Having A Friend Like Michael Dawson…

I met my friend Michael, in a thing called a “record store” called “off the record” which was located on El Cajon Boulevard in San Diego, California, when I was about 20 years old – I am guessing – it was a long time ago, I can tell you that!
I don’t know what year it was, I really don’t – perhaps Michael knows.  But it was a long, long time ago, and Michael is one of the very, very few people that I have known continuously during that entire timespan.  For the record then, (not, off the record lol) that’s at least 35 years, probably a bit more.
I was buying, or re-buying rather, a few records that I was hoping would have less surface noise, and fewer clicks and pops, than the copies of them that I already had at home – I was trying to get a better sounding version by re-buying LPs that I already owned – sometimes, had owned more than once already.  This was one of the problems with vinyl – it was scratchy!  Surface noise, clicks and pops and other soul-destroying sounds damaging the precious music, which should be pure and pristine – it was still a long way to the age of compact discs.
Anyway, among other newer releases, I was holding prog rock classics by Genesis and I am not sure who else – and this tall, very skinny person, with a short, tidy beard and distinctly reddish hair, who was standing nearby as I was checking out, who spoke with an unforgettable, deep voice full of character “those (he said, nodding towards the albums that I was holding) “are  three of my favourite albums of all time”.
So that started a conversation, that has been going on, off and on, on and off, ever since – and a friendship that just grew organically out of that first meeting.  I’d seen Michael in the store before, it was a favourite haunt of both of ours, but this was the first time he’d ever spoken to me, and it turned out, we did share a lot of artists in common that we both really, really loved – and he just couldn’t help himself saying so when he saw some of HIS favourite records in my sweaty grip 🙂
It started out then, first by sharing our love of music, I can remember many a trip over to Michael’s, to listen to records (and he had a LOT of records back then, I mean – a lot of records!) and he introduced me to a lot of things with which I was then unfamiliar – for example, Marillion, who I had never heard of, who were actually playing prog in the middle of the very un-prog-friendly 1980s – so that must have been in about 1985 that he played me parts of “Script For A Jester’s Tear” and “Fugazi” – which I found to be quite remarkable, and of course, I started collecting Marillion albums myself then.
The story gets a bit blurry here, but since I’d found out that Michael was a fellow musician, it only followed that we should at some point, sit down and play some music together.  Michael was (at that time) primarily a bassist, which suited me perfectly as I was, as always, a lead guitarist; but he also played a lot of other instruments, including flute and saxophone, to name but two.  I can remember inviting Michael over to my place, and also, visiting him where he lived, and we did start a band, whose name I cannot recall – it was a trio, of myself on guitar, Michael on bass, and a friend of Michael’s whose name I do not remember (I am definitely getting old lol!!), on drums.
What did we play?  I can remember a couple of the titles:
Roxy Music “Love Is The Drug”
Talking Heads “Psycho Killer”
and an original piece in 5 that I couldn’t really master (composed by Michael, I believe).
At that time, pre-Fripp, I was strictly a 4/4 kind of rock and roll wannabe prog guitarist, and playing in anything but 4 was mostly, beyond me.  It wasn’t until I started going to Guitar Craft, starting just a few years later, that I actually was able to play in the odd meters – 5, 7, 9, 11, 13 etc.
I think we also wanted to learn “Crying Wolf” by Peter Hammill, but we didn’t get far with that one.  We were trying to play music that we loved, rather than resort to playing the popular music of the day – we wanted to play GOOD music, hence the selections we made.  I don’t really know why, but this band never really amounted to anything – we rehearsed, and then I think the drummer lost interest and left, and we couldn’t replace him – so I moved on, and that was the end of our attempt at being in a band together.  We never played even one gig, which always makes me a bit sad – a lot of good rehearsals, a huge potential – and then, for whatever  the reasons – it just never comes to fruition.
But – I am proud to say, to this day, that I was in a band with Michael Dawson !  It was great fun, because it was one of the first times that I got to play music I really loved in a band, instead of the dreaded “covers” – so that was fantastic.  I can remember really enjoying playing Phil Manzanera‘s chord sequence on “Love Is The Drug” – it’s a really nice piece of guitaring.
Michael is a very good bassist, and he had a quality bass, a Rickenbacker, which I wasn’t used to – most of the bassists I had played with up till then, had played Fenders or other basses like Music Man or whatever – but he had a real Rickenbacker, and it sounded amazing. That was really a great selling point for me, having a truly prog “bass” in the band – that’s the way it should be.  There wasn’t much else “prog” about us, we didn’t have a lead singer or a keyboard player, although I seem to remember that I did sing the songs off mike just as a reference (not the first time, or the last time, I was called upon to become the de facto lead vocalist in a band – I will say that!).  But that is another story for another time…
After that band broke up, life went on – I still saw Michael down at Off The Record, and we remained friends – to this day.  Not too many years after this, Michael moved up north, to Northern California, where he got the day job that I believe, he still works at to this day.
I remained in Southern California, but, we still occasionally got together – most often, to go see live concerts together, I can remember giving him a lift to some concert in the back of my pickup truck, which was not a good experience for Michael – but at least we got to the concert.  Not sure who we were going to see – it could have been just about anyone.
One of the nicest things about Michael is his incredible kindness and his infallible generosity, of which I will speak in a moment.  He is a remarkably kind and gentle person, and I was glad to have such an intelligent and well-read friend – he had, and has, far more culture and education than I ever did!  He was also an artist, I remember he was always painting, which was something I did not even approach until I was much, much older.
He has often “turned me on” to new artists that I knew little or nothing about; one of those would be the indomitable Richard Thompson – I remember that Michael was the one who first played Richard Thompson albums for me, and got me hooked on his amazing guitar playing – to the point where, alongside collecting his many solo albums, I then went to see him play multiple times at multiple gigs, including one very, very small, intimate acoustic gig (in a restaurant, no less) and once, I managed to see him with full electric band – and that was amazing.    I became a big, big fan for quite a number of years, and I still love and respect his music to this day.
I would have done none of those things – if it weren’t for Michael P. Dawson.  I would have no Marillion, and no Richard Thompson in my musical life.   He also introduced me to Gryphon, based on our shared love of Gentle Giant – so that added yet another brilliant branch of prog to my ever-expanding experience of progressive rock music.  He also introduced me to the music of Bi Kyo Ran, remarkable King-Crimson-cover-band-turned-professional-prog-band from Japan.
So even for adding those four amazing musicians / groups to my musical repertoire and experience (and it was many, many more than just those four!), just for that, I am forever in Michael’s debt.  He always knew the kind of thing that I would like, and he was always, forever saying “listen to THIS, listen to this guitar solo, here…” and I would be hooked once again, on a new musician that up until I’d met Michael, I knew nothing about.  He was a great friend in that way, he genuinely did not want me to miss out on these incredible listening experiences that he was having, he wanted to share the music, not keep it to himself – and for that, I am very grateful indeed – indebted!
I mentioned that Michael was generous.  One day, about 20 years ago, I was sitting at my day job, when a VERY large cardboard box arrived for me – and I was not expecting anything that I had ordered, so it was completely out of the blue – and upon opening it, I discovered that is was a Washburn Bass guitar – that Michael had just SENT to me, gratis – he was going to get rid of it, and rather than sell it; he’d remembered me saying that I wished I owned a bass – so he thought of me, and he very, very generously gave me his old bass!  I could not BELIEVE that – I had never had a friend, or known anyone as generous as that – he could have made money off of it, he could have sold it for cash – but instead, he remembered his old friend Dave – and Dave not ever having a bass guitar of any kind – and he just mailed it to me one day.
I didn’t expect it, and I had no way to reciprocate, all I could do was send an astonished THANK YOU THANK YOU THANK YOU note to Michael, and try to express what it meant to me to have a real bass to record with and play.  Many years later, when I was recording multi-track progressive rock tracks, I actually used “Michael’s Old Bass” as I call it, in the recording of several tracks – one of which is “Wettonizer” (a tribute to the late, great John Wetton) which was recorded back in about 2008 or 2009).  It’s actually, a really nice bass to play, and it’s short scale and easy to play neck really inspired me when it came to do the distorted bass solos in”Wettonizer” – and really, that song and the others that included the bass, possibly would not have been made, if it weren’t for the fact that Michael provided me with a bass to use and play. when he knew I did not have one.
That was such an incredibly surprising and generous act, which I never, ever forgot, and to this day, I have to smile when I look at that bass sitting in the corner of my studio – I do tend to use sampled basses now just for the speed and convenience, and also so I can get classic Fender or Rickenbacker tones – but if I wanted to do any real bass tracks – I would still absolutely, happily record them on “Michael’s Old Bass” – I mean, can you believe it – he just put it in a box, and sent it to me, from San Jose, California, to San Diego, where I lived back then.  And it then traveled with me, all the way to Scotland – where it lives now.
How often in your life, do you get a Bass Guitar in the mail?  If you have a friend like Michael Dawson, then the answer is, surprisingly – once.
[Meanwhile, back in the present day for a moment:]  Imagine my total surprise then, when, just a few days ago, a parcel arrived for me at home – and I recognised the handwriting on it immediately, and said to my wife – “that’s from Michael Dawson” and wondered aloud, what on earth has he sent me?? (even while, my brain was telling me “effects pedal, effects pedal…”) and in fact, what it was, indeed, was and is, an effects pedal – a lovely, mint condition, Earthquaker Devices Organizer pedal.
A week previously, on a Sunday, I had published my recent blog about watching guitar effect pedal demonstration videos.  In California, Michael read that blog of mine on a Sunday, and on the following Monday, packed up and shipped this effect pedal to me, and on the following Saturday, five days later – it arrived with the mail here in Scotland.
Now, I was utterly blown away when he gave me the Washburn bass, and no one else has ever just given me a musical instrument before.  But to receive what is basically, a brand new effects pedal (which when queried, he said he wasn’t using it, and he wanted someone to own it who would make good use of it – me) which is just the nicest thing – but it absolutely blows me away, that he would read an article about me lusting after these effects, and just to make me happy, just so I could then own an Earthquaker Devices-manufactured pedal – he pulls one out of thin air and ships it half-way around the world to me!!  That is so thoughtful, so good – I wish I were that generous and that thoughtful!
Unbelievable generosity, and an unbelievable kindness in the thought that “Dave would like this pedal – he could do something good with this” – that just blows me away, and, it’s not like we have been close of recent years, we exchange emails only occasionally, and as happens, we have led pretty separate lives – although we have always remained friends, and we have never fallen out – we’ve always been friends.  I would say, it had probably been a year or more since we had emailed, when this EQD pedal appeared again, totally out of the blue – which absolutely shocked me to the core – what a nice thing to do, what an amazing friend – what a great and kind act – to indulge my desire for endless effects pedals – wow, that is truly amazing.
But I don’t have any other friends that are that astonishingly generous, Michael is the only one who has consistently blown me away with his kindness, thoughtfulness, and his good, good heart – he’s just a good man, a nice chap, and I am proud to know him, proud to call him my friend, proud of him as a fellow musician – he’s a brilliant player – and I would also say, you should absolutely check out some of his music – he’s been sharing his own albums with me from early on, and he makes the most incredible music you have ever heard – you really must try it – it’s amazingly cool.  It’s mostly beyond my comprehension, Michael is a serious composer when compared to me, I just mess about with songs, and improvs, but Michael writes real music, serious music, and I have a huge respect for that.
A few years back, I released a live improv on the internet, which I believe featured energy bow guitar and music created with Brian Eno’s “Scape” application for the ipad. A few days after I released it, Michael released a video of himself, overdubbing a live flute solo and flute part, onto, on top of, my improv !!!
I was then able to share this with people as a collaborative effort (our first, since that attempt at a band – way, way back when) and I was and am, incredibly proud of that little improvised number – and to be honest, I absolutely prefer Michael’s version – to my own. The flute parts and solos that he plays, are just perfect for the improv, and I was so surprised and really pleased that Michael had done this.
That was yet another very kind thing, that he has done – the ultimate compliment, he must have liked the piece quite well if it inspired him to play the flute along with it, so by adding his live flute overdub, he was taking a decent piece of mine, and elevating it to a much, much higher level – I think it succeeds far better with his parts added, than it ever did by itself.  That is the power of Michael Dawson – adaptable, and very adept with a multitude of instruments – I wish I could play half as many different instruments as he does.
I would say that like so many musicians, that Michael is a “musician’s musician” – and I would encourage any of you that are musicians (or not, artists, or anyone, really!), to have a listen to any of Michael’s existing published works – he is a brilliant and intelligent composer, and he creates albums celebrating creatures and features of the natural world that have to be heard to be believed – he excels when it comes to synthesizers, which he often employs in his compositions, but he plays all manner of instruments, bass, electric guitar, acoustic guitar, flute, saxophone (in at least two different flavours) and a multitude of others too numerous to mention.
He is a remarkable and talented musician – and I believe, you can also hear him play live on the sort of “jam night” scene near where he lives – I believe he now sits in on saxophone or flute at these live, impromptu musical events.  I envy him that – I am currently not performing – so he is really fortunate to have that musical outlet available to him.
He is also a very creative person, I remember he played one of his new songs (and by that, I mean, what was a “new song”, thirty years ago 🙂 ) for me, and it had a most unusual sounding lead instrument, it sounded slightly Indian or eastern in some way, but I just could not place it, so I said “Michael, what is that instrument that you are playing the main melody with?” and he then revealed what it was – it was his flute – but played through extreme distortion – he’d played it through a fuzz box and it sounded truly out of this world.  So there is really no limit to the creativity that he employs when he creates his solo works, they are full of surprises and I don’t think you can find a more original, progressive, modern composer around – and if that isn’t enough, his love of the music of the late, great Frank Zappa is more than apparent when you hear many of Michael’s pieces – Zappa being the only artist that I could really comfortably compare Michael’s work too – he sounds like he listens to a lot of Zappa.
And that is probably, because he does.  I have always loved the music of Frank Zappa, but I have only ever put my toe into the water, whereas Michael jumped headfirst into the Zappa pool many, many years ago.  And that has paid off, and rubbed off, on the styles of music that he has created over the years – and you couldn’t really ask for a better influence – I’d love to be compared to, or even audibly / heavily influenced by,  Frank Zappa !
Michael turned me on to a whole world of new music, and that changed my life in a good way, and we shared a lot of musical experiences together, everything from just chilling and listening to records, or later, compact discs, to going to the occasional concert together.  His influence on me musically, over the last 35 years or so, has been immense, and I am grateful to him for enriching my musical life by sharing so openly from his vast library of recorded music.  In so very many ways, Michael is a really, really good friend to have – and good friends, they say, are hard to find, and I would imagine – even harder to keep, which is why I feel so blessed and fortunate to have a friend like Michael Dawson – he is one of a kind, a true gentleman, and I am proud to be able to say once again, “my good friend Michael Dawson” as I so often seem to find myself saying whenever I sit down to write about music.
I felt it was high time that he got the recognition he deserves, and this blog is a very public “thank you” to a true gentleman and musical scholar, Mr. Michael P. Dawson. Long may he reign over the flute solo in “Girl From Ipanema”; and any other pieces that he attempts, live or studio, on any instrument – just keep on jamming, Michael !!!
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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 !

 

 

 

 

 

I’ve got this notion…

After recently completing a couple of new tracks in the “music for apps” series, one piece done in korg’s  remarkable gadget app, entitled “fair play (advanced version)”, and the other, a very new piece made in my old friend nanostudio , entitled “treeclimber” – my most recent application-based work to be uploaded – I was thinking about what I should work on next.

I always have in my mind, a massive backlog of ideas for work with apps, and there are still a number of apps that I have not had the chance to record with – and in some cases it’s almost criminal, because they hold so much promise.  And I promise that I will get to them – borderlands granular being but one of them – an amazing ambient music application.

This is my current, “off-the-top-of-my-heid” list of apps that I own, but have simply not had an opportunity to record with yet:

borderlands granular

sector

moog’s animoog  – (note – I have quite a lot of material recorded using animoog, which dates back to the earliest times, almost three years back – that I have yet to publish any of – and it’s an incredibly beautiful application, one of the absolute best)

nave

thor

arturia family: imini and isem and iprophet

not to mention…

synergy

addictive synth

nlog pro

sliver

alchemy

arctic pro

and, no doubt, a host of others 🙂

 

And maybe what this list is…is the list of my next half dozen or so “eternal albums” series for 2015 – possibly.  I need to look at this carefully, and recently, I have been working with my app data (i.e., a mass of audio recordings made over the past few years, involving applications – and lots of them!!), of which there was such an overwhelming amount, created so quickly, over the first couple of years using apps, that I am just now sorting out the data (this is the curse of being prolific and incredibly inspired all at once, I dove head first into apps, recording so much video and audio, that my backlog has at times stretched out to about two years – and it’s only very slowly being worked through now, very slowly indeed! – it will take a long, long time to “catch up” – if I ever do!), and seeing what I have to present to you – and there is quite a lot sitting here, just waiting for me to find time – and I am constantly torn between the need to present this backlog of interesting application-based music, and playing new app-based music which will then also need to be presented – it’s always a choice, a choice I don’t want to make – I truly wish I had time to do both, but as it is, I am constantly bouncing back and forth between… – music of the past, music of the present, music of the pastmusic of the present.

 

Before I could sort through my mental files and choose one of these neglected apps to work on, another thought appeared in my head, which I kept trying to push away, I kept resisting it – until I realised, that I am much happier if I always have a project going in notion. So – without any remorse or hesitation whatsoever, I dived in, and began a new piece in notion, with a temporary title of “quartet in d major for four guitars” – it is another work in the classical genre, but this time, I am [temporarily, I assure you] moving away from the concerto form, and I am trying something new.

 

I have worked with notion and guitars before, in fact, my very first notion piece, “notionally acoustic”, was scored for two acoustic steel stringed guitars, as was the later “once more (into the fray)”, but to date, never really in the Classical genre, so I loaded up four nylon-stringed, classical guitars into notion – and began writing.

 

Very soon, I realised, that this is an amazing opportunity to apply some of my very limited Guitar Craft knowledge, in a writing situation, being very aware of the place that Guitar Craft already has within classical performance – i.e. where groups such as the Orchestra Of Crafty Guitarists (and their predecessors, the League Of Crafty Guitarists) and the California Guitar Trio, have used the new standard tuning, and, techniques such as “planned circulations” when performing classical works from Bach to Beethoven to Bartok.

 

With that strong history – and I was there, when the California Guitar Trio started doing a lot of classical repertoire, arranged by the remarkable Bert Lams, a musician that I respect more than most, and those early performances were the first time I had seen circulations used to play the very trickiest portions of some of these compositions – which might just about be “impossible” for three guitarists to play without using the circulation to share out the workload.  So any passage that is too incredibly quick or complex for a single guitar to play – can be shared across the three guitars, which makes the piece performable.

 

Or – it might also be, that in some cases, it’s not because it’s a tricky section of the piece, it’s rather that, Bert takes real joy in breaking up these melodies and harmonies into their component notes, and sharing them out between himself, Hideyo and Paul – and I was astonished the first time I saw this – it’s truly impressive, a remarkable way to perform classical music, and one of the most innovative I’ve ever seen.

 

Bert’s “planned circulations” truly inspired me, and now, while I cannot, unfortunately, work in new standard tuning (NST) in notion (I really, really wish they would add this capability to the application; then my life would be absolutely complete!! But it would involve new samples for all of the missing notes, that would have to be matched to the existing notes…not an easy ask, I am afraid), I can work with circulations.  I learned how to notate a circulation when I was working on my alternative track “once more (into the fray)”, so I already know how to do it – so I realised, when I set up this piece, that this is an opportunity to really expand this experience, and I plan to use “planned circulations” whenever and wherever I can within this new piece.

 

Of course, there is already a small one (a circulation, of course!) in place (!!) in the first section of the piece, the earliest melodies and ideas arrived very quickly and sorted themselves out very easily, so I am perhaps into minute two by now – a brand new composition, but, one that is already using circulations – I think it’s very exciting.

 

A chance to blend what I learned in Guitar Craft, actually, one of the single most important and beautiful things I learned in Guitar Craft, the “circulation” (where a single note is passed around a circle of guitarist, improvised or planned) – with classical music – something which, at the time, I did not have the skill, inspiration or tools to write – but now, fast forward to 2015 – and I have all three – amazingly.

 

Which means – at last – I can integrate the beauty and delight of the circulation form, into any classical composition I do involving guitars – so, four guitars, and of course, since I am notating sampled guitars in notion, rather than notating for real guitars in the real world, I use another tool to simulate the presence of four real players, an old, old piece of technology that I think is often criminally overlooked:  panning, or stereo placement.

 

OK, I am not able to do this in 5.1 (yet) or build up a 3D model a la Dolby Atmos, but – I can begin with what I’ve learned from the world of recording – if you want to simulate the physical position of different players, especially in a classical piece, you have to give careful thought to their stereo placement.  Now, in this case, it happens to be wonderfully simple, I set the four guitarists up like this:

 

Guitarist 1           Hard Left

Guitarist 2           30 degrees left of centre

Guitarist 3          30 degrees right of centre

Guitarist 4           Hard Right

 

Incredibly simple, but also, incredibly important – and I think, that this very simple technique, sounds wonderful – if you have a nice reverb room for all four players, and you put on the headphones and close your eyes…the stereo is simply amazing, and you really start to be able to pick out each player, and hear each distinct contribution to the piece.

 

It means too, that I can work in pairs – but not just the obvious, but in every possible configuration.

 

The most obvious two pairs would be Guitarist 1 and Guitarist 4, which gives you a very wide separation, and when Guitarists 2 and 3 fall silent, you get a particular ambience with just 1 and 4 playing.  At the same time, the second most obvious pair, Guitarists 2 and 3, sound almost as if they are in mono, wonderfully blended, being closer to the centre, and when 1 and 4 fall silent, this pairing have a completely different ambience, which provides a wonderful contrast to the wide separation of 1 and 4.  (Note, obviously, if you had a fifth instrument in this scenario, it would, of course, be set to dead centre).

 

Of course then, I am able to do any of the other remaining possible pairings, 1 and 3, 1 and 2, and 2 and 4 – so that’s five basic pairings…but for me, the most satisfying thing of all, personally, musically, and aurally – is when I run a planned circulation using all four players.  That means, if I score the notes starting with Guitarist 1, and then moving through the other three players in order, that you get the notes moving right across the stereo image from Hard Left to Hard Right (or, moving across your speaker system, or, moving across and through your head, in your stereo headphones) which just sounds wonderful to my ears!

 

If it is a particularly quick series, this almost then becomes a wonderful blur of musical motion, as the notes splay across your headphones, first, from left to right, then, back, but there is also the possibility of changing direction at any point in time, and sending the notes into almost any sequence – the most obvious being 1, 2, 3, 4, then the reverse of that, 4, 3, 2, 1 but there is no reason at all that I might not use other more unusual “orders” such as 2, 1, 4, 3 or 3, 1, 2, 4 and so on.  It’s also interesting the way these circulations “resolve”, when you are working on them, and you get to the end of the four bars or whatever, and you hear the way the circulation “works” within the large composition – it’s fascinating.

 

The possibilities are many, and I am very, very excited to see what works, what sounds good, what doesn’t work, what makes the most musical sense – what also pleases the aural senses the most.  I think it’s amazing that I am able to create this unusual sense of space, where you can distinctly hear each of the four players, and when they begin to “circulate”, you can follow the notes in “stereo space” which lends interest to the performance, while it adds sparkle to the music itself – do I play it straight, where the guitarist just “play” the notes, or do I put in the extra effort, and get them to work out quality “circulations” that do the most aural, and musical, justice to the piece?  I have the options, and I love it – these possibilities are truly exciting for a composer, which is what I’ve become, and I believe that because of this, I will probably begin to use circulations much, much more in my compositions, because I can, mostly!

 

There are a number of ways to accomplish this in notation.  Probably the simplest, and this is the way I do it, is, I write out a section of music, let’s say its four bars, in regular notation.  I then copy that across all four instruments, and then I simply decide who will play the first note – and I turn the other three guitarist’s corresponding notes into the equivalent rest.  Then I figure out who plays the second note, and I then turn the other three into rests.  Continue to the end – and you have a circulation.  Then – play it back.  If it doesn’t work – start over.  Or – make adjustments.  Sometimes you need to work on these a bit, because they don’t sound right – I’ve even decided to change notes in one or two of the copies to provide some alternate notes – so the circulation will then be subtly different from the original four bars of “straight” music that I had written.

 

That is just one way to do it, you can also decide what your notes will look like, by creating entire sequences of dummy bars, containing all rests, i.e., if you are in 4/4 time, then you would have four quarter rests per measure, or 8 8th rests, etc.  Then, you can go in and add notes manually, overwriting the rests, with the notes.

 

I’ve done it both ways, and both work fine, although I tend to use the “notes to rests” version rather than the “rests to notes” – it’s just my personal preference.

 

Another possibility, is to run two paired circulations – so, get Guitarists 1 and 4 playing one series of notes, while Guitarists 2 and 3, play a different one, perhaps in counterpoint or as a round – I haven’t really tried that, yet, so that might be interesting.

 

I just think that circulations and classical music were almost made for each other, and I love the idea of combining classical composition, with one of Robert Fripp’s best ideas ever.  It just works for me, and I believe that this new piece is going to really shine because of it – I am already very pleased with the first several bars, and their little “mini-circulation”, and my mind is racing ahead to imagining massive four-part guitar solo sections, no chords, just the four guitarists all soloing like mad – and then, cut it up into a circulation.

 

Imagine streams of 32nd notes or 64th notes, descending across four guitars, moving back and forth like a jagged triangle across the page, from guitarist 1 to 2 to 3 to 4 then back through them all to 1 again – like a wave of music, shared by these four players – I can’t wait to get to this imagined “solo section” – wherever it will be.

 

I am having to restrain myself a bit here, and make sure that I also have the piece centred and still based in the classical tradition, where I do have long stretches of music that are played “normally” – in fact, I want “normal” playing to dominate the piece, not the circulations – they need to be the exception rather than the rule.  They need to remain special, and I think that whenever they do appear, even if it’s fairly regularly – that they ARE special – and I am pleased and proud to have them available to me as an interesting tool that will hopefully, make my classical works more interesting and more unique – of course, any other “Crafty” that writes notation and is aware of circulations, might well also be crafting classical music including circulations, and frankly, I hope they are.

 

I really feel that the beauty of the circulation, is something that should be much more widely heard, and much more widely understood – the first time I was involved with one, in my very first live Guitar Craft circle – it absolutely blew my mind, I realised that I was a human being, being used by Robert Fripp in a live experiment in looping – and it was basically, a massive circulation involving 30 people, with Fripp directing and deciding what each player should play. Incredible, and, unforgettable – once you’ve been a part of such a unique thing.

 

That was in 1988, a long, long time ago now, but, I’ve carried that with me all this time, and now, the excitement I felt, that feeling of discovery – and later, at other Guitar Craft courses, I was fortunate enough to participate in many, many “unplanned” circulations, and planned ones, too – and sometimes, the absolute beauty of what happened in the “unplanned” ones especially, was just almost too much to bear, I would go to bed literally shaking my head at what a beautiful piece I had had the great fortune to be a part of.  A good circulation is a tonic, it literally heals me, it feels amazing, and it’s one of the most satisfying musical forms I have ever encountered.

 

The unplanned ones, where you have 20 or 30 players – or sometimes, in more intimate circumstances, with 7 or 8 players, as in some of the kitchen teams I have worked with (I made Kitchen Craft part of my Guitar Craft experience at almost every course I ever attended) where amazing things happen that you just can’t forget – “you remember that circulation we did that night, after we did the breakfast prep – that was astonishing?!!…” – all I can remember is that amazing circulation magic, and shaking my head in astonished disbelief – what an experience.

 

It does stick in your brain, and of course, there were those amazing early performances by Bert and the trio, and hearing Bert’s remarkable, unique arrangements of standard classical works, was a huge inspiration to me too, because I could then see the power of the “planned circulation” within all music – especially, in classical music.  It was interesting too, to watch and listen as the California Guitar Trio developed, more and more circulations crept into their work, so some of their later CDs and live performances still feature Bert’s special circulation-filled arrangements of classical, and other styles of performance, too.  To my mind, the trio are the best of the “Crafty spin-off groups”, because of the incredible variety of styles and pieces they perform, but also, because of the amazing arranging skills of Bert Lams.

 

I couldn’t write notation back then, in fact, I finally learned how thanks to the remarkable notion application, and I am still very much a beginner, but, I can now write it well enough – and it’s pretty easy to “hear” too, I do have “an ear” for music, so having Notion is such a blessing – I can write it, and instantly, I can HEAR it – get a good preview, and then I can “hear” if it is right or wrong – and make the appropriate adjustments – and try again.

 

It works.  It’s a good process, and I am so glad that I worked it out – it will definitely mean that I will want to create more repertoire for Guitar Craft, both classical and non-classical, I also plan to use circulations in some of my “alternative” works featuring steel-stringed acoustic guitars rather than nylon-stringed classical guitars – and in fact, one of my recent compositions, “once more (into the fray)” was done in this way – in that case, featuring two acoustic steel-stringed guitars.

 

In any case, the new piece is well under way, and I am hopeful that I can feature circulations in it in a fairly substantial way, without going over the top, and produce a pleasant, intriguing composition that will be enjoyed by all.  That would be a good thing.

 

notion was in constant use for the first year or so that I had it, so much so that I had to take a break from it, I did not want to, and it’s been a struggle keeping away from it all this time, many months, because I wanted to give the other apps a look in – which, to some extent, I have managed to do – except for the ones that I have yet to work with – but at least, I am keeping my hand in by working on existing eternal albums such as music for apps: “music for apps: gadget” and music for apps: nanostudio.

 

During my self-imposed “break” from notion, I did have a chance to sort out my data of stored music for applications, which allowed me to clean up, prep and upload the music for apps:  thesys eternal album, I also have set up sector as the next catalogue of recorded music to look at – sector is a remarkable application – and also during that time, I completed the two songs I mentioned earlier, “fair play (advanced version)” in gadget and “treeclimber” in nanostudio – and then, I lost my will power, I felt it calling to me, and suddenly, I am back in the world of notion once more (ahhh-bliss!…) – and feeling extremely happy about it, too, I truly enjoy working with this app, and writing notation, and having the instant feedback of being able to play back your music instantly, seconds after you put note to page – and that is hugely invaluable to a composer.

I’ve now already made significant progress with my new “four guitars”-driven quartet, and I am very excited about the possibilities for this piece – it’s sounding pretty good already, which is unusual – often, embryonic music refuses to take shape, or you struggle mightily to bring it into the shape you see in your head – but not this piece, it flows, it doesn’t require much tweaking, or at least, not so far – I am perhaps, two or three minutes in now – just working through the details :-).

 

I missed you, notion, I feel “normal” now – because for so many months, I always had at least one notion piece “on the go”, sometimes, two or even three, and I feel that music for apps: notion is one of my strongest works.  I am busy working on the next piece that will form a part of this ongoing eternal album and I am very excited indeed, about the musical possibilities inherent in a piece like this, when using classical notation mixed with the very potent Guitar Craft / Robert Fripp “circulation” – to my mind, that is quite a combination!

 

 

 

 

 

 

 

 

 

 

 

 

 

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 20150202

it’s a new year, and since during the past two months, I have completed not one but two major works, first, “concerto no. 3 in D major for piano & strings”, and more recently “concerto no. 4 in F major for harpsichord & strings”, I thought it was high time I turn to some of the other very neglected, and very excellent apps – I am not ashamed to admit that I have allowed Notion to dominate my musical life in the area of applications, for pretty much all of 2014 – and, that’s fine, because out of that, I’ve created two very interesting bodies of work: “music for apps: notion – an eternal album” and “classical – an eternal album” – and the quantity and quality of the pieces in those two albums meets with my wholehearted approval – I think these are strong works using an excellent application, and I know that over the years, both Notion the iPad app and Notion for the PC, will be my go-to apps for classical composition, and for alternative works involving a lot of orchestral instrumentation.

that is for the future though, right now, in the here and now, I have embarked on a new composition, entitled (at the moment, anyway) “fair play” – and this is my first piece created (this year) using the most excellent “korg gadget” application, which, in a sense, is like a new app – because of the presence now of “korg module”, which, interestingly, directly interacts with korg gadget” – in practical terms, this means that I now have available high quality grand piano and high quality electric piano samples available within gadget, via module – which is brilliant, don’t get me wrong, the original 15 synths supplied with the original gadget were and are, they remain, very functional and some of them, like the beautiful ambient synth, are both unique and very pleasing to the ear – and, very useful when composing for 15 synths, too!

so, I had downloaded “korg module” several weeks ago, and I had played through most of the extremely high quality samples available, and, really, as someone observed, that if you have this, and “neo-soul keys” (which I have but haven’t used much so far), and maybe, what is it, “sample tank” (which I don’t have) – that is “all you need” for sample-based jamming fun. I agree, but at the same time, I would actually welcome any number of products similar to “korg module” – basically, world-class samples, available for use on ios. Not just the ordinary ones, either, sure, those are great to have, but I’d welcome a sort of “komplete” for ios, obviously, it couldn’t have the many GB of content that “komplete” does, but, in a very scaled down version, with only the best and most essential samples – it would, it will, be brilliant !! come on native instruments – build for ios! teach korg how to do it right lol !  🙂 🙂 🙂 🙂 🙂

another example of this type of thinking, in new applications, is “ruckers 1628” a high quality harpsichord sample that I was very happy to obtain, so there are more and more of these apps out there based on quality samples – quite a lot of them already, really.

 

knowing that I now had the high quality keyboard samples available to me within “korg gadget” from “korg module”, I decided to create a new piece of music in honour of that. however, the song itself, had a strange genesis; when I first got “korg module”, I went through whatever process there was, and I was testing within “korg gadget”, to verify that I could indeed access and record with, say, the electric piano sample from “korg module”. I opened up a new, empty file, and randomly stabbed at the keyboard, just to make a noise, and recorded two bars of “music” – and there I left it. “fair play” for the first week or so of its existence, consisted of a sort of vaguely-gentle-giant-sounding electric and acoustic piano “riff” – so that was how it started. and when I say vaguely…I mean…vaguely :-). the riff was just about nothing, just a feeling…

 

a few weeks went by, and finally, I found some time, and I went in to create this new song – and I decided that its intro, at least, and possibly, part of the actual song, would be based on these random events that I had stabbed carelessly into the app weeks ago – so, I made a couple of very minor changes, and away I went. within a day or two, I had a lovely, 17 bar tune, with two decent themes, one of them based on that accidental intro.

 

The accidental intro worked beautifully, in fact, I ended up using it as one of my main themes, with various modifications, and it sounds as if it were planned into the song – when it absolutely was not – a complete and utter accident.

 

In the next incarnation, now at 34 bars, a third theme was added, which included some lovely parts done with the electric piano v. salzburg, one of the existing solo synths – a nice lead sound – I had them trading melodies back and forth, and it was really a lot of fun. I did also use acoustic grand piano, but not in a solo capacity, more in a supporting role, it’s time will come, but immediately, I was really enjoying the fantastic and very realistic electric piano sound – and I even took the opportunity, in the next incarnation of the song, to have a couple of bars of it “solo”, playing a lovely circular once-again-a-bit-like-gentle-giant riff – and it sounds great, when the drums stop, and then, when they start up again, it just rocks – really nice effect, having JUST that beautifully-sampled electric piano playing on its own out there for a moment, into a nice bit of reverb – fantastic!

 

the final session to date, added yet another 17 measures, bringing the total up to the current 51 bars, and this was really just further development of the existing themes, some different juxtaposing of electric piano v. salzburg riffs, and other refinements and improvements. when I do a play back now, I can’t believe this started with just two stunted, inaccurate bars of non-music riffage – it’s really sounding quite, quite good already.

 

It’s odd, when I read back the above description, it sounds like a really long song, so I should probably say, that the entire piece right now, in its unfinished state, waiting for a resolution to bar 51, which is just hanging in space, in the middle of a song, clocks in at a modest 2:15 !!! so I am thinking that I am perhaps, half way through the piece, compositionally speaking – I can’t see it being a lot more than four or five minutes – maybe, but it depends what happens next. I like the activity of the piece, I love that there are a number of themes and changes that really grab the listener’s attention; but I am far from finished with the piece.

 

so now I am just in a period of reflection – what will happen next? – add more instruments? carry on with additional content?, more refinements?, repetitions of themes? – or, make it short, end it sooner? – I have no idea (!?!?!?!!!!!) – what will happen next.

 

 

I will say, though, I have REALLY enjoyed working with “korg gadget” this time, moreso than ever before, and that is simply because the app has grown up, instead of those 15 synths of varying usefulness, there is now a core of truly great sounding important, core, sampled instruments, with the 15 synths providing a bit of variety and spice to those central samples. It’s amazing how going from 15 to 17 or 18 synths (depending on what you get in terms of in-app purchases) makes all the difference, but, it really does.

 

the weak spot: users of “korg gadget” will already know what I am going to say: drums. yes, there is a choice of drum machines, and some pretty decent and some pretty interesting choices of instruments within those drum machines. but…they all sound a bit wimpy, when I mentally compare them say to the drum samples in “nanostudio”” – well, then, I long for the powerful sounding drum kits of “nanostudio”. ok, sure, for a lot of modern styles (which I have almost no interest in) such as I don’t really know, dance music or whatever today’s version of “hip-hop” is) – the drum machines provided with “gadget” are probably sufficient.

 

I can (almost) make them sound like rock drums if I really work at it, but that’s really my only “gripe” about “gadget” – and I would have said so from the very beginning. I should be a bit clearer here: the drum synths are not BAD, they are just not in the Dave Stafford style, and they don’t have a lot of big, loud, rock and roll drums like some other devices do have – “nanostudio among them.

 

I think in time, with a few more high-powered, well-sampled sounds inserted, that “korg gadget” will be top of the heap, at least in terms of a sort of “studio” where you have a lot of good instruments from which to create whole songs. It’s already one of the top (MIDI) studios, along with “nanostudio and a few others – there are a lot of these, and some are better than others – but “korg gadget” is one of the good ones – and, it’s made better now through its marriage to “korg module”, which gives you more powerful sampled keyboards – which has taken a great app and pushed it towards the fantastic – well done to korg for that.

 

It still surprises me sometimes, after being away in the wilderness for many months using mostly “Notion” for everything, occasionally dabbling with other apps just to learn more about them, that I can return to an app like “korg gadget” or “nanostudio” after many, many months of not working with it – and (much to my surprise!) I can set up and build a new song as if I’d been using the app every day for a year! I think apps are like this – once you learn them, you don’t forget – unless it’s really, really tricky, in which case, you will need a written procedure ANYWAY – so for “korg gadget” or for “nanostudio” – I just sit down, and I build a drum track, and then some bass, and then some synths…and then I’ve got a song. they are equally easy to use, and I actually really love working with both of them.
there are others, like, “synergy” – I’ve done exactly one piece in “synergy”, which came out ok, but I’ve never “finished” it; same for “isequence” – one song, never finished; same for “cubasis” – one song or part of a song, never finished; same for “impc” – well, that’s a sampler, really, but again, I have started a song in it – and it’s an interesting process; never finished – but not nearly as easy to use and not as easy to get going in, as “korg gadget” or “nanostudio” are – those are the two most user-friendly, almost without a doubt.

 

then there is “auria”, which is audio only, and works well enough, it took me a long time to really get going with “auria”, and actually, it was through de-constructing that amazing james mccartney song that I learned about editing in “auria”, and it’s extremely useful for throwing tracks together quickly, just to see if they “work” together, or for editing audio which isn’t easy to do elsewhere on the iPad, I am glad I have “auria”, although my tendency is to master tracks in their original app, and then take them to the DAW on the PC for proper mastering, EQ and reverb – I have a LOT of tools for those processes on the iPad, but I just don’t trust them, and it’s just a bit tricky getting around on the iPad – I can do it SO fast, on the PC, that usually, my goal is, get the piece done, mixed as well as possible, and then, get it exported – get it OFF the iPad ASAP – and then take it to the DAW for all processing.

 

when I have time on my hands (almost never) I promise myself, that I will spend time working more in “auria”, using my various stereo placement and mastering tools, using my beautiful reverb units (and, I cannot fault the quality EFFECTS available on the iPad – I have a lot of those, and I do use those on tracks), in Audiobus, when I want a beautiful atmosphere for a track – I will use ipad reverb units – the best of which, strangely is probably AUFX: Space.

 

but it really depends, most songs, I tend to get to a certain point, where the playing is all done, and the mix is OK, and all I want to do is get it off the ipad! And hence to the PC for some PROPER processing! Master it, reverb it, etc. using the superior PC tools available in SONAR – I have an audio mastering template that is fantastic, where I can add appropriate amounts of compression, EQ and reverb – at will, whenever I finish a track – I tend to finish it here.

 

so somehow, I am not able to commit fully to the idea of making music FULLY on the ipad – I am happy enough to create in the apps, and mix in the apps, and even sometimes, use reverb to treat whole tracks – but then, it ends, and I want it off the device and onto the PC, so I can master and eq and compress and reverb to my heart’s content, the old-fashioned way.

 

I am completely set up for making music on the ipad, the WHOLE process, so I could carry on, add EQ as necessary, work on stereo placement, add reverb, etc. – and create FINISHED tracks that would not require a trip through the DAW mastering stage. I will try to start doing this in 2015, to see if I can “let go” of this desire to do things half and half – I want to create ipad music on the ipad, from start to finish, and PC music on the PC, from start to finish, and maybe even some pieces that combine the best of both worlds – who knows???

 

So that is what I will attempt to do, for one of my many resolutions I suppose…see if I can resist the temptation to do it the “easy way”, in SONAR, and instead, develop high quality, quick way of mimicking the PC process on the ipad – thousands of musicians are doing that every day, and I am avoiding it! I guess I am more old-fashioned than I had realised…

 

However – I am sure I can do this, there are already a few tracks of mine that were created without the PC process, so I know it’s possible. I can do it – it just takes time 🙂 :-). The challenge will be to create a mastering process that is just as quick and easy as it is on the PC (and, more importantly – just as good) – and I think that now, in 2015, that is actually possible. There are some nice mastering tools available now, for the iPad, and I am sure with time, they will just get better and better.

 

As time goes on, too, there seems to be more and more a “merging of church and state” – i.e. PC and ios ideas and processes are often duplicated (for example, “Notion for Ipad” and “Notion 5 for PC”) ok, that’s a bad example, because they are not duplicated, but, they are essentially the same, it’s just that the iPad version is less capable. So I believe that often, the processes on PC and ios are becoming more similar, although ios has lagged, and because of Apple’s desire to be a bit of a CONTROL FREAK, for example, Apple makes the “what SHOULD be the simple act of moving a WAV file”, into a ridiculous production – a little thing called “iTunes file sharing”. It took me a long, long time to accept that this is actually the way I have to move files in most cases (thank you, “nanostudio” and a few others, for your Nanosync or equivalent…bliss) but now, I am used to it, so I just hook up, attached to iTunes, download all my files, and distribute them to the correct folders on the PC for processing.

 

So Apple wants to control you, it wants to make things difficult to accomplish, and that is annoying and that is partially why everything takes so much longer on ios than it does on PC – it’s just SLOW!!! Annoying! Too slow…PC is a million times faster, for every process. But – the gap is closing, slowly.
Audiobus, was a huge gap-closer, a great workaround, and I love it, especially now the turbo-charged version where you can have multiple chains – wow – that is amazing! I love you Audiobus, – long may you reign.

 

OK, I have bent your collective ears long enough, I really just wanted to say that I am very happy to be working in “korg gadget” again, and I am looking forward to working in a LOT of different applications this year, to try and keep up the good work – please wish me luck – I really want to add many, many tracks to all of the existing eternal albums, while at the same time, I’d like to ADD as many NEW eternal albums as is humanly possible.

 

So we move from the notion year, to the everything else year – that’s my plan, and I hope I can stick to it. Am I missing “Notion”, am I craving lines and notes on the staff?

 

You bet I am.

 

But I will resist, and I will work in many, many other apps – without a doubt – and I will present the results somewhere on a Dave Stafford eternal album; existing or new – that’s my 2015.

 

Oh – and, I will also be doing guitar work, and guitar songs, and guitar improvs – including some new things which I will talk about next time around…can’t wait till then !!!

 

peace love apps and guitars

 

dave

🙂 🙂

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.

mobile universe of sound (the ios world)

the ios universe of applications…is heaven for synthesists and musicians alike.  as a guitarist, I appreciate guitar applications, but my passion is collecting synthesizers…also, real synthesizers were always big ticket items, and I couldn’t afford the nice ones.

for me, ios, and the availability of inexpensive apps that emulate great synths old and new, changed everything.

pre-ios, I had a limited number of hardware and software synths, and the soft synths mostly had to be run inside my DAW, or in some cases, as a standalone application on the PC, but still, I had no access to an almost limitless array of synthesizers – and now, with ios and the amazing developers who populate it, I have more choice than I can deal with!!

HARDWARE SYNTHS

or, how it all started…

imagine if you will, then, a guitarist who has been working on music for many, many years, and during that time, dabbled in synthesizers – in the early days, I had an arp odyssey (a mark I, no less!), surely one of the most difficult to tune synths of all time; I had a wonderful serge modular system, and to my everlasting horror, I foolishly sold them off many years ago…

then, by chance almost, I picked up a couple of classic yamaha hardware synths: a dx7s, and a dx11s, and the dx7 saw service in the live set up of the band bindlestiff, where I played synth on stage as well as ambient loop ebow guitar – and my partner played a korg, so that was a great contrast of two fantastic synths – and if you listen to some of the pieces we did with that combination, yamaha and korg, such as “the wall of ninths” or “pacific gravity” you can hear what two classic synths can do in live performance.

so – during the first thirty five or forty years of my career, I owned at most, five hardware synths, and now, I am down to three – and that was it.  then came pro tools and sonar and soft synths in general, and I have a reasonable selection of those, which made recording much easier – in particular, having a decent grand piano, “true pianos”, was very useful, and I’ve used “true pianos” for a lot of projects, from my own songs to covers of peter hammill and van der graaf generator.  I picked up the wonderful “m-tron pro” mellotron software, which inspired one of my best solo albums, “sky full of stars”, and I also have “BFD2” a dedicated drum program, which allowed me to have professional sounding drum tracks when making the rock / prog / ambient album “gone native” – and if you take your time with it, you can make really great drum tracks with, such as this one, “wettonizer”, from the “gone native” record.

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

having owned such a limited range of hardware synths, I never really got the chance to expand my knowledge of synthesis by owning and playing a variety of synths, and I certainly never would have been able to afford most of the desirable synths (I remember playing a korg M1 when they came out, and just practically drooling with desire – but I simply could not afford it) – so I never bought a modern synth.  I do love my yamaha dx7s, as eno has noted, it has a few really great sounds, it does certain things very, very well, and there’s nothing quite like it.

but overall, besides a modest collection of standalone and DAW-based soft synths, I really felt like I didn’t have much chance to understand, for example, the differences between additive synthesis and subtractive synthesis, I never really felt like I totally understood the magical relationships between oscillators, filters, modulators, and amplifiers, because I didn’t have examples of the many, many various hardware devices with their wildly differing approaches to synthesis.  arpeggiators and sequencers were largely mysterious to me, but after working with the fairlight app (now called peter vogel cmi) for a year or so, I really “got” how sequencers work – which then meant I could use them with better clarity in many, many other synths that feature them.

THE ARRIVAL

then came ios.  the apple platform, and, when you look at what is available for music – well, that’s what made me decide which tablet to get, when I saw what I could get on ios, at the time, compared to the relatively modest selection of apps on android – it seemed a no-brainer.  I realise that over time, android is catching up, but I still don’t know if they will ever match the range, scope and incredible diversity of synths and near-synths that the apple store boasts – it’s astonishing what is available, and it’s astonishing that you can buy a massive collection of the world’s best synthesizers for a fraction of what the hardware versions cost – a tiny, tiny fraction.

FIRST GENERATION SYNTHS & THE FAIRLIGHT

so I went for the ipad/ios combination (despite not being a huge fan of apple in general!) and it was the wisest choice I ever made.  within minutes, I was beginning to collect that massive set of synths that I could never in a million years have afforded in the hardware world – I started out by buying something that would have normally cost me about 20 grand, the great 80s sampler, the fairlight – and I spent about a year and a half, learning how to build sequences the slow way – and it was a fabulous learning experience, and I came to understand how the fairlight works, and how to arrange the instruments into sets, and create music in a way I never had done before (step by step) – quite inspiring, and very educational – and as I said, I could then transfer my new sequencing skills, to many, many other devices that support sequencing and sequences.

MOOGS & KORGS – GREAT EMULATIONS

another early purchase was moog’s “animoog”, and even now, when I have more app synths than I know what to do with, I am constantly returning to this synth, with it’s ever-expanding library of great sounds.  the korg “iMS-20” soon followed, and that was probably the synth that I truly started to learn from, because it’s so visceral, and so visual, with it’s bright yellow cables in the patch bay, and it’s utterly faithful graphics…  the first generation synthesizers that were first available on ios were already excellent, emulating hardware synths that would have cost me thousands, now mine just for a few quid on ios.  unbelievable – because I never would have owned any of those in my real life, because the hardware versions are so incredibly expensive – well beyond my means.  for example – the fairlight cost about ten thousand dollars more than my annual salary the year it came out.  now – it’s mine for a pittance…

AND ARTURIA TOO…

other early device purchases were my beloved “addictive synth”, the very, very capable “n log pro” – a great sounding little device;  “mini synth pro”, and another real favourite, the arturia “imini” – a mini-moog style synth on an ipad !!

between arturia’s “imini” and moog’s “animoog”, I was set to go for that style of synth. also, synths like the great bismarck “bs-161”, the very capable “sunrizer”, “cassini”, the amazing “alchemy” synth; the list goes on and on and on….

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

then you get unique and amazing synthesizers like the touch control “tc-11” synthesizer, which takes real advantage of the ipad’s large screen, and delivers a synthesizer-playing experience that is unmatchable – you place your hand or hands on the screen, and by moving your fingers and hands in various ways, you “play” the synth – there’s no keyboard, but this shows you that you don’t necessarily need a keyboard to make beautiful synthesizer music (something I’d learned once before, when I got my first korg kaossilator – amazing hardware device!) – and you can produce truly beautiful music using a non-traditional interface like this – “tc-11” is simply, one of the highest quality, most remarkable devices that’s ever appeared on iosios – I absolutely love it.  one of my very favourites, I do like synths that don’t have keyboards, but out of all of them, this is the most fun, and most creative, to work with and use to produce  startlingly different synth music, often of great beauty – the remarkable “tc-11”.

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

very quickly, I became a true collector of synth applications, and guitar applications, too – but it’s those synths that I keep going back to – and now, the second generation of application-based synthesizers are here, and they are beyond fantastic, with features and sounds that are incredibly complex, mature and amazing: the mighty “thor”; the incredible “nave”, “magellan”, the korg “ipolysix”, arturia’s amazing “isem” – the list just goes on and on and on.

the “dxi”, “epic synth” (1980s style synth), “launchkey” plus “launchpad”, “modular” (similar to my lost serge system, but reliant on in-app purchases to make it truly useful), “performance synth”, “sample tank” (the free version only so far), “spacelab”, “synth”, “synthophone”, “xenon”, “xmod”, and “zmors synth”….the list goes on still…

GENERATIVE DEVICES

then there were the generatives…mostly ambient in nature, and therefore, extremely well suited to the type of music that I generally make, so I happily adopted and became an adherent of “scape”, “mixtikl”, “drone fx”, circuli and so on…I worked with and continue to work with generative synthesis, which is a fascinating branch of synthesis, with it’s own quirks and interesting ways of working.  mixtikl in particular holds my interest very well, sure, anyone can make sounds on it, but if you get into it deeply, you really have an enormous amount of control of how it generates the finished product…which is endlessly changing, never the same, constantly mutating according to the rules and conditions that you control…

“scape” is just purely beautiful, the sounds, courtesy of brian eno and peter chilvers, are simply top-notch, and using art works to create your generative pieces is a stroke of genius – and it’s very simple, just…drag geometric and other shapes onto a canvas, and see and hear your generative piece grow.  more recently, I’ve picked up “drone fx”, which to my mind, is very nearly in the same class as “scape” and “mixtikl” given that you can set it up to create generative pieces, and the results are excellent – it’s a very ambient flavour, which suits me just fine, so I am very happy to add “drone fx” to my arsenal of generative music applications!

then there is “noatikl” (obviously, a spin-off or product related to the great “mixtikl”) – I don’t have much experience with this tool, I would call it a “sound design”-based generative music app, where you create loop-like pieces by connecting different sound generating nodes together – it’s quite odd, but it makes lovely music, and I hope to learn more about it and gain some skill in using it in the future.

THE LAND OF AMBIENT

this category includes most of the generatives, so please see “GENERATIVE DEVICES” above, for details on “scape”, “mixtikl”, “noatikl”, “drone fx”, and “circuli”.  there are other really, truly important synths in this category, in particular, the brian eno-designed “bloom”, which was the predecessor to “scape” – “bloom” is a generative player, you select wonderfully named style and “bloom” then creates them on a grand piano for you – it’s really lovely, I can sit and listen to it for hours.

then there is another from the “mixtikl” family, the lovely ambient music player “tiklbox” – this one is really simple, it has a die in the middle, and you roll the die, and it then randomly selects or creates a piece of music based on the number you roll.  It’s mostly very pleasant, I like the music it makes, but there is very little user interaction possible, you just turn it on, roll the die, and…listen.  but – that’s cool, too.

PHYSICS-BASED SYNTHS

then you have the slightly strange synths, two more in the semi-ambient category being “circuli”, which is literally, circles that grow and collide, and those collisions produce music, and the somewhat similar “musyc” that makes it’s music with bouncing objects – again, virtual objects collide to produce notes, chords or percussion sounds.  “orphinio” presents varying sets of intersecting circles, each set to a different tuning or modality.  both of these “shape-based” synths have truly great potential, but you have to be patient to get the kind of sounds you want out of them.

GRID-BASED SYNTHS

then there are the “grid” devices – visual sequencers with massive grids that scroll past, and you merely “click on” some of the buttons as they pass, and note events begin.  one of the best of these is an old favourite of mine, “beatwave”, which I have used as a background for guitar improvs, because you can very quickly “build” a good quality backing track (it’s very similar to looping, really) and then just let it run, and solo over the top of it for live performance purposes.  a similar and also very enjoyable device, “nodebeat HD”, works in a very similar way, and in fact, there are a good number of these “grid” types of synths out there, most of which sound very good.

MICROTONAL GRID SYNTHS

then…again…you have the static grid types, such as the classic “mugician” and “cantor”, which use a static grid that you play by putting your finger on the notes you want to play, and “cantor” in particular, has a great “auto octave” function which means that if you want to go up very high, you just swipe a big diagonal line upward – and the device leaps up through four or five octaves – and a reverse diagonal, takes you back down to the lower notes.  “cantor” is more note based, although it does have microtonal attributes, you mostly use real notes, whereas “mugician”  is totally and utterly microtonal, you can “hit” notes, but it’s more about being able to play in a microtonal fashion – something that takes practice to get good at.

early on, I used “mugician”  to play microtonal indian-style melodies over the remarkable “itabla pro” (one of my very, very favourite music apps of all time – I could write an entire blog about “itabla pro”; how good it is; and how much I LOVE it!) and that was great fun – it works really well as a lead instrument in that kind of musical situation.

slightly different in design to the “mugicians” and “cantors” (which while sounding very different, do have very similar interfaces visually at least) is the most excellent “sound prism pro” which features it’s own unique grid design, that is similar but different from the other two apps mentioned.  “sound prism pro” has it’s own unique musical vocabulary, and is a bit more melodic / harmonic, whereas “mugician” and “cantor” are essentially solo instruments – melody only.

VOCAL SYNTHS

then there is the “vocal section”, which on my pad, share a special page with my audio utilities – in this category, we have some great tools for creating vocal harmonies and effects: “harmony voice”, “improvox”, “vio” and “voice synth” – each boasting it’s own slightly different way of achieving vocal harmonies – some very innovative and good sounding tools in this category, a lot of fun to sing into, too.

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

just outside of the land of synthesizers, there are also a broad spectrum of recording studio applications, such as “auria” (professional audio multitrack studio), “cubasis” – professional AUDIO + MIDI studio, “nanostudio” one of the oldest and most respected MIDI studios, and a personal favourite (and it does qualify, because it has a synth in it – a GREAT synth, called “eden synth”, which I absolutely love), “isequence”, “isynpoly” and “synergy studio”, midi studios all; and the unique yamaha “synth and drum pad” which is a bit different from the rest and is a lot of fun to experiment with – some unique sounds there, too.

the most recent entrant to this category is korg’s groundbreaking “gadget” – an incredible studio with fifteen unique korg synthesizers, bass synths and drum synths (yes, fifteen) that you can combine in endless variations to produce some amazing music.  I’m currently working on my first three pieces with gadget – and of course, I feel another eternal album coming on…

STANDALONE ARPEGGIATORS

on the same page as the studios, I also have a couple of standalone arpeggiators, “arpeggiognome pro” and “arpeggio”, which are very useful for driving your other synths, and unusual apps like “lemur”, which I purchased at half price for future development projects.

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

I also have a few of what I term “idiot synths” (no offense to anyone) because you need know absolutely nothing to run them, they are really just sample players with controls to modify many samples running in parallel.  the “groove maker” series are really quite good, I love the “groove maker rock” version especially.  I also have “session band rock” which is similar, I’ve made a couple of nice “metal” backing tracks with “session band” – the “rock” version, of course!

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

then there is the more traditional section of keyboards, which features a variety of grand pianos, regular pianos, upright pianos, electric pianos (“iGrandPiano”, “iElectric Piano”, “EPS”, mellotrons, and a couple of really, really great emulations of organs – “galileo”, “organ+”, and “pocket organ c3b3” – I love all three of these!  I am really pleased in particular to have the organs available, and the work that’s gone into them, right down to the quality of that leslie speaker emulation – I love the “slow to fast” sound and vice versa, and all of these do a good job of that.  the sounds are simply beautiful, and, they are a lot smaller, lighter, and cheaper than real organs 🙂

DRUMS & BASS – AND PERCUSSION, TOO

this section of my ipad has really expanded of late, and there are a lot of great apps available for very little cost.  starting with the basses; we have a large variety of very innovative and interesting-sounding devices, from oddities like “amen break” to more practical devices such as “bass drop hd” and”bassline”. the drums section, by comparison, is massive – old faithful “korg ielectribe”, “dm-1”, “drumatron”, “easybeats”, the unique “impaktor” (which makes a drum kit out of any ordinary surface), propellerhead’s quintessential “rebirth” which of course, handles bass and drums, and is enormous fun just to play…”synth drum”, “virtual drums”, and a million other drum kits and machines too numerous to mention…

my absolute, all time favourite drum app, however, is not any ordinary drum machine or drum kit, rather, it’s the extraordinary “itabla pro” – one of the most excellent applications I own.  full on tabla samples, with several playing styles for each template; and an extremely large range of templates in all time signatures, it’s as much an education as it is a drummer. also featuring tanpura and other supporting instruments, it has two completely tunable tanpuras, the tablas and the two tanpuras are all tuneable within an inch of their life, and it makes outstanding music for interacting with other ipad instruments.  I’ve been working for some time using synthesizers with “itabla pro” as accompaniment, and it works equally well with microtonal synths such as “mugician”, as well as ordinary “western” synths such as animoog – on my ipad right now, I am working on a new piece that features two animoog solo melodies over a tanpura and tabla backing – and it’s sounding very, very good so far.

notably, while not a percussion instrument, there is also an excellent free app, called “samvada” that does tanpura only, it’s beautifully made, sounds great, and is excellent for use either in conjunction with “itabla pro”; or, for situations where you want a tanpura drone but you don’t need tablas.  sometimes, I just gang up the tanpuras on “itabla pro” with “samvada”, for the ultimate in rich, deep drones – fantastic.

ODDS AND SODS SYNTHS

other oddities include “tabletop” which is a sort of…table top, where you can arrange midi synths and drum modules to make music with, with a lot of in-app purchases if you want the really nice tools.  it is possible to make decent music with the free supplied tools, but it is limited unless you are willing to spend a lot on IAPs.

there are so many in this “category” that I cannot possibly list them all: “76 synthesizer”, “moog filtatron”, “catalyst”, “cascadr”, “dr. om”, “noisemusick”, “figure”, “lasertron ultimate”, “samplr”, the list just goes on and on and on…

IN CONCLUSION…

and as time passes, more and more synthesizers will arrive on ios, each more powerful than the last, it just seems like a never-ending process, there are so many excellent developers out there, as well as such a hunger from musicians (myself included, I am not ashamed to admit) for these synths – especially the vintage ones, the ones that emulate the classic keyboards that we all lusted after, but most of us simply could never afford.  ios, and the availability of cheap synth apps – gives us what we could never, ever have in the real world.

armed with this vast array of synthesizing power, I feel like there is no sound that I can’t make, and no requirement I can’t meet – if I need a sound for a project I am building on my ipad – I will, absolutely will, already have a synth – or two – that can make that sound.

I am utterly in my element here, I hope the synths never stop arriving, and as long as developers keep creating them, I will absolutely, absolutely – keep playing them.  rock on.

I will leave guitar applications for another day – suffice to say, they are equally diverse and fascinating, and several of them are putting serious challenges to existing stomp box and other guitar processing hardware items.  I love my guitar apps, and it’s a whole new world of guitar playing – instead of my traditional set up; instead, I have a guitar to ipad to sound card set up – and I can get a whole world of excellent tone just using ios ipad guitar applications…

in the meantime, synthesists unite, and developers, please do not stop working on new and better and more innovative synthesizer apps.   something needs to feed this addiction, and that’s truly what it has become – but in the best possible way, and I get so much enjoyment, hours and hours and hours of enjoyment, from just playing the various synths, to making various recordings using them – it’s created an entirely new application-based world of music that I did not realise I had in myself – and it’s an absolute joy to play these innovative instruments, and to try out new combinations of devices either by using them in a multi-track environment such as “auria”, or, for simpler set ups, the very practical “audiobus” (another game-changing device) and now, we have the new inter-app audio as well, so options for tying synths together via MIDI, or for triggering other devices from within one device, just grow and grow – it is truly amazing.  I feel truly blessed to live in such times, technology at work for good, for the sake of sound, and the sound quality of most of these apps far exceeds expectations.

for that, and for the massive number of free, inexpensive or even expensive synthesizer applications, I am truly grateful, and truly happy, that these exist for me to collect 🙂

happy synth-ing!