studio diary 20170705

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

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and also, completing incomplete tracks and then offloading them, and then, making sure I have final mixes of all unpublished tracks…so that finally, I can master them and upload them.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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

 

 

peace and love

 

dave 🙂

 

 

 

 

 

 

 

 

 

 

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

and now for something completely different.

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

 

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