world, to HEAR how brilliant each pedal is, in exquisite detail, providing both highly useful technical information alongside humorous vignettes of all types – you never know WHAT might happen in one of his videos.
I have been through a lot of these videos, all types, and I seem to have settled on a few favourites from both camps. For the ‘quick overview” type of video, which might run between 4 and 8 minutes in extreme cases, my very favourite vendor is “Andy” from Pro Guitar Shop (and Tone Report weekly magazine – the most brilliant magazine ever dedicated solely to effects pedals – and it’s free, every week!) – Andy is an extremely proficient guitarist of some experience, and his skill at showing each pedal he demos off in it’s best light, is undeniable – but, it is usually a quick demo only, just to get an idea of what the device in question sounds like.
Generally speaking, they don’t get into a lot of detail, or do in-depth videos, except in a few extreme cases. So for the quick overview – I always turn to Andy first, and his videos are always in heavy rotation at my house – plus, over time, I’ve watched him grow from a good guitarist into a great guitarist, and I really enjoy his playing, regardless of the subject songs or snippets, or what pedal he is demoing – he is just a good, good player.
My other (new) favourite has to be “Knobs” whoever he might be – his videos are always well in-depth, and he tries very hard to describe clearly and in great detail, what each control does, exactly, and, how the controls interact, and what combinations of controls you need to set to achieve certain musical goals – all typed out in his inimitable style. But – be prepared to keep your eyes glued to the screen – the titles go by quickly. Having the no-nonsense explanations of how an effect’s controls affect what sound you acquire, is extremely useful (to me) and I really appreciate both his attention to musical detail, a well as his remarkable sense of humour which has to be read to be appreciated!
Some videos favour verbal narration along with guitar sound, others, use titles as “Knobs” does, to explain what the pedal is doing (which allows the music and therefore, the sound of the pedal, to go undisturbed by narration, others, such as our friend Andy from Pro Guitar Shop, intersperses narrated sections with undisturbed musical sections to demo the sounds he has just discussed, and I’ve even seen videos where there are no titles and no narration – and the pedal, and where it’s knobs are turned to, has to tell the entire story without any supporting titles or narration. Those kinds of videos, while interesting, are probably a bit less informative than the other types, but really, no matter what the content, no matter whether they are short form, long form, or no form – I enjoy them all.
I would say that during the last two weeks, I’ve easily spent six or seven hours watching (and listening to) guitar effects videos, usually on YouTube on my television, but often, on YouTube on my tablet – either way works for me. It is becoming an addiction, and for example, today, a lazy Sunday, I started watching Earthquaker Devices videos from the moment I got up, and now, a few hours later, I have to admit – the videos are still running while I am typing this blog.
And I was watching them yesterday, too. Hmmm. I am sensing a pattern here. It started out, with a few Pro Guitar Shop quick overview with Andy videos, at night at bedtime – and then it started to move onto the real TV during the day, and today, I was even watching them during my lunch.
Another aspect of this that is good, is the musical ideas presented by the various musician-presenters, and you get some extraordinary guitarists demonstrating pedals, from Pete Thorn who has a massive collection of effects and pedalboard related videos, and onto other ridiculously talented guitarists hired by the big guns to demo their products, like the amazing Alex Hutchings who does demos of very complex Roland effects units. So becoming addicted to effects pedal videos does have some very positive side effects – one of which is learning about some of the amazing professional players out there, as well as learning about a whole new group of home or small business musicians, who are equally talented and are often extremely interesting to listen to.
I’ve even learned guitar techniques, riffs and other guitar content, just from watching these demos, they are often quite inspirational, and often, after I’ve viewed a set of guitar effects demos, my tendency is to then go into the studio and play some guitar, and use the pedals that I do have, to try and create some new ideas and uses for them. So watching these demos, and hearing how other guitarists put these very musical tools to use, is also very inspirational for my own development not just as a player, but also, in how I use the effects I have, to create unique and hopefully, amazing-sounding guitar sounds.
Mixing and matching different effects pedals (often called “stacking”) is yet another kind of pedal demo video, and there are endless demos where one or many devices are “stacked” to hear what the sound outputs of various interesting pedal combinations are, what is possible when you plug pedal a into pedal b, and then into pedal c? These are some of the most amazing videos, because the sounds that can be achieved via stacking, even if it’s just stacking two pedals, are often astonishing in themselves – from incredibly powerful, distortion based stacks, to eerie, spacey, ambient wonders – amazing combinations with endless musical possiblity.
Finally, there are the “versus” (or “vs.” or “v.”) effects pedal videos, which range from comparisons of different manufacturers’ pedals that perform similar functions, or, between reissues or clones, to the “original” pedals from the 60s, 70s, 80s and so on. Does the new version sound as good (or better) or not? The “versus” videos answer all of these questions and more – which fuzz tone sounds the best, which overdrive is the most transparent, which reverb has the most ambient possibilities, which ring modulator gives you the most insanely distorted and warped sounds?? – I am a big fan of the “versus’ style of effects pedal videos.
As time has gone on, I’ve become very interested in certain pedal manufacturers, and this is probably the last category of video I will mention today: the “about the manufacturer” video. For the lines I’ve become interested in, after exhausting the majority of their videos for their actual pedals, I recently branched out still further, and started learning about some of the people behind the products – beginning with a pedal manufacturer that I really admire, Earthquaker Devices, and while I so far, so not own any of their pedals, I am very interested in some of them, because – well for two reasons, really, they are all hand-made in Akron, Ohio, and, they often explore sonic territory that other manufacturers’ pedals do not. So I wanted to learn more – and boy, was there ever a lot of content available about Earthquaker – their history, the bands that their employees are in, and so on – absolutely fascinating to watch, and after doing so – it just makes me want to go out and buy my top ten EQD-wanted pedals – which would set me back a few thousand pounds that I do not have.
But – these videos do allow for one thing – I can dream. I have a want list, that changes almost every week, one week, I am wanting EQD pedals, the next, I am looking at Strymon pedals with my lustful effects desiring eyes – and so on. I dream of building special pedalboards, using all of the strangest sounding Earthquaker Devices pedals, in a special all-EQD board – probably containing an Arpanoid, a Space Spiral, an Afterneath, a Transmisser, and an Avalanche Run for starters (as the imaginary pound notes start to fly out the imaginary window…) which is huge fun – and while I probably won’t ever be able to build that imaginary EQD board, what I can do, is go into the sound libraries of my Eventide H9s, and see if I can emulate the strange and wonderful sounds that EQD pedals make, with the Eventide Algorithms and settings for individual voices.
That is then, giving me ideas for my own guitar sounds, which happen to be Eventide-based, but that is not what is important – getting new ideas for new sounds is always inspirational, so I think that this new addiction to effects pedal videos, is absolutely one of the healthiest addictions I’ve ever had the joy to experience, and I recommend it highly to both musicians and non-musicians like, and in particular, I think that visual artists and anyone who appreciates art, would enjoy some of the content in the more creative series of effects pedal videos.
I cannot recommend the experience of tuning in to You Tube for a morning of video enjoyment, preferably with your theatre speaker engaged so you can experience the subtelty of tones that the guitarists bring to us in these amazing, informative, inspirational videos – I think they are brilliant – please check them out on a tablet or a TV set near you.
And now, I am off to turn on my own pedalboards and see what new sounds I can coax from it, after a day of being very inspired indeed, by hearing what modern sound technology can do to the sound of a guitar or a keyboard or even a voice – these effects pedals have come so incredibly far from the early days, when if you had a pedal board at all, you were unusual, and it would normally have two devices on it – a Vox wah-wah pedal, and an Arbiter Fuzz Face.
A few players might have a third device – a primitive Octaver like the one Jimi Hendrix used to use – but for most, it was a wah-wah pedal, a fuzz tone of some sort, or if you were really lucky, both – no matter what, you learned to use those primitive devices make your guitar sound better…and nowadays, you have not hundreds, but thousands of different effect pedal designs to choose from – a mind-boggling assortment of sound-creating machines, designed by musicians for musicians – with making amazing sounds the goal – and so often, these manufacturers not only hit that goal, but they exceed it, producing devices capable of a stunning diversity of incredibly musical sound…it’s amazing how far these devices have come over the relatively short period of time from let’s say, 1963, to today. Simply astonishing technology.
I started out with just a Vox Wah-Wah, and that was my main pedal for a long, long time. Then gradually, I ended up with things like an original Echoplex, which I absolutely loved, primitive, monstrous, tape-driven delay – I also used my two-track Sony reel-to-reel as a delay, with a reel running in record mode so I could then switch on the delay whilst playing live. It wasn’t easy to do, but it sounded great!
Over time, I went through many Stompboxes, then onto rack mount devices (controlled by MIDI and switches and expression pedals – and then back again. I can tell you – it’s all good. I managed to make good music with every pedalboard I ever built, and I am glad to have been able to experience a wide range of musical products over time, and it’s made for the creation of a lot of very interesting music – from very loud and distorted, to as ambient and quiet as I could get – I am interested in it all. I think maybe it’s more of an addiction to amazing sounds, than the actual videos – I just love the sound of guitar effects!
It all sounds good to me 🙂
well somehow time has really gotten away from me, and I’ve not managed to write a blog for a couple of months now. I have an excuse (of course): I’ve been busy. Mainly, working on the new pedalboards and guitar system (more on that shortly) but also, still trying to “keep my hand in” by working on music in the form of a very, very large collection of new tunes created in Garage Band. I would venture to say that over the past few months, GB became a bit of an obsession, to the point where my iPhone overfloweth with Garage Band songs and drafts, sometimes, just one or two versions, sometimes, six or seven if a particular song needs a lot of detailed work.
the net result of that, is that actually, both my phone and my favourite tablet, are currently overflowing, and later today, I will be offloading completed tracks, and also, completing incomplete tracks and then offloading them, and then, making sure I have final mixes of all unpublished tracks…so that finally, I can master them and upload them. Normally, this would be a handful of tracks, but if I am not mistaken (and this number might not be exact) at the moment, I have no less than 16 NEW Garage Band tracks to sort out and add to my Garage Band Eternal Album on Bandcamp.
Sixteen new tracks! Now – I have been working pretty exclusively in Garage Band over the past several months, and not working so much with real instruments, etc. in the studio – and that is because when I have had time to work in the studio – I have had to dedicate that to working on the guitar system and pedal boards (plural). Those have now grown to four in total, and in fact, just yesterday, I worked out a brilliant new system, for accessing the different sounds – I am using a very simple device, a “pan pedal” which is made by Ernie Ball, to allow me to “move” between my main studio set up (which currently is comprised of two pedalboards, which I call “Pedalboard 1” and “Pedalboard 2” (imaginative names, I know) and a third board, which, surprisingly, is named “Pedalboard 3”. So I can be playing one sound via PB1/PB2 (which are currently chained together) and then I can “switch” over to take a solo on PB3 where a completely different sound is waiting patiently for me.
Having the pan pedal, also means I can “blend” the two sounds – and hearing that, you can get some amazing “stacked” guitar tones – because for the first time, I am actually running two complete stereo set-ups, through two separate guitar systems – and, I have the output of PB1/PB2 going to the board direct, while the output of PB3, is miked with two Shure SM-57 instrument microphones, and those are going direct to the sound card. This then means when I record, I can record two tracks of the direct sound on PB1/PB2 and two tracks of the miked sound of PB3 on two OTHER tracks which means I will then be free to mix and match however I want – using as much (or as little) of each of the two completely different-sounding stereo feeds.
I haven’t yet mentioned the fourth pedalboard – it has an incredibly imaginative name, which you will probably never guess – Pedalboard 4. But – it does have a distinct sub-title, unlike the other three – it’s the Guitar Synth board. It’s quite simplistic, but it is a viable very different sound source, and it can be easily chained to PB3 or otherwise incorporated into the mix since it’s also tied directly to the mixer. So the Guitar Synth library of sounds is also readily available now – directly out of the mixing board.
Also – with just a very quick change of cables – I can re-route the pan pedal to move between PB1/2, and PB4, or, back to PB3, or if I really wanted – I could have it pan between PB1/2 and PB3/4 chained together. Talk about sounds…that would be a lot of sounds. Right now, I am pretty happy with my PB1/PB2 combination, panning to the little PB3 board which is great for distorted soloing.
Getting all of that set up and working, and finalised (for the moment, of course, until I change my mind again, or, more likely, until I think of a “better way” to do things) has taken up the last several months’ time, meaning that I have not had time to work with real instruments in the real studio, except to test sounds and boards – and I’ve been doing a lot of that. I have successfully re-programmed my Ground Control MIDI controller with 200 awesome sound combinations, and successfully done a sysex backup of that new set of sounds. So that challenge was finally sorted out after quite a bit of trouble…I have, however, finally cracked MIDI Sysex – which for a long time, was a mystery to me – no more, now, I know how to backup, and restore, the entire contents of my Ground Control…it’s fairly easy to do, if you are patient.
I do have one other aspiration, which I actually got this idea from Vernon Reid (a great source of guitar ideas – he has helped Eventide with a lot of their distortion algorithms – so I offer up my thanks to Vernon wherever he is!), which is to stop doing ALL of my effects in series, and do them in parallel (to be honest, I also remember the late, great Allan Holdsworth, describing the same idea in a guitar workshop) – running effects in parallel. Vernon has discovered a nice little DOD Resistance Mixer (the model AC-240, to be exact) which allows you to run four in to one out, and he uses a few of these in his live set-up (which I saw on YouTube, of course!). It’s brilliant, and I do plan to look into that when time permits. For the moment, out of necessity more than choice, I am doing it “old school” – in series. Given that I am running a lot of hardware in series, it actually is all sounding very, very good now.
Note: later on this year, we are going to see Living Colour play live in a Glasgow venue, so I can’t wait for that – one of my guitar heroes – Vernon Reid, I will finally get to see and hear Vernon play – I can’t wait! A great and greatly under-appreciated band, Living Colour. One of my personal favourites…it”s going to be amazing. I am very excited about this concert!!
Anyway – based on the work I’ve been doing, I have decided that once I finished processing the outstanding 15 or 16 Garage Band tracks (which I plan to begin work on this afternoon) that I will no longer spend as much time working in Garage Band, or, if I do, it will be probably for ambient projects, rather than my endless exploration of Apple Loops mixed with “real” content i.e. bass parts “played” by myself, and instead, go back to working on real music with real instruments – primarily, the electric guitar.
I think that my obsession with Garage Band has finally run its course, but, the result of it is an already very interesting catalogue of music, but, once I mix and master the next 16 tracks of completed Garage Band music – it will become apparent what a brilliant tool it has become for music creation. It is pretty amazing what you can do with it, and I’ve been working more with matching tracks up pitch-wise and timing wise, so, matching a “real” bass part to an Apple loop, for example, or pitching different tracks to fit better with other tracks.
It’s amazing how well it all works, and, I have had an absolute blast creatively, it is endlessly fascinating to me what you can do with a stack of pre-made loops and a little bit of crafty bass playing. I’ve found that to be key in most of the compositions I have worked on – I might create an entire piece out of Apple loops, but then, to humanise it, I play a “real” bass part – and that does it, that suddenly makes the track “pop” – it’s weird.
For a while, another technique I would use, would be to have the first two thirds of each piece, be entirely artificial; all made from loops, and then suddenly, during the last third or quarter of the piece, bring in a “real bass” part and the effect is really dramatic – it really makes the tracks sound so much better, even if there is already a synth bass or whatever – having that wonderful, plain, “Paul McCartney” bass there makes the tracks irresistible.
I have spent a ridiculous amount of time perfecting some of those bass parts – which are often played on the fly in one take, and then close-edited later to sharpen them up – taking a wild, on-the-fly live performance, and custom-fitting it to the existing song. It’s a lot of work – but it’s so, so worth it, because it just brings the pieces full circle, and the artificiality that the loops create, gets seriously negated by the humanness of the Paul McCartney plays as “played” by yours truly.
So when you finally get to hear the next 16 Garage Band uploads from me – please listen especially to the bass guitars – because I have indeed, worked really hard on those bass parts – which you will find in most all (but not all) of my Garage Band work.
I should also mention the other “star” of the Garage Band tracks, which is the Korg IWorkstation synthesizer, with it’s two dozen different sets of presets – if you search long enough, you can always find the perfect sound, and since Garage Band’s Inter-App Audio is so well implemented, it’s easy to bring in a powerful synth like the “iWavestation”, and I use it extensively, on multiple tracks, on almost all of my Garage Band material. So those are my two secret weapons, really:
- Apple’s “Paul McCartney” bass, in “Note” mode, which I play like a real bass, then close edit later to “perfect” the bass part
- Via Inter-App Audio, I call up the “Korg iWavestation” synthesizer which can provide an absolutely astonishing universe of sounds from any kind of synth sound; any kind of beautiful, spacious pad sound, to drums, basses, whistles, you name it, it’s in there – one of Korg‘s most amazing products, ever. It has become my “go-to” synth whenever I am recording in an app that offers IIA connectivity – the first thing I do, is bring in an instance or ten or the iWavestation – I cannot recommend it highly enough, it’s a great synth and workstation, too – absolutely amazing and sounds great.
The third and uncredited star, is of course, those amazing Apple Loops – without them, none of this amazing catalogue of work would exist, and I can’t believe how this incredibly diverse set of music, where every piece is completely different, where each time, I try to find a new approach, a new sound, to make it utterly unique, and, importantly, different from the last piece I did – and if you are doing this across dozens of tracks, you end up with a diversity of music that is almost indefinable – I could literally, not describe the different genres, types, feelings, grooves, systems, concepts – I just can’t, the only way to describe it is to say, go to the Garage Band Eternal Album, and listen to it from start to finish – and then try to describe in words what you just heard.
And when I add in the next 16, which feature some of the most diverse and weirdest, most out-there compositions so far – that will make the above experiment even more interesting. If I were to continue with this, the madness of being addicted to Garage Band might send me right over the edge – I don’t know.
I am going to take a break, I am extremely happy with both the catalogue “so far” (note, as of this point in time, 20170705, the Garage Band Eternal Album contains 24 unique tracks) or to date, as well as, I am very excited about the next 16 tracks – which will close out the catalogue in the short term (bringing the total number of tracks to about 40 – which in itself, is amazing), because I am (with some difficulty, I admit) going to slow down or stop producing so very much Garage Band material, and return to working on real songs with real guitars and keyboards, and I am going to give the amazing, easy to use, fun to use, Garage Band – a well-earned rest. Because if I am honest, I have spent altogether too much time working on Garage Band songs, and not giving my other musical outlets a chance! Of course – that wasn’t intentional, they weren’t ready – but, now they ARE ready – so – I am ready.
It’s also my hope, to return to making ambient music, and in particular, ambient music made with applications. I still have unexplored areas that utilise ambient tools that I have had for many years, as well as some newer apps that I also have not spent enough time with – so I hope to rectify that situation, and in the process, hopefully, add some new ambient tracks to some of the catalogues / eternal albums up there on Bandcamp.
I am hoping I have reached, or nearly reached, the “cut-off” point, where the total obsession with Garage Band ends, and a new practice of music-making begins, which involves using real guitars and my new pedalboards and guitar systems plural. That is the idea, anyway – and that is why I have also spent the last several months trying to get everything ready for this day – and after extensive testing, and spending a lot of time creating 200 amazing and beautiful guitar sounds in my Ground Control Pro MIDI Controller – finally, everything is ready, and I have now, at my fingertips, a huge and diverse array of guitar sounds that I can use in my new compositions! It was a lot of work to get to this point, and I am beyond pleased with the way my guitar is sounding – and that is not something I’ve said very often in my life.
Of course, Komplete will still be there to play it’s part, since I don’t have the space for a physical drum kit, and, I’ve never had the opportunity / chance / space / time to learn how to play a real drum kit – I still depend on Komplete to help me set up my real guitars-based tracks – mostly, with the drum tracks. I also, often, will use Komplete to do basses – and certainly, I use it for keyboards and synths, along with other softwares like the M-Tron Pro mellotron software.
When the urge takes me, I do sometimes play real bass instead of Komplete’s bass, but using Komplete is truly tempting because it does contain toolsets like Scarbee’s amazing Rickenbacker bass samples, and I just can’t resist having the sound of a Rickenbacker or a Fender Jazz bass or a Fender Precision on my tracks – I love those basses, and being able to “Play” them, even via a MIDI keyboard – is heaven. My cheap throwaway bass cannot compete with those sampled basses for tone – it was so cheap, that I actually paid nothing for it – a good friend of mine, and an amazing musician, too, Michael Dawson, actually gifted that bass to me – which I have subsequently used on certain tracks, one of which was the tribute to the late John Wetton – “Wettonizer” is the one main track I remember using the “free” Washburn bass on. It is actually, a lot of fun to play (it’s tiny, and I am not!), so maybe I will add in some “real basses” as well as using the amazing Rickenbacker and Fender samples available via Scarbee via Komplete.
In essence, in the studio, Komplete is my “band” – they come up with the bass and drum tracks, and if needed, keyboard and synth tracks – and then, I am left to play real guitars on top of those created tracks. It’s as close as I can get to having a real band to play with at the moment – and again, I don’t have the space available for a real band anyway, so at the moment, the Komplete “band” does me more than proud – and you can hear exactly how well they do, by listening to a couple of my larger works, where they are heavily featured – in particular, on “the complete unknown” “planet obelisk” and “day seventeen” – these are examples of the full Komplete band – drums, bass, keyboards – supporting me, the man of many guitar parts :-). It takes weeks or months to get the drums, basses and keys in place on tracks like these, and it’s not uncommon that three months might pass, before I get to play a single note on the guitar.
(Note: all of the tracks noted above, are all taken from the dave stafford “progressive rock” eternal album – please have a listen on Bandcamp).
Of course, it does take time, creating drum tracks, and bass tracks, and keyboards and synths – but it’s worth the time, because I want the best possible backdrop for guitars – and with Komplete, I get the best there is. For example, depending on what kind of era I want to emulate, I tend to use the Abbey Road drum kits, and I can choose from a vintage 50s kit, a 1960s kit, a 70s kit, 80s, kit or “modern” kit – and each one has it’s own character and options, and they sound absolutely amazing – so I tend to mostly use those, although there are many, many other drum options within Komplete…Abbey Road drums are my current favourite, and they can be heard on a lot of my works.
I have also favoured the Scarbee Rickenbacker bass, using different pickups and presets, for a lot of my pieces, and I think Scarbee is an absolutely amazing company, the care with which they create their instruments is exquisite – the details are absolutely stunning. I can get so many amazing tones out of that Rickenbacker bass, I could just about not ever use any other – except of course, when I do need a Fender bass for a deeper, more traditional sound – and then, I turn to Scarbee once again – and in many cases, they even offer an “amped” version – so you can have just the bass, or, the bass sampled through amps – it’s amazing – I am totally spoiled for choice.
After a lot of hard work, especially the programming of 200 custom preset guitar “sounds” on the Ground Control Pro, I am ready to play some serious guitar – but, serious guitar with the best tones possible. I have really chosen a bit of a strange path, over the years, I have mostly stayed away from “guitar amps”, instead, using a plain power amp, and asking either software, or, my pedalboards, to be the main source of “tone”. Now I am in a hybrid set up – I am using an amp, or actually, two amps – one is a solid state guitar amp, which has a line out to the mixer, and the other is my plain power amp, where I am miking my two 1X12 guitar cabs direct to the sound card. The “tone”, however, is the tone of whatever guitar I am playing, plus, what sound colourations are available from the pedalboards – which of course, include the many-faceted Eventide H9s – each of which contains a massive library of absolutely astonishing, high-quality sounds.
When I think about what is possible with just the H9s (ignoring all other pedals for the moment) I kinda wish I had more than 200 slots in my MIDI pedal, but the truth is, by combining different H9 algorithms, the number of possible insanely good guitar sounds, is not just 200, or even 2000, it’s probably more like 200,000. Seriously – and, Eventide keeps adding in new algorithms, too, which just increases, exponentially, the possibilities, to basically, limitless – the latest new algorithm, “Pitchfuzz”, contains some amazing new distorted and / or pitch-shifted sounds, which are out of this world, and, of course, I have incorporated the best of those into my 200 presets. Using the H9s in multiples, makes it possible to create combinations of effects that are truly lush and incredible sounding – you have to hear them to believe them. Exquisite combinations of beautiful, individual sounds…
I did spend a bit of extra time on one particular sound that I truly love, and I got this idea straight from Allan Holdsworth (may he rest in peace) – on the first of several occasions where I was privileged to see Allan play guitar, he had this amazing “swell” sound, where while the bass and drums played a kind of “drone”, he would “fade in” or “swell” these beautiful, clean chords, which were drenched in layers of delay and reverb – and I never forgot how beautiful that sounded live.
During the Bindlestiff years, I even tried to emulate that sound, by fading the sound in manually with a volume pedal, into a huge reverb “room” – close, but not quite. But now – in the land of H9s – I can have auto-swell, at any time setting I want, and it’s brilliant.
I took this opportunity to create some special Dave Stafford auto-swell settings; starting with a short auto-swell (1900 milliseconds), then, medium (3100 ms) and finally, the “Allan Holdsworth” series of auto-swell (my “long” swell at 4000 ms or 4 seconds) – and I made several variations of that basic sound, running the swell through various different Eventide Space reverb sounds, and in one final example, through a beautiful Eventide delay and then into a beautiful Eventide Space sound. The result is a mini-bank of amazing “swell” variations, and I am so glad I took the time to work out the programming for those sounds – taking care of details like that, gives me an edge, it gives me something unusual, not stock – but with my own personality – these 200 sounds are Dave Stafford Guitar Sounds, regardless of whether they are “stock” or “custom” – they are my choices and juxtapositions – and it’s so nice to have such an amazing library of “algorithm meets algorithm” possibilities.
This afternoon, then, will be dedicated to downloading (and, clearing off, thank god) the 16 new Garage Band pieces, trying to first get the final mixes just right, then, the mastering, and finally, probably starting in a few days’ time, uploading them – and once uploaded, the Garage Band Eternal Album will have reached about 40 unique Dave Stafford compositions done over a relatively short period of time – months – but, in terms of sound, and quality – it’s a huge, huge sound – and, a catalogue of which I am both very proud and very fond of – I have really enjoyed my “time of Garage Band”.
You should try it – drop everything else for a while, and just create with Garage Band – a piece every couple of days was usually my method, although some of the more complex pieces might then stretch out to a week or two until I was happy with the final version – and then, immediately, start another one – preferably, something that sounded COMPLETELY different to the piece just completed.
In a week or two at most, you will be able to hear all 40 tracks, and these should give you a good glimpse (at least) – if not an amazing view – of what this creative and innovative Apple tool – one of the oldest “computer-based” music making tools (now, mobilised on the iPhone and iPad, of course – in the Apple way) can do; and, with it’s latest updates, it has become one of the most fertile, stable, and unique grounds for growing musical ideas.
Anyone can have a go – drag some Apple loops into your song, and you are away – dream up any kind of music you like. Just do loops if you don’t want to play, or don’t know how – you can still create, using the magical Apple loops, if you do play an instrument, then you have the opportunity to add in some keyboard based or drum or bass content of your own. It’s easy to learn, and endlessly expandable, you can add many, many bars and create very long pieces, or create three minute pop masterpieces – it’s all there with Garage Band.
And now – to mix, download, master and start getting those new tracks uploaded – I can’t wait !!!
peace and love
I have to admit, of all of the few unusual instruments I have run across, the Ibanez RG Series Kaoss model guitar is one of the best in so many ways. It’s simply fun to play, and what you can do with one electric guitar that interfaces with one set of 100 (yes, that is One HUNDRED) kaossilator effects to give you one of the most tactile and hands on guitar to synth “instant treatments” experiences since Brian Eno ‘treated’ Phil Manzanera‘s guitar on stage with Roxy Music back in the early 1970s. No longer do you need to run your guitar through a very large and very expensive VCS3 synthesiser, but you can do the ‘treatments” by yourself, as you play – and the sounds you can get out of it are simply amazing if you just work at it….
What more could I ask for? What more could any guitarist who also happens to be a Kaossilator Pad player, who also is a synthesist – ask for? This is the inexpensive way into a Kaoss-pad-controlled-by-a-guitar or rather, by-a-guitarist – you.
Before I try to describe the experience of playing this unique instrument, I should probably approach the negatives – of which there are one or two – depending on your viewpoint. The guitar is deliberately built down to a price, it’s possibly, the cheapest Kaoss guitar on the market – and that is possible the way Ibanez and Korg wanted it – who knows? So some of the features you might expect in an expensive electric guitar simply aren’t really here in this guitar. Like super low super easy action. Not here – you have to work to play this guitar. I am going to need to take it in, and see what can be done about the action – which is less than ideal. I end up thrashing the fingers on my left hand every time I play it – but I am determined, so I don’t let something as unimportant as somewhat high action bother me – I just play anyway, and ignore it.
One alleviating factor or solution I have found, is to go to an extra light gauge of string. This DOES help a little bit, when the guitar you are playing has action that is too high – for me, it seems to help on the higher strings, but no so much on the lower strings. It was strange – I hadn’t tried an .009 on my high E since I was about 13! But I find it helpful to switch from, in my case, Regular Slinky, to, Super Slinky – with a .009 top rather than the .010.
The other thing that I really miss, is a whammy bar. I think that alongside the awesome distortion circuit built into the guitar, that a whammy bar would have been just the ticket – switch on that fuzz and start yourself a crazy whammy solo….but not this time. So – two negatives; it’s hard to play, and, no whammy fun – but I can easily forgive both – there are actions I can take, I can get the guitar set up, I can put lighter strings on it, I can even get the neck fretted or shaved – I mean, there is room to improve the action, that is for sure – but it needs investment, and a good luthier too.
Getting over the whammy is easier, for one thing, you have 101 on board sounds to replace it with, the first being, the very usable on board distortion circuit which I really like, it isn’t the most amazing distortion box in the world, but, it gives you plenty of sustain when you want a sudden kick-ass solo – and so easy to switch it in!
So that is the 101st effect, I would say, and then what you have is 100 more on the kaoss pad, to make up for that missing whammy. For example – may I suggest, voice 16, “vinyl break” – that gives you the ultimate dive bomb, and you can have it at any speed imaginable – very quick indeed, or, very very slow…taking a high note down to a low note that my 12 inch guitar speakers have trouble delivering it’s so lowl!
Or really, instead of thinking of it as 101 effects – the built-in distortion plus 100 Kaoss sounds, you could actually look at it as 201 sounds – the built-in distortion is 1, then you have 100 kaoss sounds with clean guitar, and, 100 kaoss sounds with heavy distortion – and some of these Korg sound respond very well to clean or distortion, and, behave differently depending on what is chosen.
So now that I have got through the tricky stuff, I can go on about how much fun it is to actually PLAY this guitar – and, you have to understand, the kaoss pad that is built into it, is not like the kaoss pad “synths” (like the little hand held pink synth kaoss pad I started out playing a few years back) you buy to play on stage – it is instead, an “effects” kaoss pad, a “Mini-Kaoss pad” – and it’s been made into part of the guitar’s circuitry – it has actually been embedded into the guitar’s DNA – being at the end of the guitar’s audio output.
I think that learning how to play this guitar effectively is something that has to be learned over time, and each time I pick up the Kaoss guitar, I learn a little bit more about what is best in terms of technique – and a lot of the sounds aren’t totally suited to using them like a normal effect, they actually seem to work the best as sudden events in between notes, or, at the end of phrases.
Vinyl Break, good old number 16, is suitable for either, and I had a blast just suddenly DROPPING a note, a millisecond after playing it, down a few octaves, and the real beautiful of the Kaoss pad becomes apparent in the amount of control you have over the timing of that event, of that note drop – if you do it at the “top” of the pad (i.e. the edge nearest the strings, rather than the edge near the edge of the guitar’s body) the drop is incredibly fast, and you are at that low, low tone so fast you can hardly believe it.
If you drop it in the centre of the pad, it drops substantially more slowly, but still at a pretty good speed, and you can learn to “time” these smoother, more elegant drop curves to suit your musical taste…it becomes quite an art, can I make this note drop really smoothly down to it’s lowest tone and then still hit the next note in my solo or improv at the “right” moment, and most times, I can. It’s a huge amount of fun, trying to control the duration of a note drop event, and get it to work in a really musical way.
Finally, if you choose to drop at the bottom of the pad, well then you are going to get the longest drop of all, possibly a bit too slow to be very musical, but just as useful – and everywhere in between, you get all the different speeds. So to put it into phonographic terms, it can be like dropping from 78 to 16 rpm in a millisecond, or from 78 to 16 rpm in a second, or maybe take five seconds to get there – or, you can stop the process anywhere along the way, so maybe you might just go from 78 rpm down to only 33 1/3rd rpm, instead of all the way down to 16 – it’s entirely up to you.
The pad is physically pretty tiny, and you have to learn to use it … sort of… “in between” your notes, or, at the end of a series of notes – it CAN be used while you are playing, but that is hard – it’s possible, with some of the more standard sounds, like a jet flanger or a nice phaser, you can hold a finger on the pad while you are strumming or picking, but – it’s a difficult act of co-ordination, and really, you would be a lot better of concentrating on playing your notes properly, and using your stomp box flangers or phaser, and they very probably will sound better – and, they stay on, too, until you shut them off, whereas, the pad stops working as SOON as your finger or fingers lift off of it – and that makes it tricky to use as a “regular” effect (whatever THAT means lol).
However, the real strength of the Kaoss guitar, isn’t the more “standard” effects, but the ones that work well when used in between notes and in between phrases, like my best friend the vinyl break, but also, the large selection of various loopers are truly useful and give you some remarkable effects if used well. It’s tricky, but, it’s do-able.
There are different ways to approach it, and I keep trying new things, or picking one of the 100 voices I am not as familiar with, and trying to see what I can do with it over a longer period of time – high pass filter, low pass filter, mid filters, you name it, it’s all there, there is even a decimator, which is an amazing patch – I absolutely love the decimator, it’s a brilliant sounding effect. Most of the effects sound really good, but some of them are hard to use in the sort of “momentary” way you need to use this guitar to it’s best effect (no pun intended).
One trick I have found helpful, in making sure I co-ordinate playing a note or chord, and then, immediately applying the pad (before the more or chord fades away so much that the pad then does NOTHING to it – very embarrassing!) is by likening the pad to a whammy bar in your brain – a whammy bar used, of course, in the more usual way, where, at the end of a phrase or chord, you use it – well, the Kaoss pad works best that way.
Just as with the whammy, of course, you CAN whammy WHILE you are playing – but it is more difficult to do, and the results might not always be consistent. So if you tell yourself to use it in the same times you might use your whammy -and if you are fortunate, it will work well – although there is no guarantee. And that’s where you can have surprising and dismaying failures – let’s say you’ve worked out a part where, you stop playing and then do a move on the pad, a really dramatic move like a drop or a pitch shift of some kind, and you do it say, for four bars in a row, once each bar….and on the fourth one, you are a tiny bit too late on the pad – and out comes….silence.
That can be embarrassing, and even disappointing, because maybe that fourth amazing Kaoss swoop – should have been the most flamboyant and remarkable of the four in a row – but instead, you play three good ones, and the fourth one – just isn’t meant to happen.
So you lose an entire perfect take, because you timed your Kaoss sound off by nanoseconds – and that resulted not in an error, but instead, in a fail – a silence when your audience would clearly be expecting some kind of fantastical Kaossilator effect – and that is annoying! I have lost solos and takes because of one failed or less than spectacular Kaoss swoop.
The remedy for that, of course – is more practice, and, of course, the more you practice, the less likely these time-based mishaps will haunt your kaoss playing. No one said this would be easy – but sometimes, it is pretty easy to make the pad sound good, on other occasions, not so much so – but if you work at it, you can play some truly extraordinary and more importantly, utterly unique chord patterns, notes, guitar solos and sound effects – I mean, with 100 sounds to choose from, you have an enormous palette of high quality Korg effects with which to modify your beautifully clean or very distorted Ibanez guitar – and that to me, is a winning combination.
I am becoming acquainted with the first five albums by Steve Hillage, beginning with his band “Uriel” and their album “Arzachel” in 1969 and moving up to 1976’s BBC Radio 1 In Concert – which is playing now in my headphones – the announcer letting us know that only 8 percent of BBC listeners are currently listening in stereo – and they’d like to get that number up as soon as possible!
On almost a whim, I decided that if I was ever going to get caught up on what I had missed in the solo canon of Steve Hillage, outside of his work in Gong, with which I am very familiar, would be to shell out for the remarkable new 22 disc box set, “Searching For The Spark”. It arrived a few weeks ago, I then spent a few days ripping discs, and I’ve since spent a very, very enjoyable morning indeed, listening to all five of the discs currently on my IPod – and – Hillage is a remarkable person – and, along with his life partner Miquette, he fronts a band with ever-growing confidence – especially when we get to “that” guitar solo.
I was quite amazed at the jump in guitar playing quality between the first two albums that feature Hillage, the above mentioned Arzachel from 1969, and then, 1972 brought us “Khan” with their album “Sea Shanty” – and in the three years that had passed, Hillage’s guitar prowess had increased by a significant amount – but nothing like what was about to come – in the form of his first two solo records, the first that bore the name “Steve Hillage” – “Fish Rising”, followed by what is probably his best-known work (and, produced with Todd Rundgren, using Todd’s new Utopia – Roger Powell, Kasim Sulton, and Willie Wilcox – as Hillage’s backing band on the record) “L” – these two releases are where you can really hear the confidence and power of his playing – and I would heartily recommend them to anyone!
I did own a cassette with “L” on it, years ago, so I was familiar with that one album, but never had a chance – until today – to hear Fish Rising, the two early albums, and the first of many, many live CDs that are in the box – this wonderful BBC Radio 1 In Concert 1976 that is playing – in glorious stereo, I might add (after a lovely across the kit drum roll – which just went across my brain in lovely carefully-drum-miked stereo).
I think I will leave the task of a full review to someone who knows more about this, for me, this was just a “way in”, a way to hear the development of this incredibly talented guitarist – who I was really, really fortunate to see both the Steve Hillage Band and Gong, during a very brief UK tour in 2008 – and he was remarkable in both bands – the perfect musical foil for the late Daevid Allen – and it was a unique opportunity, to first hear Steve and Miquette play solo Hillage material (which was unfortunately at the time, besides the obvious cover of “Hurdy Gurdy Man”, unknown to me) as well as, play as an integral part of Gong – this was a remarkable performance featuring most of the main figures in Gong history, including his long time partner Miquette Giraudy, Hillage and Mike Howlett as well.
So that is my most recent listening, previous to that, however, I’ve been revisiting my catalogue of XTC releases, trying to get caught up with capturing all of the additional music hidden away on the Blu-Ray discs included in each of these amazing “Steven Wilson” re-masters – and I guess I can say that I definitely am collecting Steven Wilson re-masters – starting with the King Crimson re-masters – the ultimate – King Crimson in 5.1 sounds absolutely astonishing – it’s so worth it just for that alone – but, there is always a lot of additional music buried on the DVD or Blu-Ray portion, and I’ve developed a unique way to capture this additional material
In assessing my XTC discs, I now have four Steven Wilson XTC re-masters: Drums & Wires, Skylarking, Oranges & Lemons, and Nonsuch. I realised that I had only partially done the work on capturing the extra tracks from three of them, so I set out to “right” this wrong.
I also have the same issue with my Gentle Giant, and Yes “Steven Wilson” re-masters – again, I have ripped the ordinary CDs, which contain some of the additional material – but, the additional music on the Blu-Ray has remained accessible only on the 5.1 system – which I can’t take out with me on my iPods.
So – I have developed a process, which includes templates of blank folders, and a template in SONAR Platinum for capturing the music from the discs. I was wondering if anyone else uses a similar process to this:
ACQUIRE BLU-RAY AUDIO CONTENT WITH HIGHEST QUALITY POSSIBLE:
- Set up your blank folders using the template, which prepares you to “receive” WAV files of the tracks you are capturing, and then later, converting them into MP3 files for your portable device.
- Those folders look something like this (after conversion from the dummy template folders):
XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc01-SWMix-WAV (Note: These are from the CD, which is just ripped normally – not related to this Blu-Ray process)
Sometimes there might be two, or even three, CDs (which of course, are all ripped normally) in which case, those would eat up the Disc01, 02 and 03 slots, and your Blu-Ray material would then start with “Disc04” rather than “Disc02” – you just have to adjust as necessary depending on the contents of the set. Then, follows your DVD or Blu-Ray ONLY Content:
These folders are only one arrangement, of course, the folder set I come up with, ultimately, just reflects what music is available to me to extract from the Blu-Ray in question. The set of folders above, is probably suitable, with possible minor alterations, for any XTC album. Of course, something like “Drums & Wires” has many, many more folders that this example, because there are several different Rehearsal sections on that disc – hence, many more folders (12 in total I believe, or 24 if you count the WAV versions).
For King Crimson or Yes, it would be similar, but perhaps, instead of “Videos-Mono” you would probably get “OriginalVinylUK” and “OriginalVinylUS” and so on – so basically – anything that needs captured, you build a folder for.
- Then, you take a copy of your SONAR Template session (.cwp file) (or equivalent in whatever DAW you use), which is set up with many, many Audio channels – one of my recent efforts ended up at 98 channels – and these are pre-set to use the special S-PDIF “pure digital” input of my sound card – so the S-PDIF outputs of my Blu-Ray player are fed to a pair of inputs on the Sound Card – and all Blu-Ray recording is done via this “pure digital” route – directly from the disc, to the sound card, to SONAR – where I capture them as 48K 24 bit WAV files – the best I can do. The SONAR CWP should be in the root of your work folder, so you can view it and work with it, AND see the folder set shown above.
- Arm for recording, a single track, which will have a title such as
- Put the Blu-Ray into the machine, and queue up the Original Master Mix (the Flat Transfer of the original CD with the original Mix) from the EXTRAS section of the Blu-Ray.
- Press RECORD on the armed channel in SONAR, and once you see the transport moving, then start the Blu-Ray playing.
- Leave that entire disk worth of music to play, while of course, SONAR is recording it in the highest quality possible – Input = S-PDIF and SONAR = 48K 24 Bit.
- Normally, I do not have to adjust the levels at all – for S-PDIF, they seem to be pre-set, and they always make a clean, but never too “hot” recording – it’s ideal. They just approach 0 db, but never surpass it – so, loud and clean.
- Once the Blu-Ray has ended, and you have your recording of the entire CD captured as a SINGLE large WAV file, you can now move onto the next piece of music, and repeat the above process on the next target disc (in this case, it’s Disc03, “Album In Demo & Work Tape Form”).
- When completed, you then move onto the PROCESSING part of the process, which is probably the most time-consuming and patience-testing.
PROCESSING THE FILES:
- In your SONAR .cwp file, you now have a series of large wav files, each one representing a disk full of music. Using the back of the box set or it’s booklet as a guide, I then create a single AUDIO track just below the main, large WAV. That is set up quite simply, you won’t be recording on it, but you need to set it up so it is playing to Master, and thence out to your headphones or speakers, as you need to monitor this process (I use headphones to be the most precise possible). Once you are happy with your new empty, Audio track, before we work on any music processing – count the individual tracks that are in this large WAV file, and use TRACK CLONE to make the appropriate number of copies of your new, empty Audio track. If it’s a 15 track album, then I would create 14 more of these, by adjusting the Count of Clones in the Cloning Window. Push the button, and SONAR (or your DAW) adds 14 empty audio tracks – and now you have 15 empty spaces for tracks. Which already have their name template ready for a track number at the end – then, go back – and put in your track number and names:
- Return now to your single large wav track, and before you do anything, take a COPY of it, and PASTE it into your new first audio track – TRACK 01 – which will be labelled something like XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-01-GardenOfEarthlyDelights-OriginalMasterMix, and first, clean up the lead in – there will be extra space there, so you want to reduce that to a very short lead in, and make sure it starts fairly quickly – usually in under a second, so it starts like a normal CD would – immediately.
- Then, find the end of Track 1. Determine the best spot to SPLIT the tracks, so that Track 1 has a proper ending, and that Track 2 will end up with the SPLIT quite close to its first sound. Once you are happy with this transition point, go ahead and SPLIT the track (leaving the first long recording UNTOUCHED – as the name implies!) always do your first splitting, on the SECOND one – the COPY!!!
- Once split, REMOVE the large chunk of remaining audio, which contains tracks 2 through 15, and MOVE them into the next track.
- Repeat the split, each time, leaving the remainder (of your large wav file copy, which gets smaller and smaller each time you split and move it down) and moving it into the next track.
- Once done, you need to clean up the end of the final track, just to make sure there are no surprises.
- At this point, you should be done with PROCESSING, and ready for OUTPUT.
OUTPUTTING THE FILES:
- Ensure that all tracks except your Track 01, “Garden Of Earthly Delights” are MUTED. This is crucial, if you leave anything with sound on it unmuted except for the ONE TRACK you are outputting, it’s sound WILL MIX with your track – thus, ruining it.
- Select the track with your mouse, then, EXPORT – and point the output to your pre-made WAV folder:
OUTPUT FOLDER: XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-WAV
- Once the output has completed, check the folder for the presence of the file, make sure it’s there, and, named to your satisfaction.
- Repeat with each track, making sure that you MUTE the previous track, and unmute the one you are working on (or you get a SILENT output file!) – and that ALL tracks except the one you are currently working on, are always MUTED.
- Once the WAV files have all been output, for each Disc – save and back up the .cwp file, save and back up all Audio files created during the session (your large WAV files).
- At this point, you have the best quality, 48K, 24 bit WAV files of the individual tracks, SPLIT out perfectly in the steps above, ready to now transform into MP3 files so you can load them onto your iPod or other portable device.
- Using DVDSoft tool “Audio Converter” (or any decent utility that Converts WAV files to high quality MP3 files), set the type to your desired quality (I use “Lame Insane Quality 320 kbps Frauhofen MP3” myself) and point the output to the root folder above your WAV and MP3 folders:
OUTPUT FOLDER: XTC-1989-1-Oranges&Lemons-Remaster-Expanded-WAV&MP3 (or whatever YOUR project folder is called – the idea being, we want the tool to output ALL of the MP3s, from ALL of the WAVs, back into the root of your Project, so you can then assign their internal names BEFORE they are finally split up, by you dragging them into their individual, pre-made “MP3” folders.
- Once your type and target folder are set in the Audio Converter tool, you can now drag the files you want to have converted, into the area at the top of the application where it says “DRAG AUDIO FILES HERE” or similar.
- Open your XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-WAV folder, and select all 15 / however many you have of your WAV files with your mouse by using SHIFT-mouse, and then DRAG them across into the top part of the DVDSoft Audio Converter Application. I usually just do all of the WAV files as one giant conversion, so after I drag over the Disc02-OriginalMasterMix files, I then carry on, opening each WAV file folder next would be Disc03, then 04, etc., and dragging their contents into the DVDSoft Audio Conversion tool.
- Once you have the entire set of WAV files in place in the Audio Converter, re-check that your output type is correct (for me, that’s always highest quality, 320 kbps MP3), and that your target folder is just the root folder you are working in – and then press “Convert”. The tool starts working, taking each WAV file, and converting it into an MP3 file. This can take quite some time, depending on how many hours’ worth of WAV files you have loaded into the tool – be patient, it will eventually tell you that the Process Is Complete. NOTE: When it converts, it adds a “Comment” into each MP3 file – in the field “Comments” it puts its little advert “DVDSoft.com”.
- It’s harmless, but I don’t want it in my file, so the first thing I do, is select all items, while they are all still in the main folder, and I DELETE this “comment”, leaving the Comments field empty as it should be.
- While the MP3s are still in the main, root directory of your project, you should go ahead and add in your “Internal File Data” – I start out, by doing a few bulk updates – I select ALL of the MP3s, right click and select “Properties”, select the Details tab, and then, under “Album Artist” and “Contributing Artists”, I add in the band’s name (unless it’s already there). I also do a bulk update on any other fields that are the same for ALL of the files, such as “Genre” IF they are all the same Genre.
- After that, you can highlight each album, or each file, and make whatever adjustments you need to make the INNER NAMES meet your own personal Standards – I have very particular standards, which includes an Album Name that is preceded by a Year and Counter, so, “Oranges & Lemons” is actually called
“1989-1 Oranges & Lemons – Remaster – Expanded – Disc 02 – Original Master Mix – The Surround Sound Series” in my collection.
…or something like that – by dating these (using this YYYY-Counter template), I can force them to sort into Chronological order, based on the Album title – it works pretty well, but I did start out with that Standard some 9 years ago, so it would take anyone else a long time to institute – but a very good percentage of my existing MP3 collection does contain these dates. I have even recently, been converting posthumous live CDs back to their performance date, rather than their more current release date – because let’s face it, there were not that many Gentle Giant live shows in 2006 or 2012. But there are a LOT of shows from 1975, released in the last 30 years – well, I have managed to get them into chronological order with just a few exceptions where no data exists for the date of a concert. Oh well – it’s the best I could do.
- From here, you would then rename each MP3 folder to match your MP3 collection – to whatever Standard you use there – and then copy them to your individual folders on your drive or drives. I am currently keeping seven copies of the MP3 on seven separate hard drives, and four copies of the WAV masters (because I sweated blood and time extracting these tracks!) on four separate drives – that’s my backup at the moment. Because I am always short on disc space, I am going to reduce the MP3s down to four soon, to recover a lot of space – but, it was set up as seven and that’s how it was for the longest time…a lot of redundancy!
- Finally, once the MP3s are added to your collection – you can add them to ITunes and sync your device, or, put them on your non-ios device by drag and drop or whatever methodology you use – your MP3 files of rare Blu-Ray content, are NOW FINALLY READY for your listening pleasure – ENJOY!
So – back to reality – how’s THAT for a Process? Since I had to do the content of Skylarking and Oranges & Lemons during the last week or so, I used those experiences to build the Templates and work out exactly how the process should work, getting it down to a science – but not a quick one. I recently used the new process on XTC “Nonsuch” – and it worked beautifully – it’s much better to have a consistent process for this, because it is pretty complex – as well as three of my four Steven Wilson Yes albums that still need the process done to them. And one or two of my Steven Wilson Gentle Giant albums. And ALL of my Steven Wilson Jethro Tull albums…including the brand new Stand Up – The Elevated Edition which sounds awesome, I might add!
I’ve got it down from days to hours now, but it can still eat up most of a day, just doing one “album” – because they usually pack a LOT of amazing music onto those Blu-Rays. It’s quite amazing, to have a 20 disc version of “Drums and Wires” by XTC !!! Lots of choice there…
The only catalogue that is actually done – is King Crimson – that was my first Steven Wilson remix, the giant DVD release of In The Court of The Crimson King in about 2008 – hard to believe it (my obsession with the quality recordings that are any and all “Steven Wilson Mixes”) goes back that far, six years!
The problem is, to do this PROPERLY, takes a huge amount of time. OK, ripping the music off of the disc, you can just start it and walk away, and do other work while it’s copying the content to that WAV file. Repeat as necessary. Sometimes, I just let three or four discs worth play into a HUGE WAV file, then, split it by album, and move them to their appropriate channel. But once that easy step of transferring the music over is gone – well, then you are back to that horrible processing section, and cutting up different versions of the same album, or, massive quantities of Andy Partridge demos – it is very, very time consuming – and, I am a perfectionist, so if it isn’t perfect – I do it again – but, I am getting better at it…slowly. It took me two full days to process all of the content on Yes’ “Tales From Topographic Oceans” – 2 whole days! That seems to be what it takes, although maybe I could do one in a single day under the right circumstances.
I do want to get on with the Yes and Gentle Giant in particular, because both of those sport Stereo Instrumentals, which I absolutely love. I’ve been listening to the Instrumental versions of Yes’ “Tales From Topographic Oceans” and they are fascinating and beautiful – you hear all kinds of things that the vocals hide – and I played “Ritual – Stereo Instrumental” yesterday on the 5.1 system – wow – it sounded fantastic! Weird without any vocals – but, fascinating, especially hearing what Steve, Rick and in the case of Ritual, Chris are really doing – how it sounded before any vocals arrived – it’s just astonishing.
Now that I have finished XTC “Nonsuch”, so that’s all four of my SW XTC Discs done – and then, eventually, to Yes and Gentle Giant – as for the Steve Hillage CDs that I just ripped – thank GOD it’s just all audio CDs in this set – no DVD or Blu-Ray content – so, that makes it so easy!
Until just now, I’ve never written down this process, and now that I see it in black and white, it just seems like going to extraordinary lengths to be able to hear rare music on your portable device – but, I have it streamlined now, so it does go a LOT faster using the templates, and my experience and skill at cutting up tracks, has gotten much, much better lately, so – it’s not quite as bad as it was. But it is a LONG process by gumbo!
OK then, onto pastures new, now that you have learned one way, probably NOT the fastest way (I just know someone will come back to me with a tool that rips all audio from a Blu-ray or DVD with one button push) and it can even split up your tracks for you while cooking you a delicious breakfast – but I don’t know, mine does guarantee consistent, high quality, MP3s, built from the best possible, super high quality WAV file – for the level of technology that I have, it’s not too bad – it could be a lot worse!
For me, it’s just for the chance to hear this remarkable music, these musicological gems that Steven Wilson finds on these master tapes, and brings to us all – some amazing music has been unearthed just by his standard processes of “re-mixing” classic prog and pop albums.
Speaking of music, well, despite spending SOME time on Blu-Ray content – I have actually also been working on new music – in the studio, I have a new track, which I started a couple of weeks ago, called “On The Cusp Of Yesterday” which I am currently having a titanic struggle with. The basic track has been done for some time, and, for some weird reason, the last one-minute guitar solo is also done. So I needed to add guitars, from the beginning to the beginning of this existing solo, which is a bit challenging.
I spent an entire day (a few weeks ago on a Sunday, I think) adding some new parts, using a lot of truly beautiful H9 patches, a nice, ordinary clean delay into a hall reverb, not too ostentatious, but just nice – and then some other more strident patches – doing guitar over dubs. All day, and, I wasn’t happy with the last…two or three overdubs. Maybe the first one was OK, or maybe it’s just the second one…
I was so dissatisfied, because it just had not come out how I heard it in my head, which I didn’t even bother to make a rough mix of it with these new hard-fought overdubs, which were technically ok, but weren’t doing the job for me.
So the next time I got some free time to work on it, “On The Cusp Of Yesterday” got a new makeover – I actually decided to go ALL THE WAY BACK to the backing track, hiding all of my previous guitar bits, including the good ones – and I would try again, with that lovely clean delay to start – but this time, a clean delay into a beautiful SpaceTime patch.
I did several takes, some involving harmonics, others, strange chords, others, melodies and lead guitar. Saved everything, but listened to nothing. Now, I am waiting for another chance to go back and hear what I did – and I know that some certain bits – like the very end – came out REALLY well, there is some viable music there, and possibly, enough to flesh out part of the track, perhaps leaving some spaces for me to populate.
At the moment, I am just avoiding it, I am not sure where it’s going, the backing track is exceptional – drums, odd bass, really odd “keyboards” courtesy of “REV”, and a lovely violin. A good solid track, and I really like it – but, for some inexplicable reason, I am not sure what belongs on top of it. I am tending towards something quite ambient at the moment, rather than “normal” guitar parts (which is what I did the first time around, where I REALLY didn’t like the outcome) – I am liking ambient guitar parts at the moment, so that might be the way – time will tell.
Update: another session, I was able to take the recordings made the second time around, and produce a nice mix of “on the cusp of yesterday” from those – it’s come out really well. Probably ready to be uploaded…which I still haven’t done, because I still haven’t decided about it…
Next – is something a bit unexpected, I am now at this very moment, revealing my plans for my next new “Eternal Album” which has turned out to be something I really did not expect AT ALL: “Garage Band” !!!!!!!!!!!!!!!!!!!!!!!!!
How did that start? I had read somewhere on the Interweb, that Garage Band had had a really good makeover, and was a really cool way to make music now – and I can remember seeing Garage Band years ago on a friends Mac – and I myself have used it, I have a few songs made with it on an old Ipad, that I’ve never published – and possibly won’t, they were very early experiments, before I really had working with Apps down to a Science.
I decided to try out this new, improved Garage band, and wow – I was very, very surprised indeed! It really has a lot of great features, and I think it could become my go-to place for working with samples – and that is what sets it apart, is the “Apple Loops” which are professionally-recorded bits of music, 2 bars of this, 4 bars of that, 8 bars of something really strange. A lot of grooves, drum grooves, bass grooves, a lot of it is rhythmic in nature, including ethnic sounds from India, Afghanistan and even Egypt – and, a nice batch of African sounds, mostly drums – I have to admit, they have supplied a LOT of great, ready-made content, that you can fit together into tracks in a very easy, intuitive way.
I have thoroughly enjoy my Garage Band Renaissance or GBR, and I immediately started producing strange and wonderful hybrid piece of music beginning in mid-September and continuing to the present day. And I finally did upload the first five complete tracks, to the new album, a few days ago. I am also nearly finished with a sixth track, working title “preponderance”. So the Garage Band Renaissance has been a real hit with me – here are the tracks:
Start Date Title Containing
20160919 Hare Rama Buys A Llama Drum Samples, Manually Played Bass, Grand Piano, Synth, Raucous Rhythm and Lead Guitars, Bizarre Guitar FX, and Bass Samples, Strings Samples
20160926 Opposites Attract Wonderful Pastiches of African Drum Samples, Ever Changing,
Manually Played Bass, Cello Samples, Afghanistani Melodic Instrument Samples, Sub-Bass Samples, Dub-Step Bass Samples, Bass Synth, Melody Synth, Reversed Melody Synth, Drum Kit Samples, String Section Samples.
20160926 Metal Crisis (Altered version of abandoned track “Cuban Crises”) Drum Kit
(Metal) Sample, Metal Chug Rhythm Guitar Sample, Metal
(Metal) Sample, Metal Chug /Blues Lead Guitar Sample, Funky Clean Wah-Wah Guitar Sample, Beautiful Female Voice Singing “Oohs & Aahs” Vocal Sample, Funky Fender Rhodes Electric Piano Sample, Synth Sample, Additional Drum Kit Sample, Manually Played Bass.
20161014 Nambutamba Rain Shower African Drum Samples (Many Different Ones), African Percussion
Samples, Mysterious Electric Piano Riff Sample, Mysterious Guitar Riff Sample, Mysterious Synth Chords, Additional Conga Sample, Rock Bass Guitar Sample, Drum Break Sample, Crash Cymbal Sample (Note: In the end, I actually did not play a single actual note on this, it’s entirely composed of samples – and also, it’s probably the first ever Ambient African piece of music ever made!)
20161017 Ten Seventeen (Aka “Nine Nine”) Drum Kit Samples (Three Different Funked Out Drum Kit Samples, Manually Played Bass Guitar, Sarod Sample, Indian Drum Samples (Khol and Pakawaj Drums), Transport Stop Synth Sample, Voyager 1 Synth Sample, Vocalised Synth Bass Sample, Boogie Right Vox Synth Sample, Vigilante All Sample (String Section & Timpani Samples).
Update: after several more sessions, I FINALLY got the manually played bass guitar part how I wanted it.
I am very excited about working with Garage Band again, now that it has had such a brilliant face-lift, and I love how very simple it is to create very intriguing and interesting music, using mainly samples – something I’ve not done much of outside of Komplete – but that’s a very different world of sampling – the Native Instruments world – and I am afraid that Garage Band is not quite up to that standard yet :-). But – it’s not bad for Apple!
I had a blast recording these tracks, the first where I used an IPhone instead of an Ipad – it’s not bad at all – I found it easy enough to do. I do like the samples that Apple has provided, and the temptation to just sit and create, is overwhelming – they have a lot of great-sounding samples (and, some terribly bad or terribly cheesy ones, too) which make composing a dream – they even “theme” them together, so for example, you can put a bass guitar, rhythm guitar, and lead guitar “together” and they play back a chunk of an imaginary song by an imaginary band. Of course, I like to manually force them to match up with the wrong track, cross-breeding them rather than putting them all together as intended – intentionally misusing the pre-matched loops…but that’s just me.
I have already used that technique twice during the last five weeks of Garage Band work, myself; once on “Hare Rama Buys A Llama” and again on “Metal Crisis” – it works well, and I like it. For the latter track, though, I brought in additional bluesy lead guitars, and purposely “mismatched” those over the other, patterned rhythm guitars – and it worked fine, because the musicianship of this unknown guitarist, was of a high calibre, and his beautiful blues riffs could have “fit” almost anywhere….by purposefully mis-placing them, I created some impossible and very musical moments in this metal / beautiful vocals track – a strange experience, but well worth it – I like this track!
So really, I am right back where I started, with music on an Ipad, often, Garage Band is the first thing you learn, and in my case, I am no exception, I did work with it for quite a while, until ambient apps came along and distracted me – once I had Scape, and Mixtikl, and Drone FX – that was me, away from “normal” apps like Garage Band, and when I did use normal apps, I favoured Nanostudio (and I still do!) as well as learning how to sample from the Fairlight, and so on – I began a long journey of discovery, that has now, in 2016…led me right back to the beginning, to where I started in 2011 – back to Garage Band. Who would have thought?
Now that the new Garage Band Eternal Album is loaded up at last, I am off to work on the guitar system which is undergoing yet another massive upgrade…as usual. A game-changing upgrade I hope, including Pedalboard Mark 68, I can’t wait till it’s all sorted out…
Monday night, and it is the last of three (in a row, no less!) King Crimson concerts for us, and for the band, the last show on British soil for a while, after tonight; it’s off to Europe for the rest of the tour. But before they go, there is the remaining matter of the last of the three Aylesbury gigs, on a cool, cloudy Monday night at the Riverside Theatre.
Being the third show in as many nights, the kinks in the performances are starting to work out now, and the band is settling in to the routine of playing, the dealing with of cues and counts and stops and starts, pedals and programs, guitars and basses; allowing the players to relax just that little bit more, which made it possible for some interesting improvements and a bit more improvisation when compared to the previous two concerts.
Speaking of basses, we observed something last night that was interesting: Tony Levin has too many instruments! Mel Collins has no choice but to bring several instruments, for example, he plays baritone, tenor and soprano saxophones, so that’s three right there that he has no choice over – he has to have those, to be able to replicate all those very different sax parts from those early albums in particular. A selection of flutes is inevitable too, and I would not say a word if Mel turned up wth seventeen instruments…because each one would have a specific purpose for a specific song or songs.
Tony I think, could actually get by with fewer instruments, because his function nominally, is bass player. Robert has one or possibly two, guitars. Jakko gets by with just one guitar, his beautifully painted PRS electric. But Tony has a veritable arsenal of bass-related weaponry:
Yellow Three Of A Perfect Pair 5-String Bass
Pink 6-String Bass
…and maybe a fifth bass
Note too that except for the fretless,they all have more than four strings!! This makes me believe that over time, Tony has become more of a frustrated guitarist to some degree (as you would do in the company of Jakko and Robert) than an ordinary “bassist”. He’s now graduated from 5-string to 6-string basses, which sound great, but aren’t actually “basses” by strict definition.
It may be more a matter of orchestrating the changes to minimise the number of changes required, but sometimes it seems like every time I look towards the centre of the stage, I see Tony Levin changing basses yet again, and again. It’s a tiny bit distracting if I am honest. OK, to be fair, Mel is changing instruments multiple times during many songs, but he has no choice, he can’t play a flute line with a baritone sax. And when he changes instruments, it’s subtle, quiet, you barely notice that he is doing it.
Tony, being Very Tall and also, standing basically at Centre Stage – cannot in any way disguise or downplay the swapping of one bass for another….over and over again.
Tony however, can get bass notes out of any of the basses in my slightly incomplete list of his basses, so why all the fuss and constant back and forth from Stick to Fretless to Yellow to Pink and back to Stick again? I get that songs that require Stick, require Stick, but songs that require bass, do they require 5- and 6- string basses? Not really, in my humble opinion. I love Tony and the way he plays, I just wonder if he can minimise the visually distracting bass changeovers by reducing the number of instruments. If he has any spare basses, I could sure use a good bass 🙂
But that is just an observation made over three days and an observation that first started really gelling on night two, last night, and tonight I’m happy to report that the bass-changing has settled down a bit, thanks in part to changes in the set list, but overall, I didn’t seem to notice it as much – so that is a win.
Also noted on the previous two nights, were instances where it appeared that Robert was playing something, but zero sound came out, so we could see him playing but not hear it, and in one case we got complete silence for a moment before the sound kicked back in and the audio then supported the visual, instead of RF strumming away with no sound emerging until he got things under control.
But these observations really just prove that this band of superhuman players, are really human after all, and in the main, the sound you hear from those seven instruments, whatever combination they are in, is 99.8 percent perfect if you compare it to just about any other band.
Each player knows their space, knows what has to be played, while still leaving open what might be played…and it’s in those moments, when one or more of the players just grab the bull by the horns and move out into previously uncharted territory, that’s when the live “Crimson magic” begins.
It happens with Mel in almost every song, sure, he plays his parts, but then, he loses himself in the moment and is soon soaring on a high-flying improv that proves that he was and still is, the most innovative horn player in rock music (and you can’t forget his history either, of working with the Stones and being in Camel and of course, being in King Crimson for albums two, three, four and five), if you count “Earthbound” as the fifth album (I do). Mel has been around the block in terms of playing experience.
It happens to all the players in the band at some point, although the better the improviser they are, the better their ability to transcend an ordinary “part” and play something truly extraordinary instead. Mel and Robert do this almost constantly, while Tony and Jakko must stick to the script more, so opportunities to improvise are fewer, and for the drummers, probably only they themselves or the members of the band are aware when they do something amazing, although I feel that the drum section have produced both rehearsed and slightly improvised music each and every night – they are so well co-ordinated, but each also has his own style and their own series of wildly improvised and very astonishing percussion moments.
What a trio they are, and when you combine that three-man percussive prowess with Mssrs. Fripp, Collins, Jakszyk and Levin…you get the “Crimson magic” – and every night, you will hear this, to a greater or lesser degree, if you listen with your ears open. Sure, they are “playing” the songs; but there is also opportunity for the occasional amazing riff or chord or entire solo or other Amazing Accidental Musical Moment In Time (AAMMIT).
By the way – in one of the silences someone shouted out “Happy Birthday Mel!!” which got an enormous cheer from the whole audience as well as a huge grin and sweeping wave of thanks from the man himself.
Before I go any further, here is the full set list:
The Battle Of Glass Tears
Unknown / New Song (Instrumental – featuring two guitars)
Pictures Of A City
Hellhounds Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)
Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio)
Suitable Grounds For The Blues
The ConstruKction Of Light
One More Red Nightmare
Banshee Legs Bell Hassle
21st Century Schizoid Man
The only band I’ve seen recently that can even come close to King Crimson 2016, was King Crimson 2015 – who we were fortunate enough to see three times in three different cities last year – and those shows were brilliant.
This time around, after a little time, I would say that the first of the three shows was overall winner, because the band was more relaxed, and the setlist was amazing – and despite some technical teething problems, it was a superb performance that I will not soon forget.
The second night was sort of in the middle for me, it was nice to have “The Talking Drum / Larks’ Tongues In Aspic, Part 2” back in the set, but not really at the expense of “Sailor’s Tale” which made a very welcome return tonight.
Tonight, the band opened with the eerie and beautiful “Battle of Glass Tears” my personal favourite new / old track, which was just sublime, so atmospheric, and you could hear a pin drop at this point – followed immediately by that new song, minus it’s 2 chord intro, and of course, the audience had NO idea what was going on at this point… That came to a slightly uncertain stop, and finally they launched into “Pictures Of A City” and all was well again.
While I have awarded the “Friends & Family” show as my personal favourite, there are of course, one or two exceptions I should note. Tonight’s show got off to a bit of a shaky start in that, the audience didn’t know whether to applaud or not after the second piece – so out of politeness, they didn’t applaud, so it wasn’t until the end of “Pictures Of A City” that they could let their hair down and scream and shout for the return of the Crimson King. The show only got better from there, and some particular highlights for me were, in no particular order:
“Fracture”, which was fantastic, and in my opinion, by far the best version over the three nights (so, as far as this song is concerned, THIS was the best version – even better than night one’s version). Robert and Mel were right on form, Jakko’s “mock violin” was incredible to watch and listen to – and the rhythm section simply smashed it along with Tony – a rocking version, and really tight – I loved it. Out of all of the new / old songs, I welcome “Fracture” back into the setlist with the most joy – it’s been a long time since KC tackled this twelve minute musical monstrosity – what a great tune, and the new arrangement is fantastical – really beautifully done.
It was great to hear “Cirkus” for the third time, it was consistently good each night, and in some ways, Mel’s solo in this is probably one of the best solos he has ever done, so to get to hear and see him play that beautiful, beautiful horn solo, for three nights running, is an incredible privilege – and, the saxes on “Cirkus” are amongst the most beautiful I have ever, ever heard, in any context or in any song – it’s an absolutely sublime, lovely solo – and I got to hear it three times in a row – so beautiful!
“One More Red Nightmare” – “Red” was great, every night, but this was better, and another “welcome return” to the setlist. A brilliant vocal from Jakko, indescribable ensemble work from the drum team, and just a blast of fun, all about a cool riff, with sinister saxophones and Jakko’s distorted auto-Wah sounded absolutely astonishing at the end – a great guitar sound! This track totally rocked tonight…in fact, the whole second half of the show was really exciting, and the section containing “Vrooom”, “The Letters”, “Sailor’s Tale” and finally “One More Red Nightmare” very nearly changed my mind about which concert was my favourite. Very nearly, but not quite 🙂
A stunningly beautiful “Starless” followed, which did bring the temperature down quite a bit – but then, we get to that amazing end section, with the fabulous guitars sliding up and down and the bass ripping a la John Wetton (Tony did really well on this version of “Starless”, I have to say – and it’s not an easy bass part to play!).
“Heroes” was pretty much a carbon copy each of the three nights, I still think night one has the edge, although tonight’s version got a very very good reaction from the audience, as did the final number, “21st Century Schizoid Man” including the aforementioned New Standard Tuning tasty jazz chords from Mr. Robert Fripp.
I noticed that sometimes during one of Mel’s longer tenor or soprano sax solos (and since we are talking about this song already, one prime example of this tonight was the final encore, “21st Century Schizoid Man”, which is possibly Mel’s longest solo of the night); that as soon as Mel settling into his solo, wherein he will absolutely be screaming away at speed – that Robert starts comping along to the solo, playing what he might call “particularly tasty inversions” of jazz chords, and that’s been an interesting thing to hear – Mel is soloing his heart out, and Robert starts slipping these fantastically lovely “jazz chords” into the tiny spaces that Mel leaves open in his solo – and how RF can select and play a series of interesting, jazzy chords to comp along to Mel’s insanely good sax solos is actually, beyond my musical understanding.
I wish I even knew those chords, and then I would worry about when to play them. And of course, they are all now in the new standard tuning, so over time Robert has relearned his 11th and 13th and 9th/b5th chords, and knows them well enough in NST now, to confidently insert them into the spaces left by one of rock’s master musicians, the extraordinary Mel Collins.
The resulting sound, with the whole band in full on jazz swing mode, is nothing short of extraordinary. Mel is the not-so-secret weapon, who can be called upon almost on demand to produce a honking or screaming or deadly smooth slinky sleazy sax solo, with Rock’s best jazz guitarist Robert Fripp comping along with the tastiest of chords. What a sound that is. He may also have been doing this during Mel’s soloing in “Pictures Of A City” – but I am not sure about that, I can’t actually remember if “Schizoid Man” was the only time Fripp did this astonishing, clean jazz chord work – it blew me away.
Prior to Mel’s selfsame long solo in “Schizoid Man”, Robert took his solo, but it was different this time, to any of the previous shows – including the three shows we saw last year – I’ve only seen / heard this happen one time out of six shows, and that was during this guitar solo – he started it out with one of those impossible high-speed three-note trills (a la “St. Elmo’s Fire” by Brian Eno, where Fripp plays impossibly fast three-note trills over and over again) and also, the solo was quite a bit longer than on the other nights, and it included some more brief “exhibitions of reckless speed” in the lead guitar arena – he was really going at it, and it was a great little solo – and then, he handed it over to Mel as he always does – who then proceeded to attempt to out-do what Robert did – and that is when Robert changed over to a lovely clean sounding guitar, and did the chord comping I described previously.
What a great, great version of “Schizoid Man” – I loved it, if only just for the little extra bits of stunning Fripp guitar – that really added a lot to the experience for me – so again, of the three nights, that’s my favourite version of this particular song – but overall, I still think I preferred the first show out of the three – except for “Fracture” and “21st Century Schizoid Man” which were both definitely better tonight – they were absolutely brilliant, and along with the two tracks from “Islands” plus the two tracks from “Red” – there was a lot of very hot music going on this evening!
Here and now, in September 2016, for us, having the absolutely unique experience of seeing King Crimson play three gigs over three nights in the same elegant, beautiful theatre – and, each of those shows had its own individual “feel”, while at the same time, the three taken as a whole, gets you a really good overview of just exactly what this band is capable of…all I can say about that, is:
Europe, be ready – the great Crimson Beast is lumbering towards you (in an odd time signature, of course) so I hope you are ready, this band is going to change the way you see (and hear) live music forever, with its amazing “front line” of three incredible drummers, and it’s impossibly talented and experienced “back line” full of virtuoso strings and horns – and just 30 seconds worth of “Level Five” will melt you right into your seat! 🙂
Thanks for listening!
Tonight, the second of three King Crimson gigs for us on this, the 2016 tour, was the first “official” gig of the tour, and even though the set was fairly similar to that of the “invitation only friends and family gig” of the previous night, this show had a quite different feel about it in a number of ways.
For one thing, we were this time sat to the right of the stage, slightly above the first floor section of audience on the side, whereas last night, we were near the sound board on the left of the stage. In some ways, tonight’s position was better, for one thing, I could actually see both of Robert’s hands, so that was a bonus. Being slightly above, we could probably see and hear quite a bit better than the previous night – also, I very much noticed Gavin’s drumming much more tonight (and it was fantastic!!) whereas last night, I mostly noticed Pat and Jeremy – so where you sit, definitely makes a difference to the sound. And it sounded good!
This fortuitous event of being just a tiny bit higher up enabled me to see some small details that I missed last night, for example, in my favourite new – old tune, “The Battle Of Glass Tears”, it turns out that it is Robert Fripp playing the eerie, beautiful Mellotron melodies – and that’s all he plays on the song – supporting Jakko’s remarkable vocal. Again – this short, short song, with it’s incredible visionary lyric, is the high point of the show for me – with one possible exception – which is the re-vitalised “Fracture”. This started off better this evening, although there was one single high note that Robert missed, during the introductory part of the song – much to his chagrin, but hey – it’s opening night, and that’s a tiny, tiny mishap.
However, the performance was otherwise unmarred, and reached a remarkable climax where all of the stringed instruments are just going mad, where a guitar solo triggers a mock violin solo which triggers a bass solo which triggers some interplay between mock violin and guitar, or horns and guitar – and “Fracture”, after about 12 minutes of one of the most complex pieces of music ever penned for a modern rock band – actually ended up getting a standing ovation from part of the crowd – so the crowd loved it.
In a way, this band can do no wrong – you should hear the audience, every time Robert takes one of those solos with the long whip up to a sustained note, they just start yelling and screaming – they absolutely love Fripp; and when Fripp plays something that is extremely innovative or extremely quick or even just something loud and beautiful, like the ever-sustaining lead guitar note in “Heroes” – the audience just go wild for the Fripp lead guitar.
It was a good version of “Fracture” overall, and I was especially impressed with Jakko’s incredibly accurate rendering of the original David Cross violin part. That was very well done, and I could see what Jakko was having to do to emulate those violins much more clearly than the night before – and it was impressively weird.
Jakko is literally a bit of a musical magpie, and he wants every detail to be perfect…as evidenced by the fact that even though he has to sing the vocal on “Cirkus” (and let’s face it, on every song that has lyrics!!) he still takes the time to learn all of those impossible, high speed acoustic guitar runs in “Cirkus” and rip through them as if they were nothing, all the while singing – I am as always, really impressed with the quality of Jakko’s guitar playing, and I wanted to point that out in particular.
I was very pleased to get to hear “Cirkus” for a second time, and it did not disappoint, a great vocal, but the star of this show is undoubtedly the remarkable Mel Collins, whose playing on this song is just so, so beautiful – flowing, powerful, free, melodic – perfect. I really love this strange, strange song !
“Worship!” cried the clown, “I am a T.V.”
Making bandsmen go clockwork,
See the slinky seal Cirkus policeman;
Bareback ladies have fish.
Strongmen by his feet, plate-spinning statesman,
Bids his tamers go quiet the tumblers
Lest the mirror stop turning…
Robert and Mel tend to steal the show a bit when it comes to taking solos, but all of the members of the band get to take solos, including Jakko and Tony.
One highlight for me tonight was the ever-powerful “Level Five” which featured a stunning dual pick scraping down the low E string by Jakko and Robert as the song came literally to a screeching halt – that was pretty fantastic after being treated to a top-notch version of the song; it had an even better ending!
The unexpected tracks tonight, were two additional tracks from the “Larks’ Tongues In Aspic” album, namely the shortest version of “The Talking Drum” I have ever heard, followed by a pretty satisfying “Larks’ Tongues In Aspic, Part II” – with Robert’s guitar tones sounding pretty much exactly like they do on the USA album – they have dialled in a wicked tone for his distorted rhythm guitar parts. The same wicked rhythm guitar is on display in the first long track the band plays, where Robert fades in his choppy high-speed chords for the coda of “Larks’ Tongues In Aspic, Part 1” – it sounds perfect – just like the record.
That kind of attention to detail, getting the exactly correct guitar sound, for iconic riffs or iconic chord sequences like the coda of LTIA Part 1, are what make this band so, so special – right down to the laughing box at the end of “Easy Money”, which was strangely omitted from tonight’s set. In fact, while we did get two “new” tracks in the form of “The Talking Drum / Larks’ Tongues In Aspic, Part 2” the price we paid for that was the loss of both “Easy Money” and “Sailor’s Tale” – and a show without “Sailor’s Tale”….well, I am not as sure about that.
But if I forget about the fact that I did get to see those two songs during last night’s show, and concentrate on tonight’s set list only, it still a very powerful and very representative set of fine King Crimson material. Here is the full set list:
Hellhound Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)
Larks’ Tongues In Aspic, Part 1
Pictures Of A City
The Talking Drum /
Larks’ Tongues In Aspic, Part II
Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio)
The ConstruKction Of Light
The Battle Of Glass Tears
Suitable Grounds For The Blues
Unknown / New Song (Instrumental – featuring two guitars) /
Banshee Legs Bell Hassle
21st Century Schizoid Man
So I would say really, more similarities than differences, although interestingly, a couple of songs, mostly notably my personal favourite “The Battle Of Glass Tears” ended up being moved as compared to the previous night’s set – for reasons unknown.
Certainly, the arrival of “Talking Drum / LTIA Pt. 2” meant that a few things had to change, so I assume that it’s mainly due to that more than for any other musical reason. It was curious though, hearing the dead stop end of “The Battle Of Glass Tears” dive directly into “Vrooom” without hardly having time to draw a breath, whereas last night, “Glass Tears” was followed by “Meltdown” instead – a very different sounding sequence there.
I did enjoy “Meltdown” on both nights, I still prefer it to “Suitable Grounds For The Blues” and I have to admit I am quite starting to actually really like “Meltdown” – at least, the music, if not the somewhat overthought lyrics (sorry Jakko – only Peter Hammill is allowed to use the word “lexicon” in a song) – but I do really like the tune, and especially the almost Crafty-like dual guitar part – which is truly beautiful.
The encore was identical to the previous night, with the very upbeat “Heroes” getting the crowd very excited and then “21st Century Schizoid Man” to remind the audience just exactly which band this is they are listening to – a great, biting vocal from Jakko, and fantastic ensemble playing of a classic of progressive rock and the perfect final track for another great night of King Crimson music.
The feeling was a little bit different in that I think the band were a bit more on edge or nervous than they had been at the “Friends & Family” show, so maybe that was why there were a few tiny issues, but once again, the performing power and the virtuoso playing from all seven musicians, cannot be denied, is unparalleled, and was evident in spades again tonight – another great show as always.
There is no other band like King Crimson in the world today, partially because of the absolutely unique playing styles of Robert Fripp and Mel Collins, and to a slightly lesser degree, Tony, Jakko, and the front line of fantastic percussionists – those virtuoso playing styles just set this band apart, and having that amazing back line of incredibly talented musicians is why King Crimson 2016, sounds so astonishingly good!
Beautiful music, made by the best progressive rock musicians on earth – spanning two generations, too – a band that is utterly unique with a remarkable canon of incredibly difficult and wonderful songs – long may they play those songs and allow us to hear – what a fantastic privilege listening to this band really is.
Another great night.
See you tomorrow !!!!
Peace & Love