a new year, a new beginning – and the piece that is – providence suite

here we are, then, on the cusp of another year, 2013 is over, seemingly in a flash, while 2014 is about to begin: and with it, my second major classical work, “providence suite” which has now been published on bandcamp – on the newest eternal album, “classical”, available for your listening and downloading pleasure.  if you read my last blog entry, you will know about the music for this project; it was meant to be a collaboration between John Orsi and myself, but, this was one project that was fated not to be, at least not in the collaborative sense that it was originally intended.

the seven new pieces that make up “providence suite” join my only-just-released first-ever classical work, which was a piece written on the guitar synthesizer and released earlier this year (2013), “concerto no. 1 in e minor for oboe and guitar”, from the dave stafford eternal album, “classical”.  originally known here on the blog as “the orsi-stafford project”, at some point during the work in 2012, after some months and some deliberation, John and I had agreed that our new band should be called “providence” – so – “providence”, the band, was born, from our collaborative / collective imaginations.

when I heard the sad news of John’s untimely passing earlier this month, I felt even more determined to see if I could complete and finish my “providence” demos – which consist of two fruitful days’ recording in the studio, back in march, 2012.  so over the 2013 christmas holidays, I sat down for another two days, and had a good look at the material.  these two sessions done three weeks apart during march 2012, over the past week or so, with 2013 winding down and 2014 looming on the horizon, have captivated my attention and my ear; the music has somehow, almost magically, transformed from two (rather large and somewhat daunting) batches of unrealised tracks into a substantial piece of classical music: “providence suite” by dave stafford (music inspired by the band “providence”). I was surprised (and still am, if truth be told) at both the quantity and the quality of the music, I remember being satisfied with it at the time, but I had forgotten exactly what was there…musical buried treasure.

inspired by our discussions and plans for the band, I sat down to record “sketches” for John to listen to and consider, so he could listen to what music I was thinking of for the project, from which he could then work out what his percussion goals for the album were, and respond with sketches of his own. the bulk of the demos for “providence suite” were played by myself on the keyboard, for the first two movements, on march 4, 2012, and for movements three through seven, from (what became) the final “providence” demo session on march 24, 2012.

since I am known primarily as an ambient looping guitarist, I didn’t want to sit down and create lots of really beautiful, but perhaps, predictable ambient music, it seemed too easy:  I could just set up my guitar, and create a bunch of ebow loops (which, I now realise, I’ve been making for over 25 years…sigh), and send them away to John. so I decided to purposefully do something unexpected: instead of doing what was comfortable / expected / easy – instead, I played the piano.   and, stranger still, I wrote classical themes, instead of ambient or rock or pop.

such an ambitious move might well have backfired, but good fortune smiled on me; my many years of self-taught piano playing stood me in good stead (not to mention my fortunate / apparent / ability [??] to improvise without rehearsal or plan!) – the two sessions went very well indeed.  of course, if you are known as a guitarist, ambient or rock, what you do is…play classical piano?  well, strange though that idea may seem – it worked out quite well in the end.

so, I set up my MIDI grand piano in the now-familiar way, with more than one sound output; so I could have a choice of grand piano, and various mellotron “versions” of the pieces, with which to later build the album.  I then sat down and played – and for the most part, with some minor editing, what you hear in “providence suite” is exactly what I sat down and played.

played extemporaneously, I might add – for example, “grace”, is compiled from a series of 16 takes of the same evolving theme, with a number of mini-musical-themes within those 16 takes, originally, it was three mini-themes: takes 1 and 2 were “theme  I”; takes 3 and 4 were “theme II”; takes 5 through 15 were “theme III”; while take 16 was my attempt to incorporate all three themes into one single take – certain piano phrases, chord changes, and melodies that repeat in different configurations, as the takes…and hence the resulting movement…progress.

when it came time to assemble the piece, it just sounded “right” with all of the variations intact (the original plan had been to use the “best” takes – but what do you do when all sixteen tracks seem to be…”best”?. you publish them all…of course!)  🙂

so, the movement consists of all 16 takes, in sequence, in the order that they appeared – simply “tacked together”.  I merely “closed up the spaces” between the takes – and that was the movement – “grace”– it could not have been simpler.

this is an example of myself composing classical music on the fly, and luckily, with the recorder running; but at the same time, it’s a glimpse at the creative process, too; with each take, I am improving the themes, testing out alternate ideas, and generally perfecting the themes on the fly, as I was playing them. the takes for “movement no. 1 – grace” start out fairly basic, and then they grow and grow, and then for the final take, take 16, I attempted to reiterate each of the three mini-themes within the session all in one take – so that take does a wonderful job of recapitulating the 15 takes that went before, and was the perfect way to conclude the movement, too.

using both the piano tracks and the various mellotron variations, the music recorded in the first session, on march 4th, could then be assembled into the first two movements, “movement no. 1 – grace” and “movement no. 2 – redemption”.  “grace” is strictly solo grand piano, to clearly establish the themes using a familiar instrument; while “redemption” (which uses 17 iterations of the same 16 takes from grace, re-configured) restates those themes using the various mellotron voices and piano, including some unusual-sounding voices such as “after glow”, along with the more traditional, and more easily-recognisable, string and choir voices.

originally, there were four main keyboard themes, which shared two titles (“grace” – representing the march 4th session; “providence” – representing the march 24th session) – so originally, themes one and two, from march 4th, were “grace”, and themes three and four, from march 24th, were “providence”.   in the end, while I was assembling the pieces, and realising that I had a lot more viable material than I at first thought, I expanded the titles to seven distinct movements, which incorporate the four original themes.

when I read the above paragraph back, it seems a bit unclear ! so perhaps the simplest way to clarify it, is to draw a mapping from “theme” to “movement”:

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providence demo session – march 4th, 2012:

themes I & II      “movement no. 1 – grace” (solo grand piano themes) – from 16 sequential takes total (essentially a live performance, with some minor edits)

themes I & II      “movement no. 2 – redemption” (piano and mellotron variations on the themes) – 17 iterations total (from 16 takes)

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providence demo session – march 24th, 2012:

theme III             “movement no. 3 – providence” (piano and mellotron variations on the themes) – 13 takes total – including. from march 4th, one short excerpt from theme I and one short excerpt from theme II – which neatly ties together all of the themes from march 4th into the “providence” movement (the only movement to contain music from both the march 4th and the march 24th sessions)

theme IV              “movement no. 4 – atonement” (live performance – takes 1 through 5 of theme IV) – 5 of 9 takes total

theme IV              “movement no. 5 – purity” (live performance – takes 6 through 9 of theme IV) – 4 of 9 takes total

theme IV              “movement no. 6 – perfection” (piano and mellotron variations on the themes – takes 1 through 5) – based on the same live performance as “atonement” – 5 of 9 takes total

theme IV              “movement no. 7 – transcendence” (piano and mellotron variations on the themes – takes 6 through 9) – based on the same live performance as “purity” – 4 of 9 takes total

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the themes were originally intended to be first piano; then piano and after glow mellotron; and then, finally, a combination of those two plus additional choir / electric piano tracks, which were recorded live / direct from the output of my MIDI keyboard (using it’s very high quality internal voices).

however, thanks to some relentless digital noise (a constant problem with “pops” that plagued my studio for many months, and is now blissfully, mostly gone), all of the MIDI keyboard choir, strings and electric piano tracks were scrapped (ALL of them – from both sessions – so, dozens of tracks – all too damaged to salvage), which at first seemed an insurmountable loss – until I came up with the idea of re-creating them in an even more beautiful way, using a violin orchestra and a specially-designed stereo choir.  problem solved.

that is the beauty of working with MIDI – your output can be literally anything – although for classical music, I would basically always stick with using true pianos software for the grand piano sounds, and the m-tron pro mellotron software for more exotic sounds, in this case, strings and choirs.

by adding the additional three mellotron elements in – violin orchestra, choir ahs, choir oos, I was then able to “mix and match” instrumentation for any of the sections within each theme or movement.  and where the instruments change, that’s an indication of one take ending, and another one starting – so in some of the pieces, you can actually hear where each individual take “is”, because the instruments change each time the take changes from one to the next – solo choir, then piano and strings, then piano, strings and choir, then solo strings, and so on.

some of the pieces are presented just as I sent them to John, and pretty much just as I played them, unrehearsed, unplanned; especially the solo grand piano pieces, which had his approval – “movement no. 1 – grace” is very close to the demo versions; while “movement no. 3 – providence” did require some editing – there was simply too much material, too many takes, so I had to (reluctantly) remove a couple of the sections, and edit together what remained – but I was careful to preserve the musical themes – very, very little in the way of music has been taken out, just excessive repetitions of certain phrases were carefully removed.

so “grace” and “redemption” share the themes from the march 4th session; while “providence” presents the third theme (plus a reprise of theme I and a reprise of theme II – one take of each added in to the piece to tie all of the march 4th themes together – within the first theme from march 24th).

in the mixing stage, “movement no. 3 – providence”, gave me the most grief, it took three tries to get a mix I could feel happy about, the exuberance of the young pianist knows no bounds – but a little creative editing sorted that out – while some unplanned and exciting juxtapositions in the last four movements, and indeed, the inclusion of some of the earlier themes in “movement no. 3 – providence”, to tie the whole suite together, well, this was as much of a joy to assemble and mix as it was to play, it really was a pleasure – and it’s difficult for me to comprehend that all this music came from just two days of unrehearsed, extemporaneous piano playing – it was as if I’d composed it in my head beforehand, or in my sleep, in a dream, perhaps, and then; just sat down and played it from memory – the themes appeared like magic, with little conscious input from myself.  I recorded quickly, take after take, refining the themes as I went along.

when I sent the demos to John originally, his responses were both enthusiastic and very positive, and, he paid me an incredible compliment; when speaking about one of the pieces, he said “this piece is complete as-is, there is nothing I can add to it – it’s perfect” (paraphrased but you get the idea) – and that speaks to the sort of “completeness” or “completed-ness” if you will, of the pieces – they felt complete, they felt composed, despite the fact that I literally sat down, pushed “record”, and started recording with no notes, no rehearsal – and from that – this massive suite of music now exists – much to my everlasting astonishment!

I was particularly eager to mix and master the last four movements, because they utilise the incredibly beautiful “ebow ensemble” mellotron voice, which while it consists of sampled ebows (my normal instrument of choice) when played back on the mellotron, it doesn’t sound quite like ebows, it has a more ethereal, beautiful, string orchestra-like feeling to it, so it’s like a cross between the most beautiful ebows and the most beautiful strings you never heard…a magical, beautiful musical voice for the final four movements of the suite.

again, I used the strings and special stereo choir to augment the “ebow ensemble” voice on the final two movements, but for “movement no. 4 – atonement” and “movement no. 5 – purity”, you hear just the “ebow ensemble” in it’s purest form, with nothing added and no variations – and again, these two movements are basically what I played on the day, march 24th, 2012 – “movement no. 4 – atonement” is made up from combining takes 1 through 5, unchanged and unedited, while “movement no. 5 – purity” is composed of takes 6 – 9, unchanged and unedited, of nine takes total – every note I played is presented in these two themes, as they were played. so in this case, movements four and five are live recordings of theme four, and in fact, they represent every one of the nine existing takes of theme four, as they happened.

by that criteria, in actual fact, movements four and five are completely and totally “live to digital”, while the other themes underwent very minor editing (with the exception of “providence” which did have to be edited more severely) so these two live “ebow ensemble” pieces give you an idea what it was like for me, sitting there at my keyboard, hearing what would become “movement no. 4 – atonement” and “movement no. 5 – purity” come out of the mellotron – an unbelievably beautiful sound, which was utterly inspirational, and I hope you can hear by the soaring theme four, just how exciting this last session was – unforgettable.  I had never recorded using just the ebow ensemble voice (no piano) and it just sounded amazing to my ears – a remarkable experience.  when you press down the keys and that sound comes out, it’s just breathtaking and extremely inspirational.

I should take a moment and talk about the missing piece (my apologies, I am listening to gentle giant as I type this blog entry) ; during the march 4th session, I did record some guitar synthesizer pieces for the “providence” project (before I began this keyboard-based work); these were mostly unsuccessful, requiring a lot of time and effort to make them useful, however, there is one very simple and overriding reason why they are not included here: they are not really classical music – and while I can play classical music on the guitar synth, the pieces I recorded on guitar as demos from providence, were simply not the right material to be added directly to “providence suite” – they were going somewhere else musically – so if and when they are released, it will be…somewhere else :-).

if time permits, I do intend to sit down with these guitar themes (including the unreleased theme “intransigence”) and see if I can create something to listen to, although it may be more in demo form than in completely mixed and mastered form as “providence suite” has ended up – there is not a lot of the guitar material, certainly not enough for an album or possibly even an EP, but if I can master any tracks from that part of the session, of course, I will – but that’s something I plan to look at later on in the new year.

once I set the guitar aside, and sat down at the piano, where I proceeded to play the “grace” theme pretty much as you hear it here…everything started to go right in an incredible way.  I can remember feeling so excited about these pieces, and I burned all of the tracks (which were quite substantial) to disc and mailed them away to John for his comments…which came back very positive, he seemed happy with the material, and I was looking forward to hearing his sketches.  that never came to pass, so my “half” of the music of providence, now released under my own name, is all there is of the band that was-to-be-known-as “providence”.

life is a funny thing, it never goes as you plan it, as john lennon once said, “life is what happens while you are busy making plans” and that could not be a more true statement for this project – I am amazed, though, that some 22 months after it was recorded, that this piece of music would be so epic, so challenging, so dramatic and so clearly filled with emotion.  I tend to pour emotion into the music I write; the chords, melodies and harmonies I choose (minor motifs are common) reflect this, but in this case, it was if these pieces were already present inside me, in the memory of my hands and mind, and the act of sitting down at the keyboard released them into the world.

and here they are – the seven movements of “providence suite”:

grace – 18:54

redemption – 19:46

providence – 20:34

atonement – 10:40

purity – 6:22

perfection – 10:38

transcendence – 6:22

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for John, without whom, this music would not exist

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www.overflower.com the music of john orsi

www.pureambient.com the music of dave stafford

POSTSCRIPT:

I recommend that if possible, to listen to the entire suite as a single work – that’s how it’s intended, of course, you can listen to any of the movements in isolation, but playing the seven movements in sequence gives you the music in the way John and I discussed and intended it to be, as an “album” – and given that John was not able to actually contribute any recorded music, I still very much valued his input, I valued our collaboration, and the ideas we exchanged, and his intentions are as well-reflected as they can be in these pieces – I have worked very hard to do justice to his memory, by assembling this plaintive,  sometimes sombre set of musical movements, made up of the raw material that was originally meant for the first “providence” album – the album that was not to be.

“providence”, as a band, never completed or released any actual music, which is why I have taken the time to mix and master “providence suite” now, at the end of december 2013, and to release it with my best wishes, sending my positive thoughts with it into the new year 2014.  reluctantly, I release it under my own name, rather than under the name “providence” – but that’s not a problem, it’s just an unavoidable issue – this is the way I can release this work, which features only myself performing, unfortunately.  if John had had time to send me his parts (it is actually unclear if he ever was able to actually record any parts, or if they were recorded, he never sent anything to me beyond letters), it would be a very different story…and a very different album, too.  so what was to be a collaboration of many instruments with ambient and active percussion, with ebow loops and solos, with collaborations…instead, I am presenting these “solo” versions of the seven movements, taken from the original master recordings made in march, 2012 – because that is the only option.

“providence suite” was conceived to honour the memory and intention of the band “providence”, and to honour the input of John as much as is humanly possible when the music presented does not contain any of his recorded sound – but his heart is in it (as is mine), and when I hear this music, I think of the music of  “providence” – not of “dave stafford solo recording” – that’s a choice that was made for me, I am very happy indeed, but at the same time, it is with a heavy heart, because John isn’t here to see it happen (and more importantly, he is not present to hear the music inspired by the band – beyond in demo form – and from our collaborative thoughts and communications) – I am most happy to release these pieces now, comprising “my half” of the work, in John’s honour and in his memory.

I never met John “in the real world” but from his letters and other communications, I felt a kindred musical spirit, we shared a vision of a new kind of collaborative effort, across an ocean, from providence, rhode island to the wilds of central scotland –  we…stood poised…to set the world on fire with our music – and in hearing “my half” of what the band would have eventually released, I’d like to think that we actually would have :-).

this one is for you, John, wherever you are.

collaborative working: the quality of sketching (with a guitar synthesizer)

well the final set of tracks from the sunday, march 4th orsi-stafford project sketches are now complete, so at last, we can listen to the entire session (well, most of it) which at the moment, is comprised of 23 tracks of guitar synth, representing 10 different musical sketches, and 19 tracks of piano representing 3 sketches, and 19 tracks of mellotron that are the mellotron “versions” of the same 19 tracks/3 sketches!!

that is a lot of material, but it’s not really complete yet, because I have yet to extract the third element of the keyboard pieces, which was the audio track of strings/choir coming from the keyboard itself – some of which are damaged by “popping” (due to, of all things, a bad usb cable) so that will need to be dealt with unfortunately – which is why I’ve left them to last, since they may need special attention.

it’s interesting to note that thanks to technology, I have options for dealing with these damaged tracks – at least two that I am aware of – I could take the time and remove the “pops” manually using a tool like “audacity” – which I’ve done before with reasonable success. or, if that is just too much to take on (what if, for example, a single 1 minute take were to contain many, many “pops” – the time it would take to remove them might become prohibitive)…then I might try a second option I’ve been considering: recreate the tracks entirely by using the “good” midi tracks to drive new instrument tracks – finding a string voice, and a choir voice, that closely resemble those of the m-audio sono 88, and just “create” string and choir tracks from the midi tracks!

regardless of how that is resolved, that will mean another set, a third set of 19 more keyboard tracks, to join the first two sets, which will raise the total number of tracks to 80 (from it’s current 61). 80 tracks from one afternoon of work, that’s a lot to get through!! 57 of those, keyboard-based, 23, guitar-synth based.

of course, several to many won’t be usable for anything, but that’s the process I’m working through right now – trying to decide what are the good takes, and what are the not-as-good. and particularly with the keyboard tracks, I’m finding that process to be very, very difficult indeed, because all the tracks seem good, there are very few problems within the keyboard tracks, so it’s tough finding any to “throw out”!!!

the guitar tracks are easier – some pieces are just not suited to this project, because they are too loud / too active / too distorted, so those need to be removed not due to errors or problems, but for simply being unsuitable material-wise.  others are maybe good ideas but need to be re-played to work out the kinks, some of the pieces tried were using synth voices that I wasn’t too familiar with, so I need to work more with that particular synth voice, to become familiar with the best techniques to use to make that particular patch sound the very best, so some of the pieces probably need to be set aside to try again at a later session.

even though I do consider myself to be a guitarist first and a keyboardist second, I have to say, that I am infinitely more comfortable at composing and sketching at the piano, than I am with guitar or guitar synthesizer – I don’t, however, know “why”.  I think I just feel more at ease with the keys, I can “see” all the chords and melodies and bass notes more clearly on the piano than on the guitar.  visualising intervals, seeing chords – just seems easier on the piano – more abstract on a fretboard…

sketching on the guitar synthesizer is not a new experience for me, I’ve been doing improvs on it for about a year now, so I am comfortable enough with it, but it is different than composing on guitar or piano – because, of course, of the very complex and unusual waveforms that become possible.  so it’s just the total unknown of “playing” a strange “instrument” that you’ve never played before, trying to “get used to” that instrument, what kind of attack to use, is it better played with the plectrum or with the fingers, how precisely do you have to hit the notes to maintain tracking and avoid glitching – a lot to think about! so in some cases, when I am using a voice or patch that is unfamiliar to me, it might take two or three takes just to nail the required technique for the patch (not the piece itself), whereas if it were guitar, I might get it in one – maybe! or…maybe not 🙂

having said that, I absolutely love sketching with the guitar synth, it’s a real pleasure, because even after a year, it still has almost endless capacity to surprise and delight me, and there are always voices that I haven’t used much, that I suddenly realise are really useful – for example, one unsuitable-for-orsi-stafford improv is call “drive wurly improv” after the patch that was used, and it is a really lovely sound, part wurlitzer piano, part drive guitar, and I really like the patch right out of the box, but with some tweaking, it could become something really beautiful – for a more powerful, driving song.

another of the sketches has a fairly ambient opening section done with another electric piano based voice, called dyno epf pad, and it just comes out superbly, really lovely. I am not as convinced about the idea of using the patch for “louder” songs, but when played in an ambient way, it really shines – so I should find a lot more uses for that patch (or a customised version thereof)…

for me, it’s definitely three very different experiences:

  • sitting down to sketch at the piano (easiest, since I’ve played it for years longer than guitar, even though the guitar is my instrument of choice)
  • sketching with guitar
  • sketching with guitar synthesizer

– each one “feels” different, and each one brings very different results, too.  this particular session is unusual in that I intentionally did a piano session immediately followed by a guitar synth session (not something I would normally do), but I managed to make the transition well enough and produce some decent sketches on the guitar synth (possible because the piano / mellotron part of the day went so very well!) – plus a fair number of louder guitar synth fragments and ideas and song parts that will be better used for one of my own projects (or more likely, not at all!).

but the third point above, sketching with guitar synthesizer – that’s really a wholly new and different experience, for forty years, I’ve done all my composing, sketching and improvising on two instruments basically: the guitar and the synthesizer. suddenly, in march 2011, when we acquired the roland gr-55, an entire new world of musical possibility opened up – and, a year later, I’m still…reeling from the shock…just about, because it is a new and strange sensation to push down a guitar string and hear a sound come out that is so totally non-guitar-like it’s difficult to believe it’s coming out of a guitar!

even something as straightforward as the ability to play woodwind and horn parts, to be able to add a mini-classical suite to a piece of music:  flutes, clarinets, oboe, etc. – just learning to arrange those standard “classical” instruments was a new experience, but of course, the strange, unusual and hybrid voices are even more difficult to just use as if you did it every day – pushing down a string and having the voice of a scat singer emerge, for example – getting used to composing with those sounds is unlike any normal experience of sketching with a normal guitar or piano/synthesizer.

because every patch on the guitar synth involves a different attack, decay, sustain and release, it’s not a straightforward experience of just playing “guitar” as you normally would, and having it play that “other instrument” instead – you can do that, but often, more often than not, something will go horribly wrong, and it will sound awful. instead, you have to consider the timbre and quality of each synthesized instrument, and work out a strategy for how to “play” that instrument from a guitar fret board, without causing any strange or unwanted effects, sonic or otherwise.

for me, it’s a very odd process, “getting used to” playing an oboe vs. “getting used to” playing a flute, or figuring out the best way to get a piano or xylophone patch to sound best – picking technique, whether you use a pick at all, how soft or hard you pick – all make a huge difference to the sound. so it really is a new skill to learn to play a guitar synthesizer, you need to consider all of these things when approaching each “instrument”.

the only regret I have is that I have not spent enough time working on customisation of the gr-55, but I hope to rectify that over the coming months, by re-organising my patches and creating a number of customised patches to use for recording and live performance as well.  I will probably have to stay up late at night at the weekend to accomplish this, more than once – I need some uninterrupted time alone with device to customise it thoroughly and to make it as practically useful as possible – so all the sounds I need, precisely, are a foot pedal away 🙂

I also have acquired a cheap usb stick – the first I’ve ever really owned, remarkably enough – which I am going to load up with songs, backing tracks, and looped tracks – to “play” from the gr-55 – I think this is a great additional feature, the usb stick gets plugged in and it lives inside the gr-55, and you can call up the tracks on it from the unit’s pedals – fantastic.

what’s great about that is, of course, I can do something similar with the RC-50 (although not to the extent that having a usb stick allows) so what I can do is, any full songs or larger pieces, I would run from the stick, and any shorter bits or loops in particular, I could run from the rc-50.

the advantage too is, if I wanted to be able to use all three slots in a single RC-50 patch for looping, instead of “taking one slot up” with a pre-recorded loop (as I previously had to), I could now always play back those loops from the usb stick in the gr-55, thus leaving the rc-50 completely free to add the full three loops to the proceedings!  this really means an enormous amount of flexibility for what I am doing, the ability to play back entire backing tracks or loops and then play lead guitar and/or loop with three loops being just one possibility of many.

I think in total then, I could currently have:

  • one loop playing from the usb stick
  • one loop playing from the rc-10 looper
  • three loops playing from the rc-50 looper

+ live lead guitar or guitar synth on top of that – six guitars minimum playing at once – five looped and one live.  not sure I would ever actually need or want that many, but it’s kinda nice to know that if I want to…I can ! 🙂

not sure if the gr-55 would allow it while the usb is playing a file (it should) but of course, it has a 20 second loop, so that actually makes six loops + live guitar…

if I were to add in the X3 (which is currently on a separate channel) – it has a looper too, so that would make seven loops 🙂

if the oberheim echoplex pro were not in semi-retirement, that would make eight – groan !!!!

let’s stick with six – I think that’s a few more even than I need…

 

after various experiments with some alternate a / b and a / b/ c switching options for the stompboxes, I’ve ended up right where I was – with the configuration I started with a few months back – which is good, because that means I set up the (probably) best way possible, so now I can leave routing alone, and go back to the other issues, including the customisation of the gr-55 voices.

today’s work is hopefully, another orsi-stafford project session, even if just a short one – probably a piano session, then, back to mixes, mixes, mixes – I have got myself into the position of having recorded so much new music over the past few months, that I have not “caught up” on mixing – pieces I recorded weeks ago, I haven’t even “heard” – so I must absolutely work through some of that backlog.

 

I have no shortage of music and video to mix and create, as well as many new pieces recorded that need assessment, I am also simultaneously working on the restoration of tracks for the cassette restoration project, and I can tell you, trying to make a 41 year old performance by four 13 year old boys “sound good” … is not an easy task.

 

 

the results should be available soon on the pureambient blog audio companion page, finally, some audio tracks will begin to appear…although hearing my 13-year old self struggling with the simplest of guitar solos is not the most pleasant experience, and sonically – well, the three guitars and drums lineup was never going to be the best – no bass player, no harmony vocals, and in many cases, the arrangements are very strange, with bridges missing – I mean, we were 13! so you do get some…unique arrangements of the popular music of the day.

It’s actually been a fantastic experience going back through all these cassettes, and hearing what I was playing and working on from age 13 – 21.  some of the material is of extremely good quality, in particular, a number of pieces featuring the late Ted Holding on vocals, piano, and hammond organ – which even surprised me with the extremely high quality of the performances – so I am looking forward to the later audio tracks that will appear on the audio companion page – there is a lot of good music to come!

 

 

new year, new band, new album…

I’ve spoken a little bit about the bryan helm / dave stafford album, which was started in 2011 and recently, the music for it was completed – and now, it moves to the mixing stage – and bryan and I are both pleased with how the music is developing so far.  we are very excited about this release, not only because it’s the first new work we’ve done since 1997, but because it’s also a new musical/ambient style for us (which, if I were pushed to give it a name, I might dub “dense ambient” for lack of a proper genre name that suits it), and the work sounds distinctly different to any previous projects involving bryan and myself.

I am here today, however, to formally announce another project, a brand new collaborative effort by drummer/percussionist extraordinaire john orsi (knitting by twilight) and myself. ian stewart, of AUTOreverse fame, introduced john and I late last year, and we began discussions then regarding a possible collaboration.  as time went on, we decided on a time frame (first quarter 2012 to begin the work) and at this point, we are having further discussions about the nature and direction of the work, as well as practical considerations.

I know I can speak for both of us when I say we are both very much looking forward to this collaboration, ian Stewart pointed out to us that we both make music with a similar quality, and over the past few months, I’ve realised just how right he was to say that – and I am sure I can speak again for john and myself when I thank ian for suggesting that we work together – the discussions john and I have had reveal that musically we have very similar experiences and goals, and I find it very easy indeed to strike up a creative and collaborative environment between us, within which to create music.

so as well as the helm/stafford album, we are planning on at least one album from this new band (no name has appeared yet for either band, but they will in time), who knows, maybe more but we’ve committed to making one – so that is where we are beginning.  the initial discussions are going well, and very soon, we will sit down to begin writing and sketching, seeing where the music takes us.  this is a very exciting project for both of us, and a chance to expand our individual creativity into a new collaborative venture – and I am personally particularly excited, because over the past 12 months, we’ve added instruments and functionality to the studio that should really allow me an enormous range of musical possibilities – and, being freed from the responsibility of providing any percussion for the work (that’s john’s department) leaves me completely free to concentrate on what I love the most – guitars, synths, melody, harmony, ambience, atmosphere…music.

I’d also like to take a moment and say how much I’ve been enjoying  john’s recorded work, in particular I’ve spent a lot of time listening to his most recent album, “weathering”, which I cannot recommend highly enough – it’s very enjoyable, as is the entire “knitting by twilight” catalogue, so I absolutely urge you to have a listen to the music of john orsi and “knitting by twilight”.

of course, as the sessions for the new album progress, we’ll keep you posted on our progress and provide any details about this exciting new collaboration as we are able.

so the orsi /stafford album is officially underway !

d ~~~