effects pedals videos: the ultimate addiction

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 🙂

 

have fun!!!

 

peace,

dave

 

 

 

 

 

 

 

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studio diary 20170705

well somehow time has really gotten away from me, and I’ve not managed to write a blog for a couple of months now.  I have an excuse (of course):  I’ve been busy.  Mainly, working on the new pedalboards and guitar system (more on that shortly) but also, still trying to “keep my hand in” by working on music in the form of a very, very large collection of new tunes created in Garage Band.  I would venture to say that over the past few months, GB became a bit of an obsession, to the point where my iPhone overfloweth with Garage Band songs and drafts, sometimes, just one or two versions, sometimes, six or seven if a particular song needs a lot of detailed work.

the net result of that, is that actually, both my phone and my favourite tablet, are currently overflowing, and later today, I will be offloading completed tracks, and also, completing incomplete tracks and then offloading them, and then, making sure I have final mixes of all unpublished tracks…so that finally, I can master them and upload them. Normally, this would be a handful of tracks, but if I am not mistaken (and this number might not be exact) at the moment, I have no less than 16 NEW Garage Band tracks to sort out and add to my Garage Band Eternal Album on Bandcamp.

Sixteen new tracks!  Now – I have been working pretty exclusively in Garage Band over the past several months, and not working so much with real instruments, etc. in the studio – and that is because when I have had time to work in the studio – I have had to dedicate that to working on the guitar system and pedal boards (plural).  Those have now grown to four in total, and in fact, just yesterday, I worked out a brilliant new system, for accessing the different sounds – I am using a very simple device, a “pan pedal” which is made by Ernie Ball, to allow me to “move” between my main studio set up (which currently is comprised of two pedalboards, which I call “Pedalboard 1” and “Pedalboard 2” (imaginative names, I know) and a third board, which, surprisingly, is named “Pedalboard 3”.  So I can be playing one sound via PB1/PB2 (which are currently chained together) and then I can “switch” over to take a solo on PB3 where a completely different sound is waiting patiently for me.

Having the pan pedal, also means I can “blend” the two sounds – and hearing that, you can get some amazing “stacked” guitar tones – because for the first time, I am actually running two complete stereo set-ups, through two separate guitar systems – and, I have the output of PB1/PB2 going to the board direct, while the output of PB3, is miked with two Shure SM-57 instrument microphones, and those are going direct to the sound card. This then means when I record, I can record two tracks of the direct sound on PB1/PB2 and two tracks of the miked sound of PB3 on two OTHER tracks which means I will then be free to mix and match however I want – using as much (or as little) of each of the two completely different-sounding stereo feeds.

I haven’t yet mentioned the fourth pedalboard – it has an incredibly imaginative name, which you will probably never guess – Pedalboard 4.  But – it does have a distinct sub-title, unlike the other three – it’s the Guitar Synth board.  It’s quite simplistic, but it is a viable very different sound source, and it can be easily chained to PB3 or otherwise incorporated into the mix since it’s also tied directly to the mixer.  So the Guitar Synth library of sounds is also readily available now – directly out of the mixing board.

Also – with just a very quick change of cables – I can re-route the pan pedal to move between PB1/2, and PB4, or, back to PB3, or if I really wanted – I could have it pan between PB1/2 and PB3/4 chained together.  Talk about sounds…that would be a lot of sounds.  Right now, I am pretty happy with my PB1/PB2 combination, panning to the little PB3 board which is great for distorted soloing.

Getting all of that set up and working, and finalised (for the moment, of course, until I change my mind again, or, more likely, until I think of a “better way” to do things) has taken up the last several months’ time, meaning that I have not had time to work with real instruments in the real studio, except to test sounds and boards – and I’ve been doing a lot of that.  I have successfully re-programmed my Ground Control MIDI controller with 200 awesome sound combinations, and successfully done a sysex backup of that new set of sounds.  So that challenge was finally sorted out after quite a bit of trouble…I have, however, finally cracked MIDI Sysex – which for a long time, was a mystery to me – no more, now, I know how to backup, and restore, the entire contents of my Ground Control…it’s fairly easy to do, if you are patient.

I do have one other aspiration, which I actually got this idea from Vernon Reid (a great source of guitar ideas – he has helped Eventide with a lot of their distortion algorithms – so I offer up my thanks to Vernon wherever he is!), which is to stop doing ALL of my effects in series, and do them in parallel (to be honest, I also remember the late, great Allan Holdsworth, describing the same idea in a guitar workshop) – running effects in parallel.  Vernon has discovered a nice little DOD Resistance Mixer (the model AC-240, to be exact) which allows you to run four in to one out, and he uses a few of these in his live set-up (which I saw on YouTube, of course!).  It’s brilliant, and I do plan to look into that when time permits.  For the moment, out of necessity more than choice, I am doing it “old school” – in series.  Given that I am running a lot of hardware in series, it actually is all sounding very, very good now.

Note:  later on this year, we are going to see Living Colour play live in a Glasgow venue, so I can’t wait for that – one of my guitar heroes – Vernon Reid, I will finally get to see and hear Vernon play – I can’t wait!  A great and greatly under-appreciated band, Living Colour.  One of my personal favourites…it”s going to be amazing. I am very excited about this concert!!

Anyway – based on the work I’ve been doing, I have decided that once I finished processing the outstanding 15 or 16 Garage Band tracks (which I plan to begin work on this afternoon) that I will no longer spend as much time working in Garage Band, or, if I do, it will be probably for ambient projects, rather than my endless exploration of Apple Loops mixed with “real” content i.e. bass parts “played” by myself, and instead, go back to working on real music with real instruments – primarily, the electric guitar.

I think that my obsession with Garage Band has finally run its course, but, the result of it is an already very interesting catalogue of music, but, once I mix and master the next 16 tracks of completed Garage Band music – it will become apparent what a brilliant tool it has become for music creation.  It is pretty amazing what you can do with it, and I’ve been working more with matching tracks up pitch-wise and timing wise, so, matching a “real” bass part to an Apple loop, for example, or pitching different tracks to fit better with other tracks.

It’s amazing how well it all works, and, I have had an absolute blast creatively, it is endlessly fascinating to me what you can do with a stack of pre-made loops and a little bit of crafty bass playing.  I’ve found that to be key in most of the compositions I have worked on – I might create an entire piece out of Apple loops, but then, to humanise it, I play a “real” bass part – and that does it, that suddenly makes the track “pop” – it’s weird.

For a while, another technique I would use, would be to have the first two thirds of each piece, be entirely artificial; all made from loops, and then suddenly, during the last third or quarter of the piece, bring in a “real bass” part and the effect is really dramatic – it really makes the tracks sound so much better, even if there is already a synth bass or whatever – having that wonderful, plain, “Paul McCartney” bass there makes the tracks irresistible.

I have spent a ridiculous amount of time perfecting some of those bass parts – which are often played on the fly in one take, and then close-edited later to sharpen them up – taking a wild, on-the-fly live performance, and custom-fitting it to the existing song.  It’s a lot of work – but it’s so, so worth it, because it just brings the pieces full circle, and the artificiality that the loops create, gets seriously negated by the humanness of the Paul McCartney plays as “played” by yours truly.

So when you finally get to hear the next 16 Garage Band uploads from me – please listen especially to the bass guitars – because I have indeed, worked really hard on those bass parts – which you will find in most all (but not all) of my Garage Band work.

I should also mention the other “star” of the Garage Band tracks, which is the Korg IWorkstation synthesizer, with it’s two dozen different sets of presets – if you search long enough, you can always find the perfect sound, and since Garage Band’s Inter-App Audio is so well implemented, it’s easy to bring in a powerful synth like the “iWavestation”, and I use it extensively, on multiple tracks, on almost all of my Garage Band material.  So those are my two secret weapons, really:

  1. Apple’s “Paul McCartney” bass, in “Note” mode, which I play like a real bass, then close edit later to “perfect” the bass part
  2. Via Inter-App Audio, I call up the “Korg iWavestation” synthesizer which can provide an absolutely astonishing universe of sounds from any kind of synth sound; any kind of beautiful, spacious pad sound, to drums, basses, whistles, you name it, it’s in there – one of Korg‘s most amazing products, ever.  It has become my “go-to” synth whenever I am recording in an app that offers IIA connectivity – the first thing I do, is bring in an instance or ten or the iWavestation – I cannot recommend it highly enough, it’s a great synth and workstation, too – absolutely amazing and sounds great.

The third and uncredited star, is of course, those amazing Apple Loops – without them, none of this amazing catalogue of work would exist, and I can’t believe how this incredibly diverse set of music, where every piece is completely different, where each time, I try to find a new approach, a new sound, to make it utterly unique, and, importantly, different from the last piece I did – and if you are doing this across dozens of tracks, you end up with a diversity of music that is almost indefinable – I could literally, not describe the different genres, types, feelings, grooves, systems, concepts – I just can’t, the only way to describe it is to say, go to the Garage Band Eternal Album, and listen to it from start to finish – and then try to describe in words what you just heard.

And when I add in the next 16, which feature some of the most diverse and weirdest, most out-there compositions so far – that will make the above experiment even more interesting.  If I were to continue with this, the madness of being addicted to Garage Band might send me right over the edge – I don’t know.

I am going to take a break, I am extremely happy with both the catalogue “so far” (note, as of this point in time, 20170705, the Garage Band Eternal Album contains 24 unique tracks) or to date, as well as, I am very excited about the next 16 tracks – which will close out the catalogue in the short term (bringing the total number of tracks to about 40 – which in itself, is amazing), because I am (with some difficulty, I admit) going to slow down or stop producing so very much Garage Band material, and return to working on real songs with real guitars and keyboards, and I am going to give the amazing, easy to use, fun to use, Garage Band – a well-earned rest.  Because if I am honest, I have spent altogether too much time working on Garage Band songs, and not giving my other musical outlets a chance!  Of course – that wasn’t intentional, they weren’t ready – but, now they ARE ready – so – I am ready.

 

It’s also my hope, to return to making ambient music, and in particular, ambient music made with applications.  I still have unexplored areas that utilise ambient tools that I have had for many years, as well as some newer apps that I also have not spent enough time with – so I hope to rectify that situation, and in the process, hopefully, add some new ambient tracks to some of the catalogues / eternal albums up there on Bandcamp.

 

I am hoping I have reached, or nearly reached, the “cut-off” point, where the total obsession with Garage Band ends, and a new practice of music-making begins, which involves using real guitars and my new pedalboards and guitar systems plural.  That is the idea, anyway – and that is why I have also spent the last several months trying to get everything ready for this day – and after extensive testing, and spending a lot of time creating 200 amazing and beautiful guitar sounds in my Ground Control Pro MIDI Controller – finally, everything is ready, and I have now, at my fingertips, a huge and diverse array of guitar sounds that I can use in my new compositions!  It was a lot of work to get to this point, and I am beyond pleased with the way my guitar is sounding – and that is not something I’ve said very often in my life.

Of course, Komplete will still be there to play it’s part, since I don’t have the space for a physical drum kit, and, I’ve never had the opportunity / chance / space / time to learn how to play a real drum kit – I still depend on Komplete to help me set up my real guitars-based tracks – mostly, with the drum tracks.  I also, often, will use Komplete to do basses – and certainly, I use it for keyboards and synths, along with other softwares like the M-Tron Pro mellotron software.

When the urge takes me, I do sometimes play real bass instead of Komplete’s bass, but using Komplete is truly tempting because it does contain toolsets like Scarbee’s amazing Rickenbacker bass samples, and I just can’t resist having the sound of a Rickenbacker or a Fender Jazz bass or a Fender Precision on my tracks – I love those basses, and being able to “Play” them, even via a MIDI keyboard – is heaven.  My cheap throwaway bass cannot compete with those sampled basses for tone – it was so cheap, that I actually paid nothing for it – a good friend of mine, and an amazing musician, too, Michael Dawson, actually gifted that bass to me – which I have subsequently used on certain tracks, one of which was the tribute to the late John Wetton – “Wettonizer” is the one main track I remember using the “free” Washburn bass on.  It is actually, a lot of fun to play (it’s tiny, and I am not!), so maybe I will add in some “real basses” as well as using the amazing Rickenbacker and Fender samples available via Scarbee via Komplete.

In essence, in the studio, Komplete is my “band” – they come up with the bass and drum tracks, and if needed, keyboard and synth tracks – and then, I am left to play real guitars on top of those created tracks.  It’s as close as I can get to having a real band to play with at the moment – and again, I don’t have the space available for a real band anyway, so at the moment, the Komplete “band” does me more than proud – and you can hear exactly how well they do, by listening to a couple of my larger works, where they are heavily featured – in particular, on “the complete unknown” “planet obelisk” and “day seventeen” – these are examples of the full Komplete band – drums, bass, keyboards – supporting me, the man of many guitar parts :-).  It takes weeks or months to get the drums, basses and keys in place on tracks like these, and it’s not uncommon that three months might pass, before I get to play a single note on the guitar.

(Note: all of the tracks noted above, are all taken from the dave stafford “progressive rock” eternal album – please have a listen on Bandcamp).

 

Of course, it does take time, creating drum tracks, and bass tracks, and keyboards and synths – but it’s worth the time, because I want the best possible backdrop for guitars – and with Komplete, I get the best there is.  For example, depending on what kind of era I want to emulate, I tend to use the Abbey Road drum kits, and I can choose from a vintage 50s kit, a 1960s kit, a 70s kit, 80s, kit or “modern” kit – and each one has it’s own character and options, and they sound absolutely amazing – so I tend to mostly use those, although there are many, many other drum options within Komplete…Abbey Road drums are my current favourite, and they can be heard on a lot of my works.

I have also favoured the Scarbee Rickenbacker bass, using different pickups and presets, for a lot of my pieces, and I think Scarbee is an absolutely amazing company, the care with which they create their instruments is exquisite – the details are absolutely stunning.  I can get so many amazing tones out of that Rickenbacker bass, I could just about not ever use any other – except of course, when I do need a Fender bass for a deeper, more traditional sound – and then, I turn to Scarbee once again – and in many cases, they even offer an “amped” version – so you can have just the bass, or, the bass sampled through amps – it’s amazing – I am totally spoiled for choice.

After a lot of hard work, especially the programming of 200 custom preset guitar “sounds” on the Ground Control Pro, I am ready to play some serious guitar – but, serious guitar with the best tones possible.  I have really chosen a bit of a strange path, over the years, I have mostly stayed away from “guitar amps”, instead, using a plain power amp, and asking either software, or, my pedalboards, to be the main source of “tone”.  Now I am in a hybrid set up – I am using an amp, or actually, two amps – one is a solid state guitar amp, which has a line out to the mixer, and the other is my plain power amp, where I am miking my two 1X12 guitar cabs direct to the sound card.  The “tone”, however, is the tone of whatever guitar I am playing, plus, what sound colourations are available from the pedalboards – which of course, include the many-faceted Eventide H9s – each of which contains a massive library of absolutely astonishing, high-quality sounds.

When I think about what is possible with just the H9s (ignoring all other pedals for the moment) I kinda wish I had more than 200 slots in my MIDI pedal, but the truth is, by combining different H9 algorithms, the number of possible insanely good guitar sounds, is not just 200, or even 2000, it’s probably more like 200,000.  Seriously – and, Eventide keeps adding in new algorithms, too, which just increases, exponentially, the possibilities, to basically, limitless – the latest new algorithm, “Pitchfuzz”, contains some amazing new distorted and / or pitch-shifted sounds, which are out of this world, and, of course, I have incorporated the best of those into my 200 presets.  Using the H9s in multiples, makes it possible to create combinations of effects that are truly lush and incredible sounding – you have to hear them to believe them.  Exquisite combinations of beautiful, individual sounds…

I did spend a bit of extra time on one particular sound that I truly love, and I got this idea straight from Allan Holdsworth (may he rest in peace) – on the first of several occasions where I was privileged to see Allan play guitar, he had this amazing “swell” sound, where while the bass and drums played a kind of “drone”, he would “fade in” or “swell” these beautiful, clean chords, which were drenched in layers of delay and reverb – and I never forgot how beautiful that sounded live.

During the Bindlestiff years, I even tried to emulate that sound, by fading the sound in manually with a volume pedal, into a huge reverb “room” – close, but not quite.  But now – in the land of H9s – I can have auto-swell, at any time setting I want, and it’s brilliant.

I took this opportunity to create some special Dave Stafford auto-swell settings; starting with a short auto-swell (1900 milliseconds), then, medium (3100 ms) and finally, the “Allan Holdsworth” series of auto-swell (my “long” swell at 4000 ms or 4 seconds) – and I made several variations of that basic sound, running the swell through various different Eventide Space reverb sounds, and in one final example, through a beautiful Eventide delay and then into a beautiful Eventide Space sound.  The result is a mini-bank of amazing “swell” variations, and I am so glad I took the time to work out the programming for those sounds – taking care of details like that, gives me an edge, it gives me something unusual, not stock – but with my own personality – these 200 sounds are Dave Stafford Guitar Sounds, regardless of whether they are “stock” or “custom” – they are my choices and juxtapositions – and it’s so nice to have such an amazing library of “algorithm meets algorithm” possibilities.

This afternoon, then, will be dedicated to downloading (and, clearing off, thank god) the 16 new Garage Band pieces, trying to first get the final mixes just right, then, the mastering, and finally, probably starting in a few days’ time, uploading them – and once uploaded, the Garage Band Eternal Album will have reached about 40 unique Dave Stafford compositions done over a relatively short period of time – months – but, in terms of sound, and quality – it’s a huge, huge sound – and, a catalogue of which I am both very proud and very fond of – I have really enjoyed my “time of Garage Band”.

You should try it – drop everything else for a while, and just create with Garage Band – a piece every couple of days was usually my method, although some of the more complex pieces might then stretch out to a week or two until I was happy with the final version – and then, immediately, start another one – preferably, something that sounded COMPLETELY different to the piece just completed.

In a week or two at most, you will be able to hear all 40 tracks, and these should give you a good glimpse (at least) – if not an amazing view – of what this creative and innovative Apple tool – one of the oldest “computer-based” music making tools (now, mobilised on the iPhone and iPad, of course – in the Apple way) can do; and, with it’s latest updates, it has become one of the most fertile, stable, and unique grounds for growing musical ideas.

Anyone can have a go – drag some Apple loops into your song, and you are away – dream up any kind of music you like.  Just do loops if you don’t want to play, or don’t know how – you can still create, using the magical Apple loops, if you do play an instrument, then you have the opportunity to add in some keyboard based or drum or bass content of your own.  It’s easy to learn, and endlessly expandable, you can add many, many bars and create very long pieces, or create three minute pop masterpieces – it’s all there with Garage Band.

 

And now – to mix, download, master and start getting those new tracks uploaded – I can’t wait !!!

 

 

peace and love

 

dave 🙂

 

 

 

 

 

 

 

 

 

 

the joy of kaoss

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.

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

and now for something completely different.

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

 

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

 

 

 

 

 

 

I had a notion…

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

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

Why did this happen?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I had a Notion.

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

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

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

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

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

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

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

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

That’s next; wish me luck!!

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

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

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

Dave

studio diary 20150214

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

 

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

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

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

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

 

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

 

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

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

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

 

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

 

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

 

and then…well, things happen 🙂

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

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

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

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

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

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

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

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

 

until then I remain

your faithful servant

yours truly, etc.

 

 

dave

pureambient HQ – 20150214

 

 

 

 

studio diary – 20150115

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What Eternal Albums Can We Expect In 2015, Then?

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

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

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

MUSIC FOR APPS: SECTOR

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

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

MUSIC FOR APPS: SLIVER

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

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

The possibilities…are simply endless.