the joy of kaoss

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From Gong’s Guitarist to Blu-Ray Music Extraction Processes to the NewestOld ios Application for IDevices…

I am becoming acquainted with the first five albums by Steve Hillage, beginning with his band “Uriel” and their album “Arzachel” in 1969 and moving up to 1976’s BBC Radio 1 In Concert – which is playing now in my headphones – the announcer letting us know that only 8 percent of BBC listeners are currently listening in stereo – and they’d like to get that number up as soon as possible!

On almost a whim, I decided that if I was ever going to get caught up on what I had missed in the solo canon of Steve Hillage, outside of his work in Gong, with which I am very familiar, would be to shell out for the remarkable new 22 disc box set, “Searching For The Spark”.  It arrived a few weeks ago, I then spent a few days ripping discs, and I’ve since spent a very, very enjoyable morning indeed, listening to all five of the discs currently on my IPod – and – Hillage is a remarkable person – and, along with his life partner Miquette, he fronts a band with ever-growing confidence – especially when we get to “that” guitar solo.

I was quite amazed at the jump in guitar playing quality between the first two albums that feature Hillage, the above mentioned Arzachel from 1969, and then, 1972 brought us “Khan” with their album “Sea Shanty” – and in the three years that had passed, Hillage’s guitar prowess had increased by a significant amount – but nothing like what was about to come – in the form of his first two solo records, the first that bore the name “Steve Hillage” – “Fish Rising”, followed by what is probably his best-known work (and, produced with Todd Rundgren, using Todd’s new Utopia – Roger Powell, Kasim Sulton, and Willie Wilcox – as Hillage’s backing band on the record) “L” – these two releases are where you can really hear the confidence and power of his playing – and I would heartily recommend them to anyone!

I did own a cassette with “L” on it, years ago, so I was familiar with that one album, but never had a chance – until today – to hear Fish Rising, the two early albums, and the first of many, many live CDs that are in the box – this wonderful BBC Radio 1 In Concert 1976 that is playing – in glorious stereo, I might add (after a lovely across the kit drum roll – which just went across my brain in lovely carefully-drum-miked stereo).

I think I will leave the task of a full review to someone who knows more about this, for me, this was just a “way in”, a way to hear the development of this incredibly talented guitarist – who I was really, really fortunate to see both the Steve Hillage Band and Gong, during a very brief UK tour in 2008 – and he was remarkable in both bands – the perfect musical foil for the late Daevid Allen – and it was a unique opportunity, to first hear Steve and Miquette play solo Hillage material (which was unfortunately at the time, besides the obvious cover of “Hurdy Gurdy Man”, unknown to me) as well as, play as an integral part of Gong – this was a remarkable performance featuring most of the main figures in Gong history, including his long time partner Miquette Giraudy, Hillage and Mike Howlett as well.

So that is my most recent listening, previous to that, however, I’ve been revisiting my catalogue of XTC releases, trying to get caught up with capturing all of the additional music hidden away on the Blu-Ray discs included in each of these amazing “Steven Wilson” re-masters – and I guess I can say that I definitely am collecting Steven Wilson re-masters – starting with the King Crimson re-masters – the ultimate – King Crimson in 5.1 sounds absolutely astonishing – it’s so worth it just for that alone – but, there is always a lot of additional music buried on the DVD or Blu-Ray portion, and I’ve developed a unique way to capture this additional material

In assessing my XTC discs, I now have four Steven Wilson XTC re-masters:  Drums & Wires, Skylarking, Oranges & Lemons, and Nonsuch.  I realised that I had only partially done the work on capturing the extra tracks from three of them, so I set out to “right” this wrong.

I also have the same issue with my Gentle Giant, and Yes “Steven Wilson” re-masters – again, I have ripped the ordinary CDs, which contain some of the additional material – but, the additional music on the Blu-Ray has remained accessible only on the 5.1 system – which I can’t take out with me on my iPods.

So – I have developed a process, which includes templates of blank folders, and a template in SONAR Platinum for capturing the music from the discs.  I was wondering if anyone else uses a similar process to this:

 

ACQUIRE BLU-RAY AUDIO CONTENT WITH HIGHEST QUALITY POSSIBLE:

  • Set up your blank folders using the template, which prepares you to “receive” WAV files of the tracks you are capturing, and then later, converting them into MP3 files for your portable device.
  • Those folders look something like this (after conversion from the dummy template folders):

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc01-SWMix-MP3

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc01-SWMix-WAV   (Note:  These are from the CD, which is just ripped normally – not related to this Blu-Ray process)

 

Sometimes there might be two, or even three, CDs (which of course, are all ripped normally)  in which case, those would eat up the Disc01, 02 and 03 slots, and your Blu-Ray material would then start with “Disc04” rather than “Disc02” – you just have to adjust as necessary depending on the contents of the set.  Then, follows your DVD or Blu-Ray ONLY Content:

 

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-MP3

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-WAV

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc03-AlbumInDemo&WorkTapeForm-MP3

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc03-AlbumInDemo&WorkTapeForm-WAV

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc04-ExtraDemos&WorkTapes-MP3

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc04-ExtraDemos&WorkTapes-WAV

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc05-RehearsalsAtLeedsStudiosLA-MP3

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc05-RehearsalsAtLeedsStudiosLA-WAV

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc06-Videos-Mono-MP3

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc06-Videos-Mono-WAV

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc07-StereoInstrumental-MP3

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc07-StereoInstrumental-WAV

 

These folders are only one arrangement, of course, the folder set I come up with, ultimately, just reflects what music is available to me to extract from the Blu-Ray in question.  The set of folders above, is probably suitable, with possible minor alterations, for any XTC album.  Of course, something like “Drums & Wires” has many, many more folders that this example, because there are several different Rehearsal sections on that disc – hence, many more folders (12 in total I believe, or 24 if you count the WAV versions).

 

For King Crimson or Yes, it would be similar, but perhaps, instead of “Videos-Mono” you would probably get “OriginalVinylUK” and “OriginalVinylUS” and so on – so basically – anything that needs captured, you build a folder for.

  • Then, you take a copy of your SONAR Template session (.cwp file) (or equivalent in whatever DAW you use), which is set up with many, many Audio channels – one of my recent efforts ended up at 98 channels – and these are pre-set to use the special S-PDIF “pure digital” input of my sound card – so the S-PDIF outputs of my Blu-Ray player are fed to a pair of inputs on the Sound Card – and all Blu-Ray recording is done via this “pure digital” route – directly from the disc, to the sound card, to SONAR – where I capture them as 48K 24 bit WAV files – the best I can do. The SONAR CWP should be in the root of your work folder, so you can view it and work with it, AND see the folder set shown above.
  • Arm for recording, a single track, which will have a title such as

XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-UNTOUCHEDORIGINAL

  • Put the Blu-Ray into the machine, and queue up the Original Master Mix (the Flat Transfer of the original CD with the original Mix) from the EXTRAS section of the Blu-Ray.
  • Press RECORD on the armed channel in SONAR, and once you see the transport moving, then start the Blu-Ray playing.

 

  • Leave that entire disk worth of music to play, while of course, SONAR is recording it in the highest quality possible – Input = S-PDIF and SONAR = 48K 24 Bit.

 

  • Normally, I do not have to adjust the levels at all – for S-PDIF, they seem to be pre-set, and they always make a clean, but never too “hot” recording – it’s ideal. They just approach 0 db, but never surpass it – so, loud and clean.

 

  • Once the Blu-Ray has ended, and you have your recording of the entire CD captured as a SINGLE large WAV file, you can now move onto the next piece of music, and repeat the above process on the next target disc (in this case, it’s Disc03, “Album In Demo & Work Tape Form”).

 

  • When completed, you then move onto the PROCESSING part of the process, which is probably the most time-consuming and patience-testing.

 

PROCESSING THE FILES:

 

  • In your SONAR .cwp file, you now have a series of large wav files, each one representing a disk full of music. Using the back of the box set or it’s booklet as a guide, I then create a single AUDIO track just below the main, large WAV.  That is set up quite simply, you won’t be recording on it, but you need to set it up so it is playing to Master, and thence out to your headphones or speakers, as you need to monitor this process (I use headphones to be the most precise possible).  Once you are happy with your new empty, Audio track, before we work on any music processing – count the individual tracks that are in this large WAV file, and use TRACK CLONE to make the appropriate number of copies of your new, empty Audio track.  If it’s a 15 track album, then I would create 14 more of these, by adjusting the Count of Clones in the Cloning Window.  Push the button, and SONAR (or your DAW) adds 14 empty audio tracks – and now you have 15 empty spaces for tracks.  Which already have their name template ready for a track number at the end – then, go back – and put in your track number and names:

 

  • Return now to your single large wav track, and before you do anything, take a COPY of it, and PASTE it into your new first audio track – TRACK 01 – which will be labelled something like XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-01-GardenOfEarthlyDelights-OriginalMasterMix, and first, clean up the lead in – there will be extra space there, so you want to reduce that to a very short lead in, and make sure it starts fairly quickly – usually in under a second, so it starts like a normal CD would – immediately.

 

  • Then, find the end of Track 1. Determine the best spot to SPLIT the tracks, so that Track 1 has a proper ending, and that Track 2 will end up with the SPLIT quite close to its first sound.  Once you are happy with this transition point, go ahead and SPLIT the track (leaving the first long recording UNTOUCHED – as the name implies!) always do your first splitting, on the SECOND one – the COPY!!!

 

  • Once split, REMOVE the large chunk of remaining audio, which contains tracks 2 through 15, and MOVE them into the next track.

 

  • Repeat the split, each time, leaving the remainder (of your large wav file copy, which gets smaller and smaller each time you split and move it down) and moving it into the next track.

 

  • Once done, you need to clean up the end of the final track, just to make sure there are no surprises.

 

  • At this point, you should be done with PROCESSING, and ready for OUTPUT.

 

OUTPUTTING THE FILES:

 

  • Ensure that all tracks except your Track 01, “Garden Of Earthly Delights” are MUTED. This is crucial, if you leave anything with sound on it unmuted except for the ONE TRACK you are outputting, it’s sound WILL MIX with your track – thus, ruining it.

 

  • Select the track with your mouse, then, EXPORT – and point the output to your pre-made WAV folder:

 

OUTPUT FOLDER:      XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-WAV

 

  • Once the output has completed, check the folder for the presence of the file, make sure it’s there, and, named to your satisfaction.

 

  • Repeat with each track, making sure that you MUTE the previous track, and unmute the one you are working on (or you get a SILENT output file!) – and that ALL tracks except the one you are currently working on, are always MUTED.

 

  • Once the WAV files have all been output, for each Disc – save and back up the .cwp file, save and back up all Audio files created during the session (your large WAV files).

 

  • At this point, you have the best quality, 48K, 24 bit WAV files of the individual tracks, SPLIT out perfectly in the steps above, ready to now transform into MP3 files so you can load them onto your iPod or other portable device.

 

 

FINAL PROCESSING:

 

  • Using DVDSoft tool “Audio Converter” (or any decent utility that Converts WAV files to high quality MP3 files), set the type to your desired quality (I use “Lame Insane Quality 320 kbps Frauhofen MP3” myself) and point the output to the root folder above your WAV and MP3 folders:

 

OUTPUT FOLDER:      XTC-1989-1-Oranges&Lemons-Remaster-Expanded-WAV&MP3 (or whatever YOUR project folder is called – the idea being, we want the tool to output ALL of the MP3s, from ALL of the WAVs, back into the root of your Project, so you can then assign their internal names BEFORE they are finally split up, by you dragging them into their individual, pre-made “MP3” folders.

 

  • Once your type and target folder are set in the Audio Converter tool, you can now drag the files you want to have converted, into the area at the top of the application where it says “DRAG AUDIO FILES HERE” or similar.

 

  • Open your XTC-1989-1-Oranges&Lemons-Remaster-Expanded-Disc02-OriginalMasterMix-WAV folder, and select all 15 / however many you have of your WAV files with your mouse by using SHIFT-mouse, and then DRAG them across into the top part of the DVDSoft Audio Converter Application. I usually just do all of the WAV files as one giant conversion, so after I drag over the Disc02-OriginalMasterMix files, I then carry on, opening each WAV file folder next would be Disc03, then 04, etc., and dragging their contents into the DVDSoft Audio Conversion tool.

 

  • Once you have the entire set of WAV files in place in the Audio Converter, re-check that your output type is correct (for me, that’s always highest quality, 320 kbps MP3), and that your target folder is just the root folder you are working in – and then press “Convert”. The tool starts working, taking each WAV file, and converting it into an MP3 file.   This can take quite some time, depending on how many hours’ worth of WAV files you have loaded into the tool – be patient, it will eventually tell you that the Process Is Complete. NOTE:  When it converts, it adds a “Comment” into each MP3 file – in the field “Comments” it puts its little advert “DVDSoft.com”.

 

  • It’s harmless, but I don’t want it in my file, so the first thing I do, is select all items, while they are all still in the main folder, and I DELETE this “comment”, leaving the Comments field empty as it should be.

 

 

  • While the MP3s are still in the main, root directory of your project, you should go ahead and add in your “Internal File Data” – I start out, by doing a few bulk updates – I select ALL of the MP3s, right click and select “Properties”, select the Details tab, and then, under “Album Artist” and “Contributing Artists”, I add in the band’s name (unless it’s already there). I also do a bulk update on any other fields that are the same for ALL of the files, such as “Genre” IF they are all the same Genre.

 

  • After that, you can highlight each album, or each file, and make whatever adjustments you need to make the INNER NAMES meet your own personal Standards – I have very particular standards, which includes an Album Name that is preceded by a Year and Counter, so, “Oranges & Lemons” is actually called

 

“1989-1 Oranges & Lemons – Remaster – Expanded – Disc 02 – Original Master Mix – The Surround Sound Series” in my collection.

 

…or something like that – by dating these (using this YYYY-Counter template), I can force them to sort into Chronological order, based on the Album title – it works pretty well, but I did start out with that Standard some 9 years ago, so it would take anyone else a long time to institute – but a very good percentage of my existing MP3 collection does contain these dates.  I have even recently, been converting posthumous live CDs back to their performance date, rather than their more current release date – because let’s face it, there were not that many Gentle Giant live shows in 2006 or 2012.  But there are a LOT of shows from 1975, released in the last 30 years – well, I have managed to get them into chronological order with just a few exceptions where no data exists for the date of a concert.  Oh well – it’s the best I could do.

 

  • From here, you would then rename each MP3 folder to match your MP3 collection – to whatever Standard you use there – and then copy them to your individual folders on your drive or drives. I am currently keeping seven copies of the MP3 on seven separate hard drives, and four copies of the WAV masters (because I sweated blood and time extracting these tracks!) on four separate drives – that’s my backup at the moment.   Because I am always short on disc space, I am going to reduce the MP3s down to four soon, to recover a lot of space – but, it was set up as seven and that’s how it was for the longest time…a lot of redundancy!

 

  • Finally, once the MP3s are added to your collection – you can add them to ITunes and sync your device, or, put them on your non-ios device by drag and drop or whatever methodology you use – your MP3 files of rare Blu-Ray content, are NOW FINALLY READY for your listening pleasure – ENJOY!

 

 

So – back to reality – how’s THAT for a Process?  Since I had to do the content of Skylarking and  Oranges & Lemons during the last week or so, I used those experiences to build the Templates and work out exactly how the process should work, getting it down to a science – but not a quick one.  I recently used the new process on XTC “Nonsuch” – and it worked beautifully – it’s much better to have a consistent process for this, because it is pretty complex – as well as three of my four Steven Wilson Yes albums that still need the process done to them.  And one or two of my Steven Wilson Gentle Giant albums.  And ALL of my Steven Wilson Jethro Tull albums…including the brand new Stand Up – The Elevated Edition which sounds awesome, I might add!

 

I’ve got it down from days to hours now, but it can still eat up most of a day, just doing one “album” – because they usually pack a LOT of amazing music onto those Blu-Rays.  It’s quite amazing, to have a 20 disc version of “Drums and Wires” by XTC !!! Lots of choice there…

 

 

The only catalogue that is actually done – is King Crimson – that was my first Steven Wilson remix, the giant DVD release of In The Court of The Crimson King in about 2008 – hard to believe it (my obsession with the quality recordings that are any and all “Steven Wilson Mixes”) goes back that far, six years!

 

The problem is, to do this PROPERLY, takes a huge amount of time.  OK, ripping the music off of the disc, you can just start it and walk away, and do other work while it’s copying the content to that WAV file.  Repeat as necessary.   Sometimes, I just let three or four discs worth play into a HUGE WAV file, then, split it by album, and move them to their appropriate channel.  But once that easy step of transferring the music over is gone – well, then you are back to that horrible processing section, and cutting up different versions of the same album, or, massive quantities of Andy Partridge demos – it is very, very time consuming – and, I am a perfectionist, so if it isn’t perfect – I do it again – but, I am getting better at it…slowly.  It took me two full days to process all of the content on Yes’ “Tales From Topographic Oceans” – 2 whole days!  That seems to be what it takes, although maybe I could do one in a single day under the right circumstances.

 

I do want to get on with the Yes and Gentle Giant in particular, because both of those sport Stereo Instrumentals, which I absolutely love.  I’ve been listening to the Instrumental versions of Yes’ “Tales From Topographic Oceans” and they are fascinating and beautiful – you hear all kinds of things that the vocals hide – and I played “Ritual – Stereo Instrumental” yesterday on the 5.1 system – wow – it sounded fantastic!  Weird without any vocals – but, fascinating, especially hearing what Steve, Rick and in the case of Ritual, Chris are really doing – how it sounded before any vocals arrived – it’s just astonishing.

 

Now that I have finished XTC “Nonsuch”, so that’s all four of my SW XTC Discs  done – and then, eventually, to Yes and Gentle Giant – as for the Steve Hillage CDs that I just ripped – thank GOD it’s just all audio CDs in this set – no DVD or Blu-Ray content – so, that makes it so easy!

 

Until just now, I’ve never written down this process, and now that I see it in black and white, it just seems like going to extraordinary lengths to be able to hear rare music on your portable device – but, I have it streamlined now, so it does go a LOT faster using the templates, and my experience and skill at cutting up tracks, has gotten much, much better lately, so – it’s not quite as bad as it was.  But it is a LONG process by gumbo!

 

OK then, onto pastures new, now that you have learned one way, probably NOT the fastest way (I just know someone will come back to me with a tool that rips all audio from a Blu-ray or DVD with one button push) and it can even split up your tracks for you while cooking you a delicious breakfast – but I don’t know, mine does guarantee consistent, high quality, MP3s, built from the best possible, super high quality WAV file – for the level of technology that I have, it’s not too bad – it could be a lot worse!

 

For me, it’s just for the chance to hear this remarkable music, these musicological gems that Steven Wilson finds on these master tapes, and brings to us all – some amazing music has been unearthed just by his standard processes of “re-mixing” classic prog and pop albums.

 

Speaking of music, well, despite spending SOME time on Blu-Ray content – I have actually also been working on new music – in the studio, I have a new track, which I started a couple of weeks ago, called “On The Cusp Of Yesterday” which I am currently having a titanic struggle with.  The basic track has been done for some time, and, for some weird reason, the last one-minute guitar solo is also done.  So I needed to add guitars, from the beginning to the beginning of this existing solo, which is a bit challenging.

 

I spent an entire day (a few weeks ago on a Sunday, I think) adding some new parts, using a lot of truly beautiful H9 patches, a nice, ordinary clean delay into a hall reverb, not too ostentatious, but just nice – and then some other more strident patches – doing guitar over dubs.  All day, and, I wasn’t happy with the last…two or three overdubs.  Maybe the first one was OK, or maybe it’s just the second one…

 

I was so dissatisfied, because it just had not come out how I heard it in my head, which I didn’t even bother to make a rough mix of it with these new hard-fought overdubs, which were technically ok, but weren’t doing the job for me.

 

So the next time I got some free time to work on it, “On The Cusp Of Yesterday” got a new makeover – I actually decided to go ALL THE WAY BACK to the backing track, hiding all of my previous guitar bits, including the good ones – and I would try again, with that lovely clean delay to start – but this time, a clean delay into a beautiful SpaceTime patch.

 

I did several takes, some involving harmonics, others, strange chords, others, melodies and lead guitar.  Saved everything, but listened to nothing.  Now, I am waiting for another chance to go back and hear what I did – and I know that some certain bits – like the very end – came out REALLY well, there is some viable music there, and possibly, enough to flesh out part of the track, perhaps leaving some spaces for me to populate.

 

At the moment, I am just avoiding it, I am not sure where it’s going, the backing track is exceptional – drums, odd bass, really odd “keyboards” courtesy of “REV”, and a lovely violin.  A good solid track, and I really like it – but, for some inexplicable reason, I am not sure what belongs on top of it.  I am tending towards something quite ambient at the moment, rather than “normal” guitar parts (which is what I did the first time around, where I REALLY didn’t like the outcome) – I am liking ambient guitar parts at the moment, so that might be the way – time will tell.

 

Update: another session, I was able to take the recordings made the second time around, and produce a nice mix of “on the cusp of yesterday” from those – it’s come out really well.  Probably ready to be uploaded…which I still haven’t done, because I still haven’t decided about it…

 

Next – is something a bit unexpected, I am now at this very moment, revealing my plans for my next new “Eternal Album” which has turned out to be something I really did not expect AT ALL:  “Garage Band” !!!!!!!!!!!!!!!!!!!!!!!!!

 

How did that start? I had read somewhere on the Interweb, that Garage Band had had a really good makeover, and was a really cool way to make music now – and I can remember seeing Garage Band years ago on a friends Mac – and I myself have used it, I have a few songs made with it on an old Ipad, that I’ve never published – and possibly won’t, they were very early experiments, before I really had working with Apps down to a Science.

 

I decided to try out this new, improved Garage band, and wow – I was very, very surprised indeed!  It really has a lot of great features, and I think it could become my go-to place for working with samples – and that is what sets it apart, is the “Apple Loops” which are professionally-recorded bits of music, 2 bars of this, 4 bars of that, 8 bars of something really strange.  A lot of grooves, drum grooves, bass grooves, a lot of it is rhythmic in nature, including ethnic sounds from India, Afghanistan and even Egypt – and, a nice batch of African sounds, mostly drums – I have to admit, they have supplied a LOT of great, ready-made content, that you can fit together into tracks in a very easy, intuitive way.

 

I have thoroughly enjoy my Garage Band Renaissance or GBR, and I immediately started producing strange and wonderful hybrid piece of music beginning in mid-September and continuing to the present day.  And I finally did upload the first five complete tracks, to the new album, a few days ago.  I am also nearly finished with a sixth track, working title “preponderance”.  So the Garage Band Renaissance has been a real hit with me – here are the tracks:

 

Start Date            Title                                                       Containing

 

20160919             Hare Rama Buys A Llama               Drum Samples, Manually Played Bass, Grand Piano, Synth, Raucous Rhythm and Lead Guitars, Bizarre Guitar FX, and Bass Samples, Strings Samples

 

20160926             Opposites Attract                            Wonderful Pastiches of African Drum Samples, Ever Changing,

Manually Played Bass, Cello Samples, Afghanistani Melodic Instrument Samples, Sub-Bass Samples, Dub-Step Bass Samples, Bass Synth, Melody Synth, Reversed Melody Synth, Drum Kit Samples, String Section Samples.

 

20160926             Metal Crisis                                        (Altered version of abandoned track “Cuban Crises”) Drum Kit

(Metal) Sample, Metal Chug Rhythm Guitar Sample, Metal

(Metal) Sample, Metal Chug /Blues Lead Guitar Sample, Funky Clean Wah-Wah Guitar Sample, Beautiful Female Voice Singing “Oohs & Aahs” Vocal Sample, Funky Fender Rhodes Electric Piano Sample, Synth Sample, Additional Drum Kit Sample, Manually Played Bass.

 

20161014             Nambutamba Rain Shower         African Drum Samples (Many Different Ones), African Percussion

Samples, Mysterious Electric Piano Riff Sample, Mysterious Guitar Riff Sample, Mysterious Synth Chords, Additional Conga Sample, Rock Bass Guitar Sample, Drum Break Sample, Crash Cymbal Sample (Note: In the end, I actually did not play a single actual note on this, it’s entirely composed of samples – and also, it’s probably the first ever Ambient African piece of music ever made!)

 

20161017             Ten Seventeen (Aka “Nine Nine”)        Drum Kit Samples (Three Different Funked Out Drum Kit Samples, Manually Played Bass Guitar, Sarod Sample, Indian Drum Samples (Khol and Pakawaj Drums), Transport Stop Synth Sample, Voyager 1 Synth Sample, Vocalised Synth Bass Sample, Boogie Right Vox Synth Sample, Vigilante All Sample (String Section & Timpani Samples).

Update: after several more sessions, I FINALLY got the manually played bass guitar part how I wanted it.

 

I am very excited about working with Garage Band again, now that it has had such a brilliant face-lift, and I love how very simple it is to create very intriguing and interesting music, using mainly samples – something I’ve not done much of outside of Komplete – but that’s a very different world of sampling – the Native Instruments world – and I am afraid that Garage Band is not quite up to that standard yet :-).  But – it’s not bad for Apple!

I had a blast recording these tracks, the first where I used an IPhone instead of an Ipad – it’s not bad at all – I found it easy enough to do.  I do like the samples that Apple has provided, and the temptation to just sit and create, is overwhelming – they have a lot of great-sounding samples (and, some terribly bad or terribly cheesy ones, too) which make composing a dream – they even “theme” them together, so for example, you can put a bass guitar, rhythm guitar, and lead guitar “together” and they play back a chunk of an imaginary song by an imaginary band.  Of course, I like to manually force them to match up with the wrong track, cross-breeding them rather than putting them all together as intended – intentionally misusing the pre-matched loops…but that’s just me.

 

 

I have already used that technique twice during the last five weeks of Garage Band work, myself; once on “Hare Rama Buys A Llama” and again on “Metal Crisis” – it works well, and I like it. For the latter track, though, I brought in additional bluesy lead guitars, and purposely “mismatched” those over the other, patterned rhythm guitars – and it worked fine, because the musicianship of this unknown guitarist, was of a high calibre, and his beautiful blues riffs could have “fit” almost anywhere….by purposefully mis-placing them, I created some impossible and very musical moments in this metal / beautiful vocals track – a strange experience, but well worth it – I like this track!

So really, I am right back where I started, with music on an Ipad, often, Garage Band is the first thing you learn, and in my case, I am no exception, I did work with it for quite a while, until ambient apps came along and distracted me – once I had Scape, and Mixtikl, and Drone FX – that was me, away from “normal” apps like Garage Band, and when I did use normal apps, I favoured Nanostudio (and I still do!) as well as learning how to sample from the Fairlight, and so on – I began a long journey of discovery, that has now, in 2016…led me right back to the beginning, to where I started in 2011 – back to Garage Band.  Who would have thought?

Not me.

 

Now that the new Garage Band Eternal Album is loaded up at last, I am off to work on the guitar system which is undergoing yet another massive upgrade…as usual.  A game-changing upgrade I hope, including Pedalboard Mark 68, I can’t wait till it’s all sorted out…

 

 

Happy listening!

 

 

Dave

 

 

 

 

 

 

 

 

 

“new prog song” and other musics…

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

 

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

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

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

drums

bass

keyboards

organ

mellotron

acoustic guitars

lead guitars

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

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

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

drums

rhythm guitars

melody or placeholder clean lead guitar melodies

bass guitar (only once guitars are finalised)

keyboards (only once guitars and basses are finalised)

more lead guitars / ebow guitars (if necessary)

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

 

 

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

 

D.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

King Crimson – Tivoli Vredenburg, Utrecht, Holland – 20150924

For the third and final of our “three of a perfect pair” (see how I did that – effortlessly!) we went slightly further afield, and for me, seeing King Crimson playing on European soil, in Holland, in 2015 – was not only very, very surreal, but it brings a nice sense of closure for me over time. Three gigs, in three countries, and for us, in many ways, the Tivoli show was the best.

I never saw the 1969, 1971 or 1972-1974 King Crimson line-ups, for me, I started out with another “three of a perfect pair”, all which took place in San Diego, California (where I lived at the time) during the first half of the 1980s:

November 22, 1981 – UCSD Gymnasium, University Of San Diego Campus

August 10, 1982 – Fox Theatre, San Diego

June 8, 1984 – SDSU Ampitheatre, San Diego State University

(eleven years pass)

then, as a sort of strange Crimson interlude, I saw a pair of live performance by the redoubtable “double trio” during the mid-90s:

June 28 1995 – Symphony Hall, San Diego, CA

July 30, 1996 – Summer Pops Bowl Park (where finally, I got to hear “Schizoid Man” live at last!!).

(a non-descript outdoor venue where I handed out flyers to the concert-goers for Mark – and in return, got a DGM T -shirt!).

(nineteen years pass)

which then brings us to the three current 2015 shows we’ve just completed, with the September 24th, 2015 performance in Utrecht still ringing in my ears…

this show was different in a number of very significant ways, from the two UK shows we’d seen on September 14th and 17th, and we found it very enjoyable because we were much farther back in the venue, this time, up pretty high in the stalls, but it’s a beautifully-built , steep-seated theatre – so no matter how high up you are, you aren’t really that far away from the stage.

but, that actually meant that we could hear the band better, and. hear the bass a bit better, and the overall sound mix was “best” for us, out of the three shows:

September 14, 2015 – Symphony Hall,  Birmingham, England

September 17, 2015 – Usher Hall, Edinburgh, Scotland

September 24, 2015 – Tivoli Vredenburg, Utrecht, Holland

but I am getting ahead of myself…

the Utrecht show began as all shows did, with the eiree, dissonant Robert Fripp Soundscape playing for perhaps fifteen minutes prior to show time; people were slowly finding their seats in the lovely, intimate theatre which was apparently bereft of any staff whatsoever, since there were no ushers of any kind in sight. we found our seats well ahead of time, but as we approached the later European start time of 20:00, a curious thing happened.

the Soundscape faded down briefly.  Then, a lone spotlight picked out RF’s “Lunar Module” rack mount rig and empty guitar stool, the theatre dark save for the strangely lit “Fripp” area.  Then the Soundscape returned, up to full volume again…and another wait of perhaps ten minutes this time (all the while, with that oddly lit Fripp guitar stool and guitar kit still bathed in that bright, bright spotlight), ending when the band finally emerged onto the stage.  This strange combination of Soundscape and the spotlight on the work area of the band’s leader, seemed to be saying something, but I wasn’t quite sure what.  Perhaps “this is where Soundscapes come from”, I don’t know.

so this was a bit of a different start to the show, the UK shows started earlier (at 19:30) and were a bit more on time, here in Utrecht, we started at a more Continental hour, and the band were a bit fashionably late. From our bird’s eye viewpoint this time, we could see well and hear the band really well indeed, and sonically, this show was the clear winner of the three shows we attended – they sounded fantastic.

the set opener remains unchanged, and as I never dreamed I would ever, ever, in a million years, see King Crimson playing “Larks’ Tongues In Aspic, Part I” live, hearing it for the third and final time for this year (this MONTH!!) was something that I really enjoyed, the new arrangement is fantastic and I particularly like the drum parts and the way the two guitars divided up the work, a fantastic song and it just keeps getting better each time.  to a lesser extent than previously, we still had some difficulty at some times, in hearing Tony’s bass or stick, but apparently this is a fairly common issue at all of the shows (or so I have heard, anyway).

it could simply be the placement of the two lines, front and back, and the front line is quite loud….so that may well make things difficult for poor Tony, located as he is with four fairly loud objects encircling him: Mel, Pat, Bill and Jakko.

that may be part of the problem, or it could just be that Pat’s drum kit simply overpowers the bass from time to time, I am not really certain why the level of the bass does seem to be an ongoing issue – we noted it at all three venues we saw shows at, but it had definitely improved by he time we reached Utrecht. From high up, and this time, we were on Fripp’s side of the stage – things sounded good.

at Birmingham (Sept 14th), we were on the left side, sort of in front of Mel and Pat but off to the left; in Edinburgh (Sept. 17th), we were in the fourth row directly in front of Pat, so being both on the far opposite side, and being both “back” and “up”, meant that the Utrecht (Sept. 24th) show sounded different.  There was noticeably more Gavin Harrison in our mix. And we could hear Robert more clearly, being on his side of the stage. And Jakko, too.  The “guitars” mix was better, too.

so it was actually a blessing, getting “bad seats” (actually, it was such a nice theatre, there really was no such thing) – we’d been too close to the band at the other two shows – well, not “too close”, it still sounded amazing, but, we did get a clarity at Utrecht that we didn’t experience during the other two shows.

when “LTIA Part I” came to an end, we got our first surprise: a changed-up set list, so here, in second position, came the very powerful “Level 5” – in the section of the concert where new material normally appeared. this change made me really happy as it meant that this set would not be the same as the two shows we’d previously seen.

then things really took a new turn, in the form of the title track of “a scarcity of miracles” – which I enjoyed immensely, it was totally unexpected; Jakko was in fine voice, and it was nice to see Robert playing quite a bit of keyboard, taking his keyboard duties as seriously as his most difficult lead guitar solo.  the last time I saw Robert Fripp playing a keyboard was in 1981, where he did a bit of keyboard for “Sartori In Tangiers” or some such 80s tune in a live setting.

I really didn’t expect to hear any tracks from the “Scarcity Of Miracles” album, and of course it’s also a great showcase for Mel, too, who sounded great on the track.

once that surprising song choice ended, the “new music” section could finally begin, so we got “Meltdown” and what I think was “Hellhounds Of Krim” – I still don’t have a handle on what the percussion-based pieces are called – but I do prefer “Meltdown” now, to the now-absent “Suitable Grounds For The Blues”, so of those two non-percussion based new songs, we got the one I prefer – so more good luck for me.

then the set returned to something that more resembled the sets we’d seen, with a lively “Pictures Of A City” (featuring more amazing work from Mel of course) which was then followed by the fantastic new arrangement of “The Construction Of Light” – which I love, especially the final flute solo from Mel – I don’t know why, but I really like that part.

I should note here the remarkable talent of Jakko, who learned the interlocking “Fripp and Belew” guitar parts flawlessly, and this is especially notable on “The Construction Of Light” (and on “Level 5”,  etc.) – it’s concise, precise, correct and beautiful, too…Jakko is a natural, and the incredible range of guitar parts he is required to play, from picked mock-acoustic guitar on the 1969 tracks, to the precision interlocking parts of something like “The Construction Of Light” from 2000, or to the uproarious and wonderful guitar parts on the two tracks from 1971’s “Islands”…Jakko nails them all. He makes it look easy!!

speaking of the 1969 tracks, next up comes the first of the three (from the first album) that they often do now in 2015, “Epitaph” and this is yet another piece where Jakko truly stands out; a good vocal, carefully picked mock acoustic guitar while singing lead vocal…he knows these songs so, so well, and sings them as if the spirit of Greg Lake was inhabiting him.

I think that the first ten King Crimson albums are some of Jakko’s favourite music, much of which he learned some years back for the 21st Century Schizoid Band (who performed much of the same early repertoire as the 2015 KC does), he takes the twin tasks of singing the vocal, and playing the guitar parts note-perfect and tone-perfect too (I couldn’t believe the lengths he went to, in the 21st Century Schizoid Band, to play every Fripp note, chord or even special effect, as accuraviewedtely as humanly possible) – an astonishing performance then, and even more amazing now he is in the “real” King Crimson.

I think that Jakko does really well on all of the material, but he really seems to live and breathe the songs from the first four albums (except Lizard, from which they don’t seem to perform any tracks currently) so when he sings something like “Pictures Of A City” or “21st Century Schizoid Man”, or, indeed, “Epitaph” or “The Court Of The Crimson King” – I think he really feels it from the heart. It’s clear to me that he truly, truly loves this music.

the very solemn “Epitaph” then gives way to Gavin Harrison’s lovely little ditty “Banshee Legs Bell Hassle” which makes for a wonderful, cheerful bridging piece to the next Musical Great Leap Forward – “Easy Money” , which is always a high point in these concerts. It’s a chance for the whole band to shine, Mel has invented some great sax parts for it, Jakko sings the original lyric rather than the “USA” or “naughty” version, and Pat turns up with some of the original sounds from the original recording, such as the laugh box that he “plays” at the end. they really do a great job of re-creating the unique sonic atmosphere of this classic 1973 track…I love hearing “Easy Money” live, I can’t get enough of it really, it’s always over far too quickly.

Fripp does take a remarkable solo during “Easy Money”, using a great vintage Fripp tone dialled in on his trusty Axe-FX II effects unit, and I was privileged to see and hear him approach that solo on three different occasions, and this one was fantastic as always, a wonderful, nostalgic 1973 style lead guitar solo with cracked Wah and distortion to the fore.

from here on out, the show just hits highlight after highlight, this is really my favourite part of the show, and the next two tracks are probably my favourites, the melodramatic “The Letters” which features Fripp playing an ungainly but wonderful guitar part, a solo atop Mel‘s rollicking saxes, followed by the absolutely sublime live performance of “Sailor’s Tale”, a great instrumental featuring Mel Collins on screaming impossible sax solo, with Jakko and Robert locked in on their long, sustained notes in perfect twinned guitar harmonies.

oddly, both Pat and Gavin fall completely silent during most of this track, leave Bill Rieflin (ex-Ministry) to handle the drum part on his own; only rejoining him when he has to switch to mellotron for the ending section. Somehow, having just Bill playing drums on this, made it sound right – it just worked best with one kit – and they realised that – and I really admire that decision.  I admired Pat and Gavin for being absolutely silent and motionless during most of this piece. Two fantastic vintage “Islands”-era Crimson songs played in incredibly accurate detail, with an absolutely swinging drum and cymbal part from Bill – he really nails (the late) Ian Wallace’s drum part.

did I mention Jakko’s impassioned reading of the lyrics for “The Letters”, he really sings “The Letters” so, so beautifully, it’s such a tragic tale, beautifully sung right up to the fantastic lyric “impaled on nails of ice…and wait for emerald fire”…which eventually leads him to the final, utterly a capella stanzas.  A roar of applause greets him when his lone voice finally falls silent with “…I take my leave of mortal flesh”.  Shivers.

I often think that Jakko gets a bit short-changed here; he is alternately viewed as, usurping Adrian Belew’s “rightful place” in King Crimson (is there such a thing, for anyone except Robert himself?? I don’t think so!) or not doing justice to a certain vocalist, or whatever – but, if you think about it, the expectation that rides on this young man’s shoulders is considerable:  he has to sing like Greg Lake, he has to sing like Boz, he has to sing like John Wetton, and he has to play guitar like Robert Fripp. All four things, of which he does, without issue, without fuss – he just does it – and I think he is a remarkable, under-appreciated part of the band.  Huge expectations – and Jakko delivers, night after night after night.  He is a brilliant guitarist, too – he’s the “other Fripp” in the band 🙂

with the two amazing songs from “Islands” now done, at this juncture in the concert, I had no idea what to expect.  Would they just do the typical “last three” and be away, or what?  I didn’t have long to wait to find out, as the crashing riff and insanely-clever triple drum threat arrangements of “One More Red Nightmare” began. What a treat, too, to finally “see” just exactly how Gavin worked out the drum parts, and to see the amazing co-ordination between the three drummers on this song from 1974’s “Red” album.

this song holds fond memories for me,as I used to play and sing it, in one of my bands (Pyramid) when I was about 21 or so. the slow sections that modulate between either an E Minor To D motif, or, move up to a G minor based section, were brilliantly executed, with Mel’s snarling saxes over the two guitars…and finally, the whole band hits that opening riff hard, the triple drummers out do themselves once again, and one of the most amazing tracks of the night is over.

I was personally ecstatic that they included this song in Utrecht, it really made the set so special for me…I got my cake and ate it too, I got a different set from Birmingham or Edinburgh; I got “One More Red Nightmare” without giving up my two precious “Islands” songs.  Perfection – an inspired variation of set list.

and thence, following immediately, the beautiful “Starless”, with Mel Collins and Robert Fripp sharing that thick, liquid melodic line so perfectly, Mel in particular has clearly studied the recording incredibly well, but together they just sound so excellent on this track.  Fripp bends those notes so, so precisely this time, a great vocal from Jakko, this song works so well, too, with the triple drummers.  Tony gets a real workout, as well, playing the lead bass part for the last two-thirds of the song, until the fast bit at the end, which resolves at last into that amazing Fripp / Collins melodic conclusion – so, so beautiful!!

the Dutch crowd were very responsive indeed, I’d say they even gave the Scottish crowd in Edinburgh a run for their money, but both Scottish and Dutch were much louder and more demonstrative than the audience at Birmingham was.

A long, long, loud round of applause erupted at the conclusion of “Starless”, followed by rhythmic clapping eventually brought the band back for the two final numbers, another finger-picking exercise for Jakko in the form of “The Court Of The Crimson King” which also features the Michael Giles-channelling Pat doing his very damnedest to break his drum heads with the ferocity and speed of his drum rolling – such a powerhouse of a performer, Pat absolutely propels the final section of this song into a kind of drummer’s stratosphere.

meanwhile, Robert’s subtle, reverbed lead guitar, was so so lovely, working perfectly with Jakko’s mock acoustic guitar, and the vocal, too: “the yellow jester does not play, but gently pulls the strings…” Cue RF, gently bending between one half step and another, as if in answer to the lyric’s meaning, his guitar on this was just perfectly done, sounding very, very much like the original.

finally, it’s the end, which means it’s time for “21st Century Schizoid Man” 2015-style. Jakko sings the lyric like a man possessed, even dragging a little bit of actual melody out at the end of each spat-out line…an almost-melodic “….century schizoid man….” For me, this is one of the most altered arrangements, and it took me awhile to realise that actually, there is no real lead guitar “solo” at any point. RF does play a wonderfully convoluted descending guitar lead that walks right down to Mel’s solo (which doesn’t last long enough to become a solo) – and Mel just owns the song from there on out.

the band of course, all join together for the “precision part” which goes without incident, and then, the final verse, the final chorus…the wild ending that suddenly stops in dead silence…and the show is over.

the Dutch crowd is on their feet cheering and once again, the applause is long and loud, as the band take their final bows and are away down the stairs…and out into the cool night of Holland.

my first ever concert in Holland, but, the last of three King Crimson shows for September, 2015 – this is a month that I will not forget any time soon!!! The quality of musicianship on display, from all seven gentlemen in the band, is simply extraordinary; the selection of songs, mind-boggling in their quality and diversity; the overall effect is simple one of wonder, you are left wondering where else music could possibly go, from what you just heard…

the melodies stay with you for days.  you find yourself singing “Easy Money” or “Starless”, all the time, or you hear the choppy chords and mellotrons from “The Court Of The Crimson King” in your head – this music stays with you, for days and days, you find yourself playing your “Red” and “Larks’ Tongues In Aspic” albums over and over again.

its now been five days since the concert, and I can still hear huge chunks of the show in my head when I think about it.

and…I’m still singing “starless and…bible black…” and then I close my eyes and wait for Robert and Mel to come in with that unforgettable melody.  sigh.

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 pastmusic 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 8th 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 32nd notes or 64th 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!

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

 

GLASSWORKS by Soniccouture

 

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

 

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

 

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

 

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

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

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

 

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

 

all tracks recorded 20141206 by dave stafford for pureambient records

all rights reserved © & ℗ 2014 / 2015

 

 

 

REV by Output

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

 THE IBANEZ RGKP6 KAOSSILATOR GUITAR

 

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

 

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

 

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

 

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

 

AND NOW FOR SOMETHING COMPLETELY DIFFERENT

 

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

 

THE FUTURE AND BEYOND…

 

So – what is to come in 2015?

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

 

Peace And Love To All

 

D. 🙂

 

turning a disadvantage into an advantage…and “the perception of music”

today I want specifically to talk about perception, in this case, my own perception of the music that I create, and some observations I’ve made regarding this.

first off, I’d like to suggest that I think all musicians may experience what I am about to describe, namely, that feeling, while you are playing, performing with, or recording your instrument(s), that what you are playing is possibly:

a)     not as good as it should be

b)     not “right”

c)     going horribly wrong, but you carry on anyway

d)     is a “disaster in the making”, but you carry on anyway

e)     sometimes, that bad feeling is so strong, that you actually abort the take (or worse still, stop the performance!)

I don’t know about you, but all of the above has happened to me; most of them, many, many times.  blessedly, the last one, not too often 🙂

but, based on some listening and performance experiences of my own, I would like to suggest that if we are feeling this way when we play, that we are maybe doing ourselves (and therefore, our music) a huge disservice.

a case in point, is a track I recently mixed, that I had recorded live in the studio on september 30, 2012, entitled “into the unknown”.   this track, a lengthy improvised piece (an 11:48 scape and energy bow guitar duet), is the perfect example of what I am talking about here, in that, while I was recording it, I really didn’t think it was going well at all.

I had concerns about the tuning of my guitar; concerns about the ambient guitar parts I was playing; and concerns about the solos I played.  those concerns stayed in my mind, from the day I recorded it, september 30, 2012 – until february 10, 2013, when I finally sat down to mix the track!!  all that time – I held a very, very negative view of this improv in my mind – I was pretty sure it was not going to be a good experience to hear or mix it.

how very, very wrong I was (thankfully).

much to my amazement, when I mixed “into the unknown” – while it wasn’t perfect – to my everlasting astonishment – it’s actually a very, very beautiful and good track, with nothing particularly “wrong” about it !!!!

but, at least for me, as it so, so often does – my “self-criticising circuit” just kicked in automatically, every tiny imperfection I perceived as I played it, magnified a million times, until I was sure it would be a waste of time come mix time – and boy, was I ever wrong – it’s a gem, and I am now very excited about this track – I really enjoyed creating and publishing the video of it, because it’s a unique and unusual scape and guitar synthesizer duet – a very, very unusual, (and quite lovely, too), piece of music indeed.

surprise number one: when I sat down to mix the track, the first thing that struck me was how very beautiful the underlying “scape” was, and that meant immediately, that 50 percent of the track is automatically “good” and beautiful, too.

surprise number 2: the other 50%, which is what I “live looped” and played live with the guitar synth – OK, some of it required a little work, I did have to “treat” a couple of the guitar synth solos to make them sound better – but mostly, there was nothing much to do, except trim the track, add a tiny bit of reverb overall, and master and produce it.

and with fresh eyes and fresh ears, that nasty (mental) list of problems and complaints, looks slightly different using my february 9th, 2013 “ears” – I’d say that list should really have read this way:

a)     song is better than I thought – much better

b)     it’s very right – the scape is great – the guitar synth is good – the solos are acceptable

c)     it was going well, and I was right to carry on – a good decision

d)     not disastrous at all, and I was right to carry on – a good decision

e)     luckily, I did NOT abort the take, because if I had, it would have been a tragedy – a travesty, as it would have meant throwing away a really, really interesting, utterly unique, and perfectly good piece of live music!

so this is how the perception can change, and of course, now, being aware of all this, I do make a serious effort to look more positively upon music I’ve recorded, because much of it is probably (but not necessarily!) much better than I initially think it is.

what I take away from this is at least twofold:  one: I need some time, a significant amount of time, to pass, before I “pass judgement” on any of my recorded works, and two: I shouldn’t be so hard on myself.

another track, “escape from the death star” (a seven minute scape and ebow loop/live duet recorded on october 20, 2012) proves the same point – for a different reason.  I had the usual mental list of “what is wrong with this track” – as above, but in this case, this track came from a truly disastrous session, where things really DID go wrong, and badly wrong, on the first fourteen of fifteen tracks recorded total (now THAT is a bad day in the studio!).

so, based solely on it’s presence within this “disaster session” (unfortunately, an accurate name for it) – I think I just assumed that this track would somehow be tainted by the failure of the other tracks, harshly judging it by the same criteria with which I rejected tracks 1 through 14 – which again, is a ridiculous assumption, and again, I was quite surprised on first playback, to find that it is a very intense, very powerful, ebow and scape loop – and, to be honest – it’s not bad at all!

once again, I placed a mentally “negative filter” over this piece, which was unfair and incorrect – needing to measure the piece based on it’s musical merit rather than it’s inclusion in a set of bad music.  time seems to be what I need, hindsight I guess…that seems to be the main catalyst for me swapping my negative view for a much more positive one.  I am hopeful though, that since I’ve written this article, and discovered these behaviours within myself, that I can be less negative at the time of recording, and shorten the time needed to achieve the correct and positive view of these improvised pieces of music.

now, I am not saying that you should automatically assume that every take you make is golden!  you do have to be critical, and even ruthless, and remove takes that are less than inspiring, have substandard solos, or are too much like one another.  I’ve never had too much trouble with that, although there have been occasions where I felt like I really had to publish many, many examples from one session, just because the quality was high overall, and the different takes reflected different aspects of the improvs that were important musically.

but that is a rarity; very few sessions produce a 50, 60, 70 percent, or higher, success ratio (for me, anyway) – most sessions end up with one or two very good takes at the most, a few decent takes, and several that are not taken further. very occasionally, 90 percent are good.  very, very rarely, all of them have merit – very rarely indeed – but it has happened.

but otherwise, it’s actually the norm for me to record a dozen or more pieces of music, and then in the end, only publish perhaps three or four of them.  sometimes, maybe just one or two…or in the case of “escape from the death star” – maybe even just one!  depending on the session, it may also be that I might publish eight or nine out of 12 tracks, or 14 out of 20, or whatever makes sense to me from a strictly musical point of view.  some days, you are fortunate, other days, not so fortunate.

as always, though, it’s about finding balance – finding the sweet spot between being fairly and justly critical, but not automatically assuming that everything you record is really, really incredible – just finding the right pieces, the ones that reflect well on you, that express your musical ideas well but not too overtly, regardless of if they are understated or “over the top”, the ones that represent “you”  as composer, musician, performer – but, at the same time, trying not to be too critical on yourself, giving yourself some slack!  give you a break… 🙂

now – I can just imagine you all scuttling back to look back at those tracks you recorded four months ago, six, seven months ago…desperately hoping that they have miraculously turned from bad to good while you were busy elsewhere – but you may be disappointed.  or, you may find a hidden gem or two…

I just know that for me, I can often be very, very overcritical at first, especially at the time of recording, just after, and probably for a few weeks afterwards – but interestingly, as I found, after a few months, when you listen (with fresh ears), you may well find that you were too critical, and you have perfectly viable music sitting there just waiting for that final mix and master.

while we are on the subject of behaviours and perception, I’d like to mention another curious behaviour that I’ve noticed in myself recently, and I wonder if any of you have ever experienced this – it’s what I now call the “I don’t want to know” syndrome.

a very current and very real example of this is my current and ongoing relationship with a peter hammill song entitled “the siren song”.  over the past several months, I’ve had several recording sessions devoted to this very, very difficult-to-play, difficult-to-sing track from “the quiet zone/the pleasure dome” album, by van der graaf, from 1977 – and I have struggled mightily to get a take that I am entirely happy with.

some of those sessions ended up yielding absolutely NO candidates (usually due to unrepairable and disastrous and horrific errors in my piano playing – it’s devilishly difficult to play!); others, perhaps, one or two at the most, and those with too many faults, although I will say, as the months marched on, my understanding of the song (and particularly, the piano parts) has grown immensely, and the last few sessions with it were far and away, the closest I had come to getting “a take”.

but here’s the interesting thing.  I love this song; I am absolutely determined to capture a good quality version, completely live, at the piano, and, I have done a lot of work, both in learning the piano part much better than I ever knew it before, and in recording the track over and over and over and over again, slowly getting better at it in the process.

as you know, because I record so much music, using so many different instruments or apps, that there is always a backlog of songs that need to have their audio assessed and mixed.  I did a couple of sessions for “the siren song” several months ago, that went quite well, and I was even wondering, just kind of wondering…if possibly, one of the takes in that very last session MIGHT be “the take”.  but – I couldn’t face listening to them back, to find out if a good take was present.

eventually, after months of dread and procrastination I finally went and listened – and there it was.  a good take!

however – for some reason – for a long time, I absolutely, steadfastly, and repeatedly, AVOIDED going back to listen to those last two “siren song” sessions!  because…I didn’t want to know!  I did not want to find out whether I “had a take” or not!  what a strange thing to do, but for some unknown reason, I assessed the first few “the siren song” sessions, up to a certain point in time – and then, fully intending to carry on the next time I mixed – I just STOPPED – utterly inexplicably.   I kept avoiding it, until eventually I had to face it – and much to my surprise, that good take I was looking for – was there…with very, very little wrong with it.  a minor miracle, in my experience 🙂

instead of continuing the seemingly never-ending sessions devoted to capturing THIS song, and this song alone, I could then move on to other projects, and at last, let go of the seemingly endless search for that elusive “good take” of “the siren song”.  🙂

I think as musicians, we do sometimes do strange things with regards to the music we create, we are in denial about certain things, we hope that certain takes ARE takes when we know deep down, that they are NOT, conversely, as described in this blog, we thing takes are bad when they are really OK…and so on.

I was really hoping not to solve any great problem here, but just to draw attention to some of the psychological aspects of recording modern music (as opposed to the physical challenges, such as dealing with computers, MIDI, soft synths, DAWs, digital noises, pops and clicks, and so on…), but mostly, how very important indeed it is to give yourself a break, let music sit for a while before you judge it too soon or too harshly or both – and also, I think you will find that the passage of time gives you different ears with which to listen, and when you do find the time to listen, you will see – and hear, more importantly – the work you’ve done in a whole new light.

I noticed certain behaviours during the creation and mixing of these songs and recordings, and I wondered if any of you had had similar or identical experiences, or, if there are other behaviours not noted here, that you indulge in that you may wish to share with us all – if so, please feel free to fill in the “comments” below – we’d be very glad to hear from musicians and listeners alike as to any issues they find with “the perception of music”.

as always, we encourage you to participate, and we do want to hear your views on this blog, so please feel welcome to comment on this or any of the blogs, we’re always happy to discuss / dissect / deviate from topic / whatever it takes to communicate, learn and grow.  I think this is a very real problem for many musicians, yet I can’t remember ever hearing anyone talk about it – so I decided that I had better say something! 🙂

being overcritical may be another symptom of OCD, which I do have a mild case of, but I don’t really believe that.  I think it’s something basic in my personal make up, I tend to focus on “what’s wrong” with each piece of music, rather than celebrating “what’s right” and being kind to myself, and letting go of “what’s wrong”.  so being aware of this – I can make changes, and start to view things more positively.  I do try now, to give myself a buffer zone of time, a week or two, preferably more – and THEN go back and listen…and invariably, things sound better once they been around for a few weeks – strange but true.

of course, I WILL go and fix what is “wrong” – even if it takes a week to fix 30 seconds of music.  [does this sound familiar to anyone ????? 🙂 :-)]

happy mixing and mastering to all!!

peace and love

dave