“you wake up one morning…w”

strangely, today, I find myself working on audio mixes, not that that in itself is strange, but in this case, it’s audio mixes of live performances of a song that I never, ever dreamed that I would perform in any context, anywhere – but there it is:  my second attempt, too – I’d tried it out originally, during the recording session of 20150222, but couldn’t get a take that I was happy with, so I let it go for a while – until april 19th, to be exact – when I sat down specifically to record a little-known, rare Van Der Graaf Generator b-side entitled “W”.

I had only just re-discovered this track, when I was working on other acoustic Hammill songs, it suddenly struck me during the February sessions, I should see if I can capture one of my strange renderings of this song – so I did try.  And while some of the takes were close, none were good enough to properly do justice to this rather unusual song.

hence – trying again later, which in this case, is a dedicated session to “W” – twelve takes in all, about an hour and ten minutes of session time, doing live take after take, working out the arrangement, working on the vocal – and just trying to get to a version that would indeed, do justice to the song, at least, as well as I can with my strangely gentle, twangy California accent – hardly the accent to tackle the Peter Hammill canon, but – that’s what I do – I spent many years, learning many, many Hammill and Van Der Graaf songs, and now, I find, I’d like to record them – all of them, although the amount of relearning needed my be prohibitive in some cases, while age lowering my voice might make others impossible…who knows??

but for whatever reason – I found myself trying to do this song, live, with one acoustic guitar – or rather, with  an acoustic guitar substitute, which is my roland gr-55 guitar synth.  because my real acoustic guitar is unhappy, I had to use the synth instead, which, admittedly, does look a bit odd, in the video, but it had to be – and it does a reasonable job, I have to say – not bad.  It certainly sounds acoustic on playback, and of course, I can’t resist giving it a bit of “sparkly”, by using the Waves Reel ADT plug in on it – give it some Beatles chorus or flanging – which is about the right era, “W” might have been written in the late 60s, I don’t really know, in fact, I only have two versions of it – one is the live version (from 1971) that I “grew up with”, which, oddly enough, has only just recently been released officially, on the new Van Der Graaf Generator CD “After The Flood” – At The BBC 1968 – 1977 – that live version,which is to me, an absolute Van Der Graaf rarity, coming from a rare 1971 John Peel concert, which had only previously been available on bootleg – which is where I had heard it.

years later, I also acquired the “studio” version, which again, isn’t that easy to find, but it’s out there, and of course, I had to have it – beyond that, I don’t know if there are a lot of other live versions out there, I doubt that they played it much after 1971, I am not sure about the song’s history, but I am sure of one thing:  the effect it had on me, as a young Peter Hammill fan, I just think it is an amazing performance, led initially by Dave Jackson’s amazing horn playing, and it’s odd and wonderful to hear Hammill singing and playing live on acoustic guitar – with the rest of the band, playing in a subtle and wonderful way, Hugh Banton coaxing some of the oddest and most wonderful harmonics from his Hammond drawbars – I love the organ playing on that live version, I love everything about it – it’s just one of those odd tracks that sticks in your head for some reason- I really loved that particular bootleg – it had the first three Van Der Graaf songs I ever heard on it, in this order:

1) Killer

2) W

3) Man-Erg

Which is actually reverse order from the real session, but that’s just bootlegs for you (in this case, “Watched Over By Machines Of Loving Grace” – what a title!).

And while all three tracks were absolutely mind-blowing to this young man, who was just discovering this remarkable band, over time, it’s “W” that has stuck with me the most – although “Man-Erg” is a close second – I just love these performances, it’s a great session, and it’s really great to have it officially released at LAST – thank you.  That is not to downplay “Killer”, but I can’t perform “Killer”, although I can play the main riff – the connection is, over the years, I have learned, practised, and performed both “Man-Erg” and W – while with “Killer”, I can only sit and listen in astonishment – especially when David Jackson takes THAT solo – wow.  Amazing stuff.

So – at a session meant to capture “acoustic guitar songs” by Peter Hammill, where I’d performed both “Shingle Song” and “Again” – it suddenly struck me – hey, you could play “W” !!! Or – could I?

My first attempts were spirited, but flawed, mostly, it’s the guitar playing that got me, although the vocal does present certain challenges….so I abandoned the 20150222 takes (reluctantly) and am now currently embracing the 20150419 takes – which give us a completely different story – more of an embarrassment of riches, than anything else.

By this time, after about three warm-up takes, both the guitar arrangement, and the carefully designed vocal part (where I have to omit at least one high note that I can ALMOST hit, but I don’t want to risk – so I have made a slight change to the melody in one place, so as not to embarrass myself every time) have come together pretty well, they are both reasonably well developed – and starting with take four, and going on through take 12 – the takes are all good!!  With tiny variances, very difficult to note, and making it very, very difficult to “choose” between takes, when they are mostly all, so very good.  Basically, there are 8 good takes out of 12, with five of those being near perfect or with only very slight faults, and the other three, only slightly less perfect.

Every take has something of merit, so I have really had my work cut out for me here:  how do you, when you have eight out of twelve good takes, make any decisions at all – how to know which one is “the” take.  The answer:  listening.  Of course…once you start really listening, all of the tiniest errors find their way to the surface – which, allows you to cast out more and more takes for more and more small reasons – until you are left with what is, truly, “best”.

You have to listen and listen, perhaps focusing in on one aspect of the performance each time – for example, it was important to me that the guitar take contain a clean four bars of introduction, and that the same four bars, when repeated later as an instrumental “solo” of sorts, that those are also as flawless as possible – and also, the ending is important, I’d added on this crazy “Fripp”-chord as the final ending, and the quality of it varied on every track – with a few most excellent, others, just OK, and then, of course, I wanted a take with a really good vocal…luckily for me, there isn’t as much variation between the vocal takes – so in the end, it was really about where the best, most consistent, guitar playing was, and it had to be a whole take, obviously – with one exception – I could, potentially, since there is a silence while I sing the last line of the song – I could potentially “swap out” the ending chord, if for example, I had a great take (like Take 11, for example) but the ending chord was a bit better, a bit cleaner, on Take 12 – then, maybe, I might take a slight liberty and improve the audio, by having a better, cleaner chord – which of course, I would tell my listeners (if I decide not to use an entirely live take, then I would say “live performance of take 11 – except for the final chord – which was borrowed from take 12” – or whatever I had done) – or maybe, I would just decide to keep whatever ending the “best” over all take had – it depended on what sounded best.

I wanted what sounds best, so I really have to trust my ears, and say ” this take, this one is it” – and then stick by that decision – then, do everything in my power as both producer, and as engineer, to make this take sound as humanly good as possible – or as humanly possible.  At this point in time, during my second or third re-assessment of the 12 takes, I believe that Take 11 is the master – I can’t find much fault with it, but, I do tend to like the end chord of Take 12, very much indeed – and, Take 11 itself is not bad – so I need to decide between these two, I think.

I get to this point, and then I think – yes, but, what about those early takes, where I was a bit unprepared, but maybe there is a bit more spontaneity, maybe…so I find myself back again, listening to take four, take five, and so on – trying to rule these “earlier” takes out for one reason or another – but it’s difficult, because they are good.  I begin to wonder if I shouldn’t produce two or three of these – and that is a distinct possibility, it’s definitely do-able, because these takes are so uniformly good – it’s strange, because I had such a struggle playing the song on February 22, 2015, but on April 19th, I had no such issues, and every take from take four onwards, has a life and a feel of it’s own.  Heck – maybe I should produce ALL of them, warts and all…it’s such a temptation, it really is.  But I really want to pick just one, and I really need to narrow it down – so I just keep doing the only thing a good producer can do – listen, listen, and then, listen again.

After a long afternoon of listening, and then listening again, I was forced to exclude the majority of the earliest takes – 4 through 9, basically – because the guitar intros and solo sections were too imperfect.  Even take 11, which is closer to perfect, is still imperfect, but, it’s so much better than takes 4 through 9, that it makes enough of a difference – it’s a good take!  So now, it’s pretty much going to be a race between Take 11 and Take 12…

Finally then, some full on tests, with levels properly set, limiter on, and the final, finishing touch – my beautiful Waves Reel ADT Plug-Ins – a stereo one for the vocal, and another stereo one for the guitar – and just adding those on, makes such a huge difference to the sound – it’s just remarkable.

And what this meant was, that, the imperfections in Take 11, seemed worse, while the relative perfection of Take 12 – seemed apparent, so adding the Reel ADT plug in, made it possible finally, to choose between the two “best” takes – and 12 – the very last take of the session – has it all, at least, to the extent that anyone can “cover” such an unusual song with one guitar synth, set to “acoustic guitar”, and a shure sm-58 vocal mike !!

Not that it’s particularly difficult to play, the chords are easy enough – but the lyrics certainly are not.  “double you” – seeing yourself from another perspective, as other things occur to the other “you” – is a strange point of view for a song; you wake up one morning, and there are two of you, which makes you twice as unhappy (as it would, if you were unhappy) a strange tale told of this man, immobilised, almost, only able to look out the window, and see the smoke “billowing across the lawn” or only able to drag himself downstairs, to specifically find out that “you are gone…!”.

At the end of the song, you wake up (again) – look to your left, but you see no reassuring head – you then stayed in bed all day, when, at six o’clock, you realised – that you’re dead.  A short, unhappy tale, with a strange atmosphere, strange lyrics – definitely one of the oddest of all Peter Hammill-penned songs.  But at the same time – a strangely compelling one.

A very strange perspective, the classic sort of “seeing yourself laid out on the table”, and realising that it’s you, it’s YOU that are dead – that’s very odd, and it’s no wonder the band didn’t perform this often, what with it’s somewhat cheerless lyrics – not the most cheerful tune ever written by the sometimes-unusually-morbid Hammill (as he could be, back then) – who, while known for tackling difficult, or uncomfortable subjects, rarely tackles a subject like this one, in such an inflammatory way, too – practically a primer for how to leave your body, which some might view as the ultimate “suicide” song – I don’t, I view it as a man having the odd experience of seeing his own body, suspended in space, whilst realising that the body is dead – not having realised it earlier in the day.  more metaphysical than death wish, if you know what I mean. but I think each listener has to decide for himself or herself, what the song means – because even though I am singing it here – I absolutely do not know.

So the sort of day-long purgatory of trudging around the house, knowing something is wrong, dragging yourself downstairs – and finding that you are gone…that longest day finally ends in the sudden realisation that there is a very specific reason that there are two of you, that you have woken up and it’s a “double you” situation – “W” – because, you have passed away, of course!

The rate that our hero realises at, well it take a few minutes, which gives the song time enough to get through it’s purgatory phase – and then, it’s all over, in a blinding flash of  – well, in the real live version, it’s a wonderful, sonically crushing organ chord and bass note, accompanied by a crashing horn note from David Jackson – which I have chosen, for unknown reasons only known to the other half of me, to represent in this version with a very long, loud, dissonant “Fripp” chord – that was the only thing I could do, safely, on an acoustic guitar, that might work as a facsimile organ/sax ending – and I suppose, sonically, it could be worse – it’s a decent choice.  originally, back in February, I wasn’t returning on the guitar at the end, after the final two words – I was just letting the last two words, be the last thing you heard in the song – but I think the frantic, crazy guitar chord is just the ticket, and it was an absolute joy to try to play – even though, I only got it “right” about once in every 12 attempts 🙂

I was as happy as I could be with the guitar arrangement, and the vocal arrangement, and then, it was just down to the playing – and luck – and in the end, “practice made perfect” or at least, practice made it bearable…and I finally stayed with Take 12, and started working with the track – until I got a sound I liked, and was happy enough with – I mean, it is live, and it’s only as good as it’s two simple components, so there is not much you can do to improve the performance itself – it is what it is.

I think you can tell that I love this song, that I love to sing it – I hope that comes across in the video, it was an incredible surprise to me, that I could actually play it, and I so much enjoyed singing and playing it, it was a real pleasure – and I am really glad that I did learn this song so many years ago, because at least it came back pretty quickly – which is great.  What a nice surprise, to have an old friend like this turn up out of nowhere – and still be unchanged, as familiar as when I first knew them – a good, good surprise!

In the end, it took me almost two full days of work, and four attempts at getting the right sound, before I could produce an audio track of “W“, completely live (I decided, in the end, that the completely live take 12 was the best bet, no messing about – warts and all – not quite perfect – but, not too bad!) that I am happy enough with, and now, I am assembling not just the video for “W” live, but also, a strange special bonus video – what happened directly AFTER the end of the successful take.

so I’ve produced two audio tracks, and am working on two videos, one for the live version of “W“, using the whole of take 12 as it’s master, and the second, which I am calling “improv on a theme – stone free (james marshall hendrix) – live – post take 12” which is approximately one minute worth of digital recording time directly following the final “Fripp” chord that ends take 12 of “W” – for the first time ever, I’ve decided to release some “non-song” footage, featuring a spontaneous jam on “stone free” by jimi hendrix – notably, a song that I have never played, never learned, and have no idea how it goes!!

it’s only really “on theme” for about the first 17 seconds, and it then wanders off into random imaginary hendrix octave playing – and then dissolves completely into a fatigue-driven crazy, climbing riff of uncertain description – remember, I’d just spent an hour and ten minutes filming, and recording, no less than 12 complete or near complete takes of “W” by peter hammill – so I was pretty tired.  but the hendrix tune just sounds so good with that odd, acoustic guitar tone, and having the whammy available on the “acoustic” sound is so strange, too – so I just thought – why not?

so for the very first time anywhere, about 54 seconds of “what happened after the last take” has been included, which, I should warn you, some pretty lame guitar playing at the end – I plead fatigue, and I wasn’t really trying to play anything – this Hendrix thing appeared – and then just as quickly – disappeared – leaving me with nowhere to go but out.  I just thought it was OK, an interesting glimpse, an epilogue if you will, to the best live take of “W“, and it shows a little bit about how my mind works – or maybe – doesn’t work – I am working on a serious Peter Hammill song, and yet, during the break – I jump into “Stone Free” by Jimi Hendrix.

I begin to think that it’s been far, far too long since I was in a band.

🙂

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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back to the beginning …again

I’ve been doing a lot of thinking about what I want to accomplish in this new year, 2015, and I think one of the most significant objectives I have in mind, is to create “songs” in the old-fashioned way – using some new-fashioned tools to do so.

My last CD, “gone native”, from 2012, was a very, very enjoyable experience because it took me back to the idea of creating “songs” – I’d been so used to improvising, I’ve been playing largely improvised music since about 1995 when Bindlestiff disbanded amicably – once I became a “solo artist” again – and you really get into that “live” mindset – you have a guitar; a looper, a nice reverb – and your ebow – and you hit record, and you play.

If you are fortunate – music comes out.  Often – it did.  Sometimes, I am not quite sure what it WAS that came out – but, it was something, and, it’s a very, very enjoyable process.

Come 2012, and I challenged myself to make an album that is mostly “rock” oriented (which is about as far away from ambient loop guitar as you can get, really) and I believe that with “gone native”, I really succeeded quite well – the first ten tracks on the album were the core of my “band” or “rock” pieces, and some of them, were quite intense (such as “Wettonizer” which at one point, was as large as a 53-track multitrack master – which was toned down to about 35 tracks for the final mix!) others, such as “This Is A Test” came together very quickly, using existing elements (in that case, a guitar solo – around which I built a backing track by adding drums, bass and guitar synths) – but in every case, they were identifiable as “songs” – because for one thing, they all have rhythm sections – bass and drums – and also, some form of song structure, like repeating choruses or whatever – despite the fact that the album is, as most of my records are, entirely instrumental.

So composing the songs for “gone native” was a great experience, and as another example, the title track “gone native”, was fantastic fun to create, and I got to play a LOT of guitar, with a lot of nice guitar sounds – including once again, that wonderful roland gr-55 guitar synth, which can provide anything from a rainstorm in a teacup to a poly sitar in space – a fabulous instrument for adding colour, and with the track “gone native” I used it for several good effects, including the introductory cello which was just played over the existing intro – wham, there it was – it just happened one day.

I learned a lot during that experience, and, it was probably my last major work involving SONAR 8.5, sure, I’d used it since then for the “scorched by the sun” album for example, and for various improv loops or video music, but eventually, I upgraded to SONAR X3, which is a far better product – and now that I am running X3, I am truly set to record “songs” in multitrack – but with all mod cons – I have at my fingertips Guitar Rig Pro, and now, also, from Waves, I have GTR3 – which I can use instead of or in addition to my hardware effects pedals, I also have the rest of Komplete, which gives me an entire range of orchestral, African or other bizarre sampled and synthesized sounds – just about anything you can imagine, is probably available with Komplete – and of course, my beloved gr-55 is still there for a bit of that wonderful guitar synth colour.

On top of all that, though, I do have other new musical weapons in my arsenal, including the fabulous Kaoss Guitar, the Ibanez RGKP6 – which I absolutely plan to incorporate into my songs, not to mention, my original kaossilator, as well as my new Korg Monotron, a wonderful mini-analog synth – so sound colouration will not be an issue – I can knock out the basics using real guitars – my drums will still be virtual, but will be a vast upgrade from BFD2 (which is what I was using at the time of “gone native”, that and the stock SONAR drum kit) – I have all of the Abbey Road kits in Komplete, as well as Studio Drummer plus a host of electronic percussion available in various packages such as Evolve (by Heaviocity) or Evolve Mutations

So I can have a complex drum track using additional electronic percussion, or even african percussion if I want to break out the West Africa module…then, I can either play my real bass, or, design a Komplete bass part using a Rickenbacker 4003 or a Fender Precision or even a disco funk bass clone sample – just to get those amazing tones, I would happily give up the sheer fun of playing the bass part – or rather, I might play the bass part, and then REPLACE  it with a Rickenbacker or Fender !  That would be fun.

 

Then it comes to guitars – well, I would insist that these be real – but of course, with all the processing at my fingertips, from the remarkable and complex Guitar Rig Pro, to various hardware stomp boxes and other effects processors – and the amount of possibility I have in re-amping and post-processing of guitar signals is now approaching the ridiculous – guitar tone is not an issue any more, I can take even just a clean guitar signal and re-amp it into the most beautiful overdriven Mesa Boogie tone you ever heard, and then run it through the amazing Guitar Rig jet phasers so that I end up sounding like a latter-day Todd from the Nazz, circa 2015, with my distorted, swooshing jet aeroplane guitars…

Of course, I now also have ipad apps aplenty, including one game-changing ipad app for the guitar – the absolutely stunning FLUX:FX from Adrian Belew, mobgen and elephant candy.  I’ve been using FLUX since it finally arrived this past December (2014) and I am in love – it’s a dream to work with, it’s hands-down the best guitar effects processor for ipad, it surpasses by far even my very favourite apps, which would be Bias and AmpKitPlus from Peavey – both great apps, but what Adrian Belew has helped to design in FLUX:FX, just wipes the floor with ALL of the other guitar apps – they will be hard put to catch up with what FLUX is capable of.  It’s built for live performance, and I will absolutely play with it in my own version of a live setting – the live music video – but it will also work admirably as a very quickly configurable guitar effects processor in the studio, but, it has one amazing advantage over most effects boxes – it has the ability to run sequences of effects, so you can run a complex pattern of effects changes, where your guitar sound mutates WILDLY every few seconds – and you just play – and let the sequencer take care of all the wonderful morphing.

It’s fantastic to use, and it sounds so, so good – I love this idea, the idea of applying different effects over time, using a sequencer type arrangement – and it’s so easy to use, for any effect you are using, there is a default set up, so you can literally just hit the “sequencer” on button, and your “static” effect – suddenly becomes a moving target, a living, breathing, ever-changing, morphing kaleidoscope of sound – you have to hear it to believe it.

Belew has always been the king of strange guitar sounds, and FLUX:FX has some of those, too, in fact, there is an entire section of presets devoted to animal sounds – something Adrian Belew knows all about (The Lone Rhino, anyone? – Elephant Talk? – Ballet For A Blue Whale?) – and speaking of presets, never in my life have I ever seen or heard such an amazing collection of truly unique, unusual and eminently USABLE presets on any such device – it’s fantabulous, there are so many, it takes a long, long time to preview them all, but it’s worth it just to hear what is possible – and the answer to that is “just about anything”.   There are THIRTY basic effect algorithms, and you can have five (or is it six – I can’t recall) going at any one time.  And – they are very, very editable – each one has a deep edit screen, where you can edit and save your sounds endlessly – a lot of editing capability.

 

So FLUX:FX gives me an entirely new palette of guitar effects sounds and sequences (what a strange thing to be saying “effects sequences” – that is just weird!) and in combination with Guitar Rig Pro (and/or GTR3 from Waves), and my hardware devices, my guitar tone, in 2015, is going to sound like nothing you’ve ever heard before.  If I drive that with the Ibanez Kaoss Guitar– well, then, I am throwing synthesized real-time guitar effecting into the mix, so between using the Kaoss pad on the guitar, at the same time, FLUX:FX could be running an exotic effects sequence that I am playing the Kaoss pad “against” – and that could just go into the worlds of sonic wildness such as we’ve never heard before.  Re-processing that whole thing on the fly in Guitar Rig Pro, of course! – Why not?

I have then, a lot of sonic possibilities that I did not have when I made “gone native”, which in fact, I did not have last year – so having all of these new possibilities, means that the kind of songs I create, can be something new as well – sure, they will have a rhythm section – which will be played on drums recorded at Abbey Road, on a beautiful Fender Precision bass or on a nicely distorting Rickenbacker 4003 bass… and guitars – but those instruments will be processed and tweaked like never before.

And then – there is the keyboard section.  I wouldn’t even know where to begin with that, I really wouldn’t.  Within Komplete, I have many, many choices of keyboard – every vintage organ, clavinet, harpsichord, fender Rhodes, grand piano, etc. that you can imagine – and again, on the ipad, I also have an extremely large collection of keyboards, keyboard samples, and so on – so between those two, I have worlds of possibility – and I really want to incorporate more keyboards into my work, yes, I am primarily a guitarist, but I love to play piano, I love to play Hammond organ, I love to play the synthesizer – and God only knows how many of those I have now – between Komplete and the iPad – an incalculable number of synths are available to me in 2015.  I can’t wait – so many amazing sounds, so many vintage and even ancient sounds – which will sound fantastic in new songs.

This will allow me to make some of the most curious juxtapositions of sounds imaginable – say a solo section that rotates between a hurdy-gurdy drone/solo, an electric guitar synth raga/solo, and a distorted, leslie’d Hammond solo – why not?  In my latest classical piece, I am even experimenting with the idea of doing circulations using keyboards, and in that piece, I have a section where an entire section of keyboards is played note by note, first the harpsichord, then the piano, then the celeste, then back to the harpsichord, then piano, then celeste…this circulation goes on for a couple of minutes, and since one of those is in the centre of the mix, and one is full left, and one is full right, you can “hear” the circulation effect thanks to the stereo positioning of those particular instruments…

Since I now know that a keyboard circulation works effectively, I plan to use them in my rock compositions – why not, again, I think it’s a great way to play a melody – sharing it between instruments, and letting perhaps five or six different instruments “play” a melody, each one taking it’s turn, moving across and back and forth across the stereo field as it does so.

There are so many techniques and possibilities available to me, but, I also plan to stand on tradition:  I plan on, in most cases, starting with a drum track.

Then, once I am happy with the drum track, I would turn to the bass guitar – mostly likely using one of the remarkably high quality Scar-bee instruments, or possibly, playing the part on my bass – or maybe, doubling it up so that both are present – real and Komplete – that might be interesting!

Then, once I have bass and drums complete…then I start overdubbing guitars and ebow guitars and guitar synth and Kaoss Guitar.  For days and days.  And with all the sonic possibilities, this should be a hugely fun and exciting process – what sound to use today?  The choice is nearly infinite already, it really is…incredibly huge number of possible sounds given the effects I can bring to bear on a poor, lonely guitar signal 🙂

Then – keyboards, if desired, same thing – too much choice, amazing choice, so as long as I’ve left “space” for it – or for them – I can add in one or more keyboards to this emerging “song”.

 

Finally – does it want percussion?  More synth flourishes?  Special effects courtesy of Komplete or the roland gr-55 guitar synth?  A Korg Monotron solo?  Live percussion?

It’s all possible.  At some point, I will have a song on my hands, and if I spend the time, and tweak the mix until you can hear every instrument well but at the same time, they are nicely blended for smooth, clear listening…then I will know that the first piece of my 2015-initiated album is nearly done, and I can start thinking about the SECOND piece for the album…something totally different, probably.

Why not?  The amount of sonic choice available to us now, as technology finally catches up with music and musicians – it’s simply astounding, and I plan to take full advantage – it’s there, so I will use it, and I hope that my 2015 “songs” come out even better than my 2012 “songs” did – I am absolutely certain that they will.

Update: yesterday, January 10, 2015, I began work on the first song – working title “return of the native” – for the new as-yet-untitled rock album circa 2015 – a seven hour session has resulted in a very interesting 7:36 drum track, which is the start of…something.  we shall see what happens next…

 

To be honest, sometimes, when I am working on improvs, when I am looping, or playing apps in a solo or duet setting, or whatever I am working on – I really, really miss the “song” form – so that’s why I want to make an album of songs, or at least, start making an album of songs, this year.

I started out as a “rock” musician, playing in bands, now, I am my own band, I play all of the instruments, and I can create songs of a complexity and subtlety that I could not have even imagined in the bands I was in when I was 15, 16, 17 years old – it would be beyond our comprehension, back then, the idea that I could “play” an Abbey Road drum kit on the keys of a keyboard, the idea that I can choose between a Fender or a Rickenbacker bass guitar, again, played on the keys of a MIDI keyboard…unthinkable!  Not POSSIBLE!  Insane idea…how could that ever be?  I really wish I could go back, and show 15 year old Clapton- Hendrix- Gibbons- Steely Dan-loving rock guitarist Dave Stafford just what 2015 technology looks like – just to see the look on his face!

So – technology has really, truly changed everything, and the fact that I have both a powerful music computer with one set of amazing music tools, and, a portable, adaptable tablet device with an entirely different but equally wonderful set of amazing music tools – that is just astonishing, and it seems impossible to me even now, even though I know it’s not only possible, but, it’s up and running – and I can access it at any time, night or day.

Fantastic Technology – maybe that’s what I should call the album, if Reeves Gabrels and Bill Nelson can call their album “Fantastic Guitars” then I can call mine “Fantastic Technology” – I suppose.  I think I like their title better to be honest!!  By the way – that is a fantastic album that you really should hear – if you like Reeves Gabrels, if you like Tin Machine (featuring Reeves Gabrels and that other guy, oh – uh, David Bowie), if you like Bill Nelson, if you like The Cure (featuring Reeves Gabrels) – then you WILL like “Fantastic Guitars” – available via Bill Nelson’s web site.

 

Of course, this does not mean that I will stop doing improvised sessions – I absolutely will continue with those.  Some of the sessions pioneered during 2012 – 2014 were truly inspirational to me, such as, playing two instances of the TC-11 touch controlled synthesizer application on two different ipads, doing a “live duet” using two tablet devices – was huge fun, and I hope I can work out many other interesting ipad duets during 2015.

The recent series of “Kaoss Guitar” videos is also very enjoyable, and I want to hook up a looper next time, so I can really layer some awesome kaoss/guitar sounds in a live setting – and then be able to solo on top, too, with those fantastic harmonisers, decimators and other kaotic sonic madness that the Ibanez RGKP6 makes possible – a very interesting instrument, so I hope to work a lot more with the Ibanez during 2015, too.

 

Vintage and even ancient instruments, I’ve become very interested in these, as well as things like “glassworks” which features glass instruments designed by people like Harry Partch and Ben Franklin – fantastic instruments, and also, things like the “EP 73 Deconstructed” which is a 1973 Fender Rhodes Stage piano taken down to it’s component level, with five different basic sounds, key, pluck, mallet, bowed and FX – and this sound, the way this thing sounds, is nothing short of extraordinary, it takes me right back to my pal Ted’s home studio, in the early 70s, and playing his Rhodes and listening to him play it – a great instrument, and now, for the price of software, I have one too!

So I will be working with the Rhodes (which I have actually, a number of different sample sets for) as well as a number of other ancient and vintage instruments, including such rarities as the Ondes, and the Novachord, amazing early keyboards with extraordinary sound palettes (both from the wonderful Soniccouture – makers of the most amazing software instruments in the universe) – some of these early synthesizers were truly out of this world.

From the Conservatoire Collection, another Soniccouture act of genius, I have the beautiful beautiful baroque guitar, the amazing hurdy-gurdy, some lovely Flemish harpsichords, and some truly remarkable baroque timpani – which sound like no timpani I have ever heard – an astonishing sample set there.

Of course, there is always my familiar ambient loop guitar set up, with its counterpart, the “all instruments” set up, which includes a whole bunch of live instruments that I try to use in the loop or the solos over the loop, all in the space of one performance – it’s quite a challenge.  Ambient loop guitar should be better than ever, I have the best looper, the best reverbs possible, and a small but wonderful collection of ebows – and there is nothing quite like the energy bow out there, it’s a one of a kind sound source, and I also look forward to playing some ebow Kaoss Guitar – early tests proved very successful.

 

Right there then, are a series of possible live improvs or duets, using a broad range of current, vintage or ancient sounds – what a range of sounds it is – and I am so fortunate as to be here to bear witness to it all.  What a remarkable product Komplete is, and I really enjoy using it, and hearing the sounds of yesteryear brought to life as if it were yesterday – the Ondes and the Novachord in particular, are both astonishingly beautiful sample sets, and I can’t wait to do more work with both instruments – or maybe, both together, who knows?

 

Beyond all that, I am sure as the year goes on, that I will be able to add new “eternal albums” to the ever growing library of “music for apps” or “music for pcs” or other music data sets, and that I will be able to add more content to the existing albums, too.  Most recently, I’ve been adding several tracks to the “music for pcs: komplete samples” eternal album, tracks that I had completed but never had a chance to upload – I’ve been trying to get caught up, and slowly, I am…

Addressing the video backlog – well, during 2014 – I finally had to just give up, in one sense, and I have started publishing videos that were recorded recently, in some cases, very recently, and I have back-burnered the older videos that should have gone up to maintain the chronology.  I decided in the end, that I can easily control chronology by providing you with dated sessions, so that you can view the sessions by date, so as I am able to backfill the older videos, that you can still experience the live videos in chronological order, while at the same time, we can start to feature what is really happening NOW in the studio – rather than videos that were made two years ago!

I want to put up those older videos – in some cases, they contain truly ground-breaking footage, and they do deserve a spot up there, but – time is of the essence.  I’ve also reluctantly undertaken the decision to reduce the number of takes-per-session that get built and uploaded, so, if a session has say, nine good takes, in the past, I would have produced all nine as videos, and uploaded all nine tracks.  Now – instead – I will re-assess the nine tracks, and attempt to pick out the “best four” or “best five” and I will build and upload those, instead of all nine.  Depending on the session, this number (actually uploaded) may vary wildly from 1 or 2 to 9 or 10 (if there are 30 takes, then 10 isn’t very many takes, percentage-wise!!).

I hate to do that, but I truly do not have the hours in the day available to do all nine or all 12 or all 30 tracks – make a master audio mix and then make a video for each track – any more – in fact, because I was being so completest, and so chronological – that’s what got me to where I am – hopelessly behind – so I need to break the cycle, produce recent videos so you can see and hear what we are doing now, in early 2015 – and as time becomes available, I will backfill the missing videos from 2012, 2013 and 2014 until they ARE caught up.

By reducing the “upload-per-session” count to half or less, this will allow me to work through the backlog more quickly, which in turn, will allow me to get “caught up” sooner – which will be good when it eventually happens.  Once I am there – I won’t get out of sync again, I will just keep up!!  I promise!

If I post a truncated session, where I have made videos for just three or four of nine or ten good takes, if there is enough of a public outcry, i.e. “Dave, please let us see the other 7 videos from this session, please please” I will absolutely consider going back and filling in the blanks later.

 

In the meantime, those four or five videos will at least represent the spirit of the day’s or evening’s session, and will give a good idea of what happened during those sessions.  I will absolutely check and ensure that I select the very, very best of the tracks, so that the tracks with the highest quality, the most beautiful, the best improvs, are the ones that get their videos made, while less interesting takes do not have a video produced – that’s about all I can do, really.

All of these changes and adjustments are designed to gradually move the focus of studio events from a backwards-looking backlog view, to a view of current activities with occasional blasts from the past as time permits – hopefully, bringing everything up to date in a more “current” way, while still addressing the backlog as best as I am able given the circumstances.

 

Theoretically, at least, this will also leave me with MORE TIME to work on a number of the newer initiatives I’ve been talking about here, from more Kaoss Guitar work to more ipad duets to more applications videos to more new and unusual forms of ambient and looped, and, ambient looped, guitar and other instruments.  The more time I have for experimenting, for exploring new instruments, for improvising new music for new instruments – the better – I’d always rather be looking forward, then looking backwards – always.

I am definitely looking forward to a 2015 full of music from past, present and future – and hopefully, hit upon some new ideas, musical forms, formats and instrument combinations, that will enhance what we do here and bring some new and innovative joys of music to your ears.

And – also – the follow-up to “gone native” shall be begun in this New Year (note: was begun on January 10, 2015) – I am really looking forward to that, and with all of the new instruments, new technologies, new effects, new processing possibilities – I can extend the “guitar album” into the realms of the “amazing, extended, expanded guitar+++++ album” – 2015 style.

studio diary 20141230 – year’s end – the view to 2015 from here…

as the year end approaches, we are wrapping up a number of small projects, continuing work on others, and preparing for a very, very musical 2015 indeed,  the last few months have seen a lot of change, a lot of good change, and we are now more fully equipped to make music – a lot of music – on the fly, or with meticulous planning and execution, or maybe even, singing Todd Rundgren ballads at the piano, who knows?? – a little bit of everything, no doubt.

 

GLASSWORKS by Soniccouture

 

before we talk more about what is to come, we wanted to catch up with recent musical events, of which there are many.  on the mind at the moment, are the “Glassworks” instruments, there was a session recorded on December 6, 2014, using two different sampled glass instruments, one an emulation of an instrument invented by Harry Partch, the first track using the instrument called “cloud chamber bowls” the second one,  “armonica”, invented by none other than Ben Franklin (yes, the guy on those bills you never see any more) – we managed to upload the first track from the session, which was simply titled “cloud chamber” in honour of the “cloud chamber bowls” Harry Partch-based patch used to create the track – and it was at that point in time that events just caught up with me, and I did not, at that time, complete two other mixes from the session, both of which were made with the “armonica” tool.

 

I’ve now dealt with that issue, I’ve spent this entire morning – December 29th, 2014 – mastering these two remarkable and remarkably delicate recordings, I’ve been working very, very hard to retain the eerie beauty of the “armonica” instrument, it’s a very ghostly, ethereal sound to begin with, sort of like a floating pipe organ from heaven.  words are not really very useful when it comes to trying to describe Harry Partch‘s instruments, really the best way is to hear them – they are utterly unique, and in the case of the glass Partch instrument included in Soniccouture‘s “Glassworks” offering, they are also uncannily beautiful, fragile and other-worldy, ancient and somehow, because they are so ahead of their time, literally, they represent the future, too, Soniccouture have truly surpassed themselves with the “Glassworks” package, and I can easily see myself, and hear these instruments, making their way into future compositions – easily.

 

all three tracks from the December 6th “Glassworks” session are now up and loaded onto the “music for pcs: komplete samples” eternal album, the track listing for the three tracks is as follows:

 

21 glassworks – cloud chamber – recorded using the “cloud chamber bowls” instrument  2:07

22 glassworks – quiet grace – recorded using the “armonica” instrument  2:51

23 glassworks – quiet passion– recorded using the “armonica” instrument  3:00

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141206 by dave stafford for pureambient records

all rights reserved © & ℗ 2014 / 2015

 

 

 

REV by Output

 

and then there was REV.  I am very, very excited by the sonic possibilities that rev offers, I am still very much a new user, but I have indeed, set aside some time to work with rev, and I was not in any way disappointed.  on December 27, 2014 I sat down and recorded a few pieces using just multiple instances of rev, which is clearly one of the most innovative of all sample based instruments.  I actually agree with their marketing information, which states that this is not the sound of a few guitars going backwards, it has been designed from the ground up to be a playable instrument, with the option in every case, of using the reversed or the forward sample – it is left up to the user.

 

the reversed samples that have been utilised, are simply beautiful to listen to; and I can tell this because if you just sit and “trial” the voices, it sounds utterly amazing, almost like a beautiful song.  so they are right, this thing is way beyond a few reversed samples, it is a unique and beautiful instrument in it’s own right.

 

as with soniccouture’s “glassworks”, I can see myself using the rev library and instruments for many, many years in compositions and in on-the-fly improvs like these tracks.  I set up two instruments, one loop, and one “rise” and at first, I was so blown away by the sounds, I just sat there playing, drifting away on ambient clouds of reverse acoustic and electric guitars.

 

my first test of most new music software or sample instruments is usually ambient in nature, basically, I want to know if this sample set, or this synthesizer, or this generative device, is capable of producing beautiful, calming ambient music ?  happily, in the case of rev, the answer is a resounding “yes” – it did beautifully, and I feel that the two ambient tracks I produced using it were excellent – totally down to the instrument, not the player!!  rev is awesome for ambient music, but I can also already tell, it will rock in active music, too – it’s just a brilliant sounding instrument, and I cannot recommend it highly enough – it’s a fantastic and very musical instrument!!

 

on the day, I actually recorded at least three tracks, two ambient, and one active, which I have just now mixed and am in the process of uploading – it’s called “perpetual grunge” and it could not be more different to tracks 24 and 25 – hold onto your hats…

 

 

24 rev – time waits for no woman – recorded using the rev “instrument”, category: complex pad, patch: “beautiful”  2:50

 

25 rev – timeless – recorded using the rev “instrument” including  cctwo patches: both category: simple pads, first patch “electric guitar harmonics” and second patch: “acoustic guitar harmonics”  2:40

 

26 rev – perpetual grunge – recorded using two patches: first, a loop from the factory category called “pulses mid” run through effect “filter gate 1”; second, a rise from the factory category called “4 Bars + Tail” run through effect “rewind”  1:50

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141227 by dave stafford for pureambient records
all rights reserved © & ℗ 2014 / 2015

 

 

 THE IBANEZ RGKP6 KAOSSILATOR GUITAR

 

our other new star is this remarkable new instrument, that combines a normal electric guitar with the synth / effects processing power of a korg mini-kaoss pad, the mini-kaoss 2s – which, when used on the guitar, gives guitarists (in this case, me!) unparalleled ability to manipulate the sound of their guitar in realtime and in near-realtime, meaning, as you play, or, directly after you play when effecting notes or chords that are still “ringing”.

 

Either way, it’s an absolute joy, pure dead good fun to play, as I hope the videos demonstrate.  While I initially put it to the test with a fairly ambient guitar improv, as soon as I switched on the built-in distortion circuit…that’s when the real fun begins.  With a more sustained signal, the mini-kaoss 2s really comes into it’s own…it does WILD things to your guitar sound.

 

With 100 basic patches available, the pad allows you to slice and dice and squash and decimate and rip apart your normal guitar sound in more than 100 ways. Each patch can be tweaked by the user, and of course your technique also has a huge effect on “what come out”.  It’s such a simple but genius arrangement, only really made possible by the fact that korg decided to create “Effects” style kaossilators like the mini-kaoss 2s to complement their existing range of “synthesizer” kaoss pads…so the original idea was, you buy a normal kaoss pad, which is a mini-synthesizer with an xy input pad (instead of keys or strings) and then, you buy an “effects” kaoss pad and you plug the two together, running the synth thru the effects, to get the best of both worlds……

 

Ibanez simply replaced the mini synth in the above set up, with an electric guitar!! So instead of a synth, you get the guitar, which is your input / sound source, and it runs thru the “effects” kaoss pad which is of course, embedded physically on the guitars where your pick guard would normally be 🙂

 

AND NOW FOR SOMETHING COMPLETELY DIFFERENT

 

not forgetting the enormous amount of work done over in the arena of APPLICATIONS, we’ve worked on a huge range of projects from sample based PC apps like Komplete ultimate, to performing live duets using two instances of tc-11, a touch controlled app for the ipad.

 

THE FUTURE AND BEYOND…

 

So – what is to come in 2015?

 

refining and improving what i’ve learned in 2014 (and, a few of the years just before 2014!!) so I will be working in all of the arenas we’ve been looking at the recent history of:

 

1) More Kaoss Guitar videos, plus, the use of Kaoss Guitar in other compositions providing unusual textural guitar for solos or backings…long live the Kaoss Guitar !!

 

2) More work, both solo and combining sampled instruments, basically, diving deep behind the covers of komplete 9, native instruments effects, native instruments sample instruments, soniccouture instruments, waves audio effects, scar-bee sample instruments and anything we can get our happy sampling hands on, basically – a massive world of very, very real sounds – because – they ARE real – they are samples!

 

3) Much more visibility for the native instruments synthesizers, of which I have done so little with – there is a huge, beautiful, terrifying sound world there – that I plan on visiting soon…

 

4) Much more use of Guitar Rig 5, one of or possibly the best of the software guitar system emulators, I used Guitar Rig on the sessions for the Ibanez RGKP6 Kaoss Guitar; and it sounded great – more work with that, for sure.

 

5) Working with applications – a whole phalanx of them, existing, new and future – if it makes sound, I want to hear it, if it sounds good, I want to record it.  At the moment, I have planned a few sessions involving newer apps, probably starting with the mysterious and ambient “VOSIS” application, which I very much want to do more tracks with.  Also, I want to explore the relatively new world of the Korg Module iPad application, and how it is realised through their existing iPad music app “Gadget”Korg Module features world class samples, available through Module or in limited form, thru “Gadget” – so I have sessions planned for Module and “Gadget”, too.

 

6) Nearest and perhaps dearest to my heart – with all of the exciting new technologies I’ve been trying to absorb (with “trying” being the very most appropriate verb in this case) I feel that 2015 is the year to take all of those technologies, and use them to build an old-style, non-eternal dave stafford guitar album made mostly with real guitars, real basses, real keyboards, real kaoss pads, and so on…a normal album, in the style of “gone native” perhaps, or maybe one active album and one ambient album – I am not quite sure yet, and, it would be a case of starting such a venture 2015, but it might not be completed for quite a while…well, we shall see.  But – definitely – guitar based songs, and ambient dreaming music – will be here beginning in 2015.

 

7) Finally…both Bryan Helm and myself have made the commitment in time to begin work on the second “scorched by the sun” album – in our discussion so far, we are thinking we might do a “loud” or active album, instead of ambient, or maybe, as we sometimes used to do, one that starts out loud, and then gets gradually more ambient, with the final track being full on ambient.  The content is up in the air, and again, it will just be a beginning in 2015, it might take time to complete, but – we really want to work together more, we really enjoyed the process of making the first album, “dreamtime” – so it follows that it’s time for “scorched by the sun” to make their second record!  It is time.

 

 

 

 

So the new year looks to be our most active and intense to date, but we are gonna give it our best shot.  Meanwhile…have a safe and prosperous and happy, happy New Year – see you on the other side…

 

 

Peace And Love To All

 

D. 🙂

 

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 🙂

 

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!

a new year, a new beginning – and the piece that is – providence suite

here we are, then, on the cusp of another year, 2013 is over, seemingly in a flash, while 2014 is about to begin: and with it, my second major classical work, “providence suite” which has now been published on bandcamp – on the newest eternal album, “classical”, available for your listening and downloading pleasure.  if you read my last blog entry, you will know about the music for this project; it was meant to be a collaboration between John Orsi and myself, but, this was one project that was fated not to be, at least not in the collaborative sense that it was originally intended.

the seven new pieces that make up “providence suite” join my only-just-released first-ever classical work, which was a piece written on the guitar synthesizer and released earlier this year (2013), “concerto no. 1 in e minor for oboe and guitar”, from the dave stafford eternal album, “classical”.  originally known here on the blog as “the orsi-stafford project”, at some point during the work in 2012, after some months and some deliberation, John and I had agreed that our new band should be called “providence” – so – “providence”, the band, was born, from our collaborative / collective imaginations.

when I heard the sad news of John’s untimely passing earlier this month, I felt even more determined to see if I could complete and finish my “providence” demos – which consist of two fruitful days’ recording in the studio, back in march, 2012.  so over the 2013 christmas holidays, I sat down for another two days, and had a good look at the material.  these two sessions done three weeks apart during march 2012, over the past week or so, with 2013 winding down and 2014 looming on the horizon, have captivated my attention and my ear; the music has somehow, almost magically, transformed from two (rather large and somewhat daunting) batches of unrealised tracks into a substantial piece of classical music: “providence suite” by dave stafford (music inspired by the band “providence”). I was surprised (and still am, if truth be told) at both the quantity and the quality of the music, I remember being satisfied with it at the time, but I had forgotten exactly what was there…musical buried treasure.

inspired by our discussions and plans for the band, I sat down to record “sketches” for John to listen to and consider, so he could listen to what music I was thinking of for the project, from which he could then work out what his percussion goals for the album were, and respond with sketches of his own. the bulk of the demos for “providence suite” were played by myself on the keyboard, for the first two movements, on march 4, 2012, and for movements three through seven, from (what became) the final “providence” demo session on march 24, 2012.

since I am known primarily as an ambient looping guitarist, I didn’t want to sit down and create lots of really beautiful, but perhaps, predictable ambient music, it seemed too easy:  I could just set up my guitar, and create a bunch of ebow loops (which, I now realise, I’ve been making for over 25 years…sigh), and send them away to John. so I decided to purposefully do something unexpected: instead of doing what was comfortable / expected / easy – instead, I played the piano.   and, stranger still, I wrote classical themes, instead of ambient or rock or pop.

such an ambitious move might well have backfired, but good fortune smiled on me; my many years of self-taught piano playing stood me in good stead (not to mention my fortunate / apparent / ability [??] to improvise without rehearsal or plan!) – the two sessions went very well indeed.  of course, if you are known as a guitarist, ambient or rock, what you do is…play classical piano?  well, strange though that idea may seem – it worked out quite well in the end.

so, I set up my MIDI grand piano in the now-familiar way, with more than one sound output; so I could have a choice of grand piano, and various mellotron “versions” of the pieces, with which to later build the album.  I then sat down and played – and for the most part, with some minor editing, what you hear in “providence suite” is exactly what I sat down and played.

played extemporaneously, I might add – for example, “grace”, is compiled from a series of 16 takes of the same evolving theme, with a number of mini-musical-themes within those 16 takes, originally, it was three mini-themes: takes 1 and 2 were “theme  I”; takes 3 and 4 were “theme II”; takes 5 through 15 were “theme III”; while take 16 was my attempt to incorporate all three themes into one single take – certain piano phrases, chord changes, and melodies that repeat in different configurations, as the takes…and hence the resulting movement…progress.

when it came time to assemble the piece, it just sounded “right” with all of the variations intact (the original plan had been to use the “best” takes – but what do you do when all sixteen tracks seem to be…”best”?. you publish them all…of course!)  🙂

so, the movement consists of all 16 takes, in sequence, in the order that they appeared – simply “tacked together”.  I merely “closed up the spaces” between the takes – and that was the movement – “grace”– it could not have been simpler.

this is an example of myself composing classical music on the fly, and luckily, with the recorder running; but at the same time, it’s a glimpse at the creative process, too; with each take, I am improving the themes, testing out alternate ideas, and generally perfecting the themes on the fly, as I was playing them. the takes for “movement no. 1 – grace” start out fairly basic, and then they grow and grow, and then for the final take, take 16, I attempted to reiterate each of the three mini-themes within the session all in one take – so that take does a wonderful job of recapitulating the 15 takes that went before, and was the perfect way to conclude the movement, too.

using both the piano tracks and the various mellotron variations, the music recorded in the first session, on march 4th, could then be assembled into the first two movements, “movement no. 1 – grace” and “movement no. 2 – redemption”.  “grace” is strictly solo grand piano, to clearly establish the themes using a familiar instrument; while “redemption” (which uses 17 iterations of the same 16 takes from grace, re-configured) restates those themes using the various mellotron voices and piano, including some unusual-sounding voices such as “after glow”, along with the more traditional, and more easily-recognisable, string and choir voices.

originally, there were four main keyboard themes, which shared two titles (“grace” – representing the march 4th session; “providence” – representing the march 24th session) – so originally, themes one and two, from march 4th, were “grace”, and themes three and four, from march 24th, were “providence”.   in the end, while I was assembling the pieces, and realising that I had a lot more viable material than I at first thought, I expanded the titles to seven distinct movements, which incorporate the four original themes.

when I read the above paragraph back, it seems a bit unclear ! so perhaps the simplest way to clarify it, is to draw a mapping from “theme” to “movement”:

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providence demo session – march 4th, 2012:

themes I & II      “movement no. 1 – grace” (solo grand piano themes) – from 16 sequential takes total (essentially a live performance, with some minor edits)

themes I & II      “movement no. 2 – redemption” (piano and mellotron variations on the themes) – 17 iterations total (from 16 takes)

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providence demo session – march 24th, 2012:

theme III             “movement no. 3 – providence” (piano and mellotron variations on the themes) – 13 takes total – including. from march 4th, one short excerpt from theme I and one short excerpt from theme II – which neatly ties together all of the themes from march 4th into the “providence” movement (the only movement to contain music from both the march 4th and the march 24th sessions)

theme IV              “movement no. 4 – atonement” (live performance – takes 1 through 5 of theme IV) – 5 of 9 takes total

theme IV              “movement no. 5 – purity” (live performance – takes 6 through 9 of theme IV) – 4 of 9 takes total

theme IV              “movement no. 6 – perfection” (piano and mellotron variations on the themes – takes 1 through 5) – based on the same live performance as “atonement” – 5 of 9 takes total

theme IV              “movement no. 7 – transcendence” (piano and mellotron variations on the themes – takes 6 through 9) – based on the same live performance as “purity” – 4 of 9 takes total

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

the themes were originally intended to be first piano; then piano and after glow mellotron; and then, finally, a combination of those two plus additional choir / electric piano tracks, which were recorded live / direct from the output of my MIDI keyboard (using it’s very high quality internal voices).

however, thanks to some relentless digital noise (a constant problem with “pops” that plagued my studio for many months, and is now blissfully, mostly gone), all of the MIDI keyboard choir, strings and electric piano tracks were scrapped (ALL of them – from both sessions – so, dozens of tracks – all too damaged to salvage), which at first seemed an insurmountable loss – until I came up with the idea of re-creating them in an even more beautiful way, using a violin orchestra and a specially-designed stereo choir.  problem solved.

that is the beauty of working with MIDI – your output can be literally anything – although for classical music, I would basically always stick with using true pianos software for the grand piano sounds, and the m-tron pro mellotron software for more exotic sounds, in this case, strings and choirs.

by adding the additional three mellotron elements in – violin orchestra, choir ahs, choir oos, I was then able to “mix and match” instrumentation for any of the sections within each theme or movement.  and where the instruments change, that’s an indication of one take ending, and another one starting – so in some of the pieces, you can actually hear where each individual take “is”, because the instruments change each time the take changes from one to the next – solo choir, then piano and strings, then piano, strings and choir, then solo strings, and so on.

some of the pieces are presented just as I sent them to John, and pretty much just as I played them, unrehearsed, unplanned; especially the solo grand piano pieces, which had his approval – “movement no. 1 – grace” is very close to the demo versions; while “movement no. 3 – providence” did require some editing – there was simply too much material, too many takes, so I had to (reluctantly) remove a couple of the sections, and edit together what remained – but I was careful to preserve the musical themes – very, very little in the way of music has been taken out, just excessive repetitions of certain phrases were carefully removed.

so “grace” and “redemption” share the themes from the march 4th session; while “providence” presents the third theme (plus a reprise of theme I and a reprise of theme II – one take of each added in to the piece to tie all of the march 4th themes together – within the first theme from march 24th).

in the mixing stage, “movement no. 3 – providence”, gave me the most grief, it took three tries to get a mix I could feel happy about, the exuberance of the young pianist knows no bounds – but a little creative editing sorted that out – while some unplanned and exciting juxtapositions in the last four movements, and indeed, the inclusion of some of the earlier themes in “movement no. 3 – providence”, to tie the whole suite together, well, this was as much of a joy to assemble and mix as it was to play, it really was a pleasure – and it’s difficult for me to comprehend that all this music came from just two days of unrehearsed, extemporaneous piano playing – it was as if I’d composed it in my head beforehand, or in my sleep, in a dream, perhaps, and then; just sat down and played it from memory – the themes appeared like magic, with little conscious input from myself.  I recorded quickly, take after take, refining the themes as I went along.

when I sent the demos to John originally, his responses were both enthusiastic and very positive, and, he paid me an incredible compliment; when speaking about one of the pieces, he said “this piece is complete as-is, there is nothing I can add to it – it’s perfect” (paraphrased but you get the idea) – and that speaks to the sort of “completeness” or “completed-ness” if you will, of the pieces – they felt complete, they felt composed, despite the fact that I literally sat down, pushed “record”, and started recording with no notes, no rehearsal – and from that – this massive suite of music now exists – much to my everlasting astonishment!

I was particularly eager to mix and master the last four movements, because they utilise the incredibly beautiful “ebow ensemble” mellotron voice, which while it consists of sampled ebows (my normal instrument of choice) when played back on the mellotron, it doesn’t sound quite like ebows, it has a more ethereal, beautiful, string orchestra-like feeling to it, so it’s like a cross between the most beautiful ebows and the most beautiful strings you never heard…a magical, beautiful musical voice for the final four movements of the suite.

again, I used the strings and special stereo choir to augment the “ebow ensemble” voice on the final two movements, but for “movement no. 4 – atonement” and “movement no. 5 – purity”, you hear just the “ebow ensemble” in it’s purest form, with nothing added and no variations – and again, these two movements are basically what I played on the day, march 24th, 2012 – “movement no. 4 – atonement” is made up from combining takes 1 through 5, unchanged and unedited, while “movement no. 5 – purity” is composed of takes 6 – 9, unchanged and unedited, of nine takes total – every note I played is presented in these two themes, as they were played. so in this case, movements four and five are live recordings of theme four, and in fact, they represent every one of the nine existing takes of theme four, as they happened.

by that criteria, in actual fact, movements four and five are completely and totally “live to digital”, while the other themes underwent very minor editing (with the exception of “providence” which did have to be edited more severely) so these two live “ebow ensemble” pieces give you an idea what it was like for me, sitting there at my keyboard, hearing what would become “movement no. 4 – atonement” and “movement no. 5 – purity” come out of the mellotron – an unbelievably beautiful sound, which was utterly inspirational, and I hope you can hear by the soaring theme four, just how exciting this last session was – unforgettable.  I had never recorded using just the ebow ensemble voice (no piano) and it just sounded amazing to my ears – a remarkable experience.  when you press down the keys and that sound comes out, it’s just breathtaking and extremely inspirational.

I should take a moment and talk about the missing piece (my apologies, I am listening to gentle giant as I type this blog entry) ; during the march 4th session, I did record some guitar synthesizer pieces for the “providence” project (before I began this keyboard-based work); these were mostly unsuccessful, requiring a lot of time and effort to make them useful, however, there is one very simple and overriding reason why they are not included here: they are not really classical music – and while I can play classical music on the guitar synth, the pieces I recorded on guitar as demos from providence, were simply not the right material to be added directly to “providence suite” – they were going somewhere else musically – so if and when they are released, it will be…somewhere else :-).

if time permits, I do intend to sit down with these guitar themes (including the unreleased theme “intransigence”) and see if I can create something to listen to, although it may be more in demo form than in completely mixed and mastered form as “providence suite” has ended up – there is not a lot of the guitar material, certainly not enough for an album or possibly even an EP, but if I can master any tracks from that part of the session, of course, I will – but that’s something I plan to look at later on in the new year.

once I set the guitar aside, and sat down at the piano, where I proceeded to play the “grace” theme pretty much as you hear it here…everything started to go right in an incredible way.  I can remember feeling so excited about these pieces, and I burned all of the tracks (which were quite substantial) to disc and mailed them away to John for his comments…which came back very positive, he seemed happy with the material, and I was looking forward to hearing his sketches.  that never came to pass, so my “half” of the music of providence, now released under my own name, is all there is of the band that was-to-be-known-as “providence”.

life is a funny thing, it never goes as you plan it, as john lennon once said, “life is what happens while you are busy making plans” and that could not be a more true statement for this project – I am amazed, though, that some 22 months after it was recorded, that this piece of music would be so epic, so challenging, so dramatic and so clearly filled with emotion.  I tend to pour emotion into the music I write; the chords, melodies and harmonies I choose (minor motifs are common) reflect this, but in this case, it was if these pieces were already present inside me, in the memory of my hands and mind, and the act of sitting down at the keyboard released them into the world.

and here they are – the seven movements of “providence suite”:

grace – 18:54

redemption – 19:46

providence – 20:34

atonement – 10:40

purity – 6:22

perfection – 10:38

transcendence – 6:22

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for John, without whom, this music would not exist

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www.overflower.com the music of john orsi

www.pureambient.com the music of dave stafford

POSTSCRIPT:

I recommend that if possible, to listen to the entire suite as a single work – that’s how it’s intended, of course, you can listen to any of the movements in isolation, but playing the seven movements in sequence gives you the music in the way John and I discussed and intended it to be, as an “album” – and given that John was not able to actually contribute any recorded music, I still very much valued his input, I valued our collaboration, and the ideas we exchanged, and his intentions are as well-reflected as they can be in these pieces – I have worked very hard to do justice to his memory, by assembling this plaintive,  sometimes sombre set of musical movements, made up of the raw material that was originally meant for the first “providence” album – the album that was not to be.

“providence”, as a band, never completed or released any actual music, which is why I have taken the time to mix and master “providence suite” now, at the end of december 2013, and to release it with my best wishes, sending my positive thoughts with it into the new year 2014.  reluctantly, I release it under my own name, rather than under the name “providence” – but that’s not a problem, it’s just an unavoidable issue – this is the way I can release this work, which features only myself performing, unfortunately.  if John had had time to send me his parts (it is actually unclear if he ever was able to actually record any parts, or if they were recorded, he never sent anything to me beyond letters), it would be a very different story…and a very different album, too.  so what was to be a collaboration of many instruments with ambient and active percussion, with ebow loops and solos, with collaborations…instead, I am presenting these “solo” versions of the seven movements, taken from the original master recordings made in march, 2012 – because that is the only option.

“providence suite” was conceived to honour the memory and intention of the band “providence”, and to honour the input of John as much as is humanly possible when the music presented does not contain any of his recorded sound – but his heart is in it (as is mine), and when I hear this music, I think of the music of  “providence” – not of “dave stafford solo recording” – that’s a choice that was made for me, I am very happy indeed, but at the same time, it is with a heavy heart, because John isn’t here to see it happen (and more importantly, he is not present to hear the music inspired by the band – beyond in demo form – and from our collaborative thoughts and communications) – I am most happy to release these pieces now, comprising “my half” of the work, in John’s honour and in his memory.

I never met John “in the real world” but from his letters and other communications, I felt a kindred musical spirit, we shared a vision of a new kind of collaborative effort, across an ocean, from providence, rhode island to the wilds of central scotland –  we…stood poised…to set the world on fire with our music – and in hearing “my half” of what the band would have eventually released, I’d like to think that we actually would have :-).

this one is for you, John, wherever you are.

in search of…a few good sounds

today’s modern electric guitarists have the opposite problem to that faced by the pioneering rock guitarists of the 1960s.

in the 1960s, guitarists had a very, very limited palette of guitar effects.  I was just reading a list of the equipment that jimi hendrix used at the very famous 1969 woodstock performance – and when you look at it:

fender stratocaster guitar

wah-wah pedal

arbiter fuzz face

uni-vibe  (simulated rotating “leslie” organ speaker)

marshall amplifier

4 speaker cabinets

that was literally ALL that hendrix had, with which to create songs from across his catalogue…from purple haze to the star-spangled banner – not much in the way of sonic choices, although in that case, hendrix made the most of the pickup selectors and whammy bar on his beautiful white stratocaster, too (and his manual dexterity, and the amazing things that he did with his hands, on guitar body, strings, bridge, neck, and head stock – remain unrivalled as the most unique technique ever invented – often copied, never equalled) – coupled with his skill on the wah-wah pedal, that whammy/feedback/wah combination was the screaming metal fire music of it’s day.

hendrix and other guitarists performed miracles with just a wah-wah and a fuzz, one of my other favourite live records from 1969 is the recently-released “the move live at the fillmore 1969” which features roy wood playing both six string and twelve string electric guitars through wah or distortion, and coaxing a lot of great guitar tone out of his set up (whatever that was!) – this article suggests that it might be a fender guitar through a vox amp with a binson echo

while much amazing music WAS made with these simple tools, over time, even 60s guitar legends like frank zappa, todd rundgren, robert fripp and so on, began to use and become used to using, and having available, an ever-growing, ever more bewildering selection of effects pedals – at first, better distortion pedals, then, chorus pedals, then flangers,  phase shiftersreverbs, delays, and starting in the early 70s, an absolutely astonishing array of truly bizarre sounding effects – envelope filters and followers, micro synthesizers, loopers, as well as devices such as the gizmo and the ebow

today’s guitarists – have too many options.  too many effects.  too many choices…

I started playing guitar in the 60s, too, but not seriously until I was a little older, and it was not until the 1970s that I got really serious about being a lead guitarist, and like all my 1960s guitar heros, I had the same kit: fuzz face fuzz box (because that’s what jimi hendrix used) wah-wah pedal (because that’s what hendrix used) and later, for a while, I had an echoplex – the tape kind – an amazing piece of kit.

for  a long time, that was really all I had, although when boss started making good sounding chorus, flanger, reverb, delay, etc pedals I collected a lot of those – sold some of them, re-bought them a few generations later, and so on – nice little stomp boxes, small, and reasonably good sounding.

then came the era of the rack mount.  stomp boxes fell by the wayside, in their place, shiny new rack-mountable devices, in my case, I favoured digitech so I had a nice 24 bit reverb, the tsr-24s; I had a digitech 8 second delay (the longest delay/looper I could afford at the time); and later, I bought robert fripp’s old roland GP-16 to use as my first rack multi-effects unit, and later still, I got the oberheim echoplex pro (the digital version, this time).

fast forward another 20 years, and the list of pedals and rack devices and miracle hybrid stomp boxes, and multi-effects devices just grows and grows, until you have so much choice that it’s nearly impossible to figure out what combinations of what devices, coupled with what input device – guitar, or guitar synth, or keyboard, or kaossilator, or ipad…to use to achieve what sound.  and then – for recording – record with effects, or add them later…or some of both?

the choices…the sheer number of choices, is staggering.  let’s say I have 17 devices in my arsenal of effects.  that means…they can be set up in a nearly infinite number of ways, pre- or -post, used as you play, or “re-amped” through them later – we are truly spoiled for choice.

the natural tendency, if you come from the wah/fuzz/echo background that I do, was at first, to try and get as many sounds as possible, by having every pedal that made a different sound added to your pedal board. I spent years and years designing and building ever more grand pedal boards, sometimes I used two pedal boards – whatever it took –  but then, technology progressed yet again – we started to have “multi-effects” devices, and modelled guitar amps (like the sans amp), and so on – which made the choices even more confusing…

and then – do you just set up each song free-form, by reaching down and making changes, or do you control everything – or just PART of your system -with a MIDI controller?  all of these questions, have to be worked out…answered, solved, tested, tried…

I’ve been playing electric guitar for 41 years now, and in that time, while I do now have a lot of really beautiful sounds and instrument sources to choose from, and it’s still very tempting to set up these multiple-choice, multiple-path set-ups that allow you to change effortlessly between a number of different instruments, chains of effects, or rack devices…and yes, that’s fantastic technology;  and with it, you can do so, so much…

but lately, I’ve decided that I am going to attempt to apply what I call “the eno principle” to this massive array of rack, stomp and other effects devices (including, soft synths, ipad synths, software effects, and everything else in my current set up)…”the eno principle” being simply: find a few REALLY GOOD SOUNDS and use those, and…ignore the rest.  in other words, life is too short to use a crappy sounding patch!

eno originally gave this advice about synthesizers…when the first truly beautiful synths, like the yamaha dx7, came along, eno commented on the fact that they all had a very few REALLY BEAUTIFUL or really interesting sounds…and most of the rest of the sounds, were not all that good – and the secret was just to use those  good sounds, and ignore the rest.

well, here it is, 2013, and I am now applying this same principle to my current guitar system.  I have lots of sound generating devices: guitar, guitar synth, keyboard, kaossilator, and ipad (which in itself, contains many, many unique synths, as well as guitar processing gear) – and lots of fabulous effects devices that 41 years ago, if you had told me I would have in the future, I would have just laughed at you – but, now I do have them, and they are incredible…but my thought now is, I need to examine each device; figure out what it’s best 10 or 15 sounds are (as eno did with his yamaha dx7), and stick with those, and not waste time with any sound that is less than incredibly beautiful, or incredibly interesting, or incredibly powerful.  this seems to me now, after 41 years, like a sensible approach.  a more sensible approach, than having more possible sounds than I can possibly remember, much less actually use…

so I am thinking in “patches” again, but patches that are not complete patches – they are patches of “post” effects only…so – harmony, delay, reverb.  the input, instrument, and basic sound – clean, distorted, etc. I will still select manually each time – with the processing, or treatments, handled by patches.  via a MIDI controller of some sort – an as yet undetermined controller.

the input can still be anything – and with the roland gr-55 guitar synth, that is so true – it might be a flute, or a clarinet, or a xylophone, or a strange hybrid synth voice of some odd description – or just an ordinary electric guitar sound.  but that input – will be processed, in the near future, with very, very carefully chosen “presets” of harmoniser, delay, and reverb.

so I am hopeful that with a few months work, I can document and “work out” what the best sounds are on each device, then (and this is the tricky part) try to marry up the perfect harmony with the perfect reverb, and know what delay works with that perfect harmony / reverb combination…

for me – music is just as much about the treatments, about what you do to the sound, as it is generating the sound.  they are of equal importance.

but now, I want to concentrate on what the very best of those “treatments” are, selecting and blending only the very best sounds, so that my oboe sounds unlike any one else’s oboe: partially, because of the way I play it, but also, because of the way I process, or treat, the sound as I perform.  that is the goal – to sound unique, unusual, but beautiful 🙂

over the next several months, I will be working on these high quality, hybrid, “best of”, “eno principle” sounds, and once I have a decent selection of them completed, I can begin to use them on recordings and live video performances.

so I am hoping to have a smaller selection, fewer sonic choices, using fewer sounds, but – sounding better than having too, too many choices, which perhaps dilutes things too much – too many wildly varying effects, instead of going for what is the most interesting, the most beautiful, the best – and, with ambient music, and even in rock music – sometimes – less is more.

since this will be an ongoing process, I will return to the topic in future blogs over the next couple of years, to see what progress I am making – it will take time, but I feel that it’s well worth the effort – even if I only come up with 20 or 30 basic sounds or “patches”…if they are superior, and they bring new sonic qualities to my playing – then I will consider that a success…hell, I’d be happy with 17 really fantastic sounds 🙂

I don’t really “need” a lot more, if they sound truly amazing.

so, it follows then, that they need to sound truly amazing 🙂