mobile universe of sound (the ios world)

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

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

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

HARDWARE SYNTHS

or, how it all started…

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

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

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

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

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

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

THE ARRIVAL

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

FIRST GENERATION SYNTHS & THE FAIRLIGHT

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

MOOGS & KORGS – GREAT EMULATIONS

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

AND ARTURIA TOO…

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

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

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

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

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

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

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

GENERATIVE DEVICES

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

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

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

THE LAND OF AMBIENT

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

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

PHYSICS-BASED SYNTHS

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

GRID-BASED SYNTHS

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

MICROTONAL GRID SYNTHS

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

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

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

VOCAL SYNTHS

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

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

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

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

STANDALONE ARPEGGIATORS

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

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

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

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

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

DRUMS & BASS – AND PERCUSSION, TOO

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

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

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

ODDS AND SODS SYNTHS

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

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

IN CONCLUSION…

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

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

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

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

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

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

happy synth-ing!

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application of the moment

I’d like to talk about an application that I downloaded exactly one week ago, last Saturday, the day I returned from my holiday.  it’s called ifretless guitar, and to be frank, I can’t put it down.  every time I pick up the ipad, I find myself opening ifretless guitar, and seeing what I can learn.

this is a remarkable application, and even after just one week, I’m astonished at what I’ve learned from it and with it.  first of all, as a standalone app, just with it’s basic “guitar string” sound, it’s excellent.  you can set it up as a 7-, 8- or 9-string virtual “guitar”; you can select 7, 8 or 9 frets; and even better, you can tune it in many, many ways:  standard guitar tuning, bass guitar tuning, maj 3rds, violin tuning, and tritone tuning.

it also has both a coarse tuner and a fine tuner so you can match it precisely to other apps and instruments.

that’s the basics, but beyond that, it has many, many excellent features, such as: you can set the lowest two strings to “power chord” mode, so they play chords instead of notes – meaning you can “chord” or “riff” with the bottom two strings, while you “solo” with the top 5 or 6 or 7 strings…

it has controls for velocity, a four band EQ section, a music player, a nice reverb control, and a really capable digital delay that adds a fantastic liveliness to the sound…not to mention, an x-y pad for added versatility.

the current price of the app is zero – so that’s a pretty capable app for the price. [update 20130603 – apologies – by the time this was published, the price had returned to $5.00.  but you can, if you are willing to wait, get the “app ticker” application, then set it to “watch” ifretless guitar – and when the price drops, the app alerts you, you can set a threshold – so if it’s $5.o0 normally, you can tell app ticker to alert you when it reaches $3.99 or whatever price you want to pay – or it could drop to zero, and it would let you know that too.  app ticker is a really useful tool – you can load all of the apps you want to buy but think are currently too expensive, and it will let you know when the price you want to pay is reached – brilliant].

but it gets better – when you realise just how much more you can do with this app, because like so many apps, of course, you can control other apps with it – so on day two, I started using it to control other ios synths, from n log pro to mini synth pro to launchkey to sunrizer to any number of other MIDI friendly devices, and I have to admit, playing high quality synths from a nine “string” interface tuned to whatever you desire, is a lot of fun!

so beautiful pads, string sounds, or mellotron-like patches, you can control from the fretboard, so you can play your own nine string version of king crimson’s “dinosaur” – I found myself playing all kinds of unlikely tunes, bits of “here comes the sun” or “something” ( no idea why, but very enjoyable) but I also found that I could do a credible “fripp soundscape” if I picked the right string or string-like synth sound, and then played odd triangular shapes – and I’ve never played touch guitar or chapman stick (well, before last saturday, anyway), but I am finding it very easy to do (because of course, I do play piano, and synth – but I also know my fretboard reasonably well – and if you don’t – another great feature is “turn note names on”) – so regardless of which tuning you pick, if you know your “notes”, you can play anything – chords, melody, whatever.

or, crank up the quality digital delay, and have a go at being tony levin for a day – no problem.  for serious bass players, there is a “paid” version of the app, called “ifretless bass” – and if it’s ANYTHING like “ifretless guitar” – it’s going to be a brilliant application 🙂   if I find this app to be as long-lasting and useful as I believe it will be, I might even be tempted to buy the bass version.  after one week, I’ve got a lot of mileage out of this application, I “play” a bit of nine string guitar almost every day, I play in different tunings, and I alternate between playing with the normal guitar string sound (which really does sound quite good, if I may say so myself), and driving various other ios synths with it, picking synths and synth voices at random to see how well ifretless guitar responds – and so far, it always responds brilliantly, it’s such an amazing feeling to “play” a beautiful mellotron sound with a trio of guitar strings, a string “chord”, or to “play” a mad arpeggiator or a powerful lead synth sound, on a virtual fretless nine string guitar – it’s just a great feeling, I don’t know why.

I can easily see a whole range of live performance possibilities with this app, and I am quite certain that I will use it when I next make app-based live performance videos – because it’s an enormous amount of fun to play.  I was thinking that it would sound amazing, run through a looper through the eventides – and I hope that I will be in a position to try it out as one of my premier sound-generation apps in the ios, normally, I am used to playing synthesizer applications, and applications with “new” kinds of interfaces, like “mugician” or “cantor“, but this is something that feels very natural (since I am primarily a guitarist) – so I am hoping this will become a respectable part of my ios instrumentation.

this app is a true gem, and given the price, you get so much value – it’s possibly the best free app I’ve ever downloaded, because it’s not just a guitar emulator, it’s practically a full-on control surface, with great features and a really well-thought out interface – it’s so easy to play, easy for beginners, because they can turn the notes names “on”…., easy for advanced players, because of the range of tuning / fretting options, as well as a lot of great features that make playing this application a real joy for folks at any ability level.

hats off to the developers of ifretless guitar (and ifretless bass), then; as with every app, there are a few things I’d love to see added to this already excellent and very musical tool, of course, my request would be please add robert fripp’s new standard tuning to the tuning choices (and maybe, a “set your own custom tuning function, too, where you can define the tuning of each string manually”), but regardless of such fanciful enhancements, this is one of the most useful control surfaces I’ve seen yet on the ipad. I do like this kind of app, I am very fond of both “mugician” and “cantor“, but I am finding that “ifretless guitar” is even more fun to play than either of those, well, more fun, anyway, because it’s familiar to me as a guitarist – yes, the ipad gives us lots of unusual and new ways to make music, and that’s fantastic, but there is something to be said for the devil you know, too 🙂

and this little devil is a real beauty – give it a try !

🙂 🙂

update: synthraga orchestra…continued

I am writing once again about the “synthraga orchestra” process, this is an update to my last post…because I’ve just set up the fifth video in the series, which bears the somewhat unlikely title of “thousands of leaves fly into the air borne upwards on rising thermals”, which is rendering as we speak…and hearing the audio for the track, well, I am just feeling excited all over again about this remarkable music, how the unlikely trio of itabla pro + n log synth pro + mini synth pro could create this strange, beautiful music.

I rendered the fourth piece, “rustling of leaves, turns to rattling, back to rustling, then silence”, a few days ago as I am desperately trying to break through the bottleneck of unfinished video caused by the delays of “gone native” and take four is very interesting, but I could see and hear myself still struggling with both the technology and the performance.

bearing in mind this was the first time I had ever stacked that many synths, and take four was only the second time I’d added a second melody synth to the mix, so there were bound to be some very minor teething glitches…

not so take five – I can remember, I readjusted the levels, trying to make the entrance and exit of the second synth app, the mini-synth pro,  a bit less jarring than it had seemed during takes three and four – so this version is…right…it is evened out, and that also helped my confidence in the performance – I can tell I am more relaxed, I am into what is being played, I am fully engaged with the piece rather than, as on take four (not yet released), mostly engaged with the piece and partially engaged with trying to remember what buttons to push and when!  this time, on take five, penultimate take…it just flows.

I could not be more pleased with this series of pieces, and take five ticks all the boxes for me, so far, anyway, because it’s been many, many months since I played these pieces, and an equally long time since I first mixed the audio tracks, so really, when I go to put together the video (six months later in this case, to the day) it’s like the first time I’ve heard the audio track, and this one was a really pleasant surprise – I knew there were some pretty acceptable takes here, but this is better than acceptable.

so while setting the video up, I watched the performance and listened to the audio for the first time in six months – and I was so, so surprised – whereas in take four, I saw a musician struggling and winning, but in take five, suddenly, all the pieces fall into place: I am calm, I know exactly which buttons to push when, so this leaves me completely free to just…improvise a melody.  now, I am a guitarist, who happens to have played piano and then keyboards for many many years…but I am not accustomed to the idea of being able to play just a melody – that’s a new experience.  I’ve always had to play two handed, never as a soloist using just one hand.

itabla takes the place of me needing to use both hands when playing the piano, leaving me completely free to concentrate on melody – a melody that works appropriately with the beautiful tabla and drone tanpura produced by itabla.  so for the first time in my life, I can solo with complete and utter freedom with my right hand only, using the left hand sparingly to play the odd bass notes, or, bend my lonely eastern melody in the strangest ways possible using the pitch bend wheel…and when I watched the film, what I saw was a melody being created, from a quiet but creative  place, in a wholly unplanned and unscripted way – it just happened, and I was the guy who happened to be sitting there in front of the keyboard when it appeared.

I start the piece, with the perfectly timed simultaneous entry of the tanpura and the first note of my melody…from that moment, the piece flies by, and I very, very nearly catch it as it does.  I watch in amazement as I tackle the “central solo” the one where the second synth comes in – I dive in as if I had it planned, and my inner roger powell just takes over – I play the solo, and then, even more surprising, at the end of the solo, I then take it down to a super low note, hold it “just so”, so that the arpeggiator pattern can cycle through a couple times, then hit the stop button (going back from two synths to one at this point) with perfect precision…and then carried on with the rest of the piece  as if nothing had happened.

OK, so I got lucky – the middle section came out pretty well.  surely, I will mess up the ending…but no; once again, things go surprisingly well; I play the outro of the piece, and come to a conclusion – I stop the tabla, I stop playing my melody, letting off that same very low note – leaving the tanpura running.  I sit for a moment, listening to the tanpura drone for a couple of moments…then suddenly, I reach up, play three notes, pause, play three more notes, then simultaneously hit a single, very high note and stop the drone on a dime – all is if rehearsed.  which is it absolutely was not.

in a way, I don’t mind if this is the best piece of the six, or if takes five and six are even better than take five – I’ve been pleased with all the tracks, even the slightly unsteady take three, but take five is the kind of take that makes it all worthwhile, the one that didn’t get away…the one that worked!

I can’t remember a time when I enjoyed making half a dozen videos as much as I’ve enjoyed making the “synthraga” series of videos, with just one more to go…and at the same time, I’ve had ongoing, the remarkable experience of creating videos for scapes 16, 17 and 18 (not yet released), in between the synthraga recordings – and that has been a really interesting experience as well, particularly because those videos, actually, all 18 of the scape videos, have the remarkable attribute of having for their “video master” be a single still image – with the challenge for me, to try to animate and bring that still image to life…I’ve now done this 18 times, I’ve taken a still screenshot of each scape, and made it into a video…somehow.  I’m getting the hang of this video thing.

but it’s also nice to have a straightforward video to work on, and this new track has been a really exciting experience, I can’t wait to upload this (it will be going up sometime in the next week or so) but even more exciting, I still have take 6 to look forward to…as well as about 982 scapes requiring…animation.

guess I better get back to work then.

a new dave stafford genre – “synthraga orchestra” revisited

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

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

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

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

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

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

see you there!