from the garage to garage band – a long road

hello fellow travellers,

 

just checking in before 2016 gives way to 2017, I have been quite preoccupied of late with my new guitar system, I’m building three pedalboards at the moment, and I am in the middle of creating 200 MIDI presets to call up an enormous range of ordinary, unusual, and ambient guitar sounds – from massive distortion (as in, Crush Station and Sculpt) to beautiful modulations to amazing delays to gorgeous reverbs (thanks to Space) or incredible combinations of delay, echo, repeat, and reverb (as in SpaceTime, Ultratap, and Resonator – three amazing H9 modules) so instead of uploading tracks and writing blogs and putting items up on Twitter – instead of any of that, for something like the last two or three months now, I’ve been slowly working out the way these three boards should work.

I have, in an attempt to at least release something for the New Year, I’ve uploaded two completed tracks to the new “music for apps: garage band – an eternal album” record and they are a couple of really interesting pieces – the first one, “preponderance”, is eight minutes plus of something so strange, involving so many interesting sounds and loops, and musical events, that I find it almost impossible to describe.  the best thing is to give it a listen, it’s quite unusual.

the second song is much shorter, and features a strange, dissonant bass line that I actually played on my iphone, on the Apple “McCartney” style bass interface, and then looped in Garageband – and then, I proceeded to create an entire song, entitled “demonstrations of affliction” (in honour of Bill Nelson’s “Demonstrations Of Affection” – of course!) over the top of this very strange and repetitive bass line.  But – it’s interesting, and I look at “what works” with what in a slightly different way after this experience.  there are times when the bass loop clashes loudly and horribly with the overdubs, but, I do insist – it’s SUPPOSED to be that way!  Really, it is.

these two pieces brought me a lot of joy in their creation, and there are two or three more that I’ve been working on that are not quite ready for prime time – but, once I’ve finished those – I will put them up, I am really enjoying the “garage band experiments”.

now – back to what is important – these crazy pedalboards.

 

why are there three? – well, because that’s what works for me.  everyone does pedalboards differently – I want three, but, the three work together to form one giant system.  and that is actually really awesome!

so the first board, is for non-MIDI stompboxes, such as, pitch, distortion, overdrive, EQ pedals.  that’s a small board, with perhaps, 8 or 9 devices – and, it can be used standalone for practice or rehearsal, or for very small gigs where you don’t want to haul all of the equipment.  this board is known as the “Input Board” – this is where the guitar signal starts.

then – there is the MAIN board, which is for MIDI-controlled stompboxes.  This is where my Eventide devices live, along with their dedicated power supply and a MIDI splitter and cables.  this is where the magic happens, by combining different patches across the H9s, or using the Pitch Factor and Space stomps to provide harmony and … space…the possibilities here are staggering.  so this is the heart of the system.  The output of the Input Board, plugs into the Input of the Main Board…so I drive the non-MIDI effects into the MIDI controlled effects.

finally – pedalboard three – is the “Control Board” – this is the simplest of the boards, it contains a large MIDI pedal, that can be programmed to call up all of the different patches on the five devices.  Along with that, are two expression pedals, which are used to alter different parameters on different effects, you know, like the speeding up and slowing down of a leslie speaker simulator, or increasing the spaces between the beats on a tremolo and so on….plus a third expression pedal to operate a stand-alone non-MIDI delay that I use (exclusively) for reverse guitar sounds.

yes, I could have got reverse guitar sounds from the H9s (and I do, actually) but I wanted to free up a bank – so by adding the delay, that means, I freed an entire bank that had been dedicated to reverse sounds.  so I am much happier this way, because I can now make any of the 200 patches – play in reverse.  That is brilliant!

 

but this is where this whole pedalboard building experience really amazes me…if I step back a moment in time, to when I was about 13, and I was in my first real band, and I had a no-name red semi-acoustic electric guitar, and I played through a single channel of a tiny amp, with another guitarist (the owner of the amp) plugged into the same channel of the one channel amp – I didn’t have an amp of my own, so I had to plug into one of the other guitarists’ amps!  That – was my “set up” in 1971.

I remember speaking with the drummer in the band, Brian Monaco, he and I were the main singers, so we solemnly both decided that we would each buy a Radio Shack best quality vocal microphone for something like $25.00 – which was a huge amount of money, and then we had to buy the mic stands, too…no boom for me, just the straight stand with the massive, heavy weights at the bottom.  Brian had the expensive stand with the boom, because he needed it – he was the drummer, after all.

We plugged both mics into one tiny guitar amp, and with the guitars all plugged in together in a way that you just should not do… and that was the bands’ set up.  Three tiny no name amplifiers, with three guitars and two microphones plugged into the six possible inputs – and all three amps were single channel, so the sound must have been terrible.  But – we didn’t notice – we just played.  Amazingly, there is a tape of that band, which you can find somewhere on this blog, in the “companion” to the blog – there are a few tracks from that gig posted.

So when I think back to that, and I then consider what my guitar system is like today, some forty plus years later – with my MIDI controlled presets (20o of them!) and the endless combinations of effects and sounds I can retreive with one button push – I can’t really believe this is happening, it doesn’t seem possible, but – it is.  I’ve just done my first sysex backup of the Ground Control Pro MIDI Pedal, which was very exciting.  It actually worked – which means I can back up and restore the entire contents of the MIDI pedal as needed – which is great!

I often wish that my “13 year old self” could just see my current 2016 set up, so he would know (have known) what the future held.

I remember when I was 15, I began to use guitar effects, first, I had a wah wah pedal that I bought myself, which was a great tool, and then later, a cast-off and not very good sounding Arbiter Fuzz Face, the old red one – which I now wish I still had! and then later still, I had the use of an Echoplex, which was simply an amazing tool, when I was something like 16 or 17.   If I could have seen where that was headed, to modern delays, loopers, and so on – I would have said “no way, this is simply not possible”…

My 13 year old self would not have believed what can be achieved with MIDI and guitars, it’s simply astonishing technology – and I was blissfully unaware of it until much, much later in life.  But I’m glad Ive gone through this, and I think that it’s better to have a good sounding guitar, with a range of different interesting patches, than just ONE GUITAR SOUND – always the same.  That does seem dull, and I know that as a guitarist, I should love the idea of plugging my strat into a tube amp, with NO pedals, and just wailing and waxing poetic with the pure sound of tubes – and yes, I do love that sound, but…not to the exclusion of all else.

 

I think effects are important, and I do spend a lot of time, trying to get them to sound as natural and as organic as possible, I want you to hear the guitar playing first and the effect, second – definitely. I don’t want to be defined by effects, but by my note choices and the songs I write and record and play.  So I do try to remember my roots, try to remember what it was like, always playing through a borrowed amp, for years, as a teenager, because I couldn’t afford an amp!

The truth is, the last time I even OWNED a tube amp, was at least ten years ago – no, at least 12 or 13 years ago (a beautiful small black MESA Boogie which I should NEVER have sold – SIGH!!) so perhaps someday, I will get into amps again.  I think in this day and age, using a high quality device such as the H9 for my main sounds – that I can do just as well (using only a pedalboard into a clean stereo power amp) as a tube amp and no one will really know the difference, – except other guitarists.

I have never hidden the fact that I love effects, and I mean, I have gone pedal mad, I read about pedals, I dream about pedals – and I think there are some truly wonderful pedals out there that can transform your playing and take your guitar sound into the realms of the beyond.  I’ve finally realised that that, is where I want to go.  Beyond.

 

 

We have the technology – so – why not?

If you see what I mean.

 

 

I must now return to programming, I am on bank D now, so, I have about 140 of the 200 presets entered.  Wish me luck on the rest…

 

ta

 

Dave at pureambient

 

 

Happy Very Belated Christmas and a Merry New Year to all !!!!

 

Studio Diary – September 17, 2016

Aka   Eventide Heaven for ambient guitarists…

September 2016: mad flurrying to Aylesbury on the train for the Return Of The Crimson King (please see my previous three blogs – 3/9, 4/9, 5/9) …a day at the truly remarkable Bletchley Park, taking in an evening play at the Old Globe, and the guilty pleasure of a Warner Brothers tour of the Harry Potter sound stages…then, chaotic problems with trains over-packed with frustrated commuters, only, we were just trying to get home to Scotland from Aylesbury…

Then – finally, back home again, later than anticipated but intact – and trying to assess what already recorded music needed to be dealt with – and the answer, as always, was “quite a lot”.

A spur of the moment decision to attend the live Eight Days A Week screening at the Vue Theatre, a very enjoyable three hour plus evening of Beatles music – absolutely fab. The boys were playing their hearts out, George played some excellent solos, and I really enjoyed seeing “The Touring Years” – and as Giles Martin did the music, this meant that murky bits of Beatle history such as the now ancient-looking “Beatles At Shea Stadium” suddenly now rock hard, you can HEAR the music now and what Giles did here, and throughout the project, is nothing short of amazing. I am sure George M. is smiling, grinning actually, somewhere…

Meanwhile, I’ve been quietly working on a number of new pieces, or new pieces a number of I’ve worked quietly on meanwhile, I am not quite sure which.

Most of the past year and a half, has been filled with the large amount of work required to complete just three lengthy pieces of (progressive rock) work: “the complete unknown”, “planet obelisk” and more recently, “day seventeen”. 

These creations required a lot of painstaking work, and since they are all built from scratch as I went…it takes time. I think the first one took the longest, “the complete unknown” but by the time I got to “day seventeen” something had affected me, and it took me far, far too long to create this most difficult of pieces.  I struggled, which is unusual, normally, I just move along apace, it takes time, but I keep going.  But this time, I had to re-play guitar parts multiple times, some of the parts just wouldn’t reconcile…it took weeks, maybe months, longer than it should have, and I was so, so pleased when it was finally done!  A huge sigh of relief.

In the end, though, I managed to complete all three, and have since decided that I will be taking a break from progressive rock and very long songs, and will be revisiting my first love: the electric guitar.

To that end, I recently created one of a very few new “eternal albums” planned for this year: “electric guitars – an eternal album”. Which then meant that I could begin to work on shorter, live pieces and use some of the great new guitar tones I have available as well.  

Thus began a couple of different work streams, one looking back and the other, looking forward. It also meant that the relatively “new” eternal album has suddenly grown to about 50 tracks – or rather, it will once I upload the outputs of the past one week of work on mixing and mastering.

Beginning with the “looking back”; sometimes, in the middle of a project say, when I might be feeling frustrated by a lack of progress or frustrated by simply not knowing what sounds to make next in a piece in progress, I will “take a break” and just play some guitar for fun.  

June 15, 2016 was one such day, smack dab in the middle of the sessions for “planet obelisk”, one afternoon or evening, I sat down, plugged my guitar in, and played for some 60 minutes plus, doing an extraordinary, non-stop 26 takes in a row, using various sounds from the (then brand new) Eventide “SpaceTime” algorithm..

If you haven’t yet heard what SpaceTime can do – you should! It’s a remarkable amalgam of echo, delay, reverb, shimmer, reverse and I don’t know what else, and I had only just received the update when I decided to embark on a sort of “SpaceTime Jam 1” exploration of the sounds that the H9 pedal could make with this brand new algorithm..

Over the past few week, I reviewed and assessed these tracks, and a remarkable 25 of the 26 takes from the 20160615 session, were viable. So I decided I would do a sort of arbitrary “grouping” of these very live takes, into short song cycles of 3 or 4 takes per “song” (and in one case, just 2 takes making up the final song of the cycle).

So I ended up then, with eight quite interesting songs, mixed and mastered – and as I was working on them I thought…I could add some drums to these, and then release them, explaining that they were sort of made up of the same musical DNA as “planet obelisk” is. In some cases, in many cases in fact, I used drums leftover from the “planet obelisk” sessions.

In other cases, I would create new bespoke drum parts, or adapt existing parts to fit the improvised electric guitars. Adding the drum parts in ended up taking quite a bit of time, off and on, but when all eight tracks were complete, I was glad I’d made the effort. I also did one bespoke tabla part, which utilised Native Instruments “India” and that was a blast – I played one take, live, along with the three guitar tracks, including not playing in between the takes…and coming in at the right time. I managed to hit it all on take one, and “playing” the tabla is an absolute blast – I love this instrument (India).

The guitar takes are all improvised, on the spot, and in almost every case, the natural spaces between them, as it happened, have been preserved – because the session was rapid-fire, and the 26 pieces were played in surprisingly quick succession, with very little time between takes – in some cases just a few seconds, long enough for me to change the patch, and then dive into the unknown again.

Every take used the same basic preamp sound, which is my >Frippy patch from the new Sculpt algorithm – that’s the constant. A plate reverb was also used, and I then changed SpaceTime patches on one device as I played. Being able to use the H9 Control application on my tablet really was a life saver, I could change the patches manually with almost no effort, so you do get to hear a broad, broad variety of the SpaceTime algorithm’s many amazing patches.

More than the sum of songs, because in some cases, i would change the patch mid-song, sometimes multiple times within one song. Also, where I was able and it felt appropriate, I also used expression pedal on some of the patches, which then gives you deep and wild control over many variable aspects of any SpaceTime patch you are using.

The expression pedal implementation in the Eventide H9 is remarkable right out of the box, and every one of the patches features a range of possible expression pedal values, carefully chosen for the best effect – for rotary sounds, obviously, it’s the speed that the pedal controls, but the range of expressions possible with the H9 is simply staggering – what a brilliantly designed device.

I was mesmerised by the beautiful sounds that SpaceTime gave me, and I play a fairly joyous hour of happy and heavy lead and rhythm guitar. And that hour of music, took me 65 minutes to do – so no faffing about between the takes – I really just got on with it, trialling dozens of SpaceTime patches and taking many, many expression pedal excursions too. A wonderful session that I really enjoyed, which does contain quite a lot of “planet obelisk” DNA – without really sounding anything like it.

The 25 viable tracks then, were edited into these eight new “songs”; which vary in length from perhaps, five and a half minutes long, to over ten minutes in length in one instance. The total running time actually becoming about 55 minutes of music in total, mostly because of the fact that take one was unusable, it was a great take, but the levels were far too hot, and it suffered from multiple wounds of digital distortion, and nothing I could do would have saved it – a sad loss, but I was very happy that I turned everything DOWN after that and captured nice clean versions of the remaining 25 tracks.

The resulting eight tracks are:

building the obelisk

all good children go to heaven

beautiful metallic noise

the occasional chord (to remind us)

it’s echo soup in here

the heavens unfold

since the dawn of time

reaching catharsis (bridge)

A possible ninth track may be uploaded:

the road to obelisk – 55 minute track compiled from the above listed eight tracks – this recreates the continuous nature of the original session – if successful, it will be added to the upload list as well.

It is my hope to upload the above eight (or nine) tracks over the coming week if all goes well. Along with the appropriate outputs from the forward-looking project, which came from a session that I had somewhat arbitrarily named “brief session” – and it was, if compared to the “planet obelisk” 25 takes – the new “brief session” contained just 10 takes, although take 7 was an extended take with something like six individual parts on it.

The first six takes are very, very ambient, indeed, and are really a highlight of the session – the remaining four, used distorted guitars instead of clean, and although interesting, they did not come out nearly as well as the first six, which used clean guitars and more Eventide H9 wizardry.

I am very, very excited about these six tracks, which represent the bulk of the session time-wise, because for the first time in my memory, I was able to play ambient guitar, without the use of either a looper or of an ebow (energy bow) – I can now create very, very ambient guitar, just using the stock algorithms from the Eventide H9.

That is an incredibly freeing experience – yes, you do still have to play the guitar, but, the beautiful sounds that come out, whether produced by SpaceTime, Resonator, or MultiTap (such as “UltraTap”….heavenly patch) it matters not – there is not just one ambient sound available, but in fact, droves of them, and I can see myself playing a lot of clean, careful guitar into an H9 (or two) that can translate that input directly into the kind of soundscape I’ve always wished I could produce.

My best method of creating that atmosphere has always previously been, running an ebow guitar into a looper and then into a good reverb unit. And of course, I will always, always still do that, because I love to do it – but, the H9 gives me an alternative to that, where I don’t need to rely on the ebow or the looper (however, I have retained and have used the ebow on several of the eight tracks above), because that made them sound even better, so ebow + SpaceTime is a winning combination for me. Ambient guitar made…a little bit easier than it used to be.

For the six tracks below however, I did not use the ebow – I didn’t need to, the pure ambient output from the H9 was all I needed.  What a brilliant device!

The resulting six tracks are:

exogenesis

exoskeletal

exospheric

exothermal

exocyclic

exonumia

I cannot express how wonderful it was to be able to create these pieces, and I sat there in awe of the sound design that has gone into the Eventide algorithms – especially those that I would call “totally ambient” – and there are many, many of these sprinkled here and there within the algorithms.

I see this then, this set of six songs, to be very future oriented, very forward-looking, and I will very probably be exploring much, much more along these lines, in hopefully some longer-form improvs, just what I can achieve for ambient guitar, without resorting to ebow + looper + good reverb – although, that is still a great formula for ambient music!

I feel like a man who has been given the actual sound of heaven, and by gosh, I am going to use that sound – those sounds – as often as I can, because they are truly remarkable. Even one of the oldest of Eventide’s algorithms, “Space” – their do-all reverb magic box – is an incredible tool, and contains reverbs that can also act as ambient guitar creators – it’s all in there, in that little white box…

“exogenesis” was the starting point for me, I could just close my eyes and hear those ethereal sounds, and realising that I was just playing clean guitar notes, slowly, carefully – and this river or ocean of beautiful, ethereal, reverberant sound just flowed all around me – as it should do. I could really get used to this – I really could.

The six super ambient tracks from the “exo” series will also be uploaded in the near future – as soon as possible.  

So, I haven’t been absent at all – I’ve been busy!

love peace and order

🙂  dave

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

and now for something completely different.

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

 

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

 

 

 

 

 

 

TC-11 – a touch-controlled synth for ipad that really delivers…

since acquiring a tablet device some time ago, I’ve tried a lot of ipad synths, and I am not ashamed to say I have a very large collection of them, that is still growing steadily – and probably always will! 🙂

they tend to fall into three broad classes:

  • category one – those that work to emulate normal synthesizers, and therefore, their main method of producing notes and chords is a “virtual” keyboard;
  • category two – those that use an alternate method to produce notes and chords – in a serious number of radical configurations, some more successful than others;
  • category three – other less easily defined interfaces – oddball devices / devices that use truly unusual methods of triggering notes and chords;

so – in our first category (by far the most populated, from what I can tell) you have keyboard-based synths ranging from animoog to xenon, including classic emulations of moogs and korgs (such as the iMS-20 or the iPolysix), other standalones  such as addictive synthalchemy, mini-synth pro or magellan, and second and third generation devices such as the amazing thor and the equally capable nave.

the second category is a mixed bag, with some good entrants, such as the strangely satisfying sound prism pro; then you have your cantors, your mugicians, and the like…they don’t have keys, but they have a single, straightforward way of producing notes and chords.  but that is also their drawback – they only have one screen pattern, regardless how innovative.

and then finally, the somewhat unclassifiable, such as the good dr. om, noisemusick, the 76 synth, or the moog filtatron – any number of oddballs “fit”, more or less, into this third category.

in category one, some stunning advances have been made, and in the case of a keyboard-based synth like the mighty thor – well, this synth is almost a textbook case for how to build a perfect synth in ios – it’s just a dream to play, it sounds great, it looks great, and the developers deserve a huge pat on the back for what they’ve done with thor – it’s really incredible.  if I want the best in a keyboard-based ios synth, I almost always turn to thor or nave, nave or thor, or let’s not forget the redoubtable iMini.

while I might go for one of those first, depending on the requirement, for another session, on another night – I might go for animoog (which has become quite the synth now that you can get the richard devine and other nice sound libraries for it, the metallic library is also fabulous) – so that’s a synth that has improved with the addition of new libraries, although of course, you do have to pay for them – or I might choose one of the korgs, or addictive synth, or cassini, or xenon or sunrizer.  or let us not forget the mighty n log pro – a fantastic first generation synth.

I’ve been less impressed with the progress of category two and three synths, that is, until I decided to take advantage of a rare price reduction on the TC-11 synth a few days ago – and suddenly, all these attempts to use the massive screen of the ipad in a unique and unusual, yet totally functional and musical way – well, it all starts to make sense now!  the designers / developers of TC-11 has done what the sound prisms and mugicians and the cantors could not quite do – they’ve created a synth with no keyboard, that is actually playable; that challenges the very need for a standard keyboard, and I found today, in making some test recordings, that it is entirely possible to play music with the TC-11 – despite the lack of a keyboard.

so the claim on the itunes store that the TC-11 synth is “the only fully programmable multi-touch synthesizer for the iPad” – would actually seem to be true! – I’ve certainly never encountered any other ios synth with the level of “under the hood” control that the TC-11 gives you.

the key is that there is no one solution, there isn’t one static screen (as there is with sound prism pro, mugician, cantor, and so on) instead, there is a different screen for each preset!  and each patch is totally configurable, from the oscillators to the filters to sequencers to the effects to determining how the movement of your fingers affects auto-panning, total behind-the-scenes control.

I actually bought this synth thinking “OK, I am a guitarist, and I have a lot to learn about synthesis still, despite playing and working with them for more than a few decades; I will buy this, and I will sit down at some far future point, many months from now, and try to teach myself how to program it…”  I expected it to be beyond me – and am pleasantly surprised to find that really, it’s not.

within seconds, I was playing, within minutes, music was emerging, even before I really understood what is going on with this remarkable synthesis engine, which is utterly and so beautifully configurable, you have access to everything under the hood, and I do mean everything – and this synth has just about everything you could ever, ever want – you are in control!

like any good ios synth, of course, it comes stocked with a healthy dose of presets; and from examining the way those are designed, I can begin to make my own connections and alterations and create fantastic patches of my own.  I actually didn’t expect presets, I thought I would have to build all of my own, but the developer has spent some serious time and effort to give us some absolutely great sounding presets right out of the box – which also work as building blocks for sounds of our own that we will design later…did I mention that the synth comes with a fantastic set of presets?

when you play through some of the presets, you will see that not one, but several different screen configurations are used, based on various different geometrical shapes – commonly, a circular interface; fret like interfaces; and various alternate versions of several basic screens, none of them featuring a key of any size or shape! nary a white key or black note in sight – and that, in the case of the TC-11, is a good thing.

despite the lack of a keyboard, there is a somehow-obvious logic (that I can’t describe in words) and when you play each patch, well, sometimes, it just hits you how you should use your fingers, you might make a fist to create a really pure chord, or stretch two notes far apart to increase that amazing thick flanger – but the design of even these presets is incredibly complex, and you can get amazing and very musical results by variously:

  • making a swirling circle with one or two or three fingers
  • putting all five or all ten fingers down in a semicircle
  • making a fist in the centre of the screen, and spinning it slowly around
  • trailing a single finger from one corner of the screen to another corner
  • tapping out individual notes just as if you had a keyboard, but – you don’t
  • moving the entire ipad in various directions to effect the sound as you hold fingers on the screen
  • playing the screen like a typewriter
  • any combination of the above
  • using your imagination – just try it…and hear what it does to the sound !!!

…in other words, almost any gesture that you can imagine, made with finger, fingers, the fingers of two hands, the backs or sides of your hands…will produce a distinct result within the parameters of that patch, and some of the effects are extreme and wonderful – especially in the world of auto-panning, a lot of work has gone into the panner, not to mention some beautiful delays and flangers, too.

I imagine that you could put your forehead down on the screen, and something beautiful would come out of the TC-11. 🙂

so now – what I suddenly have here, is a superlative touch control interface synth that I can already play.  with some rehearsal, and some knowledge of how to get the best out of some of the best presets, and I should be able to play it live, anywhere, without issues.  so when I want to move from playing thor, and the world of the black and white, the tradition, playing those 88s in which ever mode I find them on whichever category one synth I am playing…

…to the world of total freedom, where one patch is all about circles and chords, another, about fretless dub bass with sonic qualities you will not believe, the next, an abstract plane of rectangles that fades into the top of the screen in an endless, fading curve, which defines your “playing field” for the next patch – it’s fantastic, a fantastical world of sound that is one of the most exciting I’ve heard, touched and seen, in a long time – the TC-11 is the real deal.

playing it is very, very liberating, the only experience I can compare it to, was when I first got my korg kaossilator, and I realised that after forty some years of making music with either frets, or keys – that I could make GOOD MUSIC without the benefit of keys or frets – well, it’s a similar feeling – and a wonderful, freeing one I can tell you.

I can make that comparison easily, because when I started out with the koass pad, I had no idea what would happen, and to my everlasting astonishment, with one day of practice – I could make music – without those pesky keys or frets or strings!

same thing with the TC-11 – within minutes, I could make music, even though the interface was completely alien to me, after a few minutes, I could begin to pull tunes out of it – which surprised the heck out of me, because with other category two and three synths, like sound prism – OK, you can get some nice chords and melodies out of sound prism – but you don’t get what you get with the TC-11 – beautiful, rich, synth music – with a really, truly unique playing surface, which is really, really fun to play – with a beautiful synthesis engine powering it, giving you the power to configure each patch to suit the way you want to move your fingers, to create the sounds you want to hear when you use that patch – total control, including the playing surface.

and, with the total configurability of the TC-11, even the most demanding, experienced synthesist should find the kind of control they crave for their patches – total control,  and playing without keys, finally got truly do-able.

so if you enjoy the challenge of playing the synthesizer without a keyboard, using a variety of approaches for note and chord generation, and you want a totally configurable synth with a powerful engine that you can tweak to your heart’s delight – then the TC-11 is the category two synth for you!  give it a try – I am finding it to be very, very addictive – it’s just a LOT of fun to play, and trying out different gestures to see what sound will result is a real hoot, and sometimes a new gesture will bring out an amazing sound out of a patch you thought you knew everything about – it’s full of surprises.

I took a bit of a risk in purchasing this, thinking it was far beyond me, but that risk has been rewarded a thousandfold, and what I have with the TC-11 is a fantastic tool for both live performance and recording – and a tool I know I will make a lot of use of in the years to come.  the TC-11 is a winner with me – a real winner.

you may want to give it a try – I am so, so glad that I decided to give it a go – because boy does it ever go! 🙂

the return of drone forest

I was pleasantly surprised to find that my old friend and partner in musical crime, ian stewart, has just created and posted onto you tube, some lovely long form drone forest videos (each running about 29 minutes and change) – four of them, to be exact, released on ian’s you tube channel just last month (june 2013).

I first ran into ian stewart via his excellent music mag “autoreverse”, and ian did some features on my mid-90s ambient and crafty output, and over time, we became friends.  he has also done a couple of in depth interview with me over time – one, back in 1995, reprinted here from autoreverse, and the other, quite recently – again, from autoreverse – 2011 version.

ian is an incredibly creative person, plays a number of instruments, and has a wonderful band called “devilcake” – a metal band – whose songs are exclusively about food, and another band called samarkand…he’s a fellow fan of XTC and king crimson, and is one of those people I’m always happy to work with.

one day, quite a number of years ago now, ian asked me if I would record some material for him on guitar, but he posed a really, really curious and difficult challenge:  he wanted pieces of music, but, critically, they were to have no melody and no beat – just texture.

so a few days after receiving this request (and, scratching my head a bit in terms of, how exactly will I do this?), I set up my guitar system, and started recording pieces of guitar “texture”.  I actually found this really quite difficult to do, because of the no melody rule in particular!   but, using stompboxes and my trusty ebows and some just plain strange, strange techniques, I produced quite a large “library” of these textural guitar sounds (probably more than an hour’s worth – I remember it took two cds to capture them all – maybe 25 tracks or more – I will have to locate the original discs to be able to say definitively how many tracks / how much time there was there).  I then mailed them away to ian – and promptly forgot all about it.

ian had never really said why he wanted the sounds, when I asked him about it, he would mumble something about a project of his, so I just put the whole thing out of my mind, and carried on with my life.

a few months later, out of the clear blue sky, a cd arrived in the post from ian, bearing the band name drone forest, entitled “drone forest”, which, apparently, was a new band, featuring ian c. stewart, c. reider, mike bowman, and…myself !!! I couldn’t believe it – here was a cd I was playing on, that I didn’t know existed, that I didn’t know was being made – I put the disc on, and sat there in an astonished state – and there were those textural guitar sounds of mine, recorded perhaps four months previously and then promptly forgotten –  expertly mixed in with sounds produced by the other three musicians (none of whom I had ever met, although I knew of c. reider because he’d reviewed one of my albums for…none other than ian’s “autoreverse” magazine!).

sitting there, hearing this cd, and realising what ian had done – he’d basically asked the same of both chris and mike, solicited material – they duly recorded sounds with no melody and no beat (a difficult task in particular for mike, who is a visual artist first; a drummer second, and a great guitarist/multi-instrumentalist – with his main instrument at the time being drums…the “no beat” rule must have been extremely challenging!) – but, all of the samples were superb, and ian had done an amazing job, creating several unique songs for the album which is known as “drone forest I” or simply “df1” – the first of many, many cds to come.

“drone forest II” followed hot on the heels of the first album, and after that, the albums started flowing so quickly that we couldn’t really believe it – we very quickly worked out a way of working:

1) we formed a yahoo “group”, and we all uploaded our self-created audio samples to our “sample pool”

2) we then would listen to and download the samples that the others had uploaded, picking what we liked, ignoring what we didn’t like

3) these then became the source material for new “drones”, which we each made many of, using whatever music software we favoured at the time

4) sound stretching, speeding up, slowing down, crushing, distorting, flanging, delaying, echoing, cutting, reversing, phasing, reverbing, mixing, contorting, convoluting – anything and everything went, any source files, mixed any way – as long as the end result sounded…like a drone.

a furious year of work, 2003, saw us so exhausted from the speed and quantity of creation, that we just sort of…stopped working.  leaving a massive trail of really, really interesting and innovative drone cds in our wake.  a while into the project, we decided that we would each produce a cd, instead of creating tracks and then picking a few from each member as we did originally, so I set off to produce “my” drone forest project, which is entitled “ZOSO” – the supposed “name” of led zeppelin‘s fourth album (although the music has nothing to do with led zeppelin – I just fancied calling it that, and that was that) – and each of the other members produced their own vision of drone forest – so all of these approaches, all of these amazing ideas were just flowing and it was a really fabulous and truly exciting time.

I am not exactly certain of the numbers, but I believe that in the first year, 2003, we produced eight cds – and then again, in the second working period, 2006 (which spilled over into the first part of 2007, to be fair), we also produced eight cds and then, chris produced a lovely piece of vinyl entitled “amy’s arms” right near the end – as well as two “posthumous” cds as well – for a total of 19 releases.

we’d invented a sort of  “bastard son of ambient” genre, the “drone” – along with several hundred other artists and bands, probably, but the quantity and quality of the drone forest catalogue cannot be underestimated.  sure, others before and after us, have claimed to invent the drone, but I think ian’s “drone supergroup” idea was a first – and his methods of working are unique and unrepeatable – brilliant thinking.

ian, as the godfather and founder of drone forest, embarked on a number of really, really interesting drone projects, including but not limited to a project where he created 100 one hour long drones (these were amazing, I never even heard them all, I probably have about a third of them), I think only ian has them all.  in any case, he developed a really clever and remarkable way to create these drones, for the 100 drones project (which was called “megadrone” I think – not quite sure) – he would create a short drone in the usual way, using different source files, he would build it to a particular length, five minutes or seven minutes or whatever it was (he had calculated this out) – and then, once happy with the short drone, he would “stretch” the track to one hour – and whatever the outcome – that was the drone.

remarkably, using this very strange and quite random technique – the resulting drones were – surprisingly – very consistent, and, they sounded great, and were perfect to listen to – equal in every way to drones that I had spent hours carefully concocting in cool edit pro multi-track!!  so he could produce a one hour drone, using a seven minute starting track – just by pushing a button.  this allowed him to work very, very quickly – to create a massive body of work – 100 hours – using a formulaic method that is truly inspiring.  I worked far too hard on my drones – ian just did it the easy way – and the results speak for themselves – really beautiful work.  what is perhaps most fascinating about this is, is that it demonstrates that the creation method of a drone can be almost anything – I spent hours meticulously building multi track drones, whereas ian just pushed the button – but both methods, along with whatever methods mike and c were employing – ALL methods produced beautiful, quality drones. it’s uncanny, really.

each of us worked in a different way; each of us favoured different software for the squashing, crushing, stretching and other audio atrocities that were committed in the name of drone creation – yet, when you put together an album with say, two tracks from each of us – there would be no way to tell “whose” track it was, because they came out remarkably consistently!  it really was quite something – mike, as a drummer, would make his drones the way he made them, c.,who is primarily a vocalist, would make his drones the way he made them, I would make my drones as if they were songs, but intentionally working towards a dronelike sound – and ian, well, ian was the master, really, he could make these “push button” drones, sure, but he was also the guy who put together that astounding first album – still one of my very favourite records from that period.

time passed, and for some reason, in 2006/2007, this time driven more by c., who in the meantime had built up the very, very cool drone forest website – we started recording again (quite suddenly, we just…started up again, as if three years hadn’t just passed with almost no band activity), and we created another large batch of records during another intense year-and-a-bit of drone creation.  I should mention that c. is the champion of all things netlabel, and on his netlabel site, you can download lots and lots of not just his music, but music by other netlabel artists, including compilations and collaborations galore – a fabulous netlabel resource.

and then…we stopped again – this time, for good – mike was busy starting a new family, and always busy with his art work – and his music (see velveeta heartbreak – this man is an incredibly talented artist and musician!) – I was busy with guitar craft, bindlestiff and my own solo records, and c. carried on his own solo work, on his label vuzhmusic – as well as being the caretaker of the drone forest website and being it’s main builder and webmaster.

ian carried on with his “megadrone” drone projects, and others, and also continued to work with his two bands, samarkand and “devilcake”, as well as going on to run the internet version of autoreverse, and also, his own bizarre depiction label.

but – there is so, so much drone music that has never been released – ian was far, far more prolific than any of us, and while we all gradually returned to our normal lives after the ’06/’07 round, ian continued with the “mega” and other drone projects – which really should have been released – as they were the some of the best – really remarkable stuff.

ian did produce an ultra-rare, 10-cd set of one of his unreleased projects – “metadrone” (which has the cryptic title “df8” on the actual package, and ian sent one to each band member – I am the proud owner of number 10/10 of “metadrone”, and also, a very proud owner of the vinyl record that chris produced, “amy’s arms”).  luckily, you can now download “metadrone” for free from the drone forest web site, while c’s vinyl release is still available for purchase as far as I know.

if we now fast forward to june 2013 – ian has (apparently, as I had no warning or inkling of these new recordings’ existence until today, when they appeared as suggestions on my you tube page!!) taken the original source tapes (I assume, from myself, mike and chris – and himself) and created new random audio mixes, one each for his four 29 minute long videos, using the original “drone forest I” source materials.  this is exactly the kind of thing that ian excels at, and I am so, so pleased to see these “new” videos, along with the first brand new drone forest music since 2007 (that I am aware of, anyway!).

what a pleasure and a privilege to be involved in a project like “drone forest” – an internet band, but an internet band like no other – working with three of the most creative people I’ve ever had the pleasure to know and to work with, and it’s with an incredible fondness that I think back on those two-and-a-bit remarkable years of creation, and, the massive catalogue of music we produced – which, by the way, you can download every single album and track for free at www.droneforest.com (with the one exception of the “amy’s arms” vinyl release, which is a for sale item as it is in vinyl format) – otherwise, all of the other tracks, 16 original cds and 2 posthumous cds, are free to download!!! free.

for me – well, what an absolute joy the entire drone forest experience was – and is, because right now, I am sat listening to four brand new, 29 minute long drone forest tracks – probably recorded in some very unusual way by the most excellent ian c. stewart – all hail the master of drones ! these new pieces are intriguing, dark, and most, most excellent – drones 2013 style.

you can view the entire discography on the drone forest website – we created 16 cds in our main heyday of 2003/then 2006-2007, plus the “amy’s arms” vinyl release makes it a nice round seventeen (my lucky number)  – and two “posthumous” cds.  in looking at the discography just now, I noticed that there are actually two of the drone forest cds that I produced, in 2003, it was the aforementioned “ZOSO”, but in 2006-2007, at the end of the second run of albums, I did a second production job on the final cd released by the group as a whole, “spatial displacement”.  in a way, I’m pleased that I was the one to master and produce our final album as a band – followed by the swan song – c. reider’s most excellent “amy’s arms” making it seventeen releases in total during our active lifetime as a band.

I think it’s more than fitting that exactly ten years after the release of “drone forest I”, that it’s creator has seen fit to create four brand new works from the band, here and now in 2013, but, using the ten year old samples – randomly re-arranging them into these there wonderful new pieces of music – I think that is brilliant !

if you are interested in drones, which, after all, are a sort of bastard son or offspring of ambient music, I would suggest a visit to the drone forest website, download an album or three or five or nineteen, and you might find you have a new love – the drone.  drones can be dark, disturbing, momentarily uplifting, disorienting, wonderful, moving, annoying or just downright cool, but, as an unusual offshoot of the ambient genre, once you start listening…you may find them very compelling indeed – I just listened to two full hours of brand new drone forest music, and it was absolutely captivating, relaxing, exhilarating – a great listening experience.

here are direct links to the four brand new drone forest videos, on the ian stewart you tube page:

drone forest video 1

drone forest video 2

drone forest video 3

drone forest video 4

ian also produced a short form drone forest video in 2009, which is here.

in listening to the new tracks tonight, I really find the to be most excellent – an updated, remixed, powered up version of the drone, set to ambient videos of – what else – trees, forests, snowstorms…the 2013 version of what we did so well back in 2003 and 2006/2007 – re-imagined for the 10s by none other than the drone master himself, ian c. stewart.

all hail indeed!

the drone forest discography:

title  /  assembled by

drone forest / ian c. stewart

drone forest II / ian c. stewart

our ghost in her wood / c. reider

june 21, 2003 / c. reider (a live simultaneous one hour event from four studios)

ZOSO / dave stafford

airways nova teeth / mike bowman

remixes, volume I / ian c. stewart

metadrone / ian c. stewart (original release, handmade, hand painted limited numbered edition 10 cd set)

drone forest IV / compilation – assembled by the band

remixes, volume II / the band

kirchenkampf vs. drone forest / john gore – guest assembler – drone forest source material

biolegacy / ian c. stewart (original release, handmade, limited numbered edition 3″ cdr 10 copies)

point / c. reider

honey / ian c. stewart

wormwood / c. reider

spatial displacement / dave stafford

amy’s arms (12″ vinyl release) / c. reider

forester / c. reider (posthumous release – the entire DF catalogue to date, put through an audio mulcher)

distinguish / to be determined (posthumous release)

I’ve been in some unusual bands before, from the dozey lumps to bindlestiff to the orchestra of crafty guitarists, but there has never been another band quite like drone forest.  go have a listen!

application of the moment

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

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

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

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

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

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

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

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

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

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

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

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

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

🙂 🙂

in search of…a few good sounds

today’s modern electric guitarists have the opposite problem to that faced by the pioneering rock guitarists of the 1960s.

in the 1960s, guitarists had a very, very limited palette of guitar effects.  I was just reading a list of the equipment that jimi hendrix used at the very famous 1969 woodstock performance – and when you look at it:

fender stratocaster guitar

wah-wah pedal

arbiter fuzz face

uni-vibe  (simulated rotating “leslie” organ speaker)

marshall amplifier

4 speaker cabinets

that was literally ALL that hendrix had, with which to create songs from across his catalogue…from purple haze to the star-spangled banner – not much in the way of sonic choices, although in that case, hendrix made the most of the pickup selectors and whammy bar on his beautiful white stratocaster, too (and his manual dexterity, and the amazing things that he did with his hands, on guitar body, strings, bridge, neck, and head stock – remain unrivalled as the most unique technique ever invented – often copied, never equalled) – coupled with his skill on the wah-wah pedal, that whammy/feedback/wah combination was the screaming metal fire music of it’s day.

hendrix and other guitarists performed miracles with just a wah-wah and a fuzz, one of my other favourite live records from 1969 is the recently-released “the move live at the fillmore 1969” which features roy wood playing both six string and twelve string electric guitars through wah or distortion, and coaxing a lot of great guitar tone out of his set up (whatever that was!) – this article suggests that it might be a fender guitar through a vox amp with a binson echo

while much amazing music WAS made with these simple tools, over time, even 60s guitar legends like frank zappa, todd rundgren, robert fripp and so on, began to use and become used to using, and having available, an ever-growing, ever more bewildering selection of effects pedals – at first, better distortion pedals, then, chorus pedals, then flangers,  phase shiftersreverbs, delays, and starting in the early 70s, an absolutely astonishing array of truly bizarre sounding effects – envelope filters and followers, micro synthesizers, loopers, as well as devices such as the gizmo and the ebow

today’s guitarists – have too many options.  too many effects.  too many choices…

I started playing guitar in the 60s, too, but not seriously until I was a little older, and it was not until the 1970s that I got really serious about being a lead guitarist, and like all my 1960s guitar heros, I had the same kit: fuzz face fuzz box (because that’s what jimi hendrix used) wah-wah pedal (because that’s what hendrix used) and later, for a while, I had an echoplex – the tape kind – an amazing piece of kit.

for  a long time, that was really all I had, although when boss started making good sounding chorus, flanger, reverb, delay, etc pedals I collected a lot of those – sold some of them, re-bought them a few generations later, and so on – nice little stomp boxes, small, and reasonably good sounding.

then came the era of the rack mount.  stomp boxes fell by the wayside, in their place, shiny new rack-mountable devices, in my case, I favoured digitech so I had a nice 24 bit reverb, the tsr-24s; I had a digitech 8 second delay (the longest delay/looper I could afford at the time); and later, I bought robert fripp’s old roland GP-16 to use as my first rack multi-effects unit, and later still, I got the oberheim echoplex pro (the digital version, this time).

fast forward another 20 years, and the list of pedals and rack devices and miracle hybrid stomp boxes, and multi-effects devices just grows and grows, until you have so much choice that it’s nearly impossible to figure out what combinations of what devices, coupled with what input device – guitar, or guitar synth, or keyboard, or kaossilator, or ipad…to use to achieve what sound.  and then – for recording – record with effects, or add them later…or some of both?

the choices…the sheer number of choices, is staggering.  let’s say I have 17 devices in my arsenal of effects.  that means…they can be set up in a nearly infinite number of ways, pre- or -post, used as you play, or “re-amped” through them later – we are truly spoiled for choice.

the natural tendency, if you come from the wah/fuzz/echo background that I do, was at first, to try and get as many sounds as possible, by having every pedal that made a different sound added to your pedal board. I spent years and years designing and building ever more grand pedal boards, sometimes I used two pedal boards – whatever it took –  but then, technology progressed yet again – we started to have “multi-effects” devices, and modelled guitar amps (like the sans amp), and so on – which made the choices even more confusing…

and then – do you just set up each song free-form, by reaching down and making changes, or do you control everything – or just PART of your system -with a MIDI controller?  all of these questions, have to be worked out…answered, solved, tested, tried…

I’ve been playing electric guitar for 41 years now, and in that time, while I do now have a lot of really beautiful sounds and instrument sources to choose from, and it’s still very tempting to set up these multiple-choice, multiple-path set-ups that allow you to change effortlessly between a number of different instruments, chains of effects, or rack devices…and yes, that’s fantastic technology;  and with it, you can do so, so much…

but lately, I’ve decided that I am going to attempt to apply what I call “the eno principle” to this massive array of rack, stomp and other effects devices (including, soft synths, ipad synths, software effects, and everything else in my current set up)…”the eno principle” being simply: find a few REALLY GOOD SOUNDS and use those, and…ignore the rest.  in other words, life is too short to use a crappy sounding patch!

eno originally gave this advice about synthesizers…when the first truly beautiful synths, like the yamaha dx7, came along, eno commented on the fact that they all had a very few REALLY BEAUTIFUL or really interesting sounds…and most of the rest of the sounds, were not all that good – and the secret was just to use those  good sounds, and ignore the rest.

well, here it is, 2013, and I am now applying this same principle to my current guitar system.  I have lots of sound generating devices: guitar, guitar synth, keyboard, kaossilator, and ipad (which in itself, contains many, many unique synths, as well as guitar processing gear) – and lots of fabulous effects devices that 41 years ago, if you had told me I would have in the future, I would have just laughed at you – but, now I do have them, and they are incredible…but my thought now is, I need to examine each device; figure out what it’s best 10 or 15 sounds are (as eno did with his yamaha dx7), and stick with those, and not waste time with any sound that is less than incredibly beautiful, or incredibly interesting, or incredibly powerful.  this seems to me now, after 41 years, like a sensible approach.  a more sensible approach, than having more possible sounds than I can possibly remember, much less actually use…

so I am thinking in “patches” again, but patches that are not complete patches – they are patches of “post” effects only…so – harmony, delay, reverb.  the input, instrument, and basic sound – clean, distorted, etc. I will still select manually each time – with the processing, or treatments, handled by patches.  via a MIDI controller of some sort – an as yet undetermined controller.

the input can still be anything – and with the roland gr-55 guitar synth, that is so true – it might be a flute, or a clarinet, or a xylophone, or a strange hybrid synth voice of some odd description – or just an ordinary electric guitar sound.  but that input – will be processed, in the near future, with very, very carefully chosen “presets” of harmoniser, delay, and reverb.

so I am hopeful that with a few months work, I can document and “work out” what the best sounds are on each device, then (and this is the tricky part) try to marry up the perfect harmony with the perfect reverb, and know what delay works with that perfect harmony / reverb combination…

for me – music is just as much about the treatments, about what you do to the sound, as it is generating the sound.  they are of equal importance.

but now, I want to concentrate on what the very best of those “treatments” are, selecting and blending only the very best sounds, so that my oboe sounds unlike any one else’s oboe: partially, because of the way I play it, but also, because of the way I process, or treat, the sound as I perform.  that is the goal – to sound unique, unusual, but beautiful 🙂

over the next several months, I will be working on these high quality, hybrid, “best of”, “eno principle” sounds, and once I have a decent selection of them completed, I can begin to use them on recordings and live video performances.

so I am hoping to have a smaller selection, fewer sonic choices, using fewer sounds, but – sounding better than having too, too many choices, which perhaps dilutes things too much – too many wildly varying effects, instead of going for what is the most interesting, the most beautiful, the best – and, with ambient music, and even in rock music – sometimes – less is more.

since this will be an ongoing process, I will return to the topic in future blogs over the next couple of years, to see what progress I am making – it will take time, but I feel that it’s well worth the effort – even if I only come up with 20 or 30 basic sounds or “patches”…if they are superior, and they bring new sonic qualities to my playing – then I will consider that a success…hell, I’d be happy with 17 really fantastic sounds 🙂

I don’t really “need” a lot more, if they sound truly amazing.

so, it follows then, that they need to sound truly amazing 🙂