more app magic… and there’s a last time for everything

well, I am here again to talk about ios applications, which have become such a part of my life, that I can hardly recall the fact that four years ago, I knew absolutely nothing of them.

 

one of the first and most lasting of ios applications, has been the subject of a quiet revival over the past few months for me, and that would be, the remarkable scape, by brian eno and peter chilvers.

scape was one of the first applications of any kind that I downloaded (at some point in late November 2012!!), and I proceeded to work with it, following it’s “hints”, watching my tools and palettes grow organically, and recording scape after scape after scape after scape.  every time a new tool arrived – I would record new scapes.  a new “background” arrives – and I must records scapes, including, a scape with just that background, nothing else, in it.  and – some of the most incredibly minimal and amazing scapes were created that way.

in fact, I was so incredibly excited about the app, that back in the day,  the I authored no less than three blogs in a row that were mostly about…scape; scape week one, scape week two and scape week three…followed by a fast forward to week five of scape!  during scape week two, I noted that in the short time of just two weeks, that I had created something like 146 scapes.  most of which did not see the light of day until very recently, in early to mid 2015.

in 2012, and during early 2013, though, still feeling my way through the scape processes; I would take a new tool, and mix it up with the familiar, to see what kinds of crazy combinations of instrumentation I could come up with, mixing bells with synths with basses with just plain strange sounding samples.  some times, I would work in a very, very minimal space, one or two objects, very quiet, super ambient – on other days, I would load the scapes to capacity, hmmm, let’s see, what happens if I insert 20 or 30 bass guitars into one scape?  interesting!

so this went on, for a number of months, perhaps, six months – until, one day, abruptly, I stopped.  I had made around 1100 scapes by then, and at the time, I did take the time to record the first 30 or so, so that the world could hear how beautiful this app truly is.  I published those 30, I think I added a few more later on, and there they sat – until 2015.  for some unknown reason, I got the idea into my head, sometime near the beginning of this year, that I should capture ALL 1100 scapes, record every single one of them, capture each and every scape image (and, of course, it’s that “image” that “is” the music – the shapes, generate the music)…I would record them all.

this became then, the great project in the background.  I would work on my progressive rock song – still unfinished – and then, record a few dozen more scapes.   I would spend a Saturday working on my data, or cleaning up my music data – and, the whole time, I would be capturing dozens more scapes.  I developed tools, in SONAR, a special scape “template”, or actually, two of them – one that covered the first 50 numbers of a hundred, and the second, which covered the second 50 numbers in a hundred – which then meant, you only had to choose the appropriate template, and change the prefix from 101, to 401, or whatever you were “up to”.  soon enough, my prefixes started looking like “801”, or “901” and eventually, “1001” – and I then knew the end was in sight.  a few more weeks, and finally – they were all recorded.

of course – the work doesn’t stop there.  each file, has to be lovingly trimmed, removing the header and the tail, and then normalised to -3 db to match all of the previously released scapes – all of which have been normalised to -3.  basically, it’s the simplest mastering job in the universe, because I don’t add EQ, I don’t add reverb (tempting though THAT might be!) – I leave them untouched, exactly the way they come out when the app generates them.  they sound good enough, without me tinkering with them.  however, even though that’s a simple job, I still work on them file by file, one file by one file, to make sure there are no problems (a few stray “pops” have had to be removed from one or two captures – and occasionally, I may have to go and re-capture scapes if they have significant problems – try again – although thankfully, I’ve not had to do that yet…) and that they sound as perfect and as pristine as they can.

the best part of it though, exceeding all, has been HEARING them again.  and looking at the images used to create them, and remembering my thought processes – for example, one thing I loved to do, was, create a “basic scape” – a scape with certain elements, and then, simply copy it over and over again, each time, just changing one aspect of it – which was almost always, the “effects” – the coloured icons on the right side of the GUI, which add flangers or tremelo or chorus or whatever.  originally, that was maybe four or five different “treatments” of the same scape – but towards the end, some new effects – bright orange, and a pale blue, if I recall correctly – arrived, so towards the end, if I did a full sweep, you might get seven or eight “versions” of the same scape.

and – if it was a particularly lovely scape in it’s initial incarnation – then – you ended up with eight absolutely outstanding scapes.  so it was a good technique – take something that is proven sounding good, and then “treat” it seven different ways – and then, pick your favourite of the eight, too.  often, for me, that would either be the deep pink effect, or, the dark, mysterious green – and the green effect, whatever it is, is definitely my favourite.

I could “see myself” thinking up these processes, I could “see myself”, just by looking at the icons, the paintings that I did, that powered the scapes, what I was thinking – here was a section, where everything was COMPLETELY about minimalism.  a single effect, with nothing else.  a single background, with nothing but an effect.  two backgrounds, mixed together.  a single “E” yellow “note”, playing atop a single “mountain” or pyramid.  I could see, that often, I was stuck in “minimalist mode” for days at a time, and then, I would go back to much louder, much crazier scape designs, especially those that contain far too many bass guitars, and yet, still, somehow, work, others, where I intentionally used the most dissonant “elements” possible, to try to create a more “index of metals” vibe, and in fact, I have made a note somewhere, that one of my scapes does sound a bit like “an index of metals” sans Fripp.

as I recorded them, I would occasionally note down the names (of course, I mean the “numbers” of the scapes, since none of them have names!!) of certain scapes that I particularly liked.  then, when I moved into the mastering stage, I would do the same – so I now have a document that I’ve officially started, that is my “scapes of note” document, and once I have completed the mastering (at the rate I am going right now, that will be sometime in 2017 but who knows?) I will publish that list on the music for apps: scape eternal album on the bandcamp site – because believe you me, if you sit and listen to those “chosen” scapes in one sitting, it will blow your mind – it will be like hearing a lost, super excellent super ambient eno album that you never knew about.

for me, in the real world, it’s the equivalent of getting the remastered “neroli”, so that I could get the previously unreleased second disc – a “new”, long form eno ambient piece called “new space music” – which is right up there with “neroli” and “thursday morning” and “music for airports” in terms of being supremely beautiful and supremely ambient.  hearing those chosen scapes, will be not unlike, the first time I heard “new space music” – 50 minutes of previously unheard long-form eno ambient music – it does not really get a lot better than that.

if you had a LOT of time, my recommendation would be – listen to them ALL, from the beginning.  basically, I’ve just done that….listened to over a thousand scapes, and it was the most relaxing, beautiful experience…really relaxing.  with the odd moment of dissonance.

why?  because in my innocent, quiet way, I followed their rules – I did not jump ahead like so many scape users did – and in fact, when I found out there was a hack that allows you to expose all of the instruments, sounds and treatments in one fell swoop – I deliberately didn’t take note of it, and I have never ever done that with any scape install – I would NEVER spoil the journey of discovery that eno and chilvers worked so hard to create.  that’s just me…some want to get to all the toys right away…I was happy to wait.

the advice that the app gives you, and the way you keep receiving more and more amazing sounds, all the time, and the excitement you would feel, when you realised you had just got a truly beautiful eno fretless bass line, or, an amazing floating eno synthesizer riff – every other day, every 20 or 30 scapes – you would get another “present” – it is an amazing way to grow with the application, instead of “cheating” and going to the end…OK, for some, that’s the way, I get it – but, I can tell you – if you listen to these 1100 scapes – what you will hear, is first, a limited palette of sounds.  that directly affects the sound of the resulting scapes, and for a while, it was almost impossible to create a loud or annoying scape.  as you got more voices, and you had more ability to mix voices – then the chances of cacophony or dissonance, or both, increased significantly.

in the middle period, in the 400s and 500s, you get a medium to large compliment of instruments, and, the scapes get more complex, denser – although, I still go on self-imposed minimalist streaks, using the newer tools to create new minimalist scapes even right up to the very end.  and of course, during the last few hundred, I am finally, using ALL of the instruments, and I was receiving no more new updates – I had at last, revealed all of the instruments, backgrounds, and treatments – and then, I kept going…until one day, I just…stopped.

and then, three or four years passed, and I thought – hmmm, I really, really wish I had recorded all of those scapes.  and then that other voice, the one that thinks big, says “well, why don’t you…” and that was that.

four, five months down the road from that internal conversation – and I have them all captured and recorded.

I have, as of a few days ago, mastered 187 of them (which took me up to scape 200 – the numbers don’t match because several scapes were lost, i.e. when you erase a scape, you lose it’s auto-generated “number” – so the track number no longer matches the scape number), and as time permits, I master more and more and more and more.

Until I finish.  And then, once mastered, I upload.  Actually, as I master, I try to upload, because the more I upload, the clearer the decks are for more scapes, to upload later…to date, about 118 of them have been uploaded.

So the sound of scape, and the musical DNA of brian eno and peter chilvers, has been filling the studio monitors for many, many months, weeks and days, and it’s so strange, I’ve listened to well over 1000 scapes this year, all recorded in late 2012 / early 2013.  and just hearing them – it was so mesmerising, it was so, so incredibly relaxing – I would have scapes playing all day long, all weekend long – as I captured them – and after a day or two of listening to scapes being captured, I would be so chilled, so relaxed – they really are like a tonic, I swear – there is something about them, they are ALL so incredibly reminiscent of brian eno’s music, no matter what weird things happen in the scape – it just sounds like eno…they ALL sound like eno.  even the really strange ones – eno.

normally, it’s the ambient eno, but occasionally, you get the really strange, really dissonant eno – or other eno’s – not always pleasant.  but most of the time – you get real ambient beauty – with the very occasional journey into slightly more alternative types of ambient.  it’s a trip worth taking, and if you don’t mind waiting – well, the first hundred and some are up there, free to listen to, on bandcamp – so go have a listen – those top secret never-before-heard brian eno ambient albums are just there waiting – it’s uncanny, how after you hear 20 or 30 0f these scapes, that you get the uncanny feeling that you were just privy to a top secret performance of an unreleased eno ambient masterwork – they just sound great, to me, it will always be the best of the best generative music apps, and it’s difficult to believe sometimes that it IS generative – that the songs are literally created, by creating a visual input, of shapes, colours, backgrounds and effects that are colour-based.  but – that is how it works – you paint a picture, or, you randomly throw shapes onto a canvas – either way, it works if you spend hours meticulously building something very visually appealing, or, if you very randomly add different shapes together, or even on top of each other – or whatever, no matter what the input – it ALWAYS sounds good.

often, I would spend time working on carefully composing and arranging the shapes, more often than not, there would be a plan, a purpose, a desire to make a beautiful visual piece of art…that also happens to generate really beautiful music.

Only very occasionally would I work randomly, when I did, I’d still get good results, but I always preferred creating something beautiful and intentional, trying to make a good piece of art.  scape always rewarded me with interesting, challenging ambient music no matter what the input; I do like to think that taking time to create more meticulous art resulted in better scapes, but I can’t prove it.

 

and now for something completely different.

I told you last time about my frustrations with Notion.  It seems to be working again now, and I have managed to salvage and finish my interrupted recording, but, I am still not going to publish it yet – as I want to move it from the iPad to the desktop, to see if I can get some better instrument sounds for it – I am just not happy with some of the sounds in Notion for IPad, and I am hoping that via some process, I will be able to create a new mix of the track, using BETTER sounding instruments – so the song is on hold, I won’t release it until I’ve had time to research this.  it’s complete, it’s alternative / jazz, it’s about 8:00 long, and I’m really really happy with it – working title “abstraction distraction retraction”.  though it will be delayed, I hope to have it finished one way or the other and published this year – it’s a good track.

I have started a new track in Notion, another guitar quartet, but this time, steel string guitars rather than nylon strings, as the last guitar piece I did (“fantasy no.1 in d major for four guitars”) was. it’s only a few bars long, but it’s off to a good start, it’s in 7/4 time to start, so that makes it unusual.  working title (likely to be changed) is “relentless refraction of light”.

now that I think of it, I have a number of new tracks in various stages, from embryonic to complete; besides one complete Notion track and one just started, there is also a new proggy piece in Gadget, which is coming along nicely, and a very interesting piece, featuring vocoder vocals recorded in Attack, my new favourite drum machine, I love it!

so there is a lot of music in progress, but given my commitments over the next two months, most of these tracks wont appear until November or December – but, they will all get done, and they will all come out…

and of course there is my song made with real instruments, “the complete unknown” which is probably about 85% complete, that one may need more time, because I am in the middle of real guitar overdubs, which do take time.

I’m very happy though, that one of my very best works in a long time, “abstraction distraction retraction” is done, I do want to see if I can improve the instrumentation, but if I can’t better it, then I will just do the best I can with the existing tools.

in fact, I would dearly love to re-record ALL of my non-classical Notion tracks, with better instruments – I really would.  But – we shall see, time will tell…and all that kind of stuff…

 

so setting the problem of improving the instrument sounds in Notion for a while, I want to talk about two newer apps that I’ve been playing with, that are both in their own way, quite exciting.

 

the first one is a free app (well, it was temporarily free anyway) called “YouCompose” and at first, I scoffed – when I realised what it’s premise was – this is it:

you record a melody using a keyboard to input it, and there are various templates you can use, I used a stock quartet of horns, so my solo instrument was a saxophone – so, I played a sax melody to the best of my ability – and then, I pushed the “harmonise” button – and, in just a second or two, literally – it produced three horn harmonies – and damned if they didn’t sound half bad !!

I tried again, with a longer, more complex melody – and again, the almost instant four part harmony – well, three part harmony to your input melody – came out quite well – almost palatable.  With some difficulty, you are able to edit the  parts, you can erase bad notes, change notes with the wrong durations, and so on – it’s not too bad, although it’s no Notion when it comes to editing !

today then, I had a second session with it, and I did a session with guitar harmonics, bass guitar, clean electric guitar, and distorted guitar 2.  I did the harmonics part first, and let the rest be created by the master of harmony, YouCompose.  this time, it was quite a flop – it couldn’t seem to really figure out what to do with just harmonics for input.

so – to give it a better chance – I took command of Distorted Guitar 2 – and recorded a fake “lead solo” with no accompaniment.  pushed the magic “harmonize” button again – and this time, it produced the goods – bass, guitar and harmonics, that accompanied the lead solo really quite well.

it’s fine for free, but it does leave a lot to be desired – I tried to copy my harmonics clip into the bass slot, and it refused to paste it where I placed the cursor – it would only paste it AFTER the two existing clips of harmonics – not alongside or on top of them, as I was wanting to do (I wanted to create some counterpoint, by having the bass “follow” the harmonics – but the app simply would not let me.

so until it’s a bit more flexible with editing, moving, copying, and manipulating clips, I will continue to view it as a fascinating toy – sometimes, it does an AMAZING job of harmonising, but, there is an equal or better chance, that it will produce something quite plodding, or quite inappropriate, that does NOT sound good – and I found that I tended to delete more of it’s harmonisations than I ever saved – I only saved a few, where it had worked particularly well.  And even then – I would probably go into every clip, and make changes, to make it a bit more…human?

It is, however, an amazing experience – to play a series of notes, a melody, on your own, and then, literally two or three seconds later, you have a fully notated set of complex harmonies.  The rules for this thing must have been an absolute bastard to write, and it does operate in different keys and time signatures, as well as having some basic tempo controls (I kept selecting “lethargic” – the slowest tempo – which resulted in some dire and terrible four part harmonies, going by at dirge pace – yuick!) but I do admire the sheer bravado of it – it is hit or miss, but for me, it’s just fun, it’s kinda like spinning the wheel of fortune – will it come out beautiful, plain, or awful?  will it be OK, but flawed in places?  will it, and this is very rare – will it be achingly beautiful?  maybe, once every 100th attempt.

I don’t think that ANY computer can make up harmonies as well as a human computer, but – it can sure do it FASTER.  And if you don’t like the “detail” work of having to write out harmonies for your melodies – well then, this may be the tool for you.

I do find myself gravitating towards it when I don’t feel like working on serious music – hoping, I guess, that the magic three second harmony creator button, might create something truly amazing…and very occasionally – it does.

 

now, to my final recent discovery, I ran across this last night on the old app ticker – it’s called, I kid you not, “play the golden gate bridge” – and again, at first, I thought – this must be a joke – but it’s not, it’s actually a project by the San Francisco Synthesizer Ensemble (which you can buy on CD) where they have literally, sampled the bridge (and, the app has a special page with nine of the original samples, which are simply amazing) and then there is the actual app, which allows you to play the cables of the golden gate bridge in the manner of a harp – but, using a selection of more than a dozen possible sounds, including “fog horn” (my personal favourite), “waves”. “railing”, “lamp post”, “cable thock”, “cable click”, “south tower”, and another favourite “reverse hit” – you can select any of these amazing voices, which are developed from the original samples – and that sound becomes the sound you play on the “harp” – which is of course, the golden gate bridge, set against a cloudy sunset sky – a lovely image, and it makes beautiful, beautiful sounds.

it also allows for recording, and in fact, it has a little second page where you can record up to four different parts – so it’s like having a four channel TEAC tape deck or something, right there in your app, to overdub parts with – I think that is really excellent, and I can see myself writing pieces for this odd “instrument”, and doing videos of performances with it, too, because it is an absolutely unique way of performing (the only other app I have that is anything like this, is “VOSIS”, where you “play” a marble statue) and it’s actually a lot of fun to play.

also, some of the sounds are so beautiful, really ambient, really natural, strangely – even the metallics, all of them have a wonderful, organic feeling to them – and to me, this is such a beautifully made app – you can just about feel the love that went into it’s making – and, it’s apparently a long-standing tradition with this ensemble – their CD, celebrates the 50th anniversary of playing the bridge, while the app, celebrates the 75th anniversary – so these samples are clearly, in their blood, but also as clearly – in their minds and hearts.  there is also a beautiful art film of the bridge featuring the Ensemble’s music.

this app gets my vote, beautiful, useful sounds coupled with excellent design and playability, I can see myself performing and recording with this app for many years to come – it will especially be great for live performances.

 

what a wonderful sounding app, and so much fun to play, too!

 

 

 

 

 

 

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studio diary 20150501: back into the world of scape…

suddenly, I found myself there again, after a long, long pause – a two year pause – I’d acquired the “Scape” application very, very early on, worked with it over a very, very intense but quite short period of months, and just as suddenly, stopped creating scapes when I reached about 1100 in total approximately – I found myself listening to “scapes” again, every day.  In 2015.

 

back to 2012 for a moment, then – after the fairlight and scape, I moved on to learn about, and explore other ambient, generative and synth apps, from the wonderful mixtikl to the equally fabulous drone fx (huge news – drone fx for the desktop – awesome news!) and on and upwards and on to some of the truly strange apps, the VOSIS and the TC-11 (huge news – TC-11 is at V2 now – MORE awesome news!!) and so many weird and wonderful apps to learn about, attempt to master, make recordings of…

“Scape” was my second “long session” with an app, my first “long session” was with the fairlight, or what is now known as the peter vogel cmi  – but to me, it will always be “the fairlight” – “the fairlight” of peter gabriel – [this link is to a pretty interesting video of Peter and The Fairlight, and how he used it on the song “The Rhythm Of The Heat”] – and kate bush fame [and this link it to a very rough but very interesting Kate Bush and The Fairlight clip] .

but “Scape” was the first ambient app I worked with – and what a great place to start – an ambient app, where BRIAN ENO was one half of the design team, and, where he played some of the samples and worked with his app-making partner musician PETER CHILVERS to design, produce, and market scape – a device that has a wonderful simplicity to it, you have an empty palette, and you have tools – which you can drag out onto the canvas, and when you do – music begins.  each tool is a different sound, or background, or filter for the whole piece.  there are bass sounds, synth sounds, melodic sounds, dissonant sounds, buzzing sounds, just your general sound palette that you might find on many a BRIAN ENO album.

in other words, sonic heaven in an app.  the app reveals itself to you slowly, so, you start with a few instruments, a few backgrounds, a few filters.  as you make and save more scapes, the app then present new tools to you, which you can then use to create “scapes” with new sounds in them, or, use them in conjunction with the older sounds that you are already familiar with.  OK, yes, it is very, very simple, but, once you work with it for a while, at least, for me, I began to approach working with it more compositionally.  sometimes, I would draw scenes, you know, mountains and clouds and bushes just to see what a “painting” would sound like.  then, I began trying symmetry, then, asymmetry – to see what results that brought.

later on, I tried minimalism – just one background, say, and no instruments.  I also developed certain techniques of my own, my favourite of which, was to create a scape I liked with one filter, and then copy it over to the next “slot” and change just the filter, then do it again, so I would have the orange version, and the green version and the blue version – the same basic “scape” – but through completely different filters.  I would often record these one after the other, and it’s truly interesting to hear the differences between the filters (those being the tools on the right hand side of the palette, that seem to control what is done to the whole piece, so I call them “filters” – and that’s another wonderful thing about scape, there is no standard terminology, therefore, everyone calls the objects by different names! which is fantastic, I think.  awesome.

working with “scape”, for the three or four months that I did, was a remarkable time.  to have produced 1100 “scapes”, I would never have dreamed of – but, that is what I did – and I was quietly amazed, privately amazed, at how incredibly complex and wonderful some of the later creations became, when there were perhaps, double the tools that you start out with – when you have, finally, the full selection of tools, and there are, no more new tools – then, you can combine things in amazing combinations of the old and the new, the new, the middle period, and the earliest – whatever your heart desires.  want dissonance? bring in one of the “crosses” – they all sound horrible!  wonderfully horrible.  want a nice sounding scape?  use a lot of the “letter shapes” “E” “H” “I” etc., the yellow melodic shapes, and use the green or dark pink backgrounds.  green is the nicest background of all.  dark pink, a wonderful second.  some of the other backgrounds are a bit more active, including some quite “jittery” ones, so it really does make a difference which background you run your “scapes” through.

but that is all getting a bit into the history, I wanted to recount to you the events that lead up to this sudden re-surgence.

at the time I began working with scape, in late, 2012, I had a decent enough home studio.  I worked out a reasonable way to record a scape, and to this day, that is the single-most asked question that I get “Dave, how do you record the scapes”?  It  wasn’t easy to figure out.  But it wasn’t hard, either!

I later on learned, that Eno and Chilvers intentionally didn’t leave a method for scape to be recorded (which also explains why it’s one of the few apps that is NOT Audiobus-compatible) – in fact, I learned, they didn’t mean for people to even “keep” “scapes” – but of course, many of us crazy musicians, wanted to keep them anyway.  I don’t want to let Brian and Peter down here, and I always feel like I have disappointed them, by not just enjoying the “scapes”, and then throwing them away – but I will tell you know, why I can’t do that.  Because they are so incredibly beautiful.

It’s that simple.  These scapes are such unique, precious pieces of music, and to me, they are amazing in so many ways, because of the high, high quality of the samples, because of the brilliance of sample selection, because of the genius programming of the app – I could go on.  No matter what – it boils down to this – even the strangest, most dissonant of “scapes” – is a unique thing of beauty.  For a very, very intense several months, I experienced from one to several of these amazingly lovely songs almost every single day.  And I was mesmerised.  I wanted people to HEAR this beautiful music, to hear what I had heard, to be able to experience my four month trip with “Scape”, for themselves.

I set out boldly, to record and upload as many “scapes” as I could.  at the time, that turned out to be just 41.  at first, I made videos for each one.  very quickly, as I reached the 800s or something, I realised, I was not going to be able to make 850 videos.  I really enjoyed making those videos, and I used the single screen shot of the art for each scape, as the starting point of each video.  So then I worked on audio only, but I soon ran into space issues, I didn’t really have the set up or the disk space, to record unlimited numbers of “scapes”.

Until 2015, that is.

Now, with larger, faster, better hard drives, a much better client, SONAR X3, and a good, fast system – I can record scapes en masse.

I hadn’t really thought about it, but for some reason, a few weeks ago, I started to think – I would really, really like to recover, and record properly, the “rest” of the 1100 “scapes” that I had recorded all on my first decent ipad, an ipad 2.  so one evening, I set up a 24 track session, recording 24 bit 48K audio, and began recording.

It takes time; “scapes” run anywhere from 3 to 4 t0 close to 9 minutes, and what I tend to do is, the moment I get in, I set up the session, and start recording, while I am going about other business. and when I can, I stop by, stop a recording, and start the next recording.

Every few weeks, I sit down, and trim, master and produce the tracks, and then, as time permits, I upload them to the dave stafford “music for apps: scape – an eternal album” eternal album.  I recently uploaded a handful of these “newly recorded old scapes”, and I think it’s lovely to finally, be able to hear the work I was doing in 2012 / 2013, now, in 2015 – it’s about time.

Over the next several weeks and probably months, I will continue to upload as many of these as I can master, and if we are all lucky, I will actually make it to the end this time – maybe.  We shall see…

If I can stay the course, and, to be honest, I do not know at this point, if I can – then, eventually, I should think, maybe I might actually “finish” the job.  I would love that, because if I actually could finish – well, two things would come out of that:  you would get to hear a thousand plus scapes done at all different stages of app “growth”, from simple to more complex to most complex and back again, and, I would be free, after discharging my duty to myself to complete the work I began, I would be free to make NEW “scapes” in real time, in 2015, to add to the collection.

And I think that might be the most interesting thing of all – to start all over, and go through the process again, and see what happens “this time around”.

But right now, well, it’s early days yet – at this moment, I am recording “scape” 138, which is an impossible construction that has 18 bass players and 13 yellow letter melodic events – and it’s a cacophonous mess, but oh, so incredibly unique!  some of the scapes I’ve heard over the past couple weeks of recording, have blown me away – they are either so strange, so weird, so unique, so powerful, but often, just so, so intensely beautiful, usually in an ambient way, but sometimes, in a fairly active way, too.  This particular scape is ever so slightly overloaded, and I know the app has protection against this (if you reach the max number of instruments, it begins to remove the earliest instrument as you add the latest) but I actually managed to create a “bass overload” in this case, one of the few times where I beat the system – my poor JBL monitors are baffled because they have never had 18 eno or chilvers fretless bass riffs all starting within microseconds of each other, and it’s overwhelming for the poor speakers!

but it’s an utterly unique “scape”, and I can’t wait to see if I can even make a usable master with that much bass content…we shall see, that one will be a test of my skill, it truly will.  terrifying bass overload!  power, power, power – and you just don’t expect a piece like this, it’s truly out there, but – ANYTHING can, and does happen, when you are “scaping” – trust me.  I’ve been there.  what an incredibly strange piece of music, which is now receding gracefully into the land of fade out…

so for the past two weeks and a few days, I’ve been hearing “scapes” again for the first time really, since 2013, when I actually uploaded the 39 existing scapes many months after they had been recorded in late 2012 and early 2013 – the scapes came before the bandcamp pages did.  but now we are somewhat caught up, we can now return to this arena, and see what we can see, or – hear what we can hear, rather.

I’d like to talk for a moment, though, about the visual aspect of “scapes”, which isn’t something that many folk speak about, for me, when I was heavily into this process, how I constructed a “scape” visually was very much an art, I tried to use the skills I had as a musician, to “compose” my “scapes”, and I was particularly enamoured of using symmetry, or putting instruments in long, diagonal rows (as in the next “scape”, “scape” 140, that I am working on now… see below).  I just wanted to say, you can follow what is happening in the music, by looking at the image of each “scape”.  In the early days, you can see that I drew nice little scenes, trying to make art, and trying to make that art into music, and, it worked, to a degree, and then, as more object become available, you can “see” the “scapes” getting more complex, you can see my experiments with symmetry, and as you identify the various instruments, you will learn, just like I did, what causes what.  a square turned to have it’s corner pointing up, is a bass instrument of some kind – several different kinds, from normal bass guitars to fretless guitars, to some longer fretless phrases, and so on.  so you will be able to “see” in “scape” 138 and in “scape” 140, where I have lined up a whole series of basses into a long, diagonal line – and the resulting chaos that this approach brings.

I am now onto scape 140, which is apparently, another “bass overload” test, this time, with 13 bassists, two melodic events, and one descending arrow complex synth event.  the cascading bass players are just amazing, a single, slinky, throbbing, ever changing bass note, made up of 13 horribly overlapping notes, grinds across the musical landscape, while bell-like melodic tones appear and disappear randomly in the background…it’s madness once again, but a beautiful, mental landscape.

Carrying on with the discussion of the visual aspect, you would then be able to see, and hear, for example, in scape 141, that there is only ONE bass part, which plays occasionally, and the three melodic letter shape instruments carry this tune instead of the basses as in 140.

Scape 141 is fairly minimalistic, but there are others even more so, so when you run across a truly minimalistic scape, it will be obvious, again, from the “track” image I upload, which is actually, the map or the “artwork” that created the sound of that scape – you will see an empty workspace, with just a speckled background – that is literally, just a background, with no instruments, so you end up with a very, very ambient, minimal piece.  So if you look at each piece of art, that comes along with each uploaded scape, you will be able to literally “see”, the journey I took, see the paintings I made, to produce the sound you are hearing.

That means, that when I get to one of my “filter series” – where I take the same “scape”, and run it through five or six or nearer to the end, perhaps seven different “filters” – the exact same painting, except the filter is a different colour, and you will see that – first the pink, then the green, then the grey, then the orange, and so on – until I’ve run that one “scape” through every possible filter.  you will also be able to HEAR the differences, and realise, that green filter makes one sound, while pink filter, makes a different sound, while orange filter, maybe, is a delay or whatever.  you get to know them, and you get to know what they will do “to a piece”, and this is the best test of all – try the same song, through each one of the various filters, and see what happens then…

Another kind of series, involves using the same “background” on different filters, or, different backgrounds against one type of filter.  The combinations, and the possibilities, are actually, almost limitless, they really are.

So for me, the fact that a visible artefact, a “painting” that I did – that’s actually, a huge bonus, and this is why: I sometimes struggle to describe music with words, but, describing it with a piece of artwork comes pretty naturally to me, so I love the fact that if someone asks me, “hey, how did you make “scape” 844, anyway?” my answer is right there and I can say – have a look at the track art for the piece, that is the actual piece of art I made, which creates the sound of “scape” 844…that uploaded track art, IS the answer to the question “how was this track made”? – answer – “this is what I drew, in “Scape”, to get that sound that you are hearing…”.

Additionally, if you really, for example, fell in love with a beautiful, ambient “scape” that I have made (something I do regularly) there is nothing on earth stopping you from buying “Scape”, the app, looking at the track art that I used to create the beautiful, ambient scape, and then, recreating it in your “Scape”, on your own ipad – by mimicking what I did in my “painting”.  I am sure that as long as you got it close, that it would end up sounding very, very similar to my version – very similar indeed, but not identical.  Very close.

At the same time, if you like my unattractive, sonically bizarre and / or dissonant “scapes”, you can easily “see” the tools selected to get that sound – and in no time, you will be able to control what “Scape” does, in the same way that “I” control it – although “control” is a dubious word – you will be able to do similar things, if you copy the art in my track art, the uploaded artwork for my “scapes”.  Or if you like my super minimalistic “scapes” – you can easily re-create those, as they are very simple to make!

A whole lotta nothing.  But sometimes, small input means big output, in terms of beauty.  Some “scapes” are not particularly beautiful, but then, they may have other charms that appeal to other senses, so it’s not a requirement that they BE beautiful.  A constantly ringing bell might actually remind one a bit too much of that early morning alarm, and when you have several of these admittedly, more melodic alarm clocks going off at once, it can be a bit overwhelming.  But – still beautiful in it’s own way, in the way the bells land within the composition, how they fit together, and so on.  Scape 145 is a perfect example of that, it’s all bells all the time, ringing incessantly, but – there is still something about it that I really like, a freshness, a randomness, and sometimes, those bells hit some nice accidental harmonies.  then, they start to fade away…only, it’s a false alarm (get it?) and then they are back, ringing like mad again…over and over,  you think the piece is about to end, and it’s not – it’s just wonderful repetition, and scape always does whatever I don’t expect it to – it’s full of surprises.  you just never quite know what you are going to get, but, I can guarantee one thing – it will ALWAYS be interesting!  always.

I don’t know exactly how many “scapes” I have recorded over the past couple of weeks, in this new burst of scape activity for 2015, but I do know one thing, I’ve been astonished at the quality, the variety, the different moods, the different techniques, the different results, that this remarkable tool can produce, and while I’ve maybe heard something like a hundred scapes, in two weeks or so – and there has been such an intense variety of music, from the most ambient to the most incredibly overbearing to the most powerful to the most jarring to the most fantastic of melodic, beautiful, ambient composition – it’s really just an amazing success, and it proves that generative music is here to stay, it proves too, that the inventor of ambient, is also, one of the master practitioners of ambient – because, decades have passed since those groundbreaking Eno ambient records – Discreet Music, Music For Airports, Thursday Afternoon, Neroli (to name but four of my favourite Eno titles) and there it was, 2012, and out comes “Scape” – which to my ears, SOUNDED like Discreet Music, Music For Airports, Thursday Afternoon, and Neroli  all rolled into one beautiful set of ambient samples, and each “scape” I created, sounded like a new track from a new, unpublished Eno album – priceless, beautiful, unique.

To add gravitas to my words, I am now recording “scape 146”. which features what was then, the “new” filter, a very squelchy filter, so this scape, which is bells playing in waves, over this amazing distorted, squelchy backing – is like alien music from the future, I’ve never heard anything quite like it, and it’s a remarkable and unique composition – generated by this app, based on my instructions – but, guided, ever guided by the ambient hearts and minds of mssrs. Eno and Chilvers – what an amazing juxtaposition of sound sources, I can’t explain it in words, but when you eventually hear “scape 146” – you will know exactly what I am talking about…

I really do hope that I can make it through all thousand plus recordings, for one thing, after a two year absence, it’s really, really been interesting to “re-live” my intensive several-months long experience, but without the intensity of actually creating, hearing it at leisure, as I record it two years later – it’s a very, very nice feeling indeed, it truly is.  If you don’t own the scape application, I would heartily recommend it to you now, and I would also recommend – don’t cheat, don’t do what some people do, which is find out how to expose all of the tools at once, and begin using the maximum toolset from the beginning.  I strongly urge you instead, to do what I did, to discover the app in the same way I did, one new tool at a time, this gives you a chance to get used to each type of tool, gives you time to play with each type of tool, and then, you recall better too, what each one does, whereas if you start with the whole lot exposed – which is an option – then, you lose the fun and the excitement of being presented with new tools periodically, and you also lose the experience that Eno and Chilvers wanted for you – they felt that the full toolset was too much to start out with, that learning “Scape” in the “slow learn” mode was the best way to learn the toolsets thoroughly, and give you the best, least overwhelming user experience – so I strongly recommend doing it that way.

I can’t imagine doing it the other way, it just doesn’t feel right to me, I guess I am more patient than some, and I’d rather get new tools every few days, along with the lovely, lovely written suggestions, which are of course, modified oblique strategies – I found those suggestions to be gold, and I did indeed, try many of them out, exactly when and how they suggested that I do – and I was always very, very pleased with the results.  the tips are good, they are good ideas, and I suggest paying heed to them as you are able to – it makes for an even more enriching experience.

I personally, though, doubt you could have a “bad” experience with “Scape” – because it’s a good tool !  You can’t really go wrong.  I think it’s well designed, and if you start slow and build up your instrument library as suggested, you will learn what each tool does, what each instrument does, what each background sounds like, what each filter sounds like – and you can then, tailor your “scapes” to use all of the backgrounds, instruments and filters that you love the most!  I think that is brilliant.  It’s almost easy to forget, too, that this is a generative instrument, one of the first of it’s kind, a very different generative instrument compared to something like “Mixtikl”, which gives you perhaps, too much choice, whereas, “Scape” limits your choices somewhat, but there is so much scope for inventiveness, and the generative programming is far superior to anything previously seen – so that scape can create music so complex, so unique, that almost no other generative instrument can compete.

Many months after I finished my first go-round with “Scape”, and, after I’d had time with “Mixtikl” and “Drone FX” respectively, I wavered a bit on what generative app I love the most.  In “Mixtikl”, I created 61 quite complex utterly customised pieces of music over a several month period, which I think stacked up comparably to the much more prolific 1000 plus that I did with scape in the period previous to that one.  At the time, I slightly favoured “Mixtikl” over “Scape”, but in hindsight, I would have to say, “Mixtikl” requires some knowledge of mixing at least, and music, preferably, while “Scape” requires neither.  All “Scape” requires is that you can draw a picture with shapes, and backgrounds, and filters – and just about anyone can do that.  The other requirement is that you listen…

So for ease of use, for amazing programming, for the most amazing samples, and for the overall best generative app, after hearing just the first hundred or so of the 1000 plus “scapes” I have recorded – I absolutely would say that “Scape” is the “better” app, although, having said that, they are BOTH utterly remarkable and amazing, and on some levels, I don’t really think comparing them is truly fair – I love them both, I will hope to make more music with both as time goes on, and, once I put right the “wrong” of not releasing these scapes, then we can see where we are with ambient apps, and where we are with generative apps, and indeed, where we are with ambient, generative apps…and, really, who knows what the future may hold???

I certainly do not !

 

 

 

 

 

I’ve got this notion…

After recently completing a couple of new tracks in the “music for apps” series, one piece done in korg’s  remarkable gadget app, entitled “fair play (advanced version)”, and the other, a very new piece made in my old friend nanostudio , entitled “treeclimber” – my most recent application-based work to be uploaded – I was thinking about what I should work on next.

I always have in my mind, a massive backlog of ideas for work with apps, and there are still a number of apps that I have not had the chance to record with – and in some cases it’s almost criminal, because they hold so much promise.  And I promise that I will get to them – borderlands granular being but one of them – an amazing ambient music application.

This is my current, “off-the-top-of-my-heid” list of apps that I own, but have simply not had an opportunity to record with yet:

borderlands granular

sector

moog’s animoog  – (note – I have quite a lot of material recorded using animoog, which dates back to the earliest times, almost three years back – that I have yet to publish any of – and it’s an incredibly beautiful application, one of the absolute best)

nave

thor

arturia family: imini and isem and iprophet

not to mention…

synergy

addictive synth

nlog pro

sliver

alchemy

arctic pro

and, no doubt, a host of others 🙂

 

And maybe what this list is…is the list of my next half dozen or so “eternal albums” series for 2015 – possibly.  I need to look at this carefully, and recently, I have been working with my app data (i.e., a mass of audio recordings made over the past few years, involving applications – and lots of them!!), of which there was such an overwhelming amount, created so quickly, over the first couple of years using apps, that I am just now sorting out the data (this is the curse of being prolific and incredibly inspired all at once, I dove head first into apps, recording so much video and audio, that my backlog has at times stretched out to about two years – and it’s only very slowly being worked through now, very slowly indeed! – it will take a long, long time to “catch up” – if I ever do!), and seeing what I have to present to you – and there is quite a lot sitting here, just waiting for me to find time – and I am constantly torn between the need to present this backlog of interesting application-based music, and playing new app-based music which will then also need to be presented – it’s always a choice, a choice I don’t want to make – I truly wish I had time to do both, but as it is, I am constantly bouncing back and forth between… – music of the past, music of the present, music of the past…music of the present.

 

Before I could sort through my mental files and choose one of these neglected apps to work on, another thought appeared in my head, which I kept trying to push away, I kept resisting it – until I realised, that I am much happier if I always have a project going in notion. So – without any remorse or hesitation whatsoever, I dived in, and began a new piece in notion, with a temporary title of “quartet in d major for four guitars” – it is another work in the classical genre, but this time, I am [temporarily, I assure you] moving away from the concerto form, and I am trying something new.

 

I have worked with notion and guitars before, in fact, my very first notion piece, “notionally acoustic”, was scored for two acoustic steel stringed guitars, as was the later “once more (into the fray)”, but to date, never really in the Classical genre, so I loaded up four nylon-stringed, classical guitars into notion – and began writing.

 

Very soon, I realised, that this is an amazing opportunity to apply some of my very limited Guitar Craft knowledge, in a writing situation, being very aware of the place that Guitar Craft already has within classical performance – i.e. where groups such as the Orchestra Of Crafty Guitarists (and their predecessors, the League Of Crafty Guitarists) and the California Guitar Trio, have used the new standard tuning, and, techniques such as “planned circulations” when performing classical works from Bach to Beethoven to Bartok.

 

With that strong history – and I was there, when the California Guitar Trio started doing a lot of classical repertoire, arranged by the remarkable Bert Lams, a musician that I respect more than most, and those early performances were the first time I had seen circulations used to play the very trickiest portions of some of these compositions – which might just about be “impossible” for three guitarists to play without using the circulation to share out the workload.  So any passage that is too incredibly quick or complex for a single guitar to play – can be shared across the three guitars, which makes the piece performable.

 

Or – it might also be, that in some cases, it’s not because it’s a tricky section of the piece, it’s rather that, Bert takes real joy in breaking up these melodies and harmonies into their component notes, and sharing them out between himself, Hideyo and Paul – and I was astonished the first time I saw this – it’s truly impressive, a remarkable way to perform classical music, and one of the most innovative I’ve ever seen.

 

Bert’s “planned circulations” truly inspired me, and now, while I cannot, unfortunately, work in new standard tuning (NST) in notion (I really, really wish they would add this capability to the application; then my life would be absolutely complete!! But it would involve new samples for all of the missing notes, that would have to be matched to the existing notes…not an easy ask, I am afraid), I can work with circulations.  I learned how to notate a circulation when I was working on my alternative track “once more (into the fray)”, so I already know how to do it – so I realised, when I set up this piece, that this is an opportunity to really expand this experience, and I plan to use “planned circulations” whenever and wherever I can within this new piece.

 

Of course, there is already a small one (a circulation, of course!) in place (!!) in the first section of the piece, the earliest melodies and ideas arrived very quickly and sorted themselves out very easily, so I am perhaps into minute two by now – a brand new composition, but, one that is already using circulations – I think it’s very exciting.

 

A chance to blend what I learned in Guitar Craft, actually, one of the single most important and beautiful things I learned in Guitar Craft, the “circulation” (where a single note is passed around a circle of guitarist, improvised or planned) – with classical music – something which, at the time, I did not have the skill, inspiration or tools to write – but now, fast forward to 2015 – and I have all three – amazingly.

 

Which means – at last – I can integrate the beauty and delight of the circulation form, into any classical composition I do involving guitars – so, four guitars, and of course, since I am notating sampled guitars in notion, rather than notating for real guitars in the real world, I use another tool to simulate the presence of four real players, an old, old piece of technology that I think is often criminally overlooked:  panning, or stereo placement.

 

OK, I am not able to do this in 5.1 (yet) or build up a 3D model a la Dolby Atmos, but – I can begin with what I’ve learned from the world of recording – if you want to simulate the physical position of different players, especially in a classical piece, you have to give careful thought to their stereo placement.  Now, in this case, it happens to be wonderfully simple, I set the four guitarists up like this:

 

Guitarist 1           Hard Left

Guitarist 2           30 degrees left of centre

Guitarist 3          30 degrees right of centre

Guitarist 4           Hard Right

 

Incredibly simple, but also, incredibly important – and I think, that this very simple technique, sounds wonderful – if you have a nice reverb room for all four players, and you put on the headphones and close your eyes…the stereo is simply amazing, and you really start to be able to pick out each player, and hear each distinct contribution to the piece.

 

It means too, that I can work in pairs – but not just the obvious, but in every possible configuration.

 

The most obvious two pairs would be Guitarist 1 and Guitarist 4, which gives you a very wide separation, and when Guitarists 2 and 3 fall silent, you get a particular ambience with just 1 and 4 playing.  At the same time, the second most obvious pair, Guitarists 2 and 3, sound almost as if they are in mono, wonderfully blended, being closer to the centre, and when 1 and 4 fall silent, this pairing have a completely different ambience, which provides a wonderful contrast to the wide separation of 1 and 4.  (Note, obviously, if you had a fifth instrument in this scenario, it would, of course, be set to dead centre).

 

Of course then, I am able to do any of the other remaining possible pairings, 1 and 3, 1 and 2, and 2 and 4 – so that’s five basic pairings…but for me, the most satisfying thing of all, personally, musically, and aurally – is when I run a planned circulation using all four players.  That means, if I score the notes starting with Guitarist 1, and then moving through the other three players in order, that you get the notes moving right across the stereo image from Hard Left to Hard Right (or, moving across your speaker system, or, moving across and through your head, in your stereo headphones) which just sounds wonderful to my ears!

 

If it is a particularly quick series, this almost then becomes a wonderful blur of musical motion, as the notes splay across your headphones, first, from left to right, then, back, but there is also the possibility of changing direction at any point in time, and sending the notes into almost any sequence – the most obvious being 1, 2, 3, 4, then the reverse of that, 4, 3, 2, 1 but there is no reason at all that I might not use other more unusual “orders” such as 2, 1, 4, 3 or 3, 1, 2, 4 and so on.  It’s also interesting the way these circulations “resolve”, when you are working on them, and you get to the end of the four bars or whatever, and you hear the way the circulation “works” within the large composition – it’s fascinating.

 

The possibilities are many, and I am very, very excited to see what works, what sounds good, what doesn’t work, what makes the most musical sense – what also pleases the aural senses the most.  I think it’s amazing that I am able to create this unusual sense of space, where you can distinctly hear each of the four players, and when they begin to “circulate”, you can follow the notes in “stereo space” which lends interest to the performance, while it adds sparkle to the music itself – do I play it straight, where the guitarist just “play” the notes, or do I put in the extra effort, and get them to work out quality “circulations” that do the most aural, and musical, justice to the piece?  I have the options, and I love it – these possibilities are truly exciting for a composer, which is what I’ve become, and I believe that because of this, I will probably begin to use circulations much, much more in my compositions, because I can, mostly!

 

There are a number of ways to accomplish this in notation.  Probably the simplest, and this is the way I do it, is, I write out a section of music, let’s say its four bars, in regular notation.  I then copy that across all four instruments, and then I simply decide who will play the first note – and I turn the other three guitarist’s corresponding notes into the equivalent rest.  Then I figure out who plays the second note, and I then turn the other three into rests.  Continue to the end – and you have a circulation.  Then – play it back.  If it doesn’t work – start over.  Or – make adjustments.  Sometimes you need to work on these a bit, because they don’t sound right – I’ve even decided to change notes in one or two of the copies to provide some alternate notes – so the circulation will then be subtly different from the original four bars of “straight” music that I had written.

 

That is just one way to do it, you can also decide what your notes will look like, by creating entire sequences of dummy bars, containing all rests, i.e., if you are in 4/4 time, then you would have four quarter rests per measure, or 8 8^th rests, etc.  Then, you can go in and add notes manually, overwriting the rests, with the notes.

 

I’ve done it both ways, and both work fine, although I tend to use the “notes to rests” version rather than the “rests to notes” – it’s just my personal preference.

 

Another possibility, is to run two paired circulations – so, get Guitarists 1 and 4 playing one series of notes, while Guitarists 2 and 3, play a different one, perhaps in counterpoint or as a round – I haven’t really tried that, yet, so that might be interesting.

 

I just think that circulations and classical music were almost made for each other, and I love the idea of combining classical composition, with one of Robert Fripp’s best ideas ever.  It just works for me, and I believe that this new piece is going to really shine because of it – I am already very pleased with the first several bars, and their little “mini-circulation”, and my mind is racing ahead to imagining massive four-part guitar solo sections, no chords, just the four guitarists all soloing like mad – and then, cut it up into a circulation.

 

Imagine streams of 32^nd notes or 64^th notes, descending across four guitars, moving back and forth like a jagged triangle across the page, from guitarist 1 to 2 to 3 to 4 then back through them all to 1 again – like a wave of music, shared by these four players – I can’t wait to get to this imagined “solo section” – wherever it will be.

 

I am having to restrain myself a bit here, and make sure that I also have the piece centred and still based in the classical tradition, where I do have long stretches of music that are played “normally” – in fact, I want “normal” playing to dominate the piece, not the circulations – they need to be the exception rather than the rule.  They need to remain special, and I think that whenever they do appear, even if it’s fairly regularly – that they ARE special – and I am pleased and proud to have them available to me as an interesting tool that will hopefully, make my classical works more interesting and more unique – of course, any other “Crafty” that writes notation and is aware of circulations, might well also be crafting classical music including circulations, and frankly, I hope they are.

 

I really feel that the beauty of the circulation, is something that should be much more widely heard, and much more widely understood – the first time I was involved with one, in my very first live Guitar Craft circle – it absolutely blew my mind, I realised that I was a human being, being used by Robert Fripp in a live experiment in looping – and it was basically, a massive circulation involving 30 people, with Fripp directing and deciding what each player should play. Incredible, and, unforgettable – once you’ve been a part of such a unique thing.

 

That was in 1988, a long, long time ago now, but, I’ve carried that with me all this time, and now, the excitement I felt, that feeling of discovery – and later, at other Guitar Craft courses, I was fortunate enough to participate in many, many “unplanned” circulations, and planned ones, too – and sometimes, the absolute beauty of what happened in the “unplanned” ones especially, was just almost too much to bear, I would go to bed literally shaking my head at what a beautiful piece I had had the great fortune to be a part of.  A good circulation is a tonic, it literally heals me, it feels amazing, and it’s one of the most satisfying musical forms I have ever encountered.

 

The unplanned ones, where you have 20 or 30 players – or sometimes, in more intimate circumstances, with 7 or 8 players, as in some of the kitchen teams I have worked with (I made Kitchen Craft part of my Guitar Craft experience at almost every course I ever attended) where amazing things happen that you just can’t forget – “you remember that circulation we did that night, after we did the breakfast prep – that was astonishing?!!…” – all I can remember is that amazing circulation magic, and shaking my head in astonished disbelief – what an experience.

 

It does stick in your brain, and of course, there were those amazing early performances by Bert and the trio, and hearing Bert’s remarkable, unique arrangements of standard classical works, was a huge inspiration to me too, because I could then see the power of the “planned circulation” within all music – especially, in classical music.  It was interesting too, to watch and listen as the California Guitar Trio developed, more and more circulations crept into their work, so some of their later CDs and live performances still feature Bert’s special circulation-filled arrangements of classical, and other styles of performance, too.  To my mind, the trio are the best of the “Crafty spin-off groups”, because of the incredible variety of styles and pieces they perform, but also, because of the amazing arranging skills of Bert Lams.

 

I couldn’t write notation back then, in fact, I finally learned how thanks to the remarkable notion application, and I am still very much a beginner, but, I can now write it well enough – and it’s pretty easy to “hear” too, I do have “an ear” for music, so having Notion is such a blessing – I can write it, and instantly, I can HEAR it – get a good preview, and then I can “hear” if it is right or wrong – and make the appropriate adjustments – and try again.

 

It works.  It’s a good process, and I am so glad that I worked it out – it will definitely mean that I will want to create more repertoire for Guitar Craft, both classical and non-classical, I also plan to use circulations in some of my “alternative” works featuring steel-stringed acoustic guitars rather than nylon-stringed classical guitars – and in fact, one of my recent compositions, “once more (into the fray)” was done in this way – in that case, featuring two acoustic steel-stringed guitars.

 

In any case, the new piece is well under way, and I am hopeful that I can feature circulations in it in a fairly substantial way, without going over the top, and produce a pleasant, intriguing composition that will be enjoyed by all.  That would be a good thing.

 

notion was in constant use for the first year or so that I had it, so much so that I had to take a break from it, I did not want to, and it’s been a struggle keeping away from it all this time, many months, because I wanted to give the other apps a look in – which, to some extent, I have managed to do – except for the ones that I have yet to work with – but at least, I am keeping my hand in by working on existing eternal albums such as music for apps: “music for apps: gadget” and music for apps: nanostudio.

 

During my self-imposed “break” from notion, I did have a chance to sort out my data of stored music for applications, which allowed me to clean up, prep and upload the music for apps:  thesys eternal album, I also have set up sector as the next catalogue of recorded music to look at – sector is a remarkable application – and also during that time, I completed the two songs I mentioned earlier, “fair play (advanced version)” in gadget and “treeclimber” in nanostudio – and then, I lost my will power, I felt it calling to me, and suddenly, I am back in the world of notion once more (ahhh-bliss!…) – and feeling extremely happy about it, too, I truly enjoy working with this app, and writing notation, and having the instant feedback of being able to play back your music instantly, seconds after you put note to page – and that is hugely invaluable to a composer.

I’ve now already made significant progress with my new “four guitars”-driven quartet, and I am very excited about the possibilities for this piece – it’s sounding pretty good already, which is unusual – often, embryonic music refuses to take shape, or you struggle mightily to bring it into the shape you see in your head – but not this piece, it flows, it doesn’t require much tweaking, or at least, not so far – I am perhaps, two or three minutes in now – just working through the details :-).

 

I missed you, notion, I feel “normal” now – because for so many months, I always had at least one notion piece “on the go”, sometimes, two or even three, and I feel that music for apps: notion is one of my strongest works.  I am busy working on the next piece that will form a part of this ongoing eternal album and I am very excited indeed, about the musical possibilities inherent in a piece like this, when using classical notation mixed with the very potent Guitar Craft / Robert Fripp “circulation” – to my mind, that is quite a combination!