real synths vs. soft synths – advantages and disadvantages

let’s face it, there is no feeling on earth quite like it, sat at your actual mini-moog or yamaha dx7 or korg m1…the feel of the keys, the knowledge that you can push a button and “that” sound will come out, the knowledge that you can reach over suddenly and bend that note down two octaves…the knowledge that you can modulate a chord until it sounds flanged and warped to kingdom come…

there is a lot that is undeniably good about playing real synthesizers, it’s so tactile and so real – and each synth has it’s own personality and quirks, good and bad.

I know a lot of you have “real” synths, some of you have softsynths, and many have both. but what are the real advantages or disadvantages of real vs. software synths?

this is a topic that I will personally be “torn” on for a long time, possibly always, because I simply could not afford hardware synthesizers, although I have owned a few. if I could have afforded them, I would have a roomful of synths, moogs and korgs and yamahas and synclaviers and god only knows what else.

since I don’t, reluctantly at first, but now, fully embracing them – I began to get into softsynth. my friend and business partner ken mistove helped me at first, way back in SONAR 4, to get my first softsynths going, and over time, it’s become easier – well, somewhat easier – to install and use them.

the first softsynth that really captivated my interest is the m-tron pro mellotron softsynth. and like it’s hardware counterpart – it has it’s quirks. but what is also has is the most beautiful and the most amazing set of voices ever, including many looped and enhanced voices (as well as all of the originals) and it even has bizarre voices such as some pre-recorded sections of a roxy music song, that roxy used in performance; it has black sabbath samples which are awesome, and of course the famous beatles nylon string spanish guitar riff from “bungalow bill” on the white album.

so it’s beyond faithful to the original, but with almost none of the problems that are traditionally associated with “real” mellotrons. in fact, the only real issue I have with the m-tron pro is that it’s a bit too “hot”, you have to crank the output volume way down or you will end up with bad clipping.

but besides that – in a case like this, where the original hardware is very, very expensive, having something like the m-tron pro available is brilliant – let’s face it, the average working musician simply cannot afford a hardware mellotron!! so in this particular instance, I would say that the software version is the clear winner, for so many reasons.

first of all, I sat down in 2009, and made an entire album with it (“sky full of stars”) an album that practically “made itself” it was so easy to do, and the expansive and remarkable palette of sounds that the m-tron offers gave me so much flexibility – any sound I could dream, was probably a preset. I should take a moment to mention the artist presets, where well known keyboardists have programmed patches especially for m-tron – and I have to admit, I use those sounds a lot – the artist patches are outstanding, and yet another reason why soft synth mellotron beats real mellotron.

secondly, quite a few established artists that used to use hardware mellotrons, are now using m-tron pro onstage – so that in itself is huge testament to the quality of this soft synth.

finally, it is just the obvious physical consideration – the real mellotron is neither light nor small and is prone to mechanical failure…so not having to carry that massive beast around is yet another advantage of using the software version.

so in my opinion, in this case, the software version is vastly superior, it does everything the hardware version does and about 700 percent more…so it’s a bit of a no-brainer.

but there are other instances where this may not be true. for example, some of the classics, like the mini-moog, I think might be a little bit more difficult to replicate in the world of soft synths. the mellotron has a particular world of sampled sounds which was finite, but m-tron increased that in a most remarkable way, but, still based on the core sounds.

of course, the moog creates it’s sounds in a completely different way, it doesn’t use samples, so I think it may be a bit more difficult to emulate in the world of soft synths. I do have a couple of moog soft synths, and they are both remarkable, I love them, but unfortunately, I have never owned a real moog of any description (although I did once own an ARP Odyssey) so I cannot compare the experience to the experience of owning and playing a real moog.

I think that for sample based sound libraries, such as the mellotron library, and the fairlight library, that creating software synth versions of a mellotron and of a fairlight, well, the task is made simpler by the fact that the sounds are samples, whereas with both additive and subtractive synthesis, there are some ridiculously complex combinations of oscillators and filters that must be hell to program.

this might explain why we don’t yet have an exact soft synth “version” of certain synths yet, because it’s just too difficult to replicate the exact functions in every detail. having said that, I am very partial to one of my soft synths, the korg ims-20, which is one of the few fully detailed soft synths I’ve seen,where you can actually set up your oscillators and filters and ROUTING by hand – and that is fantastic – it offers and experience that is very, very similar (apparently, since once again, I could never afford the real thing!!!) to the original hardware synth.

my two moog soft synths also offer full control of oscillators, filters, ASDR, and so on, and for me, since I’ve never had or played the korg or moog originals, they offer a remarkably “real” experience – and for me, I can’t discern any real advantage or disadvantage of these soft synths as compared to their hardware equivalents. does anyone out there have a real korg ms-20, AND the ims-20 soft synth? I would love to hear your thoughts on how well, or how badly, the soft synth version compares to the “real thing”.

I must apologise here; I am mixing soft synths (m-tron pro, etc.) in with applications, but in my mind, they are all “soft synths” whether they play standalone on your PC; or if you call them up in your DAW’s synth rack; or if they are iPad apps that you access via a MIDI keyboard – already, in my mind, all of those are blurring into just….”soft synths”.

I never could afford a mellotron or a fairlight, so having the soft synth or app version of those very, very expensive hardware devices – well, in those two cases, I am going to vote for the soft synth or app version every time – since I will never play the originals.

for less expensive synths, for affordable synths, well, those may be more arguable. however, when I think back to my ARP Odyssey – frankly, no offence to Roger Powell or anyone at ARP who worked so hard on those early synths – but my Odyssey was almost unplayable – really difficult to tune – and I only used it very occasionally, with a LOT of set up and tuning time…it just wasn’t quite there. so even for a synth like that, if there was an ARP Odyssey soft synth – I would buy that every time over the original, no questions asked.

so almost solely because I could not afford many real synths, I have now ended up to be a huge proponent of the soft synth and the iPad application. I have so many of both, that I simply do not have the time to learn and use them all! as time permits, I learn another one, and another, because I LOVE finding new and unusual sounds that I can use in compositions or improvisations…every time I download a new synth app, it is so exciting to work through the presets to hear what the inventors have come up with for stock sounds, to test out the various arpeggiations, and so on – it’s enormous fun.

the main advantage of a soft synth or app is simple; no bulky hardware to move around. that’s the main thing that makes soft synths and apps so attractive.

but there are other advantages, such as the additional voices in the mellotron that are not in the original – enhancements like that, make soft synths very, very attractive. I could literally sit and play that mellotron all day long, I could happily make ten more albums using only the mellotron – it’s that remarkable.

in fact, when it came time to work on the “dreamtime” album (forthcoming 2013, the debut album from “scorched by the sun”) I first tried using guitars and ebows to overdub bryan helm’s pre-recorded contributions, but it just was not “working” – and then I had an idea – what if I used the mellotron exclusively? and that was the answer. everything went really well once I switched to the m-tron pro!! so – soft synth to the rescue 😉

I am afraid I am completely spoiled, having so many beautiful soft synths and amazing apps, my interest in real synthesizers has waned considerably…unfortunately. of course, if I had the room, and I had the money…but I don’t, so I am doubly pleased, because I can still PLAY all those remarkable instruments…in their more compact form.

what do you think? are there cases where you feel the hardware version is truly superior – and why? I am a guitarist, primarily, who happened to learn piano at an early age, and who happened to get into synthesizers early on, but I would love to hear from some real keyboardists, what are your thoughts on this?

obviously, soft synths work for me – but that is just a personal preference, and I would love to hear your thoughts on the advantages and disadvantages of either approach.

discuss…

the music of the moment – the “fairlight 51” album – plus, 3 other amazing apps…

in a typical dave stafford multitasking way, even as one album project reaches fruition, another one is still in the creative, formative stages.

so even though I’ve been very involved in the work in support of “gone native“, at the same time, I’ve been reviewing in particular, my work created using applications, and I’ve also been working on application-based existing tracks, improving existing tracks, and, creating new ones.

before I speak about the upcoming “fairlight 51” project and the “fairlight pro” application, which is shaping up to be the next album release after “gone native“, I’d like to speak for a moment about three other applications that I have really been enjoying: “isequence“, “tabletop” and “nanostudio“.  I have not had much time with isequence, but I would have to say that I will be using it for music creation in the future, as a sort of alternative to nanostudio.  it’s laid out in a completely different way to nanostudio, but I really like the available voices, and the different GUI is challenging and fun – so even with just a couple of preliminary test tracks, I am really liking isequence a lot, and I am looking forward to using it much more over the coming months (and years!).

another application that is new to me is tabletop, which is yet again, a completely different layout to the other two, and with a lot of unusual and interesting instruments, many of which are free, and some of which are in-app purchases.  I’ve also done a couple of test tracks in tabletop, and I am equally excited about using it, and isequence, as time progresses.  these tools are so, so exciting to me, because of course each has it’s own synths, it’s own drum or percussion options and it’s just so exciting to hear some of the really sophisticated sounds that these tools can make – a lot of really fantastic sonic possibilities there, and I am excited about finding the best sounds, and using  them in compositions, and trying new combinations of sounds…the possibilities are nearly endless, with so many great tools to make music with…

finally, there is my old friend nanostudio, which was an early purchase, that I have worked with for a long time, and I have probably six or seven pieces in progress. a couple of those are nearly complete or essentially complete, and I went through a full review of the pieces and I am very excited about a couple of them, “atlantis rising” and “alien…or sutin” in particular – these feature the fabulous eden synth, which is one of my very favourite ipad synths, it just has so many amazing patches, and both of these pieces are dense, exotic and full of really interesting synth sounds, some of which are quite odd, but with nanostudio, it’s so easy to sound good – you just lay out a drum track, and then start playing synth parts…and very quickly, you have a really beautiful and complex piece of music built up.

I am thinking that what I might do is dedicate the works that I do on nanostudio, tabletop and isequence to my so-far empty soundcloud account, just so I can get them out there, although of course I will probably gather and compile them for another application-based album down the road…so hopefully, over the next few months, I can get at least my nanostudio work mixed and uploaded to soundcloud, and hopefully add some isequence and tabletop pieces into the mix a bit later on.

and then there is the “fairlight 51” album, the fairlight is one of the first applications I purchased, and I now have a months-long relationship with the fairlight, and I have a great working relationship with the device, and recently, the pieces are appearing almost by osmosis – I build a new instrument, I begin to create passages of music, and often, not always, I have a complete piece of music 30 – 60 minutes later…

over the past few weeks, I’ve created quite a few new pieces for the fairlight, some of which defy description – some of which utterly surprise me – some of which I really cannot even explain rationally. this tool…makes you think in a completely different way, it makes you compose slowly, bar by bar, taking care with every note, every percussion sound, every cymbal splash – and of course, being sample based, you are basically conducting a strange orchestra of eight pre-selected samples, in a bar-by-bar composition that at least for me, well, I really never quite never know what is going to happen with any given composition, until I hit “play”… and then these pieces of music just come to life, and it’s a strange dichotomy – you compose slowly, yes;  but sometimes, the process itself goes very quickly, and in the space of 20, 30 minutes – you’ve composed a very complete and intricate piece of music. as if by magic.  it just…happens.

over the past few weeks, new pieces have been arriving fast and thick – I can’t believe how many have appeared, and most of them, in a single session, an hour or less, and they arrive almost fully-formed.  sure, a few pieces need a bit of work the next day, but that’s the exception rather than the rule – most of them, arrive within 20 minutes or so, and that is pretty much their final form.  that never happens to me when I use normal compositional tools, when I play guitar or keyboard – but when I compose on the fairlight pro…it almost always happens.

and each time, I start with a completely different “instrument” – and the effect that has on the sound, the feel, the mood of the piece – if I select brassy, bold sounds, maybe a cheery, poppy melody will appear, if I choose wooshy synth sounds, maybe something dark and mysterious, and what is also remarkable is how each piece sounds SO different from the previous one!!  it’s as if each piece is a tiny island, a unique island, in a strange archipelago of sampled sounds – but the piece are so unique, and so far, with some 35 – 40 pieces recorded towards the project, there has been almost no repetition of anything whatsoever.

that’s astonishing to me, it really is – that you can create an instrument, then compose and execute a composition, then, the next day, when you repeat the process with a new instrument and a new composition – it comes out completely and wildly different. this is probably because you have eight utterly unique samples, that when “played together” as a virtual instrument, create one sort of “island” of sound; and then the next eight, create a completely different “island”, and so on…so you get this huge and amazing diversity that you wouldn’t think was possible.

over the past few weeks, I’ve been witness to the arrival of “mutant sheepish”, “monsoon season”, “long walk in the pouring rain”, “effective immediately”, “a passage of time”, “kiwi republic”, “the harold angels”, and over the past few days, “carbon life form” and it’s brother composition (which sounds COMPLETELY different) “silicon life form”.

I literally do not know where these pieces come from; each one has it’s own unique identity, and it’s getting to the point where the pieces just arrive almost automatically, I am just there to make sure they arrive safely…

I haven’t tried to figure out why, but recently, the name “fairlight pro” changed suddenly, to “peter vogel cmi” – and I actually don’t care about who owns the code or what the reasons for this change are, if peter vogel can’t use the name “fairlight” anymore – well, it’s been “the fairlight” to me for the past eight months, and I think it will always be “the fairlight” to me – and I am sure peter vogel will only make this app even better; I’m pretty happy with it now, and I am sure it’s only going to get better…

whatever name it goes by, the application formerly known as “fairlight pro” is one of my very favourite applications, of all time, and I can see myself continuing to work with it indefinitely…I love how surprising it is, how you literally never know what a piece is going to sound like until you hit “play” and the remarkable, unique sample set of the fairlight pro comes into play…whoever gathered those samples originally, really selected a remarkable and diverse selection of amazing sounds, such that, fast forward about thirty years from the original fairlight to the app version on the ipad – and those sounds still sound as fresh and otherworldly as they did when peter gabriel and kate bush and so many others made some of the most iconic music of the early 1980s using the £20,000 hardware version of the fairlight.

I could never, ever have afforded that, and as a guitarist, I never would have aspired to…but in december 2011, when I realised I could have that library of SOUNDS for a tiny fraction of the cost of a “real” fairlight – how could I say no?   as a guitarist, I’ve always had a great love of synthesizers of every description, and I’ve always enjoyed creating and composing on piano, organ or synth – but now, to have such a huge array of amazing synthesizers all shrunk down to tiny applications that deliver big sound for very little investment…

these application tools are going to give me so many sonic options, and already, some of my hybrid experiments, where I am driving two or three app synths from one key-press, means that not only can I use the unique and astonishing sounds of an extraordinary array of app synths, but if I want, I can use three or four at once – and that’s when the possibilities extrapolate out into an unknown universe of sonic madness.  and I plan on going there with them 🙂

dave stafford solo album, “gone native”, released, download only, worldwide on august 1, 2012

hello,

this is just to let everyone know that “gone native” is now live on both the pureambient store and on bandcamp, which means you have a broad choice of download formats, from the standard mp3 320 on up through FLAC and even WAV if you so desire.

a proper physical CD release is being prepared as we speak, which will be available later on in the year, but I really felt that these songs deserve to be out there where they can be enjoyed.

I’m very happy, too, that the tracks have been added to bandcamp, which is a great resource, and the bonus there is, you can listen to the album before you buy – always a big plus in my book.

I hope you will take a little time, and go and listen to some of these tracks – this is my dream album, by my dream band – and to make sure the parts were played right, I just played them all myself – another lifelong dream, to follow in the footsteps of todd rundgren and other musicians who “do it all” themselves…it was a joy to play, to be the drummer, to be the bassist, to play the mellotron – and then when the tracks were ready, to sit down and play the guitars.  ALL of them! including lots of energy bow guitar, lots of lead guitar, lots of rhythm guitar, lots of guitar synth – which meant, of course, playing oboes and flutes, as well as many very eclectic, strange and wonderful synthetic voices courtesy of the roland gr-55 guitar synth.

this record was an ABSOLUTE BLAST to make, hard work at times, painstaking effort went into the tracks, working out a precision ending for “open to anything” involving the most precise bass part I could conceive of, in fact, I spent a lot of time trying to achieve really excellent endings on several other tracks as well, it became a bit of an obsession – the lead guitar figure at the end of “force of nature” – even the title track, which features a sped up, super tempo bass, drum, guitar and mellotron finale – fun! (but not easy!).

I am very proud of this record, because it very nearly never happened – I was content, in 2008, to continue working on ambient, looping, ebow – but then I got the idea for “gone native” – starting with a remarkable “take one” live guitar part, which was “thanks, frank” – and from there, it was a real rediscovery of the joy of just playing the guitar!  I played that solo, and it seemed so complete, so right – that I really got inspired to do even better on the rest of the record. slowly but defiantly, I collected these tracks together, testing many mixes, making improvements – until I ended up with the 19 tracks that are on the final album today.

when I was a teenager, I played the music of my time – hendrix, clapton, cream, camel, zz top, zappa, nektar, king crimson, todd rundgren, etc. – all of that, and even though that was really just for about six or seven years of time, that music stayed with me, and I still played lead guitar, even if all my albums did go down either a crafty or an ambient path – that “lead guitar guy” was still there inside me. wanting to rock, wanting to play a little prog, wanting to just let go and have fun playing guitar – and, that is exactly what I did!

In 2009, then, inspired by the one take “thanks, frank”, I kitted myself out for rock guitar, and began to record – learning first sonar 4, then, sonar 8.5 in the process, and really coming to terms with digital recording and mixing – let’s face it, before that, I didn’t need to know how to mix, because I never worked multitrack – it was always “two live tracks – stereo” – I was playing live, loops, ebow, whatever, so there really was no “mix” per se.

but that all changed with “gone native” – and learn to mix I did.  “wettonizer” went through about 10 different major mix session over many weeks, until I was satisfied that it is at it’s very, very best – and it is.  tracks such as “sinuous thread” had very carefully orchestrated, layered mixes, and I really enjoyed both the process and the results.  I really feel now that sonar is the absolute equal of pro tools, and don’t let anyone else tell you otherwise! 🙂  it’s a great toolbox with a huge range of tools available for building, mixing and producing really high quality music. some of the plug ins are absolutely outstanding, and those tools really made a difference to the tracks with really dense mixes – I could mix a LOT of tracks together, but still have clarity for all of the instruments – brilliant!

I am so glad that I decided to have one more go at being a “lead guitarist” and writing “songs” (albeit all “instrumental” songs, but, songs nonetheless – as opposed to live, improvised loops) – it was very strange and surreal, to be building multi-track rock music, instead of just hitting record and doing a loop.  but I got used to it, and over 2009, built up the first half dozen or so tracks that eventually became the album.

in the meantime, I had acquired the guitar synth (in march, 2011) and I immediately began to incorporate it’s huge arsenal of amazing sounds into both the songs in progress, and into a number of new compositions made entirely with guitar synth, which, for the record, are: “caladan”, “sun willow quartet”, “junction”, “salusa secundus”, “desert power I – drone mix”, and “cinematique I” – although “caladan” and “sun willow quartet” also feature sonar’s “session drummer 3” on drums 🙂

I also incorporated some guitar synth into a couple of the earlier compositions, notably, the title track, as well as many guitar synth/atmospheric overdubs on the reverse-engineered 2009 guitar solo that is “this is a test”.  so the guitar synth really expanded my guitar vocabulary, and it was quite remarkable to be playing a flute part, or an oboe solo, or the dual “nylon string guitars” on a track like “caladan” – really an extraordinary experience.

and last but not least, I managed too, to incorporate two other more recent innovations into the project:  on “zencourage”, the korg kaossilator – hand-held x-y pad synthesizer, is the only instrument heard – it’s many kaoss pad loops all worked together into a larger composition; and then also, ipad applications – I used a guitar application called “ampkit+” to record one of the tracks, which is an active energy bow solo, entitled “wide open spaces”.

so this really is a remarkable batch of 12 songs and 7 sonic experiments, and if you want to hear an unusual rock album, with a definite ambient influence, then please visit the bandcamp site and have a listen…start at the beginning, and just let all the tracks play – it is my sincere hope that you will really enjoy this work.

three and a half years in the making, but really, 41 years playing experience went into the making, and here is it at last (well, the download version, for the moment! – the CD version is on it’s way…):  “gone native” by dave stafford.

happy listening!

dave

a milestone is reached – videos past, present, and future

on may 29th, a personal milestone passed, which I noted in passing – this was the one year anniversary of my very first music video – where I recorded an unaccompanied guitar-synth “oboe” solo – “st. alia of the knife”.

 

I then spent a couple of months fighting with the technology of youtube (who are NOT ready for 1080 50i/50p video) and learning my video craft, and eventually, two months after it was filmed, in july, 2011 – that first video, made on may 29th, a year ago as close as dammit, was posted onto the pureambientHD channel.

if you had told me then that in one year, I would have six channels and close to a hundred videos I would have laughed and said “yeah, right” – but, one year has passed, and I do have six channels and around one hundred videos:

pureambientHD – featuring my main ambient music work, plus active music as well

applicationHD – featuring music created with applications on the ipad

synthesizerHD – featuring music created on a full-sized, 88-key synthesizer, playing either MIDI synths (software synths – “softsynths” or VSTs); or driving applications on the ipad; or, using the voices of the actual keyboard – or, combinations thereof

kaossilatorHD – featuring works on the amazing X-Y pad synth, the korg kaossilator – a handheld looping synthesizer

ablackboxHD – the “anything goes” channel – for piano and vocal work, normal songs, strumming the acoustic guitar, covers of songs by the bands I love performed on piano and vocal (including peter hammill, todd rundgren and others), or, performed on electric guitar/guitar synth (some jimi hendrix covers are in the planning stages) – anything and everything that is unsuitable for one of the “official” dave stafford music channels – you will find it here on ablackboxHD – named in honour of the tenth peter hammill solo album (opening June 2012  – any minute now!)

bindlestiffHD – featuring the work of my ambient looping duo (1991 – 1997), “bindlestiff”, bryan helm / dave stafford

at the same time, today, june 2, 2012 – marks my 50th blog post – something else I would not have believed a year ago!!

when I began making music videos in may 2011, I was simply interested in capturing live performances that demonstrate the kind of music that I enjoy producing – so, that’s mostly completely live, using the looper to provide counterpoint, which of course gives me the ability to “play” several guitars or synths at once.  very, very occasionally, I produce a video for a pre-recorded song, but probably well over 95% of the time – what I play is completely, 100% live.

of course, over time, the pureambientHD channel in particular has expanded to include a broad range of music videos, from straightforward live performances such as “st. alia of the knife” ranging on up to old-style loop pieces, or energy-bow loop pieces, or in one case, I actually performed an entire album, “the haunting”, on video, before the album was released late in 2011.

I’ve gone on to make a wide range of videos, most of which are of live performances – of ambient works, animoog and guitar synth duets, active pieces looped using the guitar synth – an endless variety of musical approaches, which will only diversify further as time goes on…

so the original idea of putting up a few music videos has changed, and over time, what I have realised is that, due to some personal, physical limitations that make performing live quite difficult for me – because of that, I’ve only played three gigs in the last 8 years – that I can use youtube as a replacement for live performances – which would allow a broader audience to hear and see me perform my music, while making it possible for me to continue to perform “live”.

this was really a fortuitous accident then, a method whereby I could still bring live performance to an audience, but where I didn’t have to undergo the rigours of the road, travel, equipment setup and teardown, that my physical body struggles with – being free of that – I now have a world stage to work on, so I hope that I will be able to provide a lot of great live performances over the coming years for people to hopefully enjoy.

the other channels evolved out of new instruments and new ways of working that emerged beginning in december, 2011, when both the korg kaossilator and the ipad with it’s endless, amazing music applications, both arrived, and, both soon become part of my sonic arsenal – that then demanded new channels be created to accommodate this new content.  so “kaossilatorHD” and “applicationHD” came into being.

finally, in february, 2012, I replaced my 35 year old yamaha synthesizer with a modern, 88-key m-audio keyboard, and I very quickly realised that I can control my amazing ipad synthesizer apps from the 88-key controller – meaning I can play the larger keyboard, but make sound changes and utilise the mind-warping capabilities of the X-Y pad within each of the synth apps (most of them feature an X-Y pad). this meant then that “synthesizerHD” had to come into being to present these pieces.

the arrival of the full sized keyboard also means that I can resume playing the piano “songs” that I’ve played all of my adult life, so I am currently re-learning (slowly, painfully in some cases) much of my old repertoire, which includes extensive numbers of songs by peter hammill, both solo and his work with van der graaf generator; as well as songs by genesis, daryl hall, steely dan, split enz, king crimson, and, dave stafford – all of this material, once recorded, will go on the new “ablackboxHD” channel.

this really neatly solves a long-standing problem, OK, primarily, I am an ambient looping guitarist.  so, I have a pureambient channel, “pureambientHD” to present that music – that’s fine.  but what happens when I want to perform a live version of a jimi hendrix song, or sing a peter hammil song sat at the piano, or play a wild synth solo on my korg kaossilator or on the 88-key synth – so these additional channels allow me to perform ALL of the different kinds of music that I perform, not just the most well known, ambient one – so that’s definitely a win-win situation…prior to this, I had no place to go to play hendrix, hammill or rundgren, or any of my non-ambient works.

I think that the next couple of years we will see all of these channels mature, as more content is added to each one, and hopefully, eventually, this will truly represent the many, many styles of music that I can and do play, and hopefully, it will begin to demonstrate the broad range of performance styles I can and do embrace – I don’t know yet, but I am very encouraged by all the positive responses and comments from everyone, and I am looking forward to producing more, not fewer, videos, as time goes on, for your listening and viewing pleasure.

not saying I can absolutely do them, I will try if it’s possible – so – are there any requests?

also on the table – as an adjunct to the broad range of live performance videos on the six dave stafford content channels – inspired by my friend har’s live broadcasts on stillstream, I am considering the idea for myself – starting off slowly, perhaps, a live show once a quarter; if they go well, then I would consider to moving them to something like monthly – I do like the idea of a live streaming show, because while I am very, very happy indeed to create and present all of these live music videos, I do miss the audience, and even if I can’t “see” them, having an audience to work with again would be great, I would really enjoy it.

so – live videos will absolutely continue – possibly, with the added feature of live streaming ambient concerts on something like a quarterly basis.

I think that video is a great medium for live music, because it allows me to present the performance, sure, that’s one aspect, but I can also add in a creative aspect, by making films and integrating not just other footage (usually, that I have filmed myself) but pertinent transitions and effects, I can take an 8 minute music video and (try to, at least!) make it into a piece of art, with both a performance and the ability to tell a visual story to go with it, so I am developing as a filmmaker as well as a musician.

during the last year and a half, an enormous amount of technology has emerged that has really, really changed the way I record, perform and present my music. I am so excited about this, and I am really looking forward to what the next several years has to offer – right now, I am blown away by what is possible, I am barely scratching the surface in terms of really using my tools and applications to their utmost, but – I am learning, and as I learn, I will share the successful experiments here on one of the six dave stafford channels.

at the same time, audio recording continues on several fronts, and we will also of course continue to offer normal albums and tracks at the pureambient store, at the moment, we are featuring a sale on the two newest dave stafford albums, “the haunting” and “sky full of stars” which are normally £5.99, they are on sale until the end of June for just £3.99, so this is your chance to pick up two great ambient albums at a special reduced price.

if you are not sure you are ready to “take the plunge”, you can always check out our two free album downloads; in either ambient or active “flavour” – download either or both completely free, in high quality 320 kbps MP3 format. (please note, to download either or both of these, you do need to enter your details, but they are absolutely not shared with any third party whatsoever, they are strictly kept to identify our customers and for statistical analysis of the store’s performance only – your details will NOT be sold, given away, loaned or otherwise – under any circumstances at any time).

 

meanwhile, I am off to compose post 51 🙂      and play some guitar !

applications-based music – the allguitar / oneguitar / dreamguitar app – cantor is the beginning…

well, last night, I bought an application for £1.49 that I think is a bit of a game-changer; I really like micro-tonal synthesis anyway, and this is from the same developer who created “mugician” – which is a great app to emulate indian music on, and since I really liked “mugician” a lot – when I saw this brand new app, released to the store on may 26th, I did not hesitate – “cantor” was downloaded and installed.

“cantor” is to electric guitar what “mugician” was to mock sitar – so this is an ipad tool for guitarists – and having just had a brief try of it last night, I think it’s going to be fantastic for live performance, useful in the same way mugician is useful when you want to play something microtonal on your ipad, but now, purpose-built for guitarists.

at first look, it’s a fantastic app, you have control over everything: the tone of the instrument, reverb, distortion, etc. as well as being able to configure the playing area (the “strings” as it were) in a number of ways, it even has a looper which I found a bit tricky, but I did get it to work in the end – plus, audio copy and paste (which I couldn’t quite get to work, but never mind, the app is only four days old!).

but for sheer “fun factor” – it’s fabulous, and I think it will rapidly become one of my most loved and most used apps, because while it’s not exactly a guitar, it’s damnably close in terms of it’s sound, it’s playability – I found that you can even press down three or four notes at once and get a pretty convincing “power chord”…brilliant!

the developer has placed a link to a site where you can look at tutorials, and has provided his contact details (this always impresses me) and he seems devoted to making the product be all that it can be – and I really hope he keeps developing this one, and gives it more functionality, more features (MORE distortion please, different distortions – please!) – but, out of the box, I already love it, it’s truly fun to play and I think it could turn out to be an awesome musical tool for myself and many other musicians needing a guitar-like tool on the ipad.

I could dream this thing into something really amazing – now he’s already got the basic guitar functionality (and I could do trills, I could do “tapping”, it works really well!) going, I would really love to see some enhancements – such as, what if…I think it would be fantastic if you could run this thing in tandem with one of the better guitar effects apps, such as ampkit+ – so we would need a way to feed the audio output of cantor to the input of ampkit+.

or – conversely, build a “better ampkit” – guitar effects, and lots of them – and none of this “you have to buy this pedal, then this pedal, then this pedal” crap – that’s nonsense – charge more for the app, sure, but don’t rape the customer once he’s bought it) – just one massive playground of effects boxes. and later, a rack mount section too.

it’s strange, we’ve had a lot of effect-based apps, but not too much in the way of input devices except for plugging a real guitar into these effects.  now that cantor gives us, effectively, “a virtual guitar”, I’d love to see it coupled with the effects apps somehow – either externally by being able to route the output of cantor to the input of ampkit+ – or by building an entire effects module right into it…one way or the other. after some initial discussions with the developer, I think this needs to be more about apps working together rather than building one giant guitar app that does it all – but either way – I can still dream, right??

once I’ve played with the app for a couple weeks I am sure I will have some SENSIBLE suggestions, but right  now, I am more excited about this app than I’ve been excited about any app since fairlight pro.

I would say, even some simple effects, chorus, flanger, phaser, wah, would be a good place to start – they don’t have to be super fancy, but just so we can alter the tone quite a bit more – nothing like a bit of chorus on a clean sine wave guitar; or a bit of flanger on a very distorted rhythm guitar…

or you could just go insane and build in a complete guitar synthesizer, something like my roland gr-55 but for the ipad – call it my dream cantor-55. please do!!

OK, I have to go there: here is what I would absolutely dream it would do:  full on guitar synth, with as many presets as possible (and configurable sounds), including all of the “classical” instruments; full on guitar modelling so your basic guitar can be a strat or a les paul or a 12-string (plus the ability to blend/combine/shut off synth/guitar models/amp models); full on amp modelling so you can have a fender twin or a marshall or a line 6 or whatever; and finally, a complete effects family, in two sections; one, a full on stomp box (similar to ampkit+) and two, a rack mount as well, with more complex effects devices, especially a big, beautiful reverb with some massive rooms in it – no one builds decent reverbs!

call it “allguitar” or something like that – everything you need, no actual guitar required (although it would be good if you COULD play your real guitar through the synth, guitar models, amp models, and stomp box/rack mounts too) – that would be way cool.  you would never need another app – everything could be done with the one app.  maybe “oneguitar” is better, I don’t know – don’t care about the name, just want the app that does it all….

so I see it sort of like this:

cantor (or, real guitar or synth, plugged in to input)> imaginary cantor added-in guitar synth > imaginary cantor guitar modelling > imaginary cantor amplifier modelling>

note – all are switch-able, so you can have:

guitar synth only

guitar modeller only

cantor unprocessed

any 2 of the above

all 3 of the above

then, from any of these stereo chains into…

two parallel effects chains

imaginary cantor stomp box wonderland, like ampkit+ but better and NO “in-app” purchases please! >

imaginary cantor rack mount wonderland, like guitar rig for ipad, but better and NO “in-app purchases please!>

note – these are switch-able, so you can have:

stomp box effects only

rack mount effects only

both

none

then, from any of these three stereo chains > summed back into one rich stereo output > noise gate + reverbs **

** all stomps and rack effects can be “pre”, “mid” or “post” – so:

immediately after cantor (or real guitar or synth input)

immediately after the guitar synth but before the guitar models

immediately after the guitar models but before the guitar synth

immediately after the guitar models but before the amp models

immediately after the guitar synth but before the amp models

immediately after the amp models

immediately after the final output of stomp box or rack mount or both

you know, I don’t have the time to ever do or learn something like developing apps, I also don’t have the patience or the temperament unfortunately, but sometimes, I wish I were a developer. I would love to design apps (but not have to build or maintain them!) – all the glory, none of the pain!  of course, I realise that what I’ve just described would probably be far too large and clunky for one app, and it would probably be best to do this with two or more apps, but hey – I can dream (and I am dreaming, with THIS description….).

maybe it should be called “dreamguitar”…but whatever they call it, I want someone to build it, so that ***I*** can play it…sigh.

note to all developers: please ignore this, I realise that it’s absolute fantasy but who knows, maybe some day…

🙂

the music of the moment (and the music of the past)

work on the backlog of audio continues, I’ve actually made some pretty good progress on several different fronts, unfortunately, not so much progress on others, but there is a lot of music beginning to emerge:

from january 2nd, 2012 session, I’ve now mastered the final version of “signs of winter” and after a lot of trials and tribulations, the video has been rendered and uploaded and is available for your watching/listening pleasure now.  this is one of the longest version of this improv, and it’s really a good one, it has a really long and very cool animoog intro, and a great looped and live strings session following – this might be my favourite of all the versions of this song so far.  I’m also happy that this session is now complete, because that means I can move on to assessing newer sessions – so that is exciting, too!

I am continuing to work on recovering a set of animoog audio-only recordings that fell prey to the overloaded IRQ-created pops and clicks, and I de-clicked and de-popped the first seven of twenty tracks, and it looks like at least two of those seven are “takes” – and just hearing these again, and hearing them without pops, the animoog is a very, very capable synth with some great, great presets, but it’s ability to customise that I am looking forward to – creating variants of presets that sound even better/stranger, it’s hugely fun to play with, and then of course full x-y pad capability, so I can alter as I play too…love that instrument!  so – fourteen more to clean up, using adobe audition, I don’t quite know what I am going to “do” with these tracks, perhaps some of them might be suitable for the orsi-stafford album, and/or, part of yet-another-unplanned-but-there-it-is album of synth music by yours truly.  the last track I did, which happened to be track 19, had the most amazing tone, it sounded kind of like a modified, textured motorcycle, but the resulting track just sounds fantastic – I love the sound of the animoog, it’s such a nice synth!

I also mastered a 45-minute session by holding stafford & corriere, from 1977, and it was fascinating to look back at this session, made when prog rock was at it’s height, and hearing myself as a 19-year old prog guitarist wannabe is a strange experience now.  when I hear those three 19 year old men play, I see a big prog future for them, but the reality was even stranger, ted holding went on to play in pop / top 40 bands, I went into prog briefly but then took a sharp detour to crafty acoustic/ambient/ebow/looping and never really got back into prog until the last ten years or so… and I have no idea where our drummer, rick, ended up – the last time I saw him was at an allan holdsworth concert in san diego.

it’s exciting hearing these improvised pieces again, I really enjoyed mastering this tape, especially because I had the very powerful hum, hiss and noise reduction capabilities of adobe audition to help me – something you will always need with a tape of this age.  I was able to make the performances sound as good as they can, I am very thankful indeed that ted holding did such a great job of miking up the session, with his carefully-placed stereo drum mikes on rick’s kit – everything sounded great, but with the help of the clean up audio tools in audition, and the mixing tools in SONAR, I think this is one of the best efforts so far as far as cleaning audio for the pureambient blog audio companion page.

the tracks went up this past saturday, a week ago today, so I hope you’ll have a chance to download and listen to this improvised session, it’s forty minutes plus of great prog rock, performed live in the studio by yours truly and my two best junior high school pals – it’s a fun session, but it’s also a serious stab at playing in the style of the day – and it succeeds on a number of levels – including a 17-minute plus prog opus that I really enjoy, complete with almost ambient creepy organ break and tony banks-style warped organ sound at the beginning, entitled “resolution” – not to be missed.

there are four songs, six tracks: three takes of the first piece, “propulsion”, each of which has improvements and alterations over the previous one, we are clearly trying to work out the piece – and by take three (which interestingly, is twice as long as take 1 or 2 – they are about 3 minutes plus each, while take 3 runs a full seven and a half minutes), it has taken a pretty decent form; then there are three unique tracks: “revolution” – which has a kind of heavy guitar bit in it that I quite like, it’s a nice little jam – followed by the remaining two pieces…

“resolution” is the aforementioned super-long prog rock extravaganza, and for my money, it’s the most interesting thing here musically.  it begins with something planned, and then the rest is just made up – but that start – I have something really detuned going on (despite the absence of a whammy bar, somehow I do this) while ted is turning the power of the hammond off and on to get this weird, warped sound (and what a sound it is!!) that hammmonds famously make when you shut them off and on while playing – and it sounds amazing, a totally beautiful effect from the organ and guitar, and rick is furiously playing something akin to freestyle jazz on the drums, which gradually resolves into a rock beat – so the song starts like a staggering drunk man, who gradually gets up and starts to walk a nearly straight line. I can say without reserve that this is probably the best single “beginning” of a song that I’ve ever been involved in, I remember cooking it up with ted, and it just worked phenomenally well – excellent work.

I think it’s remarkable to realise that, the beginning of this song was “planned” literally seconds before we did it, we would discuss the upcoming piece just prior to starting it, and I can remember this surreal conversation – “let’s start this one out really strangely and then move into the piece…” – and that is exactly what we did!  but then – how did it evolve into a more than seventeen minute long prog masterpiece?  that was not planned – but, we just kept playing.

it then transforms from that strange, detuned beginning into a really nice long jam – with lots and lots and LOTS of guitar solos and organ solos, and a beautiful “quiet” section from ted too, that I really like – just a nice piece of work, considering that only the beginning is planned, and the next 16 minutes are totally conjured up out of nothing, on the spot, by the band!

to close the set, the final piece “evolution”, is quite unique in that it was built to a strange concept that I came up with:  I could see that the cassette was nearly full, with just a few minutes left, so I said “ok guys, let’s play in E major just as FAST as we possibly can” – so we start off at a furious pace, and indeed, play until (and beyond, no doubt) the tape runs out – and we manage, somehow, to keep that relentless pace (I can audibly hear rick struggling to keep the drum beat going at this tempo!) up for a full three minutes – a really nice way to end the set I think.

so much more music is appearing that I find that I don’t have time to document it all, however, suffice to say that I did four different recording sessions today, that went something like this: five experiments involving running soundprism pro from the sono 88; eight tracks working with the itabla pro application and one or more application synths playing along with it; nine tracks involving the korg electribe drum machine (this thing is genius!) and various other synth apps; and finally, ten tracks made using “pinkie” – the original korg kaossilator.  That was a good day of recording, and I look forward to hearing some of this material back…especially the kaossilator session, which was completely unplanned, and an enormous amount of fun – what a brilliant device!!!

I learned a lot about just how much you can get away with in layering synth apps and drum apps when triggering from the 88 key keyboard, and I think that among all that was recorded today, that there will be a number of releasable items – I am sure of it.

I now return to the land of removing clicks and pops…

the music of the moment – application-based music

because I have currently have a large backlog of audio and video that was recorded / captured, but never mixed or mastered, my work habits have altered to accommodate this – when I am in the studio, I work exclusively on the backlog (occasionally on the new orsi-stafford album as well) so making new music has temporarily moved exclusively to the more portable ipad.

 

it seems that each week, somehow, I manage to write and sequence yet another piece for my ever-growing library of unusual music that is the fairlight pro collection – in other words, the tracks that will become “fairlight fifty” – at least once a week, other times, maybe even twice a week, and the past week was no exception.

 

the current fairlight pro piece is as usual, quite different from all previous fairlight pro pieces – this time, featuring a strange, almost creepy accordion as the lead instrument, utilising a sound call “submarine” as my rhythm keeper, along with the odd pitched-up or pitched-down (never normal pitch) crash cymbals – the instrument I built is part drone machine part melodic accordion and percussion, and I so, so pleased with the outcome – the piece is currently titled “seagulls” and it has two sections – the original creepy accordion melody (recently improved) and a second section that has a strangely-altered rhythm from the first section, so even though the instrumentation is the same, the second section has a completely different rhythmic “feel” to it so it sounds like a big change – but it isn’t really!

 

it also features a different melodic voice, with a beautiful “humans” voice, voxfemme11, which was previously part of the drone accompanying the accordion section, taking over from the fairground/horror accordion in part two, and it’s even creepier when the accordion returns briefly…

 

so “seagulls” has been my lunchtime project this week (and part of last, it was actually begun then) it’s taken a little bit longer to get this one to fruition, but, well worth the extra work I’ve done on it the past few days – because I believe it’s finished now.  today’s addition was a brand new “middle section” – featuring the bass being removed, and the lead now taken over by a sped-up high-pitched talking drum, which give this third section a completely unique character of it’s own – so now I have three distinct sections, each characterised by a different melodic lead instrument: accordion, female voice, talking drum.

 

it sounds strange on paper, but it’s working really well on the fairlight, and that’s all that matters!

 

 

I am creating so many of these pieces that if I keep going at this rate, “fairlight fifty” will be done in no time.

 

the only slightly frustrating aspect of this is that I am not moving forward on all fronts, because all of my studio time has to be dedicated to clearing the backlog, which means, mix, mix, master,  then, mix and master – and if I am not mixing or mastering, I had better be fixing clicks and pops in recorded pieces and then get on with … mixing and mastering, so this means that I simply do not have any time available for guitar synthesizer, working on album tracks for any of the albums in progress- including collaborations, doing more sessions with the kaoss pad, doing new sono 88 synth sessions (although I have managed a few of those, since the setup is very easy).  there is just no time!

 

don’t get me wrong, there is almost nothing I love more than working with apps on the ipad at the moment, it’s absolutely fascinating to me to be able to make good music on a very portable device, and in learning all these apps and making recordings in several different apps – I have many, but am recording seriously with about 8 or 9 of them at the moment – maybe more – and new ones about to be added – it’s absolutely great fun and I am compiling a lot of good music for future use – including the fairlight fifty album.

 

there will also absolutely be at least one other application-based album, and that will be pieces made in nanostudio – which could not be more different than the fairlight pieces if they tried – two completely different instruments means two completely different sound palettes – and the pieces are distinctive to “their” synth – and, eden synth in nanostudio is a very different beast to fairlight samples.

 

nanostudio itself – that’s just a great tool, so easy to learn, great drum sequencer, super high quality drum sounds, great synth – I have created some really good pieces in nanostudio, so I will actually need to get those mixed and mastered along with the fairlight fifty, so there will eventually be large number of app-based pieces presented in at least two albums, if not more – including a few very ambient pieces as well as more active drum-based pieces.

 

 

speaking of that backlog, my business partner ken mistove found me a viable solution for removing pops and clicks, adobe audition, most distressingly; a set of carefully-prepared synth pieces that were intended to be the first tracks presented on the new video channel on youtube, synthesizerHD – all ended up quite damaged due to clicks and pops, so the opening was delayed until the first pieces could be repaired – thankfully, that is now all OK, and the new channel is up and running with the first two tracks now up.

 

so as well as trying to save those tracks (and others damaged by pops and clicks earlier on, as well) I have begun working through the other tracks from the same sessions (in this case, an ipad synth session from april 7th with nine tracks on it and a sono 88 keyboard/ipad synth session from april 9th with 15 tracks on it) – both, with pops and clicks, but a few of the tracks have escaped totally unscathed – so I am mastering those now.

 

I made a start last night, selecting tracks 8 and 9 from the april 9th session to start with, and those two tracks bear startling witness to the quality of one app in particular, a synthesizer app that is fast becoming one of my very, very favourites – addicitive synth – I love the sounds this thing makes, and playing it from the full size keyboard is the icing on the cake.  it has many, many amazing voices, but it’s best feature is a truly astounding set of preset arpeggiators, some of the most intricate, clever and creative I’ve ever heard – not to mention the facility to create your own arpeggiators – something I can’t wait to try!

 

It was a lot of fun play synth with arpeggiators again, it’s been a long, long time since I’ve done that, but what I try to do with them is hopefully atypical, most people use them to play really fast parts that they can’t actually play with their fingers, usually accomplished by holding down one note, then another, then another, and letting the arpeggiator do all the work.  I don’t go that way – I just play normally, or, rather, I adapt my normal playing style – and I play a combination of notes, chords, bass notes, and mixtures of the same – to try and get the arpeggiator to create unique music.

 

I like to fool the arpeggiator, by not allowing it to fully trigger, by playing short notes or chords that only fire off part of the arpeggiation, and I am already re-triggering it before it finishes – I try to use it as a musical tool, instead of leaning on it because of a lack of actual playing skill.

 

I think I succeed with this, I really don’t want to use arpeggiators as a gimmick, at the same time, I think some of the very creatively-programmed arpeggiators in addictive synth are extremely musical, and they allow me to play challenging pieces with unexpected and wonderful results…I haven’t yet watched the footage yet, so I am actually not 100 percent certain how I made these tracks, but, that will become clearer in time – I just know that in mastering the audio, the result I got for tracks 8 and 9 at least, and a few others I know, is very musical indeed and I hope is a valid way of using the device to make music, not letting the device control me.  I hope!

 

I finished track 8 last night (working title “externalisation”), creating mixes for audio and for video (all video mixes now get a standard six seconds of silence added at the start, and 21 seconds of silence added at the end, for ending reverb, titles and so on) – I just find that makes things much simpler, instead of customising each one – I always target six seconds pre- and twenty-one seconds post-audio when creating audio for video use – and of course I usually edit that 21 seconds down to something shorter, depending on the configuration of the end section of the video.

we always want to be in charge of our machines, rather than the other way around, but on some days I do feel like technology in general gets on top of me, and sometimes the machines win – and it’s then that I remember the phrase “watched over by machines of loving grace” – maybe that’s another album title – I don’t know!

the music of the moment – fairlight fifty

this is just to say, that the first of a number of applications-based albums is well underway, it now has a title “fairlight fifty” (many thanks to colin bathgate for that title), and there are a number of completed compositions now ready to go on to the mix/mastering stage, and more new tracks are appearing all the time….

three things have spurred me on to commit totally to this project:

1)       the bizarre and unique nature of the compositions I am doing on the fairlight pro is an absolute inspiration, the tracks are utterly unique; like nothing I’ve ever done before and like nothing on earth that I’ve ever heard before

2)       I accidentally filmed some birds the other morning, including crows and jackdaws, which became my latest video and the newest upload on the new applicationHD channel, presenting the first single from the record, “feast for crow

3)       I realised that for some strange reason, the average length of an average dave stafford fairlight pro track is about two minutes or less (one or two tracks stretch out to a lengthy three or even four minutes long, but in the main, they all seem to be right around the two minute mark); originally, I jokingly said “I will just wait until I have fifty and then I will release them” but now – I take that completely seriously, because if the most recent tracks are anything to go by, when I reach fifty, there will be then be fifty of the most bizarre and unique tracks I’ve ever recorded…

why not?  at the moment, I am planning on an early 2013 release, as only about a dozen of the required fifty tracks even exist, and I have several other projects that I really want to complete and get under my belt this year – so I can have the freedom to then turn to the fairlight pro project and complete it hopefully in time.

during the mastering of the audio for the “feast for crow” video, I also re-assessed the last few pieces that I have recorded, “unwinding prophecy”, “guitarilla”, “fun with cardboard”,  “petroglyph”, and a brand new, partially completed piece entitled “seagulls” – I realised that these pieces are even more unusual, unique, strange, weird and bizarre than my usual fare, and frankly – thanks to the amazing design of the fairlight pro application, with it’s strange approach of triggering real samples of real instruments and controlling note pitch, volume, duration, pan, etc. as you sequence the samples – that  these pieces of music make up a very special group of songs, each one made with a different customised eight part instrument – and that to gather up fifty of them as an album would be a very, very interesting sonic experience indeed, I hope, ending up as utterly unique as the dozen existing tracks sound now…I just can’t resist the temptation – so, an album there shall be!

fairlight fifty – I like it! (and so – the fairlight fifty album project is officially born…).

on monday night, after having mastered the audio for “feast for crow” on sunday, I assembled the video using the footage that I had taken just a few mornings previously at the end of april.  the video was a lot of fun to make, demonstrating an epic struggle of nature, with the more intelligent crows ending up in possession of the prize – the feast – and the dullard seagulls were defeated once again due to their overwhelming desire to posture and flap their wings and fight and chase each other off – while the crows patiently wait, eat what they can, and end up with the food anyway because the gulls had basically all chased each other completely away – a really cool avian slice of life/real-life bird video to accompany this most peculiar of songs.

best of all, the “lead crow” then does a victorious hopping exit stage left at the end of the video, which I just loved – you would almost believe that they knew I was filming, the way they behaved…

feast for crow” is one of the very, very first songs I created with the fairlight pro app, and given that I didn’t really know or quite understand what I was doing at the time, it came out quite, quite well all things considered.  I believe that for the album, I am going to record these pieces utterly flat, with no EQ or reverb or any alterations except to match levels – because I love the way they sound flat!  I experimented with adding reverb, EQ and other effects when working on “feast for crow” but in the end, decided against anything, so I reverted it back to the basic captured track and mastered from that.

I am seriously thinking I will do the whole album that way – but, possibly, with a twist – once completed in it’s “plain vanilla” version, I might then take “breeze” or other effects, and really go wild on copies of all fifty tracks – reverb them, flange them, chorus them, delay them, echo them, because while I love them plain – I am also sure that some of them at least, would really, really benefit from some serious “treatments” – I can’t wait!

another possibility is doing a single energy-bow guitar overdub of each track, which might be a very interesting musical experiment indeed – but we will see – I really feel that these unusual tracks have so much potential, so I do plan on spending a lot of quality time in the studio with them, to see what is…possible.

that would mean producing two masters of each track, but the tracks are so short, it will be easy to do that – so I think I will move forward on that basis.

I guess that means then that we will have both “fairlight fifty” and “fairlight fifty (enhanced)” – and maybe – “fairlight fifty (energy bow jam version)” too –  to look forward to next year.  I can’t wait!!!

journey through the past (how we gather around what is precious)

I’ve been so pleased with the progress made on the pureambient blog audio companion page, and I am really excited about the music that is still to come as well, discovering all this historic music is both interesting and challenging.

those were simpler times – but I’m constantly amazed by the quality of what these young people (ted holding and dave stafford, and their various friends and musical co-conspirators) accomplished. I am even more impressed by what they accomplished without the benefit of technology more complex than a teac 3340-s – the four-track reel-to-reel recorder of choice in the 1970s.  that was all we had, ted had a 3340-S when we were recording from approximately age 15 – 19, and sometime later, I ended up with a 3340S of my own, which I made many, many records on – all the way up through 1995 when I got my first pc.  so the state of the art in 1975, well, we had the four-channel deck, ted had good quality mixers, a monster power amp, and giant homemade speaker cabinets to play back through – heaven for two teenage musicians!

the next set of tracks that I am working on will again, reveal a whole new musical direction for holding & stafford, we are now going to veer away from pop, into the fascinating territory of progressive rock improv; with ted holding demonstrating that his ability on hammond organ meets or even exceeds his remarkable capacity as a vocalist or pianist – it’s really an extraordinary set.

I notice now, though, that something else begins to happen: I publish the tracks, people hear them – other people who were there, who remember Ted and his amazing voice, and his amazing songs – and those people then join in, they begin to contribute to the process – in fact just today I received a remarkable recording from joe norwood, featuring ted on a cover version of an ambrosia track – so with joe’s permission, we can very probably add that track to the pages at some point for everyone to enjoy.

this phenomena is really one of the most positive aspects of the internet, for us, uh, more mature folk, it gives us the chance to locate our oldest friends and share with them music or events from the far distant past, no matter how far apart we have become physically.

and when we run across something really special, like the original music of ted holding, well, for me, it made me sit up and notice, “this is something truly special” – so you want to share that, you want people to hear this music that means so much to you, that means a lot to you because you were part of it’s creation – but, that aside, it’s important because it is truly, truly music of quality.  it demands to be heard.

then, people who knew the music’s creator appear, and the whole experience just becomes even more enriching, moving and compelling…

when I began the audio cassette restoration project, I never dreamed for one minute that it would be anything more than digitising some cassettes, and hearing and posting on my web site, some of the music from my past.  I never dreamed it would then take on a life of it’s own, eliciting such positive responses, and also allowing me to reconnect with some of the other players who were either there at the time along with us, or folk who knew the composer later on in life – the whole thing really has surprised me, in a really positive way – it’s been fantastic.

I can’t wait to get the next batch of music processed and put up on the audio companion page, and watch and listen as this musical story unfolds, and this section, the section featuring my best friend, ted holding, has been my absolute favourite chapter so far, and I know that there are many more pieces featuring ted that will come to light and will add to this online collection of historical, archival releases.

please join us, stop by and have a listen to some of ted’s songs, and our performances of those songs – I would hope you will be pleasantly surprised by the quality of the songwriting, the passion and power of the vocal performances, and the obvious love that we have for the act of music.

as we then move the audio cassette restoration project into the 1980s, the audio companion page will track my own development, first, as a pianist, then, on hammond organ, up until 1988, when guitar really took over completely as my main instrument, I did a lot of really interesting work with both piano and organ, and a lot of this music has never been heard – everything from noise experiments involving a pedalboard that could make music with no guitar attached, to covers of the songs of the day, the music I loved, played on guitar, piano, organ and often, with vocals.  so really, a whole new side of dave stafford is about to be unveiled – over time.

 

when it came time to look at my back catalogue in terms of digitising the work, so, originally, I could produce physical CDs, and latterly, so I could produce portable versions of the music in MP3 form to make them available as downloads, there was absolutely no way at the time (1995) that I could go all the way back to these earliest works.

so I picked an arbitrary cutoff year, and decided that everything before 1992, I would not digitise (at the time) and most of everything after 1992 (with a few notable exceptions, such as 1994’s “worldview” cassette) I would digitise.

it was really an accident then, that my 1992 album “voices from the desert” became my “first” album – which is actually inaccurate, I had created albums on cassette in the 1980s, but since all of that material was before the arbitrary cutoff date – well, “voices” has remained as my oldest released record until now.

the cassette restoration programme, and the reel-to-reel restoration programme slated for 2014 (or sooner, if it can be managed) will aim to change all that, and I hope eventually to “meet in the middle” – as my published CD catalogue works back from the present to 1992’s “voices from the desert”, the dave stafford works to be published on the pureambient blog audio companion page will work forward from 1971 (my oldest recorded music) up to 1992, when “voices” was created”.

 

it should be noted that 1992 is just the cutoff for dave stafford “solo” works, for bindlestiff and the dozey lumps, well, the former goes back to about 1991, while the latter stretches back to 1988 – but those were exceptions to the rule, and needed to be digitised and included in the currently available back catalogue, which can be downloaded from the pureambient store.

as I noted above, good things start to happen when you share music, and I cannot be more pleased than I already am about unearthing and presenting the remarkable music of theodore landis holding, musician and friend, and I am so glad I have taken the time to clean up and present this work on the audio companion page – a labour of love, as peter hammill might say.

 

the original songs of ted holding presented here are a tribute to my friend and musical partner, and are dedicated to his memory.

 

 

journey through the past – holding & stafford

I’ve now completed the 1975 mixes of ted holding and dave stafford in the studio, and the ted holding band live at helix high school, and latterly, some 1977 ted holding band/holding and stafford mixes as well.  being already mixed; being from cassette; being 38-year old recordings; they posed some real challenges, and it took quite some time just to deal with these three quite short pop songs.

the first one, from the 1975 tape, is a cover of a song by the band chicago (before they disintegrated into one of the crappiest am radio one-hit wonder bands later on – ugh), a track called “questions 67 & 68” that ted and I both really liked, we played it often, and one day, we decided to record it properly.   this is probably the first multi track recording we ever made together, and given the very limited technology available to us, it’s really quite mature and well thought out – for two 17 year old musicians.

the track features:

part 1:

ted holding: lead vocal and upright piano – live take

dave stafford: rhythm guitar – live take

that was the standard live arrangement, so that would have been the first part recorded

part 2:

ted holding: double-tracked lead vocal and farfisa organ – overdub

part 3:

ted holding: double-speed piano solo

part 4:

ted holding: double-speed farfisa organ solo

so this quickly became more of a fun experiment, because of course we had hit on the same trick george martin used of the dual piano solo in “in my life” – playing the backing track at half-speed, playing the solo at normal speed, and then when you speed up the tape, the solo plays back at double speed – and is an octave higher.

I assume what happened here is that parts 1 and 2 were bounced to one stereo pair; resulting in a basic stereo track of piano, farfisa, rhythm guitar, and double-tracked vocal, and then onto that, on two separate channels, first the piano solo, and then amazingly, doubling the same solo on the farfisa on the one remaining empty track.

because double-speed piano was on one channel and double-speed organ on another, ted was also then able to mess about with the stereo imaging, creating a fantastical sound – a piano and organ racing along at impossible speed – a great solo, completely invented by ted (it certainly doesn’t feature on the chicago version!) – all I could do is sit back and admire the creativity, the talent, that allowed ted to envision, record and double-speed that solo – a hugely creative and successful idea.  it’s a shame that the track is otherwise so simple, but we only had the instruments we had, and clearly, this track was recorded some months before “we’ll shine” and “you’ve gone away” were – the presence of the hammond on “we’ll shine” gives that away, the presence of the farfisa on the chicago track clearly indicates it’s an older piece – possibly even recorded the year before, in 1974, but there is no way to tell, so I’ve included it with the other 1975 in studio session piece –  “we’ll shine”.

the 1977 tape (blessedly) adds to the somewhat meagre offering on the 1975 tape, adding in a third song and a remade version of “we’ll shine”, so we at least have a fairly decent representation of the three ted holding original songs currently available.

the main trick in dealing with these pre-mixed cassette versions of the tracks is removing the hiss without damaging the music.  the hum is easily enough targeted and removed, but hiss is a problem – not so much during the pieces, but at the end, during the natural fade out of the instruments.

one track in particular, a ted holding original called “we’ll shine”, gave me a lot of grief, I could make the track sound good, but the fade out was just so, so noisy – the cassette is, of course, a mix down from a reel to reel, where there were three sets of two live instrument/voice combinations, so: a lot of hiss on the source reel because of the bouncing. this meant that by the time it reached the cassette, the noise build up was pretty extreme.

yet, if I hiss reduced the whole track, it just killed it – the crisp quality of ted’s voice, the bright piano just sounded too dull, too lifeless – so I had to find another way to target just the fade out section of the song, while preserving the amazingly bright, trebly sound from the tape (I can’t believe how bright this track is after 38 years on a cassette!).

I eventually hit on a technique that worked – I’ve used a similar technique to add reverb to just the end of a song – I split the last part of the track into 11 very short sections – perhaps 3 or 4 seconds long each (well after the vocals are finished, so posing no threat to their good sound), covering perhaps 30 odd seconds of music, and then added a separate graphic equaliser to each section – and then gave each one a progressively stronger amount of reduction of the frequencies in question (4400, 4800, and 5200 Hz), so starting with a 2 db cut, then 4 db, then 6 db…eventually ending up, during the last few seconds of the song where the hiss is most severe, at minus 18 db.

this is the same process as with the reverb-adder, where you add a tiny bit, then a bit more, then a bit more, until at the very end, there is enough reverb to give the ending something to “drop” into – works great.  once you have the pieces eq’d (or reverbed) to your satisfaction, you just bounce all the split clips back into one, and you are finished!

the effect this has is quite decent; the whole track remains bright, then, as it nears the end, that brightness fades quite gradually (not suddenly as it does if you just split it into two), the track getting imperceptibly duller and duller until at the end, the hiss reduction is severe – but it makes a huge, huge difference, it’s not perfect, there is still noise, but it’s much, much better than the version without the “staggered hiss reduction” I applied.  (I’m calling this “shr” my new staggered hiss reduction technique!) – by using the staggered or gradual technique, you don’t “notice” a “sudden” change from bright to dull, it just happens pretty organically – and it works!

in listening back though to these ancient recordings, these three tracks have come out really, really well – in particular considering the age of the tapes – they sound like they were made last week. of the three tracks, “we’ll shine” is the most fully produced – and it demonstrates just how good holding & stafford could be, given time in a studio situation.

“we’ll shine” features:

part 1

ted holding: lead vocals and fender rhodes electric piano – live take

dave stafford: rhythm and lead guitar – live take

that’s probably what the first pass was, because of course this is recorded in a series of three stereo passes.

part 2

ted holding: harmony vocal 1 and hammond organ – overdub

dave stafford: facsimile bass – overdub

I am extrapolating this from the way I believe we would have done this, in conjunction with my failing memory of the session – it’s a long, long time ago now!

part 3

ted holding: harmony vocal 2 – high harmony – arp omni string synthesizer – overdub

dave stafford: harmony vocal 1 – low harmony

we both worked on the arrangement, and in particular, the vocal harmonies which were expertly mixed in stereo by ted – I love the stereo separation in this mix, and the backing vocals just sound so, so good – we worked on that for ages and ages, and then when you add in the stereo placement – you get pop vocal heaven.  ted’s one-take lead vocal is perfectly framed by three harmony vocals done as overdubs – ted doing all but one of them himself.  I am honoured to have been allowed to sing on this track, I really am, since my voice is no match for ted’s!

the first time the background vocals come in, every time I hear it, it just sends a shiver down my spine, it’s so perfect, so beautiful – probably the best single vocal harmony I’ve ever been involved in.  of course, that is mostly down to the fact that it’s 80 percent ted’s voice and you can barely hear my two low notes of harmony !!

it’s possible that there are four rather than three harmony vocals, depending if I possibly “sang as I played” on part 1 or part 2, but I can’t tell – there are certainly three at a minimum, but even so, it sounds incredibly full and rich – really stunning background vocals, that take this song to a whole new level.

the third and final track from this rather disjointed collection of tracks from 1975 is a live track, and of course, that made it much, much easier to master, because the crowd is so noisy that any noise at the beginning or end is totally masked anyway – so it was just a case of trying to optimise the sound of the band and the vocals.

this one has an expanded line up, the ted holding band, which included ted on piano and lead vocal, myself on rhythm and lead guitar (including slightly nervous solo), our friend jeff slater on bass and harmony vocal, a drummer whose name I do not recall, and strangely, the helix high school choir director on extra harmony vocal – and he adds in some very strange and wonderful harmonies during the end part of the song – and, in the special “surprise” additional coda that we played on this occasion only – we arranged this just before the show, that we would count in the track again and play just the chorus one last time – and, we didn’t tell the choir director, so he was taken completely off guard – but, he just jumped straight in and did a beautiful job of rounding out the piece.

we played this piece either two nights running or three, I don’t remember, and on the earlier nights, we just played the song “straight” – but on the third night, since the piece was going down really well with the audience (based on the first two nights’ experience) we made the decision to have this secret, surprise extra ending – and I am so, so glad that the one recording of this song happens to be the one with the extra coda – that’s a real stroke of luck.  I’m slightly hopeful that somewhere, on a reel to reel tape, that there might be other versions of “you’ve gone away” – but if that hope is in vain, then I am quite, quite happy with this one lone version – it’s a heartbreaker, it really is.

of course, if I **am** able to adapt my old TEAC 3340s to 50 hz operation – which I don’t yet know, and if the multi track masters still have sound on them, I may be able to improve on these mixes – if there are multi track versions of any of these songs – which I would happily do, this music is a huge part of my teenage years, despite it being “pop music” it means a lot to me, so I am glad to have spent the time making these mix downs presentable, and by the same token, I would happily spend more time doing the same to any multi track masters that may exist – which would give us even better versions of these songs.  so – stay tuned – an upgrade could be in the works.

I am also secretly hopeful that I can expand the number of ted holding-related tracks I have by gaining access to the reels, I believe that somewhere, there are recordings of holding and stafford playing and singing a cover of the beatles “no reply”, and I would love to present that along with the rest of the ted holding related material.  we shall see…

that would give us two covers – one by chicago, one by the beatles – and three ted holding originals – a mini album if you will

right now, the tracks featuring ted, complete tracks discounting fragments, look like this:

from 1974

froggy’s holiday (stafford / holding) – three takes

from 1975

questions 67 & 68 (lamm) – cover of a chicago song, multi track

we’ll shine (holding) – official studio version, multi track

you’ve gone away (holding) – live at helix high school with the ted holding band

from 1977

ted holding band

we’ll shine (remake) (holding) – recorded live in the studio

a variation of the ted holding band – the core band – ted & dave;  jeff slater on bass, plus special guests jim whitaker on guitar and rick corriere on congas – this is a completely different version to the original studio version recorded in 1975 – and I had no memory of this session until I heard this tape! – I had no idea that we’d remade this song with a live band!!!  this provides a really interesting glimpse into ted’s compositional thought processes – various improvements have been made to the song’s structure, even up to including an almost todd rundgren-style philadelphia whoop during the take – I think right at the end of jim’s solo.  making use of the presence of two guitarists, too, ted expanded the solo section to allow a solo from both myself and jim; the whole song has undergone a makeover.

holding & stafford

love and I can hide (three takes) – live studio run-through

the third and last of the ted holding original songs to be presented here, when I listen to the potential in these songs, I just wonder what else ted might have gone on to write…there is no mastered, mixed version of this track (at least,  not that we’ve found yet) but these live run-throughs feature some startlingly mature playing – we are 19 now, after all – and I am playing a real bass (no idea whose – I did not own a bass until I was in my late 20s or early 30s), and some of the endings especially are absolutely amazing, where ted found something amazing on the piano, while I was doing my best to be a very melodic chris squire in the high registers of the bass – and we’d reach the end, and you could feel us holding our breath, a pin-drop ending I call them, where you don’t want to make a sound lest you spoil that perfect, ringing combination of notes.  a shiver and a sigh…

 

still to come:

from 1977-1978

holding, stafford & corriere – live in the studio, instrumental prog rock improvisations – approx. 30 minutes worth

holding, stafford, corriere & morgan – live in the studio,  instrumental prog rock improvisations – approx 30 minutes worth

these are probably the first recordings that demonstrate my interest in prog rock, where I am playing lead guitar now with some degree of confidence (although with quite underpowered equipment and effects) and in conjunction with two drummers and the remarkable keyboard skill of ted holding, these recordings are a good indicator of what was to come – my brief journey into the world of progressive rock began right here.

I can’t wait to process these tapes – these sessions were enormously enjoyable, and they capture a fantastic moment in time – 19 years old, really starting to be able to play…it’s finally really happening! and the facility that ted displays on the keyboards on these prog improvs is just amazing – no matter how well I do, he is light-years ahead of me.

given how much time has passed, and the fragility of the medium of tape, I think it’s an absolute miracle that so much material from this era has survived.  I am also deeply, deeply grateful that they did survive, since my friend ted passed away in 1975, if they had not survived, his music would not have ever, ever been heard by anyone.  and after a thirty eight year silence, I am so, so happy that this beautiful music can be shared with and experienced by his surviving family and his brother and sisters.

so by chance, because I saved a bunch of old tapes that I made when I was a teenager, this music does exist – and in particular, those three ted holding original compositions – songs from the heart, all three of them love songs or songs of unrequited love – are still here with us now.  even better – in multiple versions – two different versions of “we’ll shine” – one studio, one live; one version of “you’ve gone away” – live, and three wonderful, rough versions of “love and I can hide” – live in the studio.

at the time – this is just what we did, we were musicians – ted had these songs, I was his friend and his main guitarist up until about 1978 (when ted moved on to playing with a much better guitarist than I was, joe norwood), – we had the songs, so we recorded them.  I had forgotten just how much time and effort we put in to these songs, but it’s clear from the tapes: we absolutely did; we worked really hard on these songs, we cared about them; the arrangements, the playing, the singing – we were proud of them, and ted’s skill as singer, writer, musician, producer and engineer cannot be overstated – I learned so, so much from him, he made me a better pianist, a better engineer, a better singer, a better producer – he had more talent in his little finger than I do in my whole body.

I was the guitarist, the bassist, the occasional harmony singer – the second keyboard player – and I was happy to support my friend, because even though I later went off and got heavily into progressive rock, and then ambient, and then guitar craft, looping and so on – at the time, those serious, heavy pop songs meant the world to me – and I’m so, so proud to have been such a significant part of their creation – ted accepted my contributions and assistance, we worked on the arrangements together, and I did everything in my power to make the songs succeed.

a few nights ago now, I heard both the remake of “we’ll shine” and the three live in the studio takes of “love and I can hide” for the first time since we recorded them back in 1977.

and it seemed particularly poignant, the takes of “love and I can hide” are a bit rough, ted’s voice maybe not at it’s angelic best, a little cracked, but – once the take starts, we both play as if our lives depended on it – and I am very surprised too, because I am playing a real bass, and I sound like I really mean it, I’m trying very hard to play a perfect and complimentary part to ted’s almost automatic piano playing.

I should say a word about that playing – during all these takes, on his own songs – I am constantly amazed at how mature, complex and beautiful ted’s piano (and organ, and string…) parts truly are – these do not sound like piano parts composed by a 17 or 19 year old boy, and the playing (and the songs) belie ted’s young age – this was, clearly, an old soul in the body of a teenage boy. I felt a real sympathy with ted, I could feel the real emotion in the songs (and you can absolutely hear ted’s emotion in the sound of his voice) as we played them – for that moment, we both were living the pain of unrequited love or love gone wrong – and these three fantastic ted holding original pop songs are amongst my proudest moments as a young musician.

the only song we ever truly co-wrote was our very early instrumental “froggy’s holiday” – which was really mostly my song, I had these chords, and then together, we worked out an arrangement, so it became a collaboration.  even though I did work on the details, on the arrangements and parts of the three ted holding originals, in my mind, those three songs will always be “ted’s songs” and I wouldn’t dream of taking a writing credit for any of them – they are his, his alone, and as such, I am so happy and proud to present these three beautiful, beautiful pop songs from the genius mind of a wonderful young musician, mr. ted holding.  I hope you can hear these buddy, you should be so, so incredibly proud!

the music of the moment – application-based music

the music of the moment – application-based music

another really unusual piece has appeared on the fairlight pro, this time, an oddly cheerful little ditty called “fun with cardboard” – which I am actually thinking might end up becoming the title track of my proposed/future fairlight pro composition album.

 

strange though it might seem, the title appeared to me sometime last weekend as a possible album title, but then when I sat down to compose on the ipad, specifically, to work on a new fairlight piece, it just hit me, this piece must be “fun with cardboard”. and then the track appeared with frightening speed, practically writing itself – it was done very quickly, with just a few tweaks to the sequence the following day – clearly, it was meant to be, and – this will sound very unusual – it actually sounds like “fun with cardboard” – if you were, somehow…having fun with cardboard…this is what it would sound like!  really.

 

I still cannot get over the weird and wonderful process that occurs each time I begin composing with fairlight pro, it’s just pure strangeness – I never have any idea what I am writing, I just try melodies and harmony, and if it works; fine, if not, I delete the offending bars and try to find something better.

 

if it sounds good, then I keep it; if it doesn’t, or it seems boring; I dump it, and I just keep replacing any bad bars with good until all the bars are good – simple!

 

sometimes, it’s just not selecting the right notes – and, it can be tricky, because most melodies actually stretch across two or more patterns; or, sometimes, the instrument you chose for instrument 3 is just no good; so you have to stop and find something more suitable.  once the instruments are right, then you can carry on creating.  but this time – the instrument was fine, it required no changes, and I was able to work very quickly indeed.

 

I found in this case, I could create a really fulfilling sequence using very, very few individual measures, it has more repetition, and fewer “unique” bars – normally, the ending and the measure or measures leading up to it tend to be unique, but otherwise, compositional fragments get re-used a lot during this particular track.

 

even stranger, writing intentionally in a minor key – e minor, with one brief excursion to a minor – you would think that the piece would take on the normally-perceived characteristic of the minor keys, and sound “sad” – but for whatever reasons, the reverse is actually true, and this piece oozes happiness and joy, it’s decidedly, almost annoyingly, cheerful. which I think is great, usually when I record in e minor, I want a dark mood; a not-cheerful mood – but this time, it backfired, and due to a combination of tempo, instrumentation, and the random process of dave’s haphazard “compositional technique”…it came out sounding really happy. and, with a sudden, snappy, unexpected ending too – which is a real bonus.

 

of course, that makes me happy too, because I have lots of dark, creepy, strange/soundtrack music already recorded with the fairlight, so there need to be some more melodic, cheery pieces to counteract that.  but – not too many – because we love our dark atmospheres, don’t we?

 

I actually don’t know if I have spoken about the piece before this, written a couple weeks back (it’s been so, so busy!) entitled “guitarilla” – a track that really has got me thinking about the true potential of fairlight pro.  the fairlight has a lot of great guitar samples in it, so I use them – and in this case, I developed some riffs that eventually, I turned into a song.

 

it took some doing, but I now have it sorted out, the whole piece is based on riffs, but some sections have a series of chords that plays out behind some of  the riffs– but, the overall effect is of a clear sketch, or prototype, of a fairly heavy guitar piece.

 

after thinking about this piece for some time, I realise that I could actually design riff-based guitar songs on the ipad, with fairlight pro, rather than on guitar – and then just learn them; or even overdub the fairlight track with real guitars (which is my plan for “guitarilla”).  however, I always have the option; once I have a good recording on “real” guitars – of just erasing the Fairlight track – use it like a disposable template.

 

I’ve never been great at writing on guitar, I do not know why – most of what I write is on keyboard or on piano.  I can improvise on guitar all day and night, but, I don’t sit down and work on riffs, or riff-based songs, like I might have when I was 22.  having the fairlight now, though, with it’s awesome selection of heavy, heavy guitar sounds, will allow me to compose in riff mode once again.

 

I doubt that’s what the designers had in mind, but I really think this will become a great tool for doing quick sketches, for working out my riffs and ideas and even chord changes – and then taking that to the daw and fleshing it out with real guitars – possibly then discarding the entire original fairlight template piece in the process.  or keeping it – whatever sounds the best.

 

I’ve only had this tool now for about four months, but as with so many of these synthesizer/recording apps, I really can’t imagine myself being without it, it’s so flexible, it’s so fun to create with, and some truly unusual pieces have appeared out of nowhere using the fairlight pro. some of that is down to the samples, which are mostly really quality, but some of it is down to knowing how to best concoct a good instrument (8 voices) to use for your creation, and some of it is down to the actual bar-by-bar compositional approach – all of that combines, somehow, into creating an atmosphere where the unusual can happen – and it usually does.

the future of pureambient – two modes, two paths: one musician

I’m a guitarist, first and foremost – except, really, that’s not quite accurate; I was playing the piano ten years or more before I ever picked up a guitar.  it’s just that guitar, and guitar synth, are my instruments of choice, it’s what I love to do the most – especially if it involves looping, creating on the fly – or using the energy bow – I love doing live looping with the ebow.  but years ago, there was a time when I played piano as much as guitar (or more, for a short period of time).  and over the years, the piano gave way to the synthesizer.  until very recently, I had a fairly limited set up – a 77-key keyboard with plastic keys, the soft synths within sonar, and my trusty mellotron – m-tron pro.  but now – that has totally expanded, and I mean really expanded, to the point where I have so much amazing possibility – so I do want to take advantage of that.

now that the pop and click problem is solved, to try to equal out the “guitar to keyboard” session ratio, I suppose! – I can foresee doing a lot more synthesizer sessions, using the 88-key keyboard in particular (either on it’s own; driving soft synths in sonar; or driving app synths on the ipad) – it really opens things up in terms of possibilities.  I am really pleased with how well the midi is integrated on most of these apps, I have full control of the app from the remote keyboard, and that’s a true joy – I can now run any soft synth in the world from sonar, and/or, from the ipad – thousands and thousands of synth voices available at the push of a button – it’s heaven for the dedicated synthesist. 🙂

but now, now that I finally have a full-size keyboard again, for the first time in over 35 years (I know, that is really hard to believe) I am finding that I really, really enjoy playing synthesizer.  I feel that it’s a completely different effort and oeuvre than my main body of work, it’s almost like a “different” dave stafford is the guy that plays these mad,  inspired pieces on addictive synth (and – the name is apt, once I start playing on this synth, I just can’t stop – the arpeggiators in particular fascinate me, the musical possibilities that they open up…). and more recently, I’ve been using some of the free synth apps I’ve got – one of which, alchemy, is a monstrously cool app – it has two x-y pads, and the way they have been programmed is just stunning – to be able to control not just the usual parameters, but now, they are giving me panning, so I can create my own custom stereo image as I play the track, or reverb room size or level, or effects panning – so you can play the keyboard with your right hand, and with your left, simultaneously effect two different parameters on the two x-y pads in real time – how excellent is that????  so maybe I could be changing the low frequency oscillator with one finger, while changing the reverb level with the other, while my right hand plays the piece.  alchemy is a blast – I love it.  that’s one where I might well spring for the full version.

I am finding more and more synth apps, and a good percentage of them have unique features that set them apart from the others, in some, like alchemy, it might be particularly good x-y pad control – in others, such as addictive synth – it might be a lot of really well-programmed arpeggiators.

I would hasten to add…I don’t use arpeggiators to “cheat” – I try to use them in a more creative way – as we were recently discussing over on the pureambient group, but to create music that my fingers could not possibly play – using the machine to create music, rather than trying to pretend it’s me doing it myself – the camera won’t lie, you will see what my fingers do, and I think it’s fascinating to see how playing an arpeggio, or a chord, or running 3 notes continuously, to see, and much more importantly, hear, how that triggers and changes what the arpeggiator is doing at any given moment during a performance…it’s absolutely cool what you can cause an arpeggiator to do if you really work at it.  you have to play it, not let it play the song for you.  the human is the boss; the machine does the processing…

so over the coming months, I see two different, separate bodies of work evolving: one, the continued work with guitar and guitar synth, in the pureambient vein – meaning both ambient and active work, of course, which I will continue to present on the pureambienthd channel on youtube.  that will involve continuing the explorations with the guitar synth, which, after a year and a month, I still feel I am only just beginning with – it’s such a complex and wonderful instrument, and when I think how many sounds I can get with the roland gr-55 guitar synth, and then I think about the soft synths in sonar, and then I think of all the synths I now have on the ipad – well, my head spins.  musically, I can get just about any sound in existence, and if I don’t have it, I can sample it 🙂

then there is this new body of synthesizer work, completely different in nature, it’s as if I can express something completely different to what I am trying to do with my guitar work – and there is a two-pronged approach to this, one, the work with the kaossilator, which I really want to develop and enhance; and two, this new line of synthesizer pieces – those two forming a whole new branch of music that I can work on in the future.

I already set up the kaossilatorhd channel to accommodate the korg kaossilator pieces I’ve recorded, but a few days ago, I set up a brand new channel (which isn’t available just yet) called synthesizerhd, which will feature video of some of the new synth pieces I’ve been recording.  so pureambienthd will handle all of my ambient work, and all of my guitar synth and active guitar work – it’s all about the guitar.  while kaossilatorhd and synthesizerhd will handle the kaoss pad and synth work respectively. I thought about putting all of it onto pureambient, but I think that would make for a very confusing video channel – one minute, totally ambient loop guitar, the next, mad loud synthesizer work – no!

I’m using a new video framing technique for synthesizerhd, too: instead of the typical room shot I use when playing guitar, which is an act really involving the whole body anyway, since playing keyboard is possibly a bit more about the hands, I have set up the video to film my hands playing the keys, a lovely long shot down the entire length of the keyboard – so you will be able to see how the music is created – I rather like this new approach for the synthesizerhd channel.  over on the pureambient channel, the format won’t change, I will still do the set as whole room, but I like the idea of having a fundamentally different format for the two channels – or rather, to be precise, it will be full room for pureambienthd and kaossilatorhd, hands on the keys for synthesizerhd.

and on my other as-yet-unpublished channel, ablackboxhd – well, there is no format decided ahead of time, because on that channel – anything goes.  so – any format goes 🙂  it will mostly end up being about normal songs, covers of work I admire, that sort of thing.  so now, I have two unopened, unpublished youtube channels, that I am working on getting set up –please be patient, but, ablackboxhd and synthesizerhd will exist this year!

this past weekend, I have recorded yet another set of synthesizer videos, this time featuring clickless, popless audio, so I have quite a lot of video review to do now – and a lot of tracks to choose from with which to populate my two new youtube channels.

I am committed to doing this, of course, my main commitment is to ambient, and to continue the work done with the 50 videos now sitting on the pureambienthd channel – I see no reason to stop – now that I have a process going!

the ongoing work of music – application-based music

even though I hadn’t then solved my pops & clicks problems (I have now) – recording continued – even in the face of adversity.  ken and I eventually eliminated possibilities for what was causing the pops, until we found the problem – so hopefully I  now emerge with a less buggy process, and I won’t end up with so very many, many damaged tracks to repair 😦 – or abandon 😦 :-(.

on april 7th, I recorded 9 pieces direct from the ipad to sonar, then, on april 9th, I recorded an additional 15 pieces using the 88-key m-audio keyboard to drive the ipad – and thence to sonar.

the good news is, having all of the amazing voices of all the synth apps on the ipad available to use, from an 88-key keyboard…is fantastic, I’ve literally doubled or tripled or quadrupled the number of individual synth voices I have available with which to make music. with sonar, you get a large number of synthesizers, everything from true piano onto some of the strangest and most wonderful patches imaginable. adding in 8 or 10 full-bodied apps from the ipad – just increases that number to what feels like almost infinite possibility.

the bad news is – all 24 of these pieces (plus, an earlier batch of songs made with the animoog) – all have clicks and pops that will have to be removed.  in a few cases, those may be so severe that a perfectly good ambient track may not end up presentable.  that is upsetting and frustrating in this case, because the worst possible scenario has come true: damaged recordings, when I actually played very well, performance-wise. every musician’s nightmare: you finally get it right – and… there’s something wrong with the tape???????????  or the more up to date version – there’s something wrong with the files?????????

so I am trying to get past the damage, but it’s not pretty, and the amount of extra time and effort it might take to “save” these tracks – may just not be worth it. that is a huge, huge shame, because for whatever reason, this batch of songs is truly unique, I think that having the new keyboard now for a couple of months, and doing quite a bit of playing, including the sketches for the new orsi-stafford album project – well, that just prepared me to sit down and play something really good. and that’s what I did.

let’s then get to those performances…first things first, the ambient ones – whether I can save these (because of course, the quietest tracks have the most damage) or not, what I have learned is that in two of the ipad apps in particular, I have musical tools of great, great beauty – specifically, addictive synth and animoog – between these two synths alone, even if I just ignored all the rest, I could coax sounds of both great beauty, atmosphere and ambience out of them, as well as the less ambient voices, which are suitable for a whole range of active work.

these recordings favour the addictive synth – one, because it’s new to me, sure, but it’s fast becoming one of my very favourite synths in the whole world, for two reasons: great sounds, and, the single most amazing arpeggiator I have ever worked with.  whoever programmed this arpeggiator – I take my hat off to you, you can select from a broad range of incredibly musical, complex preset arpeggios, as well as totally controlling them manually – make your own. it is fantastic!  the animoog is, however, running a close second, because it has some stock voices of absolutely compelling beauty. and lately, I would now add in mini synth pro as a close third – a really beautiful and adaptable synth…

 

all three of these synths allow you to use an x-y pad to modify sound on the fly, so they are equal in that regard.  for the first session, I did a number of addictive synth and animoog takes, playing directly on the ipad.  for the second, using the 88-key m-audio keyboard, I worked with more synths: starting with addictive synth, then animoog (trying out some of the new patches there), then, curiously, I did a few takes with the dm-1 app, which is a drum machine, but it’s got an enormous number of really unique kits with some amazing sounds, and finally, I did one take with minisynth pro, using a really lovely sine patch reminiscent of the sound used in the beatles’ “here comes the sun”.

 

starting with the april 7th session then:

I began with an ambient piece in the key of e minor, using one of my instant favourite voices from the addictive synth, “mare tranquilitatis” – it’s difficult to describe, it’s sine based, but also, complex, the longer you hold down a key, the more that happens – from subtle white noise whooshing in to strange, quasi-distorted and strangely detuned events – a really beautiful, subtle and complex patch, and perfect for playing ambient music.  it really does sound like the music you would hear while visiting the sea of tranquility.

while the piece is supposed to be ambient, I kinda push the envelope, playing some very fast parts in the later parts of the song, so it moves from very ambient to semiambient, but the overall effect is lovely, and this is one of those patches where you could play just about anything, and the sound of the patch is so beautiful, that you can’t go wrong.  play well – and it ends up really enhancing your performance. I love this patch, and that becomes obvious, because I do one of the nine takes here using it, and three of the fifteen from the later session using it 🙂 – so four out of 24 takes using just one patch – I must like it. 🙂

then, I select a few voices from the addictive synths choices: sponky, terry reilly, tonka, siderial 2 – and I decide to play a piece where I am changing the arpeggiation fairly constantly, while I move through the four chosen voices.  it’s not entirely successful, there are some awkward transitions particularly moving in and out of the siderial2 voice, but mostly, it’s fantastic – because these voices are brazen, loud, and top notch in terms of the way they’ve been set up.  I can say without hesitation that out of all the synth apps I’ve got, out of the box, as-is, the presets in addictive synth are the best presets of any device so far – and, there are 160 of them!  I can’t wait to see what I can do when I start creating my own voices using some of their best voices as a starting place…

the third piece begins with another new favourite sound from the addictive: resozz. it’s just such a visceral, wonderful sound that grabs you hard, and you can’t stop it – it’s relentless. again, this piece is a mixture of different voices and therefore moods, starting with a very active sequence from resozz, then, moving to a voice called water flute, it takes a left turn into a strange, disquieting land of ambient…then back to the mad patterns of arpeggiation again, but this time, driven by a patch called constant change – a wonderful and unique musical journey – unlikely, but it works.

piece four using yet another set of pre-chosen voices, beginning with repercussions, then moving on through resozz; dank; crunk; dropsy; bepu-bepu; and others, and this journey is simply mind-blowing, the texture, this synth oozes texture, and pushing that key and hearing all of these patches in one song, each with it’s own special arpeggiation pre-programmed – you cannot fail – it’s just a thunderingly cool set of sounds. this is one of the most well developed of the pieces, it’s also 4:25 in length, and it changes voice every 30 seconds or so, so it’s a mad, arpeggiator-ruled trip to synthesizer texture heaven – some of these sounds should be locked up for sounding too damn good, this is seriously an amazing synth!  and, it’s addictive – literally.

I could see taking a complex piece like this, and either playing live drums to it, or programming a drum track to “fit” it – despite some very odd tempo changes – and turning what is currently a solo, into a full song with drums, bass and possibly even guitars.  again, it would be reverse engineering, because essentially, this piece is a four minute twenty five second long synth solo..but it’s also like a mini-suite of different moods, rhythms, and textures – all accidental, all unplanned, but really sounding intriguing and full of possibility.

and the most remarkable thing about track four is this: it was played from the ipad itself – no external midi keyboard – and to me, to be able to get a piece this diverse, with this much melodic, harmonic, and textural variance, without a real keyboard – it just doesn’t seem possible.  an amazing accident, dave stafford just moving from sound to sound, and playing whatever he felt was appropriate – and finding that, on this day at least, the stars all lined up, the gods smiled – and music appeared.

for track five, I decided to have another go with a modified version of track 2, at least in terms of instrument choices, so I expanded the original selection – which was sponky, terry reilly, tonka, siderial2, and I added in other instruments as well; another long piece, over four minutes again, and, because it uses different voices than track four, a completely different journey through a completely different set of moods, rhythms, textures – a weirder, quirkier still journey, but, just when it starts to get really strange, I begin to manipulate the x-y pad, and that takes a normal arpeggiating pattern, and warps it in wonderful sonic ways – the pad is a fantastic tool, and really allows you to do some strange things to the music as you are playing…and it’s a lot of fun to warp those sound bryan helm-style (if you’ve heard “loud” by bindlestiff, you will know what I am talking about).

track six is all change.  I move now to the animoog, my other top favourite app for making synthetic noise. moog just recently released a new set of voices, which I had loaded but not tried out, so I took this opportunity to test them out.  they are some what…gaseous in nature (no other way to describe them, it’s intentional on their part, as you will see) – and on this first animoog take, I just move through a series of these new sounds, and play for a minute with each different voice.  it’s not quite the same journey as the ones taken with the addictive synth, it’s darker, moodier, no arpeggiation – but, just as much mystery, and some of the new sounds are very sinister, dark and wonderful.  these pieces are shorter, this one ends up being under two minutes, but, a lot of phat moog texture and synth attitude is displayed in that short time.

piece number seven, and I’ve chosen a new favourite – a single voice used as part of take 6, a patch called “industrial gases”.   it is very very creepy, a really beautiful texture, really difficult to explain in words! – lovely delay, the low notes are totally frightening and very sinister indeed, and there are shuddering noises, whistling feedback, a cornucopia of intense, synthetic sound all emanating from one voice.  this piece is superb: my only complaint is how short it is – again, just over two minutes…I wish is were ten – this is a great patch, and I plan to do some longer form pieces with it.

eight is a longer piece, clocking in at 3:45, this uses just two voices, “carbonated frog” (and I swear, that is exactly what it sounds like, believe it or not) and my old favourite “industrial gases”.  using these two voices in tandem, this longer piece has a great mood to it, during the course of these last few pieces I had developed a sort of very creepy bass line, and by repeating that theme, I actually sort of created an intentional piece of music.  I use the carbonated frog voice for the first part, establishing my theme, then move to the more complex industrial gases voice, with the feedback squealing and all those strange sci-fI sounds going on – and I re-itereate that bass line…but a lot of this “song” is just me holding down one low note, and then altering the sound with the x-y pad and the keys themselves – again, all on the ipad itself in this instance.  this is a truly superior piece or music, it resolves really nicely, as if it were planned – which it truly was not – I picked the two voices, and pressed record – and then what came out, came out…that was the take.

the ninth and final piece is the longest, and the best, of the nine – well of the eight active takes I should say – but to me, I think this is my favourite.  I move away from the new voices, and go back to the tried and true voices already on the animoog, and the result is stunning – I use several patches on this piece: evading question; phase inverter; lightcycles; fireflies; and a number of others, resulting in a mesmerising, ever-changing song full of beautiful moods and textures, and that’s really down to the astonishing job moog has done with this synth – this is another one, that right out of the box, the presets are remarkable.  and the ability to alter parameters both on the keypads and on the x-y pad, gives you so much flexibility.  I can’t wait to take this piece into sonar and see if I can develop it into a full on song, it’s just so full of unexpected twists and turns…an amazing trip through a sonic forest of previously unexplored sound – I was so lucky, changing randomly, between voices I didn’t know that well – but the resulting 5:17 song is one of the most beautiful accidents I’ve ever had. I love this synth – both of these synths – ALL of these synths!

 

moving on to the april 9th session now:

 

(note: the first eleven of the fifteen tracks in this session were all made with addictive synth.)

 

because I had such a remarkable success with the track created using the patch “mare tranquilitatis” on the addictive synth two days previously, the first thing I did at this new session (now armed with a full 88 key keyboard, mind you) was do three takes using it.  all three came out quite, quite well, each is subtly different from the other – all are infused with a quiet, peaceful ambience that just drips from this particular preset – what a sound.  if they were not marred by pops and crackles, I wouldn’t hesitate to release them immediately in some form.  they have everything you want from a live performance: mood, ambience, feeling, mystery – this patch is so, so beautiful and subtle, you really could play almost anything and it would make you sound good.  so by playing very carefully, with real intent, I was able to use that quality, and it turned my careful ambient key pushes into something very, very beautiful indeed.

 

track four moves back from the quiet, the peaceful, the totally ambient, into the land of wild arpeggiation, and again, I go back to a new favourite voice discovered during the april 7th session: terry reilly, creating a piece just over three minutes long using just this single voice, and the result is really delightful, the arpeggiated rhythm gets in your brain, and having the 88 keys makes it possible to really push the arpeggiator to do some very unusual sequences, all manipulated by the way I am playing.  I really like this little piece, it came out really well – and it has a fabulous long fade out, too.

 

number five then carries on this new idea of using just one voice, in this case “tonka”, concentrating on one texture, which gives me more chance to learn how to manipulate it: by changing the way I play to force the arpeggiator to do what I want; by using the x-y pad to totally alter the sound of the chosen voice as I am playing – this is a shorter piece, just over two minutes, but I love this sound almost as much as the terry reilly sound, it works really well for an active piece like this.

 

track six, same concept, single voice for the whole track, this time, it’s my other favourite for active arpeggiation: sponky. another short piece, under two minutes, this one has a great little low, low bass section that sounds so totally tribal, followed by some very odd forcing-the-arpeggiator-to-respond-a-certain-way synth riffs – very off the wall, but I really like this one too – another great voice from the addictive synth.

 

for number seven, I return to the “many voices” approach, in this case, three great patches, each with it’s own amazing, customised arpeggiator: repercussions, dank and resozz. then, two minutes ten of fantastic, bouncing, melodic synth madness follows, and I found as I played, that I was actually developing some technique for getting the arpeggiators to do what I wanted – I learned the effect of playing chords, or arpeggios, or single notes – what effect that had on the output, so I could influence the way the song went.  this one is a corker, great textures, including some fantastic x-y pad manipulations, I really like this particular track, it’s very unique, and the addition of the warping x-y pad work really adds to that uniqueness.

 

track eight is another “multi-voice” track, I discovered another great preset that I hadn’t used previously, and, it does exactly what it says on the tin: oriental techno.  to this amazing voice, I also added a dose of crunk, some bepu bepu (one of my favourite new ingredients) and stirred gently until another fantastic synthetic mixture took place.  the textures in this one, and the changes from sound to sound, really work well for me, it’s quite mad, a bit over the top, but a lot of fun, and again, just when things are about to get predictable, I use the x-y pad to alter events to an alternate sonic universe for a while…and then back to our visceral, resonant one…this is another hugely successful piece, with a really snappy ending, too.

 

no. 9 is back to the “single voice” concept, 2:14 of yet another huge favourite voice – bepu bepu.  a lovely, detuned, strange waveform, I just push it through an enormous number of pitch changes, and here, the 88 key keyboard really comes into play, and the x-y pad, and the amazing manipulations possible give me the gift of something that sounds like a cross between george duke’s classic synth solo in frank zappa’s “st. alfonso’s pancake breakfast” and something roger powell or m. frog labat did with arpeggiators during live utopia prog jams – like “utopia theme” or “the ikon”.  powell meets duke, rundgren meets zappa, stafford channels them all – and, another perfect ending just leaves my jaw hanging open – I am starting to “get” this process.

 

suddenly – number 10, and number 11, take us back to a completely different world.  time stops.  quiet, peace, slowly, slowly – these two tracks both us an even more beautiful addictive synth voice “ethereal” – and that is exactly what it is, a gentle, reverberant pad that I fell instantly in love with.  again, if these two tracks were not marred with clicks and pops, I would put them up immediately, but, they will require repair and loving care and attention if they are to make it.  sigh.

 

track 12 now takes us in a completely different direction, on a whim, I wanted to see how the dm-1 drum machine would respond to midi control, and, it worked beautifully – tracks 12 through 14 use the dm-1, and I switched between many, many unique and wonderful “kits” – it’s so odd, I just cannot get used to playing drums on a keyboard, so musically, these three tracks are maybe not quite up to scratch, but sonically – there are some absolutely wonderful sounds in these kits, especially the dm-1’s own set of kits, really retro, really unusual “drum” sounds – anything from a bit of reverse percussion to some of the oddest percussive timbres you can imagine.  great sounds – I just need to learn how to “play” them better.  but – I will get there.

 

that leads us to the final track, number 15, using another new synth that I have not had much time to work with yet, the mini synth pro.  I chose a lovely, “here comes the sun” like sine patch, called ohsine, and played a really nice, melodic piece of music – unfortunately, again, pops and clicks have damaged this – which is why I stopped at 15, else, I would have gone on to develop this piece in particular. the patch inspired me to play something really melodic and lovely, and though imperfect and undeveloped, there is a great seed here, for a really beautiful piece of music.  so once I have resolved the problem, I am going to return to this synth, this patch, and the song that began to appear just as I detected that I was still getting pops and clicks – so, stay tuned – this isn’t over yet!

 

 

today’s listening – after I assessed these sessions again, I then fired up “bloom”, brian eno’s ambient music app, and I’ve been listening to the “neroli” patch all afternoon long.  very, very peaceful, very calm – I love it, it’s different from the album, but very similar in it’s effect – relaxation, calm, peace…

holding & stafford – a remarkable institution!

happy birthday to my business partner and good, good friend, ken mistove (who shares a birthday, by sheer coincidence, with my best friend from when I was a teenager, ted holding – who is featured in today’s blog).  ted would have been 54 today.

 

so: continuing on with the cassette restoration project, last weekend, I mastered ten new tracks from a 1974 session featuring myself and pianist/vocalist ted holding, playing live in the studio.  this is, so far, the earliest “holding & stafford” session I’ve been able to locate (at least, within the cassette archives – the reels, which we are going to look at next year, are a completely different story – there could be earlier sessions there).

I am considering now, too, re-publishing some of the earliest episodes of the “journey through the past” – now that the actual music they talk about is finally becoming available – either that, or “start the story over” – probably the latter, so re-tell the story but this time, being able to link to the audio evidence, as well as any other visual media I might have from each session. this post then is new, but also a part re-telling of earlier blog entries from the “journey through the past” series.

 

here then is today’s “journey through the past”:

 

going back to this 1974 holding & stafford session, it’s a real corker, it is live to cassette – no overdubs, and it’s a very interesting glimpse into a long-forgotten time – 1974 – when prog ruled the earth, and enormous amounts of very creative bands were around – and you even can hear,  a little bit,  how they influenced us on this tape.

for equipment for this tape, what we had was so, so simple: clean guitar played through a carvin bass amp and homemade speaker cabinet (courtesy of ted) and clean, upright piano – just the basics. at age 16 there wasn’t really any money for things like guitar effects, although I did have an old arbiter fuzz face, and a used echoplex – that was it. I didn’t even own a guitar amp, I was still in my phase of playing through whatever was around, and, while ted had lots of awesome p.a. equipment, the only choice for me was the carvin bass head, through a homemade speaker cabinet, one of many, many cabinets that ted built himself!

ted had the best homemade p.a. system I’d ever seen, he had a massive power amp that got really, really loud, and he built all his own crossovers and cabinets of a bewildering variety, always, bigger speakers, better speakers – better sound.  but the tired old Carvin, which didn’t even have reverb (because it was, after all, a bass amp) was all I had – I can remember using it for years, at gigs, and so on – someone had left it at ted’s, so we just adopted it and used it – that was that!  it wasn’t until years later that I ever owned a real guitar amp. it was incredibly kind of ted to let me use it for so long, but ted was endlessly patient and generous.

anyway, this earliest-so-far holding & stafford tape starts out as a session to capture a new composition of ours, a tune that I came up with, that we both contributed to, and we do three proper takes of the track.  since it is a new tune, we barely know it, and, none of the takes capture the track properly – sadly, though, because I am not aware of any other versions of this song anywhere – these three live, early takes is probably all that there is of this song, which has the charming title “froggy’s holiday” – a piano and electric guitar instrumental by dave stafford and ted holding.

those takes are quite serious; we are both trying very hard to nail this piece (which has a very, very tricky “continuous” run at the end – which we nearly get right sometimes!). but, after take 3 is finished, we just start to “play” – and it’s very random, it was never meant to be published – it’s imperfect, we both make “mistakes” – but I went through and tried to pull out some excerpts that would make sense now, as history, not as perfect recordings, but two good friends having fun, just jamming on piano and guitar.

so we run through songs that we don’t really know; we play fragments of songs that we don’t know at all, and it’s very free, very casual jamming – the “set list” such that it is, looks like this:

froggy’s holiday – take 1

froggy’s holiday – take 2

froggy’s holiday – take 3

call it stormy monday (but tuesday’s just as bad) – excerpt 1

call it stormy monday (but tuesday’s just as bad) – excerpt 2

while my guitar gently weeps – excerpt 1

while my guitar gently weeps – excerpt 1

piano improvisation / bennie & the jets – fragment

the wall street shuffle – fragment

rikki don’t lose that number – fragment

it’s quite an emotional experience for me, hearing ted and I run through these songs, hearing ted laughing and joking and knowing that he won’t ever get to hear this tape, which is such a shame – but it’s just one of those things, the timing was wrong, it wasn’t to be…

so this unruly set of songs, none of which were ever meant to be released, have just been uploaded to the audio companion page, which is finally beginning to resemble what it is intended to be – a history of the music of dave stafford, from the earliest days up to the present.

hearing music from 1974, it really is a bit like a message from another planet – and this set is curious indeed, – ted is the accomplished vocalist, yet I sing lead vocals on the majority of the songs we play – ted only finally making an appearance, part time, as lead vocalist on “rikki don’t lose that number”.  hearing us attempting some harmony (remember, these are very rough, off the cuff renditions, not rehearsed, not planned, so some spontaneous harmony singing has mixed results – some brilliant, some not so good) warms my heart, and I do remember singing a lot with ted – I mean, my voice is no match for his, he was a million times the singer I was, but, we were not shy about singing, or self-conscious – it was part of making music, and that was what we did – made music.

it’s amazing to me too, the simplicity of our set up – for example, I had exactly two effects devices, used very sparingly indeed – the red arbiter fuzz face (which you can hear on the three takes of “froggy’s holiday”) and – I’d forgotten I even owned this until I heard these recordings – an echoplex!!! yes, the tape kind.  you can hear a little bit of echoplex during the somewhat disorganised takes of t-bone walker’s “call it stormy monday” – which we play as an instrumental for some reason.

the reason we both played this particular song, is that it was one we both knew – joe norwood, who was a big, big fan of the allman brothers – still is, in fact – taught me how to play it (and of course, I learned some good chords as a result – a great chord progression, a classic blue progression with that great G A Bm Bbm bit) and ted knew it from playing it in the band with joe – so it was something we could both play.  and it is interesting to me to hear myself playing lead guitar in earnest, just jumping in and playing solos, quite furiously sometimes – on both “while my guitar…” and “stormy monday” I take quite a few solos – and, for someone who is just 16, with less than 3 years of playing experience – I am actually quite, quite surprised by the levels of proficiency I am demonstrating on these tapes.  the guitar solos – are decent.  not, of course, to the standard of later recordings, particularly, recordings made when I was 18, 20, 22 and so on, but for age 16 – not bad at all.

for whatever reason – because he had to look at the music possibly (I am fairly certain we had books open for the beatles and the steely dan songs, in any case, as well as for our original), more than I did – I sang the most of lead vocals – on the george harrison song (and these performances in particular are remarkable – me, at age 16, singing this harrison classic confidently if imperfectly, and then ripping into quite good guitar solos – it’s strange to hear, it’s like getting to meet my 16 year-old self).  I did have to remove the recording of the bridge section of the harrison track – the vocal part defeated my limited range – but I do well with the verses and solos that remain in these excerpts.

I also sing lead vocal on the fragment of “the wall street shuffle” – but I was very glad when ted jumped in to take the lead vocal – or share lead vocal duties with me actually – on “rikki don’t lose that number” – his piano parts on this are impeccable, but his voice on the first verse is really beautiful – he loved the music of steely dan, and you can hear this even in this unrehearsed impromptu take – unfortunately, the tape runs out as I take over for the second verse, and as I sing “we could go driving on slow hand road…” that’s it, the tape ends, the session ends, and this fascinating glimpse of an impromptu improvisation session, recorded in ted’s studio 38 years ago – thirty-eight years! – is over.

I really enjoy everything on this tape, even the fragment of “bennie & the jets” – ted, being a pianist, and, it being 1974, was a huge elton john fan, and while I was not, I had no problem playing the material – we used to do the opening suite from his 1974 album “goodbye yellow brick road” live (“love lies bleeding”, including the entire opening piano piece – ted knew it, note for note – it was absolutely remarkable), we even played it at gigs – the opening piano solo then followed by “love lies bleeding” – I am not aware of any recordings of that existing unfortunately – but they may do – we have so many more tapes to sort through so I don’t rule out the existence of anything at this point. I actually enjoyed playing “love lies bleeding” – because it had a decent rhythm and lead guitar part.  it was fun – and, it’s probably elton john’s best song anyway – possibly.

and strangely, without knowing how it went, I managed to play, by ear, the odd guitar riff from “bennie” (I just pulled it out of the air in response to ted playing a fragment of the piano solo from the song) – ted could play the whole song – I didn’t know it – I remember he could play the entire piano solo note for note – which was no mean feat, because that was when elton was at his best on piano – the highest point of his career – I’m not a fan, but I do not mind the album “goodbye yellow brick road” – in fact, like almost every teenager in 1974 did – I owned the album, although I do not own it now.

my tastes ran more towards prog, or towards unusual pop bands like 10cc, and right after we play our little bit of “bennie & the jets”, I respond by playing, and singing rather badly, a very short fragment of “the wall street shuffle” – I song I had just heard on the radio, liked the riff from, and I’d learned a few of the parts – so that was my contribution to “what we were listening to” 1974-style.  I did not yet own the album, I taught myself the basic chords of the song just from hearing it on the radio – I liked it a lot, so I figured it out.  later, I bought the album – and all the 10cc albums, and then, godley & creme – but at that point, both 10cc and “the wall street shuffle” were absolutely brand new experiences to me – and yet, there I am, 16 years old, playing it like I really, really know it.  sigh.

I think it’s interesting; it is sort of like a microcosm of our styles – ted was pop, he was brilliant at pop, he could have been the next daryl hall if anyone had heard how good he was.  so the music of elton john – that was perfect for him, and he could play and imitate elton’s style with amazing accuracy.  on the other hand, I went for quirkier material, I was into 10cc, todd rundgren and todd rundgren’s utopia – slightly off the middle of the road pop leaning towards prog.  so in these two fragments (ted’s improvised solo, and fragment of “bennie and the jets” – my fragment of “the wall street shuffle”), we demonstrate our personalities – ted, the pop guy, me, the proggy guy – it’s quite revealing. it is also so strange to think that in 1974, those two songs were brand new – which is now 38 years ago.

and over the following years, ted and I went down increasingly divergent paths – he stayed more in the pop/rock arena, he played in many top 40 bands (I was only in a few comparatively) and I ended up going heavily prog, then guitar craft, then ambient – a career that could not have been more different.  despite ever-growing differences in musical taste – we remained friends.  I used to go along to watch and listen to ted play in bands with his then-brother-in-law, joe norwood.  I can remember going to many, many gigs, when ted was in different bands – always what we would call “top 40” bands, bands that played the music of the day – I remember one of his bands played “green earrings” by steely dan, which is not an easy piece to cover.  I also, occasionally, was allowed up on stage as guest guitarist, which I very much enjoyed – my own top 40 band, “slipstream” only existed for a couple of years but I followed ted’s bands for many years, even after he and I stopped working together regularly.

in fact, the infamous musical entity known originally as “ted, rick and dave” or “trd” (which I have now re-dubbed more sensibly as “holding, stafford and corriere” – we got our band variant by “borrowing” a second drummer, the drummer from ted’s then-top forty band, jennings morgan, who would join us for friday night jam sessions at ted’s house.  and those sessions literally rocked the house – two drummers, ted with his arsenal of keyboards, and myself playing electric guitar through my tape recorder (to get tape delay) – fantastic sound, fantastic fun. “holding, stafford, corriere and morgan” was even more fun than the original trio.

so it was handy that ted was in a band, I could get into clubs without paying the cover charge (I was notoriously poor in my early 20s and teen years) by “being with the band” and we had the services of jennings as second drummer, too for our “prog rock jam sessions” (which I cannot wait to master and post here) – such an amazing time to be a musician – the mid 70s, and I learned so, so much from my friend ted, and also from joe norwood (still the best unknown slide guitarist in the west), and all the other brilliant musicians I went on to work with: jim whitaker, mike & elen packard, michael dawson, and many, many others – too many to name individually.

I am very much looking forward to the next few releases on the audio companion page, this casual, live in the studio session is very interesting, but it’s not rehearsed, planned or carefully recorded – we just popped in a cassette and roughly captured what we played.  the next recordings, which include properly overdubbed recordings made using a teac 4-track reel to reel recorder, show the true brilliance of ted holding as singer, songwriter and pianist – songs of pop genius, songs that should have been hits – but, we were struggling unknowns, and it’s my great pleasure now to at least share this music with the world now, so we can hear a remarkable artist emerging, and perhaps reflect on what “might have been”.

also featuring in the upcoming recordings are not only the aforementioned trio and quartet “prog jam session” tracks, but also, an amazing live performance of one of ted holding’s most poignant, most intensely beautiful love songs – absolutely a piece of pop genius – a track called “you’ve gone away”.

this section, right now, of the audio companion is really all about my friend ted.  currently we are in the year 1974, but the work with ted will continue on through the end of the 70s and beyond.  sure, I am “the guitarist” and sometimes co-arranger of this music, or I was there to engineer and mix, but it’s really about this amazing talent, and I am so lucky that I am the guy who got to be there and hear it all, and play guitar along with ted as he did the performances of his life – and the one live track in existence will indeed demonstrate this enormous talent beyond any doubt – I was working with someone who could have been huge, had the world only listened to his amazing talent.

so while this is ostensibly a history of the music of dave stafford, there were times when dave stafford just stepped back and played a supporting role, and played that 20 second long guitar solo, so he could experience and enjoy the most remarkable pop music I’ve ever had the honour of working on in my entire life – what an experience!

hold on to your seat, holding and stafford are one thing, but ted holding live at the helix high school choir concert, with electric full band (including myself on lead guitar) – is another. studio tapes of two holding originals show a remarkably developed compositional and performance sense, far beyond our 16 years of age…following that, in an improvisational context, we will then hear ted ripping it up on the hammond organ, and the arp omni string synthesizer, playing with the speed, chops and musical skill equal to any of the prog greats – ted’s organ playing on the “holding, stafford and corriere/morgan” recordings is truly out of this world…

I can’t wait! I am really excited about these recordings… the first ones are up now if you are curious.

~~~~~ happy birthday ted (and ken!) – you are on the internet at last; and the rest of your music will be heard… ~~~~~

piano-based music

I’m mostly known for my guitar music, but, both the archival piano music that is set to appear on the dave stafford / pureambient blog audio companion page, and a series of piano recordings that will become part of the new stafford / orsi project, will change that perception, I hope – while piano hasn’t been my prime focus in more recent years, I still love to play and I think, unfortunately, that most of my piano work has gone completely unnoticed, it’s fallen off the radar (not through any fault of it’s own, as much of it was never released – but I hope to change that now).

so I really hope that by presenting some of the archival work (recorded, luckily, when I was at the height of my keyboard prowess) and some of the current work as well, that I can change this perception for the better, and show and demonstrate a better balance between guitar-based work and keyboard-based work.

there was a time when I would have spent probably double or triple the time I spend playing the guitar, playing the piano instead.  this would have been all through my teenage years, and especially from about 18 to 21 years of age (the early 1980s) – at that point in my life, I just played piano all the time.

all the practicing paid off, I had a pretty fluent piano vocabulary, with my speciality being the long arpeggio – as many as six octaves sometimes, as well as tricks such as running four octaves and then nailing a single root note at the top – and usually, hitting it with precision.  if you do exercises and scales like this often enough, you can nail them every time – it’s just getting the fingers familiar again…

I also owned and played a hammond organ for many, many years, and there are a large number of archival recordings of hammond music that I spent a lot of time composing and performing and recording, so I look forward to beginning to release some of these organ works later this year, along with many, many piano improvisations as well.  you’ll hear a side of my playing that is totally unexpected, and totally unlike the more commonly-perceived ambient loop guitarist that most listeners are familiar with.

it’s remarkable to me too, how very different a musician I was back then, with no formal training, badly-self taught originally, but as luck would have it, at age 13 I met a remarkable musician from whom I learned an enormous amount, and that musician was ted holding, who I’ve mentioned before – ted was my best friend in junior high/high school, I spent a lot of time working on music with him, making many studio recordings, live in studio recordings, and even live performance recordings – ted was the pianist, and I was the guitarist.  where ted went and played, I was there to play the guitar parts.

it just worked out that way, but for me, it was a win-win situation, because ted was the ultimate friend – a person with a talent so huge, that I was always in danger of feeling inferior, someone so skilled at piano that when I would watch and listen to him play, I would almost always say afterwards, “you have got to show me how you did that!” and I would make him show me, note by painful note if necessary, until I could play it too.

or at least, something close to it – if the piece was particularly difficult, something like “take a pebble” by emerson, lake & palmer – well, I could play the notes, but not with the clarity, assurance, confidence, speed and power that ted could.  he could figure out just about anything – I sat and watched while, by ear, he taught himself (and later, me) large chunks of genesis’ “the lamb lies down on broadway” album – including all of “anyway” and parts of “lilywhite lilith” and “the lamia” – and at that point, those were, to be honest, some of the most complex and musically developed piano parts that tony banks ever wrote – and ted could knock them off as if they were nothing – very impressive.

I still play “anyway” to this day, and when I do, I send a silent “thank you” to ted, without whom, I would not have got past the first four bars of “anyway” – a beautiful track from side 3 of “the lamb”. I’m not sure, but there is at least one take of “anyway” featuring me playing the piano part, so I hope to, fairly soon, publish that and other similar piano pieces onto the dave stafford / pureambient blog audio companion page.

the piano was such a huge part of my early life, we always had one at home, and then, as a teenager, over at ted’s place, we both played the piano and learned together – and we were like musical sponges, I would learn songs and teach them to ted, he would learn songs and then teach them to me…and our playing improved and improved – mine, somewhat less so than ted, although I did reach surprising levels of proficiency for such a young person – at 21, 22 years old, I could play piano really, really well – later though, my attention turned more to guitar, and as I moved into my 30s and 40s – I played much more guitar than keyboards.  it is only recently that I’ve begun to take a renewed interest in playing the piano; of course, having the right gear helps a lot, being able to run true piano in sonar and have an 88-key controller with semi-weighted keys.

I’m currently reviewing some of the first recordings made with the new keyboard in early february, and while in my opinion, I’m quite rusty, it’s possible that a few takes might actually be useable – I am considering publishing them anyway, even if imperfect – and if I get a better version of the same song later, I can just post it anyway, later – these piano pieces are intended to be the first entrants to pureambient’s fourth music channel on youtube, a new channel dedicated to the unknown, to any and every performance that isn’t part of my main ambient music…so hopefully, I can locate and mix a piano/vocal number to kick off this new youtube channel – ablackboxhd, named in honour of my favourite peter hammill solo album – and the first piece I plan to upload is a piece from the album, entitled “flying blind” – my own piano and vocal arrangement of it – so that seems appropriate to me.

after that, I would plan to upload many types of unusual performances that are not ambient looping guitar or guitar synth/loops – this channel will feature mostly piano music, vocal music (all the things I’m not known for at all, but that I really do) or anything outside “the norm”…whatever that is!

 

 

“the norm…the average – what is this??” – peter hammill

application-based music – day of reckoning

I decided to capture and copy everything that I’ve done with the fairlight pro application into sonar, and create a full set of 24-bit master mixes, so I could assess what I’ve achieved with this particular instrument since mid to late December.

in just three short months, I’ve created 17 (naturally) sessions in fairlight pro, containing 10 unique songs.  one of those “songs” was my first ever test piece, which is not quite music – it’s listen-able, but not particularly wonderful, so it doesn’t really “count” – I used it to figure out how the app worked.

that then leaves nine, but one of the pieces, “resolve” is so far, unresolved 🙂 …

so that means I have eight pieces that could be considered to be finished, they are all final mixes, although I’ve basically just copied them without doing anything else to them – just a basic capture, but even in this utterly raw form, with no reverb or any overdubs or any processing of any kind – the tracks really are very, very unique, and I think that’s down to two things, basically: one, the unique and strange samples that come with the fairlight – so many unusual instruments and non-instruments to choose from, and two, the actual creation method – bar by bar, using your “eight-instrument virtual-instrument” to compose very, very slowly and methodically, measure by measure.

 

the latest and newest fairlight piece, recorded over the last two days, is entitled “unwinding prophecy” and it features yet another unique, new virtual “instrument” – this time, consisting of the later fairlight samples (from the “III” library, a library I haven’t used much before, most of my pieces to date have been done with the standard sample library) so that alone gave this piece a unique sound:

 

prophecy10

prophecy_3

prophecy_4

prophecy_8

cymbals02

choir03_012

bellfinger11

pianothumb12

 

(so, visual evidence of part of the inspiration for the piece’s title – the other part, “unwinding”, comes from the lyrics of “emergency splashdown” – a song from a roger powell solo album that was performed live by todd rundgren’s utopia – the line in question is “life chain unwinding…I’ve got split-second timing…” and curiously, the powell album also has on it, a song called “prophecy” – but really, I have NO idea how I reached this title – the prophecy part obviously came from the instrument names, but how I arrived at “unwinding prophecy” and the whole roger powell connection – well, all I can say is, the human brain works in strange, strange ways…)

 

speaking of humans, I don’t think I have ever used the “humans” bank of instruments before working on “unwinding prophecy”, and the samples of choirs are excellent indeed, really nice sounding, so having a sort of “thumb piano / bell / choir” approach worked very well for this new piece.  based on this experience, I am absolutely going to use the “III” bank of samples much more in future, and of course, mix up the originals with them too – why not?

 

in fact, I do have at least one existing piece that uses voices from both the original and the later sample banks.

the new piece, “unwinding prophecy” has a really interesting, alternating-between-two-main-lead-instruments sound, where the bell finger sound carries most of the melody, but it’s coupled with, and occasionally replaced by, the thumb piano sound, and it’s an unlikely yet highly successful pairing.  and I never dreamed I would “write” a thumb piano solo, but the middle section of the song is basically an accompanied thumb piano solo – a very strange little piece of music in the middle of a very strange medium sized piece of music 🙂

 

 

so I set out last night to capture every single fairlight pro track I’ve created to date; including all of the early mixes, prototypes, and alternate mixes.  obviously, most of those will end up as curiosities, some of them are quite different from the “finished” versions, others are just early fragments and so on – but I find those to be almost as satisfying as the “real” versions.

 

what struck me most, immediately, is how short in duration most of the pieces are – a few of them, seem to end up around the one minute mark, others, maybe two minutes, and I think in the end, that only two tracks ended up being longer – “president evil” which is the longest of all the tracks, clocking in at around four and a half minutes; and, I’m not sure…I think perhaps the final mix of “the instruments of death” might be over three minutes.

 

otherwise, most of the pieces are surprisingly short (note to fairlight pro programmers: having a small timer display somewhere would be a helpful addition to the app!) but to my ear, that actually makes sense – these pieces are full of mood, strange, strange sampled sounds, arranged almost mathematically in some cases (such as “president evil” with it’s nearly symmetrical structure) but for some reason, tracks made with fairlight pro…sound like nothing else on this earth.  they pack a lot of musical information into a small space, so you can “say” a lot in one minute – because of the powerful, unique, and very “real” sound of the fairlight sample library. so you can “say” in a minute with the fairlight sounds, what it might take you two or three minutes to “say” with a more traditional instrument – if that makes any sense to you!

 

it’s very odd, but they really are in a sort of “sound area” all their own.  once you hear a piece made with the fairlight pro app, you will know what I am talking about (and yes, I do want to find a way to publish or otherwise make these tracks available, but – there is not enough material for an album yet – so it’s going to have to wait I am afraid…) – they just “sound” a certain way, very moody, very much like movie soundtrack music – for which they have not yet invented a cool enough movie.

 

I am loving working with this app, for one thing, it taught me to sequence, a skill I never really learned in all those years – up until last december, I always “played” music – but now, I can compose either way, by playing and or by sequencing – and I think that’s a useful skill.  learning and understanding the composition process in fairlight pro, is what then consequently made it much easier to learn the sequencing part of the korg ims-20.  speaking of the ims-20, I’ve been doing some work on a new dave stafford template there, so hopefully, that will become a backing track for a completed piece of music – eventually.  it takes me longer to work on ims-20 pieces, but it will be worth the wait, I promise – I love that synth!

 

so I have become a huge fan of the fairlight pro app, and even though, for example, something like nanostudio is a fantastic place to compose using drum pads or a synthesizer keyboard (where of course, you “play” the parts), where you can just play parts with really high quality sounds, and get instant gratification – what you play is what you get – but…more and more, I continually find myself turning back to the fairlight pro, and find myself wanting to compose bar by bar using the fairlight. 🙂

 

In the end, of course, I am sure I will use both equally, but lately, I’ve tended to favour the fairlight pro over nanostudio (something if you asked me two months ago, I would have said – no way, nanostudio is the best – and it is – it’s a fantastic app, like the sonar of the ipad at the moment – if only you could add audio tracks, it would be the very best, but that will come I am sure) – but, I just love working with nanostudio and with the fairlight pro app.

 

 

when I did the initial capture of the tracks last night, this is what I ended up with:

 

davetest1 (test)              my original app test piece from december, kept for posterity

feast for crow (three versions)

happy bird orchestra (two versions)

vainglorious (two versions)

resolve (incomplete)

leap day (two versions)

president evil

the instruments of death (three versions)

nefertiti

unwinding prophecy

 

 

so when I remove the test piece and the incomplete piece, for the moment, that leaves me with these eight final mixes:

 

feast for crow

happy bird orchestra

vainglorious

leap day

president evil

the instruments of death

nefertiti

unwinding prophecy

 

which to me, if albums were, you know, 20 minutes long, then this would be my new album!! all of these are basically complete, they are final mixes – so really, they are ready to go.

 

I think that since this process is working so well (and hearing all seventeen takes last night confirms and validates this for me), that I will just continue to create new pieces until I have enough for an album – and because many of the pieces are by nature quite brief, I think that may end up being a 25 or 30 track album – which I think would be fantastic. these eight pieces are among the most unique I have ever composed, I really can’t express in words what they sound like, all I can say is, I can’t wait to hear the eventual album! I am assuming from the success of these first eight tracks, that if I continue to compose in a similar way, that I will end up with 25 or 30 very unique / interesting “soundtrack tracks with no movie” as it were.

 

in fact, I’d venture to say, that the piece I just finished yesterday, “unwinding prophecy”, is in some ways the best piece so far – with it’s alternating bell finger and thumb piano lead, and a couple of very strange turns of time, where I put the fairlight to the test (and it passed with flying colours), this song is so, so strange – some of the odd melodies and even odder timings that you can create when you sequence instead of “play” a melody – that’s the beauty of the sequencer, because of course, it is like slowing down time – so a very quick melody with odd timing might be very difficult to “play” with your hands, but it’s very easy to sequence – because you can “play” that melody very slowly and then it do the playback “at speed”.

 

 

I’ve been giving a lot of thought as to whether I should add other instruments to these finished fairlight tracks, and after thinking about it, I’ve decided that doing so is mostly, not a good idea.  the charm of these tracks really lay in the unique “set” of instruments chosen in your “virtual instrument”, so to add to that with other, non-fairlight instruments – would probably spoil it, and the mood created by the “all sample, all sequenced” approach would be ruined.

 

having said that, there are one or two pieces that use sampled guitars, and I think for those, I might create alternate, “hybrid”, versions and just add in some “real” rhythm guitars, just to augment those awesome power chords with some real guitar sound.  so maybe, one or two pieces, some slight augmentation – I don’t know.  I do know that most of these tracks are perfect as they are, they are “done” and I know better than to mess with them – they won’t get better than they are!  I just need to trust my original decision, when I reached that point where I say to myself “this is the final version” – “that’s it.”  You just know when that moment arrives…

 

later this week, I plan to do a similar exercise with all tracks recorded in nanostudio, there are perhaps, fewer tracks overall done in nanostudio, but, they are more elaborate, most have a constructed drum track and several synthesizer overdubs, and of course nanostudio has a mixer where you can add in individual or overall effects chains, so you can create a very sophisticated, high quality mix without moving the tracks to sonar.  if you want to move the tracks and use the power of sonar, of course, you can…

 

again, though, most of these feel “finished” to me, and I believe that I may be developing a sort of “policy” with app-based music – originally, I had thought I would develop a piece in nanostudio or the fairlight, then, take it to sonar, add to it, enhance it, and that I would then have many pieces that are hybrid “app-based” and “daw-based”.  the more I listen, though, to completed tracks made in the fairlight or in nanostudio, the more I feel they are “done”, they are fine as-is, and there is little or nothing I could do in sonar, beyond adding reverb using the “breeze” plug-in – so it may be, that my basic policy is that music made in applications, gets finished and final mixed in applications, and there is no need to create hybrids – and, music created in the DAW, probably doesn’t need anything brought in from the world of apps.

 

there will be exceptions – absolutely.  I can already imagine it – if I have a rock track in sonar, and I need a hammond organ solo – well, why wouldn’t I dial up one of those amazing hammond sounds in garage band, hook up my 88-key keyboard to garage band, and have at it?

 

so for things like that, sure, hybrid “app-daw” tracks will absolutely have to happen (with this app on a tablet technology, all lines are beginning to blur – and really, almost anything is possible!).  but I also tend to believe that for most tracks, they will remain separate (at least, for me, that’s my preference at the moment, anyway) – which is really testament for how complete the app-based music making experience is – you can create, mix and finish tracks without moving to you daw.

 

at the moment, the only reason I see to even move app-produced tracks to sonar is to allow me to add reverb/atmosphere to them – that’s about it.  and to create the 24-bit master wav file too, I guess.

journey through the past – gear evolution – getting my gear together

so as a teenager, I was very, very fortunate, to have been born into the time I was, when prog rock was king and instrumental prowess was respected. to have met and worked with so many excellent musicians, to have learned from some brilliant players – and friends – jim whitaker, joe norwood, rick corierre, and my best friend and the most amazing keyboard player I’ve ever known, the late, great, amazing ted holding – may he rest in peace. to have the time to jam, learn, share to our heart’s content – and just play. all the time! what a luxury – I was very, very fortunate.

and then…life happened.  I’ve been trying to puzzle out how to describe what happened next, and it’s not simple or easy – but basically, while I’d worked an assortment of jobs starting when I was 15, when I was 20, I reached the point where I really needed to work full time – so by accident, I got myself hired on at a place where a friend of mine, jon pickerd (aka pfingsten), worked.

little did I realise then, that this would occupy the next 11 – 12 years of my life, that I would very quickly rise up through the ranks from general dogsbody to running the parts department to eventually becoming the service co-ordinator and second in command of the entire business. nor did I really realise the impact of having a full time job, what a negative impact that would have on music – well, at least an impact on how much time was available to play music.

the first thing I needed to do, was sort out my equipment. I’d bought a beautiful ibanez destroyer guitar (near exact copy of a gibson explorer) from my friend joe norwood (an amazing blues and slide guitarist) with, strangely, a customised pickguard made by none other than my friend and former band mate, mitch chavira, who often was the bass player in the same band that joe norwood and ted holding were in (joe was ted’s brother in law, and they were in many, many bands together during this time) – mitch was at the time, working for a plastics or manufacturing house, and joe had him make a special custom pickguard for the guitar, which looks much nicer than the strange, stock white pickguard that ibanez put onto the guitar originally.

I also changed the pickups, a couple of times – ending up with d’marzio pafs (patent applied for humbuckers) – which are still on the guitar today, some 34 years later 🙂

since I was now working, and had a little bit of money, I slowly started to put together some decent guitar equipment for the first time ever.  during the teenage years, I had never really owned an amp, well, for a brief period I did own a fender super eeverb, but other than that, I’d never needed one, I would usually play through ted’s carvin bass head, into one of ted’s homemade speaker cabinets.  effects were limited too, although at various times I owned a tattered second hand, but proper, arbiter red fuzz face (the same one hendrix used – of course) and the thomas organ version of the vox wah (so, a direct copy of the one hendrix used – of course) – but other than that, the only other “effect” I owned was my reel to reel tape deck with it’s “delay” switch – that I used as a guitar delay! – in the ted rick & dave (& jennings) jam sessions.

so slowly, I built up some reasonable gear.  quite quickly, I realised (partially from a lot of very, very good advice from joe norwood, who by this time was working at a series of various guitar shops – and he would let me trade gear up, it was great having a “pal” in the guitar store, I can tell you) that I didn’t really want or need a “guitar amp” – what I wanted was a clean power amp and stereo speakers.  so I bought some really good quality 12 inch celestion speakers, and two cabinets, and joe installed them for me – so I had my 2 1X12 celestion cabinets, and eventually, I was using an A/B single rack space power amp with them. (of course, fast forward to now, 2012, and I am feeling like I missed out – I want guitar amps – a fender, a marshall, a boogie, a roland jc-20…the list goes on.  when I win the lottery, I shall have at least one of each of these!).

that way, I would use devices, whether that was a preamp (I tried many, including the boogie preamp – the silver one, whose name escapes me) or multi-effects units (I had variously, a digitech dsp-128, robert fripp’s old roland gp-16 as well) until I eventually, much later, ended up with a digitech tsr-24S – a 24-bit reverb and multi-effects unit! imagine that – which was the state of the art at the time.

as time went on, I began to get delays capable of more and more delay time.  after having the dd-2 for many years, with it’s one second of delay, I set my sights on a digitech 8 second delay – at that time, that was the longest time available in a decently priced device (although I found it to be very, very expensive at the time – I think perhaps $240.00? or thereabouts) – but I eventually did get it (thanks again to joe norwood), so to suddenly go from 1 to 8 seconds of delay – wow.  and, you could even loop with it, using the special footswitches.  heaven!

now, this description of dave’s gear isn’t really following a strict timeline, nor do I have any idea what devices I got when…I just know, that a long, long series of experiments, changes, always trying different configurations, eventually I ended up with…whatever I ended up with!  I have broken the time into roughly 9-10 year “chunks” so I can have a point of reference, but after a while, it all becomes a big blur of pedals, racks and controllers 🙂

so ten, fifteen years of trying out different gear, different ideas, until I got a sound I was happy with – stereo, always, although that was mainly for my own listening pleasure – I see no point in having auto-panners, choruses, flangers, phasers, or reverbs if you can’t hear them in true stereo – no point at all.  playing guitar in stereo was rare back then – most players still used the “guitar plugged into fender or marshall or whatever” model that had been the standard for so long – but joe norwood was one of the first to have a stereo rig (with not a guitar amp in sight), and I immediately followed suit – and, joe – thank you!

I never looked back. it really was a case of searching for the right gear for the right sound, and over the long haul, as my playing evolved from regular rock guitarist into ambient loop guitarist, the gear slowly mutated with me – so I ended up, in my 30s, with – finally – some half decent equipment.  about time!

I didn’t have a lot of money, so there were a lot of things I would have liked to have tried, but never did – particularly effects, effects with mysterious and wonderful names, like “electric mistress” or “doctor q” or “memory man” – but over the period of the   “second period of gear evolution”, which I am placing very roughly at 1979 – 1988 (so, age 21 to age 30, approximately), I owned mostly boss stomp boxes at first, starting with things like the ce-2 (my first chorus, ever) and then the bf-2 (my first flanger, ever) – and at that time, in my early to mid 20s, these were like technological marvels compared to what had been available in the 70s when I was a teenager – I can remember being so, so thrilled, particularly, with the bf-2, that I plugged a microphone into it and sang bill nelson’s “uhf” into it, using the resonance control to make my voice sound like bill does on his vocal (note: I just found the tape of this, and while it doesn’t really sound like bill’s uhf…it sounds very wickedly cool – I loved that song, and now, my bf-2 could make me sound just like bill! astonishing technology.

I felt no compunctions about recording vocals through a stompbox – I didn’t know any better – and it sounded good to me!  so I just…did it. now, I probably wouldn’t do that – I would add the flanger after recording the vocal, of course, during post-processing, having recorded it “dry”.  but sometimes, not knowing that you “don’t do that” – was a great way to learn, and I achieved some remarkable sonic highs using these most primitive stompboxes to effect and treat tracks and even whole songs.

following these now-primitive modulation devices, after the chorus and the flanger, came the heavy-hitters – delays.  I went through so many delays – again, started with the most basic one, the dm-2, which did well under a second of delay – but still, a stomp box that was quality for it’s time, and eminently usable – I recorded not just my guitar, but also vocals with it…and then, a couple years later, I was thrilled when the dd-2 came out, because it boasted one full second of delay – and loop – unimaginable!  that was really impressive, and I actually had both pedals in my rig for a long, long time.

then there was the distortion side.  I tried many fuzz boxes and overdrives, and I used, variously, the boss hm2, the heavy metal pedal, and another one whose model number escapes me – maybe a dm-2…I think at one point, I may have had as many as eight boss pedals (why not?) hooked up in a long, long line – I also had a vibrato pedal, a vb-2 (of course!) and I am really not quite sure what else.  always a wah of some kind, usually, a clone of the cry baby – nothing fancy.

I did also at one point fairly early on, maybe even during the “first period of gear evolution” from 1971 – 1978 (so, from age 13 to 20, approximately), a mu-tron wah-volume, which was a very modern device, it was pretty cool.  I have no idea what happened to it! I do remember using at one very good live recording session with my friend rick corierre (of “ted, rick and dave” fame), a friend from junior high school who was an excellent drummer – we did several takes of the jimi hendrix song “drifting” which I then took home and overdubbed vocals on – such a beautiful, beautiful song.

mostly, though, I was into boss pedals, the small stomp boxes – they were relatively cheap, very durable, small, portable (although I can remember spending so many hours messing with making them powerable – making sure each power lead was exactly the required length – I almost never use batteries in effects) because back then, you could only really buy an adapter, you didn’t have products like the voodoo labs power supplies that they have now.  so many an hour was spent soldering connectors onto zip cable, and making customised extension plug strips full of adapters for pedals.

if you currently had eight pedals in your pedalboard – then you had extension strips with eight individual power supplies, each with a custom length cable to minimise hum and noise.  a nightmare to build and keep running, but I got pretty good at it in the end.

speaking of pedalboards – well, I will need to create a special edition of the blog that deals with pedalboards, because right up until 2005, when I stopped, I spent a huge amount of time, designing, re-designing, building, and re-building pedalboards.  I learned, and learned, and learned some more – what works, what doesn’t, and so on.  and slowly – the boards got better and better, the sound got better and better, and I made progress. I tended to photograph each one, so hopefully I can create a “stafford pedalboards through the ages” photo page on the audio companion page.

some of the first ones were horrible!  very primitive, I really struggled to make them work, but as I went on, eventually, I hit on a very simple but effective method of making them…in brief, a thin rectangle of plywood, spray painted black (several coats, so it would stay black as long as possible – they got beat up pretty quickly) – double-sided tape – multiple power leads from a single supply – short, custom length cables – and that was that.

so when I think of this decade, I think of slowly improving gear (and consequently, slowly evolving and improving sounds…) and a lot of hard work, designing pedalboards to handle whatever the latest technology was…routing considerations…cables, cables, cables, I used to make all my own cables so there would not be one inch of unneccesary cable in any of my boards – so that was hours of work in itself, and I became quite adept at making cables.

as time went on, better power supply options appeared, better routing options – better switching options – so it would be, ok, first, we have this a/b switch, so there can be two paths within one pedalboard – genius!  maybe one for the distortions and the modulators, and one for the reverb – or some other mixtures – like having two pedalboards on one, that you could switch back and forth between.  and then, a couple years later, another miracle product – the a/b/c switch – wow, three paths, really useful.  and for the rack mounted effects, special 3-switch digitech prorietary switches (I had two of them on my board, with 3 switches each) so I could control my rack devices from the floor…heaven.

of course, it wouldn’t be until the “third period of gear evolution” roughly 1989 – 1998 (from age 31 to 40, approximately) that we had things like dedicated MIDI pedals, when we then got complete control of rack devices, but, whatever the method, I was always the king of the pedalboard, because I wanted the flexibility of sound, and it was critical that both hands were free…