studio diary 20170705

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

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and also, completing incomplete tracks and then offloading them, and then, making sure I have final mixes of all unpublished tracks…so that finally, I can master them and upload them.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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

 

 

peace and love

 

dave 🙂

 

 

 

 

 

 

 

 

 

 

the joy of kaoss

I have to admit, of all of the few unusual instruments I have run across, the Ibanez RG Series Kaoss model guitar is one of the best in so many ways.  It’s simply fun to play, and what you can do with one electric guitar that interfaces with one set of 100 (yes, that is One HUNDRED) kaossilator effects to give you one of the most tactile and hands on guitar to synth “instant treatments” experiences since Brian Eno ‘treated’ Phil Manzanera‘s guitar on stage with Roxy Music back in the early 1970s.  No longer do you need to run your guitar through a very large and very expensive VCS3 synthesiser, but you can do the ‘treatments” by yourself, as you play – and the sounds you can get out of it are simply amazing if you just work at it….

What more could I ask for?  What more could any guitarist who also happens to be a Kaossilator Pad player, who also is a synthesist – ask for?  This is the inexpensive way into a Kaoss-pad-controlled-by-a-guitar or rather, by-a-guitarist – you.

Before I try to describe the experience of playing this unique instrument, I should probably approach the negatives – of which there are one or two – depending on your viewpoint.  The guitar is deliberately built down to a price, it’s possibly, the cheapest Kaoss guitar on the market – and that is possible the way Ibanez and Korg wanted it – who knows?  So some of the features you might expect in an expensive electric guitar simply aren’t really here in this guitar.  Like super low super easy action.  Not here – you have to work to play this guitar.  I am going to need to take it in, and see what can be done about the action – which is less than ideal.  I end up thrashing the fingers on my left hand every time I play it – but I am determined, so I don’t let something as unimportant as somewhat high action bother me – I just play anyway, and ignore it.

One alleviating factor or solution I have found, is to go to an extra light gauge of string.  This DOES help a little bit, when the guitar you are playing has action that is too high – for me, it seems to help on the higher strings, but no so much on the lower strings.  It was strange – I hadn’t tried an .009 on my high E since I was about 13!  But I find it helpful to switch from, in my case, Regular Slinky, to, Super Slinky – with a .009 top rather than the .010.

The other thing that I really miss, is a whammy bar.  I think that alongside the awesome distortion circuit built into the guitar, that a whammy bar would have been just the ticket – switch on that fuzz and start yourself a crazy whammy solo….but not this time.   So – two negatives; it’s hard to play, and, no whammy fun – but I can easily forgive both – there are actions I can take, I can get the guitar set up, I can put lighter strings on it, I can even get the neck fretted or shaved – I mean, there is room to improve the action, that is for sure – but it needs investment, and a good luthier too.

Getting over the whammy is easier, for one thing, you have 101 on board sounds to replace it with, the first being, the very usable on board distortion circuit which I really like, it isn’t the most amazing distortion box in the world, but, it gives you plenty of sustain when you want a sudden kick-ass solo – and so easy to switch it in!

So that is the 101st effect, I would say, and then what you have is 100 more on the kaoss pad, to make up for that missing whammy.  For example – may I suggest, voice 16, “vinyl break” – that gives you the ultimate dive bomb, and you can have it at any speed imaginable – very quick indeed, or, very very slow…taking a high note down to a low note that my 12 inch guitar speakers have trouble delivering it’s so lowl!

Or really, instead of thinking of it as 101 effects – the built-in distortion plus 100 Kaoss sounds, you could actually look at it as 201 sounds – the built-in distortion is 1, then you have 100 kaoss sounds with clean guitar, and, 100 kaoss sounds with heavy distortion – and some of these Korg sound respond very well to clean or distortion, and, behave differently depending on what is chosen.

So now that I have got through the tricky stuff, I can go on about how much fun it is to actually PLAY this guitar – and, you have to understand, the kaoss pad that is built into it, is not like the kaoss pad “synths” (like the little hand held pink synth kaoss pad I started out playing a few years back) you buy to play on stage – it is instead, an “effects” kaoss pad, a “Mini-Kaoss pad” – and it’s been made into part of the guitar’s circuitry – it has actually been embedded into the guitar’s DNA – being at the end of the guitar’s audio output.

I think that learning how to play this guitar effectively is something that has to be learned over time, and each time I pick up the Kaoss guitar, I learn a little bit more about what is best in terms of technique – and a lot of the sounds aren’t totally suited to using them like a normal effect, they actually seem to work the best as sudden events in between notes, or, at the end of phrases.

Vinyl Break, good old number 16, is suitable for either, and I had a blast just suddenly DROPPING a note, a millisecond after playing it, down a few octaves, and the real beautiful of the Kaoss pad becomes apparent in the amount of control you have over the timing of that event, of that note drop – if you do it at the “top” of the pad (i.e. the edge nearest the strings, rather than the edge near the edge of the guitar’s body) the drop is incredibly fast, and you are at that low, low tone so fast you can hardly believe it.

If you drop it in the centre of the pad, it drops substantially more slowly, but still at a pretty good speed, and you can learn to “time” these smoother, more elegant drop curves to suit your musical taste…it becomes quite an art, can I make this note drop really smoothly down to it’s lowest tone and then still hit the next note in my solo or improv at the “right” moment, and most times, I can.  It’s a huge amount of fun, trying to control the duration of a note drop event, and get it to work in a really musical way.

Finally, if you choose to drop at the bottom of the pad, well then you are going to get the longest drop of all, possibly a bit too slow to be very musical, but just as useful – and everywhere in between, you get all the different speeds. So to put it into phonographic terms, it can be like dropping from 78 to 16 rpm in a millisecond, or from 78 to 16 rpm in a second, or maybe take five seconds to get there – or, you can stop the process anywhere along the way, so maybe you might just go from 78 rpm down to only 33 1/3rd rpm, instead of all the way down to 16 – it’s entirely up to you.

The pad is physically pretty tiny, and you have to learn to use it … sort of… “in between” your notes, or, at the end of a series of notes – it CAN be used while you are playing, but that is hard – it’s possible, with some of the more standard sounds, like a jet flanger or a nice phaser, you can hold a finger on the pad while you are strumming or picking, but – it’s a difficult act of co-ordination, and really, you would be a lot better of concentrating on playing your notes properly, and using your stomp box flangers or phaser, and they very probably will sound better – and, they stay on, too, until you shut them off, whereas, the pad stops working as SOON as your finger or fingers lift off of it – and that makes it tricky to use as a “regular” effect (whatever THAT means lol).

However, the real strength of the Kaoss guitar, isn’t the more “standard” effects, but the ones that work well when used in between notes and in between phrases, like my best friend the vinyl break, but also, the large selection of various loopers are truly useful and give you some remarkable effects if used well.  It’s tricky, but, it’s do-able.

There are different ways to approach it, and I keep trying new things, or picking one of the 100 voices I am not as familiar with, and trying to see what I can do with it over a longer period of time – high pass filter, low pass filter, mid filters, you name it, it’s all there, there is even a decimator, which is an amazing patch – I absolutely love the decimator, it’s a brilliant sounding effect.  Most of the effects sound really good, but some of them are hard to use in the sort of “momentary” way you need to use this guitar to it’s best effect (no pun intended).

One trick I have found helpful, in making sure I co-ordinate playing a note or chord, and then, immediately applying the pad (before the more or chord fades away so much that the pad then does NOTHING to it – very embarrassing!) is by likening the pad to a whammy bar in your brain – a whammy bar used, of course, in the more usual way, where, at the end of a phrase or chord, you use it – well, the Kaoss pad works best that way.

Just as with the whammy, of course, you CAN whammy WHILE you are playing – but it is more difficult to do, and the results might not always be consistent.  So if you tell yourself to use it in the same times you might use your whammy -and if you are fortunate, it will work well – although there is no guarantee.  And that’s where you can have surprising and dismaying failures – let’s say you’ve worked out a part where, you stop playing and then do a move on the pad, a really dramatic move like a drop or a pitch shift of some kind, and you do it say, for four bars in a row, once each bar….and on the fourth one, you are a tiny bit too late on the pad – and out comes….silence.

That can be embarrassing, and even disappointing, because maybe that fourth amazing Kaoss swoop – should have been the most flamboyant and remarkable of the four in a row – but instead, you play three good ones, and the fourth one – just isn’t meant to happen.

So you lose an entire perfect take, because you timed your Kaoss sound off by nanoseconds – and that resulted not in an error, but instead, in a fail – a silence when your audience would clearly be expecting some kind of fantastical Kaossilator effect – and that is annoying!  I have lost solos and takes because of one failed or less than spectacular Kaoss swoop.

The remedy for that, of course – is more practice, and, of course, the more you practice, the less likely these time-based mishaps will haunt your kaoss playing.  No one said this would be easy – but sometimes, it is pretty easy to make the pad sound good, on other occasions, not so much so – but if you work at it, you can play some truly extraordinary and more importantly, utterly unique chord patterns, notes, guitar solos and sound effects – I mean, with 100 sounds to choose from, you have an enormous palette of high quality Korg effects with which to modify your beautifully clean or very distorted Ibanez guitar – and that to me, is a winning combination.

the stupidest policy in the universe

 

RECOGNISING STUPIDITY WHEN I COME ACROSS IT

like my late father before me, I find that there are certain aspects of life that are just so stupid, that you can’t help but become agitated and very outspoken when one of these “stupidities” comes to light.

I actually have a real knack for recognising stupid issues, and that realisation came home to me in a quite surreal experience I had at a Guitar Craft course held in Ojai, California back in the 1990s. It was a very good course, with mostly good weather, and we got to listen to Robert Fripp rehearse his Soundscapes, not to mention hearing an early DAT of the then non-existent King Crimson album “Vrooom”, which of course preceeded the album “proper” which is the even more awesome “THRAK”.

but i digress, the incident that confirmed to me that I do have a real knack or propensity, if you will, for seeing stupidity for what it is, and usually, confronting it head on….started like this:

A GUITAR CRAFT STORY

The course was in a lovely, big house on a lovely big green hilltop, a grassy hilltop lawn that of couse, being in California, was fully equipped with sprinklers, which went off automatically at pre-set intervals, to keep that hilltop lawn watered and healthy and looking good.  That is absolutely standard practice in southern California, because, if you don’t water…your lawn, and / or your plants, turn brown and then die.  California, after all, is basically, an artificially-irrigated desert, with water piped in from other states! – from many hundreds of miles away.

part way through the course, on a rare rainy day, where it was raining pretty hard, but in that warm kind of unconvincing California way…   I believe it was just before lunch, and the whole group, including Robert were sitting in silence (as you do quite often at Guitar Craft) and of course, if you are not quiet inwardly (as I often wasn’t) your attention may start to wander, and I confess that at this point, where a long, uneasy silence was waiting to hopefully, become a proper silence…I was looking out the window, watching the rain and looking  at the plants and the lawn.

the silence went on and on, and after an uncomfortably long time, suddenly, Robert spoke: “can anyone” (he said, addressing the entire course) “give me an example of real stupidity that is going on here, right now” and he sort of, gazed up and around the room.

confused silence was the first response, while people tried to think if perhaps, THEY had done something stupid earlier on, and now here was Robert Fripp calling them out?  You could sense some rising panic in some of the faces…but no one answered.

then, the answer smacked me right in the brain, that Stafford tradition (my Dad would have been so proud of me!!!!) came back and I blurted out “the sprinklers”.  “The sprinklers are on, watering, while its pouring with rain”. I added.

“Thats right, the sprinklers” Robert agreed.

And of course, thats pretty much the only time that I had the answer when the gathered elders of Guitar Craft did not, so I was pleased that I’d seen it so quickly.  And no one except Robert had a clue, it is just one of those things that people born in California, are used to seeing, all the time, all of your life.

And, it IS a pretty stupid thing, to have your sprinklers busily overwatering your lawn, and indeed, the combination of a substantial rainfall and the powerful large radius-coverage sprinklers running at the same time, could and often did turn your lawn into a green soaking wet sludge –  serious over watering can occur.

I have told this story before, in a more abbreviated form, and I apologise if you have heard it before – but it was necessary for me to restate my “credentials” as a more than “averagely aware of stupidity” kind of person.  I see stupidity in many designs, processes, and even in well establish practices, where people are doing activities in a particularly stupid way, when a much better way is or at least, might be available.

for example – sprinkler systems that can be overridden and can be programmed NOT to turn on, in the case of rain.

clearly, the owner of that nice house on the hill in Ojai, was unaware of this possibility, and because of that, would be always overwatering his lawn and plants when the sprinklers regularly came on while it was raining!

Stupidity at work, in the universe…a perfect example, and both Robert Fripp and I, while looking out the window at the garden in the pouring rain, had realised what was going on just outside the room, while the other fifty five people were only thinking inside the room, or, hadn’t noticed  or, hadn’t realised – that a really stupid thing was going on, right then and there – but outside, not inside!

It’s a day I’ve never forgotten, not only because I knew the answer when RF was the only other person who did, but because it was a great course, and my “Stupidity Detector” was clearly working better than it ever had done before.  A very useful tool, being able to recognise stupidity when you see it – and, if you look around, you will often find that its … EVERYWHERE!!

So what does this long and somewhat tedious Guitar Craft story have to do with today’s blog?  Not a lot, really, except perhaps, to establish that I have this knack, this ability to spot stupid practices, and that, coupled with some forty years in the business world, makes me the Customer From Hell, when companies have to deal with me.

THE ISSUE IN QUESTION

Today’s blog, however, is not about a gentle, somewhat forgivable stupidity such as watering your lawn while its raining…no, today’s blog is about something much, much stupider than that – and therefore, a hundred times more irritating because the stupidity actually has a real, negative effect on you.

I am writing today about a very specific “policy” that a particular music store has, which is, in short:  supplying the wrong type of power supply with almost every guitar effects unit they sell: a European power supply with round pins that cannot be plugged into the wall in the UK! (where we use flat pin power supplies only). To me, this “policy”…is right up there on my “stupidity radar” – supplying a useless power supply that could only work in Europe…in the UK.

a) it is a policy that makes NO logical sense – and the stream of useless Euro power supplies arriving every few months – utterly useless

b) I am sick and tired of ARGUING about it each time I make a purchase – and, an important point here – having to ask in the first place is bang out of order – when it SHOULD HAVE BEEN in the box when it arrived!!

Life is literally too short for me to waste my time railing against such a stupid thing – and they, unwilling to do as I, the customer politely asks again and again – well, the most recent sale they made to me – will be the last bit of business they get from me…I need vendors that will work with me on this.

Not, fight me tooth and nail when I try to get a useable power supply for my effects unit – that I have already paid for (it is part of the effect units’ purchase price)

Meanwhile, I have grown so frustrated with this “policy” over the past six or seven years (!!!!!!!) that I have recently reached the point where I told them that, if they were unwilling to continue to make the situation right, each time I make a purchase of an effects pedal from them (containing a European supply), that they will no longer get my repeat business or any of my business, because I refuse to participate in this specific power supply stupidity any more!

ANALOGY

I’d like now, to ask you a few simple rhetorical questions:

Note: today’s “stupidity” only occurs in the United Kingdom to my knowledge.  It does not occur in Europe or elsewhere that I know of.  This is important to remember.

 

So – UK residents only, then – when you buy a new toaster (or any small appliance) do you expect it to have a UK style plug (flat blades, three pronged) attached, so you can plug it in the moment you get home, and have some nice toast with your cuppa tea?

when you buy a new iron, do you expect it to have a UK style plug attached, the correct flat-bladed UK style plug, so that when you get home, you can plug that iron in right awaty, and get your three week backlog of ironing done in a jiffy?

when you buy a new hair dryer, do you expect to be able to plug it into the wall, and dry your soaking wet hair right away, without waiting?

when you buy a new alarm clock, do you expect a UK style plug attached right to it, so you can plug it in straight away, set the alarm, and then get woken up ever so gently to the quiet strains of Rammstein’s “Zwitters” blasting out at 6:05 a.m., at volume 10…?

when you buy a new Hoover, you expect it to have its UK style flat bladed plug already attached, so when you get home, you can plug it in straight away, and hoover your dirty ole carpets to yer heart’s content?

If you got a new set of hair straighteners, you would definitely want to go hone and plug them straight into your UK 230 volt wall outlet, so you can then wait for them to heat up, and straighten your hair to PERFECTION??

Let’s go large now, you finally bought that brand new washing machine you wanted, and I just know you will expect that it will come with a UK style plug already attached, so you can plug it straight into the wall outlet, hook up the water, and wash all those dirty clothes that have piled up everywhere??

I think you can see the everyday truth in the above statements.  Nothing tricky about them – just ordinary appliance purchases and expectations.

 

You may have gathered that I am making a point, and I am, and yes, OK I have rather belaboured that point (apologies)…but there is a reason for the many, many examples of ordinary electrical appliances both small and large – so that we can establish that for any electrical item that you buy in the United Kingdom, you have developed the perfectly reasonable expectation that the moment you get it home, whatever it is – you can plug it in, and start using it immediately.

however.

What if that were NOT the case? What if, you brought that toaster home, and it didn’t have a UK plug on it, or with it, so you couldn’t plug it into your common, ordinary, garden UK 230v outlet – in fact – you couldn’t plug it in anywhere in the UK.

First of all – that would make you feel very frustrated, because, you couldn’t feed that horde of screaming children waiting for their morning toast.  You would all starve, or at least you’d be eating untoasted bread which is almost as bad – when you want toast. and it goes on for days and days and days – no toast, and a useless, cold toaster.

That scenario is pretty unpleasant, but let me take this story one step further.  Let’s say that on that same day, the day you got home, took that toaster out of the box, and THEN realised that you couldn’t plug it in…that you rang up the store you bought it from, and asked them to please provide a proper UK plug, and they said, yeah, OK we’ll do that, you will get it in a couple of days.

Three days go by, with no toast made, that toaster not lighting up at all.  The toaster is dead.  The promised UK plug does NOT arrive.  You ring the store again, they say they will send the plug…so now three weeks have gone by and you still have no working toaster and no plug from the store…

After many calls, much argument with the store, pleading, cajoling…You reach the three month mark…THREE MONTHS WITHOUT TOAST…and finally, you get a UK style plug for your toaster delivered, finally sent by the store at long, long last.

And if the children haven’t all starved by now, they finally get some toast – but you’ve been through three months of hell trying to get the store to make things right for you, and you really begin to question your sanity.  You have argued calmly that it should have had a UK plug all along, but, the store seem unconcerned, and they also seem bent on supplying the NEXT item you buy from them…with ANOTHER useless Euro style plug.  Repeat of same scenario above.

Now, I could build a similar scenario for each and every item above, but it would take far too long, and I think the toaster example is a good enough example.

Three months without being able to plug in your new toaster?  Can you imagine?

 

Now – with the above everyday analogies, I’ve set up the background here, I’ve created practical examples of how it would feel if you got home to find that you could not plug your new toaster in, and then, the store you got this rather useless appliance from, took over three months to make it possible for you to plug it in and finally have some toast.

How would that make you feel?

 

IT’S BEEN MY EXPERIENCE…THAT WHEN THE ROW GETS SERIOUS…

A CERTAIN SILENCE WILL FALL.

 

How would that make you feel??

 

Now – that is a question.

Unfortunately, I can answer that question. I can provide in fact, a first hand account of exactly this “toaster experience” but with something else in the way of “small electrics” that I regularly purchase: effects pedals for guitar.

For the past several years, I’ve been purchasing the odd guitar pedal or two, and often from one of my favourite stores, DV24/7.  They were, and are, a good store – they delivered quickly, they always had the lowest price, and eventually, they got all of my business.

Until a few days ago, when I reached such a point of impatience and sheer frustration with their attitude regarding the power supplies for said guitar effects – that I’ve told them that I will be taking my business, my REPEAT business, to another guitar store.  ANY OTHER STORE. One that will truly want AND truly appreciate (not just say that they appreciate, but ACTUALLY appreciate) my repeat business. GAK, Dolphin, I really do not care. Just – no more Euro power supplies.  Please.

 

I must have at least six of these useless Lumps Of Plastic with round pins sticking out of them, cluttering up my storage area at home. They are worthless in the UK, sadly, they would be quite handy for any number of young guitarists in Europe.  I have enough for a whole Euro power pedalboard.  In Europe.  Where I don’t live.

They are doing me not one whit of good unless you think it’s perhaps, a good reminder from myself to myself to say NEVER AGAIN to accepting a Euro style power supply for any UK-purchase / UK-use electrical appliance or guitar effect pedal.  Ever.

 

DV24/7 refused to listen to the pure logic I presented to them regarding this very, very stupid “policy” of theirs – which is this:

Each effects unit they sell IN THE UNITED KINGDOM, comes supplied with a power supply (as intended by the manufacturers – who meant for the correct-country power supply to come with each pedal, it is included in the PURCHASE PRICE!) but with a twist; its a EUROPEAN power supply that DV24/7 regularly send to their UK CUSTOMERS.  That cannot be plugged into ANY power outlet IN THE UNITED KINGDOM.  Now – where, exactly, is the logic or sense in THAT?

Answer?  There is no logic present in this odd policy of supplying useless / wrong power supplies with each effects pedal sale.  If I just shelled out £400.00 for a really nifty pedal, it had darn well come with the CORRECT, USEFUL POWER SUPPLY.  That will plug into one of the many UK OUTLETS that I have in my UK HOUSE.

TALK ABOUT SPOILING YOUR ENJOYMENT!

So,  you’ve finally decided to buy your first Eventide H9, a truly powerful and exciting new guitar effects device – you order it from DV24/7; it arrives in a day or two..

but…BUT…it comes supplied with a EUROPEAN power supply.  So all that anticipation, all the excitement – dies, because you cannot PLUG IT IN.  So you then get to LOOK at it, but not use it, or hear it, for several days or even weeks, while you impatiently wait for the store to send you the right, usable power supply. After the fact, after the purchase….”oh please, kind sir, may I have a UK power supply so I csn actually USE my guitar effect??”.

 

Now, the first few times this happened, I would just ring or email them , and say “can you please send me a UK power supply for this REALLY EXPENSIVE pedal i just bought from you?”.  And – generally, they would.  I just had to ask.  (Not my job, really, but, whatever).

And I would then have to wait, a few days, a week, whatever, and the power supply arrives – so I can FINALLY plug in my brand new effects pedal.  Finally use it, finally hear it – at last. But it is just not the same, as being able to plug it in the moment it arrives…nope.  A third-rate experience at best.  Sheer frustration and mounting anger at the worst end of the “DV experience” 🙂

After this had gone on for some five years, let’s say, they started resisting me when I would insist on the proper UK power supply, and then finally, just a couple of weeks ago now,  their salesperson told me, in an email, no less “you will have to accept that some of these effects (read: all of these effects) will come with a Euro adapter, and we may then provide a UK plug adapter with the Euro power supply”.

And, that, dear reader, was the wrong thing to say to me.  my reply was “Salesperson’s Name Here, I must certainly do not “have to ACCEPT” anything – “I am the customer, and, you’ve set a precedent with me, i.e, you have been supplying me with the proper UK adapter, AFTER each effects sale, with NO ARGUMENT, and at no charge for several YEARS NOW – and now, you are reneging on that, and saying that I MUST ACCEPT Euro plugs, and a crappy plastic ‘plug adapter’ to go with it ! – no thank you, and furthermore,  I refuse to trust my really expensive device to a £1.79 plastic UK plug adapter”.

So because they instigated this new “policy”, where they no LONGER supply the proper UK power supply at request or at no charge…which they had done for about five years out of the six OR seven years (or more) I’ve been buying from them, I’ve had enough – more than enough of their attitude – and if it costs them money, to supply what should have been in the box all along – well, that is NOT my problem.

I was a good, repeat business customer, a good one – but over the past two years, I’ve had to argue, argue, argue, and eventually they would reluctantly send me a UK power supply for the device I had just bought.

I got really tired of the whole subject.  I even called the UK store manager in Romford, and had a long talk with him about..about just how incredibly STUPID (THERE IT IS….THE ‘S’ WORD) the policy of sending Euro plugs (aka, something that in the UK, MAY AS WELL BE A LUMP OF USELESS PLASTIC WITH SOME ROUND PINS STICKING OUT OF IT) – and he agreed it wasn’t the most brilliant policy, but I thought we had reached an agreement, that they would continue to supply them to me when I ask for them…but I was wrong.

not so.  In fact, after the last conversation with the boss, it was then that I waited THREE MONTHS for a UK adapter to arrive for my Ground Control Pro. Almost as if he had told them to drag their feet…

 

But not long after that, the real arguments started, and the salesman started telling me what I “MUST ACCEPT”.

That was the signal for me to end my relationship with DV24/7 (except of course, in the event of me needing to use one of my many, many, three year warranties that I have with them for a number of my effects devices).

So the income and the profit from sales to me have how stopped, permanently, they claimed, in an email that they “valued my repeat business” but basically, I would have to accept Euro plugs with UK plug adapters…so from that threat, I could tell that clearly, they do NOT value my repeat business at all.

If they did, the precedent set six or seven years ago, would still be in place, and I would still get a proper UK power supply for each device I purchased.  But – no more

All the other stores, I will be completely honest with them going forward:  I will EXPECT a UK adapter with each pedal I purchase – or, I will give the business to the vendor who will happily say “yes” to that humble, simple request.

 

WHAT THE MANUFACTURERS MEANT TO HAPPEN

(and what they supply to MAKE it happen in the different markets)

 

As if the all of the above wasn’t enough, now, please consider this:

Each manufacturer, for example, Eventide (USA based) or Electro-Harmonix (USA based) has included in the price of their effects pedal, a working power supply for that device, which should be different for each non-USA country it is sold in.

So let’s imagine that you bought a pedal from a well known online store in the USA, and you LIVE in the USA.

Let’s say it’s that Eventide H9 I mentioned earlier.  You would receive that H9 in a box, with a US style two-flat-bladed-plugs-bearing power supply.  You open the box; you plug that two prong flat bladed US style plug directly into the nearest 110v US outlet in your US home – And you are instantly delighting in the beauty of the H9 experience.

So let’s now imagine that you bought a pedal from a well known online store in Germany, and, YOU live in Germany…or anywhere in Europe except the UK.

Let’s say it’s that Eventide H9 I mentioned earlier. You would receive that H9 in a box, with a Euro style two-round-pins-plug bearing power supply. You open the box; you plug that two round pin style plug  directly into the nearest 220v German outlet in your German home – And, you are instantly delighting in the beauty of the H9 experience.

Repeat above  paragraph for Japanese market.

Repeat above paragraph for South American market.

Repeat above paragraph for any non-UK market.

 

Finally – let’s now imagine that you bought a pedal from a well known online store in the UK, and, YOU live in the UK.

Let’s say it’s that Eventide H9 I mentioned earlier. You would receive that H9 in a box, BUT, much to your everlasting astonishment – instead of the 3-flat-bladed UK style power supply you expected (just as with your toaster, your hair dryer, your washing machine, your hoover…) but instead, to your ultimate dismay – you find, inexplicably, that you have instead been sent – a Euro style two-round-pins-plug bearing power supply.

You open the box; you remove the wrongly supplied Euro power supply in disbelief, which you cannot plug in anywhere in the country you live in – And, you now have no idea what the H9 SOUNDS like, because you cannot plug it INTO THE WALL as you can in every OTHER COUNTRY ON THE PLANET.  And – you DO NOT GET TO DELIGHT in the beauty of the H9 experience.  Not for days or weeks or latterly, apparently – ever.

Eventide MEANT for you to get that box, open it, plug the RIGHT power supply into the proper outlet, and play your guitar through their pedal. Immediately.  You PAID for that, you paid for the good experience, the one where you get to actually use the pedal you just bought.

No..not here in the UK.  Instead…you get argument.  You spend literally hours, emailing, calling the DV24/7 boss AGAIN to complain.

THE LAST STRAW

There is one remaining wee story to tell.  And that story is about a device that I bought from DV24/7 … LAST YEAR.

I bought a new Voodoo Labs Ground Control Plus MIDI controller from DV24/7 in late October or early November – the actual date isnt really important.

 

you’ll never guess, to my amazement…it TOO, like the Eventides and the Electro-Harmonix pedals before it, the Ground Control Pro arrived…with a Euro style round pin power supply – with a twist, it was an AC adapter (rather than the much more common DC adapter), with a higher current requirement than most pedals have.   Still useless though…I did say “Euro” and “round pins”.

So standard procedure, I rang up or emailed DV24/7 and said “please send me the correct voltage Voodoo Labs UK power supply for my Ground Control Pro”.  I got argument and stalling.  I rang the boss yet again, applied pressure verbally…he promised they would send the adapter.

still no adapter.  Christmas passed.  I cajoled, I asked nicely, I became irritated…no result.

New Year passed.  I wrote again, this time simply saying “appalling customer service, making a good, repeat customer wait OVER THREE MONTHS for a lousy power supply that costs £2.00 to produce in Asia…you ought to be ashamed”.

Nothing.. No response to my emails anymore.

 

then, tonight, on January 20th, having waited thru November, thru December and thru most of January with no power supply – when I got home, a small box from DV24/7 had been delivered to my neighbour.  I went to retrieve it.  Finally – and, by the way, NOT a Voodoo Labs supply at all, but the cheapest of the cheap generic type adapter, BUT the right voltage 9 volts AC at 500 ma – so theoretically usable with the Ground Control.

The adapter was promised over and over, the salesman promied, then his BOSS promised it, and it didn’t arrive.

I doubt it was my “you ought to be ashamed” message that finally caused it to ship to me – but it should have been.

They still owe me a power supply for an EHX pedal I bought recently. But we shall see what happens with that one.  But, I won’t expend the least bit of effort on DV24/7 any more, no more chasing down a power supply EVERY SINGLE TIME I BOUGHT SOMETHING.  For SEVEN YEARS.

 

A SIMPLE, SIMPLE SOLUTION EXISTS

DV24/7 have some internal “problem” where some their stock that is to be sold in the UK, comes from Europe, and it has Euro plugs in it.  But guess what – the manufacturers make at least four different adapters, that are supposed to be sold in the US, the UK, Europe, and Japan.  So – you, as the distributor of these products, are supposed to be SMART ENOUGH to order the right boxes with the right adapters for each country you are selling them in.

A quick example of a smart policy:

You are a big music store with stores in Europe and in the UK.  Sales are roughly equivalent in both areas, so, instead of buying 1000 boxes of EURO Eventude H9s, you order instead, 500 boxes of Euro H9s (which you sell in EUROPE) and 500 boxes of UK BOXES, (which you sell IN THE UNITED KINGDOM). Simple.

Under my clever scheme (see above) the customers in BOTH Europe AND the UK END UP WITH THE CORRECT POWER SUPPLY when they receive their order. Rejoicing. No more phone calls.  No more emails. No more arguing with customers.  No more customers so traumatised by their never-ending NEGATIVE EXPERIENCE AT DV24/7 that they finally just say NO MORE.

NO MORE.

 

Now – clearly, their purchasing department wasn’t smart, and all their pedals are in EURO boxes.  So this won’t ever end, with DV.

BUT INSTEAD of them making their problem by MY problem, and pawning off their unwanted garbage/Euro Lumps Of Plastic onto UK customers who DO NOT WANT THEM…instead of you making your problem be my problem…why don’t you just SOLVE the problem, and buy the boxes with effects with UK power supplies in them, to SELL IN THE UNITED KINGDOM???

by the way:  I ***HATE*** it, when companies, or people, make THEIR PROBLEM be MY PROBLEM.  I refuse to allow that.  My time is too valuable, too precious to waste on the “Euro round pin power supply game”.  It is a game that sucks, I can tell you that much for free.

THE REAL INTENTIONS OF THE EFFECTS’ MANUFACTURERS

Remember, the manufacturers, WANT YOU not only to get a power supply with your device, but, they WANTED for it to have a power supply with it, that meets the following  criteria (you PAID for all this – it is included in the effect’s price!!!!):

a) fits the outlets in your country

b) supplies the right voltage and has the correct current handling requirements for your device and your country’s power outlets

c) you PAID FOR THAT privilege, to be able to plug right in and enjoy your purchase – whereas, I got to LOOK at how nice my new effects looked, for many days, while I waited for the “afterthought” correct UK adapter to arrive – and, looking is not HEARING or ENJOYING, is it?? and

d) they did NOT intend for you to receive the WRONG PLUG type, that does NOT plug in, in your country, and is, to a UK customer anyway, a useless LUMP OF PLASTIC with two round pins sticking our of it.

 

CONCLUSION (?)

 

i rest my case.  As Bryan Ferry once said “don’t let this happen to you!!”

I told you I could find the STUPID stuff.

 

 

 

peace and love and UK POWER SUPPLIES FOR ALL!!!!

 

Dave 🙂

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

King Crimson – September 5th, 2016,  Friar’s / Waterside Theatre, Aylesbury, UK

Monday night, and it is the last of three (in a row, no less!) King Crimson concerts for us, and for the band, the last show on British soil for a while, after tonight; it’s off to Europe for the rest of the tour. But before they go, there is the remaining matter of the last of the three Aylesbury gigs, on a cool, cloudy Monday night at the Riverside Theatre.

Being the third show in as many nights, the kinks in the performances are starting to work out now, and the band is settling in to the routine of playing, the dealing with of cues and counts and stops and starts, pedals and programs, guitars and basses; allowing the players to relax just that little bit more, which made it possible for some interesting improvements and a bit more improvisation when compared to the previous two concerts.

Speaking of basses, we observed something last night that was interesting: Tony Levin has too many instruments! Mel Collins has no choice but to bring several instruments, for example, he plays baritone, tenor and soprano saxophones, so that’s three right there that he has no choice over – he has to have those, to be able to replicate all those very different sax parts from those early albums in particular. A selection of flutes is inevitable too, and I would not say a word if Mel turned up wth seventeen instruments…because each one would have a specific purpose for a specific song or songs.

Tony I think, could actually get by with fewer instruments, because his function nominally, is bass player. Robert has one or possibly two, guitars. Jakko gets by with just one guitar, his beautifully painted PRS electric. But Tony has a veritable arsenal of bass-related weaponry:

Stand-up fretless

Chapman Stick

Yellow Three Of A Perfect Pair 5-String Bass

Pink 6-String Bass

…and maybe a fifth bass

Note too that except for the fretless,they all have more than four strings!! This makes me believe that over time, Tony has become more of a frustrated guitarist to some degree (as you would do in the company of Jakko and Robert) than an ordinary “bassist”. He’s now graduated from 5-string to 6-string basses, which sound great, but aren’t actually “basses” by strict definition.

It may be more a matter of orchestrating the changes to minimise the number of changes required, but sometimes it seems like every time I look towards the centre of the stage, I see Tony Levin changing basses yet again, and again. It’s a tiny bit distracting if I am honest. OK, to be fair, Mel is changing instruments multiple times during many songs, but he has no choice, he can’t play a flute line with a baritone sax. And when he changes instruments, it’s subtle, quiet, you barely notice that he is doing it.

Tony, being Very Tall and also, standing basically at Centre Stage – cannot in any way disguise or downplay the swapping of one bass for another….over and over again.

Tony however, can get bass notes out of any of the basses in my slightly incomplete list of his basses, so why all the fuss and constant back and forth from Stick to Fretless to Yellow to Pink and back to Stick again? I get that songs that require Stick, require Stick, but songs that require bass, do they require 5- and 6- string basses? Not really, in my humble opinion. I love Tony and the way he plays, I just wonder if he can minimise the visually distracting bass changeovers by reducing the number of instruments. If he has any spare basses, I could sure use a good bass 🙂

But that is just an observation made over three days and an observation that first started really gelling on night two, last night, and tonight I’m happy to report that the bass-changing has settled down a bit, thanks in part to changes in the set list, but overall, I didn’t seem to notice it as much – so that is a win.

Also noted on the previous two nights, were instances where it appeared that Robert was playing something, but zero sound came out, so we could see him playing but not hear it, and in one case we got complete silence for a moment before the sound kicked back in and the audio then supported the visual, instead of RF strumming away with no sound emerging until he got things under control.

But these observations really just prove that this band of superhuman players, are really human after all, and in the main, the sound you hear from those seven instruments, whatever combination they are in, is 99.8 percent perfect if you compare it to just about any other band.  

Each player knows their space, knows what has to be played, while still leaving open what might be played…and it’s in those moments, when one or more of the players just grab the bull by the horns and move out into previously uncharted territory, that’s when the live “Crimson magic” begins.  

It happens with Mel in almost every song, sure, he plays his parts, but then, he loses himself in the moment and is soon soaring on a high-flying improv that proves that he was and still is, the most innovative horn player in rock music (and you can’t forget his history either, of working with the Stones and being in Camel and of course, being in King Crimson for albums two, three, four and five), if you count “Earthbound” as the fifth album (I do). Mel has been around the block in terms of playing experience.

It happens to all the players in the band at some point, although the better the improviser they are, the better their ability to transcend an ordinary “part” and play something truly extraordinary instead. Mel and Robert do this almost constantly, while Tony and Jakko must stick to the script more, so opportunities to improvise are fewer, and for the drummers, probably only they themselves or the members of the band are aware when they do something amazing, although I feel that the drum section have produced both rehearsed and slightly improvised music each and every night – they are so well co-ordinated, but each also has his own style and their own series of wildly improvised and very astonishing percussion moments.  

What a trio they are, and when you combine that three-man percussive prowess with Mssrs. Fripp, Collins, Jakszyk and Levin…you get the “Crimson magic” – and every night, you will hear this, to a greater or lesser degree, if you listen with your ears open. Sure, they are “playing” the songs; but there is also opportunity for the occasional amazing riff or chord or entire solo or other Amazing Accidental Musical Moment In Time (AAMMIT).

By the way – in one of the silences someone shouted out “Happy Birthday Mel!!” which got an enormous cheer from the whole audience as well as a huge grin and sweeping wave of thanks from the man himself.

Before I go any further, here is the full set list:

Soundscapes

The Battle Of Glass Tears

Unknown / New Song (Instrumental – featuring two guitars) 

Pictures Of A City

Cirkus

Fracture

Hellhounds Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)

Easy Money

Meltdown

Epitaph

Red

[INTERMISSION]

Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio) 

Level Five

Suitable Grounds For The Blues

The ConstruKction Of Light

Vrooom

The Letters

Sailor’s Tale

One More Red Nightmare

Starless

[ENCORE]

Banshee Legs Bell Hassle

Heroes

21st Century Schizoid Man

The only band I’ve seen recently that can even come close to King Crimson 2016, was King Crimson 2015 – who we were fortunate enough to see three times in three different cities last year – and those shows were brilliant.

This time around, after a little time, I would say that the first of the three shows was overall winner, because the band was more relaxed, and the setlist was amazing – and despite some technical teething problems, it was a superb performance that I will not soon forget.

The second night was sort of in the middle for me, it was nice to have “The Talking Drum / Larks’ Tongues In Aspic, Part 2” back in the set, but not really at the expense of “Sailor’s Tale” which made a very welcome return tonight.

Tonight, the band opened with the eerie and beautiful “Battle of Glass Tears” my personal favourite new / old track, which was just sublime, so atmospheric, and you could hear a pin drop at this point – followed immediately by that new song, minus it’s 2 chord intro, and of course, the audience had NO idea what was going on at this point…  That came to a slightly uncertain stop, and finally they launched into “Pictures Of A City” and all was well again.

While I have awarded the “Friends & Family” show as my personal favourite, there are of course, one or two exceptions I should note. Tonight’s show got off to a bit of a shaky start in that, the audience didn’t know whether to applaud or not after the second piece – so out of politeness, they didn’t applaud, so it wasn’t until the end of “Pictures Of A City” that they could let their hair down and scream and shout for the return of the Crimson King. The show only got better from there, and some particular highlights for me were, in no particular order:

“Fracture”, which was fantastic, and in my opinion, by far the best version over the three nights (so, as far as this song is concerned, THIS was the best version – even better than night one’s version). Robert and Mel were right on form, Jakko’s “mock violin” was incredible to watch and listen to – and the rhythm section simply smashed it along with Tony – a rocking version, and really tight – I loved it. Out of all of the new / old songs, I welcome “Fracture” back into the setlist with the most joy – it’s been a long time since KC tackled this twelve minute musical monstrosity – what a great tune, and the new arrangement is fantastical – really beautifully done.

It was great to hear “Cirkus” for the third time, it was consistently good each night, and in some ways, Mel’s solo in this is probably one of the best solos he has ever done, so to get to hear and see him play that beautiful, beautiful horn solo, for three nights running, is an incredible privilege – and, the saxes on “Cirkus” are amongst the most beautiful I have ever, ever heard, in any context or in any song – it’s an absolutely sublime, lovely solo – and I got to hear it three times in a row – so beautiful!

“One More Red Nightmare” – “Red” was great, every night, but this was better, and another “welcome return” to the setlist. A brilliant vocal from Jakko, indescribable ensemble work from the drum team, and just a blast of fun, all about a cool riff, with sinister saxophones and Jakko’s distorted auto-Wah sounded absolutely astonishing at the end – a great guitar sound! This track totally rocked tonight…in fact, the whole second half of the show was really exciting, and the section containing “Vrooom”, “The Letters”, “Sailor’s Tale” and finally “One More Red Nightmare” very nearly changed my mind about which concert was my favourite. Very nearly, but not quite 🙂

A stunningly beautiful “Starless” followed, which did bring the temperature down quite a bit – but then, we get to that amazing end section, with the fabulous guitars sliding up and down and the bass ripping a la John Wetton (Tony did really well on this version of “Starless”, I have to say – and it’s not an easy bass part to play!).

“Heroes” was pretty much a carbon copy each of the three nights, I still think night one has the edge, although tonight’s version got a very very good reaction from the audience, as did the final number, “21st Century Schizoid Man” including the aforementioned New Standard Tuning tasty jazz chords from Mr. Robert Fripp.

I noticed that sometimes during one of Mel’s longer tenor or soprano sax solos (and since we are talking about this song already, one prime example of this tonight was the final encore, “21st Century Schizoid Man”, which is possibly Mel’s longest solo of the night); that as soon as Mel settling into his solo, wherein he will absolutely be screaming away at speed – that Robert starts comping along to the solo, playing what he might call “particularly tasty inversions” of jazz chords, and that’s been an interesting thing to hear – Mel is soloing his heart out, and Robert starts slipping these fantastically lovely “jazz chords” into the tiny spaces that Mel leaves open in his solo – and how RF can select and play a series of interesting, jazzy chords to comp along to Mel’s insanely good sax solos is actually, beyond my musical understanding.

I wish I even knew those chords, and then I would worry about when to play them. And of course, they are all now in the new standard tuning, so over time Robert has relearned his 11th and 13th and 9th/b5th chords, and knows them well enough in NST now, to confidently insert them into the spaces left by one of rock’s master musicians, the extraordinary Mel Collins.  

The resulting sound, with the whole band in full on jazz swing mode, is nothing short of extraordinary. Mel is the not-so-secret weapon, who can be called upon almost on demand to produce a honking or screaming or deadly smooth slinky sleazy sax solo, with Rock’s best jazz guitarist Robert Fripp comping along with the tastiest of chords. What a sound that is. He may also have been doing this during Mel’s soloing in “Pictures Of A City” – but I am not sure about that, I can’t actually remember if “Schizoid Man” was the only time Fripp did this astonishing, clean jazz chord work – it blew me away.

Prior to Mel’s selfsame long solo in “Schizoid Man”, Robert took his solo, but it was different this time, to any of the previous shows – including the three shows we saw last year – I’ve only seen / heard this happen one time out of six shows, and that was during this guitar solo – he started it out with one of those impossible high-speed three-note trills (a la “St. Elmo’s Fire” by Brian Eno, where Fripp plays impossibly fast three-note trills over and over again) and also, the solo was quite a bit longer than on the other nights, and it included some more brief “exhibitions of reckless speed” in the lead guitar arena – he was really going at it, and it was a great little solo – and then, he handed it over to Mel as he always does – who then proceeded to attempt to out-do what Robert did – and that is when Robert changed over to a lovely clean sounding guitar, and did the chord comping I described previously.  

What a great, great version of “Schizoid Man” – I loved it, if only just for the little extra bits of stunning Fripp guitar – that really added a lot to the experience for me – so again, of the three nights, that’s my favourite version of this particular song – but overall, I still think I preferred the first show out of the three – except for “Fracture” and “21st Century Schizoid Man” which were both definitely better tonight – they were absolutely brilliant, and along with the two tracks from “Islands” plus the two tracks from “Red” – there was a lot of very hot music going on this evening!

Here and now, in September 2016, for us, having the absolutely unique experience of seeing King Crimson play three gigs over three nights in the same elegant, beautiful theatre – and, each of those shows had its own individual “feel”, while at the same time, the three taken as a whole, gets you a really good overview of just exactly what this band is capable of…all I can say about that, is:

Europe, be ready – the great Crimson Beast is lumbering towards you (in an odd time signature, of course) so I hope you are ready, this band is going to change the way you see (and hear) live music forever, with its amazing “front line” of three incredible drummers, and it’s impossibly talented and experienced “back line” full of virtuoso strings and horns – and just 30 seconds worth of “Level Five” will melt you right into your seat! 🙂

Thanks for listening!

Dave

King Crimson Live – September 4th, 2016,  Friar’s / Waterside Theatre, Aylesbury, UK 

Tonight, the second of three King Crimson gigs for us on this, the 2016 tour, was the first “official” gig of the tour, and even though the set was fairly similar to that of the “invitation only friends and family gig” of the previous night, this show had a quite different feel about it in a number of ways.

For one thing, we were this time sat to the right of the stage, slightly above the first floor section of audience on the side, whereas last night, we were near the sound board on the left of the stage. In some ways, tonight’s position was better, for one thing, I could actually see both of Robert’s hands, so that was a bonus.  Being slightly above, we could probably see and hear quite a bit better than the previous night – also, I very much noticed Gavin’s drumming much more tonight (and it was fantastic!!) whereas last night, I mostly noticed Pat and Jeremy – so where you sit, definitely makes a difference to the sound.  And it sounded good!

This fortuitous event of being just a tiny bit higher up  enabled me to see some small details that I missed last night, for example, in my favourite new – old tune, “The Battle Of Glass Tears”, it turns out that it is Robert Fripp playing the eerie, beautiful Mellotron melodies – and that’s all he plays on the song – supporting Jakko’s remarkable vocal. Again – this short, short song, with it’s incredible visionary lyric, is the high point of the show for me – with one possible exception – which is the re-vitalised “Fracture”. This started off better this evening, although there was one single high note that Robert missed, during the introductory part of the song – much to his chagrin, but hey – it’s opening night, and that’s a tiny, tiny mishap.

However, the performance was otherwise unmarred, and reached a remarkable climax where all of the stringed instruments are just going mad, where a guitar solo triggers a mock violin solo which triggers a bass solo which triggers some interplay between mock violin and guitar, or horns and guitar – and “Fracture”, after about 12 minutes of one of the most complex pieces of music ever penned for a modern rock band – actually ended up getting a standing ovation from part of the crowd – so the crowd loved it.  

In a way, this band can do no wrong – you should hear the audience, every time Robert takes one of those solos with the long whip up to a sustained note, they just start yelling and screaming – they absolutely love Fripp; and when Fripp plays something that is extremely innovative or extremely quick or even just something loud and beautiful, like the ever-sustaining lead guitar note in “Heroes” – the audience just go wild for the Fripp lead guitar.

It was a good version of “Fracture” overall, and I was especially impressed with Jakko’s incredibly accurate rendering of the original David Cross violin part. That was very well done, and I could see what Jakko was having to do to emulate those violins much more clearly than the night before – and it was impressively weird.   

Jakko is literally a bit of a musical magpie, and he wants every detail to be perfect…as evidenced by the fact that even though he has to sing the vocal on “Cirkus” (and let’s face it, on every song that has lyrics!!) he still takes the time to learn all of those impossible, high speed acoustic guitar runs in “Cirkus” and rip through them as if they were nothing, all the while singing – I am as always, really impressed with the quality of Jakko’s guitar playing, and I wanted to point that out in particular.

I was very pleased to get to hear “Cirkus” for a second time, and it did not disappoint, a great vocal, but the star of this show is undoubtedly the remarkable Mel Collins, whose playing on this song is just so, so beautiful – flowing, powerful, free, melodic – perfect. I really love this strange, strange song !

“Worship!” cried the clown, “I am a T.V.”

Making bandsmen go clockwork,

See the slinky seal Cirkus policeman;

Bareback ladies have fish.

Strongmen by his feet, plate-spinning statesman,

Acrobatically juggling-

Bids his tamers go quiet the tumblers

Lest the mirror stop turning…

Robert and Mel tend to steal the show a bit when it comes to taking solos, but all of the members of the band get to take solos, including Jakko and Tony.

One highlight for me tonight was the ever-powerful “Level Five” which featured a stunning dual pick scraping down the low E string by Jakko and Robert as the song came literally to a screeching halt – that was pretty fantastic after being treated to a top-notch version of the song; it had an even better ending!

The unexpected tracks tonight, were two additional tracks from the “Larks’ Tongues In Aspic” album, namely the shortest version of “The Talking Drum” I have ever heard, followed by a pretty satisfying “Larks’ Tongues In Aspic, Part II” – with Robert’s guitar tones sounding pretty much exactly like they do on the USA album – they have dialled in a wicked tone for his distorted rhythm guitar parts. The same wicked rhythm guitar is on display in the first long track the band plays, where Robert fades in his choppy high-speed chords for the coda of “Larks’ Tongues In Aspic, Part 1” – it sounds perfect – just like the record.

That kind of attention to detail, getting the exactly correct guitar sound, for iconic riffs or iconic chord sequences like the coda of LTIA Part 1, are what make this band so, so special – right down to the laughing box at the end of “Easy Money”, which was strangely omitted from tonight’s set. In fact, while we did get two “new” tracks in the form of “The Talking Drum / Larks’ Tongues In Aspic, Part 2” the price we paid for that was the loss of both “Easy Money” and “Sailor’s Tale” – and a show without “Sailor’s Tale”….well, I am not as sure about that.

But if I forget about the fact that I did get to see those two songs during last night’s show, and concentrate on tonight’s set list only, it still a very powerful and very representative set of fine King Crimson material. Here is the full set list:

Soundscapes

Hellhound Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)

Larks’ Tongues In Aspic, Part 1

Pictures Of A City

Cirkus

Fracture

The Letters

Meltdown

Red

Epitaph

The Talking Drum /

Larks’ Tongues In Aspic, Part II

[INTERMISSION]

Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio) 

The ConstruKction Of Light

The Battle Of Glass Tears

Vrooom

Suitable Grounds For The Blues

Unknown / New Song (Instrumental – featuring two guitars) /

Level Five

Starless

[ENCORE]

Banshee Legs Bell Hassle

Heroes

21st Century Schizoid Man

So I would say really, more similarities than differences, although interestingly, a couple of songs, mostly notably my personal favourite “The Battle Of Glass Tears” ended up being moved as compared to the previous night’s set – for reasons unknown.

Certainly, the arrival of “Talking Drum / LTIA Pt. 2” meant that a few things had to change, so I assume that it’s mainly due to that more than for any other musical reason. It was curious though, hearing the dead stop end of “The Battle Of Glass Tears” dive directly into “Vrooom” without hardly having time to draw a breath, whereas last night, “Glass Tears” was followed by “Meltdown” instead – a very different sounding sequence there.

I did enjoy “Meltdown” on both nights, I still prefer it to “Suitable Grounds For The Blues” and I have to admit I am quite starting to actually really like “Meltdown” – at least, the music, if not the somewhat overthought lyrics (sorry Jakko – only Peter Hammill is allowed to use the word “lexicon” in a song) – but I do really like the tune, and especially the almost Crafty-like dual guitar part – which is truly beautiful.

The encore was identical to the previous night, with the very upbeat “Heroes” getting the crowd very excited and then “21st Century Schizoid Man” to remind the audience just exactly which band this is they are listening to – a great, biting vocal from Jakko, and fantastic ensemble playing of a classic of progressive rock and the perfect final track for another great night of King Crimson music.

The feeling was a little bit different in that I think the band were a bit more on edge or nervous than they had been at the “Friends & Family” show, so maybe that was why there were a few tiny issues, but once again, the performing power and the virtuoso playing from all seven musicians, cannot be denied, is unparalleled, and was evident in spades again tonight – another great show as always.

There is no other band like King Crimson in the world today, partially because of the absolutely unique playing styles of Robert Fripp and Mel Collins, and to a slightly lesser degree, Tony, Jakko, and the front line of fantastic percussionists – those virtuoso playing styles just set this band apart, and having that amazing back line of incredibly talented musicians is why King Crimson 2016, sounds so astonishingly good!  

Beautiful music, made by the best progressive rock musicians on earth – spanning two generations, too – a band that is utterly unique with a remarkable canon of incredibly difficult and wonderful songs – long may they play those songs and allow us to hear – what a fantastic privilege listening to this band really is.

Another great night.

See you tomorrow !!!!

Peace & Love

Dave 🙂

“new prog song” and other musics…

hello again and welcome everyone to another rambling “update” of sorts.

 

i just wanted to let you all know, that I have been working on a follow-up piece to my last prog epic, “the complete unknown“, a new piece of prog that currently bears the working title of “new prog song”, and I think you can see why it’s a “working” title!

it’s currently running about six or seven minutes in sketch form, with the first three minutes already consolidated into a lovely working/early mix, so, three minutes done or mostly done, and an unknown number more minutes to go…

I decided to work in a different way this time around, last time, for “the complete unknown“, I worked the song in the traditional manner:

drums

bass

keyboards

organ

mellotron

acoustic guitars

lead guitars

so saving the best for last!  Imagine, I worked for months on the drums, bass and keyboards, and finally, got to the best and most fun part, adding lead guitars and other bits of guitar and ebow guitars, too.

but the problem with that approach, means that you are locked in to what notes and chords, the bass, the keys, the organs and mellotrons have played.  In some ways, that maybe reduces your options for lead guitar playing. I’m not saying that was a bad approach, because in that case, it produced a pretty cool 17 minutes of modern day progressive rock, in the form of “the complete unknown”.

this time, I am committed to doing things differently.  previously, the bass often dictated what the guitars must do.  so this time, I have changed up the order of recording instruments:

drums

rhythm guitars

melody or placeholder clean lead guitar melodies

bass guitar (only once guitars are finalised)

keyboards (only once guitars and basses are finalised)

more lead guitars / ebow guitars (if necessary)

 

so with this method, the chords and notes that guitars play, dictate the form of the song, and basses are added once most drums/guitars are in place.  in practice, this has actually meant I can, and have been, moving whole slabs of drums about within the song, rearranging the basic form…as long as it’s just drums and guitar, I can mess about with the placement of those without harm.

doubtless, at some point, I will work in the traditional way again, drums, bass, keys, guitars, but this new method is actually working just as well or better so far.  and, where I can, where I feel 1000% happy with the drums/guitars, I can add my beloved Rickenbacker bass samples in, and I’m finding that works better than doing the bass first.  And in my nearly completed first three minutes, a beautiful, high pitched, climbing kind of Chris Squire or Todd Rundgren-like melodic bass line appeared, and with a bit of editing, is going to turn out remarkably well.

I wanted the guitars to lead everything, and in this case, I had a couple of nice guitar parts recorded, using a fabulous patch that I cooked up across my two H9s, and that in turn, inspired me to play the beautiful bass part – so that’s proof positive: the new method is working.

a lot of the time for me, its cool guitar parts, that can inspire other instrumental parts, and it’s been a long time since I’ve had guitar at the centre of the composing process. and while for “the complete unknown” I was still able to bring out strong melodic, lead and ebow guitars, based on previously recorded bass and keyboard parts,this time, it’s the other way around, and I will possibly go so far as to record some sections of guitar drumless, even, and then drop drums behind them.  Maybe. But the way it’s working right now, is absolutely cool with me.  The first three minutes sound pretty good already, my rough mix confirms that, but I am excited about the new possibilities that working in this new, guitar-centric way, will bring – to my future working methods for one, but more specifically, what it can bring to the success of this “new prog song” with the terrible working title :-).

the other nice thing is spending time setting up high quality guitar tones with the H9s and the Eventide stomps, too, and getting a carefully crafted guitar tone recorded in situ, meaning no need to add much in the way of effects or treatments, do re-amping, etc., if anything, during arrangement and mixing – your best tone is already recorded and already in place – done and done. brilliant!!

having your guitar sounding awesome, really makes playing your guitar parts a lot more enjoyable, and also helps on the inspiration side.  it was really a combination of the tone I’d dialled in for my rhythm guitar sound, as well as the opening sequences / chord progressions, that later in the same session, inspired me to play that awesome melodic bass line. so guitars are causing a lot of good in this session, which tells me, that very possibly, more generally when I am recording, I should let guitars dictate what happens to a song’s form, more so than bass lines or keyboards chords and notes.

a new tradition has been born, I think.  I will certainly use this technique again, now that I’m doing it this way now for this new track – why not?

meanwhile, outwith the studio environment, I’ve continued to work on portable devices, I recently moved my mobile base of operations from my tablet to my tablet-like phone, and I’ve just recently completed four pieces of music using the “Nanostudio” application, and I am working on another piece, working title “sleep” or more probably “in my sleep” – which is a dark background of drums and bass, with a terrifying virtual “vocal” made up of truly alien, frightening me synth “phrases” which take the place of a traditional “vocal” – making a truly unique and compelling piece of music, I would venture to say that this track may be the most intense that I’ve ever produced using Nanostudio…and I’ve been working with Nanostudio for a few years now.

this song is to me, the sound of terrifying aliens brainwashing you, in their native tongue, as you lay sleeping, unaware of their intrusion.  something I am quite sure, I don’t actually want to happen to me! at all. ever 🙂

so I can’t wait to download and then master, this new and most unusual Nanostudio piece, it surprised me when it first appeared, but it’s really grown on me, and I’m very much enjoying trying to perfect it…the “vocal” is still terrifying even though I am used to it from much listening…I can’t wait for you to hear this one.

a second Nanostudio piece, with the unlikely working title of “worm patrol” may also be complete, it contains just two elements, a drum track, and a single live take / four minute synth part that is just so awesome, that I might call it, and decide “it’s done now” although I’m not yet certain…it appeared so quickly, and in such complete form, that it took me by surprise, so, more listening is required.

I hope to have both “in my sleep” and “worm patrol” mastered and finalised, and then eventually added to the Nanostudio Eternal Album within the next few weeks.

i have also, with some reluctance, begun working on the video backlog.  I started out, by correcting an error I made; I uploaded an application video, to the pureambientHD channel, which is supposed to be all guitar based music.  of course, probably because it was in the wrong place, it immediately got the attention of the disquiet site, who wrote a really nice article about it.  almost six hundred hits in a day or two later, the video is a big success…

l’m glad that the video ended up in the “wrong” place, because it then came to the attention of unlike noise, and the very complimentary things they said about the piece, “formation of the universe”, well, I’m always pleased when a piece of my music provokes a positive reaction – I’m really pleased about the attention the video is getting.

so what I’ve done, rather than remove it, and then put it up where it really belongs, over on the applicationHD channel, I just left it be, on the pureambientHD channel – where it now sits happily amongst over a hundred guitar videos.  oh well, you can’t win them all…

I then put it up onto the applicationHD channel, where it should have gone all along, meaning it’s now on TWO channels, the wrong one (pureambientHD) and the right one (applicationHD), along with its successor video, which was the second of two videos featuring the remarkable “borderlands granular” application, entitled “swirling galaxies roaming aimlessly”…

…while back on pureambientHD, I forged ahead as if nothing had happened, and uploaded “revolution III” the next in a series of looping videos, so, order is restored, and we have new music in borderlands, in the form of two borderlands videos, as well as the many new Nanostudio pieces recently uploaded , plus a more traditional guitar performance with loops and ebow guitar looping and soloing in the form of “revolution III”…

the first part of 2016 has been difficult for me, illness laid me out for about eight weeks, so it’s only been more recently, that I can apply myself to getting a few of these projects done and get the results uploaded, whether it be to my bandcamp Eterbal Albums or to one of my many YouTube channels…I want to get the music out there.

i  very pleased that despite thus long illness and slow recovery, that I did manage to upload no less than four new Nanostudio tracks, as well as three videos, and various other bits and pieces that got done during this difficult period.  With the advent of SONAR Platinum and the upgrade to the H9 system, recording guitar is now easier than ever before, so it’s my hope that both my creativity and my pace of work, will return to a state where there are more outputs, more often – we shall see how it goes.

I’d like to thank you for sticking with me, too, when my musical output dips, usually, when you don’t hear from me, it does mean I am working to bring new music to you, some of which can be and is created quickly, as the “borderlands” videos were, whilst others, such as a long-term project like “new prog song” we may not see the fruits of for many months still. “the complete unknown” ended up taking at least nine months to complete – sometimes, appreciable amounts of patience are necessary – and I get as frustrated as anyone if there is a drop in productivity.  I appreciate your patience in waiting for new material, and I assure you, that somewhere, if not in the studio, then on a mobile device, if not on my mobile device…always,always in my brain…I am working on two or three new songs all at once, which will then consequently, appear in one form or the other at some point in the weeks and months following their completion.

all in good time, as they say – although it’s never quite been made clear, who “they” are lol 🙂

 

20160529  – a very quick update:  a full day working on “new prog song”, and things have changed since I wrote the above (since yesterday, that is).  the song is now 11:27; it now has two beautiful, solo ebow guitar sections, which utilise the new “SpaceTime” algorithm which is newly available in the Eventide H9 Harmonisers – and “SpaceTime” has some of the most beautiful sounds for guitar I have ever heard, and it’s very exciting indeed to be able to utilise in this song – hot off the press, as it were – I installed it this morning.

so ebows with beautiful “SpaceTime” sounds have been added, and then, a hopefully-early-Steve-Howe jazz guitar solo (something I’ve never attempted before in a recording) with just drums for accompaniment – I’ve learned the solo, but I have yet to play a convincingly “good enough” version of it.  We shall see how that goes.

other bits of sitar have been added in certain places, as well as a pair of bluesy riff, one with a beautiful delay, the other, without, that fades in during the second of the two ambient, ethereal ebow sections.

 

 

so – it’s coming along nicely now, in other words 🙂

 

D.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“islands” and other extraordinary albums…

I came to the music of King Crimson in a fairly random way, I simply started buying their albums, without any knowledge of their running order, the players on the discs, or anything.

I think the first one I bought was “Red”, which I liked very, very much.  Then, it was “Larks Tongues In Aspic” which had a huge, huge impact on me…and then, I bought “Islands” – which I thought was absolutely terrific, but clearly, cut from a different cloth than my first two acquisitions.  After that, I have no idea what I bought, perhaps “USA” – because it was live – and that was another amazing disc – my gut feeling was, I like everything this band does (but everything this band does, is SO different) – from the remarkable and incredibly jazzy “Lizard” to the heavy prog of “Larks’ Tongues” and on up till the end – the live “USA” disk – strangely, with re-dubbed violins – we never really understood why that was.

Getting these remarkable discs out of order, willy-nilly, was probably as good a way as any to get into the band.  Because it arrived very early in the rotation, “Islands” got played a lot, and I took a huge liking to it’s very honest song craft, with that AMAZING saxophonist (Mel Collins, of course!) as a guitarist, I was allegedly getting into King Crimson because of their remarkable guitarist (Robert Fripp, of course!) but I found myself really liking the bands that played behind Fripp, and not knowing what was going on at all, I could recognise the funky combo that performed on “Islands” as a remarkable working unit – a real band, which was clearly, very, very different to the african percussion and ambient percussion present on “Larks’ Tongues” – I could tell that “Larks’ Tongues” was indeed, by a very different King Crimson than “Islands”.

 

Of course, as time went by, I began to read the history of the band, and began to understand who it was I was listening to, was it the original “King Crimson”; the Crimson of the Big Red Face, that only existed for a mere 11 months, or one of the strange hybrids that followed on “In The Wake of Poseidon” and “Lizard”, finally settling down to a working combo for “Islands”.

And I think like many Crimson fans, I did, in the main, favour the triumvirate of “Larks’ Tongues in Aspic”, “Starless & Bible Black” and “Red”, all with the well-known four piece of Bruford-Cross-Fripp-Wetton, and for “Lark’s Tongues”, it was slightly unique in that it featured a remarkable percussionist who left the band in the middle of their first tour, Jamie Muir.

Once you understand the chronology, it all starts to make some kind of sense, although it’s quite difficult to assimilate the “first four” or the “first five” if you add in the live, and very rare and “Import Only” “Earthbound” which I had to special order from a specialist shop to get.  By then, I had everything else – so “Earthbound” with it’s absolutely searing sax from Mel Collins on “21st Century Schizoid Man”, was the missing link between “the first four” the “last three”, if you will.

It’s interesting, I think, I always call it “the first ten” because that’s the classic package, of the band that existed roughly ftom 1969 thru 1974 and then called it quits.  But if you think about it, Fripp did an unusual thing – he book-ended the two different eras with a live album.

So you get the “first four”:

In The Court of the Crimson King

In The Wake of Poseidon

Lizard

Islands

followed by, with some difficulty, the live album

Earthbound

 

Then you get the “last three”:

Larks’ Tongues In Aspic

Starless & Bible Black

Red

followed by, with some difficulty, the live album

USA

It’s an odd pattern, to say the least. Four studio albums, one very rare and hard to obtain live album, three more studio albums, followed by a brilliant live album.

 

That’s my classic “first 10” and for many years, that was all we had – the only other live material available was on expensive and shoddy bootlegs, and you were never quite sure about the information on such records, was it really at that venue?  Was it really on that day?

Then, Fripp introduced the beautifully-covered “A Young Person’s Guide To King Crimson” which gave us a lot of answers, it had an amazing booklet in it, where every gig the band ever did was listed by city and date – so that became our Bible, the only reliable, Fripp-produced list of gigs – and it was a really nice compilation, too, containing a rare demo version of one of their earliest tracks, “I Talk To The Wind” that featured Fairport Convention vocalist Judy Dyble on vocals – who was at that time, the girlfriend of one Ian McDonald.

It was a lovely compilation otherwise, a beautiful piece of artwork, but musically it didn’t present anything much that was new – it was definitely a look back.

So I guess that is the eleventh disk of my “original ten” if you will.

Once King Crimson reformed a few times, and Fripp started releasing better-quality bootlegs of the band, the full picture of King Crimson came sharply into focus.  I could revel in any number of remarkable “Islands” bands shows, including one where they actually play the title track, something they very, very rarely ever did.  I could hear this very funky quintet (the firth member being lyricist Peter Sinfield, who operated the VCS3 from the soundboard) and Ian Wallace’s mighty VCS3-altered drum solo became a huge highlight of the tours.

The “Islands” band was literally a group that could play from a whisper to a scream, Mel would put away his saxes, and play the flute, ever so beautifully and gently, and vocalist Boz would sing lovely Crimson ballads from the first four albums with real intent – I love his live performances of these classics such as “Lady of the Dancing Water” or “Cadence and Cascade” – Fripp disavows them, he felt that Boz was not a good singer for the quiet pieces; but that he excelled on the rocking ones – my own opinion was the exact opposite, I’m afraid.  Sure, I love to hear this band roar through “Schizoid Man” or “Pictures Of A City” as much as the next guy, but when they turned down, and Fripp consulted his personal dictionary of tasty jazz guitar chords – Boz could do no wrong, if you ask me.

So after only having “Earthbound” to represent the music of the “Islands” band, for many, many years, it was a huge deal to suddenly be able to either buy CDs of their live shows, and / or downloads – a huge deal, because the limited view of what they were capable of “live” given to us by “Earthbound” could finally be laid to rest, and we learned very quickly that this band was a stomping, kicking beast of a rocker, but it was also capable of incredible, gentle beauty, as found in the two quiet tracks I mention above, along with rarities like the live version of “Islands” itself, which is an incredibly brilliant rendition of a truly beautiful song, and features even better guitar than on the studio version.  Why they removed it from the running order so quickly, I will never understand, because it was so incredibly beautiful.

I would, at a guess, think that it might have been an issue with having just two mellotrons to try and recreate the orchestral mood of the studio track, but I think they do a splendid job, with an improved guitar part, and a great vocal from Boz, too.  Again – RF has said that Boz “did not convince” on the ballads – but I do disagree, I think he had a beautiful voice for both rock and ballads alike, and that his voice was a godsend – he was the perfect lead singer for that band.

In any case, they may have stopped playing “Islands” live after just a few attempts at it, but they did continue to play ballads at almost every show, and some of those recordings are incredibly beautiful – because Fripp carries the tracks with his incredible, concise guitar arrangements, while Mel just plays really beautiful flute solos and the rhythm section plays quietly and accurately – it’s really about Fripp’s guitar and Boz’s vocal (and bass playing too, I should add).

So if you do get a chance to pick up some of the live CDs by this band, I highly recommend that you find ones that include a ballad.

Back in 1978, or whenever it was – out of an entirely random series of purchases, I would buy a new Crimson record each week, I somehow fell in love with “Islands” because, perhaps, it was so, so strange, with the incredibly jet-lagged guitar solo from “Ladies of the Road” to Fripp’s vibrant harmonium playing on the title track.  This album also includes one song that the band never did perform live, because it was an orchestral piece written by Fripp to serve as an instrumental introduction to the final piece on the album, the title track – so what you hear is first, “The Song of the Gulls” which is orchestral/instrumental, followed by the vocal piece “Islands” which, I should add, contains one of Peter Sinfield’s most beautiful lyrics ever – I love all of his lyrics on “the first four” – but I have a special place in my heart for the lyrics to the “Islands” album in general, and the song “Islands” in particular – it’s truly beautiful imagery, and Boz’ gentle, quiet delivery makes the lyrics hit home so hard, just really gently and beautifully sung – there’s no other song quite like it in the Crimson canon.

It is, after all, the end of an era, because Earthbound, while it does have an outrageous version of “21st Century Schizoid Man” on it, is somewhat of a disappointment – it’s not in my top ten concerts by the “Islands” band.

I think it must have been an almost random selection, let’s just pick an “average” show, one of those ones where Mel is really kicking ass – and that’s what they did.

But – there is a lot more depth and beauty to be found, if you explore the world of live shows now available from this band – in particular, I recommend the earliest shows, where they have literally just come from the studio, and the songs much more, resemble the album versions, whilst over time, they began to stray wildly from the original forms, so if you want to experience the truest approximation of a perfect Islands band live show – stick with the earliest shows – the double CD at Brighton springs to mind as a good one, but you really can’t go wrong.

Even “Earthbound” has it’s positive moments.

For me, it was really, really nice to see King Crimson not once, but three times on their most recent tour of Britain and Europe, and to see that thanks no doubt to the ministrations of young Jakko Jakszyk, that Robert has indeed, made his peace with this record that at one point, he didn’t want to think about or look at every again.

So much so, that they now play two tracks from the record live, which is an astonishing and almost impossible feat – I couldn’t believe my own luck, I was not only going to see King Crimson play repertoire from across their career(s) but I was going to hear them play two songs from Islands as well – “Sailor’s Tale” and “The Letters” – and for me, that really felt like full closure – both Ian Wallace and Boz Burell have passed away, but Fripp in this way remembers them – and brings their amazing music to King Crimson fans via the 2015 incarnation of the band.  I think that is absolutely brilliant!  And the other player from the Islands band – is IN the new band, and it’s so, so lovely to hear Robert and Mel playing together again – Mel is an incredibly gifted player, and having him in the band has been absolutely brilliant.

I think that everyone knows and loves “In The Court Of The Crimson King” but then after that, doesn’t really know how to form an opinion of the band that made those next three records – “In The Wake”, “Lizard” and “Island” – each with different singers, different musicians, where only Fripp is the constant.

If we set aside the legendary first incarnation of King Crimson, and look at what happened afterwards – how the band changed in the studio – but that last incarnation, with Boz being taught how to play bass bv rote by Robert – he was originally just their singer – they couldn’t find a bass player – so he became the bass player! – they got it right, and the album they made, in 1971, still stands up today as an odd masterpiece of jazzy, blowing prog like no other.  if you are not familiar with “Islands” – I cannot recommend it more highly – in some ways, it’s my favourite King Crimson album.

It moves between so many moods, the lyrics are outstanding, there are great guitar parts and guitar solos, there are great sax and flute solos – the combination of Robert Fripp and Mel Collins, both of them mellotron-playing soloists – was a very dangerous one, and one that created a remarkable record with an incredible edge – “Islands”.  The record then travels through chaos until you reach the last two tracks on side two, when peace and beauty are restored in an incredible way – a truly gorgeous way.

 

 

 

“Islands hold hands, ‘neath heaven’s seas…..”