I have to admit, of all of the few unusual instruments I have run across, the Ibanez RG Series Kaoss model guitar is one of the best in so many ways. It’s simply fun to play, and what you can do with one electric guitar that interfaces with one set of 100 (yes, that is One HUNDRED) kaossilator effects to give you one of the most tactile and hands on guitar to synth “instant treatments” experiences since Brian Eno ‘treated’ Phil Manzanera‘s guitar on stage with Roxy Music back in the early 1970s. No longer do you need to run your guitar through a very large and very expensive VCS3 synthesiser, but you can do the ‘treatments” by yourself, as you play – and the sounds you can get out of it are simply amazing if you just work at it….
What more could I ask for? What more could any guitarist who also happens to be a Kaossilator Pad player, who also is a synthesist – ask for? This is the inexpensive way into a Kaoss-pad-controlled-by-a-guitar or rather, by-a-guitarist – you.
Before I try to describe the experience of playing this unique instrument, I should probably approach the negatives – of which there are one or two – depending on your viewpoint. The guitar is deliberately built down to a price, it’s possibly, the cheapest Kaoss guitar on the market – and that is possible the way Ibanez and Korg wanted it – who knows? So some of the features you might expect in an expensive electric guitar simply aren’t really here in this guitar. Like super low super easy action. Not here – you have to work to play this guitar. I am going to need to take it in, and see what can be done about the action – which is less than ideal. I end up thrashing the fingers on my left hand every time I play it – but I am determined, so I don’t let something as unimportant as somewhat high action bother me – I just play anyway, and ignore it.
One alleviating factor or solution I have found, is to go to an extra light gauge of string. This DOES help a little bit, when the guitar you are playing has action that is too high – for me, it seems to help on the higher strings, but no so much on the lower strings. It was strange – I hadn’t tried an .009 on my high E since I was about 13! But I find it helpful to switch from, in my case, Regular Slinky, to, Super Slinky – with a .009 top rather than the .010.
The other thing that I really miss, is a whammy bar. I think that alongside the awesome distortion circuit built into the guitar, that a whammy bar would have been just the ticket – switch on that fuzz and start yourself a crazy whammy solo….but not this time. So – two negatives; it’s hard to play, and, no whammy fun – but I can easily forgive both – there are actions I can take, I can get the guitar set up, I can put lighter strings on it, I can even get the neck fretted or shaved – I mean, there is room to improve the action, that is for sure – but it needs investment, and a good luthier too.
Getting over the whammy is easier, for one thing, you have 101 on board sounds to replace it with, the first being, the very usable on board distortion circuit which I really like, it isn’t the most amazing distortion box in the world, but, it gives you plenty of sustain when you want a sudden kick-ass solo – and so easy to switch it in!
So that is the 101st effect, I would say, and then what you have is 100 more on the kaoss pad, to make up for that missing whammy. For example – may I suggest, voice 16, “vinyl break” – that gives you the ultimate dive bomb, and you can have it at any speed imaginable – very quick indeed, or, very very slow…taking a high note down to a low note that my 12 inch guitar speakers have trouble delivering it’s so lowl!
Or really, instead of thinking of it as 101 effects – the built-in distortion plus 100 Kaoss sounds, you could actually look at it as 201 sounds – the built-in distortion is 1, then you have 100 kaoss sounds with clean guitar, and, 100 kaoss sounds with heavy distortion – and some of these Korg sound respond very well to clean or distortion, and, behave differently depending on what is chosen.
So now that I have got through the tricky stuff, I can go on about how much fun it is to actually PLAY this guitar – and, you have to understand, the kaoss pad that is built into it, is not like the kaoss pad “synths” (like the little hand held pink synth kaoss pad I started out playing a few years back) you buy to play on stage – it is instead, an “effects” kaoss pad, a “Mini-Kaoss pad” – and it’s been made into part of the guitar’s circuitry – it has actually been embedded into the guitar’s DNA – being at the end of the guitar’s audio output.
I think that learning how to play this guitar effectively is something that has to be learned over time, and each time I pick up the Kaoss guitar, I learn a little bit more about what is best in terms of technique – and a lot of the sounds aren’t totally suited to using them like a normal effect, they actually seem to work the best as sudden events in between notes, or, at the end of phrases.
Vinyl Break, good old number 16, is suitable for either, and I had a blast just suddenly DROPPING a note, a millisecond after playing it, down a few octaves, and the real beautiful of the Kaoss pad becomes apparent in the amount of control you have over the timing of that event, of that note drop – if you do it at the “top” of the pad (i.e. the edge nearest the strings, rather than the edge near the edge of the guitar’s body) the drop is incredibly fast, and you are at that low, low tone so fast you can hardly believe it.
If you drop it in the centre of the pad, it drops substantially more slowly, but still at a pretty good speed, and you can learn to “time” these smoother, more elegant drop curves to suit your musical taste…it becomes quite an art, can I make this note drop really smoothly down to it’s lowest tone and then still hit the next note in my solo or improv at the “right” moment, and most times, I can. It’s a huge amount of fun, trying to control the duration of a note drop event, and get it to work in a really musical way.
Finally, if you choose to drop at the bottom of the pad, well then you are going to get the longest drop of all, possibly a bit too slow to be very musical, but just as useful – and everywhere in between, you get all the different speeds. So to put it into phonographic terms, it can be like dropping from 78 to 16 rpm in a millisecond, or from 78 to 16 rpm in a second, or maybe take five seconds to get there – or, you can stop the process anywhere along the way, so maybe you might just go from 78 rpm down to only 33 1/3rd rpm, instead of all the way down to 16 – it’s entirely up to you.
The pad is physically pretty tiny, and you have to learn to use it … sort of… “in between” your notes, or, at the end of a series of notes – it CAN be used while you are playing, but that is hard – it’s possible, with some of the more standard sounds, like a jet flanger or a nice phaser, you can hold a finger on the pad while you are strumming or picking, but – it’s a difficult act of co-ordination, and really, you would be a lot better of concentrating on playing your notes properly, and using your stomp box flangers or phaser, and they very probably will sound better – and, they stay on, too, until you shut them off, whereas, the pad stops working as SOON as your finger or fingers lift off of it – and that makes it tricky to use as a “regular” effect (whatever THAT means lol).
However, the real strength of the Kaoss guitar, isn’t the more “standard” effects, but the ones that work well when used in between notes and in between phrases, like my best friend the vinyl break, but also, the large selection of various loopers are truly useful and give you some remarkable effects if used well. It’s tricky, but, it’s do-able.
There are different ways to approach it, and I keep trying new things, or picking one of the 100 voices I am not as familiar with, and trying to see what I can do with it over a longer period of time – high pass filter, low pass filter, mid filters, you name it, it’s all there, there is even a decimator, which is an amazing patch – I absolutely love the decimator, it’s a brilliant sounding effect. Most of the effects sound really good, but some of them are hard to use in the sort of “momentary” way you need to use this guitar to it’s best effect (no pun intended).
One trick I have found helpful, in making sure I co-ordinate playing a note or chord, and then, immediately applying the pad (before the more or chord fades away so much that the pad then does NOTHING to it – very embarrassing!) is by likening the pad to a whammy bar in your brain – a whammy bar used, of course, in the more usual way, where, at the end of a phrase or chord, you use it – well, the Kaoss pad works best that way.
Just as with the whammy, of course, you CAN whammy WHILE you are playing – but it is more difficult to do, and the results might not always be consistent. So if you tell yourself to use it in the same times you might use your whammy -and if you are fortunate, it will work well – although there is no guarantee. And that’s where you can have surprising and dismaying failures – let’s say you’ve worked out a part where, you stop playing and then do a move on the pad, a really dramatic move like a drop or a pitch shift of some kind, and you do it say, for four bars in a row, once each bar….and on the fourth one, you are a tiny bit too late on the pad – and out comes….silence.
That can be embarrassing, and even disappointing, because maybe that fourth amazing Kaoss swoop – should have been the most flamboyant and remarkable of the four in a row – but instead, you play three good ones, and the fourth one – just isn’t meant to happen.
So you lose an entire perfect take, because you timed your Kaoss sound off by nanoseconds – and that resulted not in an error, but instead, in a fail – a silence when your audience would clearly be expecting some kind of fantastical Kaossilator effect – and that is annoying! I have lost solos and takes because of one failed or less than spectacular Kaoss swoop.
The remedy for that, of course – is more practice, and, of course, the more you practice, the less likely these time-based mishaps will haunt your kaoss playing. No one said this would be easy – but sometimes, it is pretty easy to make the pad sound good, on other occasions, not so much so – but if you work at it, you can play some truly extraordinary and more importantly, utterly unique chord patterns, notes, guitar solos and sound effects – I mean, with 100 sounds to choose from, you have an enormous palette of high quality Korg effects with which to modify your beautifully clean or very distorted Ibanez guitar – and that to me, is a winning combination.
So – the stage is literally set, I’ve at this point, got the majority of seven months’ of work behind me…
My last blog, recounted the first seven months of the project in a fair amount of detail – that was part one – but here in part two, we are looking at the final few days of work – the last four or five days in December, 2015 – that’s our “part two”:
The drums and bass have been locked down (except for final level setting, of course) for many months.
The keyboards are all locked down, and the intricate middle section has been completed, encompassing acoustic guitars, birdsong, ipad, and ambient electric guitars (the infamous “Hackett Guitars” – courtesy of the new Eventide H9 multi effects unit – that occur just before the second half of the song re-enters).
All that is left is – more work (on the second half only, after the new “middle section”) with the guitars, a few needing solos, and a few, needing some rhythm guitars.
I decided to use some of the extraordinary sounds from the Eventide H9 multi-effects unit, which only arrived in the final days of work on the song, so using it as my main guitar effects unit, that enabled me to do, for example, the ambient “Hackett Guitars”, as well as some of the rhythm and lead guitar work in the final section during “part two” – so I would characterise “part one” as being the main build of the song, plus, the first part of the guitar overdubs; while “part two” is two things, finishing touches – all done on guitar – and mixing, mixing, and more mixing.
I had originally thought that I would play a series of different guitar solos over the second half of the mix, but things happen…plans change. And in this case, it was one of those weird accidents that you just can’t deny, that you have to go with – because you hear it, and the sound of it just says to you, you know it in your heart: “you know this is the right thing”.
I sat down to play the first of many solos, which, by my cunning plan, would have filled the end of the main track from the end of the middle section to the end of the song, bit by bit, a short burst of one guitar sound, a short burst of the next, and so on. The first solo, was to be an ebow solo. So I got a nice sound for the ebow from the H9, and started making takes.
But what happened was something I never expected, as the track kept playing, after the section I was overdubbing – I kept going, I kept playing after the first section went past…and then the next, and then the next…and suddenly, I could hear the very end of the song approaching – so I went for a crazy, major key ascending scale that could not possibly fit at the very end of a really, really LONG ebow solo – and of course, almost as if it had planned that way – it fit just right, ending right alongside the existing “fast-Leslie” organ solo…
I listened back, astonished – because I never meant to play right through, I hadn’t imagined finishing the entire track with one very long, multi-key energy bow guitar solo – but that is exactly what happened. At first, I thought, well, this creates a problem – what do I do? How can I play different sections of lead guitar now, with this really nice solo filling up the entire second half of the track?
The answer, of course, was “you no longer need to”. So instead of doing piecemeal solos, using different guitar sounds, etc. (as I did in the first half, as planned…) the second half now features one long, long ebow solo (which, to be fair, is actually in five sections, edited down from the best three takes – but if I had not told you that, you would not have known – it sounds like one solo – well, it is one solo, just, from the best three takes!) – it was quite a feat of editing, but editing ebow solos is one of the most amazing procedures out there, because – well, because a recorded ebow sounds, looks and acts like a pure sine wave, fading it in and out is never an issue, at a microscopic level (zoomed) or even at a normal level (not zoomed) and “switching” from one solo to another, from one take to another rather, at any point, is almost always very easy, because the notes are usually quite long, and, whether they are long or short, they have distinct silences in between – the perfect space to switch between take 1 and take 3, for example.
The editing task then was not that difficult, but I did spend quite a lot of time on it, as I wanted this final solo to really bring the whole piece together, and once I got used to it – I realised that it was the best idea all along – because it’s the only opportunity, really, for a nice long guitar solo – and there is nothing on earth like a nice long ebow solo – it’s the best! – so…I took that opportunity. Accidentally “on purpose” 🙂
So while unintentional – that “accident”, of me just carrying on playing that ebow solo, not stopping when I should have – going on and on to the very end of the song – changed the whole planned character of the second half of the song, and gave me a glorious, long and lovely ebow solo to take us out to the final moments of the song.
I did some work with panning towards the end of the piece – I boosted the level of the existing “fast Leslie” organ solo to match the ebow solo better, and I gradually moved it from the centre to one side of the stereo image, while at the same time, in the opposite direction, I gradually moved the ebow solo to the opposite side of the stereo image, so it moves from being a homogeneous centralised pair of instruments at the beginning of the second half, to two distinct instruments, one on either side of you – and I love that slow, slow stereo spread of the two solos – it works for me. In headphones, it’s very nice indeed. On speakers, you might not really notice it as much, but it’s an important point – I wanted the solos to end, with them split, one hard left, the other hard right – and that is indeed, what I ended up with.
I think at that point, I breathed a huge, huge sigh of relief – because, except for a very few finishing touches – this long ebow solo meant that the song was “DONE”!! At long, long last, and just before the year ended, too – it had always been my goal to complete the song in 2015, to allow it to then become, pureambient’s first release in 2016. So I am happy to report that I did indeed, with just hours to spare, meet that goal.
So – what finishing touches? Well, I added in a few rhythm guitars, where I felt that solos needed some chord-based support, but overall, there is not a lot of rhythm playing in this song – being a prog song, all of the players (i.e., me, lol) love to play solos, they all think that they are master of their own instrument – so you have a whole band full of soloists!
But the lead guitarist (again, that’s Dave Stafford, lead guitar), can be, and did indeed, allow himself to be persuaded that some rhythm guitars (well, more than he had originally done or planned for, anyway!) would not go amiss. One of those rhythm guitar parts, a simple chord played once and left to ring, for four bars, sounds nothing like a guitar, but rather, some mellifluous dream electric piano from the stars…a beautiful H9-produced sound.
I added some lovely chords in the second half of the piece, using the H9 to get some beautiful new clean sounds (and the modulation section of the H9 is simply the best – better than any effects unit or software I have ever owned – it is the best, for those of us who cannot possibly, ever, afford an “Axe-FXII” – this is just as good or better!) so I am really pleased with the last few guitar contributions – because the H9 makes them sound really, really good!
I also realised that so far, I had not woven any reverse guitar into the fabric of the song, and I love reverse guitar – I’d always meant to do a reverse solo – but I hadn’t done any so far in the song (a huge oversight, surely!) – I mean, come on, this is prog – so in the style of King Crimson circa 1970, I thought of “Prince Rupert’s Lament” (or rather, the “Lizard” suite) I decided I would add some reverse guitars in that style, clean and nice – so – how could I now incorporate it? Where there is a will, there is a way – I recorded a few different takes of reverse guitar (again, courtesy of the remarkable H9 pedal) and then mixed them into the closing section of the song.
That took some getting used to, in fact, all of the changes to the second half took me some time to acclimate to, because for so long, it had just been, you know, drums, bass, keyboards, mellotron. No guitars. No rhythm guitar. No reverse guitars. So the second half evolved, and the more I worked on it, the happier I felt – I really felt good about this piece of music, and despite how long it took, and the many, many long hours and long days I had to put in to get it there (the weeks spent on the drums and bass alone ate up the first two months!!!) and there were times when I thought – “I am never going to get to play the guitars on this song….never!” – but, the day finally did come, at the end of November actually, and I really went into it with a happy heart – finally, I am working out guitar parts, to go with the long, long-existing bass, organ and mellotron parts.
Playing guitar along to the finished backing track was an absolute joy, and I could just jam along to almost any of the sections, because I know them so, so well by this point – I could just about have played the guitar parts LIVE really, once I’d rehearsed them.
I did go back, too, and “try again” on some of the toughest solos – I spent one entire day, “seeing if I could do better” – and in almost every case, I found that I could, so I ended up with some very natural sounding, very “live” guitar solos – where previously, in the initial final mixes (I know, that sounds odd, but, it’s the only way to describe it) I had kinda, pieced together some of the more difficult guitar parts. No more, though – now, they are played live, as are most of the solos – the final ebow being the one exception to that – but, it’s very, very long, and it’s not likely that anyone could play for that long, without some imperfections – so I did have to fix a few touchy moments in the long solo.
Mostly, the guitar parts kinda “wrote themselves”: there were areas where they simply join the bass for a ride-along; and other areas where they do not, but instead, they mesh or interact with the bass – and there are some spectacular bass v. guitar “battles” in the first half of the song that could not have come out better had they been planned (and, they were NOT planned – it just worked out that way – when I added the guitar parts, the bassist was RIGHT THERE, answering me – it was amazing! – the guitar would play a riff, and suddenly, there was the bass, ripping off a super quick “tiny-space”-filling-run, at impossible speed (that’s our bass player, Dave Stafford, again!) – and it sounded like both the guitar and the bass had always been there, that the interaction was totally planned and totally natural…when in fact, it was yet another “happy accident” – but the joy that it brought me the first time I heard it play back – wow! Listen to THAT, was well worth it – the guitars and the basses are totally working together, playing off each other as if it’s a live track!
Sometimes, you are very, very fortunate. I was really fortunate with the way that the final overdubs, the lead guitars worked with the drums, worked with the bass, worked with the organ, and worked with the mellotron – and in fact, the mellotron came and went with the eeriest perfection – perfect timing every time, arriving right when I needed it. As if they knew what the guitar parts would be (when I clearly, did not!).
I think then, that the reverse guitars were the last significant thing that was actually played on the track; after that, the last two or three days of December, 2015, were spent on the final mix, which I sorted of re-built from scratch – I’d had a “working mix” the entire time, but rather than just carry that forward and build in the new parts, I decided to create a brand new, fresh mix, which gave me the opportunity for example, to ensure that the bass and the drums, could compete with the masses of guitars, and the intense keyboard and mellotron washes – I wanted to be able to hear everything as clearly as possible (obviously!).
Getting a nice clean mix when there are this many instruments can be tricky, but I just approached each one, first, separately, and then, in relation to the other instruments, until I reached a point where I felt happy with everything.
I also stripped out a lot of “individual” reverbs and other effects that I had quickly thrown on during production, and consolidated them in the output section – I created a full set of additional stereo bus outputs, so that every set of instruments had an overall level control, and, consistent, high quality, reverbs and effects – made at the output stage rather than connected directly to the track.
Certain tracks that were created early on, were just too complex to move to a bus, so I left them alone with their track-specific sounds – in one case, a complex arrangement of Waves GTR and Waves Stereo ADT – used for an extremely strange “guitar” track that slowly, slowly fades in during the first quarter of the song. That was left alone, along with the bass which was sent out directly without any effects whatsoever – I wanted it to be dead clean.
I didn’t mess with the drums too much, either, I probably would have (I do love adding phase shifters to hi-hat and cymbal hits and similar…), but I didn’t want to add another two months to an already somewhat overly long-production schedule! So I kept it to some bespoke panned sections (which I really, really like, because they appear so seldom!), and just little touches – the drum track is pretty basic, and the bass is just bass – in this case, the tone of the Scar-bee Rickenbacker is so perfect, I couldn’t see putting any effects whatsoever on it – so – it’s dry and clean!
So really, mixing was quite easy, mainly because I was so, so familiar with all of the component tracks, and with the individual stereo buses for guitars, organ, mellotron, bass, drums – getting relative levels was easy! I had expected an agony of mixing hell – and the song surprised me – maybe because to some extent, I kept it simple (well, simple when compared to something like “wettonizer” (taken from the newest eternal album, the first of 2016, “progressive rock” by Dave Stafford), I suppose!).
Note: “wettonizer” was originally included on the gone native CD (which is still available) and download, but is now also available on the brand new 2016 eternal album collection “progressive rock” – alongside the brand new track “the complete unknown”. This is comprised of a set of prog songs taken from gone native, along with “the complete unknown”.
The very last part of the song, after that energy bow climbs up to the top of that unlikely major scale, and then SLAMS down into reverb with an odd but lovely sound of wonderful completion, the song then almost comes to a halt, the keyboards are pretty much all that is playing, until suddenly, the Rickenbacker bass and the Hammond organ, join the drums for their final flourish – and then, a long, pure bass note is held, to remind us I think, of purity, of the beauty of just one note – and then, the drummer plays a few bars of precision military snare roll, and the long bass note and the snare drum, disappear forever into the complete unknown…the song is over.
I really, really enjoyed myself on this project, my only regret is that by becoming so involved in it, I was really unable to work on much of anything else, so other areas of my music suffered. But that will change in 2016, I have an enormous amount of new music in the planning stages, including still more eternal albums on Bandcamp, and I hope to present more musical material, both old and new, in various formats, including hopefully, a return to video as well as audio only work.
We shall see! But in the meantime, if you fancy a bit of old-style progressive rock, this could be the 17 minute long song for you – “the complete unknown”. Give it a listen – it will take you right back to 1974…
Peace, Love and Groovy Mellotrons,
january 17th, 2016
For the third and final of our “three of a perfect pair” (see how I did that – effortlessly!) we went slightly further afield, and for me, seeing King Crimson playing on European soil, in Holland, in 2015 – was not only very, very surreal, but it brings a nice sense of closure for me over time. Three gigs, in three countries, and for us, in many ways, the Tivoli show was the best.
I never saw the 1969, 1971 or 1972-1974 King Crimson line-ups, for me, I started out with another “three of a perfect pair”, all which took place in San Diego, California (where I lived at the time) during the first half of the 1980s:
November 22, 1981 – UCSD Gymnasium, University Of San Diego Campus
August 10, 1982 – Fox Theatre, San Diego
June 8, 1984 – SDSU Ampitheatre, San Diego State University
(eleven years pass)
then, as a sort of strange Crimson interlude, I saw a pair of live performance by the redoubtable “double trio” during the mid-90s:
June 28 1995 – Symphony Hall, San Diego, CA
July 30, 1996 – Summer Pops Bowl Park (where finally, I got to hear “Schizoid Man” live at last!!).
(a non-descript outdoor venue where I handed out flyers to the concert-goers for Mark – and in return, got a DGM T -shirt!).
(nineteen years pass)
which then brings us to the three current 2015 shows we’ve just completed, with the September 24th, 2015 performance in Utrecht still ringing in my ears…
this show was different in a number of very significant ways, from the two UK shows we’d seen on September 14th and 17th, and we found it very enjoyable because we were much farther back in the venue, this time, up pretty high in the stalls, but it’s a beautifully-built , steep-seated theatre – so no matter how high up you are, you aren’t really that far away from the stage.
but, that actually meant that we could hear the band better, and. hear the bass a bit better, and the overall sound mix was “best” for us, out of the three shows:
but I am getting ahead of myself…
the Utrecht show began as all shows did, with the eiree, dissonant Robert Fripp Soundscape playing for perhaps fifteen minutes prior to show time; people were slowly finding their seats in the lovely, intimate theatre which was apparently bereft of any staff whatsoever, since there were no ushers of any kind in sight. we found our seats well ahead of time, but as we approached the later European start time of 20:00, a curious thing happened.
the Soundscape faded down briefly. Then, a lone spotlight picked out RF’s “Lunar Module” rack mount rig and empty guitar stool, the theatre dark save for the strangely lit “Fripp” area. Then the Soundscape returned, up to full volume again…and another wait of perhaps ten minutes this time (all the while, with that oddly lit Fripp guitar stool and guitar kit still bathed in that bright, bright spotlight), ending when the band finally emerged onto the stage. This strange combination of Soundscape and the spotlight on the work area of the band’s leader, seemed to be saying something, but I wasn’t quite sure what. Perhaps “this is where Soundscapes come from”, I don’t know.
so this was a bit of a different start to the show, the UK shows started earlier (at 19:30) and were a bit more on time, here in Utrecht, we started at a more Continental hour, and the band were a bit fashionably late. From our bird’s eye viewpoint this time, we could see well and hear the band really well indeed, and sonically, this show was the clear winner of the three shows we attended – they sounded fantastic.
the set opener remains unchanged, and as I never dreamed I would ever, ever, in a million years, see King Crimson playing “Larks’ Tongues In Aspic, Part I” live, hearing it for the third and final time for this year (this MONTH!!) was something that I really enjoyed, the new arrangement is fantastic and I particularly like the drum parts and the way the two guitars divided up the work, a fantastic song and it just keeps getting better each time. to a lesser extent than previously, we still had some difficulty at some times, in hearing Tony’s bass or stick, but apparently this is a fairly common issue at all of the shows (or so I have heard, anyway).
it could simply be the placement of the two lines, front and back, and the front line is quite loud….so that may well make things difficult for poor Tony, located as he is with four fairly loud objects encircling him: Mel, Pat, Bill and Jakko.
that may be part of the problem, or it could just be that Pat’s drum kit simply overpowers the bass from time to time, I am not really certain why the level of the bass does seem to be an ongoing issue – we noted it at all three venues we saw shows at, but it had definitely improved by he time we reached Utrecht. From high up, and this time, we were on Fripp’s side of the stage – things sounded good.
at Birmingham (Sept 14th), we were on the left side, sort of in front of Mel and Pat but off to the left; in Edinburgh (Sept. 17th), we were in the fourth row directly in front of Pat, so being both on the far opposite side, and being both “back” and “up”, meant that the Utrecht (Sept. 24th) show sounded different. There was noticeably more Gavin Harrison in our mix. And we could hear Robert more clearly, being on his side of the stage. And Jakko, too. The “guitars” mix was better, too.
so it was actually a blessing, getting “bad seats” (actually, it was such a nice theatre, there really was no such thing) – we’d been too close to the band at the other two shows – well, not “too close”, it still sounded amazing, but, we did get a clarity at Utrecht that we didn’t experience during the other two shows.
when “LTIA Part I” came to an end, we got our first surprise: a changed-up set list, so here, in second position, came the very powerful “Level 5” – in the section of the concert where new material normally appeared. this change made me really happy as it meant that this set would not be the same as the two shows we’d previously seen.
then things really took a new turn, in the form of the title track of “a scarcity of miracles” – which I enjoyed immensely, it was totally unexpected; Jakko was in fine voice, and it was nice to see Robert playing quite a bit of keyboard, taking his keyboard duties as seriously as his most difficult lead guitar solo. the last time I saw Robert Fripp playing a keyboard was in 1981, where he did a bit of keyboard for “Sartori In Tangiers” or some such 80s tune in a live setting.
I really didn’t expect to hear any tracks from the “Scarcity Of Miracles” album, and of course it’s also a great showcase for Mel, too, who sounded great on the track.
once that surprising song choice ended, the “new music” section could finally begin, so we got “Meltdown” and what I think was “Hellhounds Of Krim” – I still don’t have a handle on what the percussion-based pieces are called – but I do prefer “Meltdown” now, to the now-absent “Suitable Grounds For The Blues”, so of those two non-percussion based new songs, we got the one I prefer – so more good luck for me.
then the set returned to something that more resembled the sets we’d seen, with a lively “Pictures Of A City” (featuring more amazing work from Mel of course) which was then followed by the fantastic new arrangement of “The Construction Of Light” – which I love, especially the final flute solo from Mel – I don’t know why, but I really like that part.
I should note here the remarkable talent of Jakko, who learned the interlocking “Fripp and Belew” guitar parts flawlessly, and this is especially notable on “The Construction Of Light” (and on “Level 5”, etc.) – it’s concise, precise, correct and beautiful, too…Jakko is a natural, and the incredible range of guitar parts he is required to play, from picked mock-acoustic guitar on the 1969 tracks, to the precision interlocking parts of something like “The Construction Of Light” from 2000, or to the uproarious and wonderful guitar parts on the two tracks from 1971’s “Islands”…Jakko nails them all. He makes it look easy!!
speaking of the 1969 tracks, next up comes the first of the three (from the first album) that they often do now in 2015, “Epitaph” and this is yet another piece where Jakko truly stands out; a good vocal, carefully picked mock acoustic guitar while singing lead vocal…he knows these songs so, so well, and sings them as if the spirit of Greg Lake was inhabiting him.
I think that the first ten King Crimson albums are some of Jakko’s favourite music, much of which he learned some years back for the 21st Century Schizoid Band (who performed much of the same early repertoire as the 2015 KC does), he takes the twin tasks of singing the vocal, and playing the guitar parts note-perfect and tone-perfect too (I couldn’t believe the lengths he went to, in the 21st Century Schizoid Band, to play every Fripp note, chord or even special effect, as accuraviewedtely as humanly possible) – an astonishing performance then, and even more amazing now he is in the “real” King Crimson.
I think that Jakko does really well on all of the material, but he really seems to live and breathe the songs from the first four albums (except Lizard, from which they don’t seem to perform any tracks currently) so when he sings something like “Pictures Of A City” or “21st Century Schizoid Man”, or, indeed, “Epitaph” or “The Court Of The Crimson King” – I think he really feels it from the heart. It’s clear to me that he truly, truly loves this music.
the very solemn “Epitaph” then gives way to Gavin Harrison’s lovely little ditty “Banshee Legs Bell Hassle” which makes for a wonderful, cheerful bridging piece to the next Musical Great Leap Forward – “Easy Money” , which is always a high point in these concerts. It’s a chance for the whole band to shine, Mel has invented some great sax parts for it, Jakko sings the original lyric rather than the “USA” or “naughty” version, and Pat turns up with some of the original sounds from the original recording, such as the laugh box that he “plays” at the end. they really do a great job of re-creating the unique sonic atmosphere of this classic 1973 track…I love hearing “Easy Money” live, I can’t get enough of it really, it’s always over far too quickly.
Fripp does take a remarkable solo during “Easy Money”, using a great vintage Fripp tone dialled in on his trusty Axe-FX II effects unit, and I was privileged to see and hear him approach that solo on three different occasions, and this one was fantastic as always, a wonderful, nostalgic 1973 style lead guitar solo with cracked Wah and distortion to the fore.
from here on out, the show just hits highlight after highlight, this is really my favourite part of the show, and the next two tracks are probably my favourites, the melodramatic “The Letters” which features Fripp playing an ungainly but wonderful guitar part, a solo atop Mel‘s rollicking saxes, followed by the absolutely sublime live performance of “Sailor’s Tale”, a great instrumental featuring Mel Collins on screaming impossible sax solo, with Jakko and Robert locked in on their long, sustained notes in perfect twinned guitar harmonies.
oddly, both Pat and Gavin fall completely silent during most of this track, leave Bill Rieflin (ex-Ministry) to handle the drum part on his own; only rejoining him when he has to switch to mellotron for the ending section. Somehow, having just Bill playing drums on this, made it sound right – it just worked best with one kit – and they realised that – and I really admire that decision. I admired Pat and Gavin for being absolutely silent and motionless during most of this piece. Two fantastic vintage “Islands”-era Crimson songs played in incredibly accurate detail, with an absolutely swinging drum and cymbal part from Bill – he really nails (the late) Ian Wallace’s drum part.
did I mention Jakko’s impassioned reading of the lyrics for “The Letters”, he really sings “The Letters” so, so beautifully, it’s such a tragic tale, beautifully sung right up to the fantastic lyric “impaled on nails of ice…and wait for emerald fire”…which eventually leads him to the final, utterly a capella stanzas. A roar of applause greets him when his lone voice finally falls silent with “…I take my leave of mortal flesh”. Shivers.
I often think that Jakko gets a bit short-changed here; he is alternately viewed as, usurping Adrian Belew’s “rightful place” in King Crimson (is there such a thing, for anyone except Robert himself?? I don’t think so!) or not doing justice to a certain vocalist, or whatever – but, if you think about it, the expectation that rides on this young man’s shoulders is considerable: he has to sing like Greg Lake, he has to sing like Boz, he has to sing like John Wetton, and he has to play guitar like Robert Fripp. All four things, of which he does, without issue, without fuss – he just does it – and I think he is a remarkable, under-appreciated part of the band. Huge expectations – and Jakko delivers, night after night after night. He is a brilliant guitarist, too – he’s the “other Fripp” in the band 🙂
with the two amazing songs from “Islands” now done, at this juncture in the concert, I had no idea what to expect. Would they just do the typical “last three” and be away, or what? I didn’t have long to wait to find out, as the crashing riff and insanely-clever triple drum threat arrangements of “One More Red Nightmare” began. What a treat, too, to finally “see” just exactly how Gavin worked out the drum parts, and to see the amazing co-ordination between the three drummers on this song from 1974’s “Red” album.
this song holds fond memories for me,as I used to play and sing it, in one of my bands (Pyramid) when I was about 21 or so. the slow sections that modulate between either an E Minor To D motif, or, move up to a G minor based section, were brilliantly executed, with Mel’s snarling saxes over the two guitars…and finally, the whole band hits that opening riff hard, the triple drummers out do themselves once again, and one of the most amazing tracks of the night is over.
I was personally ecstatic that they included this song in Utrecht, it really made the set so special for me…I got my cake and ate it too, I got a different set from Birmingham or Edinburgh; I got “One More Red Nightmare” without giving up my two precious “Islands” songs. Perfection – an inspired variation of set list.
and thence, following immediately, the beautiful “Starless”, with Mel Collins and Robert Fripp sharing that thick, liquid melodic line so perfectly, Mel in particular has clearly studied the recording incredibly well, but together they just sound so excellent on this track. Fripp bends those notes so, so precisely this time, a great vocal from Jakko, this song works so well, too, with the triple drummers. Tony gets a real workout, as well, playing the lead bass part for the last two-thirds of the song, until the fast bit at the end, which resolves at last into that amazing Fripp / Collins melodic conclusion – so, so beautiful!!
the Dutch crowd were very responsive indeed, I’d say they even gave the Scottish crowd in Edinburgh a run for their money, but both Scottish and Dutch were much louder and more demonstrative than the audience at Birmingham was.
A long, long, loud round of applause erupted at the conclusion of “Starless”, followed by rhythmic clapping eventually brought the band back for the two final numbers, another finger-picking exercise for Jakko in the form of “The Court Of The Crimson King” which also features the Michael Giles-channelling Pat doing his very damnedest to break his drum heads with the ferocity and speed of his drum rolling – such a powerhouse of a performer, Pat absolutely propels the final section of this song into a kind of drummer’s stratosphere.
meanwhile, Robert’s subtle, reverbed lead guitar, was so so lovely, working perfectly with Jakko’s mock acoustic guitar, and the vocal, too: “the yellow jester does not play, but gently pulls the strings…” Cue RF, gently bending between one half step and another, as if in answer to the lyric’s meaning, his guitar on this was just perfectly done, sounding very, very much like the original.
finally, it’s the end, which means it’s time for “21st Century Schizoid Man” 2015-style. Jakko sings the lyric like a man possessed, even dragging a little bit of actual melody out at the end of each spat-out line…an almost-melodic “….century schizoid man….” For me, this is one of the most altered arrangements, and it took me awhile to realise that actually, there is no real lead guitar “solo” at any point. RF does play a wonderfully convoluted descending guitar lead that walks right down to Mel’s solo (which doesn’t last long enough to become a solo) – and Mel just owns the song from there on out.
the band of course, all join together for the “precision part” which goes without incident, and then, the final verse, the final chorus…the wild ending that suddenly stops in dead silence…and the show is over.
the Dutch crowd is on their feet cheering and once again, the applause is long and loud, as the band take their final bows and are away down the stairs…and out into the cool night of Holland.
my first ever concert in Holland, but, the last of three King Crimson shows for September, 2015 – this is a month that I will not forget any time soon!!! The quality of musicianship on display, from all seven gentlemen in the band, is simply extraordinary; the selection of songs, mind-boggling in their quality and diversity; the overall effect is simple one of wonder, you are left wondering where else music could possibly go, from what you just heard…
the melodies stay with you for days. you find yourself singing “Easy Money” or “Starless”, all the time, or you hear the choppy chords and mellotrons from “The Court Of The Crimson King” in your head – this music stays with you, for days and days, you find yourself playing your “Red” and “Larks’ Tongues In Aspic” albums over and over again.
its now been five days since the concert, and I can still hear huge chunks of the show in my head when I think about it.
as always, there is a lot going on here at pureambient, I never quite know where to begin – so I will just start, and see what happens!
Dave Stafford – Concerto No. 4 in F Major for Harpsichord & Strings (approx. 27:30)
first of all, I am very happy indeed to report that the third movement of my fourth concerto is now complete, it required one last harpsichord theme to be reverse engineered as a piano theme with harpsichord support, from its original form of being a harpsichord theme with piano support. once I had transmogrified the section, I inserted it into its appointed spot somewhere near the end of the third movement – and voila, the movement, and therefore, the entire concerto – is done!
I don’t have my notes in front of me, but I can ascertain from looking at the score in Notion, that I began work on the concerto on November 6, 2014, completing it three days ago on January 12, 2015 – so two months and one week, approximately – and that is almost certainly a first – the longest time I’ve spent on any Notion project, the longest time I’ve spent on a single classical composition (not counting the first concerto, but as that was made painstakingly slowly anyway, note by note, using the guitar synth) – in the pre-Notion days – I can’t really count it – that was an absolutely insane process, and I am so glad that I now have Notion which allows me to score, and test my ideas instantly, without the whole “record a bar”, “record another bar”, etc. the very tricky manual playing of each part using all of the different instruments available on the guitar synth.
this long gestation time for the fourth concerto actually doesn’t bother me in the slightest, I was doing something a bit different, up until the fourth, I’d always used a lot of woodwinds and or horns in my classical pieces, and often, classical guitar, too – but this time, I kept both of those out of the score deliberately, and worked with strings, harpsichord and some piano, too – and, with these very different parameters, a very different kind of concerto has emerged, slowly, patiently – all twenty seven and a half minutes of it. I am astonished at how lengthy this piece has grown; it was really, as it always is, down to the creative processes when working on the final movement – somehow, the first two movements are always less fluid, they appear, they are set, that’s the way they are – but the third, the third is the place for soloing, it’s the place for wild new themes and ideas to appear and just as quickly, disappear, it’s the place where a lot of interesting instrumental passages occur, moods are set, and, a bit of a surprise to me: the string section with its mad harpsichord leader, proved to be a powerful musical tool.
I even wrote a section featuring unaccompanied solo harpsichord, something that, in the past, I would never have been so bold as to attempt, it just seemed right, and I felt that the soloist really wanted his moment in the sun, so there it is – almost impossibly quick, but still actually playable (by Johann Sebastian Bach or someone else at his capability level – a REALLY good soloist!!) – this “solo” harpsichord is one of my favourite parts of the piece. (For those of you following along in the score, the harpsichord solo, included in movement one, begins at bar 257).
so if all goes well, I will be able to mix and master the piece soon, although that process could take some time – it’s always very difficult to get your levels correct when you have so many instruments doing so many different things. I hope to have the piece out and published to both the Notion and the Classical eternal albums, hopefully no later than the end of January, if I am fortunate, significantly sooner.
The next Kaoss Guitar video has been prepared and assembled, and was actually uploaded to the pureambientHD channel on YouTube on Tuesday night, January 13th, 2015. This is the third in the current Kaoss Guitar series, entitled ‘sliver‘, this one is all about power chords travelling backwards, with another go at the “slicer” patch, or rather, a variant of “slicer” called ‘mid slicer” I produced this little sliver of music using the “mid slicer” patch, which is a similar sound to the one used on the song ‘slicer‘, which was made with the “slicer” patch – if that makes sense. 🙂
I really am looking forward to both, producing the remaining videos in this series, but even more so, filming some new ones, where I push the boundaries of what can be done with the Kaoss Guitar – in one of my very first test sessions, which was, sadly, neither filmed nor audio recorded, I played some very, very chaotic and “damaged” pieces, where tools such as the decimator and the wonderful “grain shifter” literally destroy the sound of your guitar briefly, then, it comes back, only to be further tormented and tortured in the most wonderful way. 🙂
Note: I have since begun work on Kaoss Guitar video number four, which is entitled ‘slider’. This should be forthcoming within the next few days, also on the pureambientHD channel. It is a decidedly completely more sonically radical affair, featuring the “grain shifter” patch which absolutely warps and wefts the sound of your guitar…to territories unexplored. I can’t wait for this video to be published, this is bleeding edge guitar sound…courtesy of the amazing Ibanez RGKP6 Kaoss Guitar.
Sonic devastation is more than possible with the Kaoss Guitar, it’s almost unavoidable – which I also hope will be featured in my next studio composition, which I started work on January 10, 2015.
Dave Stafford – Return Of The Native (working title only) (7:36) – Track 01 – of the as-yet-untitled studio rock / prog album – the follow up to 2012’s “gone native”.
Begun on January 10, 2015, I basically sat down and started recording a new studio album for 2015; beginning in the traditional way – with a drum track. I spent the entire day working on this rather tricky drum track, which has a lot of very interesting things going on in it, I wanted something that is quite heavy, I am going to introduce some elements of metal, I think, I’ve used a sort of “nu-metal” drum motif, but with many, many different permutations, to be used to create different sections of the song, for specific solos, one section for a keyboard solo, a few sections for various guitar solos or duets or trios or harmonising guitars, or..,Kaoss Guitars…maybe one section for a reverse guitar section, maybe one section for an ebow solo – a variety of guitar sounds and possibilities.
I always find this process to be very, very abstract – it’s very, very odd, constructing a drum part without any chords, melody, or idea what will go on top of the drum part. I’ve given up trying to imagine, although occasionally, something in the drums will suggest something. In this case, there is a pause, where a single cymbal builds up the beat again, back up to the full rock and roll feel – so in my head, I’ve designed an Allan Holdsworth- style clean-volume-pedal-chords-into-reverb part, like some of the amazing chordal work on Allan’s first solo record, I.O.U. – really atmospheric stuff, beautiful, strange chords floating over a huge reverb – delicately swelling up with a volume pedal, layering over each other – maybe I can do this, maybe not……..
Within this piece, which I arbitrarily gave the working title of “return of the native” to it on the first day, just so it had a name, there are various sections that can be assigned to various instrumental or solo passages. But when I am actually creating the parts, beyond trying to use logical numbers, so, an even number of bars of the same or similar beats, so 8 bars or 16 bars or whatever, but also, with interesting fills to break things up, and, a few specially-designed drum measures of my own, I feel that it’s OK to work with pre-made MIDI grooves, if they are of sufficient quality, but it gives you a much more “human” feel if you put in a few extra, non-groove non-approved bars of music here and there, just to get you to notice, or maybe, so you don’t notice – the drummer is then human, he plays something simple, so as to not make him or her to appear to be a faceless automaton, a machine (which, unfortunately, he or she IS) – anything to break up a drum part that could become too rigid.
I did then begin working on a bass part, I spent a lot of time playing with the almost endless tones available to me via the scarbee Rickenbacker bass instrument, once I found a basic tone that I am reasonably (but not totally) happy with, I did lay down a few unconvincing bass parts early on Monday morning – which came out OK, but not fantastically – it’s a start, and it gives me a launching point for the introduction of melody into the piece. Further work and I am approaching something usable. I will need to work on the tone more, and get some of the notes to sustain better, but it’s coming along OK now…
But before I put any bass down, and before I’d thought of the Allan Holdsworth clean guitar chords idea, or the other ideas for how to use all of the contrasting sections – it’s just odd, because I spent what, six or seven hours creating a seven minute and thirty-six second drum part – and if you sat there, and played that back – it is impossible to imagine what music might go on top of it – literally impossible. Yet – I am sure it will work out fine, because this is exactly the same procedure used by myself for a few of the songs on “gone native”; – and this “blind drum part” followed by “blind bass part” often evolved into some of the best pieces I have ever recorded – the title track of “gone native”, or “wettonizer”, or “sinuous thread” – in those cases, and others, there was this same moment, where I had just a drum track – and absolutely nothing else – and I literally could not imagine what would work “on top” of such a beast (aka “beat”) – especially this drum track, which is quite heavy compared even to “wettonizer” or “sinuous thread” – but, I am hopeful, I am sure it will turn into something good or awesome or unusual, if I just take my time and don’t try to rush any of the parts.
So I have a long, long way to go with this piece, but I have started the ball rolling, at some point, in the next couple of years, I will embark on the fourthteenth or seventeenth and final track of the album, and I will release the album at that point – when I know it is finished. It’s a nice process, a traditional process, that can operate happily at the same time that I am contributing to multiple eternal albums in real time as pieces of music, like the concerto mentioned above, get completed – and personally, I think that’s fantastic, because now (finally) I have the best of both worlds – I can create an album, which is a creative statement of the state of my music as of 2015, in the traditional way, track by track, until I am happy and I release it (on download only, I am afraid – no CD release this time unfortunately) and at the same time, I can continue to expand and build on the eternal albums that I’ve been working on – in two ways – by adding new eternal albums, to support new apps or pc-based music software packages – and, by continuing to produce music created with apps or pc software that already has an existing eternal album.
As of the end of 2014, I had created no less than 16 eternal albums; the first five, in 2013, the latter 11, during 2014 – so I would hope that I can at least, fall somewhere in between that this year, of course, I’d love to do one every month, but that just hasn’t worked out – I will try, but I would be very happy to create, say, nine more this year – 9 more for 2015 ! If I can get that closer to 12 – I will – but I’m happy with nine.
That would put me just past two dozen, although with the number of music apps out there, and the amount of pc music software, I could go a lot farther than 25 – with eternal albums, the sky is the limit. There are already several high quality apps that I’ve owned for several months, that I’ve done good quality recordings with – but these remain unreleased, simply because I’ve not had time to locate and master the tracks nor have I had time to create another eternal album on Bandcamp for that app. I do have this down to a process now, so if I can find myself a window in time, I will do my best to get app or pc app up – number 17 – soon. I look forward to it.
Once I have 30 or 40 eternal albums up there, I can literally sit back and just create – I can take my pick of the best of the best of the apps or pc softwares, I can spent time creating tracks in Diva, or Bazille – and knowing where to put them – up onto the u-he eternal album. A place for everything!
What Eternal Albums Can We Expect In 2015, Then?
MUSIC FOR APPS/COMBOS: THE AUDIOBUS SESSIONS (or similar name)
One of the proposed eternal albums for next year is “music for apps/combos: the audiobus sessions” – this would be for sessions like the ones I did with the ITablaPro app, where I enlisted the use of ITablaPro and then played one or even two different synth apps on top of the tabla beat and tanpura drone; the wonderful NLog Pro being one of those synths – huge fun, but what do you call it? You can’t say it’s “iTablaPro” music, because there is a lot more to it than that.
Three different apps were used – so it has no real name, except a name expressing something about the music – like my “synthraga” series for example – rather than the apps – nothing wrong with that, but, I felt that there will be more and more sessions where I am using audiobus to work with more than one app or effect – so it would make sense to have an eternal album where ANY combination of instruments and effects is allowable, which will be a wildly experimental album, but, it will also contain tracks of captivating beauty – like those beautiful iTablaPro tracks – in fact, those would be the first tracks to probably go up there, followed by a track made with Korg Electribe and another app whose name I can’t currently recall. Ah to be young again, and have a young memory that never, ever fails. What was I talking about? Oh yeah…
MUSIC FOR APPS: SECTOR
Next up, an amazing, amazing app created by one of my very, very favourite developers, the great Jonatan Liljedahl – creator of Audio Share, AUFX: Dub, AUFX: Space and many others – that I have actually done both audio and video recording with, but simply never had time to master any releases or put up the eternal album for it – and that will be “music for apps: sector” – “sector” is very difficult to explain, but when you hear it, you will get it – it’s out of this world.
It’s a beat slicer, it’s great for chopping up loops but that description doesn’t really do it justice, it’s absolutely one of the most amazing looking apps of all time, working with it is almost mesmerising, and it’s very intuitive, you just work the beat using the most unusual tools that are provided, and the results musically, are absolutely out of this world – so SECTOR is absolutely on my “to-do” list for eternal albums – no doubt about it.
MUSIC FOR APPS: SLIVER
Then there is SLIVER – another very interesting, very beautiful app, I’ve done a couple of audio recordings of this one, and I definitely want to create an eternal album for this app. The app store says that “Sliver is a powerful tool for soundscape and sonic texture creation” and I personally, would not disagree with that sentiment. It’s a bit tricky to get used to, but once you get started, you will find yourself getting lost in what this app can do – another definite choice for a high quality 2015 eternal album.
When I look at this list of possible musics, of eternal albums as yet unmade, I just get a bit annoyed – the video backlog ate up so much of my time last year, I could have released at least a few tracks on each of these apps’ albums – if only I’d had the time to create the albums!! Och well, ces’t la vie, etc…time. Time the avenger…
The possibilities…are simply endless.
I’ve been doing a lot of thinking about what I want to accomplish in this new year, 2015, and I think one of the most significant objectives I have in mind, is to create “songs” in the old-fashioned way – using some new-fashioned tools to do so.
My last CD, “gone native”, from 2012, was a very, very enjoyable experience because it took me back to the idea of creating “songs” – I’d been so used to improvising, I’ve been playing largely improvised music since about 1995 when Bindlestiff disbanded amicably – once I became a “solo artist” again – and you really get into that “live” mindset – you have a guitar; a looper, a nice reverb – and your ebow – and you hit record, and you play.
If you are fortunate – music comes out. Often – it did. Sometimes, I am not quite sure what it WAS that came out – but, it was something, and, it’s a very, very enjoyable process.
Come 2012, and I challenged myself to make an album that is mostly “rock” oriented (which is about as far away from ambient loop guitar as you can get, really) and I believe that with “gone native”, I really succeeded quite well – the first ten tracks on the album were the core of my “band” or “rock” pieces, and some of them, were quite intense (such as “Wettonizer” which at one point, was as large as a 53-track multitrack master – which was toned down to about 35 tracks for the final mix!) others, such as “This Is A Test” came together very quickly, using existing elements (in that case, a guitar solo – around which I built a backing track by adding drums, bass and guitar synths) – but in every case, they were identifiable as “songs” – because for one thing, they all have rhythm sections – bass and drums – and also, some form of song structure, like repeating choruses or whatever – despite the fact that the album is, as most of my records are, entirely instrumental.
So composing the songs for “gone native” was a great experience, and as another example, the title track “gone native”, was fantastic fun to create, and I got to play a LOT of guitar, with a lot of nice guitar sounds – including once again, that wonderful roland gr-55 guitar synth, which can provide anything from a rainstorm in a teacup to a poly sitar in space – a fabulous instrument for adding colour, and with the track “gone native” I used it for several good effects, including the introductory cello which was just played over the existing intro – wham, there it was – it just happened one day.
I learned a lot during that experience, and, it was probably my last major work involving SONAR 8.5, sure, I’d used it since then for the “scorched by the sun” album for example, and for various improv loops or video music, but eventually, I upgraded to SONAR X3, which is a far better product – and now that I am running X3, I am truly set to record “songs” in multitrack – but with all mod cons – I have at my fingertips Guitar Rig Pro, and now, also, from Waves, I have GTR3 – which I can use instead of or in addition to my hardware effects pedals, I also have the rest of Komplete, which gives me an entire range of orchestral, African or other bizarre sampled and synthesized sounds – just about anything you can imagine, is probably available with Komplete – and of course, my beloved gr-55 is still there for a bit of that wonderful guitar synth colour.
On top of all that, though, I do have other new musical weapons in my arsenal, including the fabulous Kaoss Guitar, the Ibanez RGKP6 – which I absolutely plan to incorporate into my songs, not to mention, my original kaossilator, as well as my new Korg Monotron, a wonderful mini-analog synth – so sound colouration will not be an issue – I can knock out the basics using real guitars – my drums will still be virtual, but will be a vast upgrade from BFD2 (which is what I was using at the time of “gone native”, that and the stock SONAR drum kit) – I have all of the Abbey Road kits in Komplete, as well as Studio Drummer plus a host of electronic percussion available in various packages such as Evolve (by Heaviocity) or Evolve Mutations…
So I can have a complex drum track using additional electronic percussion, or even african percussion if I want to break out the West Africa module…then, I can either play my real bass, or, design a Komplete bass part using a Rickenbacker 4003 or a Fender Precision or even a disco funk bass clone sample – just to get those amazing tones, I would happily give up the sheer fun of playing the bass part – or rather, I might play the bass part, and then REPLACE it with a Rickenbacker or Fender ! That would be fun.
Then it comes to guitars – well, I would insist that these be real – but of course, with all the processing at my fingertips, from the remarkable and complex Guitar Rig Pro, to various hardware stomp boxes and other effects processors – and the amount of possibility I have in re-amping and post-processing of guitar signals is now approaching the ridiculous – guitar tone is not an issue any more, I can take even just a clean guitar signal and re-amp it into the most beautiful overdriven Mesa Boogie tone you ever heard, and then run it through the amazing Guitar Rig jet phasers so that I end up sounding like a latter-day Todd from the Nazz, circa 2015, with my distorted, swooshing jet aeroplane guitars…
Of course, I now also have ipad apps aplenty, including one game-changing ipad app for the guitar – the absolutely stunning FLUX:FX from Adrian Belew, mobgen and elephant candy. I’ve been using FLUX since it finally arrived this past December (2014) and I am in love – it’s a dream to work with, it’s hands-down the best guitar effects processor for ipad, it surpasses by far even my very favourite apps, which would be Bias and AmpKitPlus from Peavey – both great apps, but what Adrian Belew has helped to design in FLUX:FX, just wipes the floor with ALL of the other guitar apps – they will be hard put to catch up with what FLUX is capable of. It’s built for live performance, and I will absolutely play with it in my own version of a live setting – the live music video – but it will also work admirably as a very quickly configurable guitar effects processor in the studio, but, it has one amazing advantage over most effects boxes – it has the ability to run sequences of effects, so you can run a complex pattern of effects changes, where your guitar sound mutates WILDLY every few seconds – and you just play – and let the sequencer take care of all the wonderful morphing.
It’s fantastic to use, and it sounds so, so good – I love this idea, the idea of applying different effects over time, using a sequencer type arrangement – and it’s so easy to use, for any effect you are using, there is a default set up, so you can literally just hit the “sequencer” on button, and your “static” effect – suddenly becomes a moving target, a living, breathing, ever-changing, morphing kaleidoscope of sound – you have to hear it to believe it.
Belew has always been the king of strange guitar sounds, and FLUX:FX has some of those, too, in fact, there is an entire section of presets devoted to animal sounds – something Adrian Belew knows all about (The Lone Rhino, anyone? – Elephant Talk? – Ballet For A Blue Whale?) – and speaking of presets, never in my life have I ever seen or heard such an amazing collection of truly unique, unusual and eminently USABLE presets on any such device – it’s fantabulous, there are so many, it takes a long, long time to preview them all, but it’s worth it just to hear what is possible – and the answer to that is “just about anything”. There are THIRTY basic effect algorithms, and you can have five (or is it six – I can’t recall) going at any one time. And – they are very, very editable – each one has a deep edit screen, where you can edit and save your sounds endlessly – a lot of editing capability.
So FLUX:FX gives me an entirely new palette of guitar effects sounds and sequences (what a strange thing to be saying “effects sequences” – that is just weird!) and in combination with Guitar Rig Pro (and/or GTR3 from Waves), and my hardware devices, my guitar tone, in 2015, is going to sound like nothing you’ve ever heard before. If I drive that with the Ibanez Kaoss Guitar– well, then, I am throwing synthesized real-time guitar effecting into the mix, so between using the Kaoss pad on the guitar, at the same time, FLUX:FX could be running an exotic effects sequence that I am playing the Kaoss pad “against” – and that could just go into the worlds of sonic wildness such as we’ve never heard before. Re-processing that whole thing on the fly in Guitar Rig Pro, of course! – Why not?
I have then, a lot of sonic possibilities that I did not have when I made “gone native”, which in fact, I did not have last year – so having all of these new possibilities, means that the kind of songs I create, can be something new as well – sure, they will have a rhythm section – which will be played on drums recorded at Abbey Road, on a beautiful Fender Precision bass or on a nicely distorting Rickenbacker 4003 bass… and guitars – but those instruments will be processed and tweaked like never before.
And then – there is the keyboard section. I wouldn’t even know where to begin with that, I really wouldn’t. Within Komplete, I have many, many choices of keyboard – every vintage organ, clavinet, harpsichord, fender Rhodes, grand piano, etc. that you can imagine – and again, on the ipad, I also have an extremely large collection of keyboards, keyboard samples, and so on – so between those two, I have worlds of possibility – and I really want to incorporate more keyboards into my work, yes, I am primarily a guitarist, but I love to play piano, I love to play Hammond organ, I love to play the synthesizer – and God only knows how many of those I have now – between Komplete and the iPad – an incalculable number of synths are available to me in 2015. I can’t wait – so many amazing sounds, so many vintage and even ancient sounds – which will sound fantastic in new songs.
This will allow me to make some of the most curious juxtapositions of sounds imaginable – say a solo section that rotates between a hurdy-gurdy drone/solo, an electric guitar synth raga/solo, and a distorted, leslie’d Hammond solo – why not? In my latest classical piece, I am even experimenting with the idea of doing circulations using keyboards, and in that piece, I have a section where an entire section of keyboards is played note by note, first the harpsichord, then the piano, then the celeste, then back to the harpsichord, then piano, then celeste…this circulation goes on for a couple of minutes, and since one of those is in the centre of the mix, and one is full left, and one is full right, you can “hear” the circulation effect thanks to the stereo positioning of those particular instruments…
Since I now know that a keyboard circulation works effectively, I plan to use them in my rock compositions – why not, again, I think it’s a great way to play a melody – sharing it between instruments, and letting perhaps five or six different instruments “play” a melody, each one taking it’s turn, moving across and back and forth across the stereo field as it does so.
There are so many techniques and possibilities available to me, but, I also plan to stand on tradition: I plan on, in most cases, starting with a drum track.
Then, once I am happy with the drum track, I would turn to the bass guitar – mostly likely using one of the remarkably high quality Scar-bee instruments, or possibly, playing the part on my bass – or maybe, doubling it up so that both are present – real and Komplete – that might be interesting!
Then, once I have bass and drums complete…then I start overdubbing guitars and ebow guitars and guitar synth and Kaoss Guitar. For days and days. And with all the sonic possibilities, this should be a hugely fun and exciting process – what sound to use today? The choice is nearly infinite already, it really is…incredibly huge number of possible sounds given the effects I can bring to bear on a poor, lonely guitar signal 🙂
Then – keyboards, if desired, same thing – too much choice, amazing choice, so as long as I’ve left “space” for it – or for them – I can add in one or more keyboards to this emerging “song”.
It’s all possible. At some point, I will have a song on my hands, and if I spend the time, and tweak the mix until you can hear every instrument well but at the same time, they are nicely blended for smooth, clear listening…then I will know that the first piece of my 2015-initiated album is nearly done, and I can start thinking about the SECOND piece for the album…something totally different, probably.
Why not? The amount of sonic choice available to us now, as technology finally catches up with music and musicians – it’s simply astounding, and I plan to take full advantage – it’s there, so I will use it, and I hope that my 2015 “songs” come out even better than my 2012 “songs” did – I am absolutely certain that they will.
Update: yesterday, January 10, 2015, I began work on the first song – working title “return of the native” – for the new as-yet-untitled rock album circa 2015 – a seven hour session has resulted in a very interesting 7:36 drum track, which is the start of…something. we shall see what happens next…
To be honest, sometimes, when I am working on improvs, when I am looping, or playing apps in a solo or duet setting, or whatever I am working on – I really, really miss the “song” form – so that’s why I want to make an album of songs, or at least, start making an album of songs, this year.
I started out as a “rock” musician, playing in bands, now, I am my own band, I play all of the instruments, and I can create songs of a complexity and subtlety that I could not have even imagined in the bands I was in when I was 15, 16, 17 years old – it would be beyond our comprehension, back then, the idea that I could “play” an Abbey Road drum kit on the keys of a keyboard, the idea that I can choose between a Fender or a Rickenbacker bass guitar, again, played on the keys of a MIDI keyboard…unthinkable! Not POSSIBLE! Insane idea…how could that ever be? I really wish I could go back, and show 15 year old Clapton- Hendrix- Gibbons- Steely Dan-loving rock guitarist Dave Stafford just what 2015 technology looks like – just to see the look on his face!
So – technology has really, truly changed everything, and the fact that I have both a powerful music computer with one set of amazing music tools, and, a portable, adaptable tablet device with an entirely different but equally wonderful set of amazing music tools – that is just astonishing, and it seems impossible to me even now, even though I know it’s not only possible, but, it’s up and running – and I can access it at any time, night or day.
Fantastic Technology – maybe that’s what I should call the album, if Reeves Gabrels and Bill Nelson can call their album “Fantastic Guitars” then I can call mine “Fantastic Technology” – I suppose. I think I like their title better to be honest!! By the way – that is a fantastic album that you really should hear – if you like Reeves Gabrels, if you like Tin Machine (featuring Reeves Gabrels and that other guy, oh – uh, David Bowie), if you like Bill Nelson, if you like The Cure (featuring Reeves Gabrels) – then you WILL like “Fantastic Guitars” – available via Bill Nelson’s web site.
Of course, this does not mean that I will stop doing improvised sessions – I absolutely will continue with those. Some of the sessions pioneered during 2012 – 2014 were truly inspirational to me, such as, playing two instances of the TC-11 touch controlled synthesizer application on two different ipads, doing a “live duet” using two tablet devices – was huge fun, and I hope I can work out many other interesting ipad duets during 2015.
The recent series of “Kaoss Guitar” videos is also very enjoyable, and I want to hook up a looper next time, so I can really layer some awesome kaoss/guitar sounds in a live setting – and then be able to solo on top, too, with those fantastic harmonisers, decimators and other kaotic sonic madness that the Ibanez RGKP6 makes possible – a very interesting instrument, so I hope to work a lot more with the Ibanez during 2015, too.
Vintage and even ancient instruments, I’ve become very interested in these, as well as things like “glassworks” which features glass instruments designed by people like Harry Partch and Ben Franklin – fantastic instruments, and also, things like the “EP 73 Deconstructed” which is a 1973 Fender Rhodes Stage piano taken down to it’s component level, with five different basic sounds, key, pluck, mallet, bowed and FX – and this sound, the way this thing sounds, is nothing short of extraordinary, it takes me right back to my pal Ted’s home studio, in the early 70s, and playing his Rhodes and listening to him play it – a great instrument, and now, for the price of software, I have one too!
So I will be working with the Rhodes (which I have actually, a number of different sample sets for) as well as a number of other ancient and vintage instruments, including such rarities as the Ondes, and the Novachord, amazing early keyboards with extraordinary sound palettes (both from the wonderful Soniccouture – makers of the most amazing software instruments in the universe) – some of these early synthesizers were truly out of this world.
From the Conservatoire Collection, another Soniccouture act of genius, I have the beautiful beautiful baroque guitar, the amazing hurdy-gurdy, some lovely Flemish harpsichords, and some truly remarkable baroque timpani – which sound like no timpani I have ever heard – an astonishing sample set there.
Of course, there is always my familiar ambient loop guitar set up, with its counterpart, the “all instruments” set up, which includes a whole bunch of live instruments that I try to use in the loop or the solos over the loop, all in the space of one performance – it’s quite a challenge. Ambient loop guitar should be better than ever, I have the best looper, the best reverbs possible, and a small but wonderful collection of ebows – and there is nothing quite like the energy bow out there, it’s a one of a kind sound source, and I also look forward to playing some ebow Kaoss Guitar – early tests proved very successful.
Right there then, are a series of possible live improvs or duets, using a broad range of current, vintage or ancient sounds – what a range of sounds it is – and I am so fortunate as to be here to bear witness to it all. What a remarkable product Komplete is, and I really enjoy using it, and hearing the sounds of yesteryear brought to life as if it were yesterday – the Ondes and the Novachord in particular, are both astonishingly beautiful sample sets, and I can’t wait to do more work with both instruments – or maybe, both together, who knows?
Beyond all that, I am sure as the year goes on, that I will be able to add new “eternal albums” to the ever growing library of “music for apps” or “music for pcs” or other music data sets, and that I will be able to add more content to the existing albums, too. Most recently, I’ve been adding several tracks to the “music for pcs: komplete samples” eternal album, tracks that I had completed but never had a chance to upload – I’ve been trying to get caught up, and slowly, I am…
Addressing the video backlog – well, during 2014 – I finally had to just give up, in one sense, and I have started publishing videos that were recorded recently, in some cases, very recently, and I have back-burnered the older videos that should have gone up to maintain the chronology. I decided in the end, that I can easily control chronology by providing you with dated sessions, so that you can view the sessions by date, so as I am able to backfill the older videos, that you can still experience the live videos in chronological order, while at the same time, we can start to feature what is really happening NOW in the studio – rather than videos that were made two years ago!
I want to put up those older videos – in some cases, they contain truly ground-breaking footage, and they do deserve a spot up there, but – time is of the essence. I’ve also reluctantly undertaken the decision to reduce the number of takes-per-session that get built and uploaded, so, if a session has say, nine good takes, in the past, I would have produced all nine as videos, and uploaded all nine tracks. Now – instead – I will re-assess the nine tracks, and attempt to pick out the “best four” or “best five” and I will build and upload those, instead of all nine. Depending on the session, this number (actually uploaded) may vary wildly from 1 or 2 to 9 or 10 (if there are 30 takes, then 10 isn’t very many takes, percentage-wise!!).
I hate to do that, but I truly do not have the hours in the day available to do all nine or all 12 or all 30 tracks – make a master audio mix and then make a video for each track – any more – in fact, because I was being so completest, and so chronological – that’s what got me to where I am – hopelessly behind – so I need to break the cycle, produce recent videos so you can see and hear what we are doing now, in early 2015 – and as time becomes available, I will backfill the missing videos from 2012, 2013 and 2014 until they ARE caught up.
By reducing the “upload-per-session” count to half or less, this will allow me to work through the backlog more quickly, which in turn, will allow me to get “caught up” sooner – which will be good when it eventually happens. Once I am there – I won’t get out of sync again, I will just keep up!! I promise!
If I post a truncated session, where I have made videos for just three or four of nine or ten good takes, if there is enough of a public outcry, i.e. “Dave, please let us see the other 7 videos from this session, please please” I will absolutely consider going back and filling in the blanks later.
In the meantime, those four or five videos will at least represent the spirit of the day’s or evening’s session, and will give a good idea of what happened during those sessions. I will absolutely check and ensure that I select the very, very best of the tracks, so that the tracks with the highest quality, the most beautiful, the best improvs, are the ones that get their videos made, while less interesting takes do not have a video produced – that’s about all I can do, really.
All of these changes and adjustments are designed to gradually move the focus of studio events from a backwards-looking backlog view, to a view of current activities with occasional blasts from the past as time permits – hopefully, bringing everything up to date in a more “current” way, while still addressing the backlog as best as I am able given the circumstances.
Theoretically, at least, this will also leave me with MORE TIME to work on a number of the newer initiatives I’ve been talking about here, from more Kaoss Guitar work to more ipad duets to more applications videos to more new and unusual forms of ambient and looped, and, ambient looped, guitar and other instruments. The more time I have for experimenting, for exploring new instruments, for improvising new music for new instruments – the better – I’d always rather be looking forward, then looking backwards – always.
I am definitely looking forward to a 2015 full of music from past, present and future – and hopefully, hit upon some new ideas, musical forms, formats and instrument combinations, that will enhance what we do here and bring some new and innovative joys of music to your ears.
And – also – the follow-up to “gone native” shall be begun in this New Year (note: was begun on January 10, 2015) – I am really looking forward to that, and with all of the new instruments, new technologies, new effects, new processing possibilities – I can extend the “guitar album” into the realms of the “amazing, extended, expanded guitar+++++ album” – 2015 style.
as the year end approaches, we are wrapping up a number of small projects, continuing work on others, and preparing for a very, very musical 2015 indeed, the last few months have seen a lot of change, a lot of good change, and we are now more fully equipped to make music – a lot of music – on the fly, or with meticulous planning and execution, or maybe even, singing Todd Rundgren ballads at the piano, who knows?? – a little bit of everything, no doubt.
before we talk more about what is to come, we wanted to catch up with recent musical events, of which there are many. on the mind at the moment, are the “Glassworks” instruments, there was a session recorded on December 6, 2014, using two different sampled glass instruments, one an emulation of an instrument invented by Harry Partch, the first track using the instrument called “cloud chamber bowls” the second one, “armonica”, invented by none other than Ben Franklin (yes, the guy on those bills you never see any more) – we managed to upload the first track from the session, which was simply titled “cloud chamber” in honour of the “cloud chamber bowls” Harry Partch-based patch used to create the track – and it was at that point in time that events just caught up with me, and I did not, at that time, complete two other mixes from the session, both of which were made with the “armonica” tool.
I’ve now dealt with that issue, I’ve spent this entire morning – December 29th, 2014 – mastering these two remarkable and remarkably delicate recordings, I’ve been working very, very hard to retain the eerie beauty of the “armonica” instrument, it’s a very ghostly, ethereal sound to begin with, sort of like a floating pipe organ from heaven. words are not really very useful when it comes to trying to describe Harry Partch‘s instruments, really the best way is to hear them – they are utterly unique, and in the case of the glass Partch instrument included in Soniccouture‘s “Glassworks” offering, they are also uncannily beautiful, fragile and other-worldy, ancient and somehow, because they are so ahead of their time, literally, they represent the future, too, Soniccouture have truly surpassed themselves with the “Glassworks” package, and I can easily see myself, and hear these instruments, making their way into future compositions – easily.
21 glassworks – cloud chamber – recorded using the “cloud chamber bowls” instrument 2:07
22 glassworks – quiet grace – recorded using the “armonica” instrument 2:51
23 glassworks – quiet passion– recorded using the “armonica” instrument 3:00
these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”
all rights reserved © & ℗ 2014 / 2015
and then there was REV. I am very, very excited by the sonic possibilities that rev offers, I am still very much a new user, but I have indeed, set aside some time to work with rev, and I was not in any way disappointed. on December 27, 2014 I sat down and recorded a few pieces using just multiple instances of rev, which is clearly one of the most innovative of all sample based instruments. I actually agree with their marketing information, which states that this is not the sound of a few guitars going backwards, it has been designed from the ground up to be a playable instrument, with the option in every case, of using the reversed or the forward sample – it is left up to the user.
the reversed samples that have been utilised, are simply beautiful to listen to; and I can tell this because if you just sit and “trial” the voices, it sounds utterly amazing, almost like a beautiful song. so they are right, this thing is way beyond a few reversed samples, it is a unique and beautiful instrument in it’s own right.
as with soniccouture’s “glassworks”, I can see myself using the rev library and instruments for many, many years in compositions and in on-the-fly improvs like these tracks. I set up two instruments, one loop, and one “rise” and at first, I was so blown away by the sounds, I just sat there playing, drifting away on ambient clouds of reverse acoustic and electric guitars.
my first test of most new music software or sample instruments is usually ambient in nature, basically, I want to know if this sample set, or this synthesizer, or this generative device, is capable of producing beautiful, calming ambient music ? happily, in the case of rev, the answer is a resounding “yes” – it did beautifully, and I feel that the two ambient tracks I produced using it were excellent – totally down to the instrument, not the player!! rev is awesome for ambient music, but I can also already tell, it will rock in active music, too – it’s just a brilliant sounding instrument, and I cannot recommend it highly enough – it’s a fantastic and very musical instrument!!
on the day, I actually recorded at least three tracks, two ambient, and one active, which I have just now mixed and am in the process of uploading – it’s called “perpetual grunge” and it could not be more different to tracks 24 and 25 – hold onto your hats…
24 rev – time waits for no woman – recorded using the rev “instrument”, category: complex pad, patch: “beautiful” 2:50
25 rev – timeless – recorded using the rev “instrument” including cctwo patches: both category: simple pads, first patch “electric guitar harmonics” and second patch: “acoustic guitar harmonics” 2:40
26 rev – perpetual grunge – recorded using two patches: first, a loop from the factory category called “pulses mid” run through effect “filter gate 1”; second, a rise from the factory category called “4 Bars + Tail” run through effect “rewind” 1:50
these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”
our other new star is this remarkable new instrument, that combines a normal electric guitar with the synth / effects processing power of a korg mini-kaoss pad, the mini-kaoss 2s – which, when used on the guitar, gives guitarists (in this case, me!) unparalleled ability to manipulate the sound of their guitar in realtime and in near-realtime, meaning, as you play, or, directly after you play when effecting notes or chords that are still “ringing”.
Either way, it’s an absolute joy, pure dead good fun to play, as I hope the videos demonstrate. While I initially put it to the test with a fairly ambient guitar improv, as soon as I switched on the built-in distortion circuit…that’s when the real fun begins. With a more sustained signal, the mini-kaoss 2s really comes into it’s own…it does WILD things to your guitar sound.
With 100 basic patches available, the pad allows you to slice and dice and squash and decimate and rip apart your normal guitar sound in more than 100 ways. Each patch can be tweaked by the user, and of course your technique also has a huge effect on “what come out”. It’s such a simple but genius arrangement, only really made possible by the fact that korg decided to create “Effects” style kaossilators like the mini-kaoss 2s to complement their existing range of “synthesizer” kaoss pads…so the original idea was, you buy a normal kaoss pad, which is a mini-synthesizer with an xy input pad (instead of keys or strings) and then, you buy an “effects” kaoss pad and you plug the two together, running the synth thru the effects, to get the best of both worlds……
Ibanez simply replaced the mini synth in the above set up, with an electric guitar!! So instead of a synth, you get the guitar, which is your input / sound source, and it runs thru the “effects” kaoss pad which is of course, embedded physically on the guitars where your pick guard would normally be 🙂
not forgetting the enormous amount of work done over in the arena of APPLICATIONS, we’ve worked on a huge range of projects from sample based PC apps like Komplete ultimate, to performing live duets using two instances of tc-11, a touch controlled app for the ipad.
So – what is to come in 2015?
refining and improving what i’ve learned in 2014 (and, a few of the years just before 2014!!) so I will be working in all of the arenas we’ve been looking at the recent history of:
2) More work, both solo and combining sampled instruments, basically, diving deep behind the covers of komplete 9, native instruments effects, native instruments sample instruments, soniccouture instruments, waves audio effects, scar-bee sample instruments and anything we can get our happy sampling hands on, basically – a massive world of very, very real sounds – because – they ARE real – they are samples!
3) Much more visibility for the native instruments synthesizers, of which I have done so little with – there is a huge, beautiful, terrifying sound world there – that I plan on visiting soon…
4) Much more use of Guitar Rig 5, one of or possibly the best of the software guitar system emulators, I used Guitar Rig on the sessions for the Ibanez RGKP6 Kaoss Guitar; and it sounded great – more work with that, for sure.
5) Working with applications – a whole phalanx of them, existing, new and future – if it makes sound, I want to hear it, if it sounds good, I want to record it. At the moment, I have planned a few sessions involving newer apps, probably starting with the mysterious and ambient “VOSIS” application, which I very much want to do more tracks with. Also, I want to explore the relatively new world of the Korg Module iPad application, and how it is realised through their existing iPad music app “Gadget” – Korg Module features world class samples, available through Module or in limited form, thru “Gadget” – so I have sessions planned for Module and “Gadget”, too.
6) Nearest and perhaps dearest to my heart – with all of the exciting new technologies I’ve been trying to absorb (with “trying” being the very most appropriate verb in this case) I feel that 2015 is the year to take all of those technologies, and use them to build an old-style, non-eternal dave stafford guitar album made mostly with real guitars, real basses, real keyboards, real kaoss pads, and so on…a normal album, in the style of “gone native” perhaps, or maybe one active album and one ambient album – I am not quite sure yet, and, it would be a case of starting such a venture 2015, but it might not be completed for quite a while…well, we shall see. But – definitely – guitar based songs, and ambient dreaming music – will be here beginning in 2015.
7) Finally…both Bryan Helm and myself have made the commitment in time to begin work on the second “scorched by the sun” album – in our discussion so far, we are thinking we might do a “loud” or active album, instead of ambient, or maybe, as we sometimes used to do, one that starts out loud, and then gets gradually more ambient, with the final track being full on ambient. The content is up in the air, and again, it will just be a beginning in 2015, it might take time to complete, but – we really want to work together more, we really enjoyed the process of making the first album, “dreamtime” – so it follows that it’s time for “scorched by the sun” to make their second record! It is time.
So the new year looks to be our most active and intense to date, but we are gonna give it our best shot. Meanwhile…have a safe and prosperous and happy, happy New Year – see you on the other side…
Peace And Love To All