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.

“you wake up one morning…w”

strangely, today, I find myself working on audio mixes, not that that in itself is strange, but in this case, it’s audio mixes of live performances of a song that I never, ever dreamed that I would perform in any context, anywhere – but there it is:  my second attempt, too – I’d tried it out originally, during the recording session of 20150222, but couldn’t get a take that I was happy with, so I let it go for a while – until april 19th, to be exact – when I sat down specifically to record a little-known, rare Van Der Graaf Generator b-side entitled “W”.

I had only just re-discovered this track, when I was working on other acoustic Hammill songs, it suddenly struck me during the February sessions, I should see if I can capture one of my strange renderings of this song – so I did try.  And while some of the takes were close, none were good enough to properly do justice to this rather unusual song.

hence – trying again later, which in this case, is a dedicated session to “W” – twelve takes in all, about an hour and ten minutes of session time, doing live take after take, working out the arrangement, working on the vocal – and just trying to get to a version that would indeed, do justice to the song, at least, as well as I can with my strangely gentle, twangy California accent – hardly the accent to tackle the Peter Hammill canon, but – that’s what I do – I spent many years, learning many, many Hammill and Van Der Graaf songs, and now, I find, I’d like to record them – all of them, although the amount of relearning needed my be prohibitive in some cases, while age lowering my voice might make others impossible…who knows??

but for whatever reason – I found myself trying to do this song, live, with one acoustic guitar – or rather, with  an acoustic guitar substitute, which is my roland gr-55 guitar synth.  because my real acoustic guitar is unhappy, I had to use the synth instead, which, admittedly, does look a bit odd, in the video, but it had to be – and it does a reasonable job, I have to say – not bad.  It certainly sounds acoustic on playback, and of course, I can’t resist giving it a bit of “sparkly”, by using the Waves Reel ADT plug in on it – give it some Beatles chorus or flanging – which is about the right era, “W” might have been written in the late 60s, I don’t really know, in fact, I only have two versions of it – one is the live version (from 1971) that I “grew up with”, which, oddly enough, has only just recently been released officially, on the new Van Der Graaf Generator CD “After The Flood” – At The BBC 1968 – 1977 – that live version,which is to me, an absolute Van Der Graaf rarity, coming from a rare 1971 John Peel concert, which had only previously been available on bootleg – which is where I had heard it.

years later, I also acquired the “studio” version, which again, isn’t that easy to find, but it’s out there, and of course, I had to have it – beyond that, I don’t know if there are a lot of other live versions out there, I doubt that they played it much after 1971, I am not sure about the song’s history, but I am sure of one thing:  the effect it had on me, as a young Peter Hammill fan, I just think it is an amazing performance, led initially by Dave Jackson’s amazing horn playing, and it’s odd and wonderful to hear Hammill singing and playing live on acoustic guitar – with the rest of the band, playing in a subtle and wonderful way, Hugh Banton coaxing some of the oddest and most wonderful harmonics from his Hammond drawbars – I love the organ playing on that live version, I love everything about it – it’s just one of those odd tracks that sticks in your head for some reason- I really loved that particular bootleg – it had the first three Van Der Graaf songs I ever heard on it, in this order:

1) Killer

2) W

3) Man-Erg

Which is actually reverse order from the real session, but that’s just bootlegs for you (in this case, “Watched Over By Machines Of Loving Grace” – what a title!).

And while all three tracks were absolutely mind-blowing to this young man, who was just discovering this remarkable band, over time, it’s “W” that has stuck with me the most – although “Man-Erg” is a close second – I just love these performances, it’s a great session, and it’s really great to have it officially released at LAST – thank you.  That is not to downplay “Killer”, but I can’t perform “Killer”, although I can play the main riff – the connection is, over the years, I have learned, practised, and performed both “Man-Erg” and W – while with “Killer”, I can only sit and listen in astonishment – especially when David Jackson takes THAT solo – wow.  Amazing stuff.

So – at a session meant to capture “acoustic guitar songs” by Peter Hammill, where I’d performed both “Shingle Song” and “Again” – it suddenly struck me – hey, you could play “W” !!! Or – could I?

My first attempts were spirited, but flawed, mostly, it’s the guitar playing that got me, although the vocal does present certain challenges….so I abandoned the 20150222 takes (reluctantly) and am now currently embracing the 20150419 takes – which give us a completely different story – more of an embarrassment of riches, than anything else.

By this time, after about three warm-up takes, both the guitar arrangement, and the carefully designed vocal part (where I have to omit at least one high note that I can ALMOST hit, but I don’t want to risk – so I have made a slight change to the melody in one place, so as not to embarrass myself every time) have come together pretty well, they are both reasonably well developed – and starting with take four, and going on through take 12 – the takes are all good!!  With tiny variances, very difficult to note, and making it very, very difficult to “choose” between takes, when they are mostly all, so very good.  Basically, there are 8 good takes out of 12, with five of those being near perfect or with only very slight faults, and the other three, only slightly less perfect.

Every take has something of merit, so I have really had my work cut out for me here:  how do you, when you have eight out of twelve good takes, make any decisions at all – how to know which one is “the” take.  The answer:  listening.  Of course…once you start really listening, all of the tiniest errors find their way to the surface – which, allows you to cast out more and more takes for more and more small reasons – until you are left with what is, truly, “best”.

You have to listen and listen, perhaps focusing in on one aspect of the performance each time – for example, it was important to me that the guitar take contain a clean four bars of introduction, and that the same four bars, when repeated later as an instrumental “solo” of sorts, that those are also as flawless as possible – and also, the ending is important, I’d added on this crazy “Fripp”-chord as the final ending, and the quality of it varied on every track – with a few most excellent, others, just OK, and then, of course, I wanted a take with a really good vocal…luckily for me, there isn’t as much variation between the vocal takes – so in the end, it was really about where the best, most consistent, guitar playing was, and it had to be a whole take, obviously – with one exception – I could, potentially, since there is a silence while I sing the last line of the song – I could potentially “swap out” the ending chord, if for example, I had a great take (like Take 11, for example) but the ending chord was a bit better, a bit cleaner, on Take 12 – then, maybe, I might take a slight liberty and improve the audio, by having a better, cleaner chord – which of course, I would tell my listeners (if I decide not to use an entirely live take, then I would say “live performance of take 11 – except for the final chord – which was borrowed from take 12” – or whatever I had done) – or maybe, I would just decide to keep whatever ending the “best” over all take had – it depended on what sounded best.

I wanted what sounds best, so I really have to trust my ears, and say ” this take, this one is it” – and then stick by that decision – then, do everything in my power as both producer, and as engineer, to make this take sound as humanly good as possible – or as humanly possible.  At this point in time, during my second or third re-assessment of the 12 takes, I believe that Take 11 is the master – I can’t find much fault with it, but, I do tend to like the end chord of Take 12, very much indeed – and, Take 11 itself is not bad – so I need to decide between these two, I think.

I get to this point, and then I think – yes, but, what about those early takes, where I was a bit unprepared, but maybe there is a bit more spontaneity, maybe…so I find myself back again, listening to take four, take five, and so on – trying to rule these “earlier” takes out for one reason or another – but it’s difficult, because they are good.  I begin to wonder if I shouldn’t produce two or three of these – and that is a distinct possibility, it’s definitely do-able, because these takes are so uniformly good – it’s strange, because I had such a struggle playing the song on February 22, 2015, but on April 19th, I had no such issues, and every take from take four onwards, has a life and a feel of it’s own.  Heck – maybe I should produce ALL of them, warts and all…it’s such a temptation, it really is.  But I really want to pick just one, and I really need to narrow it down – so I just keep doing the only thing a good producer can do – listen, listen, and then, listen again.

After a long afternoon of listening, and then listening again, I was forced to exclude the majority of the earliest takes – 4 through 9, basically – because the guitar intros and solo sections were too imperfect.  Even take 11, which is closer to perfect, is still imperfect, but, it’s so much better than takes 4 through 9, that it makes enough of a difference – it’s a good take!  So now, it’s pretty much going to be a race between Take 11 and Take 12…

Finally then, some full on tests, with levels properly set, limiter on, and the final, finishing touch – my beautiful Waves Reel ADT Plug-Ins – a stereo one for the vocal, and another stereo one for the guitar – and just adding those on, makes such a huge difference to the sound – it’s just remarkable.

And what this meant was, that, the imperfections in Take 11, seemed worse, while the relative perfection of Take 12 – seemed apparent, so adding the Reel ADT plug in, made it possible finally, to choose between the two “best” takes – and 12 – the very last take of the session – has it all, at least, to the extent that anyone can “cover” such an unusual song with one guitar synth, set to “acoustic guitar”, and a shure sm-58 vocal mike !!

Not that it’s particularly difficult to play, the chords are easy enough – but the lyrics certainly are not.  “double you” – seeing yourself from another perspective, as other things occur to the other “you” – is a strange point of view for a song; you wake up one morning, and there are two of you, which makes you twice as unhappy (as it would, if you were unhappy) a strange tale told of this man, immobilised, almost, only able to look out the window, and see the smoke “billowing across the lawn” or only able to drag himself downstairs, to specifically find out that “you are gone…!”.

At the end of the song, you wake up (again) – look to your left, but you see no reassuring head – you then stayed in bed all day, when, at six o’clock, you realised – that you’re dead.  A short, unhappy tale, with a strange atmosphere, strange lyrics – definitely one of the oddest of all Peter Hammill-penned songs.  But at the same time – a strangely compelling one.

A very strange perspective, the classic sort of “seeing yourself laid out on the table”, and realising that it’s you, it’s YOU that are dead – that’s very odd, and it’s no wonder the band didn’t perform this often, what with it’s somewhat cheerless lyrics – not the most cheerful tune ever written by the sometimes-unusually-morbid Hammill (as he could be, back then) – who, while known for tackling difficult, or uncomfortable subjects, rarely tackles a subject like this one, in such an inflammatory way, too – practically a primer for how to leave your body, which some might view as the ultimate “suicide” song – I don’t, I view it as a man having the odd experience of seeing his own body, suspended in space, whilst realising that the body is dead – not having realised it earlier in the day.  more metaphysical than death wish, if you know what I mean. but I think each listener has to decide for himself or herself, what the song means – because even though I am singing it here – I absolutely do not know.

So the sort of day-long purgatory of trudging around the house, knowing something is wrong, dragging yourself downstairs – and finding that you are gone…that longest day finally ends in the sudden realisation that there is a very specific reason that there are two of you, that you have woken up and it’s a “double you” situation – “W” – because, you have passed away, of course!

The rate that our hero realises at, well it take a few minutes, which gives the song time enough to get through it’s purgatory phase – and then, it’s all over, in a blinding flash of  – well, in the real live version, it’s a wonderful, sonically crushing organ chord and bass note, accompanied by a crashing horn note from David Jackson – which I have chosen, for unknown reasons only known to the other half of me, to represent in this version with a very long, loud, dissonant “Fripp” chord – that was the only thing I could do, safely, on an acoustic guitar, that might work as a facsimile organ/sax ending – and I suppose, sonically, it could be worse – it’s a decent choice.  originally, back in February, I wasn’t returning on the guitar at the end, after the final two words – I was just letting the last two words, be the last thing you heard in the song – but I think the frantic, crazy guitar chord is just the ticket, and it was an absolute joy to try to play – even though, I only got it “right” about once in every 12 attempts 🙂

I was as happy as I could be with the guitar arrangement, and the vocal arrangement, and then, it was just down to the playing – and luck – and in the end, “practice made perfect” or at least, practice made it bearable…and I finally stayed with Take 12, and started working with the track – until I got a sound I liked, and was happy enough with – I mean, it is live, and it’s only as good as it’s two simple components, so there is not much you can do to improve the performance itself – it is what it is.

I think you can tell that I love this song, that I love to sing it – I hope that comes across in the video, it was an incredible surprise to me, that I could actually play it, and I so much enjoyed singing and playing it, it was a real pleasure – and I am really glad that I did learn this song so many years ago, because at least it came back pretty quickly – which is great.  What a nice surprise, to have an old friend like this turn up out of nowhere – and still be unchanged, as familiar as when I first knew them – a good, good surprise!

In the end, it took me almost two full days of work, and four attempts at getting the right sound, before I could produce an audio track of “W“, completely live (I decided, in the end, that the completely live take 12 was the best bet, no messing about – warts and all – not quite perfect – but, not too bad!) that I am happy enough with, and now, I am assembling not just the video for “W” live, but also, a strange special bonus video – what happened directly AFTER the end of the successful take.

so I’ve produced two audio tracks, and am working on two videos, one for the live version of “W“, using the whole of take 12 as it’s master, and the second, which I am calling “improv on a theme – stone free (james marshall hendrix) – live – post take 12” which is approximately one minute worth of digital recording time directly following the final “Fripp” chord that ends take 12 of “W” – for the first time ever, I’ve decided to release some “non-song” footage, featuring a spontaneous jam on “stone free” by jimi hendrix – notably, a song that I have never played, never learned, and have no idea how it goes!!

it’s only really “on theme” for about the first 17 seconds, and it then wanders off into random imaginary hendrix octave playing – and then dissolves completely into a fatigue-driven crazy, climbing riff of uncertain description – remember, I’d just spent an hour and ten minutes filming, and recording, no less than 12 complete or near complete takes of “W” by peter hammill – so I was pretty tired.  but the hendrix tune just sounds so good with that odd, acoustic guitar tone, and having the whammy available on the “acoustic” sound is so strange, too – so I just thought – why not?

so for the very first time anywhere, about 54 seconds of “what happened after the last take” has been included, which, I should warn you, some pretty lame guitar playing at the end – I plead fatigue, and I wasn’t really trying to play anything – this Hendrix thing appeared – and then just as quickly – disappeared – leaving me with nowhere to go but out.  I just thought it was OK, an interesting glimpse, an epilogue if you will, to the best live take of “W“, and it shows a little bit about how my mind works – or maybe – doesn’t work – I am working on a serious Peter Hammill song, and yet, during the break – I jump into “Stone Free” by Jimi Hendrix.

I begin to think that it’s been far, far too long since I was in a band.

🙂

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

studio diary 20150501: back into the world of scape…

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

 

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

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

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

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

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

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

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

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

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

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

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

Until 2015, that is.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I certainly do not !

 

 

 

 

 

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.

back to the beginning …again

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

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

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

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

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

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

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

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

 

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

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

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

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

 

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

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

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

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

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

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

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

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

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

 

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

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

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

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

 

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

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

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

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

 

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

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

 

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

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

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

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

 

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

 

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

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

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

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

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

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

 

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

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

 

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

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

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

studio diary – november / december 2014

The last several weeks have been more about getting equipment, computers, software and storage sorted out, than having a lot of time to actually play much music.  That is slowly changing, early this morning, I spent almost two hours playing and recording some beautiful sampled sounds in Kontakt, and it’s rare that I sit and play the keyboard for an hour and fifty minutes at one sitting!  I did capture a few interesting things, so I am hopeful that this long period of extended studio set-up, improvements, and testing, will also result in some new music along the way.

I’ve had more than my share of frustration with equipment; particularly, software and storage, but things are slowly sorting themselves out.  Hardware issues, software issues, strange computer behaviours – I’ve got it all.  But it is slowly getting better – all the time.  I solve one issue at a time, eventually, they will all get done.  Over the past two days, with a lot of assistance from my pal Ken Mistove, I have sorted out a number of long-standing issues in SONAR X3, and we have also made a number of improvements to how things work in the world of the music computer, external hard drives, and recording practices – big improvements, and things are running so much smoother, and better, already – which really pleases me, as I really just want to sit down and play music, not, troubleshoot for two hours, and then play for 10 minutes!

My attempts to film the Kaoss Guitar (the remarkable Ibanez RGPK6 electric guitar), well, on Sunday, November 30th, I finally got some takes that were better than my original session from the previous week, November 23rd; so we shall see, I’ve been going through the audio and video from the first session from the 23rd of November, and then I have to go through the miles of footage shot on 30th November as well.

I am hopeful that out of probably 25 takes between the two sessions, that there will be a handful of pieces that are worth making videos of.  It’s difficult to say, but I feel that some of the takes from the second session will yield video, I am less sure about the first session – besides being a bit under-rehearsed, I was still having a fair number of technical issues too, so I was not able to concentrate fully on the music.  So I may be forced to shelve the entire first session, although I believe that at least one of the final three takes from the 23rd may be good.  Time will tell.

Update: there are definitely some good takes from the 20141130 session, beginning with one almost-ambient-but-not-quite quiet track, entitled “just gone”, which is mixed and ready for video build now.

Then tonight, I mixed the next candidate, a remarkable distorted reverse guitar solo entitled “slicer” – so that’s two audio mixes ready for video. There are probably three or four more kaoss guitar trax to come from the second session, audio mixing continues this week, with video builds to begin soon as well. End update 🙂

The Kaoss guitar itself – is an absolute joy to play, I had really hoped to get some videos made and uploaded so you can hear and see it, but I’ve decided that it’s more important to take some time, and get some really interesting examples of what you can do with this innovative instrument.

The recording set up for the Kaoss guitar is very, very simple indeed, I am using my Line 6 DL-4 delay (either bypassed, or, to provide reverse guitar on demand) to provide a stereo out, so it’s the guitar into the DL-4, and then directly into the sound card, thus bypassing all of the outboard effects in the mixer – and for the first time, I am relying solely on Guitar Rig for guitar tone and for reverb / delay effects – since it’s a live performance anyway, I didn’t feel that I needed to use the outboard stuff, so I am keeping it really, really simple.

As part of Komplete, and just in general, I’ve been relying more heavily on Guitar Rig 5 for a lot of my guitar-oriented projects, which allows me to create complex rack mount simulations of many, many excellent effects, which I can play through when I record, but then, if I am not totally happy with the patch I have chosen for the live take, I can then “remove” that patch, and replace it with a different one (re-amping, in essence) until I feel happier – so I’ve also started saving my patches, taking stock patches and changing them radically, and then saving the results, so I can re-use them on other takes later.  I’ve never done a lot of re-amping because I considered it to be a bit too burdensome in the past, but with Guitar Rig – it’s a pleasure.  It’s quick and easy, and there is such a huge range of truly exceptional effects, that you can very quickly build up some really complex and wonderful sounds – the kind of guitar sounds that 30 years ago, I could only ever dream of, or, hear on a Jimi Hendrix album (such as, “Electric Ladyland” – my favourite).

In that first Nov. 23rd session, I had played through one Guitar Rig patch that was a bit too echo-y, too over the top, so later on, I re-mastered it; removed the original Guitar Rig sound I used for the live take, and replaced it with a different Guitar Rig sound (a customised sound created by and saved by myself), a much better sound (if I do say so myself!), and really, that saved the day – it made the performances sound so much better.

So I am currently working on both audio mixes, and video creation and mixes, from the two Kaoss guitar performances; as well as, I captured a large number of new improvs using Komplete and Kontakt last night, which I need to go through next! after the kaoss projects, and see what is there – some of them are surely going to be good – the system is performing so beautifully now, it’s an absolute joy to use – and that is reflected in the music that comes out, too.

I think audio mixing is my favourite of those activities, or in the case of the Kaoss Guitar takes, well for any and all live takes that are simply live to stereo – I should say, “audio mastering”, as you can’t really “mix” a live performance, unless it involves multiple instruments, which these do not.  So you just have to get the best stereo sound, make sure the track is normalised to the right level, be happy with your EQ and effects (re-amped or otherwise) and then – that is that!

I was so pleased with the results of the somewhat tentative and somewhat technically challenging first session, I had very little experience with the new Kaoss guitar, it’s quite a struggle to work out the very best way to play it, without sounding awkward, and slowly, I am gaining experience with it, to the point where on Sunday, November 30th – I could almost make it do what I wanted 🙂 – almost, most of the time.  Sometimes – it’s still outwith my control.

I’ve also been shopping, what with all the sales on line – but not for the ordinary kinds of things that most people shop for at Christmas time – I’ve been buying samples.  During the past two months, I have added so much to my sample library, it’s just out of control, and this past week, I bought three amazing packages from my favourite software instrument maker, Soniccouture (http://www.soniccouture.com/en/products/) – I have a lot of these now, including the amazing Geosonics – sounds of the earth – field recordings adapted into music – astonishing stuff – at a huge savings, 50 percent off in total.  That was a short lived sale, but I am glad I acted – it was great to acquire all of those sounds for such a good price, I could not be more pleased:

1) “the conservatoire collection” – a collection of renaissance and baroque samples – very pricey, but you get things like baroque guitar, psaltery, flemish harpsichords, hurdy-gurdy and so on – fantastic one of a kind classical sounds.  I had an absolute blast using these instruments for the first time earlier today, and I can foresee a lot of interesting pieces forthcoming using this beautiful collection of antique sounds.

 

2) “glass works” – the sounds of various glass instruments, including a famous “cloud chamber bowls” instrument made by eccentric composer and instrument maker Harry Partch, I visited Partch’s studio when I was a teenager, on a school trip actually, and I actually played his original glass bowls instrument, so I am very excited to OWN those sounds! some of the pieces I recorded early this morning were made with the “cloud chamber bowls” instrument, and it sounded JUST as I remembered it – but perhaps even more stunning, is Soniccouture’s emulation of another of Partch’s unique glass instruments – the amazing “armonica”.  This instrument sounds like nothing on earth, like a weird combination of bowed glass, church organ and ethereal spaces – that’s as close as the English language will allow me at a very poor attempt to describe an incredibly beautiful sound!  Lovely beyond compare.

 

3) “ep 73 deconstructed” – this is the most intense, most detailed set of samples available for a 1973 fender rhodes electric piano – the kind my best pal Ted (RIP) used to use in our jam sessions back when I was about 18 years old – a great, classic sound, playing this vintage rhodes is a fantastic experience, it was literally, better than the real thing – and I could have easily sat and played it for hours on end – and, of course, it’s Soniccouture, so you get a lot of “extra” sounds, bowed, plucked, sound effects, and so on – variants on an already perfect set of electric piano samples – incredible attention to detail is Soniccouture’s watchword – the samples they create – are simply, the best.

However, best of all is this next item…

 

The final item in my “black Friday to Monday shopping spree” – based on Ken’s emailed link that simply said “HURRY!” – normally $200.00 I got it for $79.00 – one day only – it’s ADT from Waves Audio – a software “hardware emulation” where they take a classic piece of hardware equipment, and painstakingly re-create it in software.

In this case, “ADT” is, of course, “automatic double tracking” which was developed by one of the Beatles’ engineers, and it was used on classic Beatles albums from the late 1960s such as “Sgt. Pepper’s Lonely Hearts Club Band” and “The White Album” – this device used tape machines, that were slowed up and down to create a second, “doubled” track, it was basically built for John Lennon, who complained about having to double track his voice – he wanted a machine to do it for him.  So this guy, Ken Townshend, figured out a way to do this, using the existing technology of 1967 – which in itself is remarkable.

 

Even more remarkable is the fact that from ADT, a massive industry sprang, of doublers that are choruses or flangers; “Ken’s flanger” is what Lennon called the device, and the name has stuck – millions of “Flangers” have been sold since then, emulating this same “ancient” technique. While I have owned and do own a number of flangers and choruses, both hardware and software, this is the ORIGINAL, the one that started it all – and, I couldn’t own the original hardware, it only exists at Abbey Road Studios where it was designed, it’s not for sale, so having it as software, gives me the classic Beatles chorus and flanger sounds, WITHOUT tape machines and an impossible-to-buy-hardware item.  If that isn’t technological magic, I am not sure what is 🙂

 

So 2015 is going to be a very interesting year indeed, I have a plug in version of the “original” chorus/flanger plug in now, so I can apply “Beatles” flanging or chorus sounds to my guitar parts (think of the lead guitar break in “Fixing A Hole” from “Sgt. Pepper’s Lonely Hearts Club Band” – or Clapton’s solo on “While My Guitar Gently Weeps” – what a sound!)  I will also be able to choose from a huge, huge range of samples, something I’ve never really had available in my first 40 years of music-making 🙂

 

I wish I had a time machine back when I was 16, if I could have travelled 40 years into the future, and been shown what my tiny, modest studio would look like, in that far distant future of the year 2015, from the vantage point of 1975 – I would a) not have believed you, that such a thing could be possible, and b) it would have seemed like witchcraft, magic – the samples, a kaoss pad guitar (or, a kaoss pad itself, for that matter!!), synthesizers that can reproduce real sounds, sampled sounds, (or, a synthesizer itself), ipads, app technology, all of it is strictly magical stuff if you go back forty years.  40 years ago, I was 16, and I was working with my good friend and fellow musician Ted Holding, who had some recording and mixing gear, but neither of us had any access to the kinds of tools and software instruments available now to me, and to all musicians, in the year 2015 – we would have been dumbstruck with amazement, we really would have!

At 15 or 16, my “technology” was a knock off or off brand electric guitar, played thru a hand me down Fuzz Face, a Cry Baby Wah pedal, and later on, a borrowed echoplex – the kind with tape loops in them, not the new echoplex pro – played thru a Carvin bass head and a home made speaker cabinet. The guitar and the wah pedal were mine, the rest, mostly stuff left lying around Ted’s studio (aka garage) or built or repaired by Ted. I played through that bass amp for like, three years, until I could afford to buy an amp of my own!! Of course, when we hit 18, 19 and 20 we did achieve some manner of technology, but it was still a far cry from what is available now.

Ted expanded his selection of instruments, adding Fender Rhodes, Hammond Organ, and an ARP Omni string machine. I had better guitars, and I brought over a reel to reel tape deck to use as the worlds cheapest tape delay unit, which I would reach over and switch on during a guitar solo, and it was the best and most authentic tape delay I’d ever used…because it was real, real tape, on a reel, running past tape heads with a delay introduced…it sounded amazing to us then.

40 years on, a modestly priced delay pedal such as a Line 6 DL-4, can emulate tape echo very similar to what I was doing back then, plus a myriad of amazing delay effects, all in a small green box…no need to lug around a massive Sony reel to reel tape recorder, but I didn’t own any kind of delay or reverb unit, and couldn’t afford the expensive delays of the day…so using the tape deck as a delay pedal, was a no brainier. We were all delighted, it really made my guitar sound good!

Sometimes even now, even though I’ve now been doing “digital music” for quite some time – since 2005 at least – I’m still just stunned when I walk into my studio and I open up the computer, and I see the tools arrayed there, at my fingertips, for music production.  It’s difficult to imagine how my young self would have reacted to the idea of having real instrument samples playable on demand, on a MIDI keyboard – disbelief, shock, astonishment – at the very least.  But – I am glad I’ve stuck with music, because now, the toolsets are very nearly unlimited, and this gives you choice – choice to create sound worlds that previously, you could only dream of…

I plan on doing a lot of musical dreaming in 2015, and right now, I am making a start – I can’t wait to master the pieces from this morning, and start sharing some of the magic of glass works or the ep 73 deconstructed electric piano or to my very first attempts at playing the hurdy-gurdy – remarkable.

 

A good “problem” to have, I suppose – spoiled for choice, where to begin?  At the beginning, of course!!!

 

 

D.