iOS 11.0 – the application killer

I set out, in mid November, to try to fully understand and realise, just how many audio, sound, keyboard, synth or guitar / guitar effects applications I was going to lose permanently…if and when I finally updated to ios 11.0 on my devices.

The list started out OK, I basically started opening all of the music related apps on my most-used main music ipad, going page by page, app by app – and found a startling number with the ominous message attached “this application will not work in ios 11.0”….far more than I expected, and a lot more than are in the list.

So here are these very pathetic, and very, very incomplete lists – which I abandoned almost as soon as I started (and I am sure that others have compiled proper lists out there, if you really want to understand the full horror of this nightmarish scenario…) in the meantime, you can see some of what I was faced with, in terms of what I was about to lose:

 

Apps About To DIE in ios 11.0

(Very Much Partial!) List of iPhone apps that WILL DIE in the iOS 11 update – 20171115

ELectus
Fast Tune HT6
Jam Player
Key Chords Mini
MIDI Designer
Nano Studio
Reap DFX
Rhodes Piano
Swipe Guitar

(Very Much Partial!) List of iPad apps that WILL DIE in the iOS 11 update – 20171127

Audio Palette
Cantor
Electric Piano Synthesizer
Grantophone
Groove Maker – 3 versions (but not Groove Maker Free)
ImproVox
LH Rubbing
Mini Synth Pro
Mixtikl 5
Oblique Strategies (Black logo)
Organ+
Spacelab.
Synthmate (already dead)
Thereminator
Vio
Yamaha AR and DR Pad

Guitar Apps

Pearl Guitar
SHREDDER SYNTH
12 String HD

 

And I am not sure, but I believe that Drone FX, another one with an eternal album dedicated to it (music for apps:  drone fx) and an ambient music application of incredible capability and beauty – in a league with perhaps, Eno’s Scape and very, very few others – I love Drone FX, I truly do – strangely, when I went to open it – I didn’t get the warning message – but I believe it is one of the doomed apps anyway.  Only time will tell.

 

If Drone FX disappears – well, for one thing – there will be no more additions to the eternal album dedicated to works created with it – and I would then have to live in hope that the developer of Drone FX, decides to revive it or create a brand new version that I can purchase someday – and then, I could continue to create and upload new drones to the eternal album.  If the developer doesn’t – and Drone FX dies – so does my eternal album of the same name.  Dead – gone – stuck in time with the pieces I’ve done to date, with NO HOPE of the addition of additional tracks in future (the whole POINT of an eternal album, I might mention).  If it is gone, and doesn’t come back – then it’s a sad, sad day for lovers of the truly beautiful and the truly ambient – Drone FX is one of the finest apps I’ve ever used – mixing up to five ambient sound streams into a live, evolving ambient composition…it sounds absolutely amazing – but don’t take my word for it – please, have a listen.

 

So I stopped working on the lists, because I realised it was just futile,and I also realised there was not much I could do about it – because I will need to update to ios 11.0 just to keep my devices secure.  But – there are considerations, and in the case of musicians like myself, that work in many, many different apps all the time – I can and often do have, many, many partially finished, unfinished, nearly finished or completely finished songs, on many apps – at all times.

Now, intellectually, I understand why Apple are doing this – but my human, emotional reaction is one of unmitigated DISMAY.  I just don’t welcome the death of some of my favourite (and some, less so) applications, and one or two of the intended victims of this purge, upset me quite a bit – because I have a personal attachment to them, and a long history of music making with them, too.  This includes not only the examples I’ve given, but other groundbreaking or awesome musical applications, anything from Mini Synth Pro to Cantor – all gone.

I don’t think that Apple, representing Giant Faceless Corporations Everywhere, but trying to appear like a harmless old man shuffling down the street, understands the devastation that their little message “this application will go up in flames when you update to ios 11.0” can cause to the dedicated Application Musician.  Real dismay, real upset, a real sense of loss.

 

I am here to set the record straight, to let Apple know, using just one or two examples of applications that will cause me grief in more ways than one – that to me, these are the senseless murders of beautiful creative tools.  APPLE – are you listening??

Example 1:  Nanostudio

Nanostudio was one of the very first music applications I ever purchased, something like five or six years ago now – and I have spent many, many hours recording, composing, mixing, and uploading tracks made with it.  It even has its own dedicated “eternal album” on my bandcamp site, “music for apps: Nanostudio” which contains the bulk of the work achieved with this humble little app.

I love Nanostudio – so I was horrified to realise that it was one of the apps slated for the chop.  Not just because I love it – that’s almost beside the point, but because I have a number of finished but not mixed, or unfinished and not mixed, tracks sitting in Nanostudio, that I really MUST finish and upload before the dread 11.0 ios arrives.  If I don’t do that – I will lose them.

Why – well, because the makers of Nanostudio, have wisely decided to retire the app gracefully (heartbreaking!) and release Nanostudio 2 – which of course, I will have to pay for all over again – so they are saying goodbye to Nanostudio 1.  Now – maybe, maybe I will be REALLY fortunate, and I will be able to import projects from 1 into 2 and continue working on them in real time.

However – I seriously doubt that, and being somewhat pessimistic sometimes, I have to assume the worst – that there will be NO backwards compatibility – and that if I don’t complete, mix and master all the tracks IN Nanostudio 1 – they WILL be lost forever.

Now – take that nightmare scenario – and multiply it across any and all apps that you can record with, that are going to die in the update – and you can begin to see why it’s not just upsetting, it’s downright threatening to the creative work that I have completed, but not mixed, or is nearly complete – I now MUST finish those tracks, at all costs, PRIOR to updating.

Example 2:  Shredder Synth

This app – well, this one really broke my heart, it’s the single most amazing guitar app around, a working audio-to-midi guitar synth that I’ve been using for years, with which I have created a few pieces of extraordinary beauty, playing my guitar through an iPad.  I love Shredder Synth, it’s a very creative and beautiful app, and I don’t actually know what the developer is planning if anything – I HOPE for a Shredder Synth 2, but I am too afraid to look it up – so I am letting it be a mystery to me.

I had such a blast with this app when it first appeared, I could not BELIEVE (and still can’t really) that someone could design and build a GUITAR SYNTHESIZER that you could play on an iPad !! That is truly remarkable.  I only have one other such app, and it is not nearly as capable.  Of course – it’s going through unharmed, while the one I love – is being destroyed.

 

So – using the apps above (and below) as my working examples – these are living, breathing music creation tools that this update is MURDERING.  It’s KILLING them, and all of the beautiful musical dreams they have inspired – but, worst of all, are the unfinished pieces, trapped in a strange limbo of impending death, hoping that I will make the time to save them from destruction by at least mixing and mastering them and eventually uploading them to bandcamp.

 

But that is just one facet of this issue – there is another issue.  Most of the beauty of working in iOs music applications, is the fact that you can create variations, or completely different versions, of tracks – by making copies of an existing project, and then making changes, deletions or additions until you have created something completely different – and often these “spin-off” tracks are more interesting than the originals.  The problem is, though – that you HAVE to have the original app they were made in, so you can open them and work on them.

 

Over in Garage Band, which is not under threat (thank God) I often will create multiple versions of tracks in progress, to try out different ideas, or, to make sure there is a snapshot of the track in its current form, which I am totally happy with – but, I want the OPTION of trying other versions.

Again, not knowing what kind of backwards compatibility will exist, with any of these apps, throws real uncertainty into this scenario – I am assuming, that for every lost app, I will then LOSE the ability to work with the track in an editable form – all that will be left are the MIXES – and what if, for example, you suddenly hear in your head, a version of a track where a certain bit is REMOVED to create a space, and you can no longer achieve that because the song has been completely mixed down – and unless you can open the original file, and use the current version of the app to edit “old sessions” – you are out of luck.  Completely out of luck.

 

Example #3:  Mixtikl 5.0

A third example is Mixtikl.  I “grew up” using Mixtikl 5.0 – in which I created more than 60 unique compositions, some of which are quite extraordinary (please see “music for apps: mixtikl”) so I felt so sad to find out that Mixtikl 5 is one of the victims – while 6.0 and 7.0 (both of which I also own) will continue on.

Or at least, 7.0 will.  Now – 7.0 is fine as far as I can tell, but it won’t be like 5 – and I love 5.0 – it’s the bee’s knees.  Sure, I should like 6.0 and 7.0 more – but it’s just not necessarily so.

Now, I think in the case of Mixtikl, that there may be the ability to work on old sessions – so in 6.0, you can still load 5.0 projects and amend them – but I am not sure about that.  If that is so – great, that avoids the dread Nanostudio Scenario – but, it’s still not the same, because the tools within 5.0, gave the tracks made with 5.0 – a unique musical identity – and to my mind, if I used 6.0 to update and amend a basic track made in 5.0 – it would NOT be as good as if I had been ALLOWED to complete the track within 5.0.

 

Why not keep them ALL alive?  If you can keep six and seven going – why not five too?

To be honest, I’ve barely looked at six or seven, just enough to briefly assess what is going on, but I’ve not used either to make tracks yet.  I have not been in “applications mode” for a while, but I am planning on working more with applications again starting in December 2017, and moving on into 2018 – and I would have loved to have had Mixtikl 5.0 available to work with. (Sigh).

Oh well,

Again – intellectually, I understand the need to move forward, for both Apple, they need to move to a 64 bit architecture (I assume that is the main reason for 11.0 but I don’t actually know!) and for each affected developer, there will be one of three scenarios I should think:

  • Upscale the existing app to work in ios 11.0 and give it out as a free update to users
  • Retire the existing app, and replace it with a completely new version with the next numeral identifier incremented upwards – (note: variable on this scenario – the new version MAY, or MAY NOT, be backwards compatible with the old version) – I continue to assume “MAY NOT”.
  • Do nothing, let the old app die – and replace it with nothing.

I think that for developers, those are the choices, and I doubt if any of them seems all that palatable.

It all means a mass of work for them (except for 3) which they can ill-afford to do, and I couldn’t actually blame someone for choosing number 3 above.

It’s my hope though, that most will choose 1) or 2), and there will be some kind of continued existence for these remarkable music-making applications – which mean the world to me – I love them all.

Is there a workaround?

Well – maybe.  I have a vague plan to update some devices (my main one has already been updated to ios 11.0 – luckily, I did not have anything in that particular implementation of Nanostudio except for a very forgettable drum track, so I exported that and then “pushed the button”.

However – on other devices, where there IS unfinished content in various states of development – I may choose, as my “workaround”, to NOT update them for many months (at some considerable risk) or at least, for long enough for me to mix, master and upload all of the unfinished tracks leaving me free to finally upgrade that device.

This is my vague plan, not sure how well it will farm out, but I have to try – I have to.  I want to save the work where I can.  Other, lesser apps may have had tracks that were mixed, but I have decided to just bite the bullet and essentially destroy the working masters in the apps – what choice is there, really?

You can save a mix.  You could even save the individual tracks and rebuild your session in a future version (with a lot of painstaking work, you could do that) but if you import those tracks into a brand new version of the app, and then do work on it in that “new” app – I can guarantee that the finished track WILL sound different, to how it would have if completed in the original, now “dead” application.

 

So I suppose there are some positives here, but I am struggling to really see them – mostly, it just feels rotten, and despite understanding, intellectually and technically, “why” this has to be done – emotionally, and as a musician who is fond of his musical creations (for those of us with no actual children, songs can often become like our children) I don’t like the thought of losing unmixed or incomplete pieces of music, so I will be spending some time, trying to SALVAGE what I can, for example, from each implementation of Nanostudio – I’ve got songs on my iPhone, I know – so I will need to get that sorted out ASAP so I can wipe it by installing ios 11.0.

I don’t mind change, when it’s change for the common good.  But in some ways, this change feels wrong, and I do wonder if the people at Apple ever think about the very human consequences of their actions – i.e. how will the users react to the idea of their favourite music apps being gone forever, and, to having works in progress suddenly be sentenced to death – and having to scramble to save them, so the inevitable update can finally go forward – and my instinct tells me that they have not given it a single thought – it’s just business as usual, who cares about a few “old” applications, anyway?

I have a feeling I am not alone in this, and that other musicians will have their own favourites, which they will be, like me, bemoaning the loss of due to the 11.0 update.

Not to mention, now having to scurry about, seeing what unfinished Nanostudio pieces are on which devices, and trying to finish songs that perhaps, you weren’t ready to finish – but now you HAVE TO, because a clock is ticking…you have no choice any more.

Speaking of that ticking clock, I had better get to assessing what work is sitting unfinished on which devices, find SOME way to complete  them, get them mixed and mastered and offloaded – and then kiss the working files goodbye, forever – forever, that is – forever.

 

 

It’s all in the name of progress – I promise.  It really is.

 

 

Until next time, then

 

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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

studio diary 20150315 – or, that was then…this is NOW

today I had the uncanny realisation, that I am about to embark on the creation of my 18th “eternal album”, which is a large series of recent recordings featuring mainly apple iPad music applications, along with the odd PC music program or “generic eternals” such as the “classical” album.

that in itself is no more significant than the fact that I launched the 17th one today, “music for apps: thesys – an eternal album” and while this album focusses on the fantastic “thesys” application from sugar bytes,  I am already planning the next (which is set to feature the absolutely remarkable app “SECTOR” from Kymatica – which involves one of my favourite developers, Jonatan Liljedahl – inventor of audioshare, and the AUFX series of awesome effects apps).

I did some pre-planning last night, and I could see that I had sufficient material for at least two new albums in the series almost immediately – and I’ve been a bit remiss this year, waiting until March to release the first eternal album of the year – of 2015 – but – hey, I’ve been busy. 🙂

 

what is significant about the fact that I am about to release my 18th album in the “music for…” or “eternal album series”, is this:

prior to the world of ios applications, I used to make “normal” albums ( from the mid 1980s till about 2011, when I got my first ipad…)  – so, you would record music, work on songs, mix and master those songs, and after x amount of time, usually, months, sometimes, years, you would release another finished album of music.  that’s how it always worked – until ios applications came along.  so the compile, wait, compile, wait, compile, wait some more, way of making albums, gradually gave way to a new way – a single album, dedicated to one instrument, app, software or even genre, where there is no limit on tracks, and I basically just keep adding tracks to each one of these “eternal albums” –  forever. so in 20 years’ time – I could have a very, very large number of tracks up there 🙂 on a broad variety of topic-based albums.

so – in the period between 1992, which is the year that my first album proper came out (“voices from the desert”) and 2012, which is the year my “last” “normal album”, “gone native”, came out – so, in 20 years, give or take – I had released 18 “normal albums” during this time – or, I should say, 18 normal “dave stafford” albums – I am not counting bands or collaborations here. that would have probably put the total count for the 1992 -2012 period to “over 30” – but I am focussing solely on my “solo” albums now.

however, more recently, and, overlapping the end of that period slightly, I realised tonight that as I am planning my 18th eternal album album right now, that this means, that I have done exactly the same number of applications-based, or pc-based / generic, albums in the “music for…” series, in just over three years, that it took me to make 18 “normal albums” in !!

 

that is – remarkable.  and difficult to believe, too.

but – it’s real.  I started out working with apps in about December, 2011, and of course, have worked with them ever since (in some ways, it feels like I am just getting started!!) so that means through 2012, 13 and 14 – and here we are, now, in March 2015 – so actually, approaching 3 and 1/2 years in total.

twenty years – to make 18 Dave Stafford albums in the traditional way.  Then, a mere three and a half years, to make the NEXT 18 Dave Stafford albums – in the “eternal album” way.

 

that is simply – astonishing.  oh, how I wish I had thought of the “eternal album” concept back in the late 80s, when I started recording in earnest, as an adult, and as a looper.  just imagine the one, massive “music for loopers” album I would have compiled by now – featuring 246 looped or live improvs played with guitar, ebow and looper, over twenty years.  and, another similar one for rock and prog works…and so on.

instead, I worked the way we all worked, we would not release anything until we had the whole album, built painstakingly one track at a time – “in the can” – even if that took three or four YEARS !  You just kept going, until you had “enough” songs, to make a decent length record, or, until you had the right songs for the album concept you had. it was quite a realisation, though, that, thanks to the “eternal album” concept, and thanks to advances in recording techniques and processes (no more tape recorders for me!) that I was able to mirror my first 20 years’ output, in just 3.5 years, using these new tools to my distinct advantage.

I would stress, too, that it’s not just that things took longer back then, or that it’s more time consuming when you are working with tape machines than in a purely digital environment, and so on – it’s also because, the tablet itself, in my case, the apple iPad – has radically, and unalterably, changed the way musicians work.  if you ask me, it’s revolutionised the way we work. everything is designed for speed, and ease of use.  everything can be done quicker, and usually easier, than in a real studio.

so the ipad, the tablet, the way that some of these absolutely, practically magical applications work…that just changed everything – and that is why I was able to produce 18 albums, with probably, more tracks than my previous 18 albums, in such an incredibly short span of time – 3.5 years.  that’s something approaching six full length albums each year – which, back in the day, would have been not only a prohibitive schedule to maintain, but also, a punishing one.  No one would “try” to make six albums in one year – it was unheard of.  OK, maybe two or three albums per year, at a stretch, maybe, in pop’s heyday, or at the beginnings of rock music – but generally, established patterns of record production mixed with touring, were established and pretty much, followed, by all bands and artists.

then, in 1967, the Beatles actually slowed down this process, by taking an unheard-of six months to complete “Sgt. Pepper’s Lonely Hearts Club Band”. and for a while anyway, from then on, bands would compete to see how long it could take them to make one record, in the same way they competed for the “biggest crowd” or the “loudest concert in history” or whatever silly, prideful contests went on during the worst of rock’s excesses – whenever you consider that period to be (1980s, anyone?) 😉

 

of course, you do tend to work more quickly with applications, in most cases.  There are exceptions, and certain pieces just require a little more time.  But nowadays, even if it takes me, say, six weeks to finish a concerto in three long movements – the MOMENT it is finished, I can load it up to the “classical” album to join other tracks in the classical genre.

so the new system is working really, really well – for a number of reasons, and I can’t really get my head around the idea of making 36 Dave Stafford albums across 23 years – with the first 18 taking up the first 20 years, and the second 18 taking up a little more than the remaining three years!!! that is just – really stunning.  something to think about, I suppose.

and of course, at this rate, it won’t be long before the “eternal album” series exceeds the pre-2011 “normal albums” in numbers, and I cannot imagine how many albums, not to mention, how many tracks, these 17 soon to be 18 eternal albums will have at the end of THEIR first 20 years – a staggering amount, even assuming that my output will slow somewhat, as I grow older 🙂

track wise, I am not sure how it rates, I would have to do some manual counting, but I would guess that it’s probably a case where there are nearly as many “eternal album” tracks, or maybe more, than the original 18 albums would bear – because back then, tradition said put 12 or 14 tracks on an album, and of course, I would ignore tradition, I had one double album, “other memory / sand island” that had a whopping 33 tracks; while other “normal albums” maybe only featured seven or eight lengthy pieces – and EPs, of course, which I’ve counted as “albums” – might be as short as four tracks.

so I would bet that the track count of the “eternal album” HAS already exceeded that of the original “normal” albums.

I will actually be able to find out over the coming weeks, I’ve begun work on a thorough updating of the discography on the old pureambient website, I plan to pair it up fully with bandcamp, which has all of the albums, old and new, up there – so I will get full counts as soon as I expand the track details and so on, I will have a more concise resource that I can “count tracks” from much more easily.

however, please do not hold your breath, to include more useful information, I’ve had to alter the format of the discography entries slightly, which means an extensive, laborious re-write – but, I really want to do this, for one reason, so there will be a one-stop resource for information about each of the albums, old or recent, for another because it appeals to my own internal sense of order :-).

I do have an interest in statistical information, I can’t really help it, so things like this fascinate me, but it’s a really interesting comment on the speed of life, too – now, I have tools that I can use, to VERY, VERY quickly, build music of real complexity and beauty, on a tablet device (that’s where the magic comes in, I reckon – anywhere and everywhere, I can work on music – with dozens of amazing, powerful music-making tools – incredible!!!), which I can also use to make high quality art work, and then the music can be uploaded to bandcamp, instead of being made available on media as it used to be – it all happens so incredibly quickly now, it’s no wonder that I was forced to invent the “eternal album”, just to deal with a situation where suddenly, after 20 years of slow and steady music production; the ios music apps suddenly turned me into the most prolific musician on the globe – and I had to do something about it if I was to even be able to process the ios music I was creating!

what I did, of course, is invent the “eternal album”.

it took a while to get it all working, but in a very short time, for example, I was able to upload no less than 61 tracks to the album “music for apps: mixtikl – an eternal album” – and that right there, is the equivalent of five or six normal albums – produced in perhaps, six months at the most – astonishing!  so everything is…very much faster, there are no more endless delays waiting for the drummer to set up, or dealing with instrument problems (although, I do still get those, since I DO still use real instruments, and I do plan on making at least a few more “normal” albums of guitar music over the next few years – so please, watch this space!).

music just took longer back then, you had all hardware devices, so to do looping – you needed a LOT of gear.  And a nice rack mount to put it all in.  with a nice digital reverb in it.

now – all of those rack mount devices, exist not just on your computer, where all your recording takes place, too, but also – on your bloody tablet device as well ! and that is a downright miracle – multi-track studio apps like auria, sophisticated effects units like effectrix and turnado, begin to rival the quality of that expensive hardware that now sits in a corner in the studio, rarely if ever used any more, which is really sad, so I continue to make the time to use both – because as much as I love and fully embrace the music / ios technology – I still have a huge love for real guitars, basses, keyboards and drums – real instruments, recorded the old fashioned way – that still has a lot to be said for it!

 

sure, for playing guitar, I still use a LOT of hardware, especially, “loopers”, but more and more, any processing, any effects – are almost easier to apply using your PC, or even your tablet – which to someone from my generation, who grew up with electric guitars and amps, where basically, it was all about the hardware – hardware was the only option in 1971, when I started playing electric guitar for the second time, in earnest, when I was in my first few “garage bands” – is almost incomprehensible.  yet – it be.  it definitely be !!

I was really quite taken with this revelation, then, about just how much has changed.  but it’s today’s young musician that can benefit the most from all of this amazing technology, bypassing the difficult skills of learning to actually play the guitar, bass, drums or keyboards, but instead, in their bedrooms, using technology – to replicate it – and, much, much faster than we could ever do it back in the 1970s with hardware.

sure, they won’t have some of the hard-won skills that those of us who grew up in my generation will have, but, they will have the advantage of the “quicker, better, faster”, etc. – technology – and I hope we hear some amazing music being created by bands that, for example, have five members who all play the iPad.  how fun would that be!

things have changed, and today’s music making person, has a huge range of devices, software for PCs, and apps for tablets and phones, none of which we had back in 1970.  I think that this unavoidable fact has both positives, and negatives, and I can only hope that the former outweighs the latter – because the danger is, that we get too many folk who have no musical talent, “playing” the iPad, and finding limited success – because of the mediocre skill levels that CAN be used to operate some of the simpler music apps – we will, unavoidably, have an even larger stack of not-so-good “electronic musicians” to wade through than we did five years ago – but, at the same time, there are still a fairly large number of “traditional musicians” around – so, I am hoping for a balance – and I think there is merit to both types of musician – the traditional such as myself, the electronic, and, hybrids – such as, myself again – because I absolutely love playing with ios music applications, very nearly almost as much as I love playing my Gibson SG – so, for me, it’s win, win – and win.

 

have fun – until next time –

 

 

peace and love,

 

dave at pureambient

 

 

 

 

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

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

 

GLASSWORKS by Soniccouture

 

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

 

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

 

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

 

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

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

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

 

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

 

all tracks recorded 20141206 by dave stafford for pureambient records

all rights reserved © & ℗ 2014 / 2015

 

 

 

REV by Output

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

 THE IBANEZ RGKP6 KAOSSILATOR GUITAR

 

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

 

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

 

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

 

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

 

AND NOW FOR SOMETHING COMPLETELY DIFFERENT

 

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

 

THE FUTURE AND BEYOND…

 

So – what is to come in 2015?

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

 

Peace And Love To All

 

D. 🙂

 

TC-11 – a touch-controlled synth for ipad that really delivers…

since acquiring a tablet device some time ago, I’ve tried a lot of ipad synths, and I am not ashamed to say I have a very large collection of them, that is still growing steadily – and probably always will! 🙂

they tend to fall into three broad classes:

  • category one – those that work to emulate normal synthesizers, and therefore, their main method of producing notes and chords is a “virtual” keyboard;
  • category two – those that use an alternate method to produce notes and chords – in a serious number of radical configurations, some more successful than others;
  • category three – other less easily defined interfaces – oddball devices / devices that use truly unusual methods of triggering notes and chords;

so – in our first category (by far the most populated, from what I can tell) you have keyboard-based synths ranging from animoog to xenon, including classic emulations of moogs and korgs (such as the iMS-20 or the iPolysix), other standalones  such as addictive synthalchemy, mini-synth pro or magellan, and second and third generation devices such as the amazing thor and the equally capable nave.

the second category is a mixed bag, with some good entrants, such as the strangely satisfying sound prism pro; then you have your cantors, your mugicians, and the like…they don’t have keys, but they have a single, straightforward way of producing notes and chords.  but that is also their drawback – they only have one screen pattern, regardless how innovative.

and then finally, the somewhat unclassifiable, such as the good dr. om, noisemusick, the 76 synth, or the moog filtatron – any number of oddballs “fit”, more or less, into this third category.

in category one, some stunning advances have been made, and in the case of a keyboard-based synth like the mighty thor – well, this synth is almost a textbook case for how to build a perfect synth in ios – it’s just a dream to play, it sounds great, it looks great, and the developers deserve a huge pat on the back for what they’ve done with thor – it’s really incredible.  if I want the best in a keyboard-based ios synth, I almost always turn to thor or nave, nave or thor, or let’s not forget the redoubtable iMini.

while I might go for one of those first, depending on the requirement, for another session, on another night – I might go for animoog (which has become quite the synth now that you can get the richard devine and other nice sound libraries for it, the metallic library is also fabulous) – so that’s a synth that has improved with the addition of new libraries, although of course, you do have to pay for them – or I might choose one of the korgs, or addictive synth, or cassini, or xenon or sunrizer.  or let us not forget the mighty n log pro – a fantastic first generation synth.

I’ve been less impressed with the progress of category two and three synths, that is, until I decided to take advantage of a rare price reduction on the TC-11 synth a few days ago – and suddenly, all these attempts to use the massive screen of the ipad in a unique and unusual, yet totally functional and musical way – well, it all starts to make sense now!  the designers / developers of TC-11 has done what the sound prisms and mugicians and the cantors could not quite do – they’ve created a synth with no keyboard, that is actually playable; that challenges the very need for a standard keyboard, and I found today, in making some test recordings, that it is entirely possible to play music with the TC-11 – despite the lack of a keyboard.

so the claim on the itunes store that the TC-11 synth is “the only fully programmable multi-touch synthesizer for the iPad” – would actually seem to be true! – I’ve certainly never encountered any other ios synth with the level of “under the hood” control that the TC-11 gives you.

the key is that there is no one solution, there isn’t one static screen (as there is with sound prism pro, mugician, cantor, and so on) instead, there is a different screen for each preset!  and each patch is totally configurable, from the oscillators to the filters to sequencers to the effects to determining how the movement of your fingers affects auto-panning, total behind-the-scenes control.

I actually bought this synth thinking “OK, I am a guitarist, and I have a lot to learn about synthesis still, despite playing and working with them for more than a few decades; I will buy this, and I will sit down at some far future point, many months from now, and try to teach myself how to program it…”  I expected it to be beyond me – and am pleasantly surprised to find that really, it’s not.

within seconds, I was playing, within minutes, music was emerging, even before I really understood what is going on with this remarkable synthesis engine, which is utterly and so beautifully configurable, you have access to everything under the hood, and I do mean everything – and this synth has just about everything you could ever, ever want – you are in control!

like any good ios synth, of course, it comes stocked with a healthy dose of presets; and from examining the way those are designed, I can begin to make my own connections and alterations and create fantastic patches of my own.  I actually didn’t expect presets, I thought I would have to build all of my own, but the developer has spent some serious time and effort to give us some absolutely great sounding presets right out of the box – which also work as building blocks for sounds of our own that we will design later…did I mention that the synth comes with a fantastic set of presets?

when you play through some of the presets, you will see that not one, but several different screen configurations are used, based on various different geometrical shapes – commonly, a circular interface; fret like interfaces; and various alternate versions of several basic screens, none of them featuring a key of any size or shape! nary a white key or black note in sight – and that, in the case of the TC-11, is a good thing.

despite the lack of a keyboard, there is a somehow-obvious logic (that I can’t describe in words) and when you play each patch, well, sometimes, it just hits you how you should use your fingers, you might make a fist to create a really pure chord, or stretch two notes far apart to increase that amazing thick flanger – but the design of even these presets is incredibly complex, and you can get amazing and very musical results by variously:

  • making a swirling circle with one or two or three fingers
  • putting all five or all ten fingers down in a semicircle
  • making a fist in the centre of the screen, and spinning it slowly around
  • trailing a single finger from one corner of the screen to another corner
  • tapping out individual notes just as if you had a keyboard, but – you don’t
  • moving the entire ipad in various directions to effect the sound as you hold fingers on the screen
  • playing the screen like a typewriter
  • any combination of the above
  • using your imagination – just try it…and hear what it does to the sound !!!

…in other words, almost any gesture that you can imagine, made with finger, fingers, the fingers of two hands, the backs or sides of your hands…will produce a distinct result within the parameters of that patch, and some of the effects are extreme and wonderful – especially in the world of auto-panning, a lot of work has gone into the panner, not to mention some beautiful delays and flangers, too.

I imagine that you could put your forehead down on the screen, and something beautiful would come out of the TC-11. 🙂

so now – what I suddenly have here, is a superlative touch control interface synth that I can already play.  with some rehearsal, and some knowledge of how to get the best out of some of the best presets, and I should be able to play it live, anywhere, without issues.  so when I want to move from playing thor, and the world of the black and white, the tradition, playing those 88s in which ever mode I find them on whichever category one synth I am playing…

…to the world of total freedom, where one patch is all about circles and chords, another, about fretless dub bass with sonic qualities you will not believe, the next, an abstract plane of rectangles that fades into the top of the screen in an endless, fading curve, which defines your “playing field” for the next patch – it’s fantastic, a fantastical world of sound that is one of the most exciting I’ve heard, touched and seen, in a long time – the TC-11 is the real deal.

playing it is very, very liberating, the only experience I can compare it to, was when I first got my korg kaossilator, and I realised that after forty some years of making music with either frets, or keys – that I could make GOOD MUSIC without the benefit of keys or frets – well, it’s a similar feeling – and a wonderful, freeing one I can tell you.

I can make that comparison easily, because when I started out with the koass pad, I had no idea what would happen, and to my everlasting astonishment, with one day of practice – I could make music – without those pesky keys or frets or strings!

same thing with the TC-11 – within minutes, I could make music, even though the interface was completely alien to me, after a few minutes, I could begin to pull tunes out of it – which surprised the heck out of me, because with other category two and three synths, like sound prism – OK, you can get some nice chords and melodies out of sound prism – but you don’t get what you get with the TC-11 – beautiful, rich, synth music – with a really, truly unique playing surface, which is really, really fun to play – with a beautiful synthesis engine powering it, giving you the power to configure each patch to suit the way you want to move your fingers, to create the sounds you want to hear when you use that patch – total control, including the playing surface.

and, with the total configurability of the TC-11, even the most demanding, experienced synthesist should find the kind of control they crave for their patches – total control,  and playing without keys, finally got truly do-able.

so if you enjoy the challenge of playing the synthesizer without a keyboard, using a variety of approaches for note and chord generation, and you want a totally configurable synth with a powerful engine that you can tweak to your heart’s delight – then the TC-11 is the category two synth for you!  give it a try – I am finding it to be very, very addictive – it’s just a LOT of fun to play, and trying out different gestures to see what sound will result is a real hoot, and sometimes a new gesture will bring out an amazing sound out of a patch you thought you knew everything about – it’s full of surprises.

I took a bit of a risk in purchasing this, thinking it was far beyond me, but that risk has been rewarded a thousandfold, and what I have with the TC-11 is a fantastic tool for both live performance and recording – and a tool I know I will make a lot of use of in the years to come.  the TC-11 is a winner with me – a real winner.

you may want to give it a try – I am so, so glad that I decided to give it a go – because boy does it ever go! 🙂

the worst band in the world

a few months ago, I tidied up a portion of my music collection that had lain dormant for a long time; I completed the partially complete task of loading the entire 10cc catalogue onto my mobile device.

thus prepared to re-engage with one of the most interesting bands of the 1970s (were they art rock? were they pop? were they prog?), yesterday, I put on a record that I haven’t listened to a lot since 1977, when it came out, but I am stunned just now, hearing it in headphones for a start, but just hearing how good it is…”live and let LIVE” by 10cc.  this album…is an absolute corker.

despite the absence of the uh, stoned geniuses, kevin godley & lol creme, this newly-reinforced and revitalised version of 10cc, led by the very straight eric stewart and graham gouldman, the two remaining original members…is astonishingly capable, the set list is amazing, considering that godley & creme aren’t there…and what a performance !! stunning musicianship, and the vocals are so, so perfect it’s difficult to believe it’s live.

I myself was fortunate enough, to see 10cc live in 1978, so, the tour after this one; at the san diego civic theatre, this was the “bloody tourists” tour, and while it was a slightly different band (I got to see them with the amazing duncan mackay on keyboards, whilst “live and let LIVE” features tony o’malley on keys) it was essentially the same group as you hear on this official live album…

there is a live album made by the original 10cc; the quartet version, featuring eric stewart, graham gouldmanlol creme and kevin godley – which is available under different titles, but it’s basically “king biscuit live 1975” and it was in support of “the original sound track”, so quite “early”, recorded at the stage where they have just three records out – and while it’s a great album, because it’s the original band…it does not have the production values that 10cc – ”live and let LIVE” does.

of course, ”live and let LIVE” was recorded a full two years later, with a revitalised eric stewart in charge – and the difference is noticeable.  two great live albums, but the difference was something like, well, we’ll record this 1975 santa monica gig for fm radio – and maybe release it some day; whereas with ”live and let LIVE” was intentional, more “let’s go out and play these songs really well, really professionally, and record the whole tour until we get a perfect version of every song, or one perfect show” kind of thing;  the planning and execution is something akin to the invasion at normandy – planned to musical perfection by eric stewart, executed to near perfection, live on stage, by the “new 10cc“.

and yes, if you go onto you tube (or if you buy the “tenology” box set) you can see fantastic live videos of the original four piece, playing deep album tracks such as “oh effendi” or “old wild men” – and, it is a bit sad, that those kinds of ultra creative / proggy tracks are long gone from the repertoire by 1977.  the original quartet was unbeatable, studio or live, their four studio albums are all top-notch, so when eric stewart sat down to build “deceptive bends” without godley & creme, he knew he was facing a challenge.  but, he stuck with what he knew best: songs.  and, he penned the undeniably catchy “the things we do for love”, which meant that “deceptive bends” was going to be a big success.

so what does this “brave new 10cc” play, then?  first of all, you need to remember that this is the stewart-gouldman 10cc, therefore, the “poppier” 10cc, not the darker, stranger 10cc featuring godley & creme, so it does tend towards pop, and towards the “hits” – but there are a lot of surprises, and a lot of great tracks from all different phases of the band’s long career.  and, a few performances of classic original 10cc tracks – in particular, the show opener, a hard rocking version of a stand-out track from the band’s third album, “the original soundtrack” – an absolutely kick-ass version of “the second sitting for the last supper” that is shocking in it’s musical prowess.

also from that original series of four albums (10cc, sheet music, the original sound track, “how dare you!” – that was all they did before godley & creme split – well, five if you count “king biscuit 1975” I suppose) a very cool version of “art for art’s sake” plus eric stewart’s best contribution to “how dare you!”, the overlooked pop classic “I’m mandy, fly me”.  an unavoidable choice, also from “the original soundtrack” album, is the fm radio classic “I’m not in love” – also a stewart track.

but, here’s the full set list for this double live album:

the second sitting for the last supper                  [dave – (!! – a storming way to begin the show !!)]

you’ve got a cold

honeymoon with b troop

art for art’s sake

people in love

wall street shuffle

ships don’t disappear in the night (do they?)                    [dave – (listen to eric stewart on slide – harrison and allman, look out)]

I’m mandy, fly me

marriage bureau rendezvous

good morning judge

feel the benefit                        [dave – beatlesque perfection, stonking dual lead guitar outro…)]

the things we do for love

waterfall

I’m not in love

modern man blues

before I look at the show itself, I should explain the difference between the bands:  the original 10cc line-up of stewart / gouldman / godley / creme was nominally a quartet, but often, because drummer godley had so many lead vocal duties, they had a second drummer in paul burgess – so the “original” live quartet was actually a quintet:

eric stewart – lead guitar, acoustic and electric piano, lead vocals

graham gouldman – bass guitar, electric guitar, lead vocals

kevin godley – drums, lead vocals

lol creme – electric guitar, gizmo, piano, lead vocals

paul burgess – drums & percussion

with the departure of godley & creme in 1977, who went of to concoct their triple album, progressive rock masterpiece “consequences”, which utilised their invention, the “gizmo”, throughout – a “gizmo” orchestral work, if you will (which includes performances from the late sarah vaughan and the late peter cook) – stewart and gouldman had to then rethink the band – and enable it to play both the very complex (and often quite strange) back catalogue, as well as the current material (at this point, the new 10cc only had one “new album” – the very respectable “deceptive bends”) – and I think that eric stewart now, ironically, faced the same problem that kevin godley did back in the original band – he played so many different parts on the album, multiple lead and rhythm guitars notably, as well as now being the main keyboardist in the studio band, so he needed to have a band with enough capability to free him from trying to play all those complex parts himself – and let him concentrate on either lead vocals, lead guitar, or occasionally electric piano or real piano as required.

so – faced with this problem, the solution seemed obvious – hire an extra guitarist who can also play bass (in the person of rick fenn); hire a second keyboard player so that they can replicate tracks where there are more than one keyboard (in the person of tony o’malley); and for some reason, hire an extra drummer (in the person of stuart tosh) (maybe because they were accustomed to having two drummers on stage?) – not really sure why – but that is what they did.  the new, expanded 10cc looked like this, then:

eric stewart– lead guitar, acoustic and electric piano, lead vocals

graham gouldman – bass guitar, electric guitar, lead vocals

rick fenn – lead guitar, bass guitar, vocals

tony o’malley – keyboards, acoustic and electric piano, vocals

paul burgess – drums & percussion

stuart tosh – drums & percussion                 [dave – formerly of the pop band “pilot” – oh they of the one hit “magic”…]

(It is interesting to note, and perhaps a comment on how difficult they were to replace, that basically, it took four people – fenn, o’malley, burgess and tosh – to replace two departed original members – so four people to replace two very talented, capable people – that’s kind of “telling”, isn’t it??).

this band, with duncan mackay replacing tony o’malley, was the 10cc that I was fortunate enough to see in 1978 playing the live version of “bloody tourists” – and I would say, it was one of the most incredible concerts I’ve ever seen, they played all the really excellent deep tracks from the new album (including some real beauties, “tokyo”, “old mister time” and others), and also including a very proggy number called “everything you’ve always wanted to know about !!! (exclamation marks)” (my personal favourite track from the album) which features an amazing end section of duncan mackay and eric stewart playing more like members of yes or gentle giant, than a “pop” band – serious chops – I kid you not – it was musically stupendous.

and…clearly, without a doubt, this was the band with the best live vocal sound I’ve ever, ever heard, incredible six part harmonies (when needed) and the most perfectly arranged, and in tune, and in time, background vocals imaginable.  just…stunning.  only the beach boys or the beatles in the studio are better.  hearing them sing like this, live, in 1978, was something that left a strong impression on me – and made me realise just how important having properly arranged vocal harmonies is to the live sound of every band.  if you are going to do harmonies – do them right.  hit the notes.  be in tune… !!

it’s fortunate for 10cc that the technology of 1977 and 1978 allowed them to re-create six part harmonies and complex background vocals on stage in a way that in 1966, the beatles, then the world champions of rock vocal harmony, could not (not due to any shortcomings on their part as vocalists, but totally because the technology just wasn’t there in ’66).  I think that eric stewart secretly wanted his band to be like the band that the beatles could have been live, had 1966 technology allowed them to hear what they were singing.

I watch the film of the beatles playing “nowhere man” in munich, germany in 1966, and it’s the closest thing we get to them singing their perfect LP harmonies, live; whereas on ”live and let LIVE” – stewart manages to recreate the studio vocals on every single track, beautifully and damn near perfectly – on stage.  If only the beatles had arrived ten years later…but then, that wouldn’t have worked out for other reasons, so I shouldn’t wish such things really…

and on ”live and let LIVE” – it’s pretty much the same as what I saw a year later with the 1978 version of the band – the vocals are unbelievably perfect.  just like the record – only – live.  this perfectionism is obviously the work of eric stewart, who was always the guy who arranged, recorded, and mixed all of the original 10cc albums; with godley & creme gone, stewart took over as de facto leader with gouldman as his willing lieutenant…and together, they forged a new, better, more in tune, less unpredictable live version of the band.

one of the stand-out tracks on the record is the 13 minute rendition of  “feel the benefit”, the long suite in three parts from the then-new “deceptive bends” album – this is a very beatlesque song to begin with, having a “dear prudence” like guitar intro (and coda) that evolves into a very string-laden ballad, which features the incredibly beautiful lead voice of eric stewart, clearly the “heir apparent” to paul mccartney (and strangely, later on, he joined mccartney’s band for a while, appeared in mccartney videos, and on a few mcartney tracks here and there – appearing on a few different mccartney albums over time) – what an incredible lead vocal on this track!

and then, when the background voices join in, it’s literally goose-bump inducing; it’s so perfectly like the album, but with the added excitement of being live – and stewart is the star throughout (thirteen minutes on his very best game) – sitting at the piano, singing the lead vocals, and then at the end, jumping up to play his half of the dual lead guitars, a beautifully distorted guitar duo – complete with graham gouldman doing his very best bright, chris squire imitation behind them – that chime their way out through the end of the song – a totally beatlesque and very very beautiful song, rendered with incredibly precision – even the silly centre section, the second of three parts, entitled “a latin break” meaning – “latin break in A major”, very punny indeed, is perfectly performed, including a live fade out of part two with simultaneous fade in of part three (something I have NEVER heard on anyone’s live album, EVER – amazing performance!!!), which is a return to the coda version of the “dear prudence” guitars…fantastic.

the album is worth it just to hear this one 13 minute pop masterpiece – the vocals are astonishingly in tune and in time, almost to the point where it seems impossible that any band could sing that well live. but – my experience in 1978 proves it, this live album, ”live and let LIVE” proves it – one band could – 10cc.

“feel the benefit” also reveals something that few people know – well, people who have seen 10cc play live probably know it – that graham gouldman is a world-class bassist.  he takes an extended and incredibly virtuoso bass solo during “feel the benefit” that sounds more like chris squire than something you’d expect from a “lightweight pop band” like 10cc.  gouldman wields his rickenbacker bass with an almost careless charm, a sort of, “oh, yeah, I’m actually pretty damn good with this thing” attitude – and I believe that he shares the perfectionism that stewart is known for.

I think that stewart felt a little frustrated with the godley & creme “version” – or “vision”, perhaps, of 10cc, he could see the potential – on the records, he could make the vocals sound perfect – but on stage, he could not control godley and creme, and it’s well known that while godley & creme were / are more than a little fond of a little ganja…while we also know stewart is not, stewart wanted to play straight, it was all about the music for him, and nothing else – so with them out of the picture, we could now have the “vocal perfect” version of 10cc live – and this album shows that not only did he succeed in this desire, he excelled – the band excelled.

I think too, that the public’s perception of what kind of band 10cc was flawed – the “hits” made them seem very, very poppy – “I’m not in love” being a very atypical track, the rest of “the original soundtrack” sounds NOTHING LIKE “I’m not in love” – which of course was then swiftly followed with the REALLY poppy “the things we do for love” (not to mention, also, the even smarmier, but wonderful, ballad “people in love”….) – and this gave a somewhat skewed impression of what the band really were.

I thought of them as progressive, but more along the lines of a very poppy / prog / beatlesque / strange kind of band, I thought they were maybe competing a bit with queen (“un nuit a paris”  – from “the original soundtrack”– a godley & creme track, of course – pretty much out-queens queen themselves – in a good way, I promise you!) while if you listen to “sheet music”, “the original soundtrack”, and “how dare you!” – these are deep records, with songs embracing many, many styles, pop, rock, prog, r&b, blues even, indescribable genres…) that cannot really be pigeon-holed even as prog, definitely not as pop (despite the obvious pop “hits”) – you really have to just listen to those three albums to understand what 10cc were – and a huge part of that legacy still spills over into 1977, and into this new band, especially on stage – stewart and gouldman carrying on the 10cc name and tradition by adding “deceptive bends” as the poppier follow-up to “how dare you!” – and it still flows, sure, the magic of godley and crème is gone, but stewart and gouldman are no slouches as musicians, writers or performers – and I think “deceptive bends” proudly belongs right where it is – the next album after “how dare you! despite the serious and life-changing personnel changes.

sure, as with almost all live albums, there are the very, very occasional gaffes, which stewart has wilfully left in the mix – a missed chord in the outro of the otherwise impeccable rendition of one of the very best songs from the final “original 10cc” album, “how dare you!” – stewart’s wonderful ode to an air hostess, “I’m mandy, fly me” – another extremely difficult, extremely beatlesque track, once again, rendered to perfection vocally and musically – leaving that one slipped chord in to perhaps say “look, we are human after all…”- it’s hard to say.

but it isn’t easy to find mistakes on this record, you have to look really hard – because really, it’s a flawless live snapshot of their current record, “deceptive bends”, peppered with a range of hits (from “wall street shuffle” to “I’m not in love” to “the things we do for love”) and the occasional surprise track from the distant past (“waterfall” and “ships don’t disappear in the night (do they)” – from the first album era) – as well as tracks from all four of the original 10cc albums.

still – it seems quite odd to hear the words coming from the stage… ‘here’s one from “how dare you!”’ when the band that made “how dare you! never played a note from that album live that I know of.  however – I am still appreciative that at least, we get to hear a track from “how dare you! done live – even if it is by this strange new sextet version of 10cc.

for me, even though I understand the necessity, I found it a bit frustrating that in a number of instances, because eric was very busy playing electric piano or real piano, and singing lead vocal, that signature guitar solos that are very, very much “eric stewart guitar solos” – were of course, played live by the very capable and enigmatic rick fenn  I had to console myself with the tracks where eric did play lead guitar – and those were smokin’ hot.  note to all guitarists out there:  if you think eric stewart is that wimpy guy who wrote and sang “the things we do for love” – sure, you are right, but if you heard and saw him play slide guitar on “ships don’t disappear in the night”, or if you saw him switch from piano and vocal to lead guitar at the end of the impossibly cool “feel the benefit” – this guy can play lead guitar, and he’s also an amazingly good slide player – trust me.

so it would be “the wall street shuffle” – one of my all-time favourite 10cc tracks, and in fact, the track that got me into the band – and eric would be singing and playing the piano – so when it came time for the lead solo, that beautiful, concise, perfect eric stewart-channelling-george-harrison guitar solo…there came rick fenn to play it.   and, to his credit – he played that solo, and almost every other eric stewart guitar solo that he was called upon to play – with care, with precision, with beauty – but – it wasn’t eric playing it!  that, I found a little difficult to get used to…but, technically, I suppose it just had to be that way – no one can swap instruments that often on stage (except steve howe perhaps, but he takes it to a ridiculous extreme – and, he doesn’t have lead vocalist duties while he’s swapping guitars repeatedly…), so I applaud this decision – play the song well, play the electric piano part perfectly, sing the hell out of it – and trust your new guitar stand-in to play that amazing little solo just right.

but then I would forget all about that, when I saw and heard eric himself, during the thunderous ending of “feel the benefit” or witness the precision slide guitar-fest that is “ships don’t disappear in the night (do they?)” – eric stewart letting go and showing us how being in the best pop band in the world doesn’t hold you back from having prog-rock like chops – I swear, stewart and gouldman are both far better players than their recorded catalogue would indicate – which is why this live album is so important – for example, a rare early b-side, called “waterfall” is an opportunity for the band to stretch out on a three chord jam, and play the song in a million different ways, as vocal blues, as total reggae, but more importantly, as total three chord jam with fantastic guitar solo interplay between fenn and stewart – including an amazing extended “burn out” where o’malley leads the two guitarists into the final chords of the song – just brilliant.  this track just rocks – and I think we often forget that 10cc really could, and can, rock when they wanted to.

and you should hear the audience response to “waterfall” – they are louder than the band.

sure, there are so many songs from the back catalogue that I wish were on this live record, and of course, there are a few slight missteps (like the somewhat uninspired gouldman tune “marriage bureau rendezvous” or the somewhat plodding and predictable “modern man blues” which is the encore – both from “deceptive bends”) – other than that, the choices are solid, and the pieces are really well performed…and it’s a very even mix of hits, oldies, and a decent chunk of the “new” album – “deceptive bends”.

every single fan of every band has their own wish list of songs that they wish their favourite band would play when they do a live show or album, and with 10cc it’s very difficult, because with half of the band gone, and, the half that was considered to be the very creative, “arty” half – that immediately makes it very, very difficult to recreate the repertoire from those original albums, without the unique voices of godley & creme, and their unique musical contributions, too…there are not too many “gizmo” players out there from which you could find a replacement for “gizmo” inventor lol creme – who is also an accomplished pianist.

I think given the cataclysmic personnel change that the band had just endured, that this new stewart / gouldman led sextet did really well.  first of all, the recovered in the studio, with “deceptive bends” (personnel: eric stewart, graham gouldman, and the redoubtable paul burgess) – and finally, expanding that studio trio to a sextet for a wildly successful tour for that album.

note: additional players on “deceptive bends” – little known fact, a very young “terry bozzio” is on “drums” – it doesn’t say on which track or tracks unfortunately – source – wikipedia (what else?).

  • del newman — string arrangement
  • jean roussel — organ, keyboards, electric piano
  • tony spath — piano, oboe
  • terry bozzio — drums

the wiki page goes on to explain that this album was actually begun while godley & creme were still in the band; at one of their last UK concerts, at knebworth on 21 august 1976, they debuted an early live version of “good morning judge” and there was also an “awful” studio version of “people in love” (strangely, known as “voodoo boogie” – which was included on the recently released – and apparently, already out of print !! – “tenology” box set) – so at least two of the songs actually date back to the original band – something I did not know until I researched this blog!

apparently, the rough mix of “voodoo boogie” was so awful, that godley & creme left shortly thereafter, leaving it to stewart to pick up the pieces and try to build an album that did justice to the name 10cc.  I for one, think he not only succeeded, but he took the band into a new era, a short-lived era, but a very successful and high profile era – and the three late 70s albums – “deceptive bends” and ”live and let LIVE”, both from 1977, and “bloody tourists” from 1978 (which features the massive worldwide hit “dreadlock holiday” – plus a bunch of great album tracks that were the last great batch of stewart / gouldman compositions) – all three of these records are outstanding, excellent examples of quality musicianship.

for me, 1980’s “look hear”, and it’s follow-up, “ten out of 10 – as we moved further into the 1980s…it just wasn’t the same – it became formulaic, and it was also the beginning of the end for one of the best bands that the 1970s produced – everything changed in 1980, and it was hard for 1970s bands to thrive in the synth / robotic era of the 1980s.  gouldman as much as admitted that the last time they had been “hot” was 1978, and he has expressed his displeasure with the 1980s output – and the fans seem to agree, since the 1980s albums did not chart…whereas 1978’s “bloody tourists”, did – the last 10cc album to do so, I believe (I could be wrong about that!).

but for one shining moment, 1977 / 1978, the band re-grouped and went out there and showed them how to do it right…with brilliant tours supporting both studio albums, and luckily, the first one was recorded intentionally for a live album – the oft-overlooked but absolutely brilliant ”live and let LIVE”…pronounce the title however you like, but listen carefully to what is perhaps one of the most meticulously performed and produced live albums of all time – created by the master: mr. eric stewart – long may he sing, play that slide guitar, lead guitar, acoustic guitar, acoustic piano, electric piano, record, arrange, engineer, produce and mix… 🙂

the “eternal album” – and, sequencing with the fairlight pro app

with the recent release of my first “eternal album”, “music for apps: fairlight pro” I’m now moving much more publicly into the realms of app-based music, so far, I’ve kept most of my application-based music just in the world of you tube videos, with musical activities such as the purescapes channel, which is a you tube channel dedicated to music I’ve created with “scape” – the generative ambient music application designed by brian eno and peter chilvers… I’ve also done the odd live improv involving applications on some of my other you tube channels such as “applicationHD” and “synthesizerHD” but this is my first actual full “album” of application-based music.

I should take a moment and explain the “eternal album” concept; this is an idea I’ve been working on for about one year, I’ve mapped out a series of these albums to be made using existing and future music recorded with applications – and application-based music is like science fiction to me; I still can’t really believe that it exists, and that for the last year and a half, I’ve been able to create music (and, a lot of music at that) on a tablet; using a myriad of music-making applications – to create music of  incredibly varied styles, from super ambient (scape, mixtikl, bloom) to frenetic, heavy, synth music (nanostudio, imini, animoog, addictive synth, thor, nave, n log pro, magellan, sunrizer, and so on…) to almost anything in between (launchkey, loopyHD, cantor, mugician, sound prism pro, beatwave, and so on…) – five years ago, I would not have thought this possible.  however, a practical problem has emerged, that the “eternal album” solves – how to present a large number of finished compositions (far too many to assemble into ordinary “albums”) in a way that makes sense for both artist and listener.  the “eternal album” solves this new world, application-based problem.

so, after 41 years of making “normal” albums – i.e., for release first on cassette, then on compact disc, and eventually, online (a mixture of downloads and compact discs), but this…this is a new “kind” of album, one that recognises that the album concept has become slightly outmoded.  of course,  I will still continue to make normal “albums”, where I collect songs together (such as “gone native”, my recent collection of active music, or ambient albums such as “sky full of stars” and “the haunting” – and many others, too) – this will continue, and it will revolve mostly around music made with electric guitar, or guitar synthesizer – I still feel in particular that for ambient music, the normal “album” full of songs is the best presentation method.  there are many reasons for that, the foremost of which is that by selecting a group of songs, and ordering them in a particular way, the artist can control the “mood” of the ambient album experience – so I think a defined set of tracks, carefully sequenced, is very often a good idea, and in ambient music, it’s particularly effective.

but…not so for music made with applications.  since to me, with my old-fashioned brain, this is futuristic music, science fiction music, music that I never dreamed could be made, mixed and published on a tablet device, in vast quantities (example – in just about one year of creating “scapes” using eno and chilvers remarkable application, I’ve created in excess of 1000 scapes) – and, the majority of them are of a quality I would absolutely publish – so – I feel that this music, in these quantities and at this level of quality (there is really no such thing, for example, as a “bad scape”) – this music deserves a new kind of album – the “eternal album”.

the concept is simple:

1) there is no finite number of tracks – tracks are added as they become available.  we begin with existing, completed tracks, and add new tracks as they are created and completed

2) there is no ending to the album itself – it’s end is dictated either by the disappearance of bandcamp, or by the disappearance of myself from the planet (both will happen eventually – this is inevitable)

3) customers can download any number of tracks and construct their own “versions” of the album, from a single track to hundreds of tracks if available, or anywhere in between

4) customers can either use the suggested running order or create their own, four seconds of silence has been added to the end of each track for this specific purpose

5) there is no album price, as the “album” is whatever the customers want it to be, from one track to hundreds of tracks (if available) in any order they please

6) a word about track pricing, because of the nature of the “eternal album”, we have set the track prices at a special low level to compensate for the higher track count

so what this means for me as an artist, is what I need to do to present the work for a particular application, is to create a normal bandcamp album, in this first case, the album is called “music for apps: fairlight pro” (in fact, all of these albums will have similar titles, such as “music for apps: scape” and “music for apps: nanostudio” and so on) and I then upload the existing, finished master tracks that I’ve created with that application.  that might be just a handful of tracks, it might be many, but once uploaded, I would then add to the album at any point in time over the next 30 or 40 years,  many, many more completed tracks – as they become available.

this might mean that if I have a very prolific period of composition next year, that I might add 20 or 30 new tracks during 2014, to the existing fairlight pro tracks that are already part of the album.  or, if I do not have the urge (or more likely, the time, due to other commitments) to work with the fairlight, it might be that no tracks are added until 2017, when I finally find the time to record new fairlight sequences…the input is totally flexible.  note: if customers indicate a demand for more tracks of a certain type, i.e. they ask for more fairlight sequences, or more scapes, I will do everything within my power (and my schedule) to provide same.

so any “eternal album” can have any number of tracks at any time, more tracks can be added at any time, or, they might remain static for many months or years depending on what apps I am currently recording with.  it’s the ultimate in flexibility for me, the artist, but it’s also the ultimate in flexibility for the customer for these reasons:

1) the customer can listen to all of the available tracks before making any purchase, and decide if they like none, one, a few, many, or all of the tracks

2) the customer can download only the tracks they like, ignoring those tracks that do not appeal to their “ear”

3) for completists, they can own every available track and get the full musical impact of perhaps a decade or two decades’ worth of the artist’s work in that particular format – perhaps, a hundred or more songs recorded over ten or twenty years – something that most artists do not necessarily make available to their listening public (but I wish to as much as is humanly possible)

4) having many “eternal albums” to listen to and choose between, gives the customer a very good idea indeed “which” of the applications that he or she likes the sound of, so some folk, for example, who are more used to my ambient work, will favour the scape and mixtikl “eternal albums” while others who perhaps like the louder, more active side of dave stafford, will opt for the “eternal albums” created with the fairlight, nanostudio, or other active/synth tools.  it provides a much greater range of choice, which appeals to me.

it’s really all about choice, and to me, having a range of albums, sorted by application, with a comprehensive catalogue of tracks created within each application available to listen to at no charge and no risk, gives customers the chance to listen, compare, and decide which applications they feel drawn to or that resonate with them, and, which applications do not appeal to them at all.  it might be that one customer only likes the sound of scape and mixtikl, and does not enjoy the fairlight pro or nanostudio albums.  or, the complete opposite, or any mix of styles/apps – but the beauty is, as with all albums presented in bandcamp, you can listen, compare and contrast before making any purchase decision.

since I have just been through a complete review of every single track I’ve ever produced using the fairlight pro (peter vogel cmi) sequencer, I wanted to take some time to talk about the joys and frustrations, the highs and lows of creating music with the fairlight pro app in particular, since it’s the subject of the first dave stafford “eternal album” and is our featured application today.

whether you call it by it’s current official name, “peter vogel cmi”, or if you are a bit lazy like me, and you call it “the fairlight” or “fairlight pro” – this is one of the most unique applications that appeared in the early days of the ipad tablet revolution.  despite it’s high ticket price, it was one of the very first applications I purchased, because I wanted that sample library – the one that kate bush and peter gabriel used in the early eighties, I wanted those sounds!

I had a bit of a learning curve, I am first a guitarist, second, a pianist, and lastly, a synthesist – and despite playing both guitar and keyboards, sequencing was a skill that I had really never got the hang of…until the fairlight pro application appeared in the itunes store.  it took me a few weeks to really understand and take advantage of what the app can do, but once I got the hang of it, my skill set just skyrocketed, and within a few months, I found that I was creating pieces of music that really surprised me in their complexity for one thing, but at the same time, it was the sound of the pieces…and that takes us right back to those incredible samples.

in uploading the tracks to the album, I’ve taken the unusual step of defining in full, in the attendant metadata, a detailed description of each piece, it’s duration, tempo and the instruments used in the creation of each track, so for each track that is part of the album, there is a list of the eight instruments used to create it.  the reason I’ve included this is because it’s so, so difficult, when listening to a completed, mixed, stereo sequence, to tell what the component parts are.

but even knowing what “went into” the piece is sometimes not enough, sometimes it’s more about unusual choices made with note durations, or adjusting the tempo to make a certain melody sound a certain way, a lot of the fairlight “magic” is in the combination of instruments used – and sometimes, strange things happened, and instruments that sound one way juxtaposed with three other instruments, suddenly change their sonic character when paired with say, two other different samples.

there is something about the fairlight that you can’t explain in words, and at that point, you can only listen.  the samples are just classic, and I love the quantity and diversity on offer, but even more important, the insanely strange combinations of instruments you can achieve by mixing and matching across categories, and if you think about it, each fairlight “instrument” consists of (a maximum of) eight instruments, so just how many combinations of eight can be made from the many hundreds of samples there are??

what amazes me, too, is that I can create a new instrument, and it always, always sounds completely different from any other instrument I’ve ever created!  no matter how many I create, each instrument seems to create an utterly unique sound, which you can’t replicate easily using other applications.

yes, you could physically collect those eight instruments (although it might be difficult, for example, to get ahold of “jetpasso1” – mosts musicians do not have a jet in their studio) and record with them, but it would be utterly impractical in a lot of cases, again, I don’t have a digeridoo in my studio, but with the fairlight – well, I do.

listening back to the sequences I created beginning in february 2012, and then moving up to the present moment, it’s a journey of pure discovery, a joyful, joyful journey, with a few moments of frustration, a few paths that I shouldn’t have gone down, but mostly, it’s just one of the most unique, interesting and entertaining bodies of work I’ve ever had the pleasure of creating and being the composer of.  I’ve created silly sequences, sequences composed of bird song, classical music, pop music, heavy synth music, rock music, progressive rock (quite a bit of prog in there), it’s unbelievable the variation of tracks I’ve created over the last year and a half – I even have one sequence that accidentally sounds a bit like an obscure XTC b-side…

I think that this unassuming little app, with it’s amazing set of classic 1980s samples, has a remarkable power – it allows you to play eight very diverse instruments together, in an impromptu “band” that you then arrange measure by measure…creating completely unique pieces of music with these one of a kind “instruments”.  I love spending time creating with it, and I hope that you’ll enjoy some of the fruits of this labour, it’s always an amazing feeling when you push “play” for the first time, and a remarkable and very unique piece of music plays back…which was built literally, note by note.

so – I think it’s appropriate that the music made with the fairlight pro application is the subject of  my first “eternal album”, it seems right, it’s both a classic synth from the 80s but also, one of the first high quality sequencer/samplers to be made available for the ipad and iphone, so therefore, it’s part of our past and our present and our future.  I love working with this tool, and I recommend it highly to anyone who plays keyboards, that wants to learn how to sequence – it’s how I got started 🙂   note by beautiful note !

the return of progressive rock…

I turn now to a topic that I have not ever addressed directly from these pages, something very close to my heart indeed – progressive rock music.  I have very occasionally reviewed progressive rock albums, such as king crimson’s “larks’ tongues in aspic”, or written about some of my favourite progressive rock bands, such as focus, but I’ve never tackled the genre itself until now.

as a visual adjunct to this essay, please take a look at some selected album art from four of the best progressive rock bands – king crimson, yes, genesis and gentle giant. the artwork that was such an integral part of progressive rock music, deserves it’s own separate treatise, and would include, of course, familiar artists such as roger dean, who has long been associated with the progressive rock genre. the beautiful, fanciful, and extremely creative artwork that has graced many a prog album cover, we will leave for another time, and instead, this essay will concentrate on the music itself.

“prog rock” as it’s known, or progressive rock if you want the long version, is a unique, remarkable and very persistent genre of music. speaking of the “long version”, that’s exactly what the proggers are famous for, epic pieces of music such as (but not limited to):  “supper’s ready” (genesis), “a plague of lighthouse keepers” (van der graaf generator), “fracture” (king crimson) – or to choose an even longer live crimson improv, “a voyage to the centre of the cosmos”, “karn evil 9” (emerson, lake & palmer), “the revealing science of god” (yes), “thick as a brick part one” (jethro tull), “echoes” (pink floyd), “nine feet underground” (caravan), “in held ’twas in I” (procol harum), or even some of the very earliest works by, of all people, the mothers of invention, such as the title track from the “absolutely free” album – this trend for very long tracks was mimicked by, strangely enough, in the mid-1980s, a genesis-soundalike band called marillion – with their very long piece entitled “grendel”. of course, not all prog songs are very, very long – this is just one of many aspects of progressive rock.

it’s generally acknowledged that progressive rock developed out of psychedelic rock, and certain well known records, including the beatles “sgt. pepper’s lonely hearts club band”the mothers of invention‘s “freak out”, and the beach boys‘ “pet sounds” – these, and others, bands such as the left banke, who introduced unusual instruments into their songs, are considered to contain the first seeds of true progressive rock.  king crimson‘s robert fripp has cited the beatles “sgt. pepper” as being a profound influence when he first heard it, on the radio (along with classical works by bela bartok), in 1967, so that certainly lends some credence to this theory.

prog rock is remarkable for a number of reasons, the primary one being the incredibly short period of time that it existed in it’s original incarnation.  it is somewhat difficult to pick a year to represent the “beginning” of “true progressive rock” – because there are examples going all the way back to 1966’s “freak out” by the mothers of invention, whose leader, the late, great frank zappa, understood classical, jazz, and many, many other musical forms – which of course, came out in the mothers of invention’s music – these can be considered to be “prog prototypes”…but if I had to pick a “starting year”, I would say it was 1969 – the year that saw the release of “in the court of the crimson king” – the classic first long playing album from one of prog’s most important bands, king crimson.

in my mind, then, I’ve always felt that prog “ran”, if you will, from 1969 through 1977 – and it was during 1976 and 1977 that a new form of music came along that didn’t sit well with prog – punk. prog tried to persist all the way up until 1980 (and in a limited number of cases, beyond), but by 1977, a lot of the life had already gone out of it, so roughly speaking (this can be argued a number of ways, this is just an arbitrary span approximating the time when prog had the most influence) – progressive rock lasted exactly eight years. ten at a stretch – if I had an alternate, decade long version, it would run from 1968 – 1977.  if the beginning of prog is difficult to determine…really, we could place it anywhere between 1966 and 1969, in contrast, the end of prog is quite clearly delineated by the arrival of johnny rotten and co.  in 1977, there were still a few decent remnants of prog, but by 1978…progressive rock was in serious trouble. there were a few stalwarts who continued to work through the end of the 1970s, such as u,k., a late arriver on the prog scene featuring two ex-king crimson members, john wetton and bill bruford.

if you follow the career of any prog band that started say, in 1969, and ended, say, in 1980 – you can audibly hear the prog heart of the band dying.  an example of this, would be the amazing gentle giant, who put out an unbroken string of great records…up until 1977’s “the missing piece”, which, while still containing some excellent music, you could hear the change coming…and then, the albums that followed, between 1978 – 1980 – bear almost no resemblance to the band we knew and loved circa 1970 – 1977. something happened.  the catalogue of emerson lake & palmer traces a similar course – complex, inventive, intriguing music which perhaps reached it’s height with “brain salad surgery”…eventually gave way to “works”, which in comparison, seemed dull and lifeless.  and don’t even get me started on the musically reprehensible “love beach”…

I’ve always maintained that for myself, 1974 was the perfect year of prog.  I mean, in that year, we heard “red” by king crimson“the power & the glory” by gentle giant“the lamb lies down on broadway” by genesis (which I actually saw the concert of at the san diego civic theatre – outrageously good concert…), from yes the ground-breaking  “relayer”, two albums from the suddenly solo peter hammill“the silent corner and the empty stage” and the incomparable “in camera” , the live rendering of “brain salad surgery” and much more in “welcome back my friends, to the show that never ends…ladies and gentlemen, emerson, lake & palmer” – the obligatory live album from emerson,lake and palmer“exotic birds and fruit” from the redoubtable procol harum“hero and heroine” (strawbs), “hamburger concerto” (focus), from pfm (premiate forneria marconi)  a double release of “l’isola di niente” (the original italian album) and it’s english language counterpart (featuring english lyrics from king crimson’s peter sinfield – of course) “the world became the world” from italy’s finest prog band…

my perfect year of prog list of amazing albums continues…with the absolutely extremely innovative and incredible “mirage” from andy latimer‘s cameljethro tull’s “war child”, and the remarkable gryphon with one of their most amazing records, “midnight mushrumps”, the surprising debut from todd rundgren‘s progressive rock band, “todd rundgren’s utopia” and album of the same name (who knew that the previously very pop rundgren had a soul of pure progressive rock? – and was a guitar slinger second only to my next star?)…the incomparable, amazing, genius guitarist and composer, frank zappa, now mothers-less, with one of his most incredible records, the absolutely unique, hilarious yet deadly serious musically, “apostrophe(‘)”…none of these recordings being exactly second-rate.

of course, by choosing 1974, I do have to leave out a huge number of really fantastic albums that came out in 197119721973 and 1975…but, I had to pick just one, so 1974 is the year for me. I am sure you have a favourite year of prog too, which very well might be different, for different reasons, but there is something about prog, about that strange moment in time, an incredibly unique event that only comes once in the history of music…

I feel very, very fortunate that I was born at a point in time that intersected almost precisely with this absolutely unique 8 year period, because this is the music that I grew up with, starting with a love for the beatles, moving briefly to hard rock via led zeppelinjimi hendrixzz top and so on, and then eventually through yesgenesisgentle giantking crimson, and so on…in 1974, in my perfect year of prog – I was sixteen years old – old enough to go to concerts, and the first concerts I did go to cemented me in a place of first rock, then prog:

concert 1 = led zeppelin, san diego sport arena 1973 (OK, I was 15 for this one – barefoot in that amazing crush at the front, a stone’s throw from the amazing jimmy page…)

concert 2 = yes, san diego sports arena 1974 (tales of topographic oceans tour, quadraphonic sound)

and from then on, via various rock and progressive rock shows, as diverse as steely dan or the allman brothers…eventually leading to the aforementioned “lamb lies down on broadway” show, maybe the single most amazing concert I’ve ever been to…and then more yes, much more yes (they visited san diego twice during the “relayer” tour – not often you get to see one of your favourite bands twice in a row, although technically, it was on two different tours, 75 and 76 – the set lists were quite similar), then gentle giant (finally – a 40 minute set, but – better than not seeing them!)…

eventually, since I missed them in the seventies, much to my chagrin – in 1981, finally – I got to see king crimson.  as it turns out, I did see crimson several times in the 80s and 90s…which almost, but not quite, makes up for me missing the 1960s and 1970s incarnation(s) of the band.  I was just a tiny bit too young to witness the first few years of prog, but thankfully, by the time the “lamb” tour hit san diego…I was there with open ears.  I can still remember the crowd as we left the venue, complete strangers turning to each other, everyone wearing the same permanently-jaw-dropped facial expression, sort of saying to each other “do you BELIEVE what you just saw and heard??”.  the future of music – peter gabriel‘s amazing costumes and characters, the theatrical front man with the incredibly capable band…there was nothing on earth like genesis live at the end of the “gabriel years”.

the 1980’s king crimson, adrian belewrobert fripptony levin and bill bruford on the other hand, is one very rare example of a progressive rock band actually adapting to the times, and reinventing themselves in the very prog-unfriendly 1980s – and having a good run of albums and tours.  80s crimson were the exception to almost every rule, most prog bands that tried to exist in the 8os, simply found that they couldn’t.  some bands changed so much (remember yes-meets-buggles with the rather dreadful “drama” album of 1980? – not their best moment) that you could no longer recognise that they were a prog band any longer.  of course, I suppose you do need to change with the times, but in a lot of cases, it was better for a prog band to just quit (as gentle giant wisely did after their final three albums, which were not to the standard of their string of albums from 71 to 75) than to carry on forever trying to adapt your music to times that were, frankly, not suited to progressive rock at all. it’s such a strange series of events…

rock music, in the 60s, itself barely a decade old…then spawning psychedelic rock, which then in turn…spawned progressive rock (sort of) – and that then only really ran for less than a decade – before the big backlash, the punk wave and the new wave that overwhelmed prog completely, so that by the dreaded 80s…it was mostly gone.  except for king crimson, who held on from 1981 – 1984 before calling it quits once more. it was such a serious backlash, too, the punks really didn’t like prog (although, of course, not advertising that in one case, john lydon being not-quite-secretly a fan of the music of peter hammill (in particular, the punk-predictive 1975 “nadir’s big chance” album and his band van der graaf generator, so prog was actually a secret influence on punk…) and they were very vocal about it, and the whole punk movement and the new wave that followed, showed disdain for the “bloated excesses” of prog – made a lot of fun of that (even though those excesses were actually really only limited to a very few prog bands – who shall remain nameless – hint, starts with e, ends with p, l in the middle…but never mind that!)

and that sort of sealed prog’s fate until the various resurgences of very recent years…so out of all the genres that came and went from 1950 forward…progressive rock is one of the strangest, lasting such a short time, being of such a unique musical cast, with the “progressive rock” tag being applied to bands as different sounding as jethro tullking crimsongenesis, and van der graaf generator – none of whom sounded remotely like the other.  arguments ensued; was van der graaf REALLY a prog band?  because they had no lead guitarist (until 1975, anyway).  was king crimson really prog, when some of their albums (particularly, the lizard album) were so jazz there was very little “rock” to be found on them? and jethro tull – a band led by a crazed, bearded gentleman who shouted into his flute – how exactly was THAT progressive rock?

none of those questions can even be answered, and there is not much point in arguing about them – all of those bands were, for better or for worse – prog rock.  even oddball groups like gryphon, who were really more classically oriented than progressive, still had the “progressive rock” label attached to them, whether they would or no…

so if you think about it, all of these bands, who are labelled “progressive rock” – bands like pink floyd, who began life as a psychedelic rock band – eventually somehow mutated and evolved until they were then lumped in with “progressive rock” by about 1971 or so.  in the particular case of pink floyd, that would partially be due to the change in line up, from the psychedelic / rave up syd barrett era, to the calmer, relatively “normal” david gilmour version of the band (“relatively” being the operative word in that sentence!).

a few bands seem to “fit” the genre more neatly than others – genesis and yes, to my mind, being “typical” progressive rock bands (if there is such a thing) but even that doesn’t hold up, because if they are typical, then where does that put king crimson, also one of the bastions of the genre.  genesis and king crimson don’t really share that much musical common ground, not if you think about it.  those beautiful, pastoral genesis records, from “trespass” to “nursery cryme” to “foxtrot” – sure, there are some heavy prog passages, but there are also a lot of lilting, gentle acoustic guitars and 12 strings – something you do not generally hear on early king crimson records.

fripp did play acoustic guitar, but in a very, very different way to the way that anthony phillips, steve hackett, michael rutherford and tony banks did – very different, and if you don’t believe me, then simply play “the musical box” by genesis followed by “cirkus” (studio version, from lizard) by king crimson – and you will be able to hear what I am talking about. I love both of those tracks, but they are a million miles apart musically speaking!

first (original genesis guitarist) anthony phillips, and then steve hackett (phillip’s replacement), brought distinctive lead guitar sounds to genesis as their music evolved, yet, comparing either of those to the style envisioned by king crimson‘s robert fripp – there’s just no musical continuity – fripp plays guitar in a completely different style to hackett or phillips.  and bands like jethro tull – they were so odd, so unique, and really, no other band was quite like them – I think they were given the label “progressive rock” simply because there was no other choice, no other possible genre that a band that unusual and creative could by placed in.  but jethro tull have none of the standard hallmarks of a prog band, except perhaps a propensity for very, very long pieces of music.  but even though I suppose they were, I never really felt like tull were a prog band – they were just…tull !  a unique musical entity who perhaps, deserved a niche genre of their own…who knows?

if you know what I mean.

so – I was lucky, I was actually there, and I did manage to see some of these bands, at the time that they ruled the earth.  and those I didn’t get to see…well, that was what albums were for, and we all collected prog – british prog mostly, but also french prog, italian prog – we would listen to anything once, just to see if it was good – and much of it was good.  but the truth was, it was mostly a british phenomenon, and there were really very, very few prog bands from anywhere except the UK.  the USA produced a very few prog bands, all I can think of off the top of my head are happy the manthe dixie dregs (featuring guitarist steve morse), and todd rundgren’s utopia, and of course, canada’s redoubtable power prog trio, rush.  I suppose that early kansas (I mean, “song for america” kansas, NOT later kansas) were prog, but they moved very quickly towards more ordinary rock with songs like “carry on my wayward son” and “dust in the wind”, so personally, I don’t really count kansas as prog myself, but this is another one of those arguable points that prog fans will never agree on…they certainly started out as a prog band, “song for america” does prove that, but after that…well.

meanwhile, while the perhaps the best and brightest prog always came from great britain, italy produced pfmle orme, and banco;  france, angegong (which also featured brits and australians, and was actually founded by an australian, daevid allen – also a founder member of soft machine), magma and others, germany produced a few prog bands, most notably triumvirat and various versions and incarnations of amon duul, while the netherlands gave us the amazing focus (featuring one of my all-time favourite guitarists, the remarkable jan akkerman), as well as the arguably “are they really prog??” golden earring…most countries produced a few progressive rock bands, but it was really just down to the british isles from whence the lion’s share of progressive rock bands sprang…

and what an amazing and bizarre lot those british prog bands were – from the shulman brothers, born in one of the poorest parts of glasgow, raised in portsmouth, mutating from simon dupree and the big sound into one of the most remarkable and innovative groups of all time, in any genre, the insanely talented multi-instrumental gentle giant; to dorset’s soft spoken robert fripp with his singular vision of multiple guitar-driven incarnations of king crimson, which now spans four decades, to the canterbury scene with the extremely capable caravan, to andy latimer‘s fabulous rock-meets-jazzy guitar prog outfit camel – the list goes on and on, and each one of these groups, has a distinctive sound, sometimes more than one, which is often very unlike the others.

I would take a moment to mention an odd stem that branched off of the progressive rock family tree, and it relates to what happened in germany – which did produce some really good progressive groups, such as the aforementioned triumvirat, and while they had british members, were considered to be a british band, but were actually originally based in germany (so a lot of folk thought they were german) – I would be remiss not to mention the very talented nektar, a band that I used to cover – one of my earliest bands, “pyramid”, used to play both sides, the entire “remember the future” album, live – a fantastic achievement for three out of work nineteen year old musicians 🙂  what happened in germany, though, is that rather than just producing a few prog bands, as almost every european country did – prog mutated once again – into what became known as “krautrock” – as represented by tangerine dreamfaustcanpopol vuh and neu! – and if we fast forward a bit, that same branch eventually produced the decidedly unique kraftwerk – a band that I consider to be a sort of “descendant of krautrock“.  if there could be such a thing…

another odd thing about prog, is that all these progressive rock bands…almost every one of them had a unique sound, and often, did not sound anything like their contemporaries. for example, it’s difficult for me to name two progressive bands that “sound quite similar”, although if I had to, I might cite camel and caravan – if only because richard sinclair was lead vocalist and bassist for both bands at different times – so that did temporarily, give them a similar sound…I suppose.  but not really similar… this of course, does not include intentional sound-alikes, the most notable probably being bi kyo ran, a japanese band that sounds suspiciously like 1973 period king crimson.

some of the european bands might also semi-accidentally adopt an elp-like or crimson-like sound, but mostly, most of these prog bands did actually have a unique sound – and that’s possibly due to the very different instrumentation used by some of these bands – where for example, the lead instrument might be a flute (as in jethro tull) a saxophone (as in early van der graaf generator, played by the remarkable david jackson), or the more traditional lead guitar (as in many prog bands – but not all!!).

gentle giant sounded different because they would play completely different sets of instruments on stage, starting a song (such as “so sincere”, from 1974’s “the power and the glory album”) with all five members playing acoustic, classical instruments (cello, violin, acoustic guitar, recorder, drums), switching quickly during two bars of drum beat, to electric instruments (electric guitar, bass guitar, keyboards, drums, vocals), and ending with all five members playing drums!! – which was unheard of – no other band could do that!  they also sounded quite different to other bands in the studio, because they played so many different instruments. one of my very, very favourite progressive rock bands, the classically-oriented gryphon, had a very unique sound, because they used some very strange and quite rare instruments, such as the krumhorn.

speaking specifically of the instruments that prog musicians favoured, there are a few that do tend to crop up again and again as “common” in progressive rock bands, besides the ubiquitous electric lead guitar, the mellotron is absolutely associated with progressive rock, as is the hammond b3 organ– although that instrument is common across all rock styles – so probably the mellotron, and it’s successor the birotron, are the most often associated with prog. the other very, very common instrument found in prog, is the now ever-present moog synthesizer – in particular, the mini-moog, which rick wakeman helped popularise both in his work with yes, and in on his various solo albums, the most successful of which was “the six wives of henry VIII”, where he created six long suites using a huge array of keyboards, mellotrons, moogs and other synthesizers.

some prog bands used a lot of mellotron in their recordings on stage, notably king crimson, while others, like camel and nektar, favoured the hammond b3 sound, while still others such as yes, incorporated all three.

of course, the beatles had used mellotron quite a bit in the studio, and from the late 1960s onward, they were to be found on many of the most important progressive rock recordings and on the stages at progressive rock shows.  prone to breakdowns and notoriously hard to tune, they didn’t really evolve much during prog’s brief run, although rick wakeman had some success with the birotron in later years.  it is interesting to note that now, in 2013, you can get mellotron apps on your ipad or iphone, and even better, a company called “g force” has published a software synth (or softsynth) named m-tron pro (which, in 2011, I created an entire album with – “sky full of stars” – and, m-tron pro was also my instrument of choice for the “dreamtime” sessions from my latest collaborative band, “scorched by the sun”), that faithfully reproduces all the classic sounds of the original mellotron, plus, hundreds of more modern sounds, including looped versions of the classic mellotron strings, flutes, horns and choirs – as well as artist “presets” from players like rick wakemang force have also developed additional add-on sound libraries of other samples, such as samples from instruments like the chamberlin, another offshoot from the mellotron family tree…

all this to say, that there really was no “formula” for a progressive rock band – you might be led by a flute, a guitar, a sax, or a voice – you might have no lead guitars, or three of them – there was no formula like the formula “two guitars, bass and drums” for rock music, that really applied to prog, and that is possibly a good thing – because that meant that prog could be represented by some very, very different musical outfits, yet somehow, still be one genre.  I’m damned if I understand how it’s supposed to work, because I just can’t see what some of these bands have in common!  and some of them are so strange and so unique, that they probably ought to have had their own genres – but, when in doubt – just call them “prog”, and that sorts it all out.

having actually…been there in the 1970s, and witnessed certain watershed events like “tales from topographic oceans” and “the lamb lies down on broadway” performed live in the day, means that the recent, and not so recent, resurgences of prog, in the 1990s, noughties, and the tens, are simultaneously making me feel very, very old, and at the same time, baffling me greatly.  I mean, don’t get me wrong, I am very, very glad indeed, even grateful – as if what we knew all along has finally been vindicated! – that an entire new generation (or two or three generations, actually) of music fans are suddenly hugely in love with the current version of yes (astonishing!) – the one with the lead singer from the yes cover band – yeah, that yes – and are discovering the amazing music of all the bands mentioned in this article, and so many more that I did not mention – I think that is fabulous, and this means for those prog bands that still exist, they are getting some long-deserved recognition, after having to ride out the punk / new wave anti-prog rock backlash of 1976 / 77 / 78 and beyond – and that’s fantastic. it must feel so good, to the chris squires and steve howes and john wettons – to now suddenly find themselves lauded as musical heroes, after struggling for so long to get any recognition at all.

speaking of john wetton (possibly my personal favourite bassist of all time) – on my latest CD / download release, “gone native” (pureambient records – 2012), I wrote and performed a progressive rock track that honours the spirit of his playing, entitled “wettonizer”…so in a very, very tiny way, I hope, that I’ve added something to the progressive rock genre.  “gone native” contains three or four prog tracks, a handful of rock tracks, and a few improvs,  loops and experimental music too, and this is the first time in 41 years that I’ve recorded and released any songs in the progressive rock style – but that is only because I chose a very different path – ambient loop guitar, and it’s only been recently that I had the time to sit down, compose and record some “songs proper”.

some of those musical heroes…didn’t make it, too many to list – including peter bardens of camel, more recently, the very talented peter banks of yes, are not here to enjoy the latest resurgence of camel or yes-mania.  and that is indeed, a shame.  some of these bands are still here, in the same incarnation or very nearly the same as their original incarnation (van der graaf generator being one prime example, although they are down to a trio now – but what a trio!) and are actually playing at a level equal or better than in the day.  that’s mostly down to huge improvements in technology, so while in the 70s it was mellotrons breaking down, underpowered pa systems, and failing electronics…now it’s customised electronic organ / synth / mellotrons that never break down, and that sound absolutely amazing; pedalboards that actually work (most of the time…) and so on. current music reproduction technology, to a child of prog like myself, is absolutely unbelievable and astonishing, guitar and synthesizer magic…

so I am very happy for the surviving members of these bands, that their music is being hugely celebrated by succeeding generations of music fans, who have listened, and realised that the progressive rock music made between 1968 and 1978 is very special indeed, of a unique and unforgettable era (that amazingly, I grew up in) and that’s fantastic.

what’s more difficult for me to get used to, is the progressive rock bands of today.  I really struggle with most of them, because for me, anything they play – anything, no matter how good, no matter how clever, I am afraid I can point to each section and say “that’s stolen from genesis song x, that part, is a rush track y, that section there, is king crimson from track z” and so on…every bar of music, seems derivative, seems borrowed or copied from SOME record made between 1968 and 1978.  because really, I don’t think there is a lot of point in trying to improve on something that is impossible to improve on.  that music was of a time, and it was created by a bizarre set of musical coincidences that can never recur…so in a way, while it’s very, very flattering to the bands in question – in some ways, I don’t see the point in having new prog bands now, in 2013 !  this is just an opinion…please, no flame wars !! 🙂

I am not saying there shouldn’t be prog bands now – I have no issue with that, but for me – it’s difficult.  because while most people listen to a current prog band and hear something original and wonderful…I hear the albums from which they have copied, or adapted it, usually in a fairly obvious way, sometimes, in a more subtle (better) way – but always, at some point, always, always derivative of the original prog bands of the sixties and seventies.  at least, that’s been my experience so far.  I have to admit, because of that experience, I have been a bit reluctant to really embrace any prog made post 2000. or actually, post 1984…when the 80s crimson stopped performing and disbanded.

in a way, I just don’t…need new prog.  it’s great for young fans, and it’s fun for the musicians, because they get to play in a unique style that is pretty musically challenging.  but for myself…all the music I ever need, was already made in that “magic decade”, where progressive rock was the stuff of dreams, being “pretentious” was a bold and outrageous move, and prog rock ruled the earth.  I’m still discovering prog gems from the time, that I missed, or could not afford to buy, now re-released on CD forty odd years later. so while I am very, very glad that prog is “back” – for me, it was never gone, it was always here, kept alive by multiple incarnations of king crimson, by the return of van der graaf generator to full time performance beginning in 2005, to the “three friends” gentle giant partial reunions that very briefly saw part of gentle giant reforming as a new entity…

and it’s a good thing that some of these bands persisted.  I never got to see the sixties or seventies king crimson.  but, in 1995, at an outdoor concert by the double trio king crimson – I finally got to hear king crimson play “21st century schizoid man”.  I’d seen peter hammill solo shows, but had missed ever seeing van der graaf generator in the day – until one day in the late 2000s, I saw the classic four man lineup play a full concert in glasgow, and later, saw the trio version in manchester – and these modern versions of crimson and van der graaf are even more musically astonishing than the original early lineups.  van der graaf have even made several new studio albums which stand up very well when compared to their 70s output, as did king crimson.

after missing them in the 1970s, I finally saw dutch prog rock sensation “focus” live in glasgow in 2009 or was it 2010? – and they were absolutely amazing.  a fantastically talented and capable band, still led by thijs van leer, who is, without a doubt, a musical genius; while my favourite focus alumni, from the early 70s incarnation of the band, drummer pierre van der linden was absolutely spot on, it was so good to hear pierre’s meticulous, clean, precise drumming behind thijs’ “organ and flute” once again – and the two younger members of the band, were utterly equal to the task.  remarkable.

so the legacy of prog has moved forward through time in the hands and hearts of the original players who made it happen in the sixties and seventies…the visionary musicians who made progressive rock great then, and are still very much the masters of it now – the robert fripps, the peter hammills, the andy latimers, the richard sinclairs…the thijs van leers, still carrying that amazing musical legacy forward into the 2010s…

I can hear the skill and sincerity of modern progressive rock bands.  I can admire their instrumental prowess. but I really struggle with the actual music, because the form it’s based on, means that it almost has to imitate directly to even be “prog” – the apple has to fall far too close to the tree for their music to “sound” prog.  don’t get me wrong – there are a huge number of very, very adept, skilled progressive rock bands, from across the last three decades, from spock’s beard to steven wilson (oh he, the great re-mixer of the king crimson catalogue – all hail steven!) to dream theatre to pendragon to the mars volta to echolyn to glass hammer to the flower kings…prog bands from the 80s (like marillion, for example), 90s, 00s, and the current decade – the 10s, I guess we call them.  an enormous list that this is only the beginning of – which shows that there is so much love and respect for the music that is responsible for almost everyone in that list – progressive rock!

but – I am afraid that for me, the passage of time is just too long – I am very glad that prog, both old and new, seems to be having a fantastic resurgence, particularly right here, and right now, in march, 2013, but for me, as spectacular and as impressive as some of the new prog is…from porcupine tree to neal morse and beyond – for my personal taste, it’s just too derivative, so when I hear it, all I can hear is the 70s prog band that inspired it – whichever one or ones it is – which makes it more difficult for me to enjoy it for it’s own sake.  I don’t dislike modern prog, at all, I just…don’t need it 🙂 so when I witness a remarkable resurgence – which is two pronged: many, many new prog bands playing music that honours and compliments the progressive rock music by it’s imitation (and if you are going to imitate a genre of music, you can’t go far wrong by imitating progressive rock!) as well as, many of the originals, from the 60s and 70s I mean – still playing, bringing in whole new generations of fans, the original fans’ children and grandchildren, and who knows, by now, probably great-grandchildren.  and thinking about that really does make me feel as if I am getting old! 🙂

prog is an enormous topic.  I’ve just written over seven thousand words about it, and I’ve omitted dozens of great prog bands, and not touched on many important aspects of prog, but it’s the endless level of detail to be found within the music that continues to fascinate fans of the music old and new. I still listen to a lot of the records I mention in this article, and sometimes, even though I’ve heard a track a hundred times in my lifetime – I hear something new that I never noticed before.  a strange counterpart, or unnoticed rhythmic change – a strange sound you never heard before.  and of course remasters and re-mixes, and a good pair of headphones, can reveal musical details that were missed on previous “listens”! and CD only bonus tracks, for example, the “wind session” included on the remastered “in the court of the crimson king” deluxe box set, reveal much about the creative process that was not apparent from just hearing the original album…in that case, revealing in fascinating detail (complete with the band and engineer’s studio chatter from the actual recording session) how the famous sound effects that precede the studio version of “21st century schizoid man” were created.

scholars and aficionados argue about what the “form” of progressive rock is…and depending on which progressive rock bands you listen to – those “forms” can range from mini-classical suites, to modified and enhanced verse-chorus-verse forms, to the extended improvisations that might speak to the classical tradition or to the later jazz tradition, lyrically, prog is all over the place – king crimson’s peter sinfield (my favourite prog lyricist of all time) wrote epic poems (such as the title track of the band’s fourth studio album, “islands”) which were then set to music, while rush was unusual in that their drummer wrote all the lyrics, some prog bands depended on outside lyricists, not only king crimson, but procol harum is notable as well in this aspect with pianist gary brooker writing the music, and lyricist keith reid writing the lyrics – other bands had a lyricist or two in the band – van der graaf generator had peter hammill, as well as the absolutely remarkable, eccentric talented musician chris judge smithpeter hammill has covered a number of judge smith songs on his solo albums, long, long after he left van der graaf, and hammill often performs judge smith songs in live performance.

some prog bands go for the long form, with many extended interludes, additional verses, long solos, including some interminable drum solos that are difficult even for the fans to take! while other prog bands feature much shorter, more “normal” or “song-like” works.  classical influences are common but not mandatory, some prog acts seem to have quite a bit of jazz influences, others, hardly any… the only consistent thing about the “form” of progressive music, and also, the only consistency about what instruments were used to create it…is their complete and utter inconsistency.

but perhaps – that’s what makes it magic.  the fact that one band can have a one-legged flute and acoustic guitar wielding eccentric singer at the helm, while another was led by a very determined young guitarist with a particular vision of being in the best band in the world…and for a short time during their heyday in 1969, king crimson arguably were that band.  or maybe you just liked to do endless spacey jams, surrounded by science fiction lyrics, as the founder of gong, daevid allen seems to do, with a whole mythology around “planet gong” which was recently revisited in a very successful follow on album to their classic album “flying teapot”, entitled “2032”.

anything from the loosest, jazziest 20 minute improv, that you might get with can or the soft machine or any number of prog bands;  to the most incredibly practised, precision musical callisthenics (examples might be the “precision part” near the end of king crimson’s famous prog anthem, “21st century schizoid man”, or some of the guitar/bass/organ/drum precision work in the side-long “eruption” from focus’ breakthrough 1971 album “moving waves”  – which is sometimes also known as “focus II”, depending on the country of release) – in prog, just about anything goes! so the form, and the content of prog – is quite variable.  just about any configuration is possible, and there are some strange ones out there – the current line up of van der graaf generator is drums, organ/synth, and piano – or, electric guitar, depending on the song – so it’s quite odd, to see two keyboardists and a drummer producing prog rock, when genesis required drums, keyboards, bass guitar, lead guitar, and a lead vocalist to do the same thing.

a few examples of what in the world of rock would be called a “power trio”, guitar, bass, drums – rush takes those same well known instruments, as popularised in the rock world by the two most famous power trios of all, cream, and the jimi hendrix experience – and make intelligent, articulate, and very recognisably prog (with a bit of hard rock thrown in for good measure) …using the same three instruments that used to be the backbone of the hard rock power trio. technology helps, cream and jimi hendrix had a very, very limited palette of guitar pedals to use in live performance – three, basically: fuzz tonewah-wah pedal, and later, univibe (a device that imitates a rotating speaker). that was all they had, every other sound had to come from hands, strings and marshall stack – that was all they had.

fast forward 10 years, and in the 70s, the now common pedalboard started to make it’s appearance, the beatles (originally calling their chorus device “adt” for “automatic double tracking”) and jimi hendrix both had a hand in the development of modern effects such as chorus, flanging and phasing…and even in the early 70s, guitarists had a huge palette of sounds to choose from – but of course, each decade since has seen music technology leapfrog to newer and better sounding gear, it’s now gone beyond belief what you can control from one guitar and one pedalboard – it’s far beyond “guitar”. I’ve made this transition myself, from electric guitar and amplifier, with the crudest fuzz, wah and echo devices – to guitar synth controlling multiple pedalboards and effects – on three or four different signal paths – and it’s still something that I am still getting used to.

so technology enabled rock players to grow their sounds in many new ways, many improvements were made to the sound of the bass guitar, keyboards and in particular, synthesizers; that technology in particular, grew out exponentially, so during the last half of the lifetime of progressive rock, gear was changing so fast, so many new sounds – anything from compact guitar pedals, to the first guitar synthesizers, to the invention of the e-bow or energy bow, to the invention of “loopers” so musicians can capture digital recordings of what they are playing live, and layer many guitars or keyboards atop each other – those changes happened at the exact right moment for progressive rock musicians to take full advantage of.

so when I see all the excitement around this progressive rock cruise ship that’s about to embark on what surely must be the strangest holiday of all time, yes and several other prog bands on an ocean liner – how very odd that is – but I am glad, because new generations of yes fans get to enjoy the current version of yes – whereas, I don’t need to go, because I saw the real yes in 1974.  and again in 1977 (and while I want to deny it, I want to pretend I didn’t go, and it was the last time I went – I also saw the dread “drama” tour in 1980 – which I am afraid, put me off yes for many, many years afterwards…).  so it’s strange to me – but it’s OK.  for me – that magic decade is all I need, because I was there.  for folk younger than me – that could not be there, or can only experience it via video – well, this is a chance to connect with an amazing time in musical history.

and surely – that is a good thing. 🙂

the future of generative music – beyond bloom, scape and mixtikl…

as one of our readers recently pointed out, the ios is a fantastic place for generative music to blossom and grow.  already, we have a surprisingly high number of generative music applications available, and I am sure that list will grow over the next couple of years.

I’ve expressed before that I am a late arriver onto the generative music scene, but as with every new music that I discover, I tend to jump in head first, and continue to dive in as time goes on.  my purescapes channel on youtube is one example of this ambition – to eventually, over a number of years, to publish all 1100 scapes (and counting) so that the world can hear what an amazing, ever-changing, ever-surprising generative application brian eno and peter chilvers‘ “scape” is.  I could sit here and wax profound for paragraph after paragraph, trying to describe what a beautiful, generative, ambient sound “scape” has, but I realised early on, that the ONLY way to describe “scape“, would be to simply capture and publish every scape I’ve ever created.

and across those 1100 plus scapes, there is such a huge variance in sound, composition, approach, ambience, melody, dissonance, mood, atmosphere – and I allowed scape to “grow” organically, so I started out with the minimum tools, and allowed the app to “reveal” new sounds as I went along, so for many, many months, every few days, I would “get” another new element, which I would then experiment with, on it’s own, in multiples, with existing elements, through different “mood filters” – until the next new sound arrived.

so the scapes in the 300 range, will have double or more the elements of the first 30, and those in the 700 range, more elements still, until now, in the 1000s, where I have all of the elements and backgrounds exposed and at my disposal.  I had deliberately set scape aside for a few weeks, until last night, when I picked it up, and within 10 minutes, another 30 scapes are added to the ever-growing catalogue, and – the sound of a completed scape, with carefully chosen backgrounds and elements, based on my now many-months of experience – still does not fail to UTTERLY delight me – the sound of scape is mesmerising, I can and do listen to scapes for hours; creating them is a joy, and my only regret is that I cannot produce the next 1090 videos fast enough – I would give anything to be able to push a button and upload all 1100 scapes to youtube, just so the whole world can HEAR this music – it’s like I’ve made 60 new eno albums over the past several months – which in an odd sense, I have, since I am merely assembling, re-assembling, breaking down and building up, a lot of sounds either found or created by eno, and chilvers – so of course, that does make most scapes sound a LOT like…the music of brian eno.

and that, my friends, is a good thing.  I would go out on a limb and say that in some regards, out of some hundred or so music apps I now have (that in itself is gobsmackingly astonishing!), some of them absolutely incredible – that scape is possibly, my single favourite music application, and the one I probably get the most enjoyment out of.  but – I tell you what REALLY excites me – the idea that within a few years, I will have uploaded hopefully at least the first few hundred scapes, so that you can hear this amazing music – I feel like I have this secret cache of eno music, that I really want everyone to hear – so – hence, the purescapes video page – slow going I am afraid, but in time, I hope it will become a point of reference for anyone interested in acquiring and using scape – which I unreservedly encourage and recommend most highly.  if you are even thinking about downloading scape – I urge you – do not hesitate, just do it – you will have hours of fun, and, you will create your own library of “new” eno compositions – to enjoy now and for always.

and scape, of course, led me to it’s predecessor, mixtikl – an application that I am just now becoming familiar with.  and what an application it is!  massive sound libraries of the most astonishing weird and wonderful sounds; create your own sounds (I am dreaming of recording many, many samples of long, long ebow guitar notes, and then assembling them into strange mixtikl creations…) – and then load them either by design, or by using the random generator, into wonderful pieces of generative music.

mixtikl, despite sharing a founding  father figure in mr. brian eno, is the polar opposite of scape in terms of elements being exposed and available.  scape is entirely hidden, the rules are hidden, control of volume, eq, effects is primitive or non-existent, but in mixtikl – well, you have almost TOO much control of what is going on.  every cell, every sound, every effect, can be adjusted, tweaked, and modified to your heart’s content.  while scape creates it’s pieces using a very tightly limited set of elements, mixtikl allows any sound imaginable – and yet, both apps, create wonderful, ambient, generative music.

it’s true, that in mixtikl, you can easily create very noisy, very active pieces, but I am not particularly attracted to that – although I have used it to create a great quasi-ambient drum-driven backing track for ebow guitar – I tend to steer mixtikl down the ambient path, because, to my mind, that is what it does the best.  I am sure active music creators might disagree, and I am sure it’s extremely capable of creating great active music – but that’s just not my interest.  but what mixtikl can achieve in the ambient realm – well, I am just getting started, and so far, the pieces I’ve created do not disappoint – you do have to tweak things quite a bit to get it to sound truly ambient, but it’s worth the effort.

in scape, it’s almost too easy to make a good sounding piece – the samples, and the rules, just automatically add up to a great sounding, eno-sounding, eno-soundalike – almost every time.  very rarely, I produce a scape that is not quite eno-like, but – that is rare indeed.  in mixtikl, it takes much, much longer to assemble and tweak a piece of ambient generative music, but it’s always worthwhile, because once you do get things sounding good (usually, by removing elements and turning elements volume DOWN…) – it sounds REALLY good.

I feel as if I’ve been short-changing bloom this entire time, but for some reason, I always felt like bloom was a prototype for scape (which in many ways, it was), and while bloom can make some really lovely sounds, it just doesn’t seem like an instrument to me – it plays back some really beautiful eno-esque sounds, but when scape came along, with it’s infinitely more varied sound palette, plus the ability to capture scapes very, very quickly as finished pieces of generative music…it kinda knocked poor old bloom off the charts.  which is a shame, because bloom is a really lovely app, well worth spending time with.

I tended to just create a track in bloom, and listen to it, rather than capture it – so even though I’ve created many, many bloom tracks – I’ve never recorded one – which is a real shame, as some of them were downright beautiful.  I think though that eno went back to the drawing board, and came up with scape – which is a million times more capable – I just like the sound of scape a little bit more than I like the sound of bloom.

even though I am singularly unqualified to say, since I really have only had experience with a few of the many, many generative music creation tools that have come along over the past decade or so, I really believe that the next few years may be a real game-changer for generative music.  if I just take the toolsets of  the two generative music applications that I am personally most familiar with, scape and mixtikl, and I think about the power and choice on offer to create beautiful, or dissonant, generative music, it’s difficult to imagine where things might go next.

the change from bloom to scape was like a quantam leap, and the strange, secret complexity of scape’s hidden “rules” is most impressive.  since it’s been expressed out loud that folk would like a version of scape where they are able to, a) load in their own samples and b) create their own not-hidden “rules”…to which chilvers basically replied that it was very unlikely that eno and chilvers would produce such a thing, simply down to the way the programming had to be done, it’s not readily adaptable to either the use of user-created samples OR users being permitted to set and manipulate “the rules”…so knowing that eno and chilvers won’t do it, it’s my hope that some other enterprising application writer will.

the future: imagine then, if you will, a sort of open-source app that is like scape in design, but with one staggeringly different difference – the samples are created entirely by the user; the rules are written and set by the user, the coloured filters/effects are set by the users – like scape with a mixtikl-like level of control.  that would really be something, and I would imagine too, that the visualisation, regardless if it mirrored the scape “screen” or the mixtikl “visualisation” screen – probably this new super-generative app would allow for either approach – and all the VISUAL content would be user-generated.

this would mean, for example, instead of assembling a scape using the “shapes” the eno and chilvers created and related to a musical event, that multi-media artist/musicians could create entirely unique, and utterly personal, multi-media artworks, where each musical background, and each musical element, relates to a user-created music sample, and all aspects, from the visual design of the artwork, to the relating of the artworks’ elements to sound events, to the final EQ, mixing and filtering – the application of effects – all completely controlled by the user.

sort of an amalgam of mixtikl, bloom and scape, but with complete user control.  maybe no one will build it, but, because somebody asked chilvers the question, and he said no, scape isn’t going that way – then maybe, just maybe someone will pick up the fallen standard and carry it forward to a brave new world of generative music that right now, I can barely imagine, but then, three years ago, I would never have dreamed I would have 100 amazing sound creation applications on a tiny tablet from which I can produce world-class music of not just ambient, but of any time, that I would be able to play my guitar through virtual amps, cabinets and effects in an application such as ampkit+, and that audiobus would revolutionise recording of synths and other sound sources in the ios.

so the whole thing is impossible, so a future with super-generative applications that are far, far, beyond koan, mixtikl (and all it’s “-tikl” brethren, too many to mention!), bloom and scape – is totally and entirely possible – and I will actually be surprised if it DOESN’T happen.

I am continually astonished by what happens in the ios – someone conceives and then invents audiobus – and suddenly, every music app creator worth it’s salt, immediately adds audiobus capability to their apps (the latest entrant, addictive synth – that make me so, so happy, because that is one of my top three favourite ipad synthesizers of all time!) meaning that a huge number of sound producing apps can now be used together under audiobus – which, if you have something like auria or cubasis installed, makes professional multi-track recording a reality, not just for synths and MIDI devices, but also for guitar apps – that is astonishing.  I would never have dreamed, a year ago, that something as clever as audiobus would free us to make recording on the iPad very simple indeed.

a few weeks ago, there were at most, a dozen apps on the input side of audiobus.  today – there are 25, and more being added every day. some music apps have taken audiobus support so seriously, that they have configured their sound-generating app to work in all three audiobus positions – input, effects, output.  that’s dedication!

so when I see growth like that, I can readily imagine that generative music apps might go through similar startling adaptations, and great leaps forward, audiobus-style, which might eventually make the very, very complex and capable mixtikl and scape, seem simple by comparison.  I do not know – I could be wrong – but the ipad’s ios is clearly the place where developers come up with startling, innovative concepts like audiobus, not to mention several miraculously life-like and sound-perfect recreations of classic hardware synthesizers, or incredibly high quality amplifier, speaker, microphone, and effects modelling in a product like ampkit+ or stomp box (my absolute two favourite ipad guitar apps – hands down).

to me, all of that is magic, magic of a high order – and what it’s done for me, since I never had the money to invest in a lot of music hardware, I never could afford a moog of any kind, or a korg, and I absolutely would never have had the money to buy a hardware fairlight! – yet now, I “own” all of those instruments in the incredibly low cost application version – and more importantly, I can now have the experience of creating music with those tools that were always beyond my reach – because I can afford to pay twenty quid for a fairlight, but twenty grand – no 🙂

I think that music making on the ios has already exceeded our collective expectations, but I shiver to think what the future might hold, not just for amazing, super-generative music apps, but for all music-making, not wanting to particularly paraphrase the carpenters here, but I have no choice: we’ve clearly, only just begun.

I can’t wait, I am so, so looking forward to the next five, ten years of music development on the ios.  the sky is the limit!

🙂

scorched by the sun – “dreamtime” – first pureambient release of 2013

the first release of 2013 for pureambient is a new album, from a new band, namely “dreamtime” from “scorched by the sun” (released as download only on january 17th, 2013, by pureambient records – available on bandcamp right now) and we could not be more pleased and proud.  this record represents a new kind of ambient music, made with new techniques and a lot of experience and history, too.

veteran ambient musicians bryan helm and dave stafford (who “are” “scorched by the sun”) bring a lot of experience to the table: both students of robert fripp’s guitar craft, they formed a crafty acoustic guitar duo in 1989, “the dozey lumps”, that worked mostly in a live setting, for a few years, creating a remarkable repertoire of original acoustic guitar music comprised of about 25 unique and very special songs, before they gradually transformed / mutated into a completely different musical entity: “bindlestiff”.

bindlestiff” was many things – a precursor to “scorched by the sun”? absolutely.  more a studio entity than a live performance entity, paradoxically, most of the material they recorded, whether it be on stage or in the studio…is live, absolutely live, 100 percent real, live, looping, without the benefit of MIDI sync – just doing it manually.  at that time, 1991 – 1995 (with an extended posthumous life that carried them forward to 1997) – and of course, the obligatory “best of” CD in the early 2000s, “enlighten” – “bindlestiff” could be said to be quite innovative, because of course during the late 90s and throughout the 00s – the “noughties” as we say – everyone was syncing up their MIDI clocks and all “playing live” to a click track…something we never did.  we just counted in (or not, once we really knew a piece, we would just start cold with no count in!), and played – our loops might not have technically been in sync, but we both have a good “ear” for music, so that meant we didn’t really “need” technology to enable us to loop – we just…looped.

a very, very straightforward and real proposition – we just played the tunes, and the loops took care of themselves.  perhaps a bit surprisingly, very few loop disasters occurred, but occasionally – they did.  when you listen to bindlestiff’s 1994 live album (entitled “live”, unsurprisingly) you don’t really hear any evidence of any loop trouble – and that’s because really, there was none.  because much of what we recorded in the studio was also live, the “live” album doesn’t actually sound terrifically different to the “studio” albums – we sounded the same, studio or live, because we were a live performance unit.  the only real difference on the studio takes was that there wasn’t an audience, and, we could play the piece as many times as we liked until we got the “best” version possible.  a very, very few tracks, a handful out of the total, actually involved overdubbing, which was normally just doubling up by playing a second live pass on a second stereo pair, to add additional colouration.  you could count those overdubbed tracks on less than ten fingers…

so: bryan and I have a shared musical past: three very difficult years writing 25 really, really difficult to play songs in robert fripp’s new standard tuning for guitar, and playing them…then, the amazing transformation from crafty acoustic duo to electronic looping duo – so moving from a very difficult instrument, the ovation 1867 acoustic guitar, to much easier instruments – for me, electric guitar, and ebow guitar, and looper; for bryan, drum machine, korg synthesizer and looper.

that change was really dramatic, and it really “freed” us – it gave us enormous scope to create (and the first bindlestiff album, “early” is testament to that freedom – what a strange collection of wonderful musical experiments!) and that sense of freedom carried on through the very important recordings of 1994 and 1995 – “live”, “quiet”, “LOUD” and “distant” – our four most important records, perhaps.

we explored the world of looping – both of us – both as a group within the very loose confines of “bindlestiff” as well as in our own individual solo careers – so this was a double education for us, and I felt I could do one kind of looping in the band, and some very different kinds of looping on my solo records – which really gave my output a broad span sonically, and the same applies to bryan – all the while we were in the band, we both carried on making our own recordings, as well…which is how it should be.

we also fully explored the world of ambient, and there are major ambient works on every “bindlestiff” record, from “early” to “enlighten”.  that also carried over into our respective solo careers – for example, since “bindlestiff” tended to make a lot of long form live ambient improvs, I decided to make an album of extremely short loops (“other memory / sand island”) – and it worked out really well.  so one decision in one area, affected another area positively – it was a brilliant and very, very creative time.

then, in 1995, bryan made the difficult decision to move from california to colorado, a move which effectively ended bindlestiff (although we did make two more albums, “distant” and “late” – and that inevitable compilation CD, “enlighten”, too) and simultaneously, launched my solo career!  but that was fine, bryan and I were very good friends for many, many years, and I respected his decision – for the sake of his family, he needed to be in colorado – so that is where he went.

the next thing that happened was…life.  time passed.  a lot of time.  bryan made recordings, bryan set up his most excellent blog and web presence, “my life in sound”.  I carried on making solo albums of many types, working on collaborations such as “drone forest” or the work with my musical and business partner, ken mistove, “saffron matted voids” – and we both kept very busy with music – bryan was in a couple of different bands, including one where he played upright piano (of course, as guitarist/synthesist – when you join a band, you play the piano – why not?) – and also worked on various collaborative recordings.

of course, we stayed in touch all through this long, long period of time.  we talked about recording again, but somehow we knew that since we could not work physically in the same room (because by this time, I had moved permanently to scotland, while bryan remains in colorado) – we knew that “bindlestiff” could not really make more records.

we talked about making a new record in some format, but then it would get set aside, somehow, we never started actually working on it.  we agreed that with the amount of time that had passed, and with the experience gained, that making an album now would be very interesting and exciting.  still – we couldn’t seem to figure out how to actually make the record.

then one day, an email arrived from bryan with a link to a download page, that had 12 pieces of music on it.  I downloaded these, and when I listened to them, I knew that at last, we had our album.  in a similar way to how leaving behind the acoustic guitars freed us to do the very creative “bindlestiff” material, having these great tracks delivered to me all in one go, absolutely freed me to use some very, very creative approaches when playing “my parts” on the record.

the approach I took surprised even me.  the first thing I did, after only hearing each of the pieces once or twice, was lay them out into a final running order, in sonar, but not in the order that bryan had numbered them, so I re-ordered them according to what I thought would “flow”…12 pieces, set up and ready to overdub.

this created for me, a huge blank musical canvas to work on.  I did a rough mixdown of the 12 bryan tracks, and listened to that for a few days, before attempting to work on the actual piece.  that helped, because it got me familiar with the music, and, it gave me ideas for what I might play…

but that was the interesting part…since so much time had passed, I now had a huge selection of instruments and sounds available, everything from soft synths to the guitar synthesizer, and of course, my trusty ebow and loopers.  I reckoned that I would just do what I always did; what bryan had done was mostly synth-based, so I would add parts that were mostly guitar based, or, I would (as always worked so well on all of the bindlestiff albums) – I would play the ebow.

this proved to be erroneous, uninformed thinking – it was just wrong; and when I tried to do this, it backfired horribly, it just did not work.  a day or two of this, and I realised – this will never work like this.  so I stopped, because I knew it would not “work” – and in thinking things through, I realised that I truly needed to view this as a new band, a new kind of music – and therefore, it demanded a very different approach indeed. on reflection, I should have realised earlier, that “falling back” on “what I knew” was just a bad idea; of course, playing looped ebows worked perfectly for “bindlestiff” – the old technique for the old band, but for this new band, which at first, did not have a name, and then gradually became “scorched by the sun”, I realised I had to approach it another way.

a few days of wringing my hands and worrying later, thinking, what am I going to do? one day, I was listening to the 12 tracks again, and it suddenly came to me – three words – “play the mellotron”.

and that was the answer.  I realised, that with my late 2011 album “sky full of stars”, that I had very successfully created an entire album of music using just the m-tron mellotron software synth – no other sound source of any kind – and that record for me, is one of the most beautiful and effective that I have ever created.  it just hit me, that what would work with bryan’s beautiful tracks – was the m-tron.  and that was the problem solved.

with one exception, every sound on the record that I made, was made with the m-tron mellotron, and the way it worked with bryan’s tracks is simply breathtaking – and simplicity is also key, in some cases, what was needed, was a very simple, very effective “basic flute” mellotron setting, and sometimes, of course, “simple” is best.

the one exception is a very brief, very reverberant grand piano part that I play on the first track, but after that, it’s mellotron all the way 🙂

hearing the fully produced, fully mastered and mixed version now, it’s difficult to conceive that (with one notable exception) the only instrument I played was a mellotron, because the m-tron does make a lot of very unconventional sounds, many of which I did use during some of the more…atmospheric tracks, so some of the mellotron work was more of the “creepy” variety, as well as the sweet, beautiful flute tones used in other sections of the piece.

some early mixes included versions that had just bryan’s parts, or just my parts, (the “overdubs only” or the “underdubs only” mixes) and listening to those, is like hearing two different, fully alternate versions of the main “dreamtime” album.  I haven’t properly finished or mixed either of those alternate versions, I suppose if there was enough interest from folk, I’d be happy to take the time to do so – perhaps they can be “added on” to the main album, as bonus tracks…maybe.  finding time for things like remixes is increasingly difficult – bearing in mind that the first draft of this very blog was written on january 23, 2013, and it’s taken me until march 6th to finally update and upload it!).

I also paid homage to my progressive rock roots on one of the tracks, performing a very camel-like flute mellotron part, and also, my one contribution to the main form of the album “part 9” (a new, thirteenth track that I added in after the existing part eight) – a mellotron solo, also has it’s roots in prog.  both bryan and I love a bit of progressive rock, and while it’s influence is here, it’s not overt – it’s mostly inherited, just subtly “rolled into” the overall feel of the record.

“dreamtime” is therefore a new creation, from a new, revitalised musical partnership, and bryan and I have both spent a lifetime in music, as he puts it, a “life-in-sound” – and after some forty years plus in the business of music, it’s great – no, it’s fantastic – to sit down and make a record with such a capable partner.  I respect bryan’s prowess as writer, performer, keyboardist and guitarist, and I am always interested too, in hearing what he gets up to in the studio, the things he records – because he has an approach to looping and ambient like no other, but is utterly willing to try anything once, or twice, in the studio or in performance – and we often pushed our own broad boundaries even farther than we would have perhaps planned to – often resulting in some real musical surprises, and some fabulous live improvisations came out of those early two incarnations too.

“scorched by the sun” is different though – it’s a very different animal – because for the first time since “the dozey lumps” – we are not looping. well, let me re-phrase that – I am not looping.  at all, not one note.  bryan may well have looped in creating his original pieces, I never analysed them that deeply (I shall have to ask him!) but whether he did or not is irrelevent – they are just lovely pieces of music regardless, and they represent “his half” of the work beautifully. and, they gave me a mostly melodic, often ambient, sometimes unusual but very, very inspirational “bed” of music to play over – a fantastic experience!

I also think that…maturity has a huge part to play here, and being…older…helps in so many ways.  I think we both have learned from our mistakes, and I think we are both much more subtle in our approach, and are both capable of sitting back, and letting the other lead the way, when that’s appropriate, or, if need be, taking the lead ourselves – whatever the piece of music at hand demands, we are ready for it.

most of bryan’s 12 songs, were fully realised pieces of music when they arrived; fully-formed, and quite complete on their own, so I had to work hard to find “overdubs” that were not too over-the-top, that complimented rather than were overbearing, and I think the finished record is testament to my success in that endeavour.

and it was a real pleasure too, to first, “imagine” this piece as a single, continuous piece of music – which I had to do in stages, first, by “deciding” what order those 12 pieces needed to go in – then, making the decision to add a 13th part, and inserting that into the piece – and finally, not just the overdubs for each of the pieces, but the small “linking” parts, which variously did or did not carry – overlapping pieces of music – bridging two of the songs, binding the pieces together like musical glue.

that was really fun, trying to subtly “mask” each transition, by having melodies or perhaps, a single note, playing across and over each transition…attempting to make it sound like a smooth, continuous piece of music as opposed to 13 separate tracks running in order.

so the process of “imagining” this as one single, long song, began with arranging the 12 supplied tracks into a specific order that sounded right to my ears, then, adding one short grand piano (on track one only – true piano via sonar) and mellotron parts to each of the tracks, then, adding a thirteenth piece, then, working on linking the tracks via parts that “overlapped” – and finally, melding and mixing all of the pieces together into a cohesive whole – I’ve never really had an experience quite like it, and it was highly enjoyable.

and I do believe that we succeeded in the stated goal of getting “dreamtime” to sound like a single, continuous song; this mix sounds about as continuous as it ever could, and possibly, I would live in hope that this might be true, possibly if I had never mentioned publicly that this work, this single 50:57 long piece of music, is actually comprised of 13 individual “songs” linked together – that many folk would not really have ever thought about that – they would have just perceived it as one piece of music – which is actually how I listen to it now – I really don’t think about the 13 pieces any more (after all, the work has been essentially complete for about one year – it just had a long, long wait in the queue for mixing and mastering), I just think about the sound of the “whole piece” as it unravels…a lengthy (but not too lengthy), continuous ambient musical journey, the first of many I hope, to emerge from the now mature musical minds of mssrs. helm and stafford, otherwise known as, “scorched by the sun”.

it’s “dreamtime”, everyone 🙂

“dreamtime” – available now from pureambient records via bandcamplisten and download now, on the new “scorched by the sun” bandcamp site.

file restoration – adobe audition – [the perils of digital recording] – from analogue to digital

 

as anyone who has been doing digital recording for any length of time knows…when making digital recordings…shit happens.

  • you experience a drop out during that perfect take, consequently losing that take.
  • you left one of the tracks unarmed, so not everything recorded.
  • You forgot to change the track assignments for one set of inputs, so all of your instruments ended up blended together in one stereo pair, instead of in two nice, discrete, stereo pairs as intended.
  • the levels on one or more tracks were a tiny bit too “hot” so now you have digital clipping in some of your tracks.
  • unbeknownst to you, while you recorded 20 beautiful new pieces of music – each one was being recorded replete with many, many pops and clicks – thanks to any number of digital culprits…ranging from IRQ interrupt conflicts to bad USB cables to just plain bad luck.
  • your daw inexplicably crashes in the middle of that perfect take, consequently losing that take.
  • tracks are inexplicably distorted audibly, while not apparently being clipped – anomalous distortion from nowhere (this turned out to be a slightly overly loud output from a midi instrument, of all things – turn down it’s output, the distortion goes away)
  • you set up your midi and audio tracks the same way you did yesterday, but no sound comes out – even though yesterday, with the identical set up, everything was working fine.  (this most frustrating of problems is quite common with me, and there have been many a session where the first 10, 20, 30, 40 minutes of the session were concerned with getting some sound to come out the daw – any sound, some sound, please…)
  • a solution you found to a problem such as the one above, works on one occasion, but does not work on another, requiring you to find a second solution to the same problem.  (or a third).

the above is just a random selection of negative recording possibilities…(and all of the above have happened to me at one point or other in time!!) but I am sure if I queried ten of my pals who do digital recording, they would all have similar “lists” of what we will call, for lack of a better term, “negative digital recording experiences”, but maybe, it would contain half a dozen other / different problems encountered from the ones I experience, or a mixture of these symptoms and others unique to their systems.

and each system is unique, and idiosyncratic.  I know this because I have two supposedly matching daw installs, one on a desktop and the other on my laptop – and the daws behave differently on the two machines (I kid you not).  not in any serious way, but in a lot of little annoying ways…for example, if I record a session on the PC in my studio, and then try to open that session later on the laptop to mix it down – it won’t open until I accept a message about a missing plug-in that I don’t even use or know what it’s for.  that means, every single time I want to open a PC session on the laptop, I have to use the SHIFT key method to open it in safe mode. ridiculous, but true!

 

but today I want to talk about the amazing fact that in this day and age, with the right tools, audio that is seemingly irreparably damaged – can not only be restored, but if you are careful, can be restored to a state of near pristine perfection.

back in the days of “tape recorders” – and I moved from many years of working almost exclusively with my teac 3340S 4 track ¼ reel to reel machine to using cool edit pro on a late 90s pc clone – if something went wrong on a take – that was pretty much it – sure, there were a few tricks that could be used, none of them easy to implement, none of them particularly effective – generally, you just had to erase the track and re-record a new take.  or, if you were very adept, very patient, and very lucky, you MIGHT get away with “punching-in” small sections of music, to replace problematic sections.  possibly.  more likely – no, punch-ins just didn’t fly.

if, for example, you experienced random pops or clicks, or, if you had your levels too hot, and tracks subsequently ended up clipped or distorted – again, that was it, there were not any tools available to repair such damage, so you had two choices: play that impossible part again, or try to disguise the damage somehow.

neither method was very successful, and occasionally, because the take was impossible to “re-do”, I would just leave it, pops, clicks, and all, in the song, mix it as well as I could, and hope that the musical brilliance of the piece would somehow mask the giant “pop” at 3:51.  usually though, I just erased that perfect take, and played a less perfect, but adequate, “popless” take.  the problem being, with only four fragile channels of audio on 1/4 piece of tape – the only way was “destructive” – delete that take, and re-record it over the damaged one.  and if you didn’t play it as well – oh well.

so recording on tape was all about being very lucky, about sometimes, nay, often, having to compromise – either by accepting a really good take with technical imperfections like pops, clicks or mild clipping – or, by erasing and re-recording something that was not quite as good, so you could get rid of the pops, clicks or distortion – but then, having to accept a “lesser” performance for the sake of getting rid of the pops…

recording on tape was often all about compromise, about making the best of a bad situation.

 

fluffed one note in a seven minute piano piece?  well, if you were very, very skilled, you might be able to punch-in a replacement note or phrase on another track (assuming you had one available!) – or, possibly, not – which means basically that you have no choice but to go back and record the entire seven minute piece again, without fluffing that note.

(of course, now, if you did this same recording as midi, you could just go into notation view, find the “wrong” note, and correct it – but I am talking strictly audio / analogue recording here).

for years….this was just the way it was.  punching in rarely worked for me, it’s just not ideal, and for me, every recording where I did punch in, when I hear the mixed track played back…all I can hear is the part that’s been punched in.  it sticks out like a sore thumb to my ears, it interrupts the flow…it’s just not the best way – it’s really better, always better, to get the whole thing in one single take – it really is!

but…we were used to these “rules”, the “rules” of the golden age of home recording, where you “bounced” three tracks down to one so you could free up the three for overdubs – meaning you had a sub-mix that was carved in stone, that you could never, ever change – and that is maybe the worst part of recording on tape, or rather recording on a four track! – it was very difficult to go back and fix anything; you had to accept compromises; and; if you wanted more than four tracks – you had to “commit” to one sub-mix of instruments.

so for all the problems that I’ve had with digital recording, I have to say, it’s still preferable to the tape days for one reason:  now, with existing technology, most of the problems I described above (excepting the true “operator error” ones – if you didn’t arm the track, and it didn’t record, I am afraid I cannot help you!), actually can be fixed.  with astonishingly good results.

over the past three or four days, I’ve been working on a digital restoration project, using my newly-acquired adobe audition version 3.0.  I had nine tracks, recorded on the ipad when I first got the “addictive synth” application, from a 20120407 session, and I felt that some or all of them were good takes – but, unfortunately, due to the above-mentioned irq interrupt problem – they all ended up with pops and clicks throughout.  lots of pops and clicks – perhaps as many as 60 or 70 in a single four minute track.  since I’d recorded them “live” by playing the ipad and recording in SONAR – all the pops and clicks were recorded along with the audio.

at the time, I attempted repairs using several tools, but to no avail – until my friend and business partner ken mistove suggested adobe audition.  since then, I’ve actually acquired a copy of audition version 3, that adobe, strangely, is currently offering as a free download – along with early versions of photoshop, elements, acrobat, go live, illustrator, and premiere pro ! so now this very excellent multi-track audio and midi recorder is part of my permanent daw set-up, and I am seriously considering abandoning sonar 8.5 – possibly.  we shall see.  sonar does have some great bespoke synths, and some fabulous mix plug-ins, too, but I am not sure if I would miss them that much…

there are many reasons I would consider this, for one, adobe audition is the successor to the original audio tool I used when I first “went digital” back in about…1998 ? – cool edit pro.  so for one, it’s like getting an old friend back – except, an old friend who has had a serious face lift and restorative surgery.  for another – adobe audition has a “healing tool”, which works very, very well for healing and totally removing pops and clicks, without damaging the underlying audio (assuming you are careful and take your time!) but not only that – much to my amazement, the same healing tool can be successfully used to heal distortion – so, my previous restoration project to this one, was recovering a number of tracks that had clipped audio on one of the tracks – again, as with the nine pieces I just restored of addictive synth and animoog synth tracks, saving some good tracks that otherwise would have been lost.

for yet another, audition has true fft style noise reduction, which I love, and I had sorely missed when cool edit disappeared – in fft noise reduction, you take a “sample” of the noise you want to get rid of, then apply a fix based on that sample – it “finds” noise like the sample, and…removes it.  brilliant!

I knew audition could heal pops and clicks, because I had used a trial version of it some months back to do just that.  but I did not know until very recently that it also can heal clipping – and I found that to be just astonishing. thinking back to the tape recorder days…if you had clipped audio – there was literally nothing you could do, the tracks were ruined, rubbish – there was no fix for clipped audio that I ever heard of – that was that, your tracks were useless, discardable.  your ONLY option – reduce the level, record the track over.

 

not any more,  not in the brave new digital world – now, clipping can be removed as easily as the pops and clicks can be removed.  I find that to be utterly remarkable.  I have already recovered damaged tracks from two sessions, about 17 or 18 tracks in total I think; half pops and clicks, the other half, clipped audio – and next, I am going to look at a session with 20 tracks (as mentioned above) that also have pop and click damage – these are “audio only” tracks made with the animoog, some of them quite beautiful, so I wanted to try and save as many of them as I can.

so far, when I have set out to recover tracks using adobe audition, I have managed to save every single track I attempted to save – I have 100% success rate, for pops, clicks, and clipping.  that is also quite remarkable, but, I am fortunate, I’ve been fortunate.  it takes a lot of patient work, to sit through and manually remove each click, pop, snap or bit of clipped audio, and in some cases, I had to make perhaps 50 or 60 “auto-heals” to a single track to rid it of all pops.  you also have to be very careful with your auto healing, because it can slightly damage audio – but if you are very precise, use the smallest brush size possible for the pop, you usually end up with undamaged audio.

this also means, when I finish the next session, that I will have recovered something like 40 tracks, that in the tape recorder days, would have been written off as unusable, with no hope for repair – tracks that were literally brought back from the dead, as it were.

that is the good news.

the bad news is, it takes a long, long time to repair multiple pops, clicks or clipping; you have to be very patient, you have to be very careful (because it IS possible to damage the underlying audio) so what I do is I check each repaired pop or click by immediately listening back to it, to assure myself there is no audio damage.  that really slows down the process, but, avoids any problems with damaged audio.

so for this last session, where I had nine tracks – five addictive synth pieces, and four animoog pieces – I probably spent something like six or seven hours, over a period of perhaps three or four days, working on them.  just now – I just played them back on headphones, to listen very, very carefully to the results – and, for all nine tracks, there are absolutely no hints of any pops or clicks, and no sign of any audio damage at all – they are now very near “perfect”, they sound great, clean and tidy, and I cannot believe that a week ago, they were consigned for destruction.

how brilliant is that, really?  I think this is one of the true miracles of digital recording, like undo and redo, the ability to repair damaged audio that was previously considered to be utterly unrepairable.  that’s astonishing !

younger musicians will probably take this kind of thing for granted, but for older musicians such as myself, who grew up in the era of the “tape recorder” – these tools and processes are nothing short of utterly miraculous.  also, as time goes on, and I listen to old recordings made on the teac 3340s four-track recorder, from the late 1980s and early 1990s…well, to be totally honest, I can’t remember, and I cannot fathom how I actually did it, I can’t really understand how I made it work without any digital tools!

miracles were performed, amazing “fixes” and punch-ins that were true feats of audio engineering – all of that bravado and skill, now made redundant, now just about completely unnecessary – because of the powerful tools built into programs like adobe audition.

I would also say, that as a recording tool, it’s very, very slick, I am falling in love with it all over again, as I fell in love with the power of cool edit pro back in the day.  it has a lot of great built in tools, including amplitude and frequency analysis, not to mention a lot of really quality built in effects – I am really loving it so far.

I was spoiled, I was using the current version of audition (5.5, I think), on a trial basis, and then switched to this free version 3 – and, it’s maybe not quite as fancy – but functionally – it’s not really that different.

after a few days of using adobe audition version 3 – I am not missing the newest version any more, and I am very happy indeed using this “old” version.  it does everything I need, without the slightly over-engineered clutter of a sonar…

digital recording can be very frustrating, it really can, and you can have so many problems with it, that sometimes, you long for the simplicity of that tape recorder.  but…not me – I love digital recording, I don’t miss tape recorders, with their fragile tape, and rigid rules – so much can go so wrong, whereas in digital, if you are patient, and your system is stable – much, much goes right.

as far as the famous “digital” vs. “analogue” argument – well, I am all for a good bit of “tape warmth” but for me, the only realm where that matters is guitar amplifiers – they should have valves (tubes) in them, because for guitar, analogue/warm is better!  but for the kind of music I play (mostly) quiet, very quiet, and quieter still, the digital realm is a much better one for me, because I can remove hiss, hum, pops, clicks, clipping and anything that gets in the way of the music…and digital does just capture the music, with no added harmonics from “analogue warmth”.

sure, I loved hearing my records on valve (tube) stereos and they did sound cool, and if I could afford one, I would buy one of those retro valve stereo systems that are about nowadays.  I would also buy about ten different valve (tube) guitar amplifiers, too, including marshalls, fenders, and vox – not to mention, line 6, roland, pignose, and a few others, too!  these require space and money…two commodities always in short supply.

but for recording clean, looped energy bow guitars in a big “reverb” room – digital is the way.  if I were doing a lot of really distorted guitar, if I were playing rock or metal music, I would absolutely look to valve (tube) amps, but on the other hand, digital modelling has come a long, long way, and some of the amp “models” I have in some of my guitar applications, rival the real thing for amazing sound.  as proof, I offer up my “gone native” album – every guitar sound is either a guitar synth, modelled guitar from the guitar synth, or modelled guitar from my line 6 x3 live – there is not a single “real” recording of a guitar through an amp on the record.  and yet, if I didn’t tell you that – if you listened to the entire “gone native” album from start to finish – you would swear you were hearing guitar x through amp y.  but – no, it’s all modelled, and if you work with your models, you can get some amazingly realistic guitar sounds.

analogue purists and my old friend, neil young, will disagree with me, but seriously, if you think about it, a recording played back through an analog valve (tube) amp will have a certain waveform, rich in harmonics.  the same recording, played back through a solid state, digital system, will have a slightly different waveform, with fewer harmonics, actually representing the recorded sound without any additional colouration (which is what tube amps add to music – harmonics, colour, richness).

but either of those waveforms can be modelled, so the best modellers set up the real amp, with the real microphone, and use real guitars, to get the real, right modelled sound for tube amps.  eventually, as modelling technology improves and improves, it will become impossible to distinguish between a “real” recording of a les paul through a marshal, and a “modelled” recording of a les paul through a marshall.  I think that in some cases, the modelled sound already matches close enough to fool the ear.  as example, I would point to my song “caladan” from “gone native” – this track features classical instrumentation, which augment a dual nylon string classical guitar solo.  which when you listen to it – well, that’s what it sounds like.  however – every sound in that track, except for the drum track – was made with the remarkable roland gr-55 guitar synthesizer – and to my ears, those “nylon guitars” you hear me playing during “caladan”…SOUND like real, nylon string classical guitars.  again – if I had not told you it was a synth – you might never have realised.  so modelling has become quite adept at fooling the ear, I believe.

 

I’d say it’s near impossible to discern the difference now.  also, my guitar synth has an amazing “les paul” type sound, which is pretty damn accurate.  which saves me a few grand that I don’t have anyway (for that les paul I have never owned, and never will, simply because I can’t afford a les paul!).

 

don’t get me wrong, I love valve (tube) amplifiers, for guitar, or for stereo – I grew up in the valve (tube) era, and my personal preference will always be a strat plugged into a marshall or a les paul plugged into a vox ac-30 or a fender super reverb  (god I miss my super reverb!).

 

that’s an irresistible sound, it really is.  but – technology is really catching up, modelling is getting much, much better, and it’s even got to the point where I’ve done some loud guitar improvs, using patches that involve modelled tube amps – and if you close your eyes and just listen – it’s not that easy to tell that it’s modelled…because even though it’s created digitally, it’s an exact match of the captured waveform of the analogue set up, so to the ears…it sounds like the warm, analogue guitar sound we all dream about.

nearly indiscernible from the real thing already, in a few years, even the most hardened “analogue purists” will be truly put to the test, because they will no longer be able to tell what is “real” analogue warmth as opposed to “modelled” analogue warmth.  I already really can’t tell, and as I said, I’ve done some recording using ampkit plus on the ipad, that when you listen to them in headphones, you would swear they were made with a guitar plugged into a tube amp.  seriously.

I am personally amazed by the way digital devices of all types mimic “analogue” sounds, even a first generation device like my now-ageing line 6 dl-4 delay pedal – it does some amazing tape echo sounds, and you can even dial in how much analogue “sound” you want for your patch – in fact, most of the best sounds on the DL-4 are modelled after tape echos, valve (tube) echos, and other ancient tech that just sounds good – but in that case, it’s digitally-recreating something that was originally created with some cumbersome and unreliable hardware (tapes and tubes, I am afraid to say!).

I know this first hand, because I used to own a tape-based echoplex – and that thing was a mechanical monstrosity!  frankly, it was terrible – sure, it sounded awesome, but it was noisy, unreliable, prone to jamming – it was not the best piece of tech ever imagined.  but – line 6, when creating the dl-4, modelled this type of echo unit beautifully – so you get the great analogue echo / delay sound, but in a much, much smaller box that is not nearly as prone to breaking, not nearly as idiosyncratic, as an original echoplex was!

it’s very odd thinking back to using that, it was the first delay device I ever owned, and I can remember playing my guitar through it when I lived in a place called fletcher hills, when I was about 15 years old – in fact, that’s where I met one of my oldest living friends, jim whitaker, a guitarist from whom I learned a lot, we made a lot of recordings together and played quite a few gigs together, too back in the late 1970s.

 

at that point in time, if you were a guitarist, your main sound-producing tools were:

a guitar

a guitar amplifier

and that was that.  if you were really forward thinking, and wanted to have a huge palette of amazing sounds, you would expand this first like this:

a wah-wah pedal

a fuzz box

and then finally, going completely mad here, like this:

echoplex tape delay unit

 

so the guitar was…originally a no-name, red, semi-hollow f-hole electric, then, a three-pickup vox bulldog (god I wish I still had that ugly old guitar!) and then finally, a fender jaguar (god I wish I still had that beautiful old guitar!).

with these five items, you were fully prepared as a guitarist.  in my case, the wah pedal was a vox clone, made by thomas organ (who bought the vox wah line, I think) and the fuzz box was a very used, very beat up original red arbiter fuzz face that joe norwood very kindly gave me (probably because it sounded horrible) – frankly, I don’t know how jimi got it to sound so, so good (probably something to do with the stacks of marshalls that I never had!) – because I never could.  (you can hear this actual fuzz unit on a track I recorded with my best friend, the late ted holding, when we were about 15 or 16 years old, entitled “froggy’s holiday” – an instrumental, and during the song’s chorus, you can hear me clicking the fuzz on for my lead guitar part) – it was a pretty rough sound.

 

when I compare and contrast this utterly primitive set up, circa 1973, to my current guitar set up –  2013 – exactly forty years on – well, let’s just say, my 15-year old self would not have believed what can now be achieved with live guitar – imagine, such things as guitar synthesizers, looping, ebows, and reverse guitar – most of which, simply did not really exist in 1973, except perhaps in the very most expensive studios.  so if I could have seen myself, from age 15, watching my 50-something self do a live loop with a guitar synth, playing oboes, flutes, and clarinets from the guitar fretboard, and recording and layering them live with a magic looping box – I simply would not believe my eyes or ears.  that is how far guitar tech has come in forty years.

 

a sound as incredible and as exotic as reverse guitar, on the other hand, could only be achieved back then, by turning a tape over and playing forward against the running backwards track, and then turning the tape back over – trial and error style.  so to have a device like the line 6 dl-4, where with one button push, your guitar is playing backwards, live…that would have been impossible, voodoo guitar magic of the most extreme kind imaginable.

jim whitaker and I would not have believed it – and in fact, I still kinda can’t believe it.  I really can’t believe the rich and varied palette of sounds, and sound modifier, that I have to hand – it’s just amazing what technology can achieve now, it really, truly is.

in summation – analogue, tape recorders, and antique guitar gear all have their place, but there is no sin in using the very reliable, very clean world of pristine recording offered by digital recording – and, you can even save your “irreparably damaged” tracks – which I still find to be absolutely astonishing.  for that alone, it’s worth paying the price of “the loss of analogue warmth”…which, as time goes by, that “price” diminishes each year, as modelling tech improves year by year.

possibly the most interesting observation I might make though, is that regardless of the state of my own personal guitar set up, or recording set up – is the fact that whether it was my 15-year old self playing guitar through a real tape echoplex, or, my 25-year old self playing through my first digitech rack mount multi-effects unit, the DSP-128, or, my 35-year old self playing guitar through multiple loopers such as the oberheim echoplex pro and the roland rc-50 looper through complex, multiple-path live guitar set-ups, or…my 45 year old self playing through state of the art modern stomp boxes such as the digitech time bender and doing post processing with a quality digital reverb such as breeze…or, my 50-something-year old self, playing through eventide space, the top of the line reverb available in a stomp box – no matter which of these “dave staffords” was playing through “what guitar rig” into “what tape recorder” or “what sound card”…the main thing is, I always, always, am totally immersed in the experience – I love playing the guitar.

and that is something that time, nor technology, will ever change…if I went back to guitar, amp and wah pedal now – I would make the best of it, I would have a go at “the burning of the midnight lamp” or “voodoo child (slight return)” or “white room” – all songs I’ve played over time – or something where the wah pedal would “work” as the sole effect.

why not – it sounded good then, it will still sound good now – which just goes to show, it’s not really the tools you have, it’s how you use them, that truly counts.

something that eno said has really stuck with me over the years, he was talking about synthesizers and how they give you too many choices, too many sounds (and I agree with that view, actually) and he was talking about the yamaha dx-7, and how in his opinion, it had a very small handful of really, really good sounds that it made, and the rest were dispensable.  he would rather just use that one good sound,  the one really good sound, than switch between 10, or 100, bad sounds.  I call this “the eno principle”, and each time I assess my collection of sound-producing devices, I make a conscious effort to PARE DOWN to only the sounds that are the best – and not use the others.  it’s hard work, but you should stick with what sounds good – and avoid presets or patches that don’t totally en-thrall you.  too much choice is sometimes not so good…

eno noticed then, that some devices did one thing particularly well, so he would just use that device for that one purpose, rather than any of it’s other possible uses – use it for what it does best.  and that makes sense to me.

so over the years, whenever I get a new instrument or effect, I always try to identify the handful of sounds it makes or processes that are truly, truly amazing or beautiful – and I then pretty much only use those sounds.  I used to use the dx-7 in performance with bindlestiff, and it had about 8 sounds that I really loved, so in every gig, when I played the synth, those were the 8 sounds I would use. the other hundred odd sounds – rarely were used or heard.

 

In the same way today, in the studio, if an instrument or effect has a truly, truly beautiful sound – then I use it, and I use it repeatedly – because it’s good!

 

 

one current example of that is the line 6 dl-4 delay – I have more than one delay, and since I have the digitech time bender delay which is smaller, more compact, more modern, and more capable – I’ve decided to let the dl-4 do what it does best – reverse guitar.

so – the dl-4 stompbox is now on one of the ancillary “lines” going to one of the mixers, and it’s set to reverse guitar – so when I switch to that line, I get – instant reverse guitar – it’s always there, it always sounds beautiful – and I don’t have to then spend time calling that sound up on the time bender, or on any of the other devices I have that might also produce it.  so I’ve taken the dl-4, picked one of the very best sounds it makes, and dedicated it to making just that beautiful, reverse guitar sound…why not?

so these great sounding patches or effects become the unique musical language that defines you, certain “set-ups” become “your sound”, and in my case, an ebow guitar (preferably a guitar with humbucking pickups), with the tone control on the guitar turned off, into a clean, reverb room, looping with the roland rc-50 looper (or any looper) – is very much a “dave stafford” sound.  that simple, simple “set-up”, is basically what I used to make the entire album “the haunting” – simplicity itself – clean, clear reverbed guitar, energy bow guitar.

as another example, the roland gr-55 guitar synthesizers’s “go to” sound is absolutely, without a doubt, “rich strings” – which I return to again and again, because it sounds really good, and, it works really well in loops – so it’s a perfect candidate to become a standard “dave stafford” sound…again, why not?

of course, I do use “other sounds”, and I do look at, work on, and conjure up lots of new sounds to try out – always.  and occasionally, I hit upon one, a combination of guitar synth, guitar, and effects, perhaps, that I really, really like the sound of – so I remember that one, so I can use it again.

this current world of digital recording, the digital here and now…to that starry-eyed 15-year old jimi hendrix wannabe, would have been an impossible, unbelievable world – not real, not possible, totally unbelievable.  yet, that same boy is still here, and that imaginary digital world, where backwards guitars were magic, has turned out to be true – but I still can’t believe the sounds that can come out of an electric guitar – it’s absolutely unbelievable.

I’m sat here listening to some eventide space demos that I recorded in december, and a piece entitled “nature’s wrath” has come on – and it’s simply, the weirdest, most shocking, craziest guitar tone I have ever heard in my entire life.  it is a reverb with a large component of very warped time and a lot of distortion – an amazing sound.

I think it’s one of vernon reid’s “artist presets” but whatever it is, when you manipulate the expression pedal as you play, the stereo sonic smack effect is unbelievable – it’s based on the reverb model “mangleverb” so that gives you a hint, and distortion is a major component in the reverb sound – to me, it’s just astonishing that such a patch can even exist.  playing through it – well, that’s an experience once again…and, an experience that the 15-year old dave stafford could not have even imagined.  but here he is, somehow, in 2013, travelled forward in time – playing that sound, making the magic sounds that he would have once thought to be completely…impossible!

so – forty years – from analogue to digital – from real instruments to ipad applications – from primitive to modern – it’s been a long and interesting journey, and I cannot wait to see, and more importantly, hear, where the next ten, twenty, thiry years of technological advances will take we musicians…but wherever it is, I want to go !!!

I cannot wait.

🙂

animoog – jam up pro – loopy hd – riding the audiobus :-)

well, I finally had a chance to do a “proper recording” using audiobus – and I am not disappointed in any way.

I made it simple – I just used one synth, albeit a synth with a huge vocabulary of amazing sounds – the recently expanded animoog.

I quickly gave myself a refresher in loopy hd, I re-taught myself how to use it, because I hadn’t really “got it” before (I had used it exactly once, a couple weeks back), and now have a degree of competence in it’s use. 

then…I fired up audiobus, loaded and “woke up” my input (animoog) my effects (jam up pro xt) and my output (loopyhd) – and then, switching to animoog, recorded my first loop in no time. elapsed time: less than two minutes.

then I began to record overdubs on other loop channels in loopy hd, and within perhaps seven or eight minutes, I had all six loops populated and playing a very jolly little tune in the key of c major – bright and beautiful.  five melodies, and one sort-of bass part/slidy thing.

I used five or six different voices from animoog, some from the standard menu, some from the metallic set, some from the richard devine library – all, very, very beautiful indeed – animoog is the secret synth weapon on my ipad, without a doubt.

another minute adjusting final volume levels.

another minute adjusting pan to get some nice stereo going on.

result, in less than 10 minutes, a beautiful stereo multi-track loop of the highest quality.

a final mix in audition, adjust it’s levels, and maybe a tiny spot of reverb (it already has some nice reverb and delay courtesy of the jam up pro xt, but maybe it would like a tiny bit of reverb – maybe).  it’s quite, quite lovely the way it is, to be honest, so I may just leave it as is.

(note: in the end, I left it as-is – nothing added – no additives or preservatives used 🙂

based on my experience here, and thinking about all those inputs that are already compatible with audiobus, I am imagining using six different input devices, and recording six loops – each totally different, one with a bass line, one with a drum machine, and then four different synthesizers – to get four utterly distinctive melodic sounds…but that’s just in the world of loopy.  when auria comes on line (note – it since has!)….then the sky’s the limit.

or, of course, guitar could be one or two of them, so maybe…bassline, drum machine, synth 1, synth 2, guitar 1, guitar 2.  and of course, you can have more than six loops in loopy, so there is no limit – and the quality recording that came together so quickly by just using one synth…is brilliant, so I can see almost no limits to what can be done with this device.

the beauty of using loopy hd is that in this case, it actually brings the record button from loopy onto the animoog page, so I never had to leave animoog – I could trigger, stop and start loops without ever going to loopy !!.  I did go there – to clear loops and try again, but mostly, I just stayed in animoog; trialled different sounds, found the one I wanted, hit record, recorded another good loop…what a great experience, and such a different experience to the last time I tried recording with several different apps (the synthraga orchestra sessions).  much simpler, much easier, and – it just WORKS!  brilliant.

in fact, I am kinda…stunned by how well it does work, and how quickly I adapt to using it – as if I’d had it all along.  it just becomes natural – switch to the looper.  do what you need to do.  now back to the synth.  play another melody.  now play a harmonising part.  back to the looper, adjust the levels.  back to the synth – new voice, new part – and so on.  smooth, beautiful, easy – and the results are stunning – a really, really nice piece came out of my ten minute six loop audiobus experiment – and that is perhaps, the most impressive thing of all – from this new technology – music has emerged.

and – even better – it’s quite beautiful music, too – always a plus.  I have posted the piece on sound cloud just now, it’s entitled “the sixth sense” – six animoog loops working together to create a mini-symphony of looping synthesizers – all thanks to the miraculous and very, very clever idea that is audiobus.

 

creating this piece using audiobus, and realising just how quickly, easily, and painlessly I was able to build up a really nice piece of music, I feel very excited about the future – and about being able to just endlessly layer different sounds from different instruments, in such a fluid and live atmosphere – that is just brilliant.  now that auria has come on line, over the past couple of days, I’ve been working on a new multi-track master – and it’s been an even better experience than my first try with loopy HD.

using audiobus, with auria as my recording device – I was quickly able to lay down a full length drum part using korg ielectribe, and then I set out to build a bass part – but, I wanted to build it in sections, using many different sounds – so I set up several tracks in auria in my 24 track master, and then, calling up different synthesizers, one by one, and adding, bit by bit, my “composite” bass part (which for the record, is comprised of magellan, animoog and korg ims-20 synths).  a couple of hours work, at the most, over a few days, and I have now completed the bass part from end to end – and it all worked so well, so flawlessly – and now I have a great basic track, over which I can overdub guitars, synths, you name it.

I had a great time playing with loopy HD, which, after all, is a brilliant live looping device, really well designed, so there is no harm in learning the best looper I have on the ipad.  but I am even more excited after having used audiobus to create a full on proper recording session in auria – that is just brilliant.

drums, bass synths, hell, real basses via jam up pro xt, stompbox and eventually, ampkit + (once it’s compatible), real guitars via same, any number of synths and synth-like applications, you name it – kaoss pad in the form of the ikaossilator –  anything that a) makes sound and b) has been made compatible with audiobus.  and now I’m even happier, because one of my very, very favourite guitar applications, stomp box – is now audiobus compatible!  so I am looking forward now, to setting up some awesome guitar sounds in stomp box, and overdubbing my new drum and bass part with real guitars.  I am waiting for ampkit plus, to give me that third set of guitar set-up possibilities – but I am well set up now with stompbox and jam up pro – that’s a great start.

I can’t believe that in the space of 13 months (the time I’ve used ipad applications), I’ve gone from having two synths, the fairlight pro and korg ims-20, to having a full on recording studio with more instruments than I have time to learn…the growth of music apps on the ipad has to be one of the most exponentially staggering growths of technology ever to have occurred.  during this last year, we’ve been given things like ipolysix from korg; the amazing auria multi-track recorder, like jam up pro, like audiobus – and each one, in it’s own way, a game-changer…

first, it was multi-track recording.  now, it’s being able to near-seamlessly move between inputs, effects and outputs during live performance or live recording via audiobus…not to mention the two amazing generative music tools, mixtikl and scape, as well as the super educational and extremely useful and beautiful itabla pro, which gives me tablas in a large palette of very real and very realistic presets and modes – and the drones, those beautiful, beautiful tanpuras…

and then I step back and realise, this huge, huge palette of instruments, effects, processing, recording, drums, tablas, bass lines, and synthesizers galore can now be ADDED to all of the other “normal” instruments I have available, so the combinations that are available to me, as a creative musician, haven’t doubled or trebled or quadrupled or quintupled, they have…seventeenified.  I’ve seen the tip of this iceberg in my most recent studio set up, the “all instruments” set up, which demonstrated to me, during the last couple of sessions – that just about anything is possible now.

choices to the seventeenth !

or, to the thirty-fourth…

 

I used to be a bit skeptical about technology, but when I see what they have done with it at audiobus, for example, I just fall in love with it, it’s brilliant, clever, amazing. part of me thinks I am dreaming – I keep asking myself, how can a £7.99 synthesizer on a tablet sound so fucking GOOD?  the answer is: it can.  it does.  it will.

In just over a year, I’ve gone from technophobe to technophile, and there is no looking back, take no prisoners, I can play hard rock/metal detuned guitar through a tablet – I don’t need that marshall stack I could never afford anyway – I can rock with a tablet – and now that I have two guitar apps, soon to be three –stomp box and jam up pro XT, hopefully followed soon by ampkit plus, please…I know I keep saying this, but…the sky’s the limit for guitar sounds.

so the old set ups are out, the new, in, guitar to ipad to auria, via audiobus – hit record.

I am also so, so pleased to announce the return of an old, old friend, adobe recently made version 3 of adobe audition available for free on their website, so how could I say no – after all, this is the direct successor to “cool edit pro” – the first audio multi-track I ever owned, and upon which I remastered all my analogue tape albums with – so as well as having the most tricked out ipad around, I also have my favourite audio multi-track recorder back, for free – a good price.

now I will be using adobe audition for pop and click removal, and also, removal of clipped audio, and especially for it’s FFT style noise reduction, which is a beautiful and very effective “old” technology.  so – hats off to adobe for their very, very thoughtful free gift to us all.  an old adobe program is probably better than a lot of very expensive NEW products…and for me, it’s like getting back an old friend – a friend named “CoolEditPro”.

I am so, so pleased !  🙂

and recording with audiobus, using loopyHD or auria as the recorder – could not be easier or more fun – it’s absolutely brilliant.

audiobus rules, and if you haven’t tried it, I can heartily recommend it.  it’s not perfect, very occasionally, auria will stall or crash, but I am running it on an ipad2, so some exceptions have to be made – and the code will only get better – they’ve just had an upgrade giving us buffering options in case of stuttering, so they clearly care about the user experience.

it works so well already, in it’s infancy, that I really look forward to using it when it’a a mature and robust application – I cannot wait!

music making has changed forever with the ipad, but the innovation of audiobus has now propelled both live performance and on-ipad multitrack or loop recording  – into the distant future…right now.  the future of ipad music making has arrived…and it’s called “audiobus”.

or so it seems to me. 🙂

the art of mixing…

well, for the past few weeks, because I really, really want to clear my backlog of recordings, or at least, get it to a reasonable state (say, four weeks behind), most of the musical activities I’ve been engaging in lately have been mixing, followed by more mixing, and then, just for variety, a bit of mixing…

over the holidays, I mixed 51 pieces, which of course, if they had been multi-track masters, would have been more like 5, but when I say mix – for me, I am very fortunate, because the bulk of what I record are live improvs, so for these live tracks, “mixing” really consists of a few simple, standard operations (trimming, level balancing & settings, and, deciding if reverb or other treatments are needed and then applying them).

obviously, when I was working on “gone native”, or even “dream time” by “scorched by the sun”, those sessions take much, much longer, you can’t knock out 51 mixes in two or three weeks as you can with the live tracks.  this difference is crucial, of course, it still takes quite a bit of time to mix the live tracks, but what it means is that there is hope – I MAY get caught up, since all the mixes I still have “to do” are live stereo pairs – not multi-tracks.

since the holidays, I’ve managed to mix two more sessions, one with one song, another, with eleven, so I have an additional 12 under my belt.

these sessions have been a real variety, and it’s been very interesting hearing these different sessions and approaches, and hearing the wild diversity of tools and instruments that are at my disposal – mainly due to the incredibly music diversity of the ipad, with it’s ever-growing list of music applications. within this last batch of 63 mixes, I’ve worked on: straight guitar synthesizer sessions; guitar synth & shredder synth & addictive synth (applications) sessions; guitar synth & beatwave (application –NOTE – apology: I erroneously called this “beatscape” in previous postings – my mistake!) sessions; mini-moog V (soft synth) sessions; and finally “all-instrument” sessions – where I play many, many instruments in a completely live setting.

I am not quite sure what is next on the list to mix, but I am sure it will be interesting! I think I am mostly finished with sessions running from the start of the year up through about august – anything left is hopefully in the september to december period.  I know I have some october sessions waiting, 20121028 I think, but I can’t recall what they are – possibly more of those “all instrument” sessions – and those are full of surprises, since there are so many instruments on call.

I have actually mixed a couple of recent sessions, from 20121225 and 20121226, so I know what is coming in that area, the “all instruments” set up already well established at that time, so there will be items from those two sessions appearing eventually.  there are also various sessions involving “scape” –  from october and november, which I am also looking forward to hearing again – hopefully something interesting might come out of those…

 

the one upside/downside is – for each set of audio mixes completed, this generates a list of tracks that require a video to be made – which is good and bad, good, because I captured a decent take that I can present on one of the you tube channels (my only real outlet for live performance at this point in time); bad, because – I have to actually make all those videos.  with 62 audio mixes recently completed – a LOT of tracks are now marked “make video” under the heading “next action”in my tracking document.

 

so in the last session that I mixed, this past Sunday, the 20120616 shredder synth session, for example, which had eleven decent tracks in it – eight of them seem to be viable, so I will need to make eight videos out of that session.  a lot of work, sure, but for me, totally worth it, because I think it’s interesting to see how this music is created – looping shouldn’t really be shrouded in mystery, it’s just a process, and it’s a process that I truly enjoy.

 

before I forget, I have good news: I’ve confirmed with bryan helm, my partner in crime in the band “scorched by the sun”, that the latest master mix of “dreamtime” that I sent him, is a “go”.  we are both very happy indeed with the master recording of “dreamtime”, so it would appear that the début “scorched by the sun” album is ready to go.

this will require a little work on my part, but mostly it will involve preparing the artwork, but I am optimistic that I will find the time to work on this (hopefully this coming weekend) and it’s entirely probable that you will be able to download the album (which is one very long, very ambient track) from bandcamp within the next few weeks – hopefully well before the end of january.  we will keep you posted on this, of course!  this album took a lot longer than expected, mainly due to my manic schedule, but it’s been well worth it – it’s one of the most satisfying, most ambient records I’ve had the pleasure to work on in a long time.

back now to the topic at hand, I was thinking how very fortunate I am to be mostly a live performer, and how fortunate I am that I have these very straightforward, simple-process mixes to take care of – if every piece I recorded was a multi-track, I would currently have a ten year back log, instead of the one year backlog that until very recently, I’ve actually had.

I now have that down to months, probably about three months, and I plan to persist in mixing (despite being just a TINY bit tired of the process!) until everything I’ve recorded has been mixed, and then, moving forward, work harder to stay on top of things, and not end up with a major backlog as I have right now!

 

looking forward, I am really excited about the possibilities, and I think that 2013 is going to be a year of very, very interesting performances and recordings.  I am definitely going to look at live streaming performances, probably through the very convenient new you tube live streaming facility, so I will set up a recording session, and then invent listeners to tune it.

I also plan to try a lot of recordings using new and interesting technologies, the forerunner at the moment being “audiobus” – a unique application that allows you to move back and forth between audio applications that are an instrument, a sound source, and applications that are used to effect that sound, and finally, applications that record that sound – I’ve been testing this out over the weekend, and it works really, really well.  this means then, that I can record and perform live with much more ease on the ipad, because you don’t have to manually open and close applications – you just move between them as you perform – it’s fantastic.

 

if I think back over the past two years, I had two very, very different experiences – going back to the mixing sessions for gone native, which were very traditional, since they involve traditional rock back instruments – drums, bass, mellotron,  guitar, guitar synth – most of the year was spent mixing and remixing multiple instruments, and getting a good sound balance between 20 or 30 instruments can be very difficult, harrowing, stressful – and very, very time consuming.

contrasting that in my mind with the last several months of working on live material for video, where I’ve done about three times the number of mixes on live tracks than there are tracks on “gone native” – because, thankfully, mixing these live tracks is relatively quick, easy and painless, compared to mixing multi-track – they are like night and day.

and to be honest, while I enjoyed both processes, but I will always prefer mixing a two track stereo master of a live track to a multi-track – it’s just so much more straightforward.  I’m actually really lucky, because the majority of the albums I’ve made, and will make, are all consisting of live tracks – there won’t be too many “gone natives” in my future, unless I decide to make more studio-style rock creations – which I very probably will, but in the meantime, I am still patiently, sometimes impatiently, wading through those many, many live stereo mixes – one at a time.

 

I’ve really enjoyed having adobe audition available to do the processing on the live mixes, I have a standard process now where I trim the track in sonar and set the levels roughly; I add any required reverbs using breeze (since it lives in sonar) and then I export the track to a special directory…where I then pick it up in adobe audition.

once in adobe, I open the file, run the amplitude statistics, once I have the numbers, I calculate mentally the amplitude offset I need to get the output to sit exactly at – 6 db, and I then run the amplitude update based on the numbers…  then I save the file which creates the final 24 bit, 8 khz wav master, then, I “save as” a 320 kpbs mp3 file so I can put it on my portable device to listen to.  this also gives me a chance to hear it in compressed form, to make sure the sound quality is liveable compared to the original wav file.

this new process is working really, really well, and I am loving adobe audition – I have also used it to remove pops, to remove badly clipped audio (it did marvellously well at both of these notoriously difficult clean up tasks) and to apply effects and eq to tracks.  I will definitely be depending on adobe audition more and more in the future for most audio work – I love it!

 

 

there is certainly no lack of tracks that need to be mixed, level matched, and so on, and I continue to work through this backlog, I really want to get it  (the backlog, that is) down to nothing so that when I complete a session – I can immediately mix it, instead of it waiting weeks or months for me to “catch up”.  that is the ideal, anyway…

 

of course, it’s not just my tracks that need mixing, I also have the cassette restoration project calling to me, a lot of material there needs additional clean up, and again I will look to adobe audition for some of that, in particular, it has a most excellent fft style clean up available, based on the one originally within it’s ancient ancestor, “cool edit pro”.  I love this kind of noise reduction (where you sample the noise, and then run the reduction based on the sample), and it will be brilliant for cleaning up hissy old cassettes – but it’s finding the time to get back to the cassette project – I have to concentrate on and give priority to the current work, then my collaborations (the “dreamtime” release) and then and only then return to work on the cassette project – as time permits.  and right now, it isn’t !

I am listening this morning to a set of mixes from 20120708, which was my first ever session with the mini-moog V soft synth – and what a beauty it is, possibly the most capable and beautiful soft synth I own outside of the mellotron (m-tron pro).  the artist patches alone are really amazing, and it has a rich and beautiful palette of very analogue-sounding patches…I am in particular looking forward to publishing the work from this session, as a lot of it has come out really well indeed.  and in this case, I am not looping, I am just sitting down at the keyboard, and putting the mini-moog V through it’s paces – and it absolutely performs – a genius instrument. hats off to arturia

so: this coming weekend, I hope to work on finalising “dreamtime” and making the début “scorched by the sun” album available – and then – it’s…

 

…back to mixing, mixing, and more mixing.  next up: remove “pops” from an applications session (live performances on the ipad itself from 20120414 – can’t wait, those were some really exciting first-ever attempts at playing synthesizer directly on the tablet – so those should be really interesting…

🙂

scorched by the sun – “dreamtime”

as you may know, over the past few weeks, I’ve been working on the final mixes of “dreamtime”, and a few days ago, I completed the first full mix of the piece (which is a long-form ambient work, 50:57 in length, conceived as one piece but built from 13 distinct parts) in a long time (other commitments have kept me away from working on the album and then, the album mixes) which my partner in “scorched by the sun”, bryan helm, and I, are listening to and considering now.

I’ve been living with this new mix (the first for almost a year I am afraid to say) for about a week now, and the more I listen to it, the more I am convinced that it is the definitive mix – I am merely waiting for bryan to confirm this.  any minor adjustments needed won’t affect anything (and so far, I can’t detect the need for any) – because this piece of music pretty much mixed itself, I was only on hand to oversee.

I did do quite a few adjustments to both levels and reverb levels, just looking for the right balance between clarity and atmosphere, and I believe that with this latest mix, I’ve achieved that at last.

this is the first time we’ve built a piece like this, and it’s been a fascinating experience for me – starting out with 12 tracks from bryan, which I then arranged into a random sequence in sonar, setting them out across two tracks, criss-crossing them, and then, I began the overdubbing process.

I’ve described elsewhere my initial experience of trying to do the overdubs on this record, how I tried some energy bow guitar, I tried some guitar synths, and nothing sounded right to my ears.  then one day, I quite suddenly realised exactly what I needed to do: “play the mellotron“.  something about the quality of the tracks that bryan had submitted, said to me “mellotron will work well with this”.  fortunately, this hunch or idea turned out to be right – very right, and indeed, it turns out, the mellotron, coupled with the brilliant “breeze” reverb, proved to be exactly the right instrument to make this track a unique and successful ambient masterwork.

the overdub process was one of extremes, really – I went from the most basic voices – “basic flute” to some of the most unusual and bizarre sound effects that the m-tron pro can produce, depending on the requirement.  so I became a flautist, and I play quite a bit of flute on this album, and in one section, I play a melody that recalls early camel to my mind – and I never dreamed in a million years that I could produce something that sounds like that – but the “basic flute” voice is powerful and expressive, and I knew it would be effective, because I’d used it before on tracks from “gone native” such as “force of nature”.

a few of bryan’s pieces involved scenarios where the music would fade up slowly, then fade down to almost nothing, then fade back up slowly, then down to almost nothing again, wavelike, several times – for those tracks, I first played a normal mellotron overdub, and then built volume envelopes that “mirrored” or “followed” the amplitude of bryan’s pieces – so that my parts would “ebb and flow” in the same way as his.  that worked extraordinarily well, although it made for some strange-looking drawings in the audio monitoring tracks for the MIDI tracks.

other tracks of bryan’s with perhaps, a darker ambient nature, needed something more extreme, and I then turned to some of the stranger sounds that the m-tron can produce, and I also made good use of the pitch bend wheel on one of the pieces.  coupling these unusual mellotron voices with the right reverb, meant that in many cases, one overdub, of one mellotron, was all I needed – and in fact, there are only a few sections where I did multiple overdubs, because most of bryan’s tracks were quite dense to begin with, so I didn’t want to clutter things up with a million unnecessary overdubs.

this is a record of transitions, too, and the beauty of building it up in one massive session is that I could create linking parts that actually overlapped two of bryan’s tracks, and this simple device blurred the edges of where the actual transitions are – which worked out really well. sure, you can tell where it changes from part to part, right enough (and I’m not wanting to hide those transitions, but rather, enhance them) but, there are cases where the starting piece continues on into the following piece, and musically, that essentially “glued together” the sections in a very organic and natural way – it made the record flow.

for one track, I got a sinister, creepy mellotron sound, sort of a modified “watcher of the skies” tone, and played a simple, repeating bass line over bryan’s atmospheric track – and that worked really well – then, I held one note which then overlapped into the next track – always at least a slight overlap – so that your attention stays on a melody or a bass line that seems continuous, and you almost don’t really quite notice that a new song has begun!

in another case, a very atmospheric, very simple mellotron melody floats over a super ambient bed of sound from mr. helm, and I really think that the “less is more” principle is hard at work on this record – I don’t believe I’ve ever done such simplistic, yet effective, overdubs on any record up until this one – and most of them were done very quickly, including some “take one” takes – where

I would just set up the mellotron, hit record, play the part – and that would be the take.  reverbs, of course, were added later;  in some cases, quite extreme, again, (intentionally) blurring the lines of the melody a bit, but increasing the “atmospheric” factor of the record through the stratosphere.  there is nothing on earth like a beautiful mellotron sound run through a beautiful reverb – wow.

keen observers will note that I’ve mentioned the album is one long piece arranged from thirteen “parts”; while I also said that bryan submitted twelve tracks originally; the reason for this disparity is that at one point in the process, when I was working on finishing up track eight, I began to conceive of a different kind of transition – a longer one – and that actually eventually evolved into an entire track, which became part 9.

to create part 9, I dialled up another flute sound on the mellotron, something a bit more like a chorus of flutes, and sat down – with the end of part 8 playing out, and played a live improvisation with this eiree, lush flute chorus sound – it took one or two tries, it was wholly unscripted, melody and chords just appearing from nowhere – and that was that.

part of the reason I wanted this “solo” piece if you will, was that I felt something a bit “lighter” – less dense – was needed at that point in the album’s development, and I believe the beautifully sparse “part 9” works perfectly to achieve that – a quiet moment of solitude, and then the album proper returns – as if, on a journey, you briefly took a side-trip to an idyllic spot, and then – got back on the road.  and that’s how it feels to me when I listen back to it – it’s a very gentle, lovely piece of music, and it sits very well in between two much denser pieces of music.

speaking of the “denser pieces”, one of bryan’s pieces – which became part 12, the penultimate track on the album – is extremely atonal and odd,  so my response was to overlay one of the oddest overdubs I’ve ever done, strange screeching, bent sounds that I’d previously never got out of the m-tron pro, but once again, it came to the rescue with just the right sound for that particular track.  that rather extreme piece, became doubly extreme once I’d added in my part!  mixed, it sounds like a blender blending up mechanical parts, on top of a hill full of screeching birds – with a slowly, ascending, ominous winding sound that is absolutely fabulous.

and then – the final piece, part 13 – we return to a very, very serene, quiet, beautiful mode – bryan’s backing track is absolutely exquisitely beautiful – drifting in and out, a lovely, lovely chord sequence… I had to work really hard to find the right overdub for this.  while not normally a big fan of “choir” voices, I eventually found a voice on the mellotron that I really, really liked – and then I designed a six-note melody with a couple of different pitch permutations – and I just played this “singing voice” over the piece, in an abstract “no time” way, over and over, with slight timing variations – bryan’s part drifting in one plane, my ghostly reverbed choir “voice” floating in another plane – and the overall effect is just so, so serene, like two spirits drifting is all I can say – a great ending to an incredibly atmospheric record.

I knew when I set out to do this final mix, that the record would come out well, because, the playing is good – from both of us, but I did not expect it to come out this well.  the sense of going on a journey, of being taken from mood to mood, place to place, dream to dream, atmosphere oozes from every track – and I really am very excited about this new band, and this new album.  it’s not unlike an interesting night full of interesting dreams (with one or two nightmares included for good measure, like part 12); including the way dreams shift suddenly, or gradually, from one to another – hence, “dreamtime”.

and for those of you who are familiar with the other two bands that I’ve been in with bryan helm – “the dozey lumps” (acoustic crafty guitar duo) and “bindlestiff” (ambient looping duo) – well, “scorched by the sun” is absolutely nothing like either of those bands!  this new group has the sound of quietly confident experience – we have both been doing this for a long, long time, and also, with, ahem, some seventeen years since our last proper recordings – in 1995 – (“quiet” and “LOUD” by “bindlestiff”) – well, it was bound to sound different.

for starters, I didn’t own a mellotron or mellotron software back in the mid-90s, and my focus then, as it’s mostly always been – was guitar.  at this point, after so many years, we had agreed we would make a new album, but we both agreed that it really should be nothing like the music we made previously – and we’ve held absolutely true to that agreement – this is nothing like those bands!

for one thing, it’s a mature work, and, it’s an all keyboard work too, OK, bryan and I did do one or two ambient tracks where we both played synths back in the day, but never an entire album, and certainly never a conceptual piece like this, one nearly hour long ambient work, but made up of 13 discrete parts or sections…that is a new idea for us.

my energy bow guitar and loops (conspicuously absent here on “dreamtime”) were also part of the bindlestiff “trademark sound” and without those energy bows, this record has a completely different feel.  I knew that we could manage a very ambient feel by using the mellotron – because I’d managed to make a complete solo album with it (which was recently released as a “download only” on bandcamp – “sky full of stars” – a complete ambient album made solely with the m-tron pro mellotron) – and that turned out to be just as beautifully ambient as any record made with looped energy bow guitars (such as “the haunting” – also just released as “download only” on bandcamp).

part of me believed that for the most beautiful ambient music, that I would need to play energy bow, but another part believed that I no longer needed to or should depend on the ebow – because in this case, the mellotron did an equally beautiful job of complementing bryan’s beautiful synth work.

so over time, we’ve evolved from an acoustic guitar duo, to an ambient looping duo of bryan on drum machine/synths/loops and me on ebow guitar/guitar/loops/synths, to now, bryan on synths, and myself on m-tron pro mellotron – quite an evolution, really.

depending on schedules, I see no reason why we won’t go on to create more “scorched by the sun” albums – I’ve not really discussed that with bryan, but I am quite certain he’d be amenable, as his reactions to “dreamtime” have been extremely positive.  and yes, possibly, maybe for nostalgic reasons, maybe just for fun – maybe we would do some tracks in our “old configuration” of synth and ebow loops – I don’t know.  maybe.

but – beginning with “dreamtime” – I can see a very successful career in the future for “scorched by the sun” – this is a strong, strong start, and the more I listen to this record, the more I can’t stop listening to this record – it gets under your skin, and the melodies, moods and atmosphere begin to haunt you, including those beautiful reverbed “basic flutes” – and as a guitarist, that is something I just never dreamed I would become – a flautist!  that’s very, very surreal, but I love the sound of it.

It’s a similar sensation to playing the flute or oboe via the guitar synthesizer – as a guitarist, you can’t quite believe that by playing your guitar (or keyboard in terms of the mellotron) you can now play virtually any instrument that can be sampled – and you can play it very nearly as well as you can play the guitar – so becoming good at oboe or flute – when recording – is easily possible.  which is yet another reason why the ebow was made redundant, because the mellotron is so incredibly versatile (much more versatile than the original hardware mellotrons ever were), and because it’s sounds are “real”, their inclusion in a piece like “dreamtime” actually ups the game considerably – and it just sounds great – I am so, so happy that I made the decision to use the m-tron pro mellotron on this record.

so – with the beautiful, dreamlike voice and synths of “part 13” fading into the distance, I hereby declare “dreamtime” to be essentially complete, and once the mix is finalised, and we sort out the artwork, we plan to make it available, as our first new release since 1996, on bandcamp as soon as humanly possible.

the first “scorched by the sun” record is nearly a reality, and I look forward to more ambient and possibly active works, as well, from this new musical entity – I give you, bryan helm and dave stafford – “scorched by the sun”, and their debut album – “dreamtime”.

a new dave stafford genre – “synthraga orchestra” revisited

today I am going to talk about a new kind of music that I’ve been working with now since may, 2012 – or rather, I am just getting caught up with a new kind of music that I invented in may, 2012 – and I’ve dubbed this new process the “synthraga orchestra”, and the music that is output, “synthraga”.  I’ve talked about this before, the reason I am thinking about it now is that I’ve just produced and uploaded the first video from the session, which has turned out really, really well.

on may 19th of this year I did my some of my first experiments using more than one ipad application in a live setting, specifically, a set-up where I use itabla pro for drone and percussion, in the form of tanpura and tabla, and on top of that, I play a melody on my 88 key MIDI keyboard, driving another ipad application, a really nice synth named “nlog synth pro” – and that’s the basic set-up – but, wanting to push this “how many apps can I drive at once, realistically” question a little harder, a couple of the improvs include an additional application as well, another nice synth called “mini synth pro” – so two melody synths on top of tabla and tanpura – and that turned out to be the answer for now – two seems to be the maximum at the moment with no special set-up.

I did try adding a third synth, but the output got really, really confused – so I need to read up on how to best layer applications – I know you can do more than two, but I am very lazy when it comes to details like setting MIDI channels and so on – so I managed to get a great sounding basic set up, with minimum effort – which just allowed me to play – and this first video really encourages me, because it shows on film that the ipad is not in any way shape or form a “toy” – it’s capable of making serious music – but without the kind of serious set up that I would have to do say in SONAR, to accomplish this.

in fact, while the set-up is a little bit tricky, on film, it looks easy – I am tapping away with authority as the piece progresses – first, I start off playing the melody with no accompaniment from the itabla pro application.  then I reach down and switch over to the itabla app, and a moment later (all the while, playing the melody synth using nlog synth pro) I switch on the tanpura.

I continue to play with nlog pro synth melody and now, underlying tanpura, for another minute or so; then I reach down and enable the tabla.  I then play the main body of the song, for another couple of minutes, and then, reverse the process: the tabla come out, the tanpura continue, then – everything stops.

it works beautifully, and I am looking forward to producing the next five “synthraga orchestra” videos over the coming weeks, and I hope you will give them a listen – I really think this might be a genre of music that I would, over time, record quite a lot of – it’s quite, quite relaxing, and I really put the pitch bend wheel on the synth to great use too – which makes sense when you are playing what is essentially, a modified raga – I was pleasantly surprised how useful the pitch bend wheel was in creating these pieces, which sound pretty much like the label on the tin: “synthraga” – playing now on the synthesizerHD channel on YouTube.

see you there!

amplitude statistics and unusual ways of mastering…perceived loudness v peak amplitude v the human ear

because I sometimes slightly mistrust my “50-something”-year-old-ears, and, because, by coincidence, I happen to have 26 days left in my latest trial of adobe audition :-), I’ve decided to take advantage of a feature of adobe audition that is very useful – an amplitude measurement tool that you can run on any audio track, that describes it’s sonic characteristics in terms of “loudness” – obviously, it gives you left and right channel decibel readings, in peak amplitude and a lot of other flavours, too;  …sure, that’s the basic thing you want, but it also provides a large number of other supporting figures, including one that appeals to me personally – “perceived loudness”.  not to mention a single overall perceived loudness figure that seems to be based on to a british standard…

I’ve always had a soft spot for analysers (or “analyzers” as I grew up calling them in california) – I worked in an electronic test equipment repair and calibration laboratory when I was, uh, younger…so am familiar with a host of meters and analysers, but these kinds of software-based tools (a very capable measuring device in a very, very capable audio application!) have come a long, long way from the test equipment that I worked with for 12 years some 30 odd years ago, and adobe audition has a seriously detailed tool for assessing the levels, expressed in several different ways, of any audio track.

I’ve been listening on headphones to the completed tracks for “gone native”, and, by my “ear” – the “perceived loudness” seems reasonably even between all 19 tracks.  interestingly, however, in order to achieve this, I’ve done something quite unorthodox.

however…I’ve always been unorthodox when mastering CDs, and my peers would look in genteel horror upon me when I would commit the almost unforgivable “sin” of mastering an entire album to – 6 db (rather than the more traditional “just under zero db” that most engineers shoot for) – for example.

so – master up to zero db like most people?? not dave stafford – he wanted it quiet, not loud.  and, maybe…for a totally ambient album made in the mid-1990s – that’s a reasonable concept, it actually works OK, instead of having to turn the disc DOWN, listeners had to turn it UP – revealing more detail – and, preserving the dynamics better for the listener (in my opinion).  if it’s already as loud as it can go – they can’t turn it up – whereas with some headroom – at minus 3 db or lower – they can turn it up quite a bit… but it’s all subjective, and every pair of ears perceives sound differently anyway…

I am old-fashioned, and when the trend of seriously compressing the hell out of your CD tracks, and having them not just hitting 0 db but possibly peaking above that, the practice of making rock CDs in particular really “in your face” began – well, it’s just not “me”.  since most of my CDs were and are ambient, mastering to less than 0, whether it be as incredibly low as minus 6 db, or, in more recent years, closer to minus 3 db – it just worked for me – I just don’t get near zero decibels – it’s not “the sound” for me.

but when it came time to make “gone native” – well, it is mostly a rock or prog rock album, therefore, it should be louder than my ambient work, so I decided I would target minus 3 db as my baseline “loudness” for this record for the rock tracks – that seemed obvious.  however, in working with some of the tracks on “side two” (tracks 13 – 19), I found that to “match” one track to another that was measuring as minus 3…that I had to make the track I was matching quieter still, in one case, minus 10 db !!

things got even more interesting when I did the measurements using the tool.  I had three tracks that had a very small imbalance between right and left – so I adjusted those.  (although, I do happily allow a small amount, say, half a db at the most, of “imbalance” if that’s what it takes to make the track sound right – I do not insist on left and right being totally equal).

I actually created a couple of alternate “versions” of the master, so I could trial having the last 7 tracks significantly quieter than the the first 12, or…closer in both peak and perceived loudness to the first 12 tracks.  various listening sessions eventually proved out which concept works best overall for this somewhat unusual album…

having both the perceived loudness figures and the single, overall figure is helpful with this, too, but no matter how you measure, or listen,  my “measured perceived loudness” compared to “ear perceived loudness” tests have proved very interesting…

in the end, I decided that the peak amplitude figures – while important, well, I could not let it worry me that the way it the sequence of songs turned out, that some of the ambient tracks did indeed end up with peak amplitudes closer to minus 10 than minus 3.  that is not traditional, normally, you would master all the tracks close to zero db, or, master all the tracks to minus 3.  I’ve done something completely…other 🙂

normally, I would have thought this wide range of levels would be a problem – but in the end, it’s actually not – because:  most of the 12 loud songs, which vary perhaps between minus 2.5 and minus 4.5 db, all have roughly a perceived loudness of…minus 18 db !

so when it comes to the quieter songs, where I gradually lower the level of the tracks as the album moves towards it’s close…even though a couple of the tracks end up at minus 10 db peak amplitude…their effective perceived loudness drops much more slowly – so in the land of peak amplitude, the loud songs may start at minus 2.5 db, and slope down to minus 10 – so a span of about 8.5 db – however…in the land of perceived loudness, the loud songs start at minus 18, and slope down to minus 25 – a span closer to 7 db.  either way, mainly because of careful selection in the ordering of the last seven tracks, the ear is “tricked” – and it doesn’t notice the somewhat gradual (although not necessarily linear!) descent from roughly minus 18 db down to as low as minus 25 db – in perceived loudness (minus 10 db in peak amplitude) – all figures approximate 🙂

or, in perhaps clearer language, the album gradually gets quieter as it moves from the 12 loud songs, into the 7 ambient / experimental songs, but, the perception is of one continuum – and you just don’t really hear that it gets quieter – sort of – towards the end of the record.

I did an experiment, one of the variations I created, where I boosted the last seven tracks to “match” the first 12, so they all had roughly the same perceived loudness – about minus 18.  It sounded…terrible!  the tracks seemed harsh, too loud, and it just sounded completely wrong to my ears!

so – right or wrong – or rather, by all the rules – wrong – to my ear, the running order I currently have, just “works”.  my test audiences didn’t report any issues with this “gradual drop” method either, so hopefully most listeners will never realise (unless they read this of course!).  I would say – I’ve mastered a LOT of tracks now, over a lot of years, and you can take two songs, and run them through identical processes, master them identically, target zero db – and still, when you play them back – one sounds MUCH louder than the other – it’s inexplicable, because even with these sophisticated tools – still, still – the human ear is the best judge, because the numbers do NOT guarantee consistency in volume – only the human ear can do that.  or so it seems to me…

and if you just listen – you would never, ever realise all this measuring and comparing was done – in fact, really, in one sense – it didn’t need to be done, because in the end – I still trust my ears over what the numbers tell me – the measurements just help me understand better the variation in perceived loudness, rather than always relying on the standard peak amplitude that most people “go by” – and I am sure I will continue to use this to analyse album sequences for a long time – a fantastic tool – and props to adobe for creating adobe audition, which I also love for it’s click and pop removal qualities (guess what I will be doing for the next 25 days….)

happy mastering – and, don’t try this (the above) at home 🙂

but the best news is, no matter what the measured values say, in listening to the test pressings – it just sounds really “even”, and really good – if I do say so myself – so I am very, very pleased indeed.

🙂