I have to admit, of all of the few unusual instruments I have run across, the Ibanez RG Series Kaoss model guitar is one of the best in so many ways. It’s simply fun to play, and what you can do with one electric guitar that interfaces with one set of 100 (yes, that is One HUNDRED) kaossilator effects to give you one of the most tactile and hands on guitar to synth “instant treatments” experiences since Brian Eno ‘treated’ Phil Manzanera‘s guitar on stage with Roxy Music back in the early 1970s. No longer do you need to run your guitar through a very large and very expensive VCS3 synthesiser, but you can do the ‘treatments” by yourself, as you play – and the sounds you can get out of it are simply amazing if you just work at it….
What more could I ask for? What more could any guitarist who also happens to be a Kaossilator Pad player, who also is a synthesist – ask for? This is the inexpensive way into a Kaoss-pad-controlled-by-a-guitar or rather, by-a-guitarist – you.
Before I try to describe the experience of playing this unique instrument, I should probably approach the negatives – of which there are one or two – depending on your viewpoint. The guitar is deliberately built down to a price, it’s possibly, the cheapest Kaoss guitar on the market – and that is possible the way Ibanez and Korg wanted it – who knows? So some of the features you might expect in an expensive electric guitar simply aren’t really here in this guitar. Like super low super easy action. Not here – you have to work to play this guitar. I am going to need to take it in, and see what can be done about the action – which is less than ideal. I end up thrashing the fingers on my left hand every time I play it – but I am determined, so I don’t let something as unimportant as somewhat high action bother me – I just play anyway, and ignore it.
One alleviating factor or solution I have found, is to go to an extra light gauge of string. This DOES help a little bit, when the guitar you are playing has action that is too high – for me, it seems to help on the higher strings, but no so much on the lower strings. It was strange – I hadn’t tried an .009 on my high E since I was about 13! But I find it helpful to switch from, in my case, Regular Slinky, to, Super Slinky – with a .009 top rather than the .010.
The other thing that I really miss, is a whammy bar. I think that alongside the awesome distortion circuit built into the guitar, that a whammy bar would have been just the ticket – switch on that fuzz and start yourself a crazy whammy solo….but not this time. So – two negatives; it’s hard to play, and, no whammy fun – but I can easily forgive both – there are actions I can take, I can get the guitar set up, I can put lighter strings on it, I can even get the neck fretted or shaved – I mean, there is room to improve the action, that is for sure – but it needs investment, and a good luthier too.
Getting over the whammy is easier, for one thing, you have 101 on board sounds to replace it with, the first being, the very usable on board distortion circuit which I really like, it isn’t the most amazing distortion box in the world, but, it gives you plenty of sustain when you want a sudden kick-ass solo – and so easy to switch it in!
So that is the 101st effect, I would say, and then what you have is 100 more on the kaoss pad, to make up for that missing whammy. For example – may I suggest, voice 16, “vinyl break” – that gives you the ultimate dive bomb, and you can have it at any speed imaginable – very quick indeed, or, very very slow…taking a high note down to a low note that my 12 inch guitar speakers have trouble delivering it’s so lowl!
Or really, instead of thinking of it as 101 effects – the built-in distortion plus 100 Kaoss sounds, you could actually look at it as 201 sounds – the built-in distortion is 1, then you have 100 kaoss sounds with clean guitar, and, 100 kaoss sounds with heavy distortion – and some of these Korg sound respond very well to clean or distortion, and, behave differently depending on what is chosen.
So now that I have got through the tricky stuff, I can go on about how much fun it is to actually PLAY this guitar – and, you have to understand, the kaoss pad that is built into it, is not like the kaoss pad “synths” (like the little hand held pink synth kaoss pad I started out playing a few years back) you buy to play on stage – it is instead, an “effects” kaoss pad, a “Mini-Kaoss pad” – and it’s been made into part of the guitar’s circuitry – it has actually been embedded into the guitar’s DNA – being at the end of the guitar’s audio output.
I think that learning how to play this guitar effectively is something that has to be learned over time, and each time I pick up the Kaoss guitar, I learn a little bit more about what is best in terms of technique – and a lot of the sounds aren’t totally suited to using them like a normal effect, they actually seem to work the best as sudden events in between notes, or, at the end of phrases.
Vinyl Break, good old number 16, is suitable for either, and I had a blast just suddenly DROPPING a note, a millisecond after playing it, down a few octaves, and the real beautiful of the Kaoss pad becomes apparent in the amount of control you have over the timing of that event, of that note drop – if you do it at the “top” of the pad (i.e. the edge nearest the strings, rather than the edge near the edge of the guitar’s body) the drop is incredibly fast, and you are at that low, low tone so fast you can hardly believe it.
If you drop it in the centre of the pad, it drops substantially more slowly, but still at a pretty good speed, and you can learn to “time” these smoother, more elegant drop curves to suit your musical taste…it becomes quite an art, can I make this note drop really smoothly down to it’s lowest tone and then still hit the next note in my solo or improv at the “right” moment, and most times, I can. It’s a huge amount of fun, trying to control the duration of a note drop event, and get it to work in a really musical way.
Finally, if you choose to drop at the bottom of the pad, well then you are going to get the longest drop of all, possibly a bit too slow to be very musical, but just as useful – and everywhere in between, you get all the different speeds. So to put it into phonographic terms, it can be like dropping from 78 to 16 rpm in a millisecond, or from 78 to 16 rpm in a second, or maybe take five seconds to get there – or, you can stop the process anywhere along the way, so maybe you might just go from 78 rpm down to only 33 1/3rd rpm, instead of all the way down to 16 – it’s entirely up to you.
The pad is physically pretty tiny, and you have to learn to use it … sort of… “in between” your notes, or, at the end of a series of notes – it CAN be used while you are playing, but that is hard – it’s possible, with some of the more standard sounds, like a jet flanger or a nice phaser, you can hold a finger on the pad while you are strumming or picking, but – it’s a difficult act of co-ordination, and really, you would be a lot better of concentrating on playing your notes properly, and using your stomp box flangers or phaser, and they very probably will sound better – and, they stay on, too, until you shut them off, whereas, the pad stops working as SOON as your finger or fingers lift off of it – and that makes it tricky to use as a “regular” effect (whatever THAT means lol).
However, the real strength of the Kaoss guitar, isn’t the more “standard” effects, but the ones that work well when used in between notes and in between phrases, like my best friend the vinyl break, but also, the large selection of various loopers are truly useful and give you some remarkable effects if used well. It’s tricky, but, it’s do-able.
There are different ways to approach it, and I keep trying new things, or picking one of the 100 voices I am not as familiar with, and trying to see what I can do with it over a longer period of time – high pass filter, low pass filter, mid filters, you name it, it’s all there, there is even a decimator, which is an amazing patch – I absolutely love the decimator, it’s a brilliant sounding effect. Most of the effects sound really good, but some of them are hard to use in the sort of “momentary” way you need to use this guitar to it’s best effect (no pun intended).
One trick I have found helpful, in making sure I co-ordinate playing a note or chord, and then, immediately applying the pad (before the more or chord fades away so much that the pad then does NOTHING to it – very embarrassing!) is by likening the pad to a whammy bar in your brain – a whammy bar used, of course, in the more usual way, where, at the end of a phrase or chord, you use it – well, the Kaoss pad works best that way.
Just as with the whammy, of course, you CAN whammy WHILE you are playing – but it is more difficult to do, and the results might not always be consistent. So if you tell yourself to use it in the same times you might use your whammy -and if you are fortunate, it will work well – although there is no guarantee. And that’s where you can have surprising and dismaying failures – let’s say you’ve worked out a part where, you stop playing and then do a move on the pad, a really dramatic move like a drop or a pitch shift of some kind, and you do it say, for four bars in a row, once each bar….and on the fourth one, you are a tiny bit too late on the pad – and out comes….silence.
That can be embarrassing, and even disappointing, because maybe that fourth amazing Kaoss swoop – should have been the most flamboyant and remarkable of the four in a row – but instead, you play three good ones, and the fourth one – just isn’t meant to happen.
So you lose an entire perfect take, because you timed your Kaoss sound off by nanoseconds – and that resulted not in an error, but instead, in a fail – a silence when your audience would clearly be expecting some kind of fantastical Kaossilator effect – and that is annoying! I have lost solos and takes because of one failed or less than spectacular Kaoss swoop.
The remedy for that, of course – is more practice, and, of course, the more you practice, the less likely these time-based mishaps will haunt your kaoss playing. No one said this would be easy – but sometimes, it is pretty easy to make the pad sound good, on other occasions, not so much so – but if you work at it, you can play some truly extraordinary and more importantly, utterly unique chord patterns, notes, guitar solos and sound effects – I mean, with 100 sounds to choose from, you have an enormous palette of high quality Korg effects with which to modify your beautifully clean or very distorted Ibanez guitar – and that to me, is a winning combination.
The last several weeks have been more about getting equipment, computers, software and storage sorted out, than having a lot of time to actually play much music. That is slowly changing, early this morning, I spent almost two hours playing and recording some beautiful sampled sounds in Kontakt, and it’s rare that I sit and play the keyboard for an hour and fifty minutes at one sitting! I did capture a few interesting things, so I am hopeful that this long period of extended studio set-up, improvements, and testing, will also result in some new music along the way.
I’ve had more than my share of frustration with equipment; particularly, software and storage, but things are slowly sorting themselves out. Hardware issues, software issues, strange computer behaviours – I’ve got it all. But it is slowly getting better – all the time. I solve one issue at a time, eventually, they will all get done. Over the past two days, with a lot of assistance from my pal Ken Mistove, I have sorted out a number of long-standing issues in SONAR X3, and we have also made a number of improvements to how things work in the world of the music computer, external hard drives, and recording practices – big improvements, and things are running so much smoother, and better, already – which really pleases me, as I really just want to sit down and play music, not, troubleshoot for two hours, and then play for 10 minutes!
My attempts to film the Kaoss Guitar (the remarkable Ibanez RGPK6 electric guitar), well, on Sunday, November 30th, I finally got some takes that were better than my original session from the previous week, November 23rd; so we shall see, I’ve been going through the audio and video from the first session from the 23rd of November, and then I have to go through the miles of footage shot on 30th November as well.
I am hopeful that out of probably 25 takes between the two sessions, that there will be a handful of pieces that are worth making videos of. It’s difficult to say, but I feel that some of the takes from the second session will yield video, I am less sure about the first session – besides being a bit under-rehearsed, I was still having a fair number of technical issues too, so I was not able to concentrate fully on the music. So I may be forced to shelve the entire first session, although I believe that at least one of the final three takes from the 23rd may be good. Time will tell.
Update: there are definitely some good takes from the 20141130 session, beginning with one almost-ambient-but-not-quite quiet track, entitled “just gone”, which is mixed and ready for video build now.
Then tonight, I mixed the next candidate, a remarkable distorted reverse guitar solo entitled “slicer” – so that’s two audio mixes ready for video. There are probably three or four more kaoss guitar trax to come from the second session, audio mixing continues this week, with video builds to begin soon as well. End update 🙂
The Kaoss guitar itself – is an absolute joy to play, I had really hoped to get some videos made and uploaded so you can hear and see it, but I’ve decided that it’s more important to take some time, and get some really interesting examples of what you can do with this innovative instrument.
The recording set up for the Kaoss guitar is very, very simple indeed, I am using my Line 6 DL-4 delay (either bypassed, or, to provide reverse guitar on demand) to provide a stereo out, so it’s the guitar into the DL-4, and then directly into the sound card, thus bypassing all of the outboard effects in the mixer – and for the first time, I am relying solely on Guitar Rig for guitar tone and for reverb / delay effects – since it’s a live performance anyway, I didn’t feel that I needed to use the outboard stuff, so I am keeping it really, really simple.
As part of Komplete, and just in general, I’ve been relying more heavily on Guitar Rig 5 for a lot of my guitar-oriented projects, which allows me to create complex rack mount simulations of many, many excellent effects, which I can play through when I record, but then, if I am not totally happy with the patch I have chosen for the live take, I can then “remove” that patch, and replace it with a different one (re-amping, in essence) until I feel happier – so I’ve also started saving my patches, taking stock patches and changing them radically, and then saving the results, so I can re-use them on other takes later. I’ve never done a lot of re-amping because I considered it to be a bit too burdensome in the past, but with Guitar Rig – it’s a pleasure. It’s quick and easy, and there is such a huge range of truly exceptional effects, that you can very quickly build up some really complex and wonderful sounds – the kind of guitar sounds that 30 years ago, I could only ever dream of, or, hear on a Jimi Hendrix album (such as, “Electric Ladyland” – my favourite).
In that first Nov. 23rd session, I had played through one Guitar Rig patch that was a bit too echo-y, too over the top, so later on, I re-mastered it; removed the original Guitar Rig sound I used for the live take, and replaced it with a different Guitar Rig sound (a customised sound created by and saved by myself), a much better sound (if I do say so myself!), and really, that saved the day – it made the performances sound so much better.
So I am currently working on both audio mixes, and video creation and mixes, from the two Kaoss guitar performances; as well as, I captured a large number of new improvs using Komplete and Kontakt last night, which I need to go through next! after the kaoss projects, and see what is there – some of them are surely going to be good – the system is performing so beautifully now, it’s an absolute joy to use – and that is reflected in the music that comes out, too.
I think audio mixing is my favourite of those activities, or in the case of the Kaoss Guitar takes, well for any and all live takes that are simply live to stereo – I should say, “audio mastering”, as you can’t really “mix” a live performance, unless it involves multiple instruments, which these do not. So you just have to get the best stereo sound, make sure the track is normalised to the right level, be happy with your EQ and effects (re-amped or otherwise) and then – that is that!
I was so pleased with the results of the somewhat tentative and somewhat technically challenging first session, I had very little experience with the new Kaoss guitar, it’s quite a struggle to work out the very best way to play it, without sounding awkward, and slowly, I am gaining experience with it, to the point where on Sunday, November 30th – I could almost make it do what I wanted 🙂 – almost, most of the time. Sometimes – it’s still outwith my control.
I’ve also been shopping, what with all the sales on line – but not for the ordinary kinds of things that most people shop for at Christmas time – I’ve been buying samples. During the past two months, I have added so much to my sample library, it’s just out of control, and this past week, I bought three amazing packages from my favourite software instrument maker, Soniccouture (http://www.soniccouture.com/en/products/) – I have a lot of these now, including the amazing Geosonics – sounds of the earth – field recordings adapted into music – astonishing stuff – at a huge savings, 50 percent off in total. That was a short lived sale, but I am glad I acted – it was great to acquire all of those sounds for such a good price, I could not be more pleased:
1) “the conservatoire collection” – a collection of renaissance and baroque samples – very pricey, but you get things like baroque guitar, psaltery, flemish harpsichords, hurdy-gurdy and so on – fantastic one of a kind classical sounds. I had an absolute blast using these instruments for the first time earlier today, and I can foresee a lot of interesting pieces forthcoming using this beautiful collection of antique sounds.
2) “glass works” – the sounds of various glass instruments, including a famous “cloud chamber bowls” instrument made by eccentric composer and instrument maker Harry Partch, I visited Partch’s studio when I was a teenager, on a school trip actually, and I actually played his original glass bowls instrument, so I am very excited to OWN those sounds! some of the pieces I recorded early this morning were made with the “cloud chamber bowls” instrument, and it sounded JUST as I remembered it – but perhaps even more stunning, is Soniccouture’s emulation of another of Partch’s unique glass instruments – the amazing “armonica”. This instrument sounds like nothing on earth, like a weird combination of bowed glass, church organ and ethereal spaces – that’s as close as the English language will allow me at a very poor attempt to describe an incredibly beautiful sound! Lovely beyond compare.
3) “ep 73 deconstructed” – this is the most intense, most detailed set of samples available for a 1973 fender rhodes electric piano – the kind my best pal Ted (RIP) used to use in our jam sessions back when I was about 18 years old – a great, classic sound, playing this vintage rhodes is a fantastic experience, it was literally, better than the real thing – and I could have easily sat and played it for hours on end – and, of course, it’s Soniccouture, so you get a lot of “extra” sounds, bowed, plucked, sound effects, and so on – variants on an already perfect set of electric piano samples – incredible attention to detail is Soniccouture’s watchword – the samples they create – are simply, the best.
However, best of all is this next item…
The final item in my “black Friday to Monday shopping spree” – based on Ken’s emailed link that simply said “HURRY!” – normally $200.00 I got it for $79.00 – one day only – it’s ADT from Waves Audio – a software “hardware emulation” where they take a classic piece of hardware equipment, and painstakingly re-create it in software.
In this case, “ADT” is, of course, “automatic double tracking” which was developed by one of the Beatles’ engineers, and it was used on classic Beatles albums from the late 1960s such as “Sgt. Pepper’s Lonely Hearts Club Band” and “The White Album” – this device used tape machines, that were slowed up and down to create a second, “doubled” track, it was basically built for John Lennon, who complained about having to double track his voice – he wanted a machine to do it for him. So this guy, Ken Townshend, figured out a way to do this, using the existing technology of 1967 – which in itself is remarkable.
Even more remarkable is the fact that from ADT, a massive industry sprang, of doublers that are choruses or flangers; “Ken’s flanger” is what Lennon called the device, and the name has stuck – millions of “Flangers” have been sold since then, emulating this same “ancient” technique. While I have owned and do own a number of flangers and choruses, both hardware and software, this is the ORIGINAL, the one that started it all – and, I couldn’t own the original hardware, it only exists at Abbey Road Studios where it was designed, it’s not for sale, so having it as software, gives me the classic Beatles chorus and flanger sounds, WITHOUT tape machines and an impossible-to-buy-hardware item. If that isn’t technological magic, I am not sure what is 🙂
So 2015 is going to be a very interesting year indeed, I have a plug in version of the “original” chorus/flanger plug in now, so I can apply “Beatles” flanging or chorus sounds to my guitar parts (think of the lead guitar break in “Fixing A Hole” from “Sgt. Pepper’s Lonely Hearts Club Band” – or Clapton’s solo on “While My Guitar Gently Weeps” – what a sound!) I will also be able to choose from a huge, huge range of samples, something I’ve never really had available in my first 40 years of music-making 🙂
I wish I had a time machine back when I was 16, if I could have travelled 40 years into the future, and been shown what my tiny, modest studio would look like, in that far distant future of the year 2015, from the vantage point of 1975 – I would a) not have believed you, that such a thing could be possible, and b) it would have seemed like witchcraft, magic – the samples, a kaoss pad guitar (or, a kaoss pad itself, for that matter!!), synthesizers that can reproduce real sounds, sampled sounds, (or, a synthesizer itself), ipads, app technology, all of it is strictly magical stuff if you go back forty years. 40 years ago, I was 16, and I was working with my good friend and fellow musician Ted Holding, who had some recording and mixing gear, but neither of us had any access to the kinds of tools and software instruments available now to me, and to all musicians, in the year 2015 – we would have been dumbstruck with amazement, we really would have!
At 15 or 16, my “technology” was a knock off or off brand electric guitar, played thru a hand me down Fuzz Face, a Cry Baby Wah pedal, and later on, a borrowed echoplex – the kind with tape loops in them, not the new echoplex pro – played thru a Carvin bass head and a home made speaker cabinet. The guitar and the wah pedal were mine, the rest, mostly stuff left lying around Ted’s studio (aka garage) or built or repaired by Ted. I played through that bass amp for like, three years, until I could afford to buy an amp of my own!! Of course, when we hit 18, 19 and 20 we did achieve some manner of technology, but it was still a far cry from what is available now.
Ted expanded his selection of instruments, adding Fender Rhodes, Hammond Organ, and an ARP Omni string machine. I had better guitars, and I brought over a reel to reel tape deck to use as the worlds cheapest tape delay unit, which I would reach over and switch on during a guitar solo, and it was the best and most authentic tape delay I’d ever used…because it was real, real tape, on a reel, running past tape heads with a delay introduced…it sounded amazing to us then.
40 years on, a modestly priced delay pedal such as a Line 6 DL-4, can emulate tape echo very similar to what I was doing back then, plus a myriad of amazing delay effects, all in a small green box…no need to lug around a massive Sony reel to reel tape recorder, but I didn’t own any kind of delay or reverb unit, and couldn’t afford the expensive delays of the day…so using the tape deck as a delay pedal, was a no brainier. We were all delighted, it really made my guitar sound good!
Sometimes even now, even though I’ve now been doing “digital music” for quite some time – since 2005 at least – I’m still just stunned when I walk into my studio and I open up the computer, and I see the tools arrayed there, at my fingertips, for music production. It’s difficult to imagine how my young self would have reacted to the idea of having real instrument samples playable on demand, on a MIDI keyboard – disbelief, shock, astonishment – at the very least. But – I am glad I’ve stuck with music, because now, the toolsets are very nearly unlimited, and this gives you choice – choice to create sound worlds that previously, you could only dream of…
I plan on doing a lot of musical dreaming in 2015, and right now, I am making a start – I can’t wait to master the pieces from this morning, and start sharing some of the magic of glass works or the ep 73 deconstructed electric piano or to my very first attempts at playing the hurdy-gurdy – remarkable.
A good “problem” to have, I suppose – spoiled for choice, where to begin? At the beginning, of course!!!
no, not the classic album from jethro tull, nor, the tendency of mature folk to wistfully long for days gone by; but instead, just a state of mind I’ve had to become accustomed to with regard to my own music and…how much of it there is! 🙂
the problem is, stated simply, is that I record far more music than I have time available to “process”. as a result, there is an ever-growing backlog of tasks, two of which are always, always on my mind:
1) audio mixing and mastering
2) video creation and upload
things have changed for me, in some quite radical ways, two years ago, I had music made with instruments: guitars, basses, keyboards, soft synths, the kaossilator pad, and so on. familiar instruments, that I’ve been working with all my life (or, in the case of the kaoss pad, some of my life!). with the instruments, I had already become so prolific that I was about a year behind on video mastering, and some months behind on audio mixing and mastering.
but then came the advent of applications. that really threw a monkey wrench into my musical affairs, because suddenly, I had not one new instrument, but 40 or 50 new instruments, seriously, all of which allowed for the very quick production of a lot of high quality music. this overwhelming amount of new music made with a huge number of apps, became such a problem so quickly, that I was forced to invent a new kind of album to deal specifically with application based music – the “eternal album”.
the first four “eternal albums” are now live on bandcamp, and from what I can tell, they are working correctly. having these means I am free of having to worry about compiling albums for any applications-based music – which is great.
so now, I have two main, massive streams of music, which are kept physically separately, to maintain clarity:
1) music made with traditional instruments
2) music made with applications
however, I do view the backlog as a whole – I have audio mastering and video mastering to do for both instrument-based and application-based music, and I actually just tackle it in chronological order, regardless of what it is – maybe it’s a session done with addictive synth arpeggiators, then next, some live electric guitar improvs, then, some guitar synth improvs, then, back to the ipad for some n log pro pieces…it might be anything.
the one thing all of these mastering projects have in common, is how far behind I am on them J. at one point, I had the video backlog down to about three months – and then, things happen – and suddenly, not even sure how it happens, it’s back to over a year – 13, 14 months! so what can I do, what choice do I have, except to go back and master those 14 month old videos, to clear the way to mastering the 13 month old videos…and so on, ad infinitum, video without end. followed by, audio without end.
I will never, ever run out of work. sure – I could stop making videos. but that’s my “stage”; since both physical constraints and time constraints prohibit me from playing real gigs (I’ve played very few in the last decade, sadly), so performing live guitar improvs on youtube, or playing the kaoss pad, or singing peter hammill tracks at the piano, creating music with ipad applications or on the synthesizer– takes the place of that stage – in fact, it’s in a way, it’s better, because it’s a world stage, where anyone, from anywhere, is welcome to listen and watch the improvs and loops and songs.
in another way, it’s not better, because I miss the feedback that a “real” audience provides. I have to remind myself, though, that the youtube audience is just as real, and they do provide feedback in the form of comments, both online and offline, so that’s a great relationship – and besides all that, I don’t WANT to stop making videos – I love it!
all I can really do is keep going, and hope that I find enough time to eventually, get “caught up” – or at least, close to it. I know it’s possible, because I nearly was “caught up” at the beginning of this year. now, due to circumstances beyond my control…I am far behind once again.
however – there is hope. the “eternal albums” truly, truly help me, and once I have a couple dozen of those in place, life, and the backlog, will get substantially better. why? because for a full fifty percent of the music I make, the applications-based music, I no longer have the task of creating bespoke “albums” – I can literally complete a track; master it, and add it to the existing, live-on-bandcamp “eternal album” – and that is win / win / win:
- it no longer sits “in the can” waiting for enough material to form an album
- it’s out to the listeners and fans faster
- it’s off my backlog !
so once I have a couple dozen “eternal albums” all growing slowly and organically, as tracks using that application get completed, they go straight “up” and onto the appropriate album – that will mean I can spend MORE time working on the Instrument side – audio mixes and videos, which I hope means I might actually get caught up !
now, I do also have plans to create a few special “eternal albums” for some of my instrument-based music too. at the moment, what I have in mind looks like this:
new instrument-based dave stafford “eternal albums”:
1) “longer” by “bindlestiff” – lost live recordings from 1994, these were never assessed, over 70 tapes exist, so instead of trying to pick the best seventeen songs from 70 tapes, and make a single, traditional album, I plan instead, to go through them over time, as time permits, and as I locate viable tracks, upload them to the “longer” album – until all 70 tapes have been gone through. this will hopefully generate a long, long record, which will be a wonderful history of the “lost year” in the life of the band (including some very, very rare tracks, like our ambient, ebow-driven cover of jimi hendrix’s “the burning of the midnight lamp” which we rehearsed many times but never performed in public – somewhere, there may be a take of this – I hope) – even if there is just an average of one good track per tape, that means a 70 track album – and almost certainly many, many more. I am also hoping that these tapes will present many, many different “versions” of one of our signature pieces, “without difference” – which went through some really interesting evolutions, so I can’t wait to compare the versions from “longest” with the existing versions on “quiet” and “live” – and to hear multiple versions of songs, to hear them slowly evolve and develop as we become more and more comfortable and familiar with them as pieces of our repertoire.
2) “classical” by dave stafford – this is to cover a little-known side of my music, which is given away by the title. since acquiring the guitar synth, I’ve taken an interest in creating classical music, and I’ve got a nine minute plus, nearly-complete concerto for “nylon classical guitar” and “oboe”, which has been sitting waiting patiently for me to finish it and release it, for something like three years. it’s a lovely piece, that started life as a short classical-style loop (of guitar synth “oboe”, “clarinet”, and “flute”), which I then developed into a proper piece of music, and then – started expanding. it features the “nylon classical guitar” heavily, and the aforementioned “oboes”, (one of the “oboe” solos I play, I consider, may be the single best solo I’ve ever played in my life – not sure) – meanwhile, I’ve added “cello”, “organ”, “vibes”, “piano” – and, in the final coda – I used massed “string sections” to create real drama – in wonderful stereo – and a plethora of other classical instruments, too, and the piece is really, really coming along. I would say it’s about 90 percent plus complete at this point in time – so very close to ready.
it’s absolutely remarkable to me that a person can compose for “orchestra” – and I mean full orchestra, any instrument you dream of – with a single roland gr-55 guitar synth! but really, that’s all you need –you don’t need to hire musicians, or score all the parts – you just play them all yourself 🙂 so I really want to get this album set up so I can release this piece, and hopefully, if time permits, record and add more “dave stafford classical pieces” over time. a bit indulgent, perhaps, creating an album for one track – but I really want this track to be available, as it shows a side of my music that you might never, ever imagine – one where my prowess with the guitar synth “oboe” is much more important than my prowess with lead guitar 🙂 how very strange indeed!
3) “classical ambient” by dave stafford – this would collect all existing classical ambient pieces, there are many that were done as live videos, and some studio pieces, too, that are sitting “in the can”. this would give these works their own platform, as they are unique – mostly “strings”-based pieces, but “strings” performed as ambient loops – such as “bela teguese” which you can hear on youtube on the pureambientHD channel at the moment. there are also some string + guitar synth based pieces, pieces created with two guitar synths, that might fit in well on this album…but that gets tricky, as those are actually one instrument and one application – so not truly “instrument-based”!
4) “straight to video” by dave stafford – this would collect the best of my video performances (most of which, have never been compiled or collected into albums – with a few notable exceptions such as live ebow tracks for “the haunting” and tracks from 20120820 that ended up on “gone native”) – but in the main, these videos are shot live, produced, uploaded, and then never formally collected into albums or any other presentation – and also, we’ve had requests from fans for “audio” versions of some of these video tracks, so this would be a way to satisfy those requests, too. this would also include alternate mixes and alternate versions – in some cases, I might have done three takes, and only uploaded one video – meaning that there are actually three audio versions available, one from the video, and two unreleased – that’s the kind of thing that would be featured on this album. or, in some cases, I created alternate mixes of a single audio mix, to try out, so an alternate mix of “folding space”, for example, exists – “folding space (hypercardioid mix)” – same track as the video, but “treated” in a separate audio file – and then not used in the final video.
it’s remarkable how all this music has appeared in my life, often, I actually have no idea how it all gets done, but it does – somehow. I am working diligently to find the best way to present it to you, and bandcamp seems like the ideal platform, because, most importantly, you can listen first, which is a great feature, and secondly, you can select just the tracks you want, and not the ones you don’t – not every track appeals to every person – so it provides the ultimate in choice, the most flexible choice possible, which I think is really good.
I’m also very pleased that recently I did finally find the time to upload some of my archival albums – I always thought it strange, just seeing four or five of my more recent records up there, knowing that there is this huge back catalogue – and really, it’s just finding time to upload it – not easy, there is a lot of detail that needs to be entered to make the albums as complete and accurate as possible…for example, last night, I was working on the “song with no end” EP, which, because it contains four vocal numbers, actually meant that I needed to transcribe the lyrics to all four vocal songs directly onto bandcamp. I made certain that this was done, as lyrics are vitally important to vocal music.
bandcamp is a great platform for both artist and listener, and we hope long may it live. we shall continue uploading the back catalogue, and we’d like to take this opportunity too, to thank the many, many listeners who have been visiting bandcamp, and who have been checking out some of these archival releases – and in doing so, we are experiencing the highest visitor levels of all time on the bandcamp site. so – thank you for that, we really appreciate all of our visitors.
the early and mid 90s were a very, very exciting time for looping and ambient, we had “looper’s delight” – a mailing list where loopers could share their experiences; we also had, again under the auspices of that most excellent of communities, “looper’s delight”; various compilation CDs where we could submit music and become part of this very early looping community – and at the same time, for bryan helm and I, we had the support of the crafty community as well, and our ongoing interactions with guitar craft – and I think sometimes, that this amazing time is a bit overlooked, when “new” loopers like the oberheim echoplex pro were just arriving, this was such a great time in music.
for me, it was 1993 – 1995, as a member of live looping ambient duo “bindlestiff” that I experienced the bleeding edge of live looping and live ambient (and, the added inspiration of continued close involvement with guitar craft) – an unforgettable experience, that spawned solo albums for me from “other memory / sand island” to “transitory” to “1867” to “the autoreverse sessions” and so on, and concurrently, a string of seven brilliant “bindlestiff” CDs, too – and all of these recordings document a remarkable decade for both looping and ambient music in general – and I’m very proud to have been there right in the centre of it all !
as anyone who has been doing digital recording for any length of time knows…when making digital recordings…shit happens.
- you experience a drop out during that perfect take, consequently losing that take.
- you left one of the tracks unarmed, so not everything recorded.
- You forgot to change the track assignments for one set of inputs, so all of your instruments ended up blended together in one stereo pair, instead of in two nice, discrete, stereo pairs as intended.
- the levels on one or more tracks were a tiny bit too “hot” so now you have digital clipping in some of your tracks.
- unbeknownst to you, while you recorded 20 beautiful new pieces of music – each one was being recorded replete with many, many pops and clicks – thanks to any number of digital culprits…ranging from IRQ interrupt conflicts to bad USB cables to just plain bad luck.
- your daw inexplicably crashes in the middle of that perfect take, consequently losing that take.
- tracks are inexplicably distorted audibly, while not apparently being clipped – anomalous distortion from nowhere (this turned out to be a slightly overly loud output from a midi instrument, of all things – turn down it’s output, the distortion goes away)
- you set up your midi and audio tracks the same way you did yesterday, but no sound comes out – even though yesterday, with the identical set up, everything was working fine. (this most frustrating of problems is quite common with me, and there have been many a session where the first 10, 20, 30, 40 minutes of the session were concerned with getting some sound to come out the daw – any sound, some sound, please…)
- a solution you found to a problem such as the one above, works on one occasion, but does not work on another, requiring you to find a second solution to the same problem. (or a third).
the above is just a random selection of negative recording possibilities…(and all of the above have happened to me at one point or other in time!!) but I am sure if I queried ten of my pals who do digital recording, they would all have similar “lists” of what we will call, for lack of a better term, “negative digital recording experiences”, but maybe, it would contain half a dozen other / different problems encountered from the ones I experience, or a mixture of these symptoms and others unique to their systems.
and each system is unique, and idiosyncratic. I know this because I have two supposedly matching daw installs, one on a desktop and the other on my laptop – and the daws behave differently on the two machines (I kid you not). not in any serious way, but in a lot of little annoying ways…for example, if I record a session on the PC in my studio, and then try to open that session later on the laptop to mix it down – it won’t open until I accept a message about a missing plug-in that I don’t even use or know what it’s for. that means, every single time I want to open a PC session on the laptop, I have to use the SHIFT key method to open it in safe mode. ridiculous, but true!
but today I want to talk about the amazing fact that in this day and age, with the right tools, audio that is seemingly irreparably damaged – can not only be restored, but if you are careful, can be restored to a state of near pristine perfection.
back in the days of “tape recorders” – and I moved from many years of working almost exclusively with my teac 3340S 4 track ¼ reel to reel machine to using cool edit pro on a late 90s pc clone – if something went wrong on a take – that was pretty much it – sure, there were a few tricks that could be used, none of them easy to implement, none of them particularly effective – generally, you just had to erase the track and re-record a new take. or, if you were very adept, very patient, and very lucky, you MIGHT get away with “punching-in” small sections of music, to replace problematic sections. possibly. more likely – no, punch-ins just didn’t fly.
if, for example, you experienced random pops or clicks, or, if you had your levels too hot, and tracks subsequently ended up clipped or distorted – again, that was it, there were not any tools available to repair such damage, so you had two choices: play that impossible part again, or try to disguise the damage somehow.
neither method was very successful, and occasionally, because the take was impossible to “re-do”, I would just leave it, pops, clicks, and all, in the song, mix it as well as I could, and hope that the musical brilliance of the piece would somehow mask the giant “pop” at 3:51. usually though, I just erased that perfect take, and played a less perfect, but adequate, “popless” take. the problem being, with only four fragile channels of audio on 1/4 piece of tape – the only way was “destructive” – delete that take, and re-record it over the damaged one. and if you didn’t play it as well – oh well.
so recording on tape was all about being very lucky, about sometimes, nay, often, having to compromise – either by accepting a really good take with technical imperfections like pops, clicks or mild clipping – or, by erasing and re-recording something that was not quite as good, so you could get rid of the pops, clicks or distortion – but then, having to accept a “lesser” performance for the sake of getting rid of the pops…
recording on tape was often all about compromise, about making the best of a bad situation.
fluffed one note in a seven minute piano piece? well, if you were very, very skilled, you might be able to punch-in a replacement note or phrase on another track (assuming you had one available!) – or, possibly, not – which means basically that you have no choice but to go back and record the entire seven minute piece again, without fluffing that note.
(of course, now, if you did this same recording as midi, you could just go into notation view, find the “wrong” note, and correct it – but I am talking strictly audio / analogue recording here).
for years….this was just the way it was. punching in rarely worked for me, it’s just not ideal, and for me, every recording where I did punch in, when I hear the mixed track played back…all I can hear is the part that’s been punched in. it sticks out like a sore thumb to my ears, it interrupts the flow…it’s just not the best way – it’s really better, always better, to get the whole thing in one single take – it really is!
but…we were used to these “rules”, the “rules” of the golden age of home recording, where you “bounced” three tracks down to one so you could free up the three for overdubs – meaning you had a sub-mix that was carved in stone, that you could never, ever change – and that is maybe the worst part of recording on tape, or rather recording on a four track! – it was very difficult to go back and fix anything; you had to accept compromises; and; if you wanted more than four tracks – you had to “commit” to one sub-mix of instruments.
so for all the problems that I’ve had with digital recording, I have to say, it’s still preferable to the tape days for one reason: now, with existing technology, most of the problems I described above (excepting the true “operator error” ones – if you didn’t arm the track, and it didn’t record, I am afraid I cannot help you!), actually can be fixed. with astonishingly good results.
over the past three or four days, I’ve been working on a digital restoration project, using my newly-acquired adobe audition version 3.0. I had nine tracks, recorded on the ipad when I first got the “addictive synth” application, from a 20120407 session, and I felt that some or all of them were good takes – but, unfortunately, due to the above-mentioned irq interrupt problem – they all ended up with pops and clicks throughout. lots of pops and clicks – perhaps as many as 60 or 70 in a single four minute track. since I’d recorded them “live” by playing the ipad and recording in SONAR – all the pops and clicks were recorded along with the audio.
at the time, I attempted repairs using several tools, but to no avail – until my friend and business partner ken mistove suggested adobe audition. since then, I’ve actually acquired a copy of audition version 3, that adobe, strangely, is currently offering as a free download – along with early versions of photoshop, elements, acrobat, go live, illustrator, and premiere pro ! so now this very excellent multi-track audio and midi recorder is part of my permanent daw set-up, and I am seriously considering abandoning sonar 8.5 – possibly. we shall see. sonar does have some great bespoke synths, and some fabulous mix plug-ins, too, but I am not sure if I would miss them that much…
there are many reasons I would consider this, for one, adobe audition is the successor to the original audio tool I used when I first “went digital” back in about…1998 ? – cool edit pro. so for one, it’s like getting an old friend back – except, an old friend who has had a serious face lift and restorative surgery. for another – adobe audition has a “healing tool”, which works very, very well for healing and totally removing pops and clicks, without damaging the underlying audio (assuming you are careful and take your time!) but not only that – much to my amazement, the same healing tool can be successfully used to heal distortion – so, my previous restoration project to this one, was recovering a number of tracks that had clipped audio on one of the tracks – again, as with the nine pieces I just restored of addictive synth and animoog synth tracks, saving some good tracks that otherwise would have been lost.
for yet another, audition has true fft style noise reduction, which I love, and I had sorely missed when cool edit disappeared – in fft noise reduction, you take a “sample” of the noise you want to get rid of, then apply a fix based on that sample – it “finds” noise like the sample, and…removes it. brilliant!
I knew audition could heal pops and clicks, because I had used a trial version of it some months back to do just that. but I did not know until very recently that it also can heal clipping – and I found that to be just astonishing. thinking back to the tape recorder days…if you had clipped audio – there was literally nothing you could do, the tracks were ruined, rubbish – there was no fix for clipped audio that I ever heard of – that was that, your tracks were useless, discardable. your ONLY option – reduce the level, record the track over.
not any more, not in the brave new digital world – now, clipping can be removed as easily as the pops and clicks can be removed. I find that to be utterly remarkable. I have already recovered damaged tracks from two sessions, about 17 or 18 tracks in total I think; half pops and clicks, the other half, clipped audio – and next, I am going to look at a session with 20 tracks (as mentioned above) that also have pop and click damage – these are “audio only” tracks made with the animoog, some of them quite beautiful, so I wanted to try and save as many of them as I can.
so far, when I have set out to recover tracks using adobe audition, I have managed to save every single track I attempted to save – I have 100% success rate, for pops, clicks, and clipping. that is also quite remarkable, but, I am fortunate, I’ve been fortunate. it takes a lot of patient work, to sit through and manually remove each click, pop, snap or bit of clipped audio, and in some cases, I had to make perhaps 50 or 60 “auto-heals” to a single track to rid it of all pops. you also have to be very careful with your auto healing, because it can slightly damage audio – but if you are very precise, use the smallest brush size possible for the pop, you usually end up with undamaged audio.
this also means, when I finish the next session, that I will have recovered something like 40 tracks, that in the tape recorder days, would have been written off as unusable, with no hope for repair – tracks that were literally brought back from the dead, as it were.
that is the good news.
the bad news is, it takes a long, long time to repair multiple pops, clicks or clipping; you have to be very patient, you have to be very careful (because it IS possible to damage the underlying audio) so what I do is I check each repaired pop or click by immediately listening back to it, to assure myself there is no audio damage. that really slows down the process, but, avoids any problems with damaged audio.
so for this last session, where I had nine tracks – five addictive synth pieces, and four animoog pieces – I probably spent something like six or seven hours, over a period of perhaps three or four days, working on them. just now – I just played them back on headphones, to listen very, very carefully to the results – and, for all nine tracks, there are absolutely no hints of any pops or clicks, and no sign of any audio damage at all – they are now very near “perfect”, they sound great, clean and tidy, and I cannot believe that a week ago, they were consigned for destruction.
how brilliant is that, really? I think this is one of the true miracles of digital recording, like undo and redo, the ability to repair damaged audio that was previously considered to be utterly unrepairable. that’s astonishing !
younger musicians will probably take this kind of thing for granted, but for older musicians such as myself, who grew up in the era of the “tape recorder” – these tools and processes are nothing short of utterly miraculous. also, as time goes on, and I listen to old recordings made on the teac 3340s four-track recorder, from the late 1980s and early 1990s…well, to be totally honest, I can’t remember, and I cannot fathom how I actually did it, I can’t really understand how I made it work without any digital tools!
miracles were performed, amazing “fixes” and punch-ins that were true feats of audio engineering – all of that bravado and skill, now made redundant, now just about completely unnecessary – because of the powerful tools built into programs like adobe audition.
I would also say, that as a recording tool, it’s very, very slick, I am falling in love with it all over again, as I fell in love with the power of cool edit pro back in the day. it has a lot of great built in tools, including amplitude and frequency analysis, not to mention a lot of really quality built in effects – I am really loving it so far.
I was spoiled, I was using the current version of audition (5.5, I think), on a trial basis, and then switched to this free version 3 – and, it’s maybe not quite as fancy – but functionally – it’s not really that different.
after a few days of using adobe audition version 3 – I am not missing the newest version any more, and I am very happy indeed using this “old” version. it does everything I need, without the slightly over-engineered clutter of a sonar…
digital recording can be very frustrating, it really can, and you can have so many problems with it, that sometimes, you long for the simplicity of that tape recorder. but…not me – I love digital recording, I don’t miss tape recorders, with their fragile tape, and rigid rules – so much can go so wrong, whereas in digital, if you are patient, and your system is stable – much, much goes right.
as far as the famous “digital” vs. “analogue” argument – well, I am all for a good bit of “tape warmth” but for me, the only realm where that matters is guitar amplifiers – they should have valves (tubes) in them, because for guitar, analogue/warm is better! but for the kind of music I play (mostly) quiet, very quiet, and quieter still, the digital realm is a much better one for me, because I can remove hiss, hum, pops, clicks, clipping and anything that gets in the way of the music…and digital does just capture the music, with no added harmonics from “analogue warmth”.
sure, I loved hearing my records on valve (tube) stereos and they did sound cool, and if I could afford one, I would buy one of those retro valve stereo systems that are about nowadays. I would also buy about ten different valve (tube) guitar amplifiers, too, including marshalls, fenders, and vox – not to mention, line 6, roland, pignose, and a few others, too! these require space and money…two commodities always in short supply.
but for recording clean, looped energy bow guitars in a big “reverb” room – digital is the way. if I were doing a lot of really distorted guitar, if I were playing rock or metal music, I would absolutely look to valve (tube) amps, but on the other hand, digital modelling has come a long, long way, and some of the amp “models” I have in some of my guitar applications, rival the real thing for amazing sound. as proof, I offer up my “gone native” album – every guitar sound is either a guitar synth, modelled guitar from the guitar synth, or modelled guitar from my line 6 x3 live – there is not a single “real” recording of a guitar through an amp on the record. and yet, if I didn’t tell you that – if you listened to the entire “gone native” album from start to finish – you would swear you were hearing guitar x through amp y. but – no, it’s all modelled, and if you work with your models, you can get some amazingly realistic guitar sounds.
analogue purists and my old friend, neil young, will disagree with me, but seriously, if you think about it, a recording played back through an analog valve (tube) amp will have a certain waveform, rich in harmonics. the same recording, played back through a solid state, digital system, will have a slightly different waveform, with fewer harmonics, actually representing the recorded sound without any additional colouration (which is what tube amps add to music – harmonics, colour, richness).
but either of those waveforms can be modelled, so the best modellers set up the real amp, with the real microphone, and use real guitars, to get the real, right modelled sound for tube amps. eventually, as modelling technology improves and improves, it will become impossible to distinguish between a “real” recording of a les paul through a marshal, and a “modelled” recording of a les paul through a marshall. I think that in some cases, the modelled sound already matches close enough to fool the ear. as example, I would point to my song “caladan” from “gone native” – this track features classical instrumentation, which augment a dual nylon string classical guitar solo. which when you listen to it – well, that’s what it sounds like. however – every sound in that track, except for the drum track – was made with the remarkable roland gr-55 guitar synthesizer – and to my ears, those “nylon guitars” you hear me playing during “caladan”…SOUND like real, nylon string classical guitars. again – if I had not told you it was a synth – you might never have realised. so modelling has become quite adept at fooling the ear, I believe.
I’d say it’s near impossible to discern the difference now. also, my guitar synth has an amazing “les paul” type sound, which is pretty damn accurate. which saves me a few grand that I don’t have anyway (for that les paul I have never owned, and never will, simply because I can’t afford a les paul!).
don’t get me wrong, I love valve (tube) amplifiers, for guitar, or for stereo – I grew up in the valve (tube) era, and my personal preference will always be a strat plugged into a marshall or a les paul plugged into a vox ac-30 or a fender super reverb (god I miss my super reverb!).
that’s an irresistible sound, it really is. but – technology is really catching up, modelling is getting much, much better, and it’s even got to the point where I’ve done some loud guitar improvs, using patches that involve modelled tube amps – and if you close your eyes and just listen – it’s not that easy to tell that it’s modelled…because even though it’s created digitally, it’s an exact match of the captured waveform of the analogue set up, so to the ears…it sounds like the warm, analogue guitar sound we all dream about.
nearly indiscernible from the real thing already, in a few years, even the most hardened “analogue purists” will be truly put to the test, because they will no longer be able to tell what is “real” analogue warmth as opposed to “modelled” analogue warmth. I already really can’t tell, and as I said, I’ve done some recording using ampkit plus on the ipad, that when you listen to them in headphones, you would swear they were made with a guitar plugged into a tube amp. seriously.
I am personally amazed by the way digital devices of all types mimic “analogue” sounds, even a first generation device like my now-ageing line 6 dl-4 delay pedal – it does some amazing tape echo sounds, and you can even dial in how much analogue “sound” you want for your patch – in fact, most of the best sounds on the DL-4 are modelled after tape echos, valve (tube) echos, and other ancient tech that just sounds good – but in that case, it’s digitally-recreating something that was originally created with some cumbersome and unreliable hardware (tapes and tubes, I am afraid to say!).
I know this first hand, because I used to own a tape-based echoplex – and that thing was a mechanical monstrosity! frankly, it was terrible – sure, it sounded awesome, but it was noisy, unreliable, prone to jamming – it was not the best piece of tech ever imagined. but – line 6, when creating the dl-4, modelled this type of echo unit beautifully – so you get the great analogue echo / delay sound, but in a much, much smaller box that is not nearly as prone to breaking, not nearly as idiosyncratic, as an original echoplex was!
it’s very odd thinking back to using that, it was the first delay device I ever owned, and I can remember playing my guitar through it when I lived in a place called fletcher hills, when I was about 15 years old – in fact, that’s where I met one of my oldest living friends, jim whitaker, a guitarist from whom I learned a lot, we made a lot of recordings together and played quite a few gigs together, too back in the late 1970s.
at that point in time, if you were a guitarist, your main sound-producing tools were:
a guitar amplifier
and that was that. if you were really forward thinking, and wanted to have a huge palette of amazing sounds, you would expand this first like this:
a fuzz box
and then finally, going completely mad here, like this:
so the guitar was…originally a no-name, red, semi-hollow f-hole electric, then, a three-pickup vox bulldog (god I wish I still had that ugly old guitar!) and then finally, a fender jaguar (god I wish I still had that beautiful old guitar!).
with these five items, you were fully prepared as a guitarist. in my case, the wah pedal was a vox clone, made by thomas organ (who bought the vox wah line, I think) and the fuzz box was a very used, very beat up original red arbiter fuzz face that joe norwood very kindly gave me (probably because it sounded horrible) – frankly, I don’t know how jimi got it to sound so, so good (probably something to do with the stacks of marshalls that I never had!) – because I never could. (you can hear this actual fuzz unit on a track I recorded with my best friend, the late ted holding, when we were about 15 or 16 years old, entitled “froggy’s holiday” – an instrumental, and during the song’s chorus, you can hear me clicking the fuzz on for my lead guitar part) – it was a pretty rough sound.
when I compare and contrast this utterly primitive set up, circa 1973, to my current guitar set up – 2013 – exactly forty years on – well, let’s just say, my 15-year old self would not have believed what can now be achieved with live guitar – imagine, such things as guitar synthesizers, looping, ebows, and reverse guitar – most of which, simply did not really exist in 1973, except perhaps in the very most expensive studios. so if I could have seen myself, from age 15, watching my 50-something self do a live loop with a guitar synth, playing oboes, flutes, and clarinets from the guitar fretboard, and recording and layering them live with a magic looping box – I simply would not believe my eyes or ears. that is how far guitar tech has come in forty years.
a sound as incredible and as exotic as reverse guitar, on the other hand, could only be achieved back then, by turning a tape over and playing forward against the running backwards track, and then turning the tape back over – trial and error style. so to have a device like the line 6 dl-4, where with one button push, your guitar is playing backwards, live…that would have been impossible, voodoo guitar magic of the most extreme kind imaginable.
jim whitaker and I would not have believed it – and in fact, I still kinda can’t believe it. I really can’t believe the rich and varied palette of sounds, and sound modifier, that I have to hand – it’s just amazing what technology can achieve now, it really, truly is.
in summation – analogue, tape recorders, and antique guitar gear all have their place, but there is no sin in using the very reliable, very clean world of pristine recording offered by digital recording – and, you can even save your “irreparably damaged” tracks – which I still find to be absolutely astonishing. for that alone, it’s worth paying the price of “the loss of analogue warmth”…which, as time goes by, that “price” diminishes each year, as modelling tech improves year by year.
possibly the most interesting observation I might make though, is that regardless of the state of my own personal guitar set up, or recording set up – is the fact that whether it was my 15-year old self playing guitar through a real tape echoplex, or, my 25-year old self playing through my first digitech rack mount multi-effects unit, the DSP-128, or, my 35-year old self playing guitar through multiple loopers such as the oberheim echoplex pro and the roland rc-50 looper through complex, multiple-path live guitar set-ups, or…my 45 year old self playing through state of the art modern stomp boxes such as the digitech time bender and doing post processing with a quality digital reverb such as breeze…or, my 50-something-year old self, playing through eventide space, the top of the line reverb available in a stomp box – no matter which of these “dave staffords” was playing through “what guitar rig” into “what tape recorder” or “what sound card”…the main thing is, I always, always, am totally immersed in the experience – I love playing the guitar.
and that is something that time, nor technology, will ever change…if I went back to guitar, amp and wah pedal now – I would make the best of it, I would have a go at “the burning of the midnight lamp” or “voodoo child (slight return)” or “white room” – all songs I’ve played over time – or something where the wah pedal would “work” as the sole effect.
why not – it sounded good then, it will still sound good now – which just goes to show, it’s not really the tools you have, it’s how you use them, that truly counts.
something that eno said has really stuck with me over the years, he was talking about synthesizers and how they give you too many choices, too many sounds (and I agree with that view, actually) and he was talking about the yamaha dx-7, and how in his opinion, it had a very small handful of really, really good sounds that it made, and the rest were dispensable. he would rather just use that one good sound, the one really good sound, than switch between 10, or 100, bad sounds. I call this “the eno principle”, and each time I assess my collection of sound-producing devices, I make a conscious effort to PARE DOWN to only the sounds that are the best – and not use the others. it’s hard work, but you should stick with what sounds good – and avoid presets or patches that don’t totally en-thrall you. too much choice is sometimes not so good…
eno noticed then, that some devices did one thing particularly well, so he would just use that device for that one purpose, rather than any of it’s other possible uses – use it for what it does best. and that makes sense to me.
so over the years, whenever I get a new instrument or effect, I always try to identify the handful of sounds it makes or processes that are truly, truly amazing or beautiful – and I then pretty much only use those sounds. I used to use the dx-7 in performance with bindlestiff, and it had about 8 sounds that I really loved, so in every gig, when I played the synth, those were the 8 sounds I would use. the other hundred odd sounds – rarely were used or heard.
In the same way today, in the studio, if an instrument or effect has a truly, truly beautiful sound – then I use it, and I use it repeatedly – because it’s good!
one current example of that is the line 6 dl-4 delay – I have more than one delay, and since I have the digitech time bender delay which is smaller, more compact, more modern, and more capable – I’ve decided to let the dl-4 do what it does best – reverse guitar.
so – the dl-4 stompbox is now on one of the ancillary “lines” going to one of the mixers, and it’s set to reverse guitar – so when I switch to that line, I get – instant reverse guitar – it’s always there, it always sounds beautiful – and I don’t have to then spend time calling that sound up on the time bender, or on any of the other devices I have that might also produce it. so I’ve taken the dl-4, picked one of the very best sounds it makes, and dedicated it to making just that beautiful, reverse guitar sound…why not?
so these great sounding patches or effects become the unique musical language that defines you, certain “set-ups” become “your sound”, and in my case, an ebow guitar (preferably a guitar with humbucking pickups), with the tone control on the guitar turned off, into a clean, reverb room, looping with the roland rc-50 looper (or any looper) – is very much a “dave stafford” sound. that simple, simple “set-up”, is basically what I used to make the entire album “the haunting” – simplicity itself – clean, clear reverbed guitar, energy bow guitar.
as another example, the roland gr-55 guitar synthesizers’s “go to” sound is absolutely, without a doubt, “rich strings” – which I return to again and again, because it sounds really good, and, it works really well in loops – so it’s a perfect candidate to become a standard “dave stafford” sound…again, why not?
of course, I do use “other sounds”, and I do look at, work on, and conjure up lots of new sounds to try out – always. and occasionally, I hit upon one, a combination of guitar synth, guitar, and effects, perhaps, that I really, really like the sound of – so I remember that one, so I can use it again.
this current world of digital recording, the digital here and now…to that starry-eyed 15-year old jimi hendrix wannabe, would have been an impossible, unbelievable world – not real, not possible, totally unbelievable. yet, that same boy is still here, and that imaginary digital world, where backwards guitars were magic, has turned out to be true – but I still can’t believe the sounds that can come out of an electric guitar – it’s absolutely unbelievable.
I’m sat here listening to some eventide space demos that I recorded in december, and a piece entitled “nature’s wrath” has come on – and it’s simply, the weirdest, most shocking, craziest guitar tone I have ever heard in my entire life. it is a reverb with a large component of very warped time and a lot of distortion – an amazing sound.
I think it’s one of vernon reid’s “artist presets” but whatever it is, when you manipulate the expression pedal as you play, the stereo sonic smack effect is unbelievable – it’s based on the reverb model “mangleverb” so that gives you a hint, and distortion is a major component in the reverb sound – to me, it’s just astonishing that such a patch can even exist. playing through it – well, that’s an experience once again…and, an experience that the 15-year old dave stafford could not have even imagined. but here he is, somehow, in 2013, travelled forward in time – playing that sound, making the magic sounds that he would have once thought to be completely…impossible!
so – forty years – from analogue to digital – from real instruments to ipad applications – from primitive to modern – it’s been a long and interesting journey, and I cannot wait to see, and more importantly, hear, where the next ten, twenty, thiry years of technological advances will take we musicians…but wherever it is, I want to go !!!
I cannot wait.
first of all, I am using a different tool for the final mixes, a tool I’ve used before, but now, I am sure that I will eventually invest in, instead of trialling it, and that is adobe audition 5.5.
when cool edit pro disappeared way back when, i’d heard vaguely that it had been taken over by adobe, and that’s welcome news, but I didn’t really mean to wait ten years to check out what adobe had done with the cool edit pro code…but basically, that’s what happened. I’ve been “making do” with other audio tools in the interim, sonar, sony sound forge, t-racks 3, and so on – so imagine my astonishment then, at seeing just how very far the original excellent ideas that cool edit pro espoused, have been carried through, brought up to date, and even into the future, by adobe with audition.
for audio – this is just heaven. for the first time since the cool edit pro days, I can do noise reduction properly – fft style! – by taking a sample of the noise I want rid of, and then applying that to the track or section I want to clean. there were some strange residual artefacts in some silences in take 9, the take I’m currently working on – and audition’s fft-style noise reduction cleaned them perfectly.
then there is the amazingly efficient pop removal tool, the “auto healing” brush. I’ve tried a lot of different methods of removing pops and clicks over the years – and this one actually works. it takes a bit of practice, but if you are careful, you can totally remove every pop and click without any damage to the actual music. it’s a visual system, and it works really, really well.
for just those two practical, sensible tools, I am already sold, but then last night, I was trialling many, many echoes, delays and reverbs in the tool – and for built in effects, they are just outstanding. I’d also already had a really positive experience using audition during the final mastering of “gone native” – using it to measure the effective levels, using the really sophisticated and most excellent analysis tools, so I could gauge the best levels for the tracks on the record – that was an invaluable help at the time.
not to mention, multiple levels of selectable undo – listed right there for you to choose from. brilliant!
I still have a couple of sessions that have disastrous pops in them, which I never had time to cleanse when I had the trial of audition earlier this year, so for me, just for the effective pop removal tool, it’s a no-brainer. but it’s also a great, great tool for editing audio, making mp3s, etc. – it pretty much does it all.
this is the first time in a long time that I’ve mixed something outside of sonar, and I wasn’t really missing anything, sonar does have some nice plug ins, but from what I understand, audition supports vst as well, so I am going to be trying out breeze and my mellotron and so on to see how audition does with them – watch this space.
I could also switch to a hybrid scenario, where I record in sonar, apply any plug-ins or reverbs I need, deal with any midi tracks, and once I have a decent sub-mix, send it to audition (which I can actually, probably, just call from sonar – so no need to export!) for final touches.
I got excellent results, and in fact, I ended up doing two additional mixes of take 9, to test out the effect of different delays and levels of reverb on the track, and in listening to the mixes today, it’s done a great job – I am particularly pleased with how well the fft style noise reduction cleaned up those strange noises in the silences, that is fabulous, that was something I loved about cool edit pro, and in fact, back in the day, most of what I was doing was converting master reel to reel tapes of either dave stafford solo albums, or bindlestiff/band albums, to digital, the very first thing I would have to do would be take noise samples (I ended up with a big library of fft files by the time I was done!) and noise reduce the entire master just to get rid of all the hiss and noise from the tape…and it worked beautifully.
so to finally have that tool back, configured the way I prefer (even better, now) is invaluable to me, and, with all the unfortunate popping that I’ve been cursed with this year in particular, on sessions that are very important to me, I am equally enamoured of the most excellent pop removal tool – I love it – I am absolutely loving adobe audition.
this will probably also mean that I don’t need to use sound forge any more, because from what I can tell, audition is superior in almost every department – including specialised, extensive analysis tools, another huge plus in my book. I also love the little “instant level” adjuster, a tiny digital potentiometer that hovers in every track, and you can instantly raise or lower the level in db for any section or the whole piece on the fly – a little too quiet? tweak the pot, and it ups the level, and saves the file – all without bothering you. that’s a brilliant idea, leaving me free to get on with the work – no dialogue necessary for this most basic of functions! excellent.
anyway, the track I’m working with had quite a few challenges, I feel it’s an interesting track, it’s certainly imperfect, as improvs often are, so I used the tools in audition to try and improve the parts of the song that I felt were not 100% up to scratch, and mostly, what I’ve done has really, really helped the track a lot.
I had originally intended only to release one improv from this session, take 10, which is now retitled “extreme gradient” but I went back and listened to the entire session, and the somewhat raw take 9 – which has now been retitled “provide the spark” – leapt out at me as being a strong contender – because of a unique and bizarre accidental “introduction”.
a fragment of a loop got caught in the looper, so this was a short sound, with a gap in between it, a short duration event in a short loop. it was playing along, so I just let it play, and instead of clearing the loop and starting the take, for some strange reason (none of the other 17 takes have this intro) I decided to just overdub this running loop, and then launch into the song proper.
so as this short sound was repeating, I started inserting short bursts of guitar synth, two notes, one note, on top of it, in successive iterations, and very quickly built up a strange, strange “mini-loop”, with a gap in between, that continued to repeat right up until the point, about a minute and a half or so into the piece, where I then started to play the main improv I was working on that day.
at first I thought, this is just too strange, I am not sure I can actually use this for a video, but as time went by, I “got used” to this strange introduction, so I decided to work up the track in a mix and see what I could do with it. one aspect of the loop was that it went on a few bars longer than I would have wanted, so to try and add some variety, I used audition to add in a nice delay about half way through the iterations, and then a more extreme delay towards the end – I took a preset delay called “delicate whispering” and altered it to fit the time signature of the piece, eventually (after many attempts) getting the right delay sound – not too overbearing, but enough to differentiate the final iterations of the loop from the first ones – and I think I have succeeded.
as often happens with loops, they can sometimes grow too loud too quickly, so again, I was able to “grab” sets of iterations, and selectively lower their levels (by grabbing in the gaps around them) so that the whole level of the looped section became more even.
the final tweak came at the end of the song, where I originally meant to have a sort of xtc/”great fire” gradual move from dry to reverbed, but in the end, while I did do a variation of that, I actually reverbed different sections of the final guitar solo with different levels of reverb, which had the desired effect – again, trying to instill some variance in this section of the song, and sometimes a bit of reverb is just the thing.
so there is very dry guitar, very dry guitar synth, and then very wet guitar, and very wet guitar synth – lots of variations – which you kind of need on a track where basically, I am playing a lead solo throughout the track – without variations, without a bit of delay and reverb to break things up, it would have sounded like a four minute fifteen second guitar solo – prefaced by a long, strange loop. (of course, that is what it really is, but hey!) – I think I have altered it just enough to make it interesting, and improved it’s user-friendliness a hundredfold in the process…and that’s all thanks to audition, and a bit of creative thinking – and, the tool is so intuitive, so easy to use – of course, probably since it’s the descendent of cool edit pro, I still recognise it’s functions, but it’s so completely different from cool edit pro that actually, it’s almost unrecognisable as ever having anything to do with cool edit pro – stripped down, rebuilt from the ground up – as with many adobe products – this one oozes pure class.
having said all this, I still have a third option with this strange loop – to release the untreated version. my main motivation for working on the alternate mixes of “provide the spark” was more about learning more about audition and what it can do, and I had a great time trialling various excellent echoes, delays, and reverbs – I had a blast, and it even boasts successive equalisation of repeats in some of the more complex echoes, delays and reverbs, not to mention – of course – 5.1 reverbs, which can be customised for the 5.1 environment! I’ve never seen a 5.1 reverb until last night – wow!
so in listening this morning, I am comparing my original “dry” mix, which uses only the effects present in the live/looped performance (which were considerable, by the way), to two different alternate versions that had been noise reduced, levels adjusted, delays and reverbs added, and trying to decide what makes the most sense for the video.
after listening to all three mixes a few times this morning, my view so far is this: it’s between the original untouched mix, and the second delay/reverb mix – the first delay/reverb mix has too heavy a delay on the last section of the loop.
I think in the end, I may start again with the untouched loop, and do just the noise reductions, and the level adjustments on the loop – and some very careful reverbs at the end – and see where that gets me. if still not satisfied, I will then approach some kind of delay on the last parts of the loop, similar to the on in “version 3” that I am favouring at the moment.
I believe what this means is that, after two nights of work, that I am still not happy, and I want to take more time and see if I can get a “best of all worlds” mix – addressing the needs of the loop, and of the main track, effectively. I am getting close, and these rough mixes are certainly helping me gauge what else I might need to try…
luckily, I now have a great tool on hand to mix with, well, I actually have several great tools, and that’s the beauty of having daw, you have lots of options – within sonar itself, I have so many mix options, so many plug ins, it’s not funny, and then on top of that, I have several external tools, of which audition is just one, to aid in getting the best sound possible…so I feel totally spoiled for choice. I also have the t-racks system, which I have yet to explore…
audition is a definite new year purchase, meanwhile, I plan to use my current trial version for another few weeks to clean up some sessions that have been patiently waiting for me to do just that – in particular, a really good session with the ipad from april 7, 2012, demonstrating the amazing power of some of the synthesizer apps, ended up with a lot of pops due to a usb conflict, so I had to shelve several really promising tracks that should have been made into videos for the applicationhd channel – well, hopefully, if I can clean them up, they now eventually, better late than never, will be. I really want to get those tracks out there as they are really remarkable, albeit currently spoiled by many, many pops. (note: in the interim, all of these tracks have been cleaned up and are now pop-less, and are ready to be released!).
this and another session (at least – probably more sessions that I don’t know about yet, as my backlog is still quite extensive at this point in time) are plagued by pops and clicks, and I am sure that here and there there will also be other clicks and pops, and if I end up buying audition, then I need never worry about that again – I have the perfect tool to sort those out (not to mention, I can use it on the audio from old tapes of every description, even vinyl noise – I can clean up anything with this suite of tools).
once I get back into digitizing tapes (a room full of cassettes and tapes awaits me, as always) that fft style noise reduction will also give me great value, so I can reduce noise and remove clicks and pops…
the current version of audition is pricey, yes, but to my mind, it’s worth it for the time and trouble it will save in cleaning up “difficult audio”.
and I seem to have rather a lot of that about the place.
while I certainly have no lack of music to work on, I will say, it’s remarkable to have such a capable and diverse tool set with which to restore and improve audio. I am loving audition – in any of it’s versions, right back to it’s genesis as cool edit pro 🙂
well, there is a lot going on in the world of making music – I’ve been speaking with john orsi again about the new album, and we are in agreement that we are going to approach this project without any preconceptions whatsoever, so basically, wherever the music leads us – we will go. I am very excited about this project, and one of the reasons I wanted to “clear the decks” and do the equipment re-route/re-build is that I wanted to make available the best sounds, the most beautiful sounds, the most intense sounds – so that when we begin recording, I have the fullest and best palette possible with which to “paint”.
of course, the one problem we both have right now is time – it’s so difficult to find time to work on the many, many projects that we each have committed to individually, so we, and you, are going to have to be patient – this album will get made – it just might take some considerable time. to me though, that’s possibly better, I would rather we take our time and produce a work of real quality, wait for the best and most wonderful music to appear, than to try to rush things in anyway. so – preparations continue, ideas are shared – and, in time, music will arrive. I am really looking forward to this project!
bryan helm and I are still assessing the rough mixes of the new album, I am not quite sure when I am going to find the time to sit down and mix the album, but I am very, very excited about the prospect of doing so. I think this album has taken us both somewhat by surprise, because it’s so absolutely not like any record we’ve ever made before, it is, however, supremely ambient, but with a couple of pieces that are very, very dark, and would be quite dissonant nominally – except for some reason, when you hear them in the context of the other pieces, the entire work feels very, very ambient indeed.
so bryan is listening to his cd of the rough mixes, and I am listening to my MP3s of the rough mixes, and I am thinking “how on earth am I going to mix this delicate, fragile, powerful, smooth, dark, ambient piece of music”? – but, I know it will be worthwhile, because this music pretty much recorded itself, always a good sign when things go that well in the recording stage, so I hope that will make the mixes straightforward.
the unusual thing about the helm/stafford project, is that once I start listening to the rough mix, I just…lose track, I forget the music is on, I forget what track it’s at, it’s just one, dark, long, ambient piece of loveliness. I find my mind wandering, and if you ask me, that’s exactly what you want ambient music to do – make you “switch off”, make you dream, make you lose track of time, not be conscious of what you are hearing – letting the music become “of the atmosphere”…ambient. this album does this in a way that very, very few albums I’ve heard can do – so I am indeed anxious and excited to get on with the mixes and hear it in it’s final state.
and finally, back to the solo work – since I now have a proper “piano”, I took some time a few days ago to sit down and play – and sing – on a few different occasions. in one instance, I wrote a fragment of a normal “song” – four lines of lyric, with music – and recorded it, including a vocal harmony. so that is a…chorus without verses, a standalone chorus that has no related song. I don’t know what possessed me, but I just wanted to see if I could write a song fragment I guess…and a fragment is what I have!
I have no idea if it’s just an idea for a song, or if I can use it later, or if it’s just a one-off experiment. I can tell you though, after not having done so for so, so long, laying down vocal harmony is a very enjoyable process. I think I missed that! it was a lot of fun, tweaking the harmony to fit this off-the-cuff vocal – but, my standalone chorus sounds ok. someday, maybe, I can build a song around it.
that was one session, in another, longer session, I sat down to see if I could play a piano piece that I used to play all the time, it’s a track from the tenth peter hammill album entitled “flying blind” – which is kind of appropriate, I am just easing back into the idea of sitting down, playing the piano, and singing live – it’s a very odd sensation. your piano playing has to go onto “autopilot” if your vocal is to succeed. and I found that sometimes, I could successfully set it to “autopilot” and get away with it. other times, I would become conscious or even ultraconcious of what I was playing on the piano, which would cause me to falter.
but I did work through many, many takes, really, just to practice the piece – it’s a song that I hold very dear, I’m very comfortable with it because it is well within my vocal range, so I can sing it with a fair degree of confidence, I think I am more concerned with the piano part – while I have the piece memories, long-ago memorised, there are still moments in it where I feel I could play much, much better, or where I could dare a quick arpeggio and so on – I play it slightly differently each time.
I am really looking forward to going back to these takes, I am not quite sure how many there are – 8, or perhaps, 10 at the most – but I think that some of them may have merit. I could be wrong, but I seem to remember one or two of the first few seeming “ok” to me, so, we shall see.
what I can say prior to hearing the playback is just how much I enjoyed the unfamiliar yet utterly unfamiliar act of sitting down in front of an 88-key grand piano (including a “choir” voice captured on a separate track, so I can mix grand piano and choir at will in the finished tracks), and playing and singing the music that I grew up with, the music that I love and respect and enjoy, and now that I have this set up again, I am fully intending to see just how much of my previous repertoire I can recover.
not forgetting, of course, that many years have passed, so my vocal range will have dropped nearly an octave during that time, so some songs, I will not be able to sing – or will require compromise in their vocal arrangement – which may or may not be suitable for performance. but since I have embarked on a live performance series with the guitar synth on the pureambientHD, I am thinking that I can also embark on a live performance series of piano / vocal covers and perhaps even some of my own “songs” – an area that I’ve barely touched on these past…30 years or so 🙂
so it was with great joy that I sat down, counted down, and began…”I always forget, how crazy things are…so sometimes it catches me off my guard – when they make sense”.
…and it did make sense! I worked so, so hard learning this repertoire of piano and vocal works: peter hammill, van der graaf generator (most especially those two), todd rundgren / utopia, steely dan, daryl hall, george harrison, roxy music, split enz, king crimson – a lot of prog, but don’t forget, prog is really just a way to arrange a song, and many of the very best prog songs actually are centred around a piece of piano (or organ) music with a vocal – the other instruments just support this core “song”.
that was often true, for example, of genesis songs, tony’s part was the central piece to which peter had put a vocal melody, and the others added in their bits to support that piano part, it was very, very often the case with van der graaf generator songs – each one starting out life (probably) as a peter hammill piano and voice, with the band again, adding in their parts to support the original piano driven piece…of course, in other bands, where there was no pianist, the songs were written instead on guitar, king crimson being one example of that – however, some crimson songs – for example, “islands” or “exiles”, actually lend themselves very, very well to being performed as solo piano and voice pieces – despite the band itself being guitar-driven.
in all of these cases, it’s the song that matters, it’s all about that core song – so I always took delight in seeing if I could “extract” that original piano and voice song from more complex prog arrangements. I spent hours learning pieces like “islands” on the piano (and emulating keith tippett is bloody difficult, I can tell you that much for free!) and I’d love to see if I can re-learn a piece like that well enough to perform it. I am hopeful, but it will take time and hard work to re-learn some of these pieces, which were not easy then, and will be even more challenging given the ravages of time to my hands and voice.
so, another “piano and voice” practice session earlier today: this time, four different peter hammill songs, two solo pieces and two from the van der graaf generator; the solo tracks, “flying blind” and “vision”, went passably well although no amazing takes were captured – just reference takes really, to see where I stand with the pieces. the two van der graaf pieces fared less well, while I can actually play both of them through, I was unable to capture a full take of either piece – “still life” and “man-erg” – two tracks that I used to play a lot in about…1978, 1979, 1980, and not particularly simple to play even then – so I am struggling a bit with those two. but, this is why they call it “practice”…it needs to be done, to see if I can play these pieces well enough to record them. in the case of the first two – the answer coming back is “absolutely yes” in the case of the van der graaf pieces, the answer is less sure – the vocals are much more difficult, the piano pieces are much more difficult, but, I’d love to get a decent recording made of either. I shall persevere…
so why now, over 30 years later, do I want to play and sing these songs? well…I worked very, very hard back then, in the 70s and the 80s, to pick out, mostly by ear – particularly with the peter hammill and van der graaf songs, because no one I knew had bothered to learn their material – and then learn these songs, so it would be a shame to let that effort go to waste since in the main, they were never recorded, or recorded with very poor equipment. I still have all my old song sheets, handwritten, typed up, and even later, on computer, so there is really nothing stopping me – save, the availability of time – from sitting down and re-learning any of the many, many pieces I used to play, and, learning “new” ones. for me – it’s pure pleasure, playing and singing the music I love – and, I’ve not had much chance to do that, and to celebrate the beauty and joy within these songs, so I feel that now that I actually can, that…now is the time!
besides these “practice” sessions though I have had a real success in another area: applications-based music; where I have completed a backing track (although it could easily stand along as a finished composition) – this is a piece intended to have an e-bow solo flown in on top of it, but otherwise, it’s complete, it entitled “alien – or sutin” and it features sequenced drums; stereo bass synthesizers, two ambient synthesizer parts, one melodic “lead” synthesizer, and a rhythmic/melodic middle section created with a really beautiful arpeggiated voice. I did a rough mix of it on the ipad, and then exported both the individual wav files as well as each mixer track, so I can reassemble it in sonar in seconds – add in the live guitars, and I will be done.
I could have overdubbed the ebow on the ipad using my irig, but I’m not really convinced yet that this is the way to record guitars (although I have!) – they sound OK, but not as good as doing them in sonar – and plus, moving to the sonar environment gives me a lot of effects, the breeze reverb, and other tools I will need for the final mix.
this actually then means that I have two app-based songs near completion that need just an ebow or two, or some other overdub to finalise them – this just-completed track plus an earlier piece done a few weeks ago. both have had their component parts exported to my laptop using the absolutely brilliant nanosync app – none of this “itunes transfer” nonsense with nanostudio! – and I am ready to overdub…
meanwhile, I’ve begun working with an absolutely beautiful app called “itabla pro” that I am enjoying far more than should be allowed by law, the designer of this has done a brilliant job on this app – it does so, so much more than just a “tabla player” – it’s a complete education in indian rhythm. the sound quality is superb, you get tabla, two drones (tanpura), and two other percussive instruments (swar mandel and manjira) – all highly configurable, not to mention a massive, well-documented library of preset beats (and their correct, attendent drones and percussion!), including all the taal names and explanations of each rhythm. this is the kind of tool I wish had existed back in the 70s when I first started listening to indian music, but, better late than never – and now, to my delight, I can use it learn, understand and count out odd rhythms like 5 and a half, or ten, and so on for the first time in my life, because I can hear, see and truly understand these amazing 3000 year old oral tradition designed rhythmic patterns. astonishing!
so I am hoping, once I get a handle of what the best way to record and use it is, to incorporate this tool in some of my pieces, since I’ve always wished I could work with a tabla player – well, now I have one, on call, that can play any beat, in any rhythm – and including controls for “variations” of some of the beats, so you can play them back in two or three different playing styles (a different selection of styles for each taal) – amazing! I am absolutely in love with this app, I got it for my birthday, and I can’t stop playing with it. sometimes i just turn it on so I can listen to the tanpuras – the drones – which have a high degree of flexibility, you can have one or two running, you can select the base note of each, but you can also select special notes or even micro tune the notes for effect – another remarkable programming feature.
the only fault I find with it is no built in recorder, although you can get audio out of either the headphone jack (not recommended) or via the camera connection kit (best) – but the designer assures me that eventually, he will add in recording capability.
so many, many tools for making music…so little time 🙂