studio diary 20170705

well somehow time has really gotten away from me, and I’ve not managed to write a blog for a couple of months now.  I have an excuse (of course):  I’ve been busy.  Mainly, working on the new pedalboards and guitar system (more on that shortly) but also, still trying to “keep my hand in” by working on music in the form of a very, very large collection of new tunes created in Garage Band.  I would venture to say that over the past few months, GB became a bit of an obsession, to the point where my iPhone overfloweth with Garage Band songs and drafts, sometimes, just one or two versions, sometimes, six or seven if a particular song needs a lot of detailed work.

the net result of that, is that actually, both my phone and my favourite tablet, are currently overflowing, and later today, I will be offloading completed tracks, and also, completing incomplete tracks and then offloading them, and then, making sure I have final mixes of all unpublished tracks…so that finally, I can master them and upload them. Normally, this would be a handful of tracks, but if I am not mistaken (and this number might not be exact) at the moment, I have no less than 16 NEW Garage Band tracks to sort out and add to my Garage Band Eternal Album on Bandcamp.

Sixteen new tracks!  Now – I have been working pretty exclusively in Garage Band over the past several months, and not working so much with real instruments, etc. in the studio – and that is because when I have had time to work in the studio – I have had to dedicate that to working on the guitar system and pedal boards (plural).  Those have now grown to four in total, and in fact, just yesterday, I worked out a brilliant new system, for accessing the different sounds – I am using a very simple device, a “pan pedal” which is made by Ernie Ball, to allow me to “move” between my main studio set up (which currently is comprised of two pedalboards, which I call “Pedalboard 1” and “Pedalboard 2” (imaginative names, I know) and a third board, which, surprisingly, is named “Pedalboard 3”.  So I can be playing one sound via PB1/PB2 (which are currently chained together) and then I can “switch” over to take a solo on PB3 where a completely different sound is waiting patiently for me.

Having the pan pedal, also means I can “blend” the two sounds – and hearing that, you can get some amazing “stacked” guitar tones – because for the first time, I am actually running two complete stereo set-ups, through two separate guitar systems – and, I have the output of PB1/PB2 going to the board direct, while the output of PB3, is miked with two Shure SM-57 instrument microphones, and those are going direct to the sound card. This then means when I record, I can record two tracks of the direct sound on PB1/PB2 and two tracks of the miked sound of PB3 on two OTHER tracks which means I will then be free to mix and match however I want – using as much (or as little) of each of the two completely different-sounding stereo feeds.

I haven’t yet mentioned the fourth pedalboard – it has an incredibly imaginative name, which you will probably never guess – Pedalboard 4.  But – it does have a distinct sub-title, unlike the other three – it’s the Guitar Synth board.  It’s quite simplistic, but it is a viable very different sound source, and it can be easily chained to PB3 or otherwise incorporated into the mix since it’s also tied directly to the mixer.  So the Guitar Synth library of sounds is also readily available now – directly out of the mixing board.

Also – with just a very quick change of cables – I can re-route the pan pedal to move between PB1/2, and PB4, or, back to PB3, or if I really wanted – I could have it pan between PB1/2 and PB3/4 chained together.  Talk about sounds…that would be a lot of sounds.  Right now, I am pretty happy with my PB1/PB2 combination, panning to the little PB3 board which is great for distorted soloing.

Getting all of that set up and working, and finalised (for the moment, of course, until I change my mind again, or, more likely, until I think of a “better way” to do things) has taken up the last several months’ time, meaning that I have not had time to work with real instruments in the real studio, except to test sounds and boards – and I’ve been doing a lot of that.  I have successfully re-programmed my Ground Control MIDI controller with 200 awesome sound combinations, and successfully done a sysex backup of that new set of sounds.  So that challenge was finally sorted out after quite a bit of trouble…I have, however, finally cracked MIDI Sysex – which for a long time, was a mystery to me – no more, now, I know how to backup, and restore, the entire contents of my Ground Control…it’s fairly easy to do, if you are patient.

I do have one other aspiration, which I actually got this idea from Vernon Reid (a great source of guitar ideas – he has helped Eventide with a lot of their distortion algorithms – so I offer up my thanks to Vernon wherever he is!), which is to stop doing ALL of my effects in series, and do them in parallel (to be honest, I also remember the late, great Allan Holdsworth, describing the same idea in a guitar workshop) – running effects in parallel.  Vernon has discovered a nice little DOD Resistance Mixer (the model AC-240, to be exact) which allows you to run four in to one out, and he uses a few of these in his live set-up (which I saw on YouTube, of course!).  It’s brilliant, and I do plan to look into that when time permits.  For the moment, out of necessity more than choice, I am doing it “old school” – in series.  Given that I am running a lot of hardware in series, it actually is all sounding very, very good now.

Note:  later on this year, we are going to see Living Colour play live in a Glasgow venue, so I can’t wait for that – one of my guitar heroes – Vernon Reid, I will finally get to see and hear Vernon play – I can’t wait!  A great and greatly under-appreciated band, Living Colour.  One of my personal favourites…it”s going to be amazing. I am very excited about this concert!!

Anyway – based on the work I’ve been doing, I have decided that once I finished processing the outstanding 15 or 16 Garage Band tracks (which I plan to begin work on this afternoon) that I will no longer spend as much time working in Garage Band, or, if I do, it will be probably for ambient projects, rather than my endless exploration of Apple Loops mixed with “real” content i.e. bass parts “played” by myself, and instead, go back to working on real music with real instruments – primarily, the electric guitar.

I think that my obsession with Garage Band has finally run its course, but, the result of it is an already very interesting catalogue of music, but, once I mix and master the next 16 tracks of completed Garage Band music – it will become apparent what a brilliant tool it has become for music creation.  It is pretty amazing what you can do with it, and I’ve been working more with matching tracks up pitch-wise and timing wise, so, matching a “real” bass part to an Apple loop, for example, or pitching different tracks to fit better with other tracks.

It’s amazing how well it all works, and, I have had an absolute blast creatively, it is endlessly fascinating to me what you can do with a stack of pre-made loops and a little bit of crafty bass playing.  I’ve found that to be key in most of the compositions I have worked on – I might create an entire piece out of Apple loops, but then, to humanise it, I play a “real” bass part – and that does it, that suddenly makes the track “pop” – it’s weird.

For a while, another technique I would use, would be to have the first two thirds of each piece, be entirely artificial; all made from loops, and then suddenly, during the last third or quarter of the piece, bring in a “real bass” part and the effect is really dramatic – it really makes the tracks sound so much better, even if there is already a synth bass or whatever – having that wonderful, plain, “Paul McCartney” bass there makes the tracks irresistible.

I have spent a ridiculous amount of time perfecting some of those bass parts – which are often played on the fly in one take, and then close-edited later to sharpen them up – taking a wild, on-the-fly live performance, and custom-fitting it to the existing song.  It’s a lot of work – but it’s so, so worth it, because it just brings the pieces full circle, and the artificiality that the loops create, gets seriously negated by the humanness of the Paul McCartney plays as “played” by yours truly.

So when you finally get to hear the next 16 Garage Band uploads from me – please listen especially to the bass guitars – because I have indeed, worked really hard on those bass parts – which you will find in most all (but not all) of my Garage Band work.

I should also mention the other “star” of the Garage Band tracks, which is the Korg IWorkstation synthesizer, with it’s two dozen different sets of presets – if you search long enough, you can always find the perfect sound, and since Garage Band’s Inter-App Audio is so well implemented, it’s easy to bring in a powerful synth like the “iWavestation”, and I use it extensively, on multiple tracks, on almost all of my Garage Band material.  So those are my two secret weapons, really:

  1. Apple’s “Paul McCartney” bass, in “Note” mode, which I play like a real bass, then close edit later to “perfect” the bass part
  2. Via Inter-App Audio, I call up the “Korg iWavestation” synthesizer which can provide an absolutely astonishing universe of sounds from any kind of synth sound; any kind of beautiful, spacious pad sound, to drums, basses, whistles, you name it, it’s in there – one of Korg‘s most amazing products, ever.  It has become my “go-to” synth whenever I am recording in an app that offers IIA connectivity – the first thing I do, is bring in an instance or ten or the iWavestation – I cannot recommend it highly enough, it’s a great synth and workstation, too – absolutely amazing and sounds great.

The third and uncredited star, is of course, those amazing Apple Loops – without them, none of this amazing catalogue of work would exist, and I can’t believe how this incredibly diverse set of music, where every piece is completely different, where each time, I try to find a new approach, a new sound, to make it utterly unique, and, importantly, different from the last piece I did – and if you are doing this across dozens of tracks, you end up with a diversity of music that is almost indefinable – I could literally, not describe the different genres, types, feelings, grooves, systems, concepts – I just can’t, the only way to describe it is to say, go to the Garage Band Eternal Album, and listen to it from start to finish – and then try to describe in words what you just heard.

And when I add in the next 16, which feature some of the most diverse and weirdest, most out-there compositions so far – that will make the above experiment even more interesting.  If I were to continue with this, the madness of being addicted to Garage Band might send me right over the edge – I don’t know.

I am going to take a break, I am extremely happy with both the catalogue “so far” (note, as of this point in time, 20170705, the Garage Band Eternal Album contains 24 unique tracks) or to date, as well as, I am very excited about the next 16 tracks – which will close out the catalogue in the short term (bringing the total number of tracks to about 40 – which in itself, is amazing), because I am (with some difficulty, I admit) going to slow down or stop producing so very much Garage Band material, and return to working on real songs with real guitars and keyboards, and I am going to give the amazing, easy to use, fun to use, Garage Band – a well-earned rest.  Because if I am honest, I have spent altogether too much time working on Garage Band songs, and not giving my other musical outlets a chance!  Of course – that wasn’t intentional, they weren’t ready – but, now they ARE ready – so – I am ready.

 

It’s also my hope, to return to making ambient music, and in particular, ambient music made with applications.  I still have unexplored areas that utilise ambient tools that I have had for many years, as well as some newer apps that I also have not spent enough time with – so I hope to rectify that situation, and in the process, hopefully, add some new ambient tracks to some of the catalogues / eternal albums up there on Bandcamp.

 

I am hoping I have reached, or nearly reached, the “cut-off” point, where the total obsession with Garage Band ends, and a new practice of music-making begins, which involves using real guitars and my new pedalboards and guitar systems plural.  That is the idea, anyway – and that is why I have also spent the last several months trying to get everything ready for this day – and after extensive testing, and spending a lot of time creating 200 amazing and beautiful guitar sounds in my Ground Control Pro MIDI Controller – finally, everything is ready, and I have now, at my fingertips, a huge and diverse array of guitar sounds that I can use in my new compositions!  It was a lot of work to get to this point, and I am beyond pleased with the way my guitar is sounding – and that is not something I’ve said very often in my life.

Of course, Komplete will still be there to play it’s part, since I don’t have the space for a physical drum kit, and, I’ve never had the opportunity / chance / space / time to learn how to play a real drum kit – I still depend on Komplete to help me set up my real guitars-based tracks – mostly, with the drum tracks.  I also, often, will use Komplete to do basses – and certainly, I use it for keyboards and synths, along with other softwares like the M-Tron Pro mellotron software.

When the urge takes me, I do sometimes play real bass instead of Komplete’s bass, but using Komplete is truly tempting because it does contain toolsets like Scarbee’s amazing Rickenbacker bass samples, and I just can’t resist having the sound of a Rickenbacker or a Fender Jazz bass or a Fender Precision on my tracks – I love those basses, and being able to “Play” them, even via a MIDI keyboard – is heaven.  My cheap throwaway bass cannot compete with those sampled basses for tone – it was so cheap, that I actually paid nothing for it – a good friend of mine, and an amazing musician, too, Michael Dawson, actually gifted that bass to me – which I have subsequently used on certain tracks, one of which was the tribute to the late John Wetton – “Wettonizer” is the one main track I remember using the “free” Washburn bass on.  It is actually, a lot of fun to play (it’s tiny, and I am not!), so maybe I will add in some “real basses” as well as using the amazing Rickenbacker and Fender samples available via Scarbee via Komplete.

In essence, in the studio, Komplete is my “band” – they come up with the bass and drum tracks, and if needed, keyboard and synth tracks – and then, I am left to play real guitars on top of those created tracks.  It’s as close as I can get to having a real band to play with at the moment – and again, I don’t have the space available for a real band anyway, so at the moment, the Komplete “band” does me more than proud – and you can hear exactly how well they do, by listening to a couple of my larger works, where they are heavily featured – in particular, on “the complete unknown” “planet obelisk” and “day seventeen” – these are examples of the full Komplete band – drums, bass, keyboards – supporting me, the man of many guitar parts :-).  It takes weeks or months to get the drums, basses and keys in place on tracks like these, and it’s not uncommon that three months might pass, before I get to play a single note on the guitar.

(Note: all of the tracks noted above, are all taken from the dave stafford “progressive rock” eternal album – please have a listen on Bandcamp).

 

Of course, it does take time, creating drum tracks, and bass tracks, and keyboards and synths – but it’s worth the time, because I want the best possible backdrop for guitars – and with Komplete, I get the best there is.  For example, depending on what kind of era I want to emulate, I tend to use the Abbey Road drum kits, and I can choose from a vintage 50s kit, a 1960s kit, a 70s kit, 80s, kit or “modern” kit – and each one has it’s own character and options, and they sound absolutely amazing – so I tend to mostly use those, although there are many, many other drum options within Komplete…Abbey Road drums are my current favourite, and they can be heard on a lot of my works.

I have also favoured the Scarbee Rickenbacker bass, using different pickups and presets, for a lot of my pieces, and I think Scarbee is an absolutely amazing company, the care with which they create their instruments is exquisite – the details are absolutely stunning.  I can get so many amazing tones out of that Rickenbacker bass, I could just about not ever use any other – except of course, when I do need a Fender bass for a deeper, more traditional sound – and then, I turn to Scarbee once again – and in many cases, they even offer an “amped” version – so you can have just the bass, or, the bass sampled through amps – it’s amazing – I am totally spoiled for choice.

After a lot of hard work, especially the programming of 200 custom preset guitar “sounds” on the Ground Control Pro, I am ready to play some serious guitar – but, serious guitar with the best tones possible.  I have really chosen a bit of a strange path, over the years, I have mostly stayed away from “guitar amps”, instead, using a plain power amp, and asking either software, or, my pedalboards, to be the main source of “tone”.  Now I am in a hybrid set up – I am using an amp, or actually, two amps – one is a solid state guitar amp, which has a line out to the mixer, and the other is my plain power amp, where I am miking my two 1X12 guitar cabs direct to the sound card.  The “tone”, however, is the tone of whatever guitar I am playing, plus, what sound colourations are available from the pedalboards – which of course, include the many-faceted Eventide H9s – each of which contains a massive library of absolutely astonishing, high-quality sounds.

When I think about what is possible with just the H9s (ignoring all other pedals for the moment) I kinda wish I had more than 200 slots in my MIDI pedal, but the truth is, by combining different H9 algorithms, the number of possible insanely good guitar sounds, is not just 200, or even 2000, it’s probably more like 200,000.  Seriously – and, Eventide keeps adding in new algorithms, too, which just increases, exponentially, the possibilities, to basically, limitless – the latest new algorithm, “Pitchfuzz”, contains some amazing new distorted and / or pitch-shifted sounds, which are out of this world, and, of course, I have incorporated the best of those into my 200 presets.  Using the H9s in multiples, makes it possible to create combinations of effects that are truly lush and incredible sounding – you have to hear them to believe them.  Exquisite combinations of beautiful, individual sounds…

I did spend a bit of extra time on one particular sound that I truly love, and I got this idea straight from Allan Holdsworth (may he rest in peace) – on the first of several occasions where I was privileged to see Allan play guitar, he had this amazing “swell” sound, where while the bass and drums played a kind of “drone”, he would “fade in” or “swell” these beautiful, clean chords, which were drenched in layers of delay and reverb – and I never forgot how beautiful that sounded live.

During the Bindlestiff years, I even tried to emulate that sound, by fading the sound in manually with a volume pedal, into a huge reverb “room” – close, but not quite.  But now – in the land of H9s – I can have auto-swell, at any time setting I want, and it’s brilliant.

I took this opportunity to create some special Dave Stafford auto-swell settings; starting with a short auto-swell (1900 milliseconds), then, medium (3100 ms) and finally, the “Allan Holdsworth” series of auto-swell (my “long” swell at 4000 ms or 4 seconds) – and I made several variations of that basic sound, running the swell through various different Eventide Space reverb sounds, and in one final example, through a beautiful Eventide delay and then into a beautiful Eventide Space sound.  The result is a mini-bank of amazing “swell” variations, and I am so glad I took the time to work out the programming for those sounds – taking care of details like that, gives me an edge, it gives me something unusual, not stock – but with my own personality – these 200 sounds are Dave Stafford Guitar Sounds, regardless of whether they are “stock” or “custom” – they are my choices and juxtapositions – and it’s so nice to have such an amazing library of “algorithm meets algorithm” possibilities.

This afternoon, then, will be dedicated to downloading (and, clearing off, thank god) the 16 new Garage Band pieces, trying to first get the final mixes just right, then, the mastering, and finally, probably starting in a few days’ time, uploading them – and once uploaded, the Garage Band Eternal Album will have reached about 40 unique Dave Stafford compositions done over a relatively short period of time – months – but, in terms of sound, and quality – it’s a huge, huge sound – and, a catalogue of which I am both very proud and very fond of – I have really enjoyed my “time of Garage Band”.

You should try it – drop everything else for a while, and just create with Garage Band – a piece every couple of days was usually my method, although some of the more complex pieces might then stretch out to a week or two until I was happy with the final version – and then, immediately, start another one – preferably, something that sounded COMPLETELY different to the piece just completed.

In a week or two at most, you will be able to hear all 40 tracks, and these should give you a good glimpse (at least) – if not an amazing view – of what this creative and innovative Apple tool – one of the oldest “computer-based” music making tools (now, mobilised on the iPhone and iPad, of course – in the Apple way) can do; and, with it’s latest updates, it has become one of the most fertile, stable, and unique grounds for growing musical ideas.

Anyone can have a go – drag some Apple loops into your song, and you are away – dream up any kind of music you like.  Just do loops if you don’t want to play, or don’t know how – you can still create, using the magical Apple loops, if you do play an instrument, then you have the opportunity to add in some keyboard based or drum or bass content of your own.  It’s easy to learn, and endlessly expandable, you can add many, many bars and create very long pieces, or create three minute pop masterpieces – it’s all there with Garage Band.

 

And now – to mix, download, master and start getting those new tracks uploaded – I can’t wait !!!

 

 

peace and love

 

dave 🙂

 

 

 

 

 

 

 

 

 

 

“new prog song” and other musics…

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

 

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

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

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

drums

bass

keyboards

organ

mellotron

acoustic guitars

lead guitars

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

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

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

drums

rhythm guitars

melody or placeholder clean lead guitar melodies

bass guitar (only once guitars are finalised)

keyboards (only once guitars and basses are finalised)

more lead guitars / ebow guitars (if necessary)

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

 

 

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

 

D.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the making of an epic prog rock “monsterpiece” – part two

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,

 

 

dave

pureambient hq

january 17th, 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the making of an epic prog rock “monsterpiece” – part one

on may 31, 2015, I sat down at my computer, and built an empty folder set for a new music project.  at first, it was named something like “20150531-01-komplete-unknown”, meaning, to work on a piece within the komplete application, content, unknown – but within a few days, it had grown to the point where I amended the name, because it seemed like such an obvious answer to a question that so far, no one had asked, namely, “what is the name of this song?” – obviously, it was – “the complete unknown”.

so the folder got renamed, and now it bears the name “20150531-01-komplete-unknown-thecompleteunknown” and that was it – I was away.

I loaded up komplete with four vintage keyboards – and I officially began my journey – a journey I am still very much on today – into the complete unknown – via “the complete unknown”.

I spent a few days, working out a piece for keyboards, that would work well as a “keys-only” intro to the song, I wanted it to have a fantastical, classically-based and with a serious feel to it, and then, after say, after a minute or two, the bass and drums would enter…I could just about imagine it all.  I could just about hear the song in my head…

I struggled mightily with my serious keyboard intro, overdubbing many different takes of many different keyboard voices playing the notes that I had chosen.  the entire piece was done manually – no sequencers were used, and it meant that I had to play a pretty tricky part, manually, over and over and over again, until it was just right.

Eventually though, I was happy with my little intro composition, and musically – it set the stage for the “song proper” – I was very happy with the way this short piece of quasi-classical keyboard music turned out, and I was extremely thrilled with the sounds of the vintage keyboards, which were all of course, courtesy of komplete.  the intro was complete – and I was thrilled!

note/the details: for the record, there were just four instruments (not six as I erroneously remembered and stated elsewhere – four, not six) used in the creation of the keyboard “intro”, which were:

dave stafford, vintage keyboards quartet:

soniccouture bowed piano X

soniccouture broken wurli – init (my own settings)

soniccouture novachord – novasynth init (my own settings)

soniccouture ondes martenot – poly ondes init (my own settings)

these four tracks were then mixed and mastered, with just reverb added to give it a big room sound – a completely “finished” piece of music which could then just be “dropped in” in front of where the bass and the drums make their grand entrance.

so, with the intro safely under my belt, it was now time for the active “core” of the song to be built, and as tradition has it, it started like all structured pieces in the rock world start – with a drum track, and a bass overdub of that drum track.  but I didn’t want just any rhythm section, I wanted a section with the skill of a powerful but wild drummer, I needed my own Andy Ward on drums, or maybe I’d borrow Marillion’s rhythm section…I wasn’t sure.

then – Chris Squire passed away, during the first few weeks of work on the song, so I thought a lot about Chris, and how Chris played the bass (and what a huge influence his playing had on me as a 15 year old guitarist who loved progressive music in 1973!), and it had a huge influence on the bass part in the song.  so the drums came from me – my own vision of a series of prog beats that run nearly continuously for 14 minutes or so…but when it came time to do the second overdub, the bass, it was all about emulating the God of Prog Bass Playing, the late, great Chris Squire.

If I was very lucky, I could get a sound like Chris’ and maybe “play” as well as Marillion‘s bassist 🙂 because no one, except perhaps Wetton or Lake, can emulate Chris – Chris has an incredible and very unique bass tone and style.

I also spent a lot of time on the drum part, I fleshed it out in the very first session, but it took many more sessions, to really get it into shape, to feel happy with the sounds, to add interesting fills, to use different variations of the beat, and there are even some special sections that I did by hand rather than by sequencer – and by the way, the drums (or drum machine, I should say – komplete again) is the only sequenced instrument in the piece – all others were really played by me – with one odd exception – the bass part, was played by me, but on the keyboard. It was not sequenced, I played every riff, every fill, two different bass solos – I really played those.

The same goes for all of the keyboard parts in the main part of the song, as well as the guitars – all of those are real as well.  I’ve never learned to play the drums, so, the best quality sampled drums in the world, will have to do!

The drum track took a few weeks to perfect, but the bass part – well, I laid down something to begin with, a bit at a time, a section at a time – but then, I was never satisfied, it sounded good, but it didn’t yet sound amazing – so I started doing a lot of work on the bass – I fashioned a quite wild bass solo near the end of the first half of the song, in the key of C major no less, but an awesomely fun solo to write and play.

I worked on the bass for quite a long, long time, and eventually, I felt completely happy with it – and I still do.  Now that I am laying guitars on top of drums, bass, organ, and mellotron – when I add a guitar part, and I hear the bass come up “in between” – I just have to smile, because it’s as if the “bass player” is responding to the guitarist, or, the other way around – and that’s an awesome thing for a piece that isn’t actually played live.

I am extremely pleased with the rhythm section, I spent far too much time on it, but, it was worth it, and the keyboard parts practically played themselves, because the bass and drums were so together.

 

So this is where it began – at least, the active part of the song, back during June and July this year. The first mixes then, were of nothing but the intro, plus the bass and drums – with no other ornamentation whatsoever.  I must have listened to this song, with just intro, bass and drums, dozens of times, whilst first, trying to perfect the drum track, and then later, trying to perfect the bass part.  That took even longer than the drums to perfect – but in the end, I feel truly happy with the results – and I am actually, especially proud of the bass part – it rocks.  It’s full of surprises, and I love where it takes the song – and, later, how it interacts with both the keyboards and the lead guitars – it’s excellent.

note/the details: the rhythm section looks like this:

drums: dave stafford – drum programming and manual playing of drum samples

abbey road modern drummer, alternative rock, “rage” setting changed from 98 bpm – sped up to 140 bpm

bass: dave stafford – performed on keyboard, inspired by the late Chris Squire

scarbee rickenbacker bass – neck pickup DI – direct injection

as the Scottish summer drew quickly to an end, at the end of july, I had a brainstorm – I would bring the introductory keyboard quartet, back in at the VERY END of the piece, to bring complete closure to the piece – no matter where it went during the 14 minutes in the middle, the sound and the melodies at the beginning and the end, were now tied together perfectly – and I was really glad of this decision, because some really good musical events came out of that decision, later.

I faded up the intro “in progress”, during the last long rock section of the drums and bass track, and I managed, after a couple of tries, to sync it up completely with the drum track – and eventually, unintentionally, I played a leslie’d organ solo over the top of it – and soon, it just sounded like it had been there the whole time.

then the time came, to work on the main body of the song, and add in a lot of supporting musical information – bearing in mind, that the drums and bass were complete, including a lot of very in your face, bright, Rickenbacker bass riffs, and, one very avant garde bass solo, and another quasi-solo later on – so those were now reduced, frozen and “carved in stone”.

so atop my finished drum and bass part, I began to add keyboards, beginning with the oldest progressive rock standby, the Hammond organ.  I really felt it was essential, to have chords and melodies on the Hammond, and, solos from the Hammond, because it’s such a very, very “prog” sound – it really cuts through the mix, and when playing chords, it’s so supportive with basses and guitars aloft on top of it.

So I worked on Hammond parts, using just one basic, straight sound, but varying it, by using the mod wheel on my M-Audio keyboard, to “speed up” and “slow down” the leslie effect – which is one of the finest things about sampled organs, done Komplete style – you get truly perfect sounding leslie effects, and I played every part as live as possible, using the mod wheel while I played, to speed up and slow down the effect – I had a blast.  There is one epic solo in the first half, and another accidental one at the end, with the leslie set to “fast” – a sound not usually used that much, but it sounds great, as the song proper fades away, to have this final organ solo with the “fast leslie” sound going – it’s really nice.

after I had added all of the organ parts, where I followed whatever key signature was stated by what the bass player was doing (I had injected several key changes when creating the bass part), and I was happy with both the organ sound, and the content – and the solos – I then moved on to the mellotron parts, which I used sparingly to try and give them more mystique.  I felt that using them throughout would be too obvious, and where the Hammond does sound great playing right through, you really want the occasional swath of a mellotron wandering in when you least expect it – that’s prog to me!

so – two separate mellotron tracks, using very simple, very pure mellotron sounds (nothing fancy, just the very basic strings and flute sounds) most of the time, it’s just mellotron strings, or, just mellotron flute and very, very occasionally – I allowed both – so you get a really full sound there, with drums, bass, Hammond organ, string mellotron and flute mellotron.  The string mellotrons became the backdrop for some really cool guitar sections later on, while the flute mellotrons were more taking on the melody, or in one case, as harmony, so they worked out very, very well indeed.

the mellotron parts went more quickly than the Hammond parts had, in part, because by this time, I knew how the chords went, and I just “knew” what the mellotrons should do – and they did it, beautifully.  Here I sit, several months later, and I am now marvelling at how they sound in support of some of the new guitar overdubs – they provide the perfect backdrop for lead guitars!

note/the details – the keyboard “section”

dave stafford, hammond B3 emulation

Komplete Vintage Organs – classic rock, Hammond B3 tonewheel emulation – preset  “j’taime” – leslie effect applied in real time with mod wheel during performances

dave stafford, mellotron strings

M-Tron Pro – Mellotron – Mark II Vintage Violins Basic

dave stafford, mellotron flutes

M-Tron Pro – Mellotron – Flutes Basic

so at this stage, after several months, of slow, patient work, I had a fairly complete song (no pun intended) with a full drum part, a full bass part, organ chords, organ solos, mellotron strings, mellotron flutes, plus the four vintage keyboards that inhabit both the intro and the outro…so, the time had come to deal with the “middle eight”.

the next idea I had, really, really changed things – I decided to cut the piece in half, and create an acoustic guitar interlude – in my mind, something like the live acoustic guitar interludes that Gentle Giant used to have during their concerts in support of the “Octopus” album – but in practice, what I came up with is much more dave stafford / guitar craft than gentle giant.

so – I split the track at a place where the drums were silent anyway (I had intentionally left a blank space in the song, with no bass or drums, knowing ahead of time that I wanted to split it in half), so it was easy to do – and I created an un-timed gap between the end of Part A and the resumption of Part B – with absolutely no idea what was to “go there” except I knew I wanted acoustic guitars.  what eventually ended up there – exceeded my wildest expectations of that time.

I managed to transition from the full song by bringing in two acoustic guitar leads almost simultaneously, playing two melodies which transition the song from “full band” to acoustic guitar duo / trio, and then the acoustic guitar section is off – the whole thing was played on my Ovation Balladeer, which is a not-quite-satisfactory replacement for my ailing Ovation Legend, which is no longer made.  In any case, the Balladeer did well enough, and I managed to get some very nice tones out of it’s pickup – it sounds good on recordings, in any case.

I had just a few notions about what the acoustic guitars should play, I had a little melody that I sub-consciously “borrowed” from Tales From Topographic Oceans, I play that melody a few times, and then suddenly, the rhythm of the piece changes, and there is another tiny section – and then, the magic happens – the third section, completely unrehearsed, came from nowhere – a slow, beautiful, simple chord progression, with a stately, played with the fingers-rather-than-the-plectrum lead part that just surprised the holy shirt out of me.  I am so, so pleased with this little piece of music, it doesn’t last long, but, it’s one of the loveliest melodies I’ve come up with to date, and I am really pleased and proud of this little miniature acoustic suite.

But then – then, a few weeks later, I had an idea – I would add bird songs into the piece, in stereo – during the most moving parts of the guitar solo.  I added several different species, recorded directly from an app on my ipad, some on the right channel, some in mono / centre, and some on the left – little bursts of different birds including the iconic british blackbird (because you know from the Beatles / White Album that they will sound good!)

The end result was astonishing – it made this already excellent part so relaxing, so natural – it just was the perfect little addition to the piece – I was so surprised and so amazed at what something like that can do to a piece of music – it naturalises it – if you know what I mean.

Then – for contrast, I followed the three acoustic guitar sections with some strange TC-11 synth sounds on the iPad – a solo and a looped piece, which worked very nicely as a contrast to the guitars, and leading back towards the song proper.  Several weeks later, I acquired a new synth on my ipad, the Poseidon Synth, and it had this really amazing sound that included the sound of human voices, so I tried replacing my original TC-11 parts with the Poseidon Synth, playing two stereo takes.

It was good, but, even better, when I added the original back in, and I realised that they both sounded good, and they sounded good together – so I left the old parts in, and added in the new synth part care of the Poseidon Synth – a really nice ios synth.

For quite a while, that was then tied to a drum riff, that led back into the second half of the song.  But then, I decided just a few days ago, that I was not happy with that transition, and I wanted something else.  After trying a very thrashy, sort of Steve Howe at his most dissonant Koass Guitar part, I discarded that, and set about making the exact opposite of that – something very, very melodic and beautiful…

This final part of the “middle section” is known as the “Hackett Guitars” section, which was made entirely with one electric guitar and the Eventide H9, two takes of guitar chords strummed finger-style, in a classical or flamenco fashion, but more reminiscent of a piece from the final sections of Genesis‘ “The Lamb Lies Down On Broadway” (the bit just before “The Light Dies Down On Broadway”, I think) so two gently but forcefully finger-strummed “Hackett” guitars, plus one reverse guitar solo – all of them drenched in luscious Eventide reverb. It turned out beyond my wildest dreams, a simple, beautiful section of music. Prog should be a mix of some dissonant and more melodic parts (or so it seems to me).

And with that, that brings us to what I consider to be “Part Two” of the song, which I will (eventually) describe in my next blog, in the New Year.  The “Hackett Guitars” section was the perfect vehicle to bring the middle section to a satisfactory completion, and a perfect way to merge back with the main part of the song – the resumption of the second part where I’d originally cut the piece in half.

Thats where we’ll go next time, then.  I will see you there!

 

 

 

 

 

 

 

 

 

studio diary 20150315 – or, that was then…this is NOW

today I had the uncanny realisation, that I am about to embark on the creation of my 18th “eternal album”, which is a large series of recent recordings featuring mainly apple iPad music applications, along with the odd PC music program or “generic eternals” such as the “classical” album.

that in itself is no more significant than the fact that I launched the 17th one today, “music for apps: thesys – an eternal album” and while this album focusses on the fantastic “thesys” application from sugar bytes,  I am already planning the next (which is set to feature the absolutely remarkable app “SECTOR” from Kymatica – which involves one of my favourite developers, Jonatan Liljedahl – inventor of audioshare, and the AUFX series of awesome effects apps).

I did some pre-planning last night, and I could see that I had sufficient material for at least two new albums in the series almost immediately – and I’ve been a bit remiss this year, waiting until March to release the first eternal album of the year – of 2015 – but – hey, I’ve been busy. 🙂

 

what is significant about the fact that I am about to release my 18th album in the “music for…” or “eternal album series”, is this:

prior to the world of ios applications, I used to make “normal” albums ( from the mid 1980s till about 2011, when I got my first ipad…)  – so, you would record music, work on songs, mix and master those songs, and after x amount of time, usually, months, sometimes, years, you would release another finished album of music.  that’s how it always worked – until ios applications came along.  so the compile, wait, compile, wait, compile, wait some more, way of making albums, gradually gave way to a new way – a single album, dedicated to one instrument, app, software or even genre, where there is no limit on tracks, and I basically just keep adding tracks to each one of these “eternal albums” –  forever. so in 20 years’ time – I could have a very, very large number of tracks up there 🙂 on a broad variety of topic-based albums.

so – in the period between 1992, which is the year that my first album proper came out (“voices from the desert”) and 2012, which is the year my “last” “normal album”, “gone native”, came out – so, in 20 years, give or take – I had released 18 “normal albums” during this time – or, I should say, 18 normal “dave stafford” albums – I am not counting bands or collaborations here. that would have probably put the total count for the 1992 -2012 period to “over 30” – but I am focussing solely on my “solo” albums now.

however, more recently, and, overlapping the end of that period slightly, I realised tonight that as I am planning my 18th eternal album album right now, that this means, that I have done exactly the same number of applications-based, or pc-based / generic, albums in the “music for…” series, in just over three years, that it took me to make 18 “normal albums” in !!

 

that is – remarkable.  and difficult to believe, too.

but – it’s real.  I started out working with apps in about December, 2011, and of course, have worked with them ever since (in some ways, it feels like I am just getting started!!) so that means through 2012, 13 and 14 – and here we are, now, in March 2015 – so actually, approaching 3 and 1/2 years in total.

twenty years – to make 18 Dave Stafford albums in the traditional way.  Then, a mere three and a half years, to make the NEXT 18 Dave Stafford albums – in the “eternal album” way.

 

that is simply – astonishing.  oh, how I wish I had thought of the “eternal album” concept back in the late 80s, when I started recording in earnest, as an adult, and as a looper.  just imagine the one, massive “music for loopers” album I would have compiled by now – featuring 246 looped or live improvs played with guitar, ebow and looper, over twenty years.  and, another similar one for rock and prog works…and so on.

instead, I worked the way we all worked, we would not release anything until we had the whole album, built painstakingly one track at a time – “in the can” – even if that took three or four YEARS !  You just kept going, until you had “enough” songs, to make a decent length record, or, until you had the right songs for the album concept you had. it was quite a realisation, though, that, thanks to the “eternal album” concept, and thanks to advances in recording techniques and processes (no more tape recorders for me!) that I was able to mirror my first 20 years’ output, in just 3.5 years, using these new tools to my distinct advantage.

I would stress, too, that it’s not just that things took longer back then, or that it’s more time consuming when you are working with tape machines than in a purely digital environment, and so on – it’s also because, the tablet itself, in my case, the apple iPad – has radically, and unalterably, changed the way musicians work.  if you ask me, it’s revolutionised the way we work. everything is designed for speed, and ease of use.  everything can be done quicker, and usually easier, than in a real studio.

so the ipad, the tablet, the way that some of these absolutely, practically magical applications work…that just changed everything – and that is why I was able to produce 18 albums, with probably, more tracks than my previous 18 albums, in such an incredibly short span of time – 3.5 years.  that’s something approaching six full length albums each year – which, back in the day, would have been not only a prohibitive schedule to maintain, but also, a punishing one.  No one would “try” to make six albums in one year – it was unheard of.  OK, maybe two or three albums per year, at a stretch, maybe, in pop’s heyday, or at the beginnings of rock music – but generally, established patterns of record production mixed with touring, were established and pretty much, followed, by all bands and artists.

then, in 1967, the Beatles actually slowed down this process, by taking an unheard-of six months to complete “Sgt. Pepper’s Lonely Hearts Club Band”. and for a while anyway, from then on, bands would compete to see how long it could take them to make one record, in the same way they competed for the “biggest crowd” or the “loudest concert in history” or whatever silly, prideful contests went on during the worst of rock’s excesses – whenever you consider that period to be (1980s, anyone?) 😉

 

of course, you do tend to work more quickly with applications, in most cases.  There are exceptions, and certain pieces just require a little more time.  But nowadays, even if it takes me, say, six weeks to finish a concerto in three long movements – the MOMENT it is finished, I can load it up to the “classical” album to join other tracks in the classical genre.

so the new system is working really, really well – for a number of reasons, and I can’t really get my head around the idea of making 36 Dave Stafford albums across 23 years – with the first 18 taking up the first 20 years, and the second 18 taking up a little more than the remaining three years!!! that is just – really stunning.  something to think about, I suppose.

and of course, at this rate, it won’t be long before the “eternal album” series exceeds the pre-2011 “normal albums” in numbers, and I cannot imagine how many albums, not to mention, how many tracks, these 17 soon to be 18 eternal albums will have at the end of THEIR first 20 years – a staggering amount, even assuming that my output will slow somewhat, as I grow older 🙂

track wise, I am not sure how it rates, I would have to do some manual counting, but I would guess that it’s probably a case where there are nearly as many “eternal album” tracks, or maybe more, than the original 18 albums would bear – because back then, tradition said put 12 or 14 tracks on an album, and of course, I would ignore tradition, I had one double album, “other memory / sand island” that had a whopping 33 tracks; while other “normal albums” maybe only featured seven or eight lengthy pieces – and EPs, of course, which I’ve counted as “albums” – might be as short as four tracks.

so I would bet that the track count of the “eternal album” HAS already exceeded that of the original “normal” albums.

I will actually be able to find out over the coming weeks, I’ve begun work on a thorough updating of the discography on the old pureambient website, I plan to pair it up fully with bandcamp, which has all of the albums, old and new, up there – so I will get full counts as soon as I expand the track details and so on, I will have a more concise resource that I can “count tracks” from much more easily.

however, please do not hold your breath, to include more useful information, I’ve had to alter the format of the discography entries slightly, which means an extensive, laborious re-write – but, I really want to do this, for one reason, so there will be a one-stop resource for information about each of the albums, old or recent, for another because it appeals to my own internal sense of order :-).

I do have an interest in statistical information, I can’t really help it, so things like this fascinate me, but it’s a really interesting comment on the speed of life, too – now, I have tools that I can use, to VERY, VERY quickly, build music of real complexity and beauty, on a tablet device (that’s where the magic comes in, I reckon – anywhere and everywhere, I can work on music – with dozens of amazing, powerful music-making tools – incredible!!!), which I can also use to make high quality art work, and then the music can be uploaded to bandcamp, instead of being made available on media as it used to be – it all happens so incredibly quickly now, it’s no wonder that I was forced to invent the “eternal album”, just to deal with a situation where suddenly, after 20 years of slow and steady music production; the ios music apps suddenly turned me into the most prolific musician on the globe – and I had to do something about it if I was to even be able to process the ios music I was creating!

what I did, of course, is invent the “eternal album”.

it took a while to get it all working, but in a very short time, for example, I was able to upload no less than 61 tracks to the album “music for apps: mixtikl – an eternal album” – and that right there, is the equivalent of five or six normal albums – produced in perhaps, six months at the most – astonishing!  so everything is…very much faster, there are no more endless delays waiting for the drummer to set up, or dealing with instrument problems (although, I do still get those, since I DO still use real instruments, and I do plan on making at least a few more “normal” albums of guitar music over the next few years – so please, watch this space!).

music just took longer back then, you had all hardware devices, so to do looping – you needed a LOT of gear.  And a nice rack mount to put it all in.  with a nice digital reverb in it.

now – all of those rack mount devices, exist not just on your computer, where all your recording takes place, too, but also – on your bloody tablet device as well ! and that is a downright miracle – multi-track studio apps like auria, sophisticated effects units like effectrix and turnado, begin to rival the quality of that expensive hardware that now sits in a corner in the studio, rarely if ever used any more, which is really sad, so I continue to make the time to use both – because as much as I love and fully embrace the music / ios technology – I still have a huge love for real guitars, basses, keyboards and drums – real instruments, recorded the old fashioned way – that still has a lot to be said for it!

 

sure, for playing guitar, I still use a LOT of hardware, especially, “loopers”, but more and more, any processing, any effects – are almost easier to apply using your PC, or even your tablet – which to someone from my generation, who grew up with electric guitars and amps, where basically, it was all about the hardware – hardware was the only option in 1971, when I started playing electric guitar for the second time, in earnest, when I was in my first few “garage bands” – is almost incomprehensible.  yet – it be.  it definitely be !!

I was really quite taken with this revelation, then, about just how much has changed.  but it’s today’s young musician that can benefit the most from all of this amazing technology, bypassing the difficult skills of learning to actually play the guitar, bass, drums or keyboards, but instead, in their bedrooms, using technology – to replicate it – and, much, much faster than we could ever do it back in the 1970s with hardware.

sure, they won’t have some of the hard-won skills that those of us who grew up in my generation will have, but, they will have the advantage of the “quicker, better, faster”, etc. – technology – and I hope we hear some amazing music being created by bands that, for example, have five members who all play the iPad.  how fun would that be!

things have changed, and today’s music making person, has a huge range of devices, software for PCs, and apps for tablets and phones, none of which we had back in 1970.  I think that this unavoidable fact has both positives, and negatives, and I can only hope that the former outweighs the latter – because the danger is, that we get too many folk who have no musical talent, “playing” the iPad, and finding limited success – because of the mediocre skill levels that CAN be used to operate some of the simpler music apps – we will, unavoidably, have an even larger stack of not-so-good “electronic musicians” to wade through than we did five years ago – but, at the same time, there are still a fairly large number of “traditional musicians” around – so, I am hoping for a balance – and I think there is merit to both types of musician – the traditional such as myself, the electronic, and, hybrids – such as, myself again – because I absolutely love playing with ios music applications, very nearly almost as much as I love playing my Gibson SG – so, for me, it’s win, win – and win.

 

have fun – until next time –

 

 

peace and love,

 

dave at pureambient

 

 

 

 

studio diary – 20150115

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.

Dave Stafford – sliver – live improv (2:14)

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. 🙂

If you prefer your Dave Stafford music a bit on the quieter side, the first Kaoss Guitar video, ‘shiver‘, is in a much more ambient vein…which proves that Kaoss can be Ambient, too 🙂

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.

back to the beginning …again

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”.

 

Finally – does it want percussion?  More synth flourishes?  Special effects courtesy of Komplete or the roland gr-55 guitar synth?  A Korg Monotron solo?  Live percussion?

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.