universe of sound (the komplete world)

after forty-odd years in the music business, we decided at the start of this new year, that we would acquire a software suite called komplete 9 ultimate for use at the pureambient studio. the software comes from a remarkable german company called “native instruments”, who are truly the masters of sampling technology – and a few other things, too –

 

KOMPLETE 9 ULTIMATE – OVERVIEW & PRE-APOLOGY

 

this acquisition was intended to fill a few glaring omissions in our capabilities, such as proper strings, horns, basses, percussion, and so on, as well as providing the main elements for extending the classical music that we began releasing last year on the eternal album “classical”. this tool will allow for a speedier construction of classical pieces, rather than relying on the more piecemeal approach used on my first piece of classical music, “concerto no. 1 in e minor for oboe and guitar” – which was constructed almost line by line, using nothing but a guitar synthesizer.

 

as well as supporting classical music over the coming years, komplete 9 ultimate is also a natural for, and is eminently suited for, the production of music for films, which is another area that we hope to expand into over the coming years. this acquisition also bolsters the worlds of ambient music, as well as pop, rock, funk, jazz, and countless others – it’s hugely supporting in all genres, especially ambient.

 

we’ve only been using it for a short while, but already, we can see the enormous potential that this software suite has for adding quality sounds to the pieces that we create here.   and, it’s infinitely expandable, too, native instruments have purchased third party sound libraries and bundled them into komplete 9 ultimate, but you can also purchase other third party programs which you can play using komplete 9 ultimate “kontakt” sample player. so we will also be looking to acquire some of the best ambient libraries, which will also greatly expand our capability.

 

before I speak more specifically about what komplete 9 ultimate can do musically, I’d like to apologise to all early adopters and those who own komplete 9 ultimate or “kontakt” or both, I freely admit I am an absolute novice, I’ve been studying the suite in detail, learning the processes, slowly, over the past few weeks, and I do have a basic understanding in principle for most of what can be done with komplete 9 ultimate.   forgive me in advance if I say anything that shows just what a rookie I am at this, or I otherwise put my foot in my mouth – learning something like this can be a somewhat slow and painful process, even more painful when you are no longer young as I am. and – komplete 9 ultimate users – feel free to jump in and correct me, or offer advice or expand on anything I mention here – we are all of us learning at all times…and it’s best to share such knowledge freely.

 

my friend and collaborator ken mistove, my partner in saffron matted voids (the band), is a long time “komplete” user (I am talking about really long time – ten years! – and he has been doing electronic / digital music for longer still), and he warned me that I would be overwhelmed by this program – and, he could not have been more correct. in fact, weeks after it’s arrival, I continue to find more and more incredibly well-thought-out functionality, as well as becoming familiar with the synthesizers and the sample content. and it is almost totally overwhelming – it seems, almost, as if there is nothing this device cannot do…everywhere I turn, everywhere I look, I find something else that makes my jaw drop…

 

 

 

KOMPLETE 9 ULTIMATE – THOSE AMAZING SYNTHESIZERS

 

[ULTIMATE INDEED!]

 

 

so – where do I begin?   well, when it came down to it, even though I was incredibly excited about the sample library, and the sample player (which allows multiple instances of many, many instruments in one session – I had fourteen instruments loaded into a session yesterday, and the software coped beautifully) – it was the synthesizers that I gravitated to initially – because, perhaps, I knew they would be easy to set up and use – familiar. before we purchased komplete 9 ultimate, I had read in detail about the synths, so I couldn’t wait to hear them in person – and I was right about the ease of set up and ease of use: within seconds, I was up and running with “absynth”, a personal favourite synth that seems to favour ambient and atmospheric sounds.

 

but “absynth” is a drop in the bucket, a handful of stars in this incredible universe of sound, and while it features hundreds and hundreds of truly beautiful preset sounds, it’s just one of nine synthesizer models built into komplete. the entire list of available synths looks like this:

 

  • absynth
  • fm8
  • massive
  • monark
  • razor
  • skanner xt
  • reaktor (modular synth system – containing many synths)
  • reaktor prism
  • reaktor spark
  • retro machines (which contains no less than 20 classic synthesizer instruments within)

 

so far, I’ve only truly managed to hear and use five of these synths, absynth, fm8, massive, reaktor prism, and retro machines, but even so, I’ve been utterly impressed with the build quality and the amazing attention to detail – this is precision german engineering like we used to have back in the 60s and 70s!

 

I have created a few test pieces in absynth (consequentially falling in love with it); I created an entire suite of 23 pieces using the fm8 synthesizer dave stafford – music for pcs: komplete synths”, I’ve created one very complex ambient piece (which is incredibly atmospheric) using massive “wanders down to the sea”, and for fun, I’ve played some of the classic organs, electric pianos, etc. in “retro machines” – “synths within a synth” which is a strange way of working, but I am getting used to it 🙂

 

in every case, the attention to detail, and the extremely fine level of control over sound in every one of these synths, has been overwhelming and most, most welcome. I have a lot of soft synths, but this collection of nine software synths kind of…blows away the competition, and as my friend ken mistove also said: “you will never need to buy another instrument” – and I can already see the truth in that.

 

while I might not “need” to, of course, there will still be some cases where I will “want” to – I am especially interested in some of the available third party ambient sample libraries, but that will have to wait – in the meantime, I have an awful lot to learn and trial just with the komplete 9 ultimate package itself.

 

after my initial very positive experience of playing and using “absynth”, I moved on to “massive”, and I decided to lay out and record a track using four instances of “massive”, each set to a different sound – and I then did a somewhat clever arrangement where I muted sections of each track, to allow other parts to shine through, creating a sort of ever-changing mood – a dark mood, with the sound of wind and seagulls crying and a vision of a bleak, grey storm-tossed day – again, I was amazed at how quickly and easily I could set up four instances in my host (my somewhat antiquated SONAR 8.5) and it coped beautifully – no problem.

 

I also created a short ambient piece within “reaktor”, using the “reaktor prism” synth; a portion of this track remains, entitled “fragment of a lonely molecule” – a truly beautiful sounding synth, which I plan to revisit often and use much, much more…

 

encouraged by the success of “wanders down to the sea” in “massive”, I then turned my attention to “fm8”, in which I created a whole series of tracks (“the rings of saturn”) from “dave stafford – music for pcs: komplete synths”, as well as some arranged “suites” where I took a set of smaller files and mixed them into long, linear sequences – providing a blended view of the basic tracks, as opposed to the individual view of each piece.

 

a few hours later, I realised I had created no less than 23 tracks using “fm8”, and I am so enamoured of this synth, it has a lot of great, visceral sounds, and a lot of charming, melodic, or dissonant, or strangely jazzy, arpeggiators, and the sheer range of voices available within fm8 is mind-boggling. It was a fun session, and as such, I made the decision to create two eternal albums for komplete: one for “komplete synths” (LINK) and one for komplete samples (LINK).   These have both been up and running for a couple of months now, and while the “komplete synths” album has a reasonable number of tracks, I’ve been very slow to create using the “samples” – but, I will get there, I will – I just need time! 🙂

 

the 23 tracks made with “fm8” and the one piece made with “massive” “wanders down to the sea”, are all uploaded to the “dave stafford – music for pcs: komplete synths” eternal album. I plan on working with each of the synths in turn, and uploading the results, so you can hear what each one of these remarkable sound creation tools can do. If I have my way, by the end of this year, the “komplete synths” eternal album, will have dozens of tracks made with a myriad number of available synths – and I hope I can just keep creating and creating – those are 9 amazing synths, each a master of the domain it covers, and I can’t wait to create more music with all of them – the synthesizers built-in to komplete 9 ultimate are absolutely brilliant!

 

THE HIDDEN GEM WITHIN KOMPLETE 9 ULTIMATE – GUITAR RIG 5

before I continue on to the samples section, I must not forget to mention one of the biggest selling points of komplete 9 ultimate, for me, which is the presence of “guitar rig 5 pro” – I had been underwhelmed by an earlier version of guitar rig, which I got bundled with SONAR, “guitar rig 3”, so I’ve now uninstalled that and I am using “guitar rig 5 pro” instead.

 

what a difference. the preset library is vastly improved, and the range of effects, and the flexibility provided in setting them up in the rack, are simply astonishing – to me, this is one of the most important pieces of guitar software to come along. so after working with the synths, purely for fun, I recorded a handful of pieces using “guitar rig 5 pro” – and I am more than impressed with the sound quality and the presets – it’s an awesome and powerful guitar amp and speaker cabinet emulator, and it has a huge range of high quality guitar effects as well. a couple of these pieces may see the light of day, but they were mostly for reference, and just a way of trialling certain patches and sounds.

 

this is now to the point, since “guitar rig 5 pro” is clearly superior to many guitar processing devices in both the hardware AND the software arena – I am at the point, where I can now happily retire my ailing “line 6 x3 live” hardware pedalboard guitar effects processor, which is now basically redundant (it has served me very well since 2008, but it’s now time to be retired at long last).

 

because I can pretty much re-create every sound in the line 6 using “guitar rig 5 pro” instead, and more – so that’s actually a blessing – no more effects on the floor (although I will always have my faithful “output chain” of hardware effects, harmonizer, delay, reverb at the end of my signal chain) I believe I will now use “guitar rig 5” for most of my guitar sounds, and anything it can’t handle, I can program into my gr-55 guitar synth – so guitars, and guitar signal processing – are covered! and I mean…covered.

 

it’s always very difficult, because over time, you have various tools that you use to record guitar or synths with, and eventually, better tools come along. and, you can run both old and new, that’s not an issue, if you want to – but my preference is to keep effects units down to a dull roar – so I am going to TRY to retire the line 6 x3 live – I mean, it is six years old, which in dog years, is, I don’t know, 70 years or something – and technology has moved along SO FAR since the X3 Live was designed…

 

so for the first week of my fledgling native instruments life, I learned about the synthesizers and I learned how to run “guitar rig 5 pro” – and that was a huge amount to learn, but, I have the basics down, and I can rely on both the set of nine included synthesizers (plus 20 more vintage instruments within “retro machines mk II”) and the extremely impressive “guitar rig 5 pro” interface. I could have gone on working with the synths and guitar rig for weeks and weeks, but I wanted then to shift gears and look at the sampling capabilities of “komplete”.

 

SAMPLING – THE HEART AND SOUL OF KOMPLETE ULTRA

[REAL INSTRUMENT SOUNDS – AT LAST!]

 

the list of sample-based instruments is even more impressive than the list of synthesizers:

 

  • kontakt – the main user interface / sample player for all sampled instruments:

 

kontakt is a very powerful environment, that allows you to load multiple instruments (built by native instruments, and many other vendors as well), which can then be routed either each to their own output (for maximum recording flexibility) or they can be routed to various stereo or mono sub-mixes – really, whatever your heart desires. you can save overall “presets” in kontakt itself, so if you hit upon a winning combination, say, “abbey road drums 1960s” and “scar-bee rickenbacker bass” and “guitar rig 5” you can save that configuration, including whatever output configurations you have, as well as the specific settings of each device – to a kontakt “preset” – for easy recall / re-use..

 

another positive aspect of the kontakt sample player is it’s ability to play not just native instrument plug-in instruments, but also, instruments made by third party vendors such as soniccouture, waves, scar-bee, g-force, and many, many others.

 

each instrument that is loaded into your kontakt session, also has a page for it’s settings, where you can choose instrument presets, adjusting the sound of the instrument until you are happy with it – then, you save your changes – then, you save your kontakt preset – and all of the instrument settings are saved as part of your “overall” kontakt saved preset – fantastic. so you can create very complex presets, that contain your favourite instruments, set just the way you want them, which can be recalled instantly in any combination – it’s absolutely outstanding.

 

here is the seemingly never-ending list of sampled instruments that come with komplete 9 ultimate.

 

  • action strings
  • session horns
  • damage (industrial and orchestral, cinematic drums and percussion)
  • evolve
  • session strings pro
  • evolve mutations
  • evolve mutations 2
  • battery 4
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa (a personal favourite)
  • balinese gamelan (another personal favourite)
  • maschine drum selection
  • scarbee rickenbacker bass
  • guitar rig 5 pro
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • rammfire
  • scarbee jay-bass
  • the giant
  • vintage organs
  • alicia’s keys
  • george duke soul treasures
  • scarbee a-200 electric piano
  • scarbee mark I electric piano
  • scarbee clavinet/pianet
  • berlin concert grand piano
  • new york concert grand piano
  • vienna concert grand piano
  • upright piano

 

bear in mind that each one of the above instruments, has a broad range of “presets” giving you as many different optional sounds for each instrument as is possible, “muted”, “picked”, “fingered”, and so on – so it’s not just a “rickenbacker bass” – it’s a rickenbacker bass that can be configured from anything such as a very timid, high pitched highly eq’d clean bass sound, to various much louder presets that emulate different sounds that this bass is capable of, and that includes both DI and “amped” sounds, so you get an enormous range of flexibility with every instrument listed above!

 

as explained elsewhere, those settings can be saved as part of a kontakt “preset”, so you could have one set up with a super clean, thin sounding Ricky bass, and another with a very distorted Ricky played through an emulated British amp – two EXTREMELY different “bass guitar” sounds from the same instrument.

 

In the classical world, the options are of course, much different to the options for a rock instrument, so for violins, you would have a huge range of various playing styles or articulations, legato, staccato, pizzicato, and so on – and just about any kind of articulation you can imagine, including some rather obscure ones, and also, it’s incredible to get these precision articulations, and of course, as with all quality samplers, there are also extreme velocity choices, so that you can emulate the velocity that you would apply to the real instrument, on the keys of your keyboard instead. all of these options are on every instrument where they exist, although some instruments may have just a handful of possible presets or articulations, others may have dozens – maximum real-life playability issues have been addressed as much as humanly possible.

 

 

…not to mention a massive range of high quality software effects and audio processing tools included in komplete 9 ultimate:

 

  • solid EQ
  • solid bus compressor
  • solid dynamincs stereo compressor
  • rc-48 reverb
  • rc-24 reverb
  • vari comp compressor
  • enhanced EQ Equaliser
  • passive EQ Equaliser
  • transient master Equaliser
  • driver distortion unit
  • VC76 FET compressor/limiter
  • VC2A electro-optical compressor/limiter
  • VC160 drum compressor
  • the finger – live performance and remix tool
  • the mouth – generates melodies and harmonies from any audio input
  • reflecktor high performance reverb effect

 

 

for full details, have a look at the product page on the native instruments site:

and here is the effects page on the native instruments site:

 

 

my first foray into the world of sampled instruments was a piece I created using various sampled elements, entitled “the giant’s causeway”, which contains three sections:

 

1)     “the giant prelude” features “the giant” cinematic instrument (a cinematic / orchestrator / ambient piano kind of sample set) – I played one take, which was best, and that became “the giant prelude” – perfection.

 

2)     “allegro in a minor” features “action strings” (which include moving passages of strings created with an “animator” function – which is truly awe inspiring)

 

3)     “giants on the causeway” following, the third and final section of the piece; features a manually played drum part;/ the scarbee “rickenbacker bass”; and a truly beautiful flute and strings mellotron sample, plus a short solo on a vintage organ.

 

“the giant” instrument just blew me away, I did a take one take of a sort of reverse piano strings/unknown kind of sample, and it came out totally usable – in one take!!! I will absolutely be revisiting this instrument, and I could see creating large, ambient compositions using JUST this instrument.

 

once “the giant” section was recorded, I added in the “action strings” instrument, and spent quite some time writing and laying out a short violin quartet piece in the key of a minor. note: this is where the “staff” view in SONAR becomes invaluable!) while short in duration, the SOUND is amazing, it sounds so incredibly real (because, let’s face it – it IS real!) because of the use of the strings animator – which gives you real “sections” or “passages” of bowed strings – in a significant number of styles, legato, staccato, pizzicato and more. this section took me a while to complete, but eventually, I did finish it to my satisfaction.

 

the third part of this unfinished piece was a rickenbacker bass line, set against some manually played drums, finished off with a live mellotron take, flutes and strings – plus a short solo on a vintage organ – and I have to say, the scarbee rickenbacker samples are out of this world – there’s even a “british” setting which gives you a roaring live distorted chris squire sound that just blows you away. even on the clean settings, this instrument screams “I am an authentic ricky bass” – and the distorted scarbee bass part just SOUNDS amazing…

 

this piece remains unfinished, but I always considered it as a test piece, a learning curve, a learning tool, a learning experience. I did rough mixes, and kept the three sections separately as demos, but I don’t believe that this piece will be published, but if it does, it would definitely be “the giant” piece, possibly the string quartet, and doubtful, probably NOT the rickenbacker section…which SOUNDS great (especially the distorted ricky bass line!), but wasn’t (necessarily) a great piece of music…

 

so “the giant’s causeway” went onto the shelf, however, since it was my very first piece (beyond playing a few synths) – proper piece – done with komplete – I was happy enough with it. I learned…

 

I will very, very probably attempt the piece again; I would retain the original part one, since it’s a live, take one, that is basically flawless, I would rebuild and expand the string section, and completely revamp the “prog trio” of drums, bass and mellotron/organ at the end. so – I am keeping the shelved demo as a reference…for now.

 

I then turned to an instrument that I was very, very curious about, “west africa” – I lived in east africa for four years, and learned to appreciate african music back then (especially congolese music) so having high quality samples of african instruments was a very exciting prospect to me.

 

I first constructed a “duet” of two koras; one, playing midi patterns emulating a rhythmic picking cycle, and another kora, where I played melodies “free hand” on top of the moving background. I did two takes, both of which I enjoy, but since I am not entirely happy with the melodic content on either (although the second take is actually quite good) I have also shelved those – and since then, much more recently, I sat down again with the kora duet template, and create a third piece, another kora duet, entitled “the heart of africa” – and this take, I think is quite decent – and I thoroughly enjoyed working with these amazing sounds.

 

I plan to practice on all of the west african instruments, and I hope to arrange more complex pieces of music involving west african drums, flutes and stringed instruments…a side project that will keep me busy for years! I would never have dreamed that I would have a sideline in african music one day – but I will, because I love african music, and the more I work on it, the better I will get at emulating it…

 

after the two shelved kora duets, which were followed very recently by the successful kora duet, I then turned to my first use of “multi” instruments, and, with the invaluable assistance of ken mistove, I eventually learned and understood how to create multiple instruments within a single instance of kontakt – and once I “got” that, I could sit down and attempt a full on piece of sampled music.

 

I randomly selected a preset “multi” instrument from the evolve mutations instrument, and it proceeded to load 12 instruments that created one of the most atmospheric, eerie “drum kits” I have ever heard.

 

it took a couple of tries, but eventually, I got a good quality drum track, and then I turned to the other instruments. a proper bass part was in order, so I loaded up the scarbee pre-bass (amped version) and got a nice, full bass sound – recorded a bass part to go with the drum part – and again, very impressed with the scarbee instruments, they seem to do a very good job of getting the authentic sound of classic instruments sampled to perfection – the “pre” bass (i.e. based on the classic fender precision bass guitar) is another one that is of the highest quality, as the scarbee rickenbacker bass samples are as well – Native Instruments has scooped up two fantastic bass instruments from scarbee, and it’s a great acquisition – I hope they adopt more scar-bee products, I really do.

 

finally, I worked at overlaying a section of grand piano, courtesy of the “george duke soul treasures” instrument, an absolutely stunning set of riffs recorded on grand piano, electric piano, organ and other keyboards – and all simply classic – great sounding samples!

 

in this case, I actually reached the maximum possible number of instrument that can be crammed into one “kontakt” session – so once again, familiar theme emerging…I abandoned the piece unfinished – again. in order to complete it, I will need to mix down the drums and bass together from the unfinished session, and move to a new session to overdub many george duke piano samples atop the pre-mixed (bounced) bass and drums – and at that moment, I didn’t feel like going through that process.

 

instead, I set it aside, and I moved on to my next test piece, my next “komplete” learning experience.   I wanted very much to try the “session horns”, so I built a short introductory piece, entitled “softly, softly we go”, which featured a group of horns, in a nice reverb room, with a “soft” instrument setting, playing a mock classical theme – a lovely sound, and as far as it goes – a good intro or lead-in piece to some larger production.

 

to follow the horn intro, I wanted a drum track, using the abbey road 60s drummer (because I wanted to learn how to compose drum tracks) so using this instrument, I built a nice long drum part, with various sections, and some fancy fills, and I have to say, although completely unadorned, it’s one of my best pieces yet.

 

finally, I sat down and re-made my kora duet, creating a much better backing track, and, hopefully, performing better melodic lead parts atop the pattern generator rhythms.   that, “the heart of africa”, and my unadorned abbey road 1960s drum part, is where I am right now with sampled instruments – and using kontakt to create drum parts, using the abbey road 60s drummer – could not have been easier – in short order, I had the process down, to where I could build an intelligent, varied and interesting drum part quite quickly – the whole thing took less than an hour.

 

but – the piece remains unfinished, again, I have kept two separate demos, one of “softly, softly we go” – my gentle, quiet horn intro – and another of the untitled-so- it’s-called “abbey road drums 1960s” aka “run into town – run 1” for reference, I hope to probably re-make the horn part, make it more concise, and create more space in it, and of course, I then need to decide what goes on top of my beautiful, recorded in abbey road studio no. 2 drums. sigh… (note: eventually, of course, a Rickenbacker bass part went on top of the drum part – and then, a host of live energy bow guitars…),

I also had an absolute blast doing a bass solo with the scarbee Rickenbacker bass instrument, “amber waves of grain” – over 10 minutes of sheer Rickenbacker tone.

another aspect of komplete 9 ultimate is the undeniable fact that it is making certain instruments and software, no longer useful, it is literally making them redundant – as komplete can do the job more easily, with better samples, with a mature GUI (kontakt) than earlier third party apps can, or, better than older hardware effects can L.

 

so in this case, for example, while I will probably install my old drum machine software, which is called “BFD2” (this was utilised heavily during the making of “gone native”), I will only do so, so I can see and use the drum kits / samples it contains – which I would use via kontakt within komplete – NOT through the much more difficult to learn, and use, BFD GUI.

 

in a way, I really don’t NEED BFD any more, because I have several sampled kits from abbey road studios, plus, I have “battery 4” and a few other percussion based instruments – there is functionality and samples far beyond what BFD offers. so as I say, I would still use their kits (which sound great) but not their interface J.

 

so, if I am honest, komplete has made the following software and hardware items redundant:

 

redundant software:

 

bfd2 drum machine software + sonar’s session drummer 3 drum machine software – replaced by:

 

  • damage (industrial and orchestral, cinematic drums and percussion)
  • battery 4 (massive drum machine / sample player, with many, many drum kits)
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa
  • balinese gamelan
  • maschine drum selection

 

note: both bfd2 and session drummer 3 are still available to use, either by using their kits from komplete / kontact, or by using their own GUIs if desired – but, not sure I would ever use either again given the list above.

 

redundant hardware:

 

 

line 6 “x3 live” guitar effects pedalboard – replaced by: guitar rig 5 pro, plus, sampled guitars and basses:

 

  • guitar rig 5 pro
  • rammfire
  • scarbee rickenbacker bass
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • scarbee jay-bass

 

 

 

“digitech” TSR24-S hardware 24 bit reverb unit – replaced by:

 

  • rc-48 reverb
  • rc-24 reverb
  • reflecktor high performance reverb effect
  • galbarnum breeze 2C reverb (reverb plug-in for SONAR) – additional reverb choice “outside” of komplete itself
  • all four of these reverbs can be “called” from within SONAR, so it’s very, very useful to have access to these high quality effects, even for improving content that was not created in komplete 🙂

 

plus

 

  • eventide “space” hardware reverb – this is part of a permanent installation of three hardware four hardware effects that sit at the “end” of my mixer output chain – so, the final stereo output of the mixer, goes directly to these four hardware plug ins, and THEN to the sound card.

 

I’ve learned over time, that certain effects sound best in “front” (so just after the guitar, as part of your mix, occupying two or three stereo pairs on the mixer) while other effects work best “after” the mixer (such as pitch units, delay units, and absolutely, reverb units).

 

so, reluctant as I am to do so, it’s probably time to retire the “digitech”, and rely on the three high quality reverb units within komplete 9 ultimate – as well as galbanum’s 2c “breeze” reverb software – which in itself, was and is probably a replacement for the ancient tired “digitech” rack mount 24 bit reverb, not to mention the eventide “space”, which again, in itself, is probably a replacement / improvement over the digitech.

 

In a perfect world, I’d love to just run everything, and in some respects, I have been doing so, I’ve certainly kept a number of hardware devices running that I have replaced several times over – so I have to bite the bullet now, and actually remove the older, noisier technology, and whether I will or not, it seems that software synths and software effects are gradually taking over my set up, which is actually not unwelcome, and I hope that this summer, when the studio is moving, I can re-arrange the studio to support a less-hardware dependent sonic environment.

 

Purchasing komplete 9 ultimate gives us a lot of that software, bleeding edge software synths and effects, awesome high quality samples, and other factors, such as the emergence of very sophisticated applications for the ipad tablet and also, for the PC. In future, I will probably end up using a very hybrid system, were some tracks are created on the ipad (and eventually, too, mastered and mixed – tools have emerged…), and then moved into komplete, and then mastered and mixed in SONAR and/or komplete and/or Adobe Audition (where I do a lot of my simpler mastering now). The fact that I can do these processes in multiple “places” gives us an enormous amount of choice, it’s absolutely fantastic what can be accomplished.

 

Other tracks would be created wholly on the PC, using PC software only to create, master, and mix them.   Still others would involve the use of “real” instruments, guitar, synthesizer, keyboard, kaoss pad, percussion, etc. which can be processed through software packages such as “guitar rig 5” and also, the studio quality effects within komplete 9 ultimate. The RC-24 and RC-48 reverb units are especially absolutely lovely, they sound great, and I am really enjoying them.

 

The appearance of a massive army of music applications on the apple ipad, has changed forever the way I make music. Over the past few months, I’ve been scoring classical, acoustic guitar, and alternative music using a notation application called “notion” – and I can see myself exporting tracks from notion, and then importing them into komplete, to add the highest quality sampled instruments to the basic instrumentation created by my original score on the ipad.

 

I will absolutely be using a combination of pieces:

 

  • music created wholly on the iPad (which WILL include guitar and loop work, not just synthesizers – thanks to some truly quality guitar applications such as BIAS, Ampkit+, and GuitarTone)

 

  • music created using the ipad and my guitar or guitar synth

 

 

  • music created entirely on the PC, not utilising any ipad applications, the kaoss pad, or any “physical instruments” such as guitar or bass

 

  • music created using the ipad, the korg kaossilator, my guitar or guitar synth, bass guitar, live keyboards courtesy of various software synths, and anything else I can throw into the mix

 

(I call this last one the “all instruments” set up – it allows me to use, in a completely live setting, guitar, keyboards, kaoss pad, ipad, and of course, a lot of effects units, including loopers). The looper captures the live performance, and the output of the looper is optionally run through the pitch pedal, the delay, and the reverb (my standard set of output live hardware effects pedals), and finally recorded in SONAR.

 

The arrival of application-based music meant that my record-keeping was really thrown askew, because you can create so much amazing music so quickly with applications, I realised early on, I would need a special forum to create them in, so before things got out of hand, I split my recorded music collection into two distinct areas:

 

Music Dave Stafford – the traditional home of most traditional recordings, anything involving real guitars, real basses, real keyboards, and looping thereof – which may also include the occasional ipad or kaoss pad in a guest starring role – they are not banned, it’s just this is the home of more traditional instrumentation.

 

App-Based Dave Stafford – there is a folder for each app, containing both sessions and finished product, I am so glad I did this now, because now whenever I complete any piece in an app, I have a specific place to store it, from which to upload to Bandcamp, or Soundcloud, or to my website – or for whatever purpose I need it for.

 

This means that any very hybrid music, that crosses over between these two broad categories, I’ve chosen to move that kind of music into the “Music Dave Stafford” folder, because it contains the real instruments, which is really the main characteristic of the music in this folder – the presence of real instruments, played in real time or looped.

 

The arrangement is working well so far, I am not surprised by how many app folders I already have, and as time goes on, there will just be more and more, but I think that’s brilliant – and the emergence of more and more sophisticated application music creation tools, is almost irreversibly moving me more towards app-based music – my next eternal album is focussed on one of my more recent app acquisitions – the iVCS3 , a perfect replica of the 1969 beast of a synth that powered the sound of early roxy music and early king crimson – one of the first truly sophisticated modular synths, and the application version is uncanny for it’s realism – it’s a fantastic, primitive, visceral, wonderful device that spits and fires, drones and warbles, and has a fantastic set of pre-sets, too – including the famous never-ending synth pattern of the Who’s “Baba O’Riley” – and it’s very, very odd to hear that playing on your ipad, from an emulation of the device it was originally created on!   The makers have included the Who session as a preset – amazing!

 

I’ve been playing the iVCS3 recently, and I have recorded a number of tracks, which while not quite ambient, I am happy enough to give them the name “drones” – so, some elements of ambient, then, but, some other, harsher elements too.

 

I believe I recorded about a dozen tracks, a few of which turned out to be somewhat substandard (clearly a beginner with the device, you can’t win them all!) but I believe that about eight tracks have survived and are some cracking representations of what this amazing synthesizer is capable of. I’ve mastered three of the tracks, and I hope to work on the rest this weekend, with a view to get the album posted before Monday – that’s my hope, difficult to say if I really will make that date – I shall try.

 

The pieces recorded are simply remarkable, no thanks to me, my involvement is minimal, but, I did need to be involved, it’s strange, in that when you “play” the iVCS3, you don’t often really use the keys, you more often use the knobs to create variation of a running theme. I was very intent on getting some excellent tracks out of the device, so I very, very carefully and very gingerly turned knobs, until I understood what each one did…and then I felt free enough to really experiment, so I really branched out on the last few numbers, which were all longer-running pieces, one of them extending to over ten minutes.

 

So I have momentarily, turned away from working with komplete, but that’ not to say I have stopped, in any way – it’s my intent to work with komplete as much as my schedule with allow me – and my first goal, is to take a complete bass and drum track, that I did a lot of work on, and see if I can create a proggy version of it, complete with precision prog guitaring – that is my goal for this piece. So komplete is waiting for me, and as soon as I get back to it, you can expect a slow but constant stream of music, of many, many kinds and styles, to be built with the remarkable toolset available within komplete 9 ultimate – an awe-inspiring piece of music software that if you had told me about it 20 years ago, I would not have believed you, I would have said it was impossible for such a thing to exist, on a computer…

 

But – exist it does – and we really wanted to step up a bit, and have the capacity and ability to create a much, much broader range of sounds than we previously had available – and the nine synths and the many, many sampled instruments within Komplete, gives us just that! And – the future – there are many amazing instruments available that will run in Kontakt, so we do plan to pick up some of them over time – the first acquisition will be a very special tool, meant to bolster the ambient sampling capability of the studio – soniccouture’s remarkable “geosonics” instrument.

 

This remarkable third-party instrument, which runs in kontakt without issue, manufactured by soniccouture, is comprised of four different musical “sections”, each one representing a season, and many of the sounds have been sampled from nature, all over the world, and compiled into this unique instrument – and some of the “combinations” of sounds they have created are truly remarkable. So I have “geosonics” on my wish list…and I also have a large number of other third party instruments that I would love to add to my sample player set up 🙂

 

In any case, I cannot recommend native instruments highly enough; who have patiently worked on kontakt, reaktor, and all the instruments that plug into them; and Guitar Rig, one of the most amazing software guitar processing packages I have ever seen –and their choice of subcontractors, i.e. companies that have created unique and very special instruments, which native instruments have added to their product offering to make it more attractive. That includes but is not necessarily limited to Soniccouture (whose “gamelan” instrument is included in komplete 9 ultimate – one of my favourite instruments so far – have a listen to my gamelan-created track “bird of paradise”), Scarbee, who make the amazing “rickenbacker bass” instrument (and several other bass and guitar emulations, too!) – which you can hear on “run into town – run 1” or “run into town – run 2”– that thing is just so amazing sounding, completely authentic, and when you couple it with a high quality sampled drum track, it sounds completely real – because of course, it IS completely real.

 

That…is the beauty of sampled instruments. They are real ! Therefore…they SOUND real.   Which is a good thing 🙂

 

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mobile universe of sound (the ios world)

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

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

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

HARDWARE SYNTHS

or, how it all started…

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

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

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

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

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

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

THE ARRIVAL

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

FIRST GENERATION SYNTHS & THE FAIRLIGHT

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

MOOGS & KORGS – GREAT EMULATIONS

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

AND ARTURIA TOO…

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

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

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

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

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

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

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

GENERATIVE DEVICES

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

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

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

THE LAND OF AMBIENT

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

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

PHYSICS-BASED SYNTHS

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

GRID-BASED SYNTHS

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

MICROTONAL GRID SYNTHS

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

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

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

VOCAL SYNTHS

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

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

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

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

STANDALONE ARPEGGIATORS

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

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

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

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

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

DRUMS & BASS – AND PERCUSSION, TOO

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

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

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

ODDS AND SODS SYNTHS

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

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

IN CONCLUSION…

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

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

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

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

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

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

happy synth-ing!

what we’re listening to – live at brighton – king crimson – kc club 30 – 10/17/1971

the king crimson club releases have been an amazing resource for fans of the band, a behind-the-scenes look at both crimson “live” and also in the studio – but for me, it’s always been about the concerts, hearing how this remarkable band made it’s way through the world, with changing personnel and changing times…

I was in the original king crimson club the very first year it appeared, and I collected all the titles up to a certain point; then later, when they changed to an ordinary purchase versus the original subscription service, I would occasionally “top up” my collection, by hand-picking any live concerts I was missing.

a couple of years ago, I went in and looked up what titles I was missing, and duly ordered half a dozen cds, mostly from the 1971 band, and one from the 1973 – 1974 band, but among them was a little gem that I did not then know about: brighton, october 1971: the islands band live.   you may be surprised to learn that, over time, this particular line-up has actually become my favourite line-up of all – possibly because of the absolutely magical connection between master guitarist robert fripp and master flute/sax/mellotron player mel collins, who were magic in the studio together, and transcendent together, with boz and ian, on the stage.

this is not to downplay the crucial role of bassist boz burrell and drummer ian wallace, the former, famously a singer that fripp taught how to play bass, note by note, by rote; the latter, the pioneer of the vcs3-treated drum solo (in conjunction with the synth’s operator, peter sinfield) – and I will say right now, I actually feel the opposite of what robert has often said (which is that boz “did not convince” on the quieter pieces) – I think he was a great rock singer, but even better at the “quiet pieces” – I love the quieter pieces, and I love the way boz sang them both on record and live, especially live – he could be so gentle, so serious, so lovely – and then belt out a bluesy, funky, vocal rave up the next – and, he was a solid, clean bassist.  sadly, both boz and ian have recently passed away – but their musical legacy has not – the collector’s club has immortalised this most excellent, but lesser-known, king crimson line-up.

that five-man line-up – four on the stage – one at the back with his lighting board and his vcs3 synthesizer – played a long, long series of really, really powerful concerts over a relatively short; but very, very intense period.

so why is this concert, among so, so many live king crimson concerts out there, so special then?

well, for two reasons, the main one which is: they play the song “islands” live.  so far, this is the only recording of this song from the stage that we know of, and it’s stunningly beautiful (questionable sound quality of the whole concert aside).  it’s incredible, delicate, and even though mel gets a bit loud on the mellotron at one point, well…it’s a live version of the song “islands”…what can I say?  the second reason is less important but still significant, because there was a time when bands would record an album, and then go out and play that album, and that’s what is happening here: the second reason is this is the ONLY king crimson concert where the band plays the entire “islands” album live (well, as close to “entire” as it ever could be, of course, track five of the original studio album is an orchestral piece, “song of the gulls” which I am not counting, because unless they could pack along an orchestra, there would be no way for them to perform this song) – so when I say “all”, I mean, all five of the five songs that they actually could play – the sixth, “song of the gulls”, never being a contender for live performance due to the fact that the band never played it anyway – it was recorded by mostly session musicians, although it’s probably that collins plays on it, and possible that wallace does too!

for me though, it was a complete shock, I had assumed, for many, many years, that king crimson never played the song, the title track of “islands”, live…so I was just looking at the cds when they arrived, and I saw the word “islands” at the end of the disc 1 running order, and I thought, that can’t be right, it must be a mistake…imagine my surprise, my excitement – because this is one of my favourite songs in the entire crimson canon, I just love the mood and I also think it’s one of peter sinfield’s best and most beautiful lyrics – I simply love “islands” – so I could not believe, after all that time – that I had thought wrong – that they DID play it live, at least, for a short time – obviously, it was dropped from the set pretty early on, for reasons unknown, because it does NOT appear later in the many, many club cds featuring the “islands” band – it’s just not there.

this is quite an “early” performance for this lineup, it’s at least 3 gigs into a late 1971 british tour, as fripp mentions the “last three gigs” and boz announces “formentera lady” as a “new song”, so it’s possible that the album wasn’t even done at this point, but obviously, it was close to being done, since they do play all five songs within this concert. compared to an earlier still show, live at plymouth guildhall in may of the same year, where only three of the songs from “islands” seem to exist – this is the first full reading of the album in it’s entirety (minus “song of the gulls” of course – as close as we will ever get to a full live version of the album).

now, before I go further, I do need to say – this is a bootleg, it’s taken from what sounds like an audience cassette, so the sound quality does leave a lot to be desired (as do a lot of the club cds unfortunately, but they are only able to work with what they have).  I’ve heard far worse, you can hear all of the players clearly enough, and it’s an amazing show in my opinion – I have a huge, huge soft spot for this lineup, the funkiest and most potent crimson lineup – I really love the way they play live.

so spotty sound quality doesn’t bother me – but it might bother you, so I did need to make the disclaimer. 🙂

having said that – this show just rocks from beginning to end, it really does, and I find it to be most rewarding, a very, very early glimpse of the full “islands” album, before it was entirely formed, and the arrangements here are closer to the album than I’ve heard on any other live show from the time.

the show starts out with the gentle lapping of waves – courtesy of peter sinfield, the band’s lighting technician, on the vcs3 synthesizer, over which fripp makes a strange announcement about someone in the audience calling out for “wally” – whom he assumed must mean drummer ian wallace…which then moves smoothly onto the dramatic introduction of “cirkus” – a very heavy tune in concert, with that incredibly slow mellotron riff – I really love the way this band plays this song, with both fripp and mel collins playing fantastic mellotron, as well as fripp on comedy electric piano – it’s really quite amazing. a very complex song in the studio, but live, this simple arrangement, using various mellotron voices, strings, flutes, whatever is required to recreate that sound – it works really well, the mellotron is such an adaptable and useful tool.

and the rhythm section, with boz playing heavy bass line and singing the vocal with such passion, and the aforementioned ian wallace slugging the shit out of his drum kit, at a strangely slow pace – it’s a great reading of “circus” and of course, when mel collins switches to sax, it’s gets funky fast, his playing on this piece is simply out of this world, it totally rocks…and then it’s suddenly very, very beautiful, a singing, lithesome sax solo floats over fripp’s mellotron backing…with the bass and drums dreaming along…what a mood!

the audience is dead silent during the super quiet mellotron and cymbals break; where the volume goes way, way down (this band has always, always been known for it’s dynamic range – from a whisper to a scream in the blink of an eye) – an eerie and wonderful, almost creepy section and then wham – the loud, dissonant section, with some very strange mellotrons indeed – the last part of this song is such a row – until we get to that fantastic bit, where fripp comps chords on his electric piano, and mel plays the most amazing, funky sax solo you ever heard – and it just rocks in this version – then back to the double mellotron attack – until we reach the explosive ending – this song is always good live, but this is a particularly rousing and wonderfully fun version – wallace, at the end, with his double bass drums pounding is awesome – and then it’s suddenly over.

from the “lizard” album then, we move back to “in the wake of poseidon” for a strong reading of “pictures of a city” – that album’s successor to the more famous “21st century schizoid man” – for my money, it’s a more challenging piece of music, and this demonstrates that the fripp-collins musical partnership is already really well established at this time – mel had been in the band for a long, long time before he ever played a gig with them – and it’s clear that this piece of early repertoire is not just comfortable, but it’s in their bones, the parts are embedded in their musical dna – they know this song, backwards, forwards, and sideways – and it’s an incredibly convoluted musical journey…and a fantastic one too.

I love this song live, and this is again, a superior version, with both fripp and collins pushing the boundaries of this already impossible to play piece, and it’s an absolute joy to hear their musical banter – back and forth and every which way, with collins demonstrating what a world class player he really is, and fripp just being fripp, impossible, unexpected, wild, controlled, remarkable. I love how it moves from precision to insanely out of control and then back to precision in a heartbeat, as if those are two ends of a special musical spectrum that only king crimson circa 1971 understood.

at the same time, that special musical spectrum that I mentioned, that was really just fripp and collins moving off and on the beat in some pretty spectacular way, moving in and out of syncopation, and probably a few bits of fripp timing magic that there are no musical terms for, too. 🙂

then the concert moves onto it’s first selection from the new album, “islands” – “formentera lady”, which boz introduces as a song that they have “just finished recording” – which is interesting, because we know from earlier 1971 concerts that some of the songs from islands had existed for a while – “ladies of the road”, “sailor’s tale” and “the letters” at least – but “formentera lady” was apparently quite a latecomer to the album if it was only finished in september or october 1971.  a lot of people are not keen on this song, but I think it’s absolutely beautiful, and fripp’s guitar part is sublime, I’ve never heard such use of chord inversions with melodies weaving in between in a constant stream of picking, strumming and more picking – beautiful chord inversions, really beautiful guitar playing – and then of course, mel collins has switched to flute for the first time in the show, and his ability on that instrument meets or exceeds his ability on sax – he is extraordinary on the flute, and he proves it on this first outing.

boz does a great job with the vocal, as ian wallace pounds out the vocally-referenced “indian drum”…and then collins, does a perfect descending flute motif to demonstrate “dark circe” falling – the instruments literally spelling out the lyrics of the song.  meanwhile, I can hear fripp adding in a missing string bass part in between his own parts – doubling up because in the studio, there are a lot of additional instruments – yet, this four piece arrangement is very nearly the equal, and is incredibly faithful to it – moreso than any other live version I have heard.

boz even has a go at the soprano and other wordless vocals at the end of the song, and the whole thing is just so wonderful and atmospheric, often in a concert situation, this piece sort of degenerates into a not so good generic jam session, but this one stays focused, stays real jazz – with collins switching to sax somewhere in there, and robert playing his very cool jazz chords, working with and against the drums, boz, the only constant, on his one note bass part, while the rest of the band is in cool jazz heaven, collins again showing his considerable skill on sax – fripp gets quite frantic with his wild chord progressions – and then suddenly, it’s all stop, as wallace plays the unmistakable cymbal intro to “a sailor’s tale” – and really, this is one of the very few versions where they stick to the plan, they play “formentera lady” without it disintegrating into a common jam, they kept it straight, and then did the segue into “sailor’s tale” just as it is on the record.  for me, that’s fantastic, because I grew up listening to the studio album, and those two songs always belonged together, with formentera ending gracefully; ian wallace plays his cymbal riff; and that distinctive drum and bass part, the beginning of the musical madness that is “a sailor’s tale” starts up…heavenly.  that thundering bass riff, the pounding drums – and waiting, waiting for that sax and guitar to come in together…

fripp has only a second to switch from clean jazz guitar to that thick, molten bass pickup lead guitar sound that he made so, so famous, and then hit the mark with collin’s most insane sax solo ever, screeching, screaming high pitch flying down to a beautiful wild melody – they come in together, stay together, and then collins is totally away – until it’s robert’s turn, collins switches suddenly to beautiful, mysterious mellotron, while robert explores yet another variant of the sharp edged, angular, slapback echo guitar that is the wild and crazy solo of “sailor’s tale” ending in that signature “slide up” the neck dissonant chord, a la jimi hendrix – but done in that inimitable fripp way – then boz and wallace return with that fabulous drum and bass part…and the song drives away, with the mellotrons getting more and more intense as it goes…a long section where the rhythm section just cooks with that awesome riff, and the dual mellotrons battle for minor supremacy and eerie strangeness –and then, that crazy ascending trademark mellotron ascending madness – to a dead stop.  brilliant!  one of my favourite tracks from the “islands” album, and almost always very good in concert – as it definitely is this time around.

without a break then, without a word, they proceed to “the letters” – so at this point, they have now played the first three songs from islands in the same order as they are on the album – which to me is just remarkable – brilliant.  this is the vinyl “side one” of islands – played entirely live.  “the letters” is another strange, strange song that I just love, with it’s odd, jagged rhythmic centre, surrounded by beautiful, minor key verses – this tale of infidelity and pain, with a wicked sax from mel collins, and boz’s vocal is so, so beautiful, too – even though the words seem to change and mutate every week, never ever quite the same as the album – most of them are there – and in this rendition, the middle section of the song ends in absolute sonic madness, which ends up as total distortion on the tape for a minute or two – you can’t really hear what’s going on, but eventually, it resolves, and we get to the amazing final verse, with a tantalising mellotron leading to a cymbal – and then boz – totally a cappella, sings the final verse “impaled on nails of ice – and wait for emerald fire…the wife with soul of snow – picks up her pen and slowly writes – I’m still, I need no life…to serve on boys and men…what’s yours was mine is dead…I take my leave of mortal flesh”. (of course, these lyrics changed and changed again – on the studio version, it’s “raked with emerald fire” – either way, awesome imagery from peter sinfield).

this was recorded back in the day when fripp still made quite a few stage announcements, and this is one where he speaks quite a lot, and usually, ends up making the audience laugh quite a lot – so fripp announces the next number, which is the title track of the new album – there is an awkward pause – and then you hear him, clearly, off mike but not off mike… “mellotron, mel?” because obviously, robert has noticed that mel is not prepared to play the mellotron, – another short silence follows…and then mel’s response “oh!” – and gradual audience laughter ends in a round of applause…(someone else in the band then gives mel a hard time and the band are all laughing).

then it starts – just beautiful, beautiful clean chords from robert, boz on vocal, gentle flute from mel – no drums yet, the title track of islands…the loveliest lyric sinfield ever wrote, and as I mentioned before, robert always said later on, that boz didn’t convince on the quieter material, but I utterly disagree, he has a lovely, beautiful, tuneful voice, and he always did a great job of singing the ballads and quiet songs live, if anything, I think boz doesn’t always convince on  the loud songs!  here, his voice is so perfect, so beautiful, so hushed, and the very simple guitar arrangement on the verses is perfect – when the chorus arrives, then mel gets to play those mellotrons (which do get a bit too loud in places, but nothing could really spoil this amazing song!) boz comes in with a really melodic and sensitive bass part, and fripp plays wonderful sliding chords interspersed with lovely little guitar melodies…

back to the verse, it’s just robert’s guitar, flute and vocal again, with cymbal bell taps from wallace – who does play on the choruses, but otherwise lays back, this is all about the guitar and flute, and that amazing vocal – I love it, I can’t believe it exists, and it exceeds any dream or expectation of how this song might sound live – it’s just magical, and you must, must hear it if you like “islands” at all – it proves what a great song this is, that the four of them can play what was played in the studio, a very heavily multi-tracked piece with many, many guest musicians – but with the mellotron, and the brilliance of fripp’s guitar…they are just not necessary, and the four of them pull this off beautifully – an amazing effort.  sigh.

I am just so, so glad that one person had a tape rolling on one of the few occasions that the band played this – I feel so grateful that I am getting to hear this now – because it’s a precious moment in time, a very rare piece, played so seldom – and so far, this is the only known live recording of this song (per sid smith – this is all we have) so it’s a great honour indeed, and it lifts this concert up as unique and wonderful in a way no other “islands band” concert is – it’s a first, and, since they also play the whole album – it’s a fantastic way to get to know this remarkable record.

of course, by placing islands (the track) here, that puts things out of order vinyl running order wise, but they do get back around to playing the one remaining piece, in fact, it’s next – at the beginning of disc 2, the redoubtable “ladies of the road” – in a strangely unsatisfying version, collins is always good on this, but I feel like robert is struggling with his guitar, that weirdly slapbacked sound, the strange chords he is playing, it sounds a bit laboured compared to other more seamless live versions – but, this is a minor complaint – he still does well, but not insanely well as sometimes happens – a respectable effort if not the best version of this song ever performed.  a solid effort.

having said that, I still very much enjoy this rendition, with it’s screaming saxes and out and out rude lyrics – it’s very, very naughty indeed, which is very refreshing – because it’s just honest, it’s real, it’s about something real, and fripp even dedicates it by saying “this is a song about rude ladies…” – going on to elaborate about exactly what kind of ladies he means.  boz is brilliant on the lead vocal, but the chorus vocals fall to bits as they often do, ian wallace singing lead at the end of each stanza, but all of the band laughing so hard at the dissolving choruses as to make both of them non-viable – a bit of a shame, because on the record, it’s a lovely little vocal, almost beatlesque arrangement – but, you can’t have everything, and every concert has it’s low spots – this might be it for this one.

so after a slightly lacklustre “ladies of the road” comes “groon” – now “groon” started out life as a giles, giles and fripp song, which was later co-opted by king crimson in live performance – but it’s very much open-ended, there are a couple of riffs that are mostly a robert fripp solo guitar piece, although the band do well enough following that riff, but once that’s been played a couple of times, it just becomes a jam.  And that can be bad or good, in this instance, though, it turns out to be very good, in fact, a very satisfying jam, which includes a very long and very good drum solo from ian wallace, of course featuring the vcs3 synthesizer which was a brand new device, eno had one, king crimson had one, edgar winter had one – and it was used to great effect by peter sinfield to process wallace’s drum solos (during “groon” and sometimes other numbers) – this must have been such an amazing experience for the audience, because what starts out seeming to be an “ordinary drum solo” soon becomes something absolutely extraordinary, a synthesizer solo of amazing proportions.

but it’s kept secret for a while, wallace plays a long, untreated and excellent drum solo (proving ably that he doesn’t need the synth to be a great drummer, but that it’s use makes him a remarkable drummer), and then eventually, after several minutes, when you least expect it (this piece is in excess of 24 minutes, almost 25, so plenty of time for development) suddenly, sinfield, out of nowhere, begins to “treat” the drums with the vcs3 – and then you get an entire OTHER solo, this time, with the VCS3 treatment – and it’s absolutely mind blowing.  variable pitch drums ?  in 1971 ? white noise, pink noise, modulation…sure, a few years later, this stuff became commonplace, but back then, it was absolutely revolutionary, no one had EVER heard a “drum solo” quite like this one – and king crimson were right there, at the forefront of the modern, electronic drum kit – but doing it with one of the first synths available that you could use to process the sound of instruments with – brilliant!

so “groon”, which could just have disintegrated into a crappy, banal jam session, is actually a real highlight of this concert – and in fact, it’s often a highlight – simply because of this insane, remarkable, unique and utterly fascinating drum solo – and it does NOT sound like drums for very long – it just becomes a maelstrom of amazing electronic sound – like nothing else on earth – it’s fantastic.  at one point near the end, the audience explodes into spontaneous applause – you can tell they are simultaneously stunned and amazed…

what do you follow something like that with – well, of course, what else – your heaviest piece of repertoire – from the first album, “21st century schizoid man” – and now, after that inspirational version of “groon”, the band are both totally warmed up and totally on fire, in fact, when Robert comes in with his first solo, he plays something so crazy, it’s just the weirdest guitar part I’ve ever heard him play, what a solo!! and at one point, the band stops, and he is playing this beautiful, beautiful note – and then, they are away again, boz doing his level best to play the very, very difficult bass part as well as he can, and doing a great job, ian wallace, absolutely kicking it on the drums – great vocal, great solos – and once robert finishes his first blistering solo, he turns it over to collins – who then just screams and screams and screams, totally inspired, it gives me goose bumps the way this man plays – robert’s solo was totally amazing, so mel just goes into sax hyperdrive, and plays a blinder – what a great, great live version of one of this band’s best songs.

robert plays the riff that signals the beginning of the famous “precision part”, causing mel to return to earth – a crazy vcs3 sound follows along briefly, then, the band play this famous segment PERFECTLY, note for note, just like the album – as they pretty much always do – the part that was once called “studio gimcrackery” but which instead is very, very real – they play it perfectly, then, back into the final instrumental section before the last verse – which trundles along like a pregnant dinosaur, full of intense, powerful feeling – double bass drums thumping, and boz, singing like a distorted alien, there is nothing on this earth quite like an “islands-band” era version of schizoid man – and this is a good one!

after three very loud, very progressive, very amazing performances, the show is almost over, but, not before ian wallace does his famous “mr. gumby” imitation…a bit of levity to relief…”my hobby – by ian wallace” – something which has to be heard to be believed…  this time, he can’t get the words out – he can’t remember the name of the band he is in…it’s just madness – wallace screaming like an insane person – very odd indeed!

but all part of crimson 1971, robert gives a last announcement, a “good night” from king crimson, and they launch into the ultra creepy, begun with a vcs3 “explosion”, snare drum and double mellotron intro to “mars” – a piece of live repertoire from the 1969 band, originally from the “in the wake of poseidon” album – this is one of the most amazing mellotron duels ever performed, and it’s interesting to compare this live version, with collins and fripp doing the dual mellotron honours, to the original live performances of mars where it was ian mcdonald and fripp performing the double mellotron party trick.

the main difference isn’t just the presence of collins instead of mcdonald, it’s the presence of the vcs3 – with sinfield introducing massive “explosions” at key points in the piece – that was certainly something not present in the 1969 live versions.  this song takes ages and ages to build up to it’s climax, and it’s so, so creepy – it just creeps me out every time, this is wicked, wicked mellotron – intense – and then in the middle section, some AMAZING frequency/filter sweeps from the vcs3 take this weird and wonderful piece to a whole ‘nother plane of existence – it’s weird enough with just the two mellotrons against that ominous, persistent, bass and snare, that just goes and goes and goes – but adding in the strange ascending and then descending vcs3 sound effects is an act of genius – it just enhances an already remarkable live instrumentation, adding in something mysterious and strange to this brooding mellotron masterpiece.  another fantastic rendition – if only we had a clear, clear recording of this concert, but even from this recording, you get a real feeling for how terrifying and beautiful this piece is live – it’s a real monster.

it’s quite odd too, because there is no flute, no sax, and no guitar – it’s just snare drum, single note bass, the two mellotrons, and sinfield on vcs3 – what a strange idea, what a sound – and at the end, it’s just cacophony, with both robert and mel abusing their mellotrons physically, slamming the keys, just making noise – it’s amazing, there is no sound on earth like it! I think sometimes, that these classic crimson ascending dual mellotron endings are maybe meant to emulate the big orchestral build up of “a day in the life” – I can’t think where else on earth fripp would have got the idea to do that!

the piece suddenly ends with a swirling keyboard riff and the return of the ocean sounds (thanks to peter sinfield, still the “fifth member” of crimson, operating the vcs3 synthesizer from the light board at the back of the hall) heard at the very beginning, with the crowd clapping for an encore that never arrives…sigh.

 

maybe not the “best” “islands band” concert probably (a very subjective topic surely – who can say, all concerts have highs and lows, and I never have tried to decide which concert by any band is my favourite, I just enjoy them all!), but mostly, a very, very good performance – and, including a delicate, heartfelt, beautiful rendition of the delicate and ultra rare title track – so that’s enough for me.  I love this record – and I am so glad dgm decided to release it – after all those years of thinking that  “island” live did not exist, I have never, ever, EVER been more glad to be wrong…