I am becoming acquainted with the first five albums by Steve Hillage, beginning with his band “Uriel” and their album “Arzachel” in 1969 and moving up to 1976’s BBC Radio 1 In Concert – which is playing now in my headphones – the announcer letting us know that only 8 percent of BBC listeners are currently listening in stereo – and they’d like to get that number up as soon as possible!
On almost a whim, I decided that if I was ever going to get caught up on what I had missed in the solo canon of Steve Hillage, outside of his work in Gong, with which I am very familiar, would be to shell out for the remarkable new 22 disc box set, “Searching For The Spark”. It arrived a few weeks ago, I then spent a few days ripping discs, and I’ve since spent a very, very enjoyable morning indeed, listening to all five of the discs currently on my IPod – and – Hillage is a remarkable person – and, along with his life partner Miquette, he fronts a band with ever-growing confidence – especially when we get to “that” guitar solo.
I was quite amazed at the jump in guitar playing quality between the first two albums that feature Hillage, the above mentioned Arzachel from 1969, and then, 1972 brought us “Khan” with their album “Sea Shanty” – and in the three years that had passed, Hillage’s guitar prowess had increased by a significant amount – but nothing like what was about to come – in the form of his first two solo records, the first that bore the name “Steve Hillage” – “Fish Rising”, followed by what is probably his best-known work (and, produced with Todd Rundgren, using Todd’s new Utopia – Roger Powell, Kasim Sulton, and Willie Wilcox – as Hillage’s backing band on the record) “L” – these two releases are where you can really hear the confidence and power of his playing – and I would heartily recommend them to anyone!
I did own a cassette with “L” on it, years ago, so I was familiar with that one album, but never had a chance – until today – to hear Fish Rising, the two early albums, and the first of many, many live CDs that are in the box – this wonderful BBC Radio 1 In Concert 1976 that is playing – in glorious stereo, I might add (after a lovely across the kit drum roll – which just went across my brain in lovely carefully-drum-miked stereo).
I think I will leave the task of a full review to someone who knows more about this, for me, this was just a “way in”, a way to hear the development of this incredibly talented guitarist – who I was really, really fortunate to see both the Steve Hillage Band and Gong, during a very brief UK tour in 2008 – and he was remarkable in both bands – the perfect musical foil for the late Daevid Allen – and it was a unique opportunity, to first hear Steve and Miquette play solo Hillage material (which was unfortunately at the time, besides the obvious cover of “Hurdy Gurdy Man”, unknown to me) as well as, play as an integral part of Gong – this was a remarkable performance featuring most of the main figures in Gong history, including his long time partner Miquette Giraudy, Hillage and Mike Howlett as well.
So that is my most recent listening, previous to that, however, I’ve been revisiting my catalogue of XTC releases, trying to get caught up with capturing all of the additional music hidden away on the Blu-Ray discs included in each of these amazing “Steven Wilson” re-masters – and I guess I can say that I definitely am collecting Steven Wilson re-masters – starting with the King Crimson re-masters – the ultimate – King Crimson in 5.1 sounds absolutely astonishing – it’s so worth it just for that alone – but, there is always a lot of additional music buried on the DVD or Blu-Ray portion, and I’ve developed a unique way to capture this additional material
In assessing my XTC discs, I now have four Steven Wilson XTC re-masters: Drums & Wires, Skylarking, Oranges & Lemons, and Nonsuch. I realised that I had only partially done the work on capturing the extra tracks from three of them, so I set out to “right” this wrong.
I also have the same issue with my Gentle Giant, and Yes “Steven Wilson” re-masters – again, I have ripped the ordinary CDs, which contain some of the additional material – but, the additional music on the Blu-Ray has remained accessible only on the 5.1 system – which I can’t take out with me on my iPods.
So – I have developed a process, which includes templates of blank folders, and a template in SONAR Platinum for capturing the music from the discs. I was wondering if anyone else uses a similar process to this:
ACQUIRE BLU-RAY AUDIO CONTENT WITH HIGHEST QUALITY POSSIBLE:
- Set up your blank folders using the template, which prepares you to “receive” WAV files of the tracks you are capturing, and then later, converting them into MP3 files for your portable device.
- Those folders look something like this (after conversion from the dummy template folders):
XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc01-SWMix-WAV (Note: These are from the CD, which is just ripped normally – not related to this Blu-Ray process)
Sometimes there might be two, or even three, CDs (which of course, are all ripped normally) in which case, those would eat up the Disc01, 02 and 03 slots, and your Blu-Ray material would then start with “Disc04” rather than “Disc02” – you just have to adjust as necessary depending on the contents of the set. Then, follows your DVD or Blu-Ray ONLY Content:
These folders are only one arrangement, of course, the folder set I come up with, ultimately, just reflects what music is available to me to extract from the Blu-Ray in question. The set of folders above, is probably suitable, with possible minor alterations, for any XTC album. Of course, something like “Drums & Wires” has many, many more folders that this example, because there are several different Rehearsal sections on that disc – hence, many more folders (12 in total I believe, or 24 if you count the WAV versions).
For King Crimson or Yes, it would be similar, but perhaps, instead of “Videos-Mono” you would probably get “OriginalVinylUK” and “OriginalVinylUS” and so on – so basically – anything that needs captured, you build a folder for.
- Then, you take a copy of your SONAR Template session (.cwp file) (or equivalent in whatever DAW you use), which is set up with many, many Audio channels – one of my recent efforts ended up at 98 channels – and these are pre-set to use the special S-PDIF “pure digital” input of my sound card – so the S-PDIF outputs of my Blu-Ray player are fed to a pair of inputs on the Sound Card – and all Blu-Ray recording is done via this “pure digital” route – directly from the disc, to the sound card, to SONAR – where I capture them as 48K 24 bit WAV files – the best I can do. The SONAR CWP should be in the root of your work folder, so you can view it and work with it, AND see the folder set shown above.
- Arm for recording, a single track, which will have a title such as
- Put the Blu-Ray into the machine, and queue up the Original Master Mix (the Flat Transfer of the original CD with the original Mix) from the EXTRAS section of the Blu-Ray.
- Press RECORD on the armed channel in SONAR, and once you see the transport moving, then start the Blu-Ray playing.
- Leave that entire disk worth of music to play, while of course, SONAR is recording it in the highest quality possible – Input = S-PDIF and SONAR = 48K 24 Bit.
- Normally, I do not have to adjust the levels at all – for S-PDIF, they seem to be pre-set, and they always make a clean, but never too “hot” recording – it’s ideal. They just approach 0 db, but never surpass it – so, loud and clean.
- Once the Blu-Ray has ended, and you have your recording of the entire CD captured as a SINGLE large WAV file, you can now move onto the next piece of music, and repeat the above process on the next target disc (in this case, it’s Disc03, “Album In Demo & Work Tape Form”).
- When completed, you then move onto the PROCESSING part of the process, which is probably the most time-consuming and patience-testing.
PROCESSING THE FILES:
- In your SONAR .cwp file, you now have a series of large wav files, each one representing a disk full of music. Using the back of the box set or it’s booklet as a guide, I then create a single AUDIO track just below the main, large WAV. That is set up quite simply, you won’t be recording on it, but you need to set it up so it is playing to Master, and thence out to your headphones or speakers, as you need to monitor this process (I use headphones to be the most precise possible). Once you are happy with your new empty, Audio track, before we work on any music processing – count the individual tracks that are in this large WAV file, and use TRACK CLONE to make the appropriate number of copies of your new, empty Audio track. If it’s a 15 track album, then I would create 14 more of these, by adjusting the Count of Clones in the Cloning Window. Push the button, and SONAR (or your DAW) adds 14 empty audio tracks – and now you have 15 empty spaces for tracks. Which already have their name template ready for a track number at the end – then, go back – and put in your track number and names:
- Return now to your single large wav track, and before you do anything, take a COPY of it, and PASTE it into your new first audio track – TRACK 01 – which will be labelled something like XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-01-GardenOfEarthlyDelights-OriginalMasterMix, and first, clean up the lead in – there will be extra space there, so you want to reduce that to a very short lead in, and make sure it starts fairly quickly – usually in under a second, so it starts like a normal CD would – immediately.
- Then, find the end of Track 1. Determine the best spot to SPLIT the tracks, so that Track 1 has a proper ending, and that Track 2 will end up with the SPLIT quite close to its first sound. Once you are happy with this transition point, go ahead and SPLIT the track (leaving the first long recording UNTOUCHED – as the name implies!) always do your first splitting, on the SECOND one – the COPY!!!
- Once split, REMOVE the large chunk of remaining audio, which contains tracks 2 through 15, and MOVE them into the next track.
- Repeat the split, each time, leaving the remainder (of your large wav file copy, which gets smaller and smaller each time you split and move it down) and moving it into the next track.
- Once done, you need to clean up the end of the final track, just to make sure there are no surprises.
- At this point, you should be done with PROCESSING, and ready for OUTPUT.
OUTPUTTING THE FILES:
- Ensure that all tracks except your Track 01, “Garden Of Earthly Delights” are MUTED. This is crucial, if you leave anything with sound on it unmuted except for the ONE TRACK you are outputting, it’s sound WILL MIX with your track – thus, ruining it.
- Select the track with your mouse, then, EXPORT – and point the output to your pre-made WAV folder:
OUTPUT FOLDER: XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-WAV
- Once the output has completed, check the folder for the presence of the file, make sure it’s there, and, named to your satisfaction.
- Repeat with each track, making sure that you MUTE the previous track, and unmute the one you are working on (or you get a SILENT output file!) – and that ALL tracks except the one you are currently working on, are always MUTED.
- Once the WAV files have all been output, for each Disc – save and back up the .cwp file, save and back up all Audio files created during the session (your large WAV files).
- At this point, you have the best quality, 48K, 24 bit WAV files of the individual tracks, SPLIT out perfectly in the steps above, ready to now transform into MP3 files so you can load them onto your iPod or other portable device.
- Using DVDSoft tool “Audio Converter” (or any decent utility that Converts WAV files to high quality MP3 files), set the type to your desired quality (I use “Lame Insane Quality 320 kbps Frauhofen MP3” myself) and point the output to the root folder above your WAV and MP3 folders:
OUTPUT FOLDER: XTC-1989-1-Oranges&Lemons-Remaster-Expanded-WAV&MP3 (or whatever YOUR project folder is called – the idea being, we want the tool to output ALL of the MP3s, from ALL of the WAVs, back into the root of your Project, so you can then assign their internal names BEFORE they are finally split up, by you dragging them into their individual, pre-made “MP3” folders.
- Once your type and target folder are set in the Audio Converter tool, you can now drag the files you want to have converted, into the area at the top of the application where it says “DRAG AUDIO FILES HERE” or similar.
- Open your XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-WAV folder, and select all 15 / however many you have of your WAV files with your mouse by using SHIFT-mouse, and then DRAG them across into the top part of the DVDSoft Audio Converter Application. I usually just do all of the WAV files as one giant conversion, so after I drag over the Disc02-OriginalMasterMix files, I then carry on, opening each WAV file folder next would be Disc03, then 04, etc., and dragging their contents into the DVDSoft Audio Conversion tool.
- Once you have the entire set of WAV files in place in the Audio Converter, re-check that your output type is correct (for me, that’s always highest quality, 320 kbps MP3), and that your target folder is just the root folder you are working in – and then press “Convert”. The tool starts working, taking each WAV file, and converting it into an MP3 file. This can take quite some time, depending on how many hours’ worth of WAV files you have loaded into the tool – be patient, it will eventually tell you that the Process Is Complete. NOTE: When it converts, it adds a “Comment” into each MP3 file – in the field “Comments” it puts its little advert “DVDSoft.com”.
- It’s harmless, but I don’t want it in my file, so the first thing I do, is select all items, while they are all still in the main folder, and I DELETE this “comment”, leaving the Comments field empty as it should be.
- While the MP3s are still in the main, root directory of your project, you should go ahead and add in your “Internal File Data” – I start out, by doing a few bulk updates – I select ALL of the MP3s, right click and select “Properties”, select the Details tab, and then, under “Album Artist” and “Contributing Artists”, I add in the band’s name (unless it’s already there). I also do a bulk update on any other fields that are the same for ALL of the files, such as “Genre” IF they are all the same Genre.
- After that, you can highlight each album, or each file, and make whatever adjustments you need to make the INNER NAMES meet your own personal Standards – I have very particular standards, which includes an Album Name that is preceded by a Year and Counter, so, “Oranges & Lemons” is actually called
“1989-1 Oranges & Lemons – Remaster – Expanded – Disc 02 – Original Master Mix – The Surround Sound Series” in my collection.
…or something like that – by dating these (using this YYYY-Counter template), I can force them to sort into Chronological order, based on the Album title – it works pretty well, but I did start out with that Standard some 9 years ago, so it would take anyone else a long time to institute – but a very good percentage of my existing MP3 collection does contain these dates. I have even recently, been converting posthumous live CDs back to their performance date, rather than their more current release date – because let’s face it, there were not that many Gentle Giant live shows in 2006 or 2012. But there are a LOT of shows from 1975, released in the last 30 years – well, I have managed to get them into chronological order with just a few exceptions where no data exists for the date of a concert. Oh well – it’s the best I could do.
- From here, you would then rename each MP3 folder to match your MP3 collection – to whatever Standard you use there – and then copy them to your individual folders on your drive or drives. I am currently keeping seven copies of the MP3 on seven separate hard drives, and four copies of the WAV masters (because I sweated blood and time extracting these tracks!) on four separate drives – that’s my backup at the moment. Because I am always short on disc space, I am going to reduce the MP3s down to four soon, to recover a lot of space – but, it was set up as seven and that’s how it was for the longest time…a lot of redundancy!
- Finally, once the MP3s are added to your collection – you can add them to ITunes and sync your device, or, put them on your non-ios device by drag and drop or whatever methodology you use – your MP3 files of rare Blu-Ray content, are NOW FINALLY READY for your listening pleasure – ENJOY!
So – back to reality – how’s THAT for a Process? Since I had to do the content of Skylarking and Oranges & Lemons during the last week or so, I used those experiences to build the Templates and work out exactly how the process should work, getting it down to a science – but not a quick one. I recently used the new process on XTC “Nonsuch” – and it worked beautifully – it’s much better to have a consistent process for this, because it is pretty complex – as well as three of my four Steven Wilson Yes albums that still need the process done to them. And one or two of my Steven Wilson Gentle Giant albums. And ALL of my Steven Wilson Jethro Tull albums…including the brand new Stand Up – The Elevated Edition which sounds awesome, I might add!
I’ve got it down from days to hours now, but it can still eat up most of a day, just doing one “album” – because they usually pack a LOT of amazing music onto those Blu-Rays. It’s quite amazing, to have a 20 disc version of “Drums and Wires” by XTC !!! Lots of choice there…
The only catalogue that is actually done – is King Crimson – that was my first Steven Wilson remix, the giant DVD release of In The Court of The Crimson King in about 2008 – hard to believe it (my obsession with the quality recordings that are any and all “Steven Wilson Mixes”) goes back that far, six years!
The problem is, to do this PROPERLY, takes a huge amount of time. OK, ripping the music off of the disc, you can just start it and walk away, and do other work while it’s copying the content to that WAV file. Repeat as necessary. Sometimes, I just let three or four discs worth play into a HUGE WAV file, then, split it by album, and move them to their appropriate channel. But once that easy step of transferring the music over is gone – well, then you are back to that horrible processing section, and cutting up different versions of the same album, or, massive quantities of Andy Partridge demos – it is very, very time consuming – and, I am a perfectionist, so if it isn’t perfect – I do it again – but, I am getting better at it…slowly. It took me two full days to process all of the content on Yes’ “Tales From Topographic Oceans” – 2 whole days! That seems to be what it takes, although maybe I could do one in a single day under the right circumstances.
I do want to get on with the Yes and Gentle Giant in particular, because both of those sport Stereo Instrumentals, which I absolutely love. I’ve been listening to the Instrumental versions of Yes’ “Tales From Topographic Oceans” and they are fascinating and beautiful – you hear all kinds of things that the vocals hide – and I played “Ritual – Stereo Instrumental” yesterday on the 5.1 system – wow – it sounded fantastic! Weird without any vocals – but, fascinating, especially hearing what Steve, Rick and in the case of Ritual, Chris are really doing – how it sounded before any vocals arrived – it’s just astonishing.
Now that I have finished XTC “Nonsuch”, so that’s all four of my SW XTC Discs done – and then, eventually, to Yes and Gentle Giant – as for the Steve Hillage CDs that I just ripped – thank GOD it’s just all audio CDs in this set – no DVD or Blu-Ray content – so, that makes it so easy!
Until just now, I’ve never written down this process, and now that I see it in black and white, it just seems like going to extraordinary lengths to be able to hear rare music on your portable device – but, I have it streamlined now, so it does go a LOT faster using the templates, and my experience and skill at cutting up tracks, has gotten much, much better lately, so – it’s not quite as bad as it was. But it is a LONG process by gumbo!
OK then, onto pastures new, now that you have learned one way, probably NOT the fastest way (I just know someone will come back to me with a tool that rips all audio from a Blu-ray or DVD with one button push) and it can even split up your tracks for you while cooking you a delicious breakfast – but I don’t know, mine does guarantee consistent, high quality, MP3s, built from the best possible, super high quality WAV file – for the level of technology that I have, it’s not too bad – it could be a lot worse!
For me, it’s just for the chance to hear this remarkable music, these musicological gems that Steven Wilson finds on these master tapes, and brings to us all – some amazing music has been unearthed just by his standard processes of “re-mixing” classic prog and pop albums.
Speaking of music, well, despite spending SOME time on Blu-Ray content – I have actually also been working on new music – in the studio, I have a new track, which I started a couple of weeks ago, called “On The Cusp Of Yesterday” which I am currently having a titanic struggle with. The basic track has been done for some time, and, for some weird reason, the last one-minute guitar solo is also done. So I needed to add guitars, from the beginning to the beginning of this existing solo, which is a bit challenging.
I spent an entire day (a few weeks ago on a Sunday, I think) adding some new parts, using a lot of truly beautiful H9 patches, a nice, ordinary clean delay into a hall reverb, not too ostentatious, but just nice – and then some other more strident patches – doing guitar over dubs. All day, and, I wasn’t happy with the last…two or three overdubs. Maybe the first one was OK, or maybe it’s just the second one…
I was so dissatisfied, because it just had not come out how I heard it in my head, which I didn’t even bother to make a rough mix of it with these new hard-fought overdubs, which were technically ok, but weren’t doing the job for me.
So the next time I got some free time to work on it, “On The Cusp Of Yesterday” got a new makeover – I actually decided to go ALL THE WAY BACK to the backing track, hiding all of my previous guitar bits, including the good ones – and I would try again, with that lovely clean delay to start – but this time, a clean delay into a beautiful SpaceTime patch.
I did several takes, some involving harmonics, others, strange chords, others, melodies and lead guitar. Saved everything, but listened to nothing. Now, I am waiting for another chance to go back and hear what I did – and I know that some certain bits – like the very end – came out REALLY well, there is some viable music there, and possibly, enough to flesh out part of the track, perhaps leaving some spaces for me to populate.
At the moment, I am just avoiding it, I am not sure where it’s going, the backing track is exceptional – drums, odd bass, really odd “keyboards” courtesy of “REV”, and a lovely violin. A good solid track, and I really like it – but, for some inexplicable reason, I am not sure what belongs on top of it. I am tending towards something quite ambient at the moment, rather than “normal” guitar parts (which is what I did the first time around, where I REALLY didn’t like the outcome) – I am liking ambient guitar parts at the moment, so that might be the way – time will tell.
Update: another session, I was able to take the recordings made the second time around, and produce a nice mix of “on the cusp of yesterday” from those – it’s come out really well. Probably ready to be uploaded…which I still haven’t done, because I still haven’t decided about it…
Next – is something a bit unexpected, I am now at this very moment, revealing my plans for my next new “Eternal Album” which has turned out to be something I really did not expect AT ALL: “Garage Band” !!!!!!!!!!!!!!!!!!!!!!!!!
How did that start? I had read somewhere on the Interweb, that Garage Band had had a really good makeover, and was a really cool way to make music now – and I can remember seeing Garage Band years ago on a friends Mac – and I myself have used it, I have a few songs made with it on an old Ipad, that I’ve never published – and possibly won’t, they were very early experiments, before I really had working with Apps down to a Science.
I decided to try out this new, improved Garage band, and wow – I was very, very surprised indeed! It really has a lot of great features, and I think it could become my go-to place for working with samples – and that is what sets it apart, is the “Apple Loops” which are professionally-recorded bits of music, 2 bars of this, 4 bars of that, 8 bars of something really strange. A lot of grooves, drum grooves, bass grooves, a lot of it is rhythmic in nature, including ethnic sounds from India, Afghanistan and even Egypt – and, a nice batch of African sounds, mostly drums – I have to admit, they have supplied a LOT of great, ready-made content, that you can fit together into tracks in a very easy, intuitive way.
I have thoroughly enjoy my Garage Band Renaissance or GBR, and I immediately started producing strange and wonderful hybrid piece of music beginning in mid-September and continuing to the present day. And I finally did upload the first five complete tracks, to the new album, a few days ago. I am also nearly finished with a sixth track, working title “preponderance”. So the Garage Band Renaissance has been a real hit with me – here are the tracks:
Start Date Title Containing
20160919 Hare Rama Buys A Llama Drum Samples, Manually Played Bass, Grand Piano, Synth, Raucous Rhythm and Lead Guitars, Bizarre Guitar FX, and Bass Samples, Strings Samples
20160926 Opposites Attract Wonderful Pastiches of African Drum Samples, Ever Changing,
Manually Played Bass, Cello Samples, Afghanistani Melodic Instrument Samples, Sub-Bass Samples, Dub-Step Bass Samples, Bass Synth, Melody Synth, Reversed Melody Synth, Drum Kit Samples, String Section Samples.
20160926 Metal Crisis (Altered version of abandoned track “Cuban Crises”) Drum Kit
(Metal) Sample, Metal Chug Rhythm Guitar Sample, Metal
(Metal) Sample, Metal Chug /Blues Lead Guitar Sample, Funky Clean Wah-Wah Guitar Sample, Beautiful Female Voice Singing “Oohs & Aahs” Vocal Sample, Funky Fender Rhodes Electric Piano Sample, Synth Sample, Additional Drum Kit Sample, Manually Played Bass.
20161014 Nambutamba Rain Shower African Drum Samples (Many Different Ones), African Percussion
Samples, Mysterious Electric Piano Riff Sample, Mysterious Guitar Riff Sample, Mysterious Synth Chords, Additional Conga Sample, Rock Bass Guitar Sample, Drum Break Sample, Crash Cymbal Sample (Note: In the end, I actually did not play a single actual note on this, it’s entirely composed of samples – and also, it’s probably the first ever Ambient African piece of music ever made!)
20161017 Ten Seventeen (Aka “Nine Nine”) Drum Kit Samples (Three Different Funked Out Drum Kit Samples, Manually Played Bass Guitar, Sarod Sample, Indian Drum Samples (Khol and Pakawaj Drums), Transport Stop Synth Sample, Voyager 1 Synth Sample, Vocalised Synth Bass Sample, Boogie Right Vox Synth Sample, Vigilante All Sample (String Section & Timpani Samples).
Update: after several more sessions, I FINALLY got the manually played bass guitar part how I wanted it.
I am very excited about working with Garage Band again, now that it has had such a brilliant face-lift, and I love how very simple it is to create very intriguing and interesting music, using mainly samples – something I’ve not done much of outside of Komplete – but that’s a very different world of sampling – the Native Instruments world – and I am afraid that Garage Band is not quite up to that standard yet :-). But – it’s not bad for Apple!
I had a blast recording these tracks, the first where I used an IPhone instead of an Ipad – it’s not bad at all – I found it easy enough to do. I do like the samples that Apple has provided, and the temptation to just sit and create, is overwhelming – they have a lot of great-sounding samples (and, some terribly bad or terribly cheesy ones, too) which make composing a dream – they even “theme” them together, so for example, you can put a bass guitar, rhythm guitar, and lead guitar “together” and they play back a chunk of an imaginary song by an imaginary band. Of course, I like to manually force them to match up with the wrong track, cross-breeding them rather than putting them all together as intended – intentionally misusing the pre-matched loops…but that’s just me.
I have already used that technique twice during the last five weeks of Garage Band work, myself; once on “Hare Rama Buys A Llama” and again on “Metal Crisis” – it works well, and I like it. For the latter track, though, I brought in additional bluesy lead guitars, and purposely “mismatched” those over the other, patterned rhythm guitars – and it worked fine, because the musicianship of this unknown guitarist, was of a high calibre, and his beautiful blues riffs could have “fit” almost anywhere….by purposefully mis-placing them, I created some impossible and very musical moments in this metal / beautiful vocals track – a strange experience, but well worth it – I like this track!
So really, I am right back where I started, with music on an Ipad, often, Garage Band is the first thing you learn, and in my case, I am no exception, I did work with it for quite a while, until ambient apps came along and distracted me – once I had Scape, and Mixtikl, and Drone FX – that was me, away from “normal” apps like Garage Band, and when I did use normal apps, I favoured Nanostudio (and I still do!) as well as learning how to sample from the Fairlight, and so on – I began a long journey of discovery, that has now, in 2016…led me right back to the beginning, to where I started in 2011 – back to Garage Band. Who would have thought?
Now that the new Garage Band Eternal Album is loaded up at last, I am off to work on the guitar system which is undergoing yet another massive upgrade…as usual. A game-changing upgrade I hope, including Pedalboard Mark 68, I can’t wait till it’s all sorted out…