iOS 11.0 – the application killer

I set out, in mid November, to try to fully understand and realise, just how many audio, sound, keyboard, synth or guitar / guitar effects applications I was going to lose permanently…if and when I finally updated to ios 11.0 on my devices.

The list started out OK, I basically started opening all of the music related apps on my most-used main music ipad, going page by page, app by app – and found a startling number with the ominous message attached “this application will not work in ios 11.0”….far more than I expected, and a lot more than are in the list.

So here are these very pathetic, and very, very incomplete lists – which I abandoned almost as soon as I started (and I am sure that others have compiled proper lists out there, if you really want to understand the full horror of this nightmarish scenario…) in the meantime, you can see some of what I was faced with, in terms of what I was about to lose:

 

Apps About To DIE in ios 11.0

(Very Much Partial!) List of iPhone apps that WILL DIE in the iOS 11 update – 20171115

ELectus
Fast Tune HT6
Jam Player
Key Chords Mini
MIDI Designer
Nano Studio
Reap DFX
Rhodes Piano
Swipe Guitar

(Very Much Partial!) List of iPad apps that WILL DIE in the iOS 11 update – 20171127

Audio Palette
Cantor
Electric Piano Synthesizer
Grantophone
Groove Maker – 3 versions (but not Groove Maker Free)
ImproVox
LH Rubbing
Mini Synth Pro
Mixtikl 5
Oblique Strategies (Black logo)
Organ+
Spacelab.
Synthmate (already dead)
Thereminator
Vio
Yamaha AR and DR Pad

Guitar Apps

Pearl Guitar
SHREDDER SYNTH
12 String HD

 

And I am not sure, but I believe that Drone FX, another one with an eternal album dedicated to it (music for apps:  drone fx) and an ambient music application of incredible capability and beauty – in a league with perhaps, Eno’s Scape and very, very few others – I love Drone FX, I truly do – strangely, when I went to open it – I didn’t get the warning message – but I believe it is one of the doomed apps anyway.  Only time will tell.

 

If Drone FX disappears – well, for one thing – there will be no more additions to the eternal album dedicated to works created with it – and I would then have to live in hope that the developer of Drone FX, decides to revive it or create a brand new version that I can purchase someday – and then, I could continue to create and upload new drones to the eternal album.  If the developer doesn’t – and Drone FX dies – so does my eternal album of the same name.  Dead – gone – stuck in time with the pieces I’ve done to date, with NO HOPE of the addition of additional tracks in future (the whole POINT of an eternal album, I might mention).  If it is gone, and doesn’t come back – then it’s a sad, sad day for lovers of the truly beautiful and the truly ambient – Drone FX is one of the finest apps I’ve ever used – mixing up to five ambient sound streams into a live, evolving ambient composition…it sounds absolutely amazing – but don’t take my word for it – please, have a listen.

 

So I stopped working on the lists, because I realised it was just futile,and I also realised there was not much I could do about it – because I will need to update to ios 11.0 just to keep my devices secure.  But – there are considerations, and in the case of musicians like myself, that work in many, many different apps all the time – I can and often do have, many, many partially finished, unfinished, nearly finished or completely finished songs, on many apps – at all times.

Now, intellectually, I understand why Apple are doing this – but my human, emotional reaction is one of unmitigated DISMAY.  I just don’t welcome the death of some of my favourite (and some, less so) applications, and one or two of the intended victims of this purge, upset me quite a bit – because I have a personal attachment to them, and a long history of music making with them, too.  This includes not only the examples I’ve given, but other groundbreaking or awesome musical applications, anything from Mini Synth Pro to Cantor – all gone.

I don’t think that Apple, representing Giant Faceless Corporations Everywhere, but trying to appear like a harmless old man shuffling down the street, understands the devastation that their little message “this application will go up in flames when you update to ios 11.0” can cause to the dedicated Application Musician.  Real dismay, real upset, a real sense of loss.

 

I am here to set the record straight, to let Apple know, using just one or two examples of applications that will cause me grief in more ways than one – that to me, these are the senseless murders of beautiful creative tools.  APPLE – are you listening??

Example 1:  Nanostudio

Nanostudio was one of the very first music applications I ever purchased, something like five or six years ago now – and I have spent many, many hours recording, composing, mixing, and uploading tracks made with it.  It even has its own dedicated “eternal album” on my bandcamp site, “music for apps: Nanostudio” which contains the bulk of the work achieved with this humble little app.

I love Nanostudio – so I was horrified to realise that it was one of the apps slated for the chop.  Not just because I love it – that’s almost beside the point, but because I have a number of finished but not mixed, or unfinished and not mixed, tracks sitting in Nanostudio, that I really MUST finish and upload before the dread 11.0 ios arrives.  If I don’t do that – I will lose them.

Why – well, because the makers of Nanostudio, have wisely decided to retire the app gracefully (heartbreaking!) and release Nanostudio 2 – which of course, I will have to pay for all over again – so they are saying goodbye to Nanostudio 1.  Now – maybe, maybe I will be REALLY fortunate, and I will be able to import projects from 1 into 2 and continue working on them in real time.

However – I seriously doubt that, and being somewhat pessimistic sometimes, I have to assume the worst – that there will be NO backwards compatibility – and that if I don’t complete, mix and master all the tracks IN Nanostudio 1 – they WILL be lost forever.

Now – take that nightmare scenario – and multiply it across any and all apps that you can record with, that are going to die in the update – and you can begin to see why it’s not just upsetting, it’s downright threatening to the creative work that I have completed, but not mixed, or is nearly complete – I now MUST finish those tracks, at all costs, PRIOR to updating.

Example 2:  Shredder Synth

This app – well, this one really broke my heart, it’s the single most amazing guitar app around, a working audio-to-midi guitar synth that I’ve been using for years, with which I have created a few pieces of extraordinary beauty, playing my guitar through an iPad.  I love Shredder Synth, it’s a very creative and beautiful app, and I don’t actually know what the developer is planning if anything – I HOPE for a Shredder Synth 2, but I am too afraid to look it up – so I am letting it be a mystery to me.

I had such a blast with this app when it first appeared, I could not BELIEVE (and still can’t really) that someone could design and build a GUITAR SYNTHESIZER that you could play on an iPad !! That is truly remarkable.  I only have one other such app, and it is not nearly as capable.  Of course – it’s going through unharmed, while the one I love – is being destroyed.

 

So – using the apps above (and below) as my working examples – these are living, breathing music creation tools that this update is MURDERING.  It’s KILLING them, and all of the beautiful musical dreams they have inspired – but, worst of all, are the unfinished pieces, trapped in a strange limbo of impending death, hoping that I will make the time to save them from destruction by at least mixing and mastering them and eventually uploading them to bandcamp.

 

But that is just one facet of this issue – there is another issue.  Most of the beauty of working in iOs music applications, is the fact that you can create variations, or completely different versions, of tracks – by making copies of an existing project, and then making changes, deletions or additions until you have created something completely different – and often these “spin-off” tracks are more interesting than the originals.  The problem is, though – that you HAVE to have the original app they were made in, so you can open them and work on them.

 

Over in Garage Band, which is not under threat (thank God) I often will create multiple versions of tracks in progress, to try out different ideas, or, to make sure there is a snapshot of the track in its current form, which I am totally happy with – but, I want the OPTION of trying other versions.

Again, not knowing what kind of backwards compatibility will exist, with any of these apps, throws real uncertainty into this scenario – I am assuming, that for every lost app, I will then LOSE the ability to work with the track in an editable form – all that will be left are the MIXES – and what if, for example, you suddenly hear in your head, a version of a track where a certain bit is REMOVED to create a space, and you can no longer achieve that because the song has been completely mixed down – and unless you can open the original file, and use the current version of the app to edit “old sessions” – you are out of luck.  Completely out of luck.

 

Example #3:  Mixtikl 5.0

A third example is Mixtikl.  I “grew up” using Mixtikl 5.0 – in which I created more than 60 unique compositions, some of which are quite extraordinary (please see “music for apps: mixtikl”) so I felt so sad to find out that Mixtikl 5 is one of the victims – while 6.0 and 7.0 (both of which I also own) will continue on.

Or at least, 7.0 will.  Now – 7.0 is fine as far as I can tell, but it won’t be like 5 – and I love 5.0 – it’s the bee’s knees.  Sure, I should like 6.0 and 7.0 more – but it’s just not necessarily so.

Now, I think in the case of Mixtikl, that there may be the ability to work on old sessions – so in 6.0, you can still load 5.0 projects and amend them – but I am not sure about that.  If that is so – great, that avoids the dread Nanostudio Scenario – but, it’s still not the same, because the tools within 5.0, gave the tracks made with 5.0 – a unique musical identity – and to my mind, if I used 6.0 to update and amend a basic track made in 5.0 – it would NOT be as good as if I had been ALLOWED to complete the track within 5.0.

 

Why not keep them ALL alive?  If you can keep six and seven going – why not five too?

To be honest, I’ve barely looked at six or seven, just enough to briefly assess what is going on, but I’ve not used either to make tracks yet.  I have not been in “applications mode” for a while, but I am planning on working more with applications again starting in December 2017, and moving on into 2018 – and I would have loved to have had Mixtikl 5.0 available to work with. (Sigh).

Oh well,

Again – intellectually, I understand the need to move forward, for both Apple, they need to move to a 64 bit architecture (I assume that is the main reason for 11.0 but I don’t actually know!) and for each affected developer, there will be one of three scenarios I should think:

  • Upscale the existing app to work in ios 11.0 and give it out as a free update to users
  • Retire the existing app, and replace it with a completely new version with the next numeral identifier incremented upwards – (note: variable on this scenario – the new version MAY, or MAY NOT, be backwards compatible with the old version) – I continue to assume “MAY NOT”.
  • Do nothing, let the old app die – and replace it with nothing.

I think that for developers, those are the choices, and I doubt if any of them seems all that palatable.

It all means a mass of work for them (except for 3) which they can ill-afford to do, and I couldn’t actually blame someone for choosing number 3 above.

It’s my hope though, that most will choose 1) or 2), and there will be some kind of continued existence for these remarkable music-making applications – which mean the world to me – I love them all.

Is there a workaround?

Well – maybe.  I have a vague plan to update some devices (my main one has already been updated to ios 11.0 – luckily, I did not have anything in that particular implementation of Nanostudio except for a very forgettable drum track, so I exported that and then “pushed the button”.

However – on other devices, where there IS unfinished content in various states of development – I may choose, as my “workaround”, to NOT update them for many months (at some considerable risk) or at least, for long enough for me to mix, master and upload all of the unfinished tracks leaving me free to finally upgrade that device.

This is my vague plan, not sure how well it will farm out, but I have to try – I have to.  I want to save the work where I can.  Other, lesser apps may have had tracks that were mixed, but I have decided to just bite the bullet and essentially destroy the working masters in the apps – what choice is there, really?

You can save a mix.  You could even save the individual tracks and rebuild your session in a future version (with a lot of painstaking work, you could do that) but if you import those tracks into a brand new version of the app, and then do work on it in that “new” app – I can guarantee that the finished track WILL sound different, to how it would have if completed in the original, now “dead” application.

 

So I suppose there are some positives here, but I am struggling to really see them – mostly, it just feels rotten, and despite understanding, intellectually and technically, “why” this has to be done – emotionally, and as a musician who is fond of his musical creations (for those of us with no actual children, songs can often become like our children) I don’t like the thought of losing unmixed or incomplete pieces of music, so I will be spending some time, trying to SALVAGE what I can, for example, from each implementation of Nanostudio – I’ve got songs on my iPhone, I know – so I will need to get that sorted out ASAP so I can wipe it by installing ios 11.0.

I don’t mind change, when it’s change for the common good.  But in some ways, this change feels wrong, and I do wonder if the people at Apple ever think about the very human consequences of their actions – i.e. how will the users react to the idea of their favourite music apps being gone forever, and, to having works in progress suddenly be sentenced to death – and having to scramble to save them, so the inevitable update can finally go forward – and my instinct tells me that they have not given it a single thought – it’s just business as usual, who cares about a few “old” applications, anyway?

I have a feeling I am not alone in this, and that other musicians will have their own favourites, which they will be, like me, bemoaning the loss of due to the 11.0 update.

Not to mention, now having to scurry about, seeing what unfinished Nanostudio pieces are on which devices, and trying to finish songs that perhaps, you weren’t ready to finish – but now you HAVE TO, because a clock is ticking…you have no choice any more.

Speaking of that ticking clock, I had better get to assessing what work is sitting unfinished on which devices, find SOME way to complete  them, get them mixed and mastered and offloaded – and then kiss the working files goodbye, forever – forever, that is – forever.

 

 

It’s all in the name of progress – I promise.  It really is.

 

 

Until next time, then

 

Dave 🙂

 

 

 

 

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 🙂

 

 

 

 

 

 

 

 

 

 

the stupidest policy in the universe

 

RECOGNISING STUPIDITY WHEN I COME ACROSS IT

like my late father before me, I find that there are certain aspects of life that are just so stupid, that you can’t help but become agitated and very outspoken when one of these “stupidities” comes to light.

I actually have a real knack for recognising stupid issues, and that realisation came home to me in a quite surreal experience I had at a Guitar Craft course held in Ojai, California back in the 1990s. It was a very good course, with mostly good weather, and we got to listen to Robert Fripp rehearse his Soundscapes, not to mention hearing an early DAT of the then non-existent King Crimson album “Vrooom”, which of course preceeded the album “proper” which is the even more awesome “THRAK”.

but i digress, the incident that confirmed to me that I do have a real knack or propensity, if you will, for seeing stupidity for what it is, and usually, confronting it head on….started like this:

A GUITAR CRAFT STORY

The course was in a lovely, big house on a lovely big green hilltop, a grassy hilltop lawn that of couse, being in California, was fully equipped with sprinklers, which went off automatically at pre-set intervals, to keep that hilltop lawn watered and healthy and looking good.  That is absolutely standard practice in southern California, because, if you don’t water…your lawn, and / or your plants, turn brown and then die.  California, after all, is basically, an artificially-irrigated desert, with water piped in from other states! – from many hundreds of miles away.

part way through the course, on a rare rainy day, where it was raining pretty hard, but in that warm kind of unconvincing California way…   I believe it was just before lunch, and the whole group, including Robert were sitting in silence (as you do quite often at Guitar Craft) and of course, if you are not quiet inwardly (as I often wasn’t) your attention may start to wander, and I confess that at this point, where a long, uneasy silence was waiting to hopefully, become a proper silence…I was looking out the window, watching the rain and looking  at the plants and the lawn.

the silence went on and on, and after an uncomfortably long time, suddenly, Robert spoke: “can anyone” (he said, addressing the entire course) “give me an example of real stupidity that is going on here, right now” and he sort of, gazed up and around the room.

confused silence was the first response, while people tried to think if perhaps, THEY had done something stupid earlier on, and now here was Robert Fripp calling them out?  You could sense some rising panic in some of the faces…but no one answered.

then, the answer smacked me right in the brain, that Stafford tradition (my Dad would have been so proud of me!!!!) came back and I blurted out “the sprinklers”.  “The sprinklers are on, watering, while its pouring with rain”. I added.

“Thats right, the sprinklers” Robert agreed.

And of course, thats pretty much the only time that I had the answer when the gathered elders of Guitar Craft did not, so I was pleased that I’d seen it so quickly.  And no one except Robert had a clue, it is just one of those things that people born in California, are used to seeing, all the time, all of your life.

And, it IS a pretty stupid thing, to have your sprinklers busily overwatering your lawn, and indeed, the combination of a substantial rainfall and the powerful large radius-coverage sprinklers running at the same time, could and often did turn your lawn into a green soaking wet sludge –  serious over watering can occur.

I have told this story before, in a more abbreviated form, and I apologise if you have heard it before – but it was necessary for me to restate my “credentials” as a more than “averagely aware of stupidity” kind of person.  I see stupidity in many designs, processes, and even in well establish practices, where people are doing activities in a particularly stupid way, when a much better way is or at least, might be available.

for example – sprinkler systems that can be overridden and can be programmed NOT to turn on, in the case of rain.

clearly, the owner of that nice house on the hill in Ojai, was unaware of this possibility, and because of that, would be always overwatering his lawn and plants when the sprinklers regularly came on while it was raining!

Stupidity at work, in the universe…a perfect example, and both Robert Fripp and I, while looking out the window at the garden in the pouring rain, had realised what was going on just outside the room, while the other fifty five people were only thinking inside the room, or, hadn’t noticed  or, hadn’t realised – that a really stupid thing was going on, right then and there – but outside, not inside!

It’s a day I’ve never forgotten, not only because I knew the answer when RF was the only other person who did, but because it was a great course, and my “Stupidity Detector” was clearly working better than it ever had done before.  A very useful tool, being able to recognise stupidity when you see it – and, if you look around, you will often find that its … EVERYWHERE!!

So what does this long and somewhat tedious Guitar Craft story have to do with today’s blog?  Not a lot, really, except perhaps, to establish that I have this knack, this ability to spot stupid practices, and that, coupled with some forty years in the business world, makes me the Customer From Hell, when companies have to deal with me.

THE ISSUE IN QUESTION

Today’s blog, however, is not about a gentle, somewhat forgivable stupidity such as watering your lawn while its raining…no, today’s blog is about something much, much stupider than that – and therefore, a hundred times more irritating because the stupidity actually has a real, negative effect on you.

I am writing today about a very specific “policy” that a particular music store has, which is, in short:  supplying the wrong type of power supply with almost every guitar effects unit they sell: a European power supply with round pins that cannot be plugged into the wall in the UK! (where we use flat pin power supplies only). To me, this “policy”…is right up there on my “stupidity radar” – supplying a useless power supply that could only work in Europe…in the UK.

a) it is a policy that makes NO logical sense – and the stream of useless Euro power supplies arriving every few months – utterly useless

b) I am sick and tired of ARGUING about it each time I make a purchase – and, an important point here – having to ask in the first place is bang out of order – when it SHOULD HAVE BEEN in the box when it arrived!!

Life is literally too short for me to waste my time railing against such a stupid thing – and they, unwilling to do as I, the customer politely asks again and again – well, the most recent sale they made to me – will be the last bit of business they get from me…I need vendors that will work with me on this.

Not, fight me tooth and nail when I try to get a useable power supply for my effects unit – that I have already paid for (it is part of the effect units’ purchase price)

Meanwhile, I have grown so frustrated with this “policy” over the past six or seven years (!!!!!!!) that I have recently reached the point where I told them that, if they were unwilling to continue to make the situation right, each time I make a purchase of an effects pedal from them (containing a European supply), that they will no longer get my repeat business or any of my business, because I refuse to participate in this specific power supply stupidity any more!

ANALOGY

I’d like now, to ask you a few simple rhetorical questions:

Note: today’s “stupidity” only occurs in the United Kingdom to my knowledge.  It does not occur in Europe or elsewhere that I know of.  This is important to remember.

 

So – UK residents only, then – when you buy a new toaster (or any small appliance) do you expect it to have a UK style plug (flat blades, three pronged) attached, so you can plug it in the moment you get home, and have some nice toast with your cuppa tea?

when you buy a new iron, do you expect it to have a UK style plug attached, the correct flat-bladed UK style plug, so that when you get home, you can plug that iron in right awaty, and get your three week backlog of ironing done in a jiffy?

when you buy a new hair dryer, do you expect to be able to plug it into the wall, and dry your soaking wet hair right away, without waiting?

when you buy a new alarm clock, do you expect a UK style plug attached right to it, so you can plug it in straight away, set the alarm, and then get woken up ever so gently to the quiet strains of Rammstein’s “Zwitters” blasting out at 6:05 a.m., at volume 10…?

when you buy a new Hoover, you expect it to have its UK style flat bladed plug already attached, so when you get home, you can plug it in straight away, and hoover your dirty ole carpets to yer heart’s content?

If you got a new set of hair straighteners, you would definitely want to go hone and plug them straight into your UK 230 volt wall outlet, so you can then wait for them to heat up, and straighten your hair to PERFECTION??

Let’s go large now, you finally bought that brand new washing machine you wanted, and I just know you will expect that it will come with a UK style plug already attached, so you can plug it straight into the wall outlet, hook up the water, and wash all those dirty clothes that have piled up everywhere??

I think you can see the everyday truth in the above statements.  Nothing tricky about them – just ordinary appliance purchases and expectations.

 

You may have gathered that I am making a point, and I am, and yes, OK I have rather belaboured that point (apologies)…but there is a reason for the many, many examples of ordinary electrical appliances both small and large – so that we can establish that for any electrical item that you buy in the United Kingdom, you have developed the perfectly reasonable expectation that the moment you get it home, whatever it is – you can plug it in, and start using it immediately.

however.

What if that were NOT the case? What if, you brought that toaster home, and it didn’t have a UK plug on it, or with it, so you couldn’t plug it into your common, ordinary, garden UK 230v outlet – in fact – you couldn’t plug it in anywhere in the UK.

First of all – that would make you feel very frustrated, because, you couldn’t feed that horde of screaming children waiting for their morning toast.  You would all starve, or at least you’d be eating untoasted bread which is almost as bad – when you want toast. and it goes on for days and days and days – no toast, and a useless, cold toaster.

That scenario is pretty unpleasant, but let me take this story one step further.  Let’s say that on that same day, the day you got home, took that toaster out of the box, and THEN realised that you couldn’t plug it in…that you rang up the store you bought it from, and asked them to please provide a proper UK plug, and they said, yeah, OK we’ll do that, you will get it in a couple of days.

Three days go by, with no toast made, that toaster not lighting up at all.  The toaster is dead.  The promised UK plug does NOT arrive.  You ring the store again, they say they will send the plug…so now three weeks have gone by and you still have no working toaster and no plug from the store…

After many calls, much argument with the store, pleading, cajoling…You reach the three month mark…THREE MONTHS WITHOUT TOAST…and finally, you get a UK style plug for your toaster delivered, finally sent by the store at long, long last.

And if the children haven’t all starved by now, they finally get some toast – but you’ve been through three months of hell trying to get the store to make things right for you, and you really begin to question your sanity.  You have argued calmly that it should have had a UK plug all along, but, the store seem unconcerned, and they also seem bent on supplying the NEXT item you buy from them…with ANOTHER useless Euro style plug.  Repeat of same scenario above.

Now, I could build a similar scenario for each and every item above, but it would take far too long, and I think the toaster example is a good enough example.

Three months without being able to plug in your new toaster?  Can you imagine?

 

Now – with the above everyday analogies, I’ve set up the background here, I’ve created practical examples of how it would feel if you got home to find that you could not plug your new toaster in, and then, the store you got this rather useless appliance from, took over three months to make it possible for you to plug it in and finally have some toast.

How would that make you feel?

 

IT’S BEEN MY EXPERIENCE…THAT WHEN THE ROW GETS SERIOUS…

A CERTAIN SILENCE WILL FALL.

 

How would that make you feel??

 

Now – that is a question.

Unfortunately, I can answer that question. I can provide in fact, a first hand account of exactly this “toaster experience” but with something else in the way of “small electrics” that I regularly purchase: effects pedals for guitar.

For the past several years, I’ve been purchasing the odd guitar pedal or two, and often from one of my favourite stores, DV24/7.  They were, and are, a good store – they delivered quickly, they always had the lowest price, and eventually, they got all of my business.

Until a few days ago, when I reached such a point of impatience and sheer frustration with their attitude regarding the power supplies for said guitar effects – that I’ve told them that I will be taking my business, my REPEAT business, to another guitar store.  ANY OTHER STORE. One that will truly want AND truly appreciate (not just say that they appreciate, but ACTUALLY appreciate) my repeat business. GAK, Dolphin, I really do not care. Just – no more Euro power supplies.  Please.

 

I must have at least six of these useless Lumps Of Plastic with round pins sticking out of them, cluttering up my storage area at home. They are worthless in the UK, sadly, they would be quite handy for any number of young guitarists in Europe.  I have enough for a whole Euro power pedalboard.  In Europe.  Where I don’t live.

They are doing me not one whit of good unless you think it’s perhaps, a good reminder from myself to myself to say NEVER AGAIN to accepting a Euro style power supply for any UK-purchase / UK-use electrical appliance or guitar effect pedal.  Ever.

 

DV24/7 refused to listen to the pure logic I presented to them regarding this very, very stupid “policy” of theirs – which is this:

Each effects unit they sell IN THE UNITED KINGDOM, comes supplied with a power supply (as intended by the manufacturers – who meant for the correct-country power supply to come with each pedal, it is included in the PURCHASE PRICE!) but with a twist; its a EUROPEAN power supply that DV24/7 regularly send to their UK CUSTOMERS.  That cannot be plugged into ANY power outlet IN THE UNITED KINGDOM.  Now – where, exactly, is the logic or sense in THAT?

Answer?  There is no logic present in this odd policy of supplying useless / wrong power supplies with each effects pedal sale.  If I just shelled out £400.00 for a really nifty pedal, it had darn well come with the CORRECT, USEFUL POWER SUPPLY.  That will plug into one of the many UK OUTLETS that I have in my UK HOUSE.

TALK ABOUT SPOILING YOUR ENJOYMENT!

So,  you’ve finally decided to buy your first Eventide H9, a truly powerful and exciting new guitar effects device – you order it from DV24/7; it arrives in a day or two..

but…BUT…it comes supplied with a EUROPEAN power supply.  So all that anticipation, all the excitement – dies, because you cannot PLUG IT IN.  So you then get to LOOK at it, but not use it, or hear it, for several days or even weeks, while you impatiently wait for the store to send you the right, usable power supply. After the fact, after the purchase….”oh please, kind sir, may I have a UK power supply so I csn actually USE my guitar effect??”.

 

Now, the first few times this happened, I would just ring or email them , and say “can you please send me a UK power supply for this REALLY EXPENSIVE pedal i just bought from you?”.  And – generally, they would.  I just had to ask.  (Not my job, really, but, whatever).

And I would then have to wait, a few days, a week, whatever, and the power supply arrives – so I can FINALLY plug in my brand new effects pedal.  Finally use it, finally hear it – at last. But it is just not the same, as being able to plug it in the moment it arrives…nope.  A third-rate experience at best.  Sheer frustration and mounting anger at the worst end of the “DV experience” 🙂

After this had gone on for some five years, let’s say, they started resisting me when I would insist on the proper UK power supply, and then finally, just a couple of weeks ago now,  their salesperson told me, in an email, no less “you will have to accept that some of these effects (read: all of these effects) will come with a Euro adapter, and we may then provide a UK plug adapter with the Euro power supply”.

And, that, dear reader, was the wrong thing to say to me.  my reply was “Salesperson’s Name Here, I must certainly do not “have to ACCEPT” anything – “I am the customer, and, you’ve set a precedent with me, i.e, you have been supplying me with the proper UK adapter, AFTER each effects sale, with NO ARGUMENT, and at no charge for several YEARS NOW – and now, you are reneging on that, and saying that I MUST ACCEPT Euro plugs, and a crappy plastic ‘plug adapter’ to go with it ! – no thank you, and furthermore,  I refuse to trust my really expensive device to a £1.79 plastic UK plug adapter”.

So because they instigated this new “policy”, where they no LONGER supply the proper UK power supply at request or at no charge…which they had done for about five years out of the six OR seven years (or more) I’ve been buying from them, I’ve had enough – more than enough of their attitude – and if it costs them money, to supply what should have been in the box all along – well, that is NOT my problem.

I was a good, repeat business customer, a good one – but over the past two years, I’ve had to argue, argue, argue, and eventually they would reluctantly send me a UK power supply for the device I had just bought.

I got really tired of the whole subject.  I even called the UK store manager in Romford, and had a long talk with him about..about just how incredibly STUPID (THERE IT IS….THE ‘S’ WORD) the policy of sending Euro plugs (aka, something that in the UK, MAY AS WELL BE A LUMP OF USELESS PLASTIC WITH SOME ROUND PINS STICKING OUT OF IT) – and he agreed it wasn’t the most brilliant policy, but I thought we had reached an agreement, that they would continue to supply them to me when I ask for them…but I was wrong.

not so.  In fact, after the last conversation with the boss, it was then that I waited THREE MONTHS for a UK adapter to arrive for my Ground Control Pro. Almost as if he had told them to drag their feet…

 

But not long after that, the real arguments started, and the salesman started telling me what I “MUST ACCEPT”.

That was the signal for me to end my relationship with DV24/7 (except of course, in the event of me needing to use one of my many, many, three year warranties that I have with them for a number of my effects devices).

So the income and the profit from sales to me have how stopped, permanently, they claimed, in an email that they “valued my repeat business” but basically, I would have to accept Euro plugs with UK plug adapters…so from that threat, I could tell that clearly, they do NOT value my repeat business at all.

If they did, the precedent set six or seven years ago, would still be in place, and I would still get a proper UK power supply for each device I purchased.  But – no more

All the other stores, I will be completely honest with them going forward:  I will EXPECT a UK adapter with each pedal I purchase – or, I will give the business to the vendor who will happily say “yes” to that humble, simple request.

 

WHAT THE MANUFACTURERS MEANT TO HAPPEN

(and what they supply to MAKE it happen in the different markets)

 

As if the all of the above wasn’t enough, now, please consider this:

Each manufacturer, for example, Eventide (USA based) or Electro-Harmonix (USA based) has included in the price of their effects pedal, a working power supply for that device, which should be different for each non-USA country it is sold in.

So let’s imagine that you bought a pedal from a well known online store in the USA, and you LIVE in the USA.

Let’s say it’s that Eventide H9 I mentioned earlier.  You would receive that H9 in a box, with a US style two-flat-bladed-plugs-bearing power supply.  You open the box; you plug that two prong flat bladed US style plug directly into the nearest 110v US outlet in your US home – And you are instantly delighting in the beauty of the H9 experience.

So let’s now imagine that you bought a pedal from a well known online store in Germany, and, YOU live in Germany…or anywhere in Europe except the UK.

Let’s say it’s that Eventide H9 I mentioned earlier. You would receive that H9 in a box, with a Euro style two-round-pins-plug bearing power supply. You open the box; you plug that two round pin style plug  directly into the nearest 220v German outlet in your German home – And, you are instantly delighting in the beauty of the H9 experience.

Repeat above  paragraph for Japanese market.

Repeat above paragraph for South American market.

Repeat above paragraph for any non-UK market.

 

Finally – let’s now imagine that you bought a pedal from a well known online store in the UK, and, YOU live in the UK.

Let’s say it’s that Eventide H9 I mentioned earlier. You would receive that H9 in a box, BUT, much to your everlasting astonishment – instead of the 3-flat-bladed UK style power supply you expected (just as with your toaster, your hair dryer, your washing machine, your hoover…) but instead, to your ultimate dismay – you find, inexplicably, that you have instead been sent – a Euro style two-round-pins-plug bearing power supply.

You open the box; you remove the wrongly supplied Euro power supply in disbelief, which you cannot plug in anywhere in the country you live in – And, you now have no idea what the H9 SOUNDS like, because you cannot plug it INTO THE WALL as you can in every OTHER COUNTRY ON THE PLANET.  And – you DO NOT GET TO DELIGHT in the beauty of the H9 experience.  Not for days or weeks or latterly, apparently – ever.

Eventide MEANT for you to get that box, open it, plug the RIGHT power supply into the proper outlet, and play your guitar through their pedal. Immediately.  You PAID for that, you paid for the good experience, the one where you get to actually use the pedal you just bought.

No..not here in the UK.  Instead…you get argument.  You spend literally hours, emailing, calling the DV24/7 boss AGAIN to complain.

THE LAST STRAW

There is one remaining wee story to tell.  And that story is about a device that I bought from DV24/7 … LAST YEAR.

I bought a new Voodoo Labs Ground Control Plus MIDI controller from DV24/7 in late October or early November – the actual date isnt really important.

 

you’ll never guess, to my amazement…it TOO, like the Eventides and the Electro-Harmonix pedals before it, the Ground Control Pro arrived…with a Euro style round pin power supply – with a twist, it was an AC adapter (rather than the much more common DC adapter), with a higher current requirement than most pedals have.   Still useless though…I did say “Euro” and “round pins”.

So standard procedure, I rang up or emailed DV24/7 and said “please send me the correct voltage Voodoo Labs UK power supply for my Ground Control Pro”.  I got argument and stalling.  I rang the boss yet again, applied pressure verbally…he promised they would send the adapter.

still no adapter.  Christmas passed.  I cajoled, I asked nicely, I became irritated…no result.

New Year passed.  I wrote again, this time simply saying “appalling customer service, making a good, repeat customer wait OVER THREE MONTHS for a lousy power supply that costs £2.00 to produce in Asia…you ought to be ashamed”.

Nothing.. No response to my emails anymore.

 

then, tonight, on January 20th, having waited thru November, thru December and thru most of January with no power supply – when I got home, a small box from DV24/7 had been delivered to my neighbour.  I went to retrieve it.  Finally – and, by the way, NOT a Voodoo Labs supply at all, but the cheapest of the cheap generic type adapter, BUT the right voltage 9 volts AC at 500 ma – so theoretically usable with the Ground Control.

The adapter was promised over and over, the salesman promied, then his BOSS promised it, and it didn’t arrive.

I doubt it was my “you ought to be ashamed” message that finally caused it to ship to me – but it should have been.

They still owe me a power supply for an EHX pedal I bought recently. But we shall see what happens with that one.  But, I won’t expend the least bit of effort on DV24/7 any more, no more chasing down a power supply EVERY SINGLE TIME I BOUGHT SOMETHING.  For SEVEN YEARS.

 

A SIMPLE, SIMPLE SOLUTION EXISTS

DV24/7 have some internal “problem” where some their stock that is to be sold in the UK, comes from Europe, and it has Euro plugs in it.  But guess what – the manufacturers make at least four different adapters, that are supposed to be sold in the US, the UK, Europe, and Japan.  So – you, as the distributor of these products, are supposed to be SMART ENOUGH to order the right boxes with the right adapters for each country you are selling them in.

A quick example of a smart policy:

You are a big music store with stores in Europe and in the UK.  Sales are roughly equivalent in both areas, so, instead of buying 1000 boxes of EURO Eventude H9s, you order instead, 500 boxes of Euro H9s (which you sell in EUROPE) and 500 boxes of UK BOXES, (which you sell IN THE UNITED KINGDOM). Simple.

Under my clever scheme (see above) the customers in BOTH Europe AND the UK END UP WITH THE CORRECT POWER SUPPLY when they receive their order. Rejoicing. No more phone calls.  No more emails. No more arguing with customers.  No more customers so traumatised by their never-ending NEGATIVE EXPERIENCE AT DV24/7 that they finally just say NO MORE.

NO MORE.

 

Now – clearly, their purchasing department wasn’t smart, and all their pedals are in EURO boxes.  So this won’t ever end, with DV.

BUT INSTEAD of them making their problem by MY problem, and pawning off their unwanted garbage/Euro Lumps Of Plastic onto UK customers who DO NOT WANT THEM…instead of you making your problem be my problem…why don’t you just SOLVE the problem, and buy the boxes with effects with UK power supplies in them, to SELL IN THE UNITED KINGDOM???

by the way:  I ***HATE*** it, when companies, or people, make THEIR PROBLEM be MY PROBLEM.  I refuse to allow that.  My time is too valuable, too precious to waste on the “Euro round pin power supply game”.  It is a game that sucks, I can tell you that much for free.

THE REAL INTENTIONS OF THE EFFECTS’ MANUFACTURERS

Remember, the manufacturers, WANT YOU not only to get a power supply with your device, but, they WANTED for it to have a power supply with it, that meets the following  criteria (you PAID for all this – it is included in the effect’s price!!!!):

a) fits the outlets in your country

b) supplies the right voltage and has the correct current handling requirements for your device and your country’s power outlets

c) you PAID FOR THAT privilege, to be able to plug right in and enjoy your purchase – whereas, I got to LOOK at how nice my new effects looked, for many days, while I waited for the “afterthought” correct UK adapter to arrive – and, looking is not HEARING or ENJOYING, is it?? and

d) they did NOT intend for you to receive the WRONG PLUG type, that does NOT plug in, in your country, and is, to a UK customer anyway, a useless LUMP OF PLASTIC with two round pins sticking our of it.

 

CONCLUSION (?)

 

i rest my case.  As Bryan Ferry once said “don’t let this happen to you!!”

I told you I could find the STUPID stuff.

 

 

 

peace and love and UK POWER SUPPLIES FOR ALL!!!!

 

Dave 🙂

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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studio diary 20150501: back into the world of scape…

suddenly, I found myself there again, after a long, long pause – a two year pause – I’d acquired the “Scape” application very, very early on, worked with it over a very, very intense but quite short period of months, and just as suddenly, stopped creating scapes when I reached about 1100 in total approximately – I found myself listening to “scapes” again, every day.  In 2015.

 

back to 2012 for a moment, then – after the fairlight and scape, I moved on to learn about, and explore other ambient, generative and synth apps, from the wonderful mixtikl to the equally fabulous drone fx (huge news – drone fx for the desktop – awesome news!) and on and upwards and on to some of the truly strange apps, the VOSIS and the TC-11 (huge news – TC-11 is at V2 now – MORE awesome news!!) and so many weird and wonderful apps to learn about, attempt to master, make recordings of…

“Scape” was my second “long session” with an app, my first “long session” was with the fairlight, or what is now known as the peter vogel cmi  – but to me, it will always be “the fairlight” – “the fairlight” of peter gabriel – [this link is to a pretty interesting video of Peter and The Fairlight, and how he used it on the song “The Rhythm Of The Heat”] – and kate bush fame [and this link it to a very rough but very interesting Kate Bush and The Fairlight clip] .

but “Scape” was the first ambient app I worked with – and what a great place to start – an ambient app, where BRIAN ENO was one half of the design team, and, where he played some of the samples and worked with his app-making partner musician PETER CHILVERS to design, produce, and market scape – a device that has a wonderful simplicity to it, you have an empty palette, and you have tools – which you can drag out onto the canvas, and when you do – music begins.  each tool is a different sound, or background, or filter for the whole piece.  there are bass sounds, synth sounds, melodic sounds, dissonant sounds, buzzing sounds, just your general sound palette that you might find on many a BRIAN ENO album.

in other words, sonic heaven in an app.  the app reveals itself to you slowly, so, you start with a few instruments, a few backgrounds, a few filters.  as you make and save more scapes, the app then present new tools to you, which you can then use to create “scapes” with new sounds in them, or, use them in conjunction with the older sounds that you are already familiar with.  OK, yes, it is very, very simple, but, once you work with it for a while, at least, for me, I began to approach working with it more compositionally.  sometimes, I would draw scenes, you know, mountains and clouds and bushes just to see what a “painting” would sound like.  then, I began trying symmetry, then, asymmetry – to see what results that brought.

later on, I tried minimalism – just one background, say, and no instruments.  I also developed certain techniques of my own, my favourite of which, was to create a scape I liked with one filter, and then copy it over to the next “slot” and change just the filter, then do it again, so I would have the orange version, and the green version and the blue version – the same basic “scape” – but through completely different filters.  I would often record these one after the other, and it’s truly interesting to hear the differences between the filters (those being the tools on the right hand side of the palette, that seem to control what is done to the whole piece, so I call them “filters” – and that’s another wonderful thing about scape, there is no standard terminology, therefore, everyone calls the objects by different names! which is fantastic, I think.  awesome.

working with “scape”, for the three or four months that I did, was a remarkable time.  to have produced 1100 “scapes”, I would never have dreamed of – but, that is what I did – and I was quietly amazed, privately amazed, at how incredibly complex and wonderful some of the later creations became, when there were perhaps, double the tools that you start out with – when you have, finally, the full selection of tools, and there are, no more new tools – then, you can combine things in amazing combinations of the old and the new, the new, the middle period, and the earliest – whatever your heart desires.  want dissonance? bring in one of the “crosses” – they all sound horrible!  wonderfully horrible.  want a nice sounding scape?  use a lot of the “letter shapes” “E” “H” “I” etc., the yellow melodic shapes, and use the green or dark pink backgrounds.  green is the nicest background of all.  dark pink, a wonderful second.  some of the other backgrounds are a bit more active, including some quite “jittery” ones, so it really does make a difference which background you run your “scapes” through.

but that is all getting a bit into the history, I wanted to recount to you the events that lead up to this sudden re-surgence.

at the time I began working with scape, in late, 2012, I had a decent enough home studio.  I worked out a reasonable way to record a scape, and to this day, that is the single-most asked question that I get “Dave, how do you record the scapes”?  It  wasn’t easy to figure out.  But it wasn’t hard, either!

I later on learned, that Eno and Chilvers intentionally didn’t leave a method for scape to be recorded (which also explains why it’s one of the few apps that is NOT Audiobus-compatible) – in fact, I learned, they didn’t mean for people to even “keep” “scapes” – but of course, many of us crazy musicians, wanted to keep them anyway.  I don’t want to let Brian and Peter down here, and I always feel like I have disappointed them, by not just enjoying the “scapes”, and then throwing them away – but I will tell you know, why I can’t do that.  Because they are so incredibly beautiful.

It’s that simple.  These scapes are such unique, precious pieces of music, and to me, they are amazing in so many ways, because of the high, high quality of the samples, because of the brilliance of sample selection, because of the genius programming of the app – I could go on.  No matter what – it boils down to this – even the strangest, most dissonant of “scapes” – is a unique thing of beauty.  For a very, very intense several months, I experienced from one to several of these amazingly lovely songs almost every single day.  And I was mesmerised.  I wanted people to HEAR this beautiful music, to hear what I had heard, to be able to experience my four month trip with “Scape”, for themselves.

I set out boldly, to record and upload as many “scapes” as I could.  at the time, that turned out to be just 41.  at first, I made videos for each one.  very quickly, as I reached the 800s or something, I realised, I was not going to be able to make 850 videos.  I really enjoyed making those videos, and I used the single screen shot of the art for each scape, as the starting point of each video.  So then I worked on audio only, but I soon ran into space issues, I didn’t really have the set up or the disk space, to record unlimited numbers of “scapes”.

Until 2015, that is.

Now, with larger, faster, better hard drives, a much better client, SONAR X3, and a good, fast system – I can record scapes en masse.

I hadn’t really thought about it, but for some reason, a few weeks ago, I started to think – I would really, really like to recover, and record properly, the “rest” of the 1100 “scapes” that I had recorded all on my first decent ipad, an ipad 2.  so one evening, I set up a 24 track session, recording 24 bit 48K audio, and began recording.

It takes time; “scapes” run anywhere from 3 to 4 t0 close to 9 minutes, and what I tend to do is, the moment I get in, I set up the session, and start recording, while I am going about other business. and when I can, I stop by, stop a recording, and start the next recording.

Every few weeks, I sit down, and trim, master and produce the tracks, and then, as time permits, I upload them to the dave stafford “music for apps: scape – an eternal album” eternal album.  I recently uploaded a handful of these “newly recorded old scapes”, and I think it’s lovely to finally, be able to hear the work I was doing in 2012 / 2013, now, in 2015 – it’s about time.

Over the next several weeks and probably months, I will continue to upload as many of these as I can master, and if we are all lucky, I will actually make it to the end this time – maybe.  We shall see…

If I can stay the course, and, to be honest, I do not know at this point, if I can – then, eventually, I should think, maybe I might actually “finish” the job.  I would love that, because if I actually could finish – well, two things would come out of that:  you would get to hear a thousand plus scapes done at all different stages of app “growth”, from simple to more complex to most complex and back again, and, I would be free, after discharging my duty to myself to complete the work I began, I would be free to make NEW “scapes” in real time, in 2015, to add to the collection.

And I think that might be the most interesting thing of all – to start all over, and go through the process again, and see what happens “this time around”.

But right now, well, it’s early days yet – at this moment, I am recording “scape” 138, which is an impossible construction that has 18 bass players and 13 yellow letter melodic events – and it’s a cacophonous mess, but oh, so incredibly unique!  some of the scapes I’ve heard over the past couple weeks of recording, have blown me away – they are either so strange, so weird, so unique, so powerful, but often, just so, so intensely beautiful, usually in an ambient way, but sometimes, in a fairly active way, too.  This particular scape is ever so slightly overloaded, and I know the app has protection against this (if you reach the max number of instruments, it begins to remove the earliest instrument as you add the latest) but I actually managed to create a “bass overload” in this case, one of the few times where I beat the system – my poor JBL monitors are baffled because they have never had 18 eno or chilvers fretless bass riffs all starting within microseconds of each other, and it’s overwhelming for the poor speakers!

but it’s an utterly unique “scape”, and I can’t wait to see if I can even make a usable master with that much bass content…we shall see, that one will be a test of my skill, it truly will.  terrifying bass overload!  power, power, power – and you just don’t expect a piece like this, it’s truly out there, but – ANYTHING can, and does happen, when you are “scaping” – trust me.  I’ve been there.  what an incredibly strange piece of music, which is now receding gracefully into the land of fade out…

so for the past two weeks and a few days, I’ve been hearing “scapes” again for the first time really, since 2013, when I actually uploaded the 39 existing scapes many months after they had been recorded in late 2012 and early 2013 – the scapes came before the bandcamp pages did.  but now we are somewhat caught up, we can now return to this arena, and see what we can see, or – hear what we can hear, rather.

I’d like to talk for a moment, though, about the visual aspect of “scapes”, which isn’t something that many folk speak about, for me, when I was heavily into this process, how I constructed a “scape” visually was very much an art, I tried to use the skills I had as a musician, to “compose” my “scapes”, and I was particularly enamoured of using symmetry, or putting instruments in long, diagonal rows (as in the next “scape”, “scape” 140, that I am working on now… see below).  I just wanted to say, you can follow what is happening in the music, by looking at the image of each “scape”.  In the early days, you can see that I drew nice little scenes, trying to make art, and trying to make that art into music, and, it worked, to a degree, and then, as more object become available, you can “see” the “scapes” getting more complex, you can see my experiments with symmetry, and as you identify the various instruments, you will learn, just like I did, what causes what.  a square turned to have it’s corner pointing up, is a bass instrument of some kind – several different kinds, from normal bass guitars to fretless guitars, to some longer fretless phrases, and so on.  so you will be able to “see” in “scape” 138 and in “scape” 140, where I have lined up a whole series of basses into a long, diagonal line – and the resulting chaos that this approach brings.

I am now onto scape 140, which is apparently, another “bass overload” test, this time, with 13 bassists, two melodic events, and one descending arrow complex synth event.  the cascading bass players are just amazing, a single, slinky, throbbing, ever changing bass note, made up of 13 horribly overlapping notes, grinds across the musical landscape, while bell-like melodic tones appear and disappear randomly in the background…it’s madness once again, but a beautiful, mental landscape.

Carrying on with the discussion of the visual aspect, you would then be able to see, and hear, for example, in scape 141, that there is only ONE bass part, which plays occasionally, and the three melodic letter shape instruments carry this tune instead of the basses as in 140.

Scape 141 is fairly minimalistic, but there are others even more so, so when you run across a truly minimalistic scape, it will be obvious, again, from the “track” image I upload, which is actually, the map or the “artwork” that created the sound of that scape – you will see an empty workspace, with just a speckled background – that is literally, just a background, with no instruments, so you end up with a very, very ambient, minimal piece.  So if you look at each piece of art, that comes along with each uploaded scape, you will be able to literally “see”, the journey I took, see the paintings I made, to produce the sound you are hearing.

That means, that when I get to one of my “filter series” – where I take the same “scape”, and run it through five or six or nearer to the end, perhaps seven different “filters” – the exact same painting, except the filter is a different colour, and you will see that – first the pink, then the green, then the grey, then the orange, and so on – until I’ve run that one “scape” through every possible filter.  you will also be able to HEAR the differences, and realise, that green filter makes one sound, while pink filter, makes a different sound, while orange filter, maybe, is a delay or whatever.  you get to know them, and you get to know what they will do “to a piece”, and this is the best test of all – try the same song, through each one of the various filters, and see what happens then…

Another kind of series, involves using the same “background” on different filters, or, different backgrounds against one type of filter.  The combinations, and the possibilities, are actually, almost limitless, they really are.

So for me, the fact that a visible artefact, a “painting” that I did – that’s actually, a huge bonus, and this is why: I sometimes struggle to describe music with words, but, describing it with a piece of artwork comes pretty naturally to me, so I love the fact that if someone asks me, “hey, how did you make “scape” 844, anyway?” my answer is right there and I can say – have a look at the track art for the piece, that is the actual piece of art I made, which creates the sound of “scape” 844…that uploaded track art, IS the answer to the question “how was this track made”? – answer – “this is what I drew, in “Scape”, to get that sound that you are hearing…”.

Additionally, if you really, for example, fell in love with a beautiful, ambient “scape” that I have made (something I do regularly) there is nothing on earth stopping you from buying “Scape”, the app, looking at the track art that I used to create the beautiful, ambient scape, and then, recreating it in your “Scape”, on your own ipad – by mimicking what I did in my “painting”.  I am sure that as long as you got it close, that it would end up sounding very, very similar to my version – very similar indeed, but not identical.  Very close.

At the same time, if you like my unattractive, sonically bizarre and / or dissonant “scapes”, you can easily “see” the tools selected to get that sound – and in no time, you will be able to control what “Scape” does, in the same way that “I” control it – although “control” is a dubious word – you will be able to do similar things, if you copy the art in my track art, the uploaded artwork for my “scapes”.  Or if you like my super minimalistic “scapes” – you can easily re-create those, as they are very simple to make!

A whole lotta nothing.  But sometimes, small input means big output, in terms of beauty.  Some “scapes” are not particularly beautiful, but then, they may have other charms that appeal to other senses, so it’s not a requirement that they BE beautiful.  A constantly ringing bell might actually remind one a bit too much of that early morning alarm, and when you have several of these admittedly, more melodic alarm clocks going off at once, it can be a bit overwhelming.  But – still beautiful in it’s own way, in the way the bells land within the composition, how they fit together, and so on.  Scape 145 is a perfect example of that, it’s all bells all the time, ringing incessantly, but – there is still something about it that I really like, a freshness, a randomness, and sometimes, those bells hit some nice accidental harmonies.  then, they start to fade away…only, it’s a false alarm (get it?) and then they are back, ringing like mad again…over and over,  you think the piece is about to end, and it’s not – it’s just wonderful repetition, and scape always does whatever I don’t expect it to – it’s full of surprises.  you just never quite know what you are going to get, but, I can guarantee one thing – it will ALWAYS be interesting!  always.

I don’t know exactly how many “scapes” I have recorded over the past couple of weeks, in this new burst of scape activity for 2015, but I do know one thing, I’ve been astonished at the quality, the variety, the different moods, the different techniques, the different results, that this remarkable tool can produce, and while I’ve maybe heard something like a hundred scapes, in two weeks or so – and there has been such an intense variety of music, from the most ambient to the most incredibly overbearing to the most powerful to the most jarring to the most fantastic of melodic, beautiful, ambient composition – it’s really just an amazing success, and it proves that generative music is here to stay, it proves too, that the inventor of ambient, is also, one of the master practitioners of ambient – because, decades have passed since those groundbreaking Eno ambient records – Discreet Music, Music For Airports, Thursday Afternoon, Neroli (to name but four of my favourite Eno titles) and there it was, 2012, and out comes “Scape” – which to my ears, SOUNDED like Discreet Music, Music For Airports, Thursday Afternoon, and Neroli  all rolled into one beautiful set of ambient samples, and each “scape” I created, sounded like a new track from a new, unpublished Eno album – priceless, beautiful, unique.

To add gravitas to my words, I am now recording “scape 146”. which features what was then, the “new” filter, a very squelchy filter, so this scape, which is bells playing in waves, over this amazing distorted, squelchy backing – is like alien music from the future, I’ve never heard anything quite like it, and it’s a remarkable and unique composition – generated by this app, based on my instructions – but, guided, ever guided by the ambient hearts and minds of mssrs. Eno and Chilvers – what an amazing juxtaposition of sound sources, I can’t explain it in words, but when you eventually hear “scape 146” – you will know exactly what I am talking about…

I really do hope that I can make it through all thousand plus recordings, for one thing, after a two year absence, it’s really, really been interesting to “re-live” my intensive several-months long experience, but without the intensity of actually creating, hearing it at leisure, as I record it two years later – it’s a very, very nice feeling indeed, it truly is.  If you don’t own the scape application, I would heartily recommend it to you now, and I would also recommend – don’t cheat, don’t do what some people do, which is find out how to expose all of the tools at once, and begin using the maximum toolset from the beginning.  I strongly urge you instead, to do what I did, to discover the app in the same way I did, one new tool at a time, this gives you a chance to get used to each type of tool, gives you time to play with each type of tool, and then, you recall better too, what each one does, whereas if you start with the whole lot exposed – which is an option – then, you lose the fun and the excitement of being presented with new tools periodically, and you also lose the experience that Eno and Chilvers wanted for you – they felt that the full toolset was too much to start out with, that learning “Scape” in the “slow learn” mode was the best way to learn the toolsets thoroughly, and give you the best, least overwhelming user experience – so I strongly recommend doing it that way.

I can’t imagine doing it the other way, it just doesn’t feel right to me, I guess I am more patient than some, and I’d rather get new tools every few days, along with the lovely, lovely written suggestions, which are of course, modified oblique strategies – I found those suggestions to be gold, and I did indeed, try many of them out, exactly when and how they suggested that I do – and I was always very, very pleased with the results.  the tips are good, they are good ideas, and I suggest paying heed to them as you are able to – it makes for an even more enriching experience.

I personally, though, doubt you could have a “bad” experience with “Scape” – because it’s a good tool !  You can’t really go wrong.  I think it’s well designed, and if you start slow and build up your instrument library as suggested, you will learn what each tool does, what each instrument does, what each background sounds like, what each filter sounds like – and you can then, tailor your “scapes” to use all of the backgrounds, instruments and filters that you love the most!  I think that is brilliant.  It’s almost easy to forget, too, that this is a generative instrument, one of the first of it’s kind, a very different generative instrument compared to something like “Mixtikl”, which gives you perhaps, too much choice, whereas, “Scape” limits your choices somewhat, but there is so much scope for inventiveness, and the generative programming is far superior to anything previously seen – so that scape can create music so complex, so unique, that almost no other generative instrument can compete.

Many months after I finished my first go-round with “Scape”, and, after I’d had time with “Mixtikl” and “Drone FX” respectively, I wavered a bit on what generative app I love the most.  In “Mixtikl”, I created 61 quite complex utterly customised pieces of music over a several month period, which I think stacked up comparably to the much more prolific 1000 plus that I did with scape in the period previous to that one.  At the time, I slightly favoured “Mixtikl” over “Scape”, but in hindsight, I would have to say, “Mixtikl” requires some knowledge of mixing at least, and music, preferably, while “Scape” requires neither.  All “Scape” requires is that you can draw a picture with shapes, and backgrounds, and filters – and just about anyone can do that.  The other requirement is that you listen…

So for ease of use, for amazing programming, for the most amazing samples, and for the overall best generative app, after hearing just the first hundred or so of the 1000 plus “scapes” I have recorded – I absolutely would say that “Scape” is the “better” app, although, having said that, they are BOTH utterly remarkable and amazing, and on some levels, I don’t really think comparing them is truly fair – I love them both, I will hope to make more music with both as time goes on, and, once I put right the “wrong” of not releasing these scapes, then we can see where we are with ambient apps, and where we are with generative apps, and indeed, where we are with ambient, generative apps…and, really, who knows what the future may hold???

I certainly do not !

 

 

 

 

 

studio diary 20150214

I had thought that “fair play”, my new “korg gadget” piece, was finished, I did make the odd adjustment here and there, but I thought it had reached its final form, until I sat down to listen to it a few days ago.

 

the listening session was fine, I am happy enough with the song, “fair play”, as it stands – but, I felt like I wanted to hear more of the “middle section”, which, as it happens, is a key change up to C major, there were only a few bars, so I copied those three bars, inserted them before the existing three bars, and then set about modifying just the Chicago bass / synth (which I am mainly using as a lead synth, not a bass – the hammond has taken the role of the bass for the majority of this track) part so that I had, effectively, three “new” lead lines, and the third, was sort of a very monotonous, circular sort of riff, so I instructed the device to play that bar twice, which gave us this:

Chicago 1 Modified Chicago 4 X 1
Chicago 2 Modified Chicago 5 X 1
Chicago 3 Modified Chicago 6 X 2
Chicago 4 Originally Chicago 1 X 1
Chicago 5 Originally Chicago 2 X 1
Chicago 6 Originally Chicago 3 X 1

so, wonderfully, that means that the “middle eight”, which is a whole tone above the basic song (which appears to be in F or Bb, I am not exactly sure!) is…seven measures long ! I love stuff like that – it makes it odd – but musically, you would probably never notice, it just sounds like a synth “solo”, which is in a different key to the bulk of the song – and it brings musical relief because it jumps up a whole tone – it’s very exciting, it builds tension beautifully…and hopefully, no one is counting bars, and the fact that my middle eight is not, in fact, a middle eight, but a middle seven – will go unnoticed by everyone except; everyone who just read this paragraph. 🙂

we have then, a whole piece of music, at last, that begins (and continues for most of the song, to be honest) in the staggered, drum-driven rhythmic world of gentle giant, moves to some beautiful acoustic v electric piano sections, with a solid and wonderful hammond bass underpinning everything – it then, finally mutates to a seven measure long “middle eight” – (perhaps, I have invented the world’s first “middle seven” – who knows? I’d love to take that credit) and then, via a reprise of the opening segment, moves onto a spectacular ending featuring a four-measure version of the “middle seven” – why not?
So at no point does the “middle eight” ever equal eight bars, it’s seven in the middle of the song (and four when I re-use it at the end) – and I think that is just fine.

 

“fair play” to me, is a proof positive that the newly-enhanced “korg gadget”, which to be fair, they only added a few instruments, but, the instruments they added are so awesome, that it makes creation with them easy, in fact, with the 15 original synths, you could do a lot, already, but having the core electronic keyboards – well, one is acoustic, I suppose, so having one acoustic and the rest of the core electronic keyboards, to hand – gives us CONTROL…it means you can build songs using those more familiar, more comforting keyboards, and then bring in the 15 original korg synths – the “gadget” originals – to add colour and shade and light and dark…

 

I basically started this piece out with organ, acoustic piano, drums and electric piano – and that IS the core of the song, and all of those are instruments that are made available in “korg gadget” from “korg module” – which, right away, shows us the real value of “korg gadget” – and that’s just the start – what will it be like when you can access ANY instrument via “korg module”, in high quality samples??

I vote for mellotron, sitar, and anything else they fancy sampling…go for it. I want to see “korg module” become the premier sample based app on ios – unless native instruments jumps in – then, I would have to wait and see what THEY come up with 🙂

I was eager to try “korg gadget” now that it’s been “upgraded” – simply by the existence of “korg module”, that gives “korg gadget” a whole new face, and transforms it into a player of high quality instrument samples – directly parallel (in its basic function, anyway) to kontakt in komplete – we have our world class sample player now – the ubiquitous “korg gadget”.
this is a really clever idea from korg (they seem to be having a lot of really good ideas lately – witness the Ibanez RGKP6 guitar and bass, which feature a korg kaoss pad 2S built right into the guitar’s body – a fantastic idea whose time has finally come – a very clever idea). korg makes really interesting synths and other products, too, and the more I get into their stuff, the more I enjoy it – they have been around the block, they obviously listen to their customers, and, their stuff is well built and long lasting – korg is a name that says “quality” to me.

 

they seem too, to be able to compete in the world of ios, in the app world, at the same level and with the same commitment to quality that they show in the virtual world, the bricks and mortar world. I like that about a company, and I think that they are handling themselves well in both arenas – not something a lot of companies can probably boast about.

 

I have listened again now, to the playback of “fair play”, and I am now fairly certain, that it is indeed, complete. I hope I will not change my mind about that again! It’s ended up just about four minutes in length, which for this type of piece, is ideal. I hope to master it and upload it as soon as possible….(update: now done! “fair play” can be found here).

 

and then…well, things happen 🙂

I was and am totally happy with the completed track, “fair play”…but, while I was doing some final tweaks to levels and stereo placement, it struck me that I’d really like to do two things: I already have finished and mastered “fair play” as it stands, in it’s complete form, but also, I’d like to take it from the point it is at, and do some further work on it, make it an alternate version of itself – so I did a “save as” of the completed “gadget” track, and named it “fair play – advanced version” – and immediately began work on transforming the by-now familiar “fair play” towards new musical areas, I have removed some of the sparser parts, I’ve added more drums, there is far less “space” in this new version, it just rocks straight through rather than having dynamic sections as the original does, and so on.

I’ve also been doing some serious “randomisation” – this is a process that I tend to get into in “korg gadget” especially – where I will lift one melodic pattern, and randomly copy it over a different pattern in a different instrument, so, organ bass part becomes electric piano riff, or acoustic piano now doubles with electric, synth solo becomes hammond solo, and so on…taking existing themes, melodies, and solos and moving them to different places within the composition – it’s huge fun.

I might also decide to just remove four bars of music here, and then, copy two others into their place, remove five bars here, and not replace them, add some of my favourite bars from the first half into the second half, and so on – endless possibility, and it’s very quick, very easy, to edit in korg gadget, too – add extra snare drum hits, add extra bass drum hits, change single hits into double hits – it can all be done so, so quickly – and probably, within the first fifteen minutes of editing, I had radically altered the basic DNA of “fair play” into a completely oddball variation of itself – “fair play – advanced version” – which I plan to work on for a few weeks, to give it roughly as much gestation time as the original got – and then master and upload it as well.

I am very, very glad that korg has jumped into the area of high quality samples for ios, with the beautiful “korg module” app, and I am extremely glad that by chance, they made those samples available to the “korg gadget” app – that, prompted me to re-visit “korg gadget”, and create a song that utilised some of those amazing samples – and I find that it makes a HUGE difference to me, to have hammond organ, acoustic piano, and electric piano as three of the most important samples in my new piece(s) “fair play” and “fair play – advanced version” – which might get re-titled “unfair play” or “fair work” or some such – I don’t know.  or…it might just stay as “advanced version” – this remains to be seen.

I have a lot of work to get on with now, I’ve recently recorded a lot of guitar sessions which should hopefully yield some new videos (down the road a piece, probably, but, maybe some interesting takes in this last batch of videos…) as well as a lot of audio mixing to do before I even think about the video side of things – this is always the challenge for me – I am now able to record a lot of material very quickly, but with only myself to handle post-processing, it takes me weeks, or in some cases, years, or in some case, never, to create video content – or sometimes, even process the audio and create master audio mixes.

the backlog is not getting any smaller at the moment, which is actually OK, and what I’ve finally decided is that I will abandon utterly my original intention of trying to present my video work chronologically, I will master and upload what videos I feel are the most important, what videos are the most interesting or unusual, and then, as time permits, I will go back and continue work on the “old” video backlog.  controlling this, will be playlists.  I’ve already created video playlists, by date, for many of my legacy video sessions so I would suggest that whenever you visit the pureambientHD channel or indeed, any of my video channels on youtube, that you always go to the Playlists section, rather than the Uploads – because as of 2015, uploads will no longer be chronological, but completely random – so you will find instead, that in the Playlists section, you will find “dated” dave stafford live music video session in chronological order – and this then frees me to pick and choose between the now, and the historical-that-haven’t-yet-been-processed – so I am recommending that you stick to the chronology as imposed by my “dated” session Playlists – or else, complete and utter confusion may be the main result 🙂  as for me – well, I am chronically chronologically challenged anyway – and confusion, well, it might be my epitaph 🙂   but playlists will get you the unconfused view of dave stafford live music videos.

I really enjoy creating these music videos, and trying out new instruments and techniques, I have never gone in for the “here is my demo of the roland gr-55 guitar synth” and then sit there, and play you ten seconds of each of it’s voices – instead, when I acquired the synth – I just started making videos with it, I just started using it, so you can learn along with me – and I hope that this can, will and might inspire others to pick up some of these interesting instruments, and have a go yourselves – I reckon that it’s easier to learn about something just by trying it – so, for my first ever video, “st. alia of the knife”, I selected the “oboe” voice, set up a nice reverb, ran an existing reverse loop – and did a live oboe solo / improv on video.  from there – I just kept working with the synth, until I eventually used it to create my first classical composition, my “concerto no. 1 in em for oboe and guitar” and also, I’ve continued to use it on improvs, as well as part of multi-track recordings such as “this is a test”, as well as the title track, from the “gone native” album, and in fact, I used it on several of the tracks on “gone native” – I really think that the roland gr-55 guitar synth is a great instrument – and I find that all of us who use the device can compare notes and share what we’ve learned via video, audio, and other modes of communication – indeed, why not?

but I digress, this is mainly a report of the now split-into-two “fair play” – and I hope you enjoy the original version while I continue to develop the second version, “fair play – advanced version” 🙂

 

until then I remain

your faithful servant

yours truly, etc.

 

 

dave

pureambient HQ – 20150214

 

 

 

 

studio diary 20150202

it’s a new year, and since during the past two months, I have completed not one but two major works, first, “concerto no. 3 in D major for piano & strings”, and more recently “concerto no. 4 in F major for harpsichord & strings”, I thought it was high time I turn to some of the other very neglected, and very excellent apps – I am not ashamed to admit that I have allowed Notion to dominate my musical life in the area of applications, for pretty much all of 2014 – and, that’s fine, because out of that, I’ve created two very interesting bodies of work: “music for apps: notion – an eternal album” and “classical – an eternal album” – and the quantity and quality of the pieces in those two albums meets with my wholehearted approval – I think these are strong works using an excellent application, and I know that over the years, both Notion the iPad app and Notion for the PC, will be my go-to apps for classical composition, and for alternative works involving a lot of orchestral instrumentation.

that is for the future though, right now, in the here and now, I have embarked on a new composition, entitled (at the moment, anyway) “fair play” – and this is my first piece created (this year) using the most excellent “korg gadget” application, which, in a sense, is like a new app – because of the presence now of “korg module”, which, interestingly, directly interacts with korg gadget” – in practical terms, this means that I now have available high quality grand piano and high quality electric piano samples available within gadget, via module – which is brilliant, don’t get me wrong, the original 15 synths supplied with the original gadget were and are, they remain, very functional and some of them, like the beautiful ambient synth, are both unique and very pleasing to the ear – and, very useful when composing for 15 synths, too!

so, I had downloaded “korg module” several weeks ago, and I had played through most of the extremely high quality samples available, and, really, as someone observed, that if you have this, and “neo-soul keys” (which I have but haven’t used much so far), and maybe, what is it, “sample tank” (which I don’t have) – that is “all you need” for sample-based jamming fun. I agree, but at the same time, I would actually welcome any number of products similar to “korg module” – basically, world-class samples, available for use on ios. Not just the ordinary ones, either, sure, those are great to have, but I’d welcome a sort of “komplete” for ios, obviously, it couldn’t have the many GB of content that “komplete” does, but, in a very scaled down version, with only the best and most essential samples – it would, it will, be brilliant !! come on native instruments – build for ios! teach korg how to do it right lol !  🙂 🙂 🙂 🙂 🙂

another example of this type of thinking, in new applications, is “ruckers 1628” a high quality harpsichord sample that I was very happy to obtain, so there are more and more of these apps out there based on quality samples – quite a lot of them already, really.

 

knowing that I now had the high quality keyboard samples available to me within “korg gadget” from “korg module”, I decided to create a new piece of music in honour of that. however, the song itself, had a strange genesis; when I first got “korg module”, I went through whatever process there was, and I was testing within “korg gadget”, to verify that I could indeed access and record with, say, the electric piano sample from “korg module”. I opened up a new, empty file, and randomly stabbed at the keyboard, just to make a noise, and recorded two bars of “music” – and there I left it. “fair play” for the first week or so of its existence, consisted of a sort of vaguely-gentle-giant-sounding electric and acoustic piano “riff” – so that was how it started. and when I say vaguely…I mean…vaguely :-). the riff was just about nothing, just a feeling…

 

a few weeks went by, and finally, I found some time, and I went in to create this new song – and I decided that its intro, at least, and possibly, part of the actual song, would be based on these random events that I had stabbed carelessly into the app weeks ago – so, I made a couple of very minor changes, and away I went. within a day or two, I had a lovely, 17 bar tune, with two decent themes, one of them based on that accidental intro.

 

The accidental intro worked beautifully, in fact, I ended up using it as one of my main themes, with various modifications, and it sounds as if it were planned into the song – when it absolutely was not – a complete and utter accident.

 

In the next incarnation, now at 34 bars, a third theme was added, which included some lovely parts done with the electric piano v. salzburg, one of the existing solo synths – a nice lead sound – I had them trading melodies back and forth, and it was really a lot of fun. I did also use acoustic grand piano, but not in a solo capacity, more in a supporting role, it’s time will come, but immediately, I was really enjoying the fantastic and very realistic electric piano sound – and I even took the opportunity, in the next incarnation of the song, to have a couple of bars of it “solo”, playing a lovely circular once-again-a-bit-like-gentle-giant riff – and it sounds great, when the drums stop, and then, when they start up again, it just rocks – really nice effect, having JUST that beautifully-sampled electric piano playing on its own out there for a moment, into a nice bit of reverb – fantastic!

 

the final session to date, added yet another 17 measures, bringing the total up to the current 51 bars, and this was really just further development of the existing themes, some different juxtaposing of electric piano v. salzburg riffs, and other refinements and improvements. when I do a play back now, I can’t believe this started with just two stunted, inaccurate bars of non-music riffage – it’s really sounding quite, quite good already.

 

It’s odd, when I read back the above description, it sounds like a really long song, so I should probably say, that the entire piece right now, in its unfinished state, waiting for a resolution to bar 51, which is just hanging in space, in the middle of a song, clocks in at a modest 2:15 !!! so I am thinking that I am perhaps, half way through the piece, compositionally speaking – I can’t see it being a lot more than four or five minutes – maybe, but it depends what happens next. I like the activity of the piece, I love that there are a number of themes and changes that really grab the listener’s attention; but I am far from finished with the piece.

 

so now I am just in a period of reflection – what will happen next? – add more instruments? carry on with additional content?, more refinements?, repetitions of themes? – or, make it short, end it sooner? – I have no idea (!?!?!?!!!!!) – what will happen next.

 

 

I will say, though, I have REALLY enjoyed working with “korg gadget” this time, moreso than ever before, and that is simply because the app has grown up, instead of those 15 synths of varying usefulness, there is now a core of truly great sounding important, core, sampled instruments, with the 15 synths providing a bit of variety and spice to those central samples. It’s amazing how going from 15 to 17 or 18 synths (depending on what you get in terms of in-app purchases) makes all the difference, but, it really does.

 

the weak spot: users of “korg gadget” will already know what I am going to say: drums. yes, there is a choice of drum machines, and some pretty decent and some pretty interesting choices of instruments within those drum machines. but…they all sound a bit wimpy, when I mentally compare them say to the drum samples in “nanostudio”” – well, then, I long for the powerful sounding drum kits of “nanostudio”. ok, sure, for a lot of modern styles (which I have almost no interest in) such as I don’t really know, dance music or whatever today’s version of “hip-hop” is) – the drum machines provided with “gadget” are probably sufficient.

 

I can (almost) make them sound like rock drums if I really work at it, but that’s really my only “gripe” about “gadget” – and I would have said so from the very beginning. I should be a bit clearer here: the drum synths are not BAD, they are just not in the Dave Stafford style, and they don’t have a lot of big, loud, rock and roll drums like some other devices do have – “nanostudio among them.

 

I think in time, with a few more high-powered, well-sampled sounds inserted, that “korg gadget” will be top of the heap, at least in terms of a sort of “studio” where you have a lot of good instruments from which to create whole songs. It’s already one of the top (MIDI) studios, along with “nanostudio and a few others – there are a lot of these, and some are better than others – but “korg gadget” is one of the good ones – and, it’s made better now through its marriage to “korg module”, which gives you more powerful sampled keyboards – which has taken a great app and pushed it towards the fantastic – well done to korg for that.

 

It still surprises me sometimes, after being away in the wilderness for many months using mostly “Notion” for everything, occasionally dabbling with other apps just to learn more about them, that I can return to an app like “korg gadget” or “nanostudio” after many, many months of not working with it – and (much to my surprise!) I can set up and build a new song as if I’d been using the app every day for a year! I think apps are like this – once you learn them, you don’t forget – unless it’s really, really tricky, in which case, you will need a written procedure ANYWAY – so for “korg gadget” or for “nanostudio” – I just sit down, and I build a drum track, and then some bass, and then some synths…and then I’ve got a song. they are equally easy to use, and I actually really love working with both of them.
there are others, like, “synergy” – I’ve done exactly one piece in “synergy”, which came out ok, but I’ve never “finished” it; same for “isequence” – one song, never finished; same for “cubasis” – one song or part of a song, never finished; same for “impc” – well, that’s a sampler, really, but again, I have started a song in it – and it’s an interesting process; never finished – but not nearly as easy to use and not as easy to get going in, as “korg gadget” or “nanostudio” are – those are the two most user-friendly, almost without a doubt.

 

then there is “auria”, which is audio only, and works well enough, it took me a long time to really get going with “auria”, and actually, it was through de-constructing that amazing james mccartney song that I learned about editing in “auria”, and it’s extremely useful for throwing tracks together quickly, just to see if they “work” together, or for editing audio which isn’t easy to do elsewhere on the iPad, I am glad I have “auria”, although my tendency is to master tracks in their original app, and then take them to the DAW on the PC for proper mastering, EQ and reverb – I have a LOT of tools for those processes on the iPad, but I just don’t trust them, and it’s just a bit tricky getting around on the iPad – I can do it SO fast, on the PC, that usually, my goal is, get the piece done, mixed as well as possible, and then, get it exported – get it OFF the iPad ASAP – and then take it to the DAW for all processing.

 

when I have time on my hands (almost never) I promise myself, that I will spend time working more in “auria”, using my various stereo placement and mastering tools, using my beautiful reverb units (and, I cannot fault the quality EFFECTS available on the iPad – I have a lot of those, and I do use those on tracks), in Audiobus, when I want a beautiful atmosphere for a track – I will use ipad reverb units – the best of which, strangely is probably AUFX: Space.

 

but it really depends, most songs, I tend to get to a certain point, where the playing is all done, and the mix is OK, and all I want to do is get it off the ipad! And hence to the PC for some PROPER processing! Master it, reverb it, etc. using the superior PC tools available in SONAR – I have an audio mastering template that is fantastic, where I can add appropriate amounts of compression, EQ and reverb – at will, whenever I finish a track – I tend to finish it here.

 

so somehow, I am not able to commit fully to the idea of making music FULLY on the ipad – I am happy enough to create in the apps, and mix in the apps, and even sometimes, use reverb to treat whole tracks – but then, it ends, and I want it off the device and onto the PC, so I can master and eq and compress and reverb to my heart’s content, the old-fashioned way.

 

I am completely set up for making music on the ipad, the WHOLE process, so I could carry on, add EQ as necessary, work on stereo placement, add reverb, etc. – and create FINISHED tracks that would not require a trip through the DAW mastering stage. I will try to start doing this in 2015, to see if I can “let go” of this desire to do things half and half – I want to create ipad music on the ipad, from start to finish, and PC music on the PC, from start to finish, and maybe even some pieces that combine the best of both worlds – who knows???

 

So that is what I will attempt to do, for one of my many resolutions I suppose…see if I can resist the temptation to do it the “easy way”, in SONAR, and instead, develop high quality, quick way of mimicking the PC process on the ipad – thousands of musicians are doing that every day, and I am avoiding it! I guess I am more old-fashioned than I had realised…

 

However – I am sure I can do this, there are already a few tracks of mine that were created without the PC process, so I know it’s possible. I can do it – it just takes time 🙂 :-). The challenge will be to create a mastering process that is just as quick and easy as it is on the PC (and, more importantly – just as good) – and I think that now, in 2015, that is actually possible. There are some nice mastering tools available now, for the iPad, and I am sure with time, they will just get better and better.

 

As time goes on, too, there seems to be more and more a “merging of church and state” – i.e. PC and ios ideas and processes are often duplicated (for example, “Notion for Ipad” and “Notion 5 for PC”) ok, that’s a bad example, because they are not duplicated, but, they are essentially the same, it’s just that the iPad version is less capable. So I believe that often, the processes on PC and ios are becoming more similar, although ios has lagged, and because of Apple’s desire to be a bit of a CONTROL FREAK, for example, Apple makes the “what SHOULD be the simple act of moving a WAV file”, into a ridiculous production – a little thing called “iTunes file sharing”. It took me a long, long time to accept that this is actually the way I have to move files in most cases (thank you, “nanostudio” and a few others, for your Nanosync or equivalent…bliss) but now, I am used to it, so I just hook up, attached to iTunes, download all my files, and distribute them to the correct folders on the PC for processing.

 

So Apple wants to control you, it wants to make things difficult to accomplish, and that is annoying and that is partially why everything takes so much longer on ios than it does on PC – it’s just SLOW!!! Annoying! Too slow…PC is a million times faster, for every process. But – the gap is closing, slowly.
Audiobus, was a huge gap-closer, a great workaround, and I love it, especially now the turbo-charged version where you can have multiple chains – wow – that is amazing! I love you Audiobus, – long may you reign.

 

OK, I have bent your collective ears long enough, I really just wanted to say that I am very happy to be working in “korg gadget” again, and I am looking forward to working in a LOT of different applications this year, to try and keep up the good work – please wish me luck – I really want to add many, many tracks to all of the existing eternal albums, while at the same time, I’d like to ADD as many NEW eternal albums as is humanly possible.

 

So we move from the notion year, to the everything else year – that’s my plan, and I hope I can stick to it. Am I missing “Notion”, am I craving lines and notes on the staff?

 

You bet I am.

 

But I will resist, and I will work in many, many other apps – without a doubt – and I will present the results somewhere on a Dave Stafford eternal album; existing or new – that’s my 2015.

 

Oh – and, I will also be doing guitar work, and guitar songs, and guitar improvs – including some new things which I will talk about next time around…can’t wait till then !!!

 

peace love apps and guitars

 

dave

🙂 🙂

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.

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

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

 

GLASSWORKS by Soniccouture

 

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

 

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

 

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

 

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

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

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

 

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

 

all tracks recorded 20141206 by dave stafford for pureambient records

all rights reserved © & ℗ 2014 / 2015

 

 

 

REV by Output

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

 THE IBANEZ RGKP6 KAOSSILATOR GUITAR

 

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

 

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

 

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

 

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

 

AND NOW FOR SOMETHING COMPLETELY DIFFERENT

 

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

 

THE FUTURE AND BEYOND…

 

So – what is to come in 2015?

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

 

Peace And Love To All

 

D. 🙂

 

universe of sound (the komplete world)

after forty-odd years in the music business, we decided at the start of this new year, that we would acquire a software suite called komplete 9 ultimate for use at the pureambient studio. the software comes from a remarkable german company called “native instruments”, who are truly the masters of sampling technology – and a few other things, too –

 

KOMPLETE 9 ULTIMATE – OVERVIEW & PRE-APOLOGY

 

this acquisition was intended to fill a few glaring omissions in our capabilities, such as proper strings, horns, basses, percussion, and so on, as well as providing the main elements for extending the classical music that we began releasing last year on the eternal album “classical”. this tool will allow for a speedier construction of classical pieces, rather than relying on the more piecemeal approach used on my first piece of classical music, “concerto no. 1 in e minor for oboe and guitar” – which was constructed almost line by line, using nothing but a guitar synthesizer.

 

as well as supporting classical music over the coming years, komplete 9 ultimate is also a natural for, and is eminently suited for, the production of music for films, which is another area that we hope to expand into over the coming years. this acquisition also bolsters the worlds of ambient music, as well as pop, rock, funk, jazz, and countless others – it’s hugely supporting in all genres, especially ambient.

 

we’ve only been using it for a short while, but already, we can see the enormous potential that this software suite has for adding quality sounds to the pieces that we create here.   and, it’s infinitely expandable, too, native instruments have purchased third party sound libraries and bundled them into komplete 9 ultimate, but you can also purchase other third party programs which you can play using komplete 9 ultimate “kontakt” sample player. so we will also be looking to acquire some of the best ambient libraries, which will also greatly expand our capability.

 

before I speak more specifically about what komplete 9 ultimate can do musically, I’d like to apologise to all early adopters and those who own komplete 9 ultimate or “kontakt” or both, I freely admit I am an absolute novice, I’ve been studying the suite in detail, learning the processes, slowly, over the past few weeks, and I do have a basic understanding in principle for most of what can be done with komplete 9 ultimate.   forgive me in advance if I say anything that shows just what a rookie I am at this, or I otherwise put my foot in my mouth – learning something like this can be a somewhat slow and painful process, even more painful when you are no longer young as I am. and – komplete 9 ultimate users – feel free to jump in and correct me, or offer advice or expand on anything I mention here – we are all of us learning at all times…and it’s best to share such knowledge freely.

 

my friend and collaborator ken mistove, my partner in saffron matted voids (the band), is a long time “komplete” user (I am talking about really long time – ten years! – and he has been doing electronic / digital music for longer still), and he warned me that I would be overwhelmed by this program – and, he could not have been more correct. in fact, weeks after it’s arrival, I continue to find more and more incredibly well-thought-out functionality, as well as becoming familiar with the synthesizers and the sample content. and it is almost totally overwhelming – it seems, almost, as if there is nothing this device cannot do…everywhere I turn, everywhere I look, I find something else that makes my jaw drop…

 

 

 

KOMPLETE 9 ULTIMATE – THOSE AMAZING SYNTHESIZERS

 

[ULTIMATE INDEED!]

 

 

so – where do I begin?   well, when it came down to it, even though I was incredibly excited about the sample library, and the sample player (which allows multiple instances of many, many instruments in one session – I had fourteen instruments loaded into a session yesterday, and the software coped beautifully) – it was the synthesizers that I gravitated to initially – because, perhaps, I knew they would be easy to set up and use – familiar. before we purchased komplete 9 ultimate, I had read in detail about the synths, so I couldn’t wait to hear them in person – and I was right about the ease of set up and ease of use: within seconds, I was up and running with “absynth”, a personal favourite synth that seems to favour ambient and atmospheric sounds.

 

but “absynth” is a drop in the bucket, a handful of stars in this incredible universe of sound, and while it features hundreds and hundreds of truly beautiful preset sounds, it’s just one of nine synthesizer models built into komplete. the entire list of available synths looks like this:

 

  • absynth
  • fm8
  • massive
  • monark
  • razor
  • skanner xt
  • reaktor (modular synth system – containing many synths)
  • reaktor prism
  • reaktor spark
  • retro machines (which contains no less than 20 classic synthesizer instruments within)

 

so far, I’ve only truly managed to hear and use five of these synths, absynth, fm8, massive, reaktor prism, and retro machines, but even so, I’ve been utterly impressed with the build quality and the amazing attention to detail – this is precision german engineering like we used to have back in the 60s and 70s!

 

I have created a few test pieces in absynth (consequentially falling in love with it); I created an entire suite of 23 pieces using the fm8 synthesizer dave stafford – music for pcs: komplete synths”, I’ve created one very complex ambient piece (which is incredibly atmospheric) using massive “wanders down to the sea”, and for fun, I’ve played some of the classic organs, electric pianos, etc. in “retro machines” – “synths within a synth” which is a strange way of working, but I am getting used to it 🙂

 

in every case, the attention to detail, and the extremely fine level of control over sound in every one of these synths, has been overwhelming and most, most welcome. I have a lot of soft synths, but this collection of nine software synths kind of…blows away the competition, and as my friend ken mistove also said: “you will never need to buy another instrument” – and I can already see the truth in that.

 

while I might not “need” to, of course, there will still be some cases where I will “want” to – I am especially interested in some of the available third party ambient sample libraries, but that will have to wait – in the meantime, I have an awful lot to learn and trial just with the komplete 9 ultimate package itself.

 

after my initial very positive experience of playing and using “absynth”, I moved on to “massive”, and I decided to lay out and record a track using four instances of “massive”, each set to a different sound – and I then did a somewhat clever arrangement where I muted sections of each track, to allow other parts to shine through, creating a sort of ever-changing mood – a dark mood, with the sound of wind and seagulls crying and a vision of a bleak, grey storm-tossed day – again, I was amazed at how quickly and easily I could set up four instances in my host (my somewhat antiquated SONAR 8.5) and it coped beautifully – no problem.

 

I also created a short ambient piece within “reaktor”, using the “reaktor prism” synth; a portion of this track remains, entitled “fragment of a lonely molecule” – a truly beautiful sounding synth, which I plan to revisit often and use much, much more…

 

encouraged by the success of “wanders down to the sea” in “massive”, I then turned my attention to “fm8”, in which I created a whole series of tracks (“the rings of saturn”) from “dave stafford – music for pcs: komplete synths”, as well as some arranged “suites” where I took a set of smaller files and mixed them into long, linear sequences – providing a blended view of the basic tracks, as opposed to the individual view of each piece.

 

a few hours later, I realised I had created no less than 23 tracks using “fm8”, and I am so enamoured of this synth, it has a lot of great, visceral sounds, and a lot of charming, melodic, or dissonant, or strangely jazzy, arpeggiators, and the sheer range of voices available within fm8 is mind-boggling. It was a fun session, and as such, I made the decision to create two eternal albums for komplete: one for “komplete synths” (LINK) and one for komplete samples (LINK).   These have both been up and running for a couple of months now, and while the “komplete synths” album has a reasonable number of tracks, I’ve been very slow to create using the “samples” – but, I will get there, I will – I just need time! 🙂

 

the 23 tracks made with “fm8” and the one piece made with “massive” “wanders down to the sea”, are all uploaded to the “dave stafford – music for pcs: komplete synths” eternal album. I plan on working with each of the synths in turn, and uploading the results, so you can hear what each one of these remarkable sound creation tools can do. If I have my way, by the end of this year, the “komplete synths” eternal album, will have dozens of tracks made with a myriad number of available synths – and I hope I can just keep creating and creating – those are 9 amazing synths, each a master of the domain it covers, and I can’t wait to create more music with all of them – the synthesizers built-in to komplete 9 ultimate are absolutely brilliant!

 

THE HIDDEN GEM WITHIN KOMPLETE 9 ULTIMATE – GUITAR RIG 5

before I continue on to the samples section, I must not forget to mention one of the biggest selling points of komplete 9 ultimate, for me, which is the presence of “guitar rig 5 pro” – I had been underwhelmed by an earlier version of guitar rig, which I got bundled with SONAR, “guitar rig 3”, so I’ve now uninstalled that and I am using “guitar rig 5 pro” instead.

 

what a difference. the preset library is vastly improved, and the range of effects, and the flexibility provided in setting them up in the rack, are simply astonishing – to me, this is one of the most important pieces of guitar software to come along. so after working with the synths, purely for fun, I recorded a handful of pieces using “guitar rig 5 pro” – and I am more than impressed with the sound quality and the presets – it’s an awesome and powerful guitar amp and speaker cabinet emulator, and it has a huge range of high quality guitar effects as well. a couple of these pieces may see the light of day, but they were mostly for reference, and just a way of trialling certain patches and sounds.

 

this is now to the point, since “guitar rig 5 pro” is clearly superior to many guitar processing devices in both the hardware AND the software arena – I am at the point, where I can now happily retire my ailing “line 6 x3 live” hardware pedalboard guitar effects processor, which is now basically redundant (it has served me very well since 2008, but it’s now time to be retired at long last).

 

because I can pretty much re-create every sound in the line 6 using “guitar rig 5 pro” instead, and more – so that’s actually a blessing – no more effects on the floor (although I will always have my faithful “output chain” of hardware effects, harmonizer, delay, reverb at the end of my signal chain) I believe I will now use “guitar rig 5” for most of my guitar sounds, and anything it can’t handle, I can program into my gr-55 guitar synth – so guitars, and guitar signal processing – are covered! and I mean…covered.

 

it’s always very difficult, because over time, you have various tools that you use to record guitar or synths with, and eventually, better tools come along. and, you can run both old and new, that’s not an issue, if you want to – but my preference is to keep effects units down to a dull roar – so I am going to TRY to retire the line 6 x3 live – I mean, it is six years old, which in dog years, is, I don’t know, 70 years or something – and technology has moved along SO FAR since the X3 Live was designed…

 

so for the first week of my fledgling native instruments life, I learned about the synthesizers and I learned how to run “guitar rig 5 pro” – and that was a huge amount to learn, but, I have the basics down, and I can rely on both the set of nine included synthesizers (plus 20 more vintage instruments within “retro machines mk II”) and the extremely impressive “guitar rig 5 pro” interface. I could have gone on working with the synths and guitar rig for weeks and weeks, but I wanted then to shift gears and look at the sampling capabilities of “komplete”.

 

SAMPLING – THE HEART AND SOUL OF KOMPLETE ULTRA

[REAL INSTRUMENT SOUNDS – AT LAST!]

 

the list of sample-based instruments is even more impressive than the list of synthesizers:

 

  • kontakt – the main user interface / sample player for all sampled instruments:

 

kontakt is a very powerful environment, that allows you to load multiple instruments (built by native instruments, and many other vendors as well), which can then be routed either each to their own output (for maximum recording flexibility) or they can be routed to various stereo or mono sub-mixes – really, whatever your heart desires. you can save overall “presets” in kontakt itself, so if you hit upon a winning combination, say, “abbey road drums 1960s” and “scar-bee rickenbacker bass” and “guitar rig 5” you can save that configuration, including whatever output configurations you have, as well as the specific settings of each device – to a kontakt “preset” – for easy recall / re-use..

 

another positive aspect of the kontakt sample player is it’s ability to play not just native instrument plug-in instruments, but also, instruments made by third party vendors such as soniccouture, waves, scar-bee, g-force, and many, many others.

 

each instrument that is loaded into your kontakt session, also has a page for it’s settings, where you can choose instrument presets, adjusting the sound of the instrument until you are happy with it – then, you save your changes – then, you save your kontakt preset – and all of the instrument settings are saved as part of your “overall” kontakt saved preset – fantastic. so you can create very complex presets, that contain your favourite instruments, set just the way you want them, which can be recalled instantly in any combination – it’s absolutely outstanding.

 

here is the seemingly never-ending list of sampled instruments that come with komplete 9 ultimate.

 

  • action strings
  • session horns
  • damage (industrial and orchestral, cinematic drums and percussion)
  • evolve
  • session strings pro
  • evolve mutations
  • evolve mutations 2
  • battery 4
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa (a personal favourite)
  • balinese gamelan (another personal favourite)
  • maschine drum selection
  • scarbee rickenbacker bass
  • guitar rig 5 pro
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • rammfire
  • scarbee jay-bass
  • the giant
  • vintage organs
  • alicia’s keys
  • george duke soul treasures
  • scarbee a-200 electric piano
  • scarbee mark I electric piano
  • scarbee clavinet/pianet
  • berlin concert grand piano
  • new york concert grand piano
  • vienna concert grand piano
  • upright piano

 

bear in mind that each one of the above instruments, has a broad range of “presets” giving you as many different optional sounds for each instrument as is possible, “muted”, “picked”, “fingered”, and so on – so it’s not just a “rickenbacker bass” – it’s a rickenbacker bass that can be configured from anything such as a very timid, high pitched highly eq’d clean bass sound, to various much louder presets that emulate different sounds that this bass is capable of, and that includes both DI and “amped” sounds, so you get an enormous range of flexibility with every instrument listed above!

 

as explained elsewhere, those settings can be saved as part of a kontakt “preset”, so you could have one set up with a super clean, thin sounding Ricky bass, and another with a very distorted Ricky played through an emulated British amp – two EXTREMELY different “bass guitar” sounds from the same instrument.

 

In the classical world, the options are of course, much different to the options for a rock instrument, so for violins, you would have a huge range of various playing styles or articulations, legato, staccato, pizzicato, and so on – and just about any kind of articulation you can imagine, including some rather obscure ones, and also, it’s incredible to get these precision articulations, and of course, as with all quality samplers, there are also extreme velocity choices, so that you can emulate the velocity that you would apply to the real instrument, on the keys of your keyboard instead. all of these options are on every instrument where they exist, although some instruments may have just a handful of possible presets or articulations, others may have dozens – maximum real-life playability issues have been addressed as much as humanly possible.

 

 

…not to mention a massive range of high quality software effects and audio processing tools included in komplete 9 ultimate:

 

  • solid EQ
  • solid bus compressor
  • solid dynamincs stereo compressor
  • rc-48 reverb
  • rc-24 reverb
  • vari comp compressor
  • enhanced EQ Equaliser
  • passive EQ Equaliser
  • transient master Equaliser
  • driver distortion unit
  • VC76 FET compressor/limiter
  • VC2A electro-optical compressor/limiter
  • VC160 drum compressor
  • the finger – live performance and remix tool
  • the mouth – generates melodies and harmonies from any audio input
  • reflecktor high performance reverb effect

 

 

for full details, have a look at the product page on the native instruments site:

and here is the effects page on the native instruments site:

 

 

my first foray into the world of sampled instruments was a piece I created using various sampled elements, entitled “the giant’s causeway”, which contains three sections:

 

1)     “the giant prelude” features “the giant” cinematic instrument (a cinematic / orchestrator / ambient piano kind of sample set) – I played one take, which was best, and that became “the giant prelude” – perfection.

 

2)     “allegro in a minor” features “action strings” (which include moving passages of strings created with an “animator” function – which is truly awe inspiring)

 

3)     “giants on the causeway” following, the third and final section of the piece; features a manually played drum part;/ the scarbee “rickenbacker bass”; and a truly beautiful flute and strings mellotron sample, plus a short solo on a vintage organ.

 

“the giant” instrument just blew me away, I did a take one take of a sort of reverse piano strings/unknown kind of sample, and it came out totally usable – in one take!!! I will absolutely be revisiting this instrument, and I could see creating large, ambient compositions using JUST this instrument.

 

once “the giant” section was recorded, I added in the “action strings” instrument, and spent quite some time writing and laying out a short violin quartet piece in the key of a minor. note: this is where the “staff” view in SONAR becomes invaluable!) while short in duration, the SOUND is amazing, it sounds so incredibly real (because, let’s face it – it IS real!) because of the use of the strings animator – which gives you real “sections” or “passages” of bowed strings – in a significant number of styles, legato, staccato, pizzicato and more. this section took me a while to complete, but eventually, I did finish it to my satisfaction.

 

the third part of this unfinished piece was a rickenbacker bass line, set against some manually played drums, finished off with a live mellotron take, flutes and strings – plus a short solo on a vintage organ – and I have to say, the scarbee rickenbacker samples are out of this world – there’s even a “british” setting which gives you a roaring live distorted chris squire sound that just blows you away. even on the clean settings, this instrument screams “I am an authentic ricky bass” – and the distorted scarbee bass part just SOUNDS amazing…

 

this piece remains unfinished, but I always considered it as a test piece, a learning curve, a learning tool, a learning experience. I did rough mixes, and kept the three sections separately as demos, but I don’t believe that this piece will be published, but if it does, it would definitely be “the giant” piece, possibly the string quartet, and doubtful, probably NOT the rickenbacker section…which SOUNDS great (especially the distorted ricky bass line!), but wasn’t (necessarily) a great piece of music…

 

so “the giant’s causeway” went onto the shelf, however, since it was my very first piece (beyond playing a few synths) – proper piece – done with komplete – I was happy enough with it. I learned…

 

I will very, very probably attempt the piece again; I would retain the original part one, since it’s a live, take one, that is basically flawless, I would rebuild and expand the string section, and completely revamp the “prog trio” of drums, bass and mellotron/organ at the end. so – I am keeping the shelved demo as a reference…for now.

 

I then turned to an instrument that I was very, very curious about, “west africa” – I lived in east africa for four years, and learned to appreciate african music back then (especially congolese music) so having high quality samples of african instruments was a very exciting prospect to me.

 

I first constructed a “duet” of two koras; one, playing midi patterns emulating a rhythmic picking cycle, and another kora, where I played melodies “free hand” on top of the moving background. I did two takes, both of which I enjoy, but since I am not entirely happy with the melodic content on either (although the second take is actually quite good) I have also shelved those – and since then, much more recently, I sat down again with the kora duet template, and create a third piece, another kora duet, entitled “the heart of africa” – and this take, I think is quite decent – and I thoroughly enjoyed working with these amazing sounds.

 

I plan to practice on all of the west african instruments, and I hope to arrange more complex pieces of music involving west african drums, flutes and stringed instruments…a side project that will keep me busy for years! I would never have dreamed that I would have a sideline in african music one day – but I will, because I love african music, and the more I work on it, the better I will get at emulating it…

 

after the two shelved kora duets, which were followed very recently by the successful kora duet, I then turned to my first use of “multi” instruments, and, with the invaluable assistance of ken mistove, I eventually learned and understood how to create multiple instruments within a single instance of kontakt – and once I “got” that, I could sit down and attempt a full on piece of sampled music.

 

I randomly selected a preset “multi” instrument from the evolve mutations instrument, and it proceeded to load 12 instruments that created one of the most atmospheric, eerie “drum kits” I have ever heard.

 

it took a couple of tries, but eventually, I got a good quality drum track, and then I turned to the other instruments. a proper bass part was in order, so I loaded up the scarbee pre-bass (amped version) and got a nice, full bass sound – recorded a bass part to go with the drum part – and again, very impressed with the scarbee instruments, they seem to do a very good job of getting the authentic sound of classic instruments sampled to perfection – the “pre” bass (i.e. based on the classic fender precision bass guitar) is another one that is of the highest quality, as the scarbee rickenbacker bass samples are as well – Native Instruments has scooped up two fantastic bass instruments from scarbee, and it’s a great acquisition – I hope they adopt more scar-bee products, I really do.

 

finally, I worked at overlaying a section of grand piano, courtesy of the “george duke soul treasures” instrument, an absolutely stunning set of riffs recorded on grand piano, electric piano, organ and other keyboards – and all simply classic – great sounding samples!

 

in this case, I actually reached the maximum possible number of instrument that can be crammed into one “kontakt” session – so once again, familiar theme emerging…I abandoned the piece unfinished – again. in order to complete it, I will need to mix down the drums and bass together from the unfinished session, and move to a new session to overdub many george duke piano samples atop the pre-mixed (bounced) bass and drums – and at that moment, I didn’t feel like going through that process.

 

instead, I set it aside, and I moved on to my next test piece, my next “komplete” learning experience.   I wanted very much to try the “session horns”, so I built a short introductory piece, entitled “softly, softly we go”, which featured a group of horns, in a nice reverb room, with a “soft” instrument setting, playing a mock classical theme – a lovely sound, and as far as it goes – a good intro or lead-in piece to some larger production.

 

to follow the horn intro, I wanted a drum track, using the abbey road 60s drummer (because I wanted to learn how to compose drum tracks) so using this instrument, I built a nice long drum part, with various sections, and some fancy fills, and I have to say, although completely unadorned, it’s one of my best pieces yet.

 

finally, I sat down and re-made my kora duet, creating a much better backing track, and, hopefully, performing better melodic lead parts atop the pattern generator rhythms.   that, “the heart of africa”, and my unadorned abbey road 1960s drum part, is where I am right now with sampled instruments – and using kontakt to create drum parts, using the abbey road 60s drummer – could not have been easier – in short order, I had the process down, to where I could build an intelligent, varied and interesting drum part quite quickly – the whole thing took less than an hour.

 

but – the piece remains unfinished, again, I have kept two separate demos, one of “softly, softly we go” – my gentle, quiet horn intro – and another of the untitled-so- it’s-called “abbey road drums 1960s” aka “run into town – run 1” for reference, I hope to probably re-make the horn part, make it more concise, and create more space in it, and of course, I then need to decide what goes on top of my beautiful, recorded in abbey road studio no. 2 drums. sigh… (note: eventually, of course, a Rickenbacker bass part went on top of the drum part – and then, a host of live energy bow guitars…),

I also had an absolute blast doing a bass solo with the scarbee Rickenbacker bass instrument, “amber waves of grain” – over 10 minutes of sheer Rickenbacker tone.

another aspect of komplete 9 ultimate is the undeniable fact that it is making certain instruments and software, no longer useful, it is literally making them redundant – as komplete can do the job more easily, with better samples, with a mature GUI (kontakt) than earlier third party apps can, or, better than older hardware effects can L.

 

so in this case, for example, while I will probably install my old drum machine software, which is called “BFD2” (this was utilised heavily during the making of “gone native”), I will only do so, so I can see and use the drum kits / samples it contains – which I would use via kontakt within komplete – NOT through the much more difficult to learn, and use, BFD GUI.

 

in a way, I really don’t NEED BFD any more, because I have several sampled kits from abbey road studios, plus, I have “battery 4” and a few other percussion based instruments – there is functionality and samples far beyond what BFD offers. so as I say, I would still use their kits (which sound great) but not their interface J.

 

so, if I am honest, komplete has made the following software and hardware items redundant:

 

redundant software:

 

bfd2 drum machine software + sonar’s session drummer 3 drum machine software – replaced by:

 

  • damage (industrial and orchestral, cinematic drums and percussion)
  • battery 4 (massive drum machine / sample player, with many, many drum kits)
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa
  • balinese gamelan
  • maschine drum selection

 

note: both bfd2 and session drummer 3 are still available to use, either by using their kits from komplete / kontact, or by using their own GUIs if desired – but, not sure I would ever use either again given the list above.

 

redundant hardware:

 

 

line 6 “x3 live” guitar effects pedalboard – replaced by: guitar rig 5 pro, plus, sampled guitars and basses:

 

  • guitar rig 5 pro
  • rammfire
  • scarbee rickenbacker bass
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • scarbee jay-bass

 

 

 

“digitech” TSR24-S hardware 24 bit reverb unit – replaced by:

 

  • rc-48 reverb
  • rc-24 reverb
  • reflecktor high performance reverb effect
  • galbarnum breeze 2C reverb (reverb plug-in for SONAR) – additional reverb choice “outside” of komplete itself
  • all four of these reverbs can be “called” from within SONAR, so it’s very, very useful to have access to these high quality effects, even for improving content that was not created in komplete 🙂

 

plus

 

  • eventide “space” hardware reverb – this is part of a permanent installation of three hardware four hardware effects that sit at the “end” of my mixer output chain – so, the final stereo output of the mixer, goes directly to these four hardware plug ins, and THEN to the sound card.

 

I’ve learned over time, that certain effects sound best in “front” (so just after the guitar, as part of your mix, occupying two or three stereo pairs on the mixer) while other effects work best “after” the mixer (such as pitch units, delay units, and absolutely, reverb units).

 

so, reluctant as I am to do so, it’s probably time to retire the “digitech”, and rely on the three high quality reverb units within komplete 9 ultimate – as well as galbanum’s 2c “breeze” reverb software – which in itself, was and is probably a replacement for the ancient tired “digitech” rack mount 24 bit reverb, not to mention the eventide “space”, which again, in itself, is probably a replacement / improvement over the digitech.

 

In a perfect world, I’d love to just run everything, and in some respects, I have been doing so, I’ve certainly kept a number of hardware devices running that I have replaced several times over – so I have to bite the bullet now, and actually remove the older, noisier technology, and whether I will or not, it seems that software synths and software effects are gradually taking over my set up, which is actually not unwelcome, and I hope that this summer, when the studio is moving, I can re-arrange the studio to support a less-hardware dependent sonic environment.

 

Purchasing komplete 9 ultimate gives us a lot of that software, bleeding edge software synths and effects, awesome high quality samples, and other factors, such as the emergence of very sophisticated applications for the ipad tablet and also, for the PC. In future, I will probably end up using a very hybrid system, were some tracks are created on the ipad (and eventually, too, mastered and mixed – tools have emerged…), and then moved into komplete, and then mastered and mixed in SONAR and/or komplete and/or Adobe Audition (where I do a lot of my simpler mastering now). The fact that I can do these processes in multiple “places” gives us an enormous amount of choice, it’s absolutely fantastic what can be accomplished.

 

Other tracks would be created wholly on the PC, using PC software only to create, master, and mix them.   Still others would involve the use of “real” instruments, guitar, synthesizer, keyboard, kaoss pad, percussion, etc. which can be processed through software packages such as “guitar rig 5” and also, the studio quality effects within komplete 9 ultimate. The RC-24 and RC-48 reverb units are especially absolutely lovely, they sound great, and I am really enjoying them.

 

The appearance of a massive army of music applications on the apple ipad, has changed forever the way I make music. Over the past few months, I’ve been scoring classical, acoustic guitar, and alternative music using a notation application called “notion” – and I can see myself exporting tracks from notion, and then importing them into komplete, to add the highest quality sampled instruments to the basic instrumentation created by my original score on the ipad.

 

I will absolutely be using a combination of pieces:

 

  • music created wholly on the iPad (which WILL include guitar and loop work, not just synthesizers – thanks to some truly quality guitar applications such as BIAS, Ampkit+, and GuitarTone)

 

  • music created using the ipad and my guitar or guitar synth

 

 

  • music created entirely on the PC, not utilising any ipad applications, the kaoss pad, or any “physical instruments” such as guitar or bass

 

  • music created using the ipad, the korg kaossilator, my guitar or guitar synth, bass guitar, live keyboards courtesy of various software synths, and anything else I can throw into the mix

 

(I call this last one the “all instruments” set up – it allows me to use, in a completely live setting, guitar, keyboards, kaoss pad, ipad, and of course, a lot of effects units, including loopers). The looper captures the live performance, and the output of the looper is optionally run through the pitch pedal, the delay, and the reverb (my standard set of output live hardware effects pedals), and finally recorded in SONAR.

 

The arrival of application-based music meant that my record-keeping was really thrown askew, because you can create so much amazing music so quickly with applications, I realised early on, I would need a special forum to create them in, so before things got out of hand, I split my recorded music collection into two distinct areas:

 

Music Dave Stafford – the traditional home of most traditional recordings, anything involving real guitars, real basses, real keyboards, and looping thereof – which may also include the occasional ipad or kaoss pad in a guest starring role – they are not banned, it’s just this is the home of more traditional instrumentation.

 

App-Based Dave Stafford – there is a folder for each app, containing both sessions and finished product, I am so glad I did this now, because now whenever I complete any piece in an app, I have a specific place to store it, from which to upload to Bandcamp, or Soundcloud, or to my website – or for whatever purpose I need it for.

 

This means that any very hybrid music, that crosses over between these two broad categories, I’ve chosen to move that kind of music into the “Music Dave Stafford” folder, because it contains the real instruments, which is really the main characteristic of the music in this folder – the presence of real instruments, played in real time or looped.

 

The arrangement is working well so far, I am not surprised by how many app folders I already have, and as time goes on, there will just be more and more, but I think that’s brilliant – and the emergence of more and more sophisticated application music creation tools, is almost irreversibly moving me more towards app-based music – my next eternal album is focussed on one of my more recent app acquisitions – the iVCS3 , a perfect replica of the 1969 beast of a synth that powered the sound of early roxy music and early king crimson – one of the first truly sophisticated modular synths, and the application version is uncanny for it’s realism – it’s a fantastic, primitive, visceral, wonderful device that spits and fires, drones and warbles, and has a fantastic set of pre-sets, too – including the famous never-ending synth pattern of the Who’s “Baba O’Riley” – and it’s very, very odd to hear that playing on your ipad, from an emulation of the device it was originally created on!   The makers have included the Who session as a preset – amazing!

 

I’ve been playing the iVCS3 recently, and I have recorded a number of tracks, which while not quite ambient, I am happy enough to give them the name “drones” – so, some elements of ambient, then, but, some other, harsher elements too.

 

I believe I recorded about a dozen tracks, a few of which turned out to be somewhat substandard (clearly a beginner with the device, you can’t win them all!) but I believe that about eight tracks have survived and are some cracking representations of what this amazing synthesizer is capable of. I’ve mastered three of the tracks, and I hope to work on the rest this weekend, with a view to get the album posted before Monday – that’s my hope, difficult to say if I really will make that date – I shall try.

 

The pieces recorded are simply remarkable, no thanks to me, my involvement is minimal, but, I did need to be involved, it’s strange, in that when you “play” the iVCS3, you don’t often really use the keys, you more often use the knobs to create variation of a running theme. I was very intent on getting some excellent tracks out of the device, so I very, very carefully and very gingerly turned knobs, until I understood what each one did…and then I felt free enough to really experiment, so I really branched out on the last few numbers, which were all longer-running pieces, one of them extending to over ten minutes.

 

So I have momentarily, turned away from working with komplete, but that’ not to say I have stopped, in any way – it’s my intent to work with komplete as much as my schedule with allow me – and my first goal, is to take a complete bass and drum track, that I did a lot of work on, and see if I can create a proggy version of it, complete with precision prog guitaring – that is my goal for this piece. So komplete is waiting for me, and as soon as I get back to it, you can expect a slow but constant stream of music, of many, many kinds and styles, to be built with the remarkable toolset available within komplete 9 ultimate – an awe-inspiring piece of music software that if you had told me about it 20 years ago, I would not have believed you, I would have said it was impossible for such a thing to exist, on a computer…

 

But – exist it does – and we really wanted to step up a bit, and have the capacity and ability to create a much, much broader range of sounds than we previously had available – and the nine synths and the many, many sampled instruments within Komplete, gives us just that! And – the future – there are many amazing instruments available that will run in Kontakt, so we do plan to pick up some of them over time – the first acquisition will be a very special tool, meant to bolster the ambient sampling capability of the studio – soniccouture’s remarkable “geosonics” instrument.

 

This remarkable third-party instrument, which runs in kontakt without issue, manufactured by soniccouture, is comprised of four different musical “sections”, each one representing a season, and many of the sounds have been sampled from nature, all over the world, and compiled into this unique instrument – and some of the “combinations” of sounds they have created are truly remarkable. So I have “geosonics” on my wish list…and I also have a large number of other third party instruments that I would love to add to my sample player set up 🙂

 

In any case, I cannot recommend native instruments highly enough; who have patiently worked on kontakt, reaktor, and all the instruments that plug into them; and Guitar Rig, one of the most amazing software guitar processing packages I have ever seen –and their choice of subcontractors, i.e. companies that have created unique and very special instruments, which native instruments have added to their product offering to make it more attractive. That includes but is not necessarily limited to Soniccouture (whose “gamelan” instrument is included in komplete 9 ultimate – one of my favourite instruments so far – have a listen to my gamelan-created track “bird of paradise”), Scarbee, who make the amazing “rickenbacker bass” instrument (and several other bass and guitar emulations, too!) – which you can hear on “run into town – run 1” or “run into town – run 2”– that thing is just so amazing sounding, completely authentic, and when you couple it with a high quality sampled drum track, it sounds completely real – because of course, it IS completely real.

 

That…is the beauty of sampled instruments. They are real ! Therefore…they SOUND real.   Which is a good thing 🙂

 

mobile universe of sound (the ios world)

the ios universe of applications…is heaven for synthesists and musicians alike.  as a guitarist, I appreciate guitar applications, but my passion is collecting synthesizers…also, real synthesizers were always big ticket items, and I couldn’t afford the nice ones.

for me, ios, and the availability of inexpensive apps that emulate great synths old and new, changed everything.

pre-ios, I had a limited number of hardware and software synths, and the soft synths mostly had to be run inside my DAW, or in some cases, as a standalone application on the PC, but still, I had no access to an almost limitless array of synthesizers – and now, with ios and the amazing developers who populate it, I have more choice than I can deal with!!

HARDWARE SYNTHS

or, how it all started…

imagine if you will, then, a guitarist who has been working on music for many, many years, and during that time, dabbled in synthesizers – in the early days, I had an arp odyssey (a mark I, no less!), surely one of the most difficult to tune synths of all time; I had a wonderful serge modular system, and to my everlasting horror, I foolishly sold them off many years ago…

then, by chance almost, I picked up a couple of classic yamaha hardware synths: a dx7s, and a dx11s, and the dx7 saw service in the live set up of the band bindlestiff, where I played synth on stage as well as ambient loop ebow guitar – and my partner played a korg, so that was a great contrast of two fantastic synths – and if you listen to some of the pieces we did with that combination, yamaha and korg, such as “the wall of ninths” or “pacific gravity” you can hear what two classic synths can do in live performance.

so – during the first thirty five or forty years of my career, I owned at most, five hardware synths, and now, I am down to three – and that was it.  then came pro tools and sonar and soft synths in general, and I have a reasonable selection of those, which made recording much easier – in particular, having a decent grand piano, “true pianos”, was very useful, and I’ve used “true pianos” for a lot of projects, from my own songs to covers of peter hammill and van der graaf generator.  I picked up the wonderful “m-tron pro” mellotron software, which inspired one of my best solo albums, “sky full of stars”, and I also have “BFD2” a dedicated drum program, which allowed me to have professional sounding drum tracks when making the rock / prog / ambient album “gone native” – and if you take your time with it, you can make really great drum tracks with, such as this one, “wettonizer”, from the “gone native” record.

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

having owned such a limited range of hardware synths, I never really got the chance to expand my knowledge of synthesis by owning and playing a variety of synths, and I certainly never would have been able to afford most of the desirable synths (I remember playing a korg M1 when they came out, and just practically drooling with desire – but I simply could not afford it) – so I never bought a modern synth.  I do love my yamaha dx7s, as eno has noted, it has a few really great sounds, it does certain things very, very well, and there’s nothing quite like it.

but overall, besides a modest collection of standalone and DAW-based soft synths, I really felt like I didn’t have much chance to understand, for example, the differences between additive synthesis and subtractive synthesis, I never really felt like I totally understood the magical relationships between oscillators, filters, modulators, and amplifiers, because I didn’t have examples of the many, many various hardware devices with their wildly differing approaches to synthesis.  arpeggiators and sequencers were largely mysterious to me, but after working with the fairlight app (now called peter vogel cmi) for a year or so, I really “got” how sequencers work – which then meant I could use them with better clarity in many, many other synths that feature them.

THE ARRIVAL

then came ios.  the apple platform, and, when you look at what is available for music – well, that’s what made me decide which tablet to get, when I saw what I could get on ios, at the time, compared to the relatively modest selection of apps on android – it seemed a no-brainer.  I realise that over time, android is catching up, but I still don’t know if they will ever match the range, scope and incredible diversity of synths and near-synths that the apple store boasts – it’s astonishing what is available, and it’s astonishing that you can buy a massive collection of the world’s best synthesizers for a fraction of what the hardware versions cost – a tiny, tiny fraction.

FIRST GENERATION SYNTHS & THE FAIRLIGHT

so I went for the ipad/ios combination (despite not being a huge fan of apple in general!) and it was the wisest choice I ever made.  within minutes, I was beginning to collect that massive set of synths that I could never in a million years have afforded in the hardware world – I started out by buying something that would have normally cost me about 20 grand, the great 80s sampler, the fairlight – and I spent about a year and a half, learning how to build sequences the slow way – and it was a fabulous learning experience, and I came to understand how the fairlight works, and how to arrange the instruments into sets, and create music in a way I never had done before (step by step) – quite inspiring, and very educational – and as I said, I could then transfer my new sequencing skills, to many, many other devices that support sequencing and sequences.

MOOGS & KORGS – GREAT EMULATIONS

another early purchase was moog’s “animoog”, and even now, when I have more app synths than I know what to do with, I am constantly returning to this synth, with it’s ever-expanding library of great sounds.  the korg “iMS-20” soon followed, and that was probably the synth that I truly started to learn from, because it’s so visceral, and so visual, with it’s bright yellow cables in the patch bay, and it’s utterly faithful graphics…  the first generation synthesizers that were first available on ios were already excellent, emulating hardware synths that would have cost me thousands, now mine just for a few quid on ios.  unbelievable – because I never would have owned any of those in my real life, because the hardware versions are so incredibly expensive – well beyond my means.  for example – the fairlight cost about ten thousand dollars more than my annual salary the year it came out.  now – it’s mine for a pittance…

AND ARTURIA TOO…

other early device purchases were my beloved “addictive synth”, the very, very capable “n log pro” – a great sounding little device;  “mini synth pro”, and another real favourite, the arturia “imini” – a mini-moog style synth on an ipad !!

between arturia’s “imini” and moog’s “animoog”, I was set to go for that style of synth. also, synths like the great bismarck “bs-161”, the very capable “sunrizer”, “cassini”, the amazing “alchemy” synth; the list goes on and on and on….

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

then you get unique and amazing synthesizers like the touch control “tc-11” synthesizer, which takes real advantage of the ipad’s large screen, and delivers a synthesizer-playing experience that is unmatchable – you place your hand or hands on the screen, and by moving your fingers and hands in various ways, you “play” the synth – there’s no keyboard, but this shows you that you don’t necessarily need a keyboard to make beautiful synthesizer music (something I’d learned once before, when I got my first korg kaossilator – amazing hardware device!) – and you can produce truly beautiful music using a non-traditional interface like this – “tc-11” is simply, one of the highest quality, most remarkable devices that’s ever appeared on iosios – I absolutely love it.  one of my very favourites, I do like synths that don’t have keyboards, but out of all of them, this is the most fun, and most creative, to work with and use to produce  startlingly different synth music, often of great beauty – the remarkable “tc-11”.

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

very quickly, I became a true collector of synth applications, and guitar applications, too – but it’s those synths that I keep going back to – and now, the second generation of application-based synthesizers are here, and they are beyond fantastic, with features and sounds that are incredibly complex, mature and amazing: the mighty “thor”; the incredible “nave”, “magellan”, the korg “ipolysix”, arturia’s amazing “isem” – the list just goes on and on and on.

the “dxi”, “epic synth” (1980s style synth), “launchkey” plus “launchpad”, “modular” (similar to my lost serge system, but reliant on in-app purchases to make it truly useful), “performance synth”, “sample tank” (the free version only so far), “spacelab”, “synth”, “synthophone”, “xenon”, “xmod”, and “zmors synth”….the list goes on still…

GENERATIVE DEVICES

then there were the generatives…mostly ambient in nature, and therefore, extremely well suited to the type of music that I generally make, so I happily adopted and became an adherent of “scape”, “mixtikl”, “drone fx”, circuli and so on…I worked with and continue to work with generative synthesis, which is a fascinating branch of synthesis, with it’s own quirks and interesting ways of working.  mixtikl in particular holds my interest very well, sure, anyone can make sounds on it, but if you get into it deeply, you really have an enormous amount of control of how it generates the finished product…which is endlessly changing, never the same, constantly mutating according to the rules and conditions that you control…

“scape” is just purely beautiful, the sounds, courtesy of brian eno and peter chilvers, are simply top-notch, and using art works to create your generative pieces is a stroke of genius – and it’s very simple, just…drag geometric and other shapes onto a canvas, and see and hear your generative piece grow.  more recently, I’ve picked up “drone fx”, which to my mind, is very nearly in the same class as “scape” and “mixtikl” given that you can set it up to create generative pieces, and the results are excellent – it’s a very ambient flavour, which suits me just fine, so I am very happy to add “drone fx” to my arsenal of generative music applications!

then there is “noatikl” (obviously, a spin-off or product related to the great “mixtikl”) – I don’t have much experience with this tool, I would call it a “sound design”-based generative music app, where you create loop-like pieces by connecting different sound generating nodes together – it’s quite odd, but it makes lovely music, and I hope to learn more about it and gain some skill in using it in the future.

THE LAND OF AMBIENT

this category includes most of the generatives, so please see “GENERATIVE DEVICES” above, for details on “scape”, “mixtikl”, “noatikl”, “drone fx”, and “circuli”.  there are other really, truly important synths in this category, in particular, the brian eno-designed “bloom”, which was the predecessor to “scape” – “bloom” is a generative player, you select wonderfully named style and “bloom” then creates them on a grand piano for you – it’s really lovely, I can sit and listen to it for hours.

then there is another from the “mixtikl” family, the lovely ambient music player “tiklbox” – this one is really simple, it has a die in the middle, and you roll the die, and it then randomly selects or creates a piece of music based on the number you roll.  It’s mostly very pleasant, I like the music it makes, but there is very little user interaction possible, you just turn it on, roll the die, and…listen.  but – that’s cool, too.

PHYSICS-BASED SYNTHS

then you have the slightly strange synths, two more in the semi-ambient category being “circuli”, which is literally, circles that grow and collide, and those collisions produce music, and the somewhat similar “musyc” that makes it’s music with bouncing objects – again, virtual objects collide to produce notes, chords or percussion sounds.  “orphinio” presents varying sets of intersecting circles, each set to a different tuning or modality.  both of these “shape-based” synths have truly great potential, but you have to be patient to get the kind of sounds you want out of them.

GRID-BASED SYNTHS

then there are the “grid” devices – visual sequencers with massive grids that scroll past, and you merely “click on” some of the buttons as they pass, and note events begin.  one of the best of these is an old favourite of mine, “beatwave”, which I have used as a background for guitar improvs, because you can very quickly “build” a good quality backing track (it’s very similar to looping, really) and then just let it run, and solo over the top of it for live performance purposes.  a similar and also very enjoyable device, “nodebeat HD”, works in a very similar way, and in fact, there are a good number of these “grid” types of synths out there, most of which sound very good.

MICROTONAL GRID SYNTHS

then…again…you have the static grid types, such as the classic “mugician” and “cantor”, which use a static grid that you play by putting your finger on the notes you want to play, and “cantor” in particular, has a great “auto octave” function which means that if you want to go up very high, you just swipe a big diagonal line upward – and the device leaps up through four or five octaves – and a reverse diagonal, takes you back down to the lower notes.  “cantor” is more note based, although it does have microtonal attributes, you mostly use real notes, whereas “mugician”  is totally and utterly microtonal, you can “hit” notes, but it’s more about being able to play in a microtonal fashion – something that takes practice to get good at.

early on, I used “mugician”  to play microtonal indian-style melodies over the remarkable “itabla pro” (one of my very, very favourite music apps of all time – I could write an entire blog about “itabla pro”; how good it is; and how much I LOVE it!) and that was great fun – it works really well as a lead instrument in that kind of musical situation.

slightly different in design to the “mugicians” and “cantors” (which while sounding very different, do have very similar interfaces visually at least) is the most excellent “sound prism pro” which features it’s own unique grid design, that is similar but different from the other two apps mentioned.  “sound prism pro” has it’s own unique musical vocabulary, and is a bit more melodic / harmonic, whereas “mugician” and “cantor” are essentially solo instruments – melody only.

VOCAL SYNTHS

then there is the “vocal section”, which on my pad, share a special page with my audio utilities – in this category, we have some great tools for creating vocal harmonies and effects: “harmony voice”, “improvox”, “vio” and “voice synth” – each boasting it’s own slightly different way of achieving vocal harmonies – some very innovative and good sounding tools in this category, a lot of fun to sing into, too.

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

just outside of the land of synthesizers, there are also a broad spectrum of recording studio applications, such as “auria” (professional audio multitrack studio), “cubasis” – professional AUDIO + MIDI studio, “nanostudio” one of the oldest and most respected MIDI studios, and a personal favourite (and it does qualify, because it has a synth in it – a GREAT synth, called “eden synth”, which I absolutely love), “isequence”, “isynpoly” and “synergy studio”, midi studios all; and the unique yamaha “synth and drum pad” which is a bit different from the rest and is a lot of fun to experiment with – some unique sounds there, too.

the most recent entrant to this category is korg’s groundbreaking “gadget” – an incredible studio with fifteen unique korg synthesizers, bass synths and drum synths (yes, fifteen) that you can combine in endless variations to produce some amazing music.  I’m currently working on my first three pieces with gadget – and of course, I feel another eternal album coming on…

STANDALONE ARPEGGIATORS

on the same page as the studios, I also have a couple of standalone arpeggiators, “arpeggiognome pro” and “arpeggio”, which are very useful for driving your other synths, and unusual apps like “lemur”, which I purchased at half price for future development projects.

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

I also have a few of what I term “idiot synths” (no offense to anyone) because you need know absolutely nothing to run them, they are really just sample players with controls to modify many samples running in parallel.  the “groove maker” series are really quite good, I love the “groove maker rock” version especially.  I also have “session band rock” which is similar, I’ve made a couple of nice “metal” backing tracks with “session band” – the “rock” version, of course!

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

then there is the more traditional section of keyboards, which features a variety of grand pianos, regular pianos, upright pianos, electric pianos (“iGrandPiano”, “iElectric Piano”, “EPS”, mellotrons, and a couple of really, really great emulations of organs – “galileo”, “organ+”, and “pocket organ c3b3” – I love all three of these!  I am really pleased in particular to have the organs available, and the work that’s gone into them, right down to the quality of that leslie speaker emulation – I love the “slow to fast” sound and vice versa, and all of these do a good job of that.  the sounds are simply beautiful, and, they are a lot smaller, lighter, and cheaper than real organs 🙂

DRUMS & BASS – AND PERCUSSION, TOO

this section of my ipad has really expanded of late, and there are a lot of great apps available for very little cost.  starting with the basses; we have a large variety of very innovative and interesting-sounding devices, from oddities like “amen break” to more practical devices such as “bass drop hd” and”bassline”. the drums section, by comparison, is massive – old faithful “korg ielectribe”, “dm-1”, “drumatron”, “easybeats”, the unique “impaktor” (which makes a drum kit out of any ordinary surface), propellerhead’s quintessential “rebirth” which of course, handles bass and drums, and is enormous fun just to play…”synth drum”, “virtual drums”, and a million other drum kits and machines too numerous to mention…

my absolute, all time favourite drum app, however, is not any ordinary drum machine or drum kit, rather, it’s the extraordinary “itabla pro” – one of the most excellent applications I own.  full on tabla samples, with several playing styles for each template; and an extremely large range of templates in all time signatures, it’s as much an education as it is a drummer. also featuring tanpura and other supporting instruments, it has two completely tunable tanpuras, the tablas and the two tanpuras are all tuneable within an inch of their life, and it makes outstanding music for interacting with other ipad instruments.  I’ve been working for some time using synthesizers with “itabla pro” as accompaniment, and it works equally well with microtonal synths such as “mugician”, as well as ordinary “western” synths such as animoog – on my ipad right now, I am working on a new piece that features two animoog solo melodies over a tanpura and tabla backing – and it’s sounding very, very good so far.

notably, while not a percussion instrument, there is also an excellent free app, called “samvada” that does tanpura only, it’s beautifully made, sounds great, and is excellent for use either in conjunction with “itabla pro”; or, for situations where you want a tanpura drone but you don’t need tablas.  sometimes, I just gang up the tanpuras on “itabla pro” with “samvada”, for the ultimate in rich, deep drones – fantastic.

ODDS AND SODS SYNTHS

other oddities include “tabletop” which is a sort of…table top, where you can arrange midi synths and drum modules to make music with, with a lot of in-app purchases if you want the really nice tools.  it is possible to make decent music with the free supplied tools, but it is limited unless you are willing to spend a lot on IAPs.

there are so many in this “category” that I cannot possibly list them all: “76 synthesizer”, “moog filtatron”, “catalyst”, “cascadr”, “dr. om”, “noisemusick”, “figure”, “lasertron ultimate”, “samplr”, the list just goes on and on and on…

IN CONCLUSION…

and as time passes, more and more synthesizers will arrive on ios, each more powerful than the last, it just seems like a never-ending process, there are so many excellent developers out there, as well as such a hunger from musicians (myself included, I am not ashamed to admit) for these synths – especially the vintage ones, the ones that emulate the classic keyboards that we all lusted after, but most of us simply could never afford.  ios, and the availability of cheap synth apps – gives us what we could never, ever have in the real world.

armed with this vast array of synthesizing power, I feel like there is no sound that I can’t make, and no requirement I can’t meet – if I need a sound for a project I am building on my ipad – I will, absolutely will, already have a synth – or two – that can make that sound.

I am utterly in my element here, I hope the synths never stop arriving, and as long as developers keep creating them, I will absolutely, absolutely – keep playing them.  rock on.

I will leave guitar applications for another day – suffice to say, they are equally diverse and fascinating, and several of them are putting serious challenges to existing stomp box and other guitar processing hardware items.  I love my guitar apps, and it’s a whole new world of guitar playing – instead of my traditional set up; instead, I have a guitar to ipad to sound card set up – and I can get a whole world of excellent tone just using ios ipad guitar applications…

in the meantime, synthesists unite, and developers, please do not stop working on new and better and more innovative synthesizer apps.   something needs to feed this addiction, and that’s truly what it has become – but in the best possible way, and I get so much enjoyment, hours and hours and hours of enjoyment, from just playing the various synths, to making various recordings using them – it’s created an entirely new application-based world of music that I did not realise I had in myself – and it’s an absolute joy to play these innovative instruments, and to try out new combinations of devices either by using them in a multi-track environment such as “auria”, or, for simpler set ups, the very practical “audiobus” (another game-changing device) and now, we have the new inter-app audio as well, so options for tying synths together via MIDI, or for triggering other devices from within one device, just grow and grow – it is truly amazing.  I feel truly blessed to live in such times, technology at work for good, for the sake of sound, and the sound quality of most of these apps far exceeds expectations.

for that, and for the massive number of free, inexpensive or even expensive synthesizer applications, I am truly grateful, and truly happy, that these exist for me to collect 🙂

happy synth-ing!

the shortest blog in history?

we all know that the world of ipad applications is an incredibly rich and varied one, and for artists and musicians, it’s a world full of amazing tools with which to create music.

over the past year or two, I’ve watched as a myriad of incredible applications appeared, beautifully designed synthesizers that rival their hardware counterparts, and allow us to create incredibly beautiful music – all without leaving the comfort of our ipad‘s screen.

audio and MIDI studios abound; an early favourite of mine is still nanostudio, and I continue to compose in nanostudio to this day (two new nanostudio songs are ready to be mixed as we speak…).  then there are the Moog and Korg apps, fiercely competitive those two; each coming out with ever better and ever more beautifully designed synths – and some of the earliest entrants are still some of the best: I give you Moog‘s Animoog and Korg‘s iMS-20, two of the very best on ios.

sometimes though, something comes along that really throws you for a loop. audiobus was one such; giving musicians the power to have a real workflow for music apps: input, effects, output all in one easy to use interface. sheer brilliance of design; economical, functional – and audiobus made life so much easier for us all!

I’ve watched my ever-growing app farm with some trepidation, I am amazed at how many wonderful synthesizers I’ve collected (my next blog will actually be about that topic) and also at the studios: auria, nanostudiocubasis, isynpoly, isequence, tabletop and so on – wonderful tools, and it’s so much fun to make music on the ipad because of the brilliant design, and excellent sound quality, of all of these apps.

today though, I was caught off guard – I got up, a typical Saturday morning, and for some reason, I opened up the app store, and looked to see if there were any new music apps…and there it was:

Korg Gadget.

Get it.  I did.  OK, yes, it’s pricey, but I look at it this way:

1) You get a fabulous new studio for music creation

2) It has fifteen, count them, fifteen amazing synthesizers:  drum machine, bass synth, synths for harmony and lead – polyphonic and monophonic synths…

3) So if you think of it that way – you are getting FIFTEEN premium Korg synths…for 20 quid!

4) There is no number 4

5) Get it !!

Without consulting the help, I managed to load up some synths, create a scene, record a drum track, a bass track, and synth tracks – and then, went back and manually edited them in piano roll view (the default view) until I was happy with the track.  Without the manual or any help at all – I created a fairly complex track.

Gadget is quite intuitive, it does has one odd attribute: it’s set up in Portrait mode – which, after using it for an hour, I really quite like – but others may find the lack of a Landscape view disappointing – I don’t, really.

But the synths….sound GOOD.  And the studio itself is very sharp, really nice graphics, extremely good controls on the synths.  I was in shock, I was just sitting there on a Saturday, when an absolutely amazing and very unique korg studio dropped in my lap – and, fifteen fantastic sounding synthesizers, too – it’s worth it for those alone!  and – one of the synths has some M1 patches in it, which is very cool – the M1 was my “dream synth” for years, which I never could afford – but I love the sound of it.

I really felt a shock when I opened up that app store page and found Korg Gadget sitting at the number one spot in music; (of course) and all I can say now is, it’s a fantastic app, it sounds great, it’s very, very easy to use, and you can create good sounding music without reading the manual – ticks all the boxes in my book!  And I’d have to say to Moog: Korg has just upped the game here, and you need to look sharp!

Kidding aside, with Gadget, Korg have raised the bar very, very high, and the other manufacturers are going to have to work hard to beat Gadget…but I actually hope that they do, a Moog studio as good as Korg’s Gadget would be amazing.

Still raining, still dreaming…

Korg Gadget.

One hour with it was all I needed to convince me.  It’s well worth the money, it sounds really, really good.

But don’t take my word for it, just go and read the reviews: after two days, it’s already at four and a half stars.

What an awesome way to start the day !

Enjoy.

d 🙂

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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providence demo session – march 4th, 2012:

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

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

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providence demo session – march 24th, 2012:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

grace – 18:54

redemption – 19:46

providence – 20:34

atonement – 10:40

purity – 6:22

perfection – 10:38

transcendence – 6:22

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for John, without whom, this music would not exist

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www.overflower.com the music of john orsi

www.pureambient.com the music of dave stafford

POSTSCRIPT:

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

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

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

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

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

the album that was not to be – providence – a tribute to John Orsi, musician

I never met John Orsi in the “real world”.  I can’t really say we were close friends – although, in the relatively short time I knew him, we did get to know each other fairly well, and, as time progressed, we had developed an ongoing conversation – and as it would always be with John, it was mostly a conversation about…music.  That conversation, which began online and then spilled out into that very same “real world”; often, in the form of long, intense, handwritten letters from John, was a very important one to me.  We were of a similar disposition, we enjoyed similar music, and we found as the conversation went on, that we had much in common.  It was good to meet someone with similar views to my own, and similar musical interests too.

John Orsi was a musician’s musician, an extraordinary percussionist and drummer with a very unique style, and an even more unique vision of music as he saw it, as made real under the auspices of the music and art collective that he helped to found, “It’s Twilight Time” – which also served as the de facto record label for many of the bands that John was involved in.  John was very possibly the only percussionist I know who could play “ambient percussion”. His drum kits were no longer “standard”, and he was always dreaming up new and better ways to configure his unusual percussion set-ups. He was also always involved in several musical projects at any given time, including the bands knitting by twilight and incandescent sky, among many others.

I met John through a mutual on-line acquaintance of ours, the good Ian Stewart, who expressed the wish, openly, to both of us, that we make an album together – saying something like “you are two of my favourite musicians, I wish you’d make an album together”.  so – we decided, after an initial conversation, that we would.  it was that simple.

So the “Orsi-Stafford” project was born.  At first, we struggled a bit with the usual questions that any new band has to deal with, what are we called? (clearly, “the orsi-stafford project” was never going to do as a band name); what music are we going to make? and similar important questions.  As they always do, these essential details sorted themselves out over time, and we then moved onto to the details of the music itself, and the correspondence proper began.

I felt that for John, that he didn’t want to do anything in half-measures; he wanted this project to be done properly, and with a full commitment from both of us; so, it was agreed that the fruits of our musical labour would be released on “It’s Twilight Time” in the US, and for Europe, on pureambient, my label.

I was happy enough with this arrangement, so the next little detail was…the music itself.  I sat down one weekend, which I’d set aside specifically to make sketches for the new  band, which by then, bore the name “providence” – after the King Crimson song of the same name, and also, in honour of providence, rhode island, which is the area that John lived in, and also where, in 1974, King Crimson played said song…and I began.

I decided that since John’s work was of a calibre above most, that I wanted to present something to him that was more serious, more classically oriented (not anything predictable, like an ambient ebow loop – or other types of ambient music normally associated with Dave Stafford and his music) – so I, to challenge myself, and to go against what would have been predictable – I decided that the bulk of the material I would sketch out for John to listen to, would be piano based; and as a twist, I also recorded (at the same time) a mellotron track for each one of the piano pieces, so we could mix and match between grand piano and the more exotic sounds of the mellotron.  Normally, I would have played ebow guitar, ambient guitar, synth, but for some reason, I felt very strongly, that this project demanded – piano.  And piano like I’d never played piano before.  Not technically difficult or challenging, but, with an ear for beauty, looking for simple, lovely melodies – and by chance, with some luck, finding them.

I recorded a vast number of sketches on the piano, with three main musical themes, which were “grace”, “providence” and “intransigence”.  The music that appeared, surprised me, because it was so serious, so very classical sounding, and also, it was surprisingly beautiful – if I do say so myself. It was really, really quite lovely, and I was happy enough with what I eventually sent to John.

I then went on and recorded some guitar sketches, using the guitar synth, and while one or two of these were of interest, the bulk of the guitar work, while acceptable, did not knock me out as much as the large library of piano / mellotron works I did early on in the session (in all, 87 of these piano / mellotron takes were recorded !!).  There were some notable bits of quiet, Fripp-like jazz guitar that I wanted to incorporate, but mostly, I concentrated on those haunting piano themes.

I then spent some considerable time, taking the three themes, and arranging them into various test mixes, sometimes alone, sometimes combined with each other to create longer pieces, and I burned it all to a DVD and mailed it off to John…a mass of material, it was a lot of takes, and I sent him the whole lot, all the raw takes, in piano form; all the raw takes, in mellotron form; all the raw takes, piano + mellotron mixed together; and then, several long form test mixes, of various imagined thematic arrangements of the takes…

Some time later (after suitable time to digest this massive number of musical sketches), John wrote back, effusive about my sketches, and the test mixes; excited, and he paid me some really significant compliments, saying about one of the pieces that it was “already finished, I wouldn’t dare overdub it, it’s perfect just as it is” – which is high praise indeed.  His reaction to my sketches was altogether positive, and I heaved a sigh of relief – I’d done something good enough that he would want to continue the collaboration, and now, it would be his turn to produce some sketches of his own to contribute to the band’s pool of music.

We exchanged letters again, I, typing them on the computer because writing cursive is too painful for my elderly, tired old guitarist / keyboardist hands, while John always, always preferred to write out his letters long hand, which were a pleasure to receive and read. I liked that about him, he had an inherent dislike of technology that was really refreshing – it was something, in 2012, to meet someone who still preferred to write letters in long hand, on paper, with a pen.  Unusual.

I looked forward to his letters, which he would often write at the seaside, he would drive out to some lonely spot and then wax effusive about music, music and more music – we did converse about other things besides music, but not often and not much, we were wholly focussed on the task at hand, and we were both very excited about the prospect of building the “providence” album, and working together to create a work of real quality.

I was very excited about working with John, and I really felt that this would become a superb collaborative effort, because both of us were experienced musicians, with different strengths that were entirely complimentary.  John could compose and play the percussion parts that I could not, and I could compose and play the piano, mellotron, guitar and ebow parts that he could not – so the two of us had the right complimentary skill sets, to make an amazing album, each playing to our own musical strengths, and letting the other fill in the parts that we ourselves, could not, or could not easily, do.

Various ideas and approaches were discussed: we would merge sketches, if possible; or, John would overdub my sketches and return them to me for another pass; or, I would overdub John’s sketches – we didn’t feel we needed to stick to one working methodology; we were both open to…whatever worked the best, and I was really looking forward to receiving John’s sketches to assess, play on, and work with.

I suggested that we keep an open mind – maybe, for example, the album would end up with five tracks of John’s overdubbed by me, and five tracks of mine, overdubbed by John.  That was just one idea that was suggested, we didn’t want to burden ourselves by making too many hard decisions about the final form of the album, but the ideas were flowing thick and fast, and it was a very exciting time for me, for both of us, I hope – I was really immersed in the process, I am accustomed to these long-distance collaborations (having done more than a few over time, drone forest, scorched by the sun, and so on), but this one was of a distinctly high quality; and I sensed and fervently hoped that the music that we eventually would make, would be most excellent.  Unfortunately, though…I never got to find out.

I had also promised John that we would absolutely work energy bow guitar into the final release, because ebow is really my signature sound, and John had worked with ebow players before, and we both loved the sound of the device.  He’d said that he wanted me to play energy bow guitar on the album, so I agreed that somehow, once the pieces were blocked out, we would find a way to incorporate some really beautiful ambient ebow loops or solos, into the finished record.  Unfortunately, we never got far enough along for me to even test this theory out, so there are no recordings of these proposed ebow pieces – they never materialised.

It’s at this point my recollection gets a bit hazy; I believe John said he was working on some ideas, playing some percussion with “providence” in mind, but I do not know if he recorded anything or not.  He very possibly did…but, sadly, I never received the promised sketches – while letters did arrive, more and more infrequently – no tapes ever appeared.

I thought nothing of this, sometimes, many weeks would pass without any contact between us, but I was not concerned, as I knew that John had my sketches in hand, and was happy enough with them; and that he was working on sketches to send to me, so it would just be a matter of time…or so I believed.  I just waited patiently, unworried, knowing that the ball was in John’s court, confident that he was busy working away on his set of sketches for the project…

Then – life happened.  My own life sometimes takes these twists and turns that mean my attention is drawn away, or must be focussed on other issues.  Time passed.  Then more time passed.  Suddenly I realised, it had been many months since I had heard from John.  I guessed that, perhaps, he was struggling with the material; that maybe, he hadn’t managed to record any sketches he was happy with, and I wondered if he had perhaps wanted to give up on the project, and work on his own music instead – I really didn’t know.  I said to myself, I must write to John and see what is going on, find out if he wants to proceed with the work on “providence” or not…

Again – more life happened, I didn’t act, I didn’t write – still more time passed, until last night, when suddenly Carrie Hodges appeared on Facebook, messaging me (so I knew something was up) with the news of John’s passing.

The John Orsi that I got to know, through his long, beautifully handwritten letters, and occasional on-line conversations, was a man of grace.  He was kind, quiet, and passionate about music, and I could feel his great love of music through his letters and in his words – and in the extraordinary music that he himself made, too.

For both John and myself, our favourite drummer was Bill Bruford.  We also both loved the work of guitarist Bill Nelson, who for many years was my hero, and my inspiration for picking up the ebow and using it instead of a plectrum or pick.

For whatever reason, “providence” caused me to play some very, very serious and moving music.  It just flowed out, as if I’d been storing it up for years on end, and then suddenly, there was a call for it – and there it was.  This was some of the first real classical music I ever composed – and I am incredibly proud of it.  It would not exist if it were not for John Orsi, and Ian Stewart before him. Strangely, by coincidence, since I hadn’t heard it for a long time, just a few days ago, I listened to a large section of the sessions, to remind myself of the quality of the music of providence, and wondered again why I hadn’t heard from John for so long…and now I know why.

Realising and respecting that John was a very private person, I didn’t want to intrude or ask too many questions (sometimes, people need space to work through their issues, whatever those might be), and by now, so many months had gone by that I was fairly certain the collaboration was not going to happen – but I assumed it was, perhaps, because John was having problems with the music, or he just wasn’t inspired, or perhaps other personal troubles were preventing him from playing – I didn’t know, but I did not want to intrude or bother him – I was, as they say “giving him space”.

There is no way no to turn back the hands of time, I wish I had intruded, that I had written – because I never got to say goodbye to my friend.  I didn’t even know he was ill, he was very careful to conceal that from me. He never said a word, or let on with any hints or other indications that anything was amiss.  Then, suddenly – he was gone.

Now I have to do that farewell, here and now, from my blog; I have to eulogise and remember my friend, my partner in “Providence”; kind, gentle, thoughtful John Orsi –

It’s Twilight Time, my friend.

~~~  sending peace and love to Karen Orsi and the family ~~~

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

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

they tend to fall into three broad classes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

van der graaf generator – live at the abc theatre, glasgow, scotland, june 27th, 2013

first things first: here is the set list from thursday night’s van der graaf generator concert at the abc theatre in glasgow, scotland (june 27, 2013):

[encore:]

peter hammill announced early on in the show that the band would be playing seven songs during the evening – which from any other group, would have brought cries of dismay, because it might well mean a pretty short set.

but, in true van der graafian form, those “seven songs” contained two very, very long pieces, “flight”(which they began playing live for the first time ever on the last US tour), and “a plague of lighthouse keepers” (which van der graaf began playing on the current european tour – and, that being the first airings of the tune save a very few live versions performed in 1972 – so, a long, long waiting to hear that tune!)…and – between those two songs alone, you have something around forty minutes or more of music.

“over the hill” (what a bizarre and wonderful song to begin with – I could not believe my ears) – is over twelve minutes in length; and “childlike faith in childhood’s end” is certainly over ten minutes in length, so those four tracks give you an easy one hour of fantastic progressive rock music.

add in the “shorter” songs, none of which are that short – and it’s quite a decent length show, despite only eight songs being played in total !!!

the venue itself was tiny (this isn’t the big hall at the abc, it’s the ancillary hall, the smaller one – and I mean it’s pretty tiny – but, packed full of happy scots folk on this occasion), it was incredibly hot in there, but the fans were so astonishing – staying dead quiet in the silent sections of the music, then yelling their heads off and singing along when the music returned after a silence – a really respectful audience, and they really made the band feel welcome and appreciated, I don’t think I’ve ever seen peter hammill smile so much as he did during the applause for “gog” – he seemed positively chuffed, I would say…

now that I’ve described the mood and the venue, I will return to the beginning, and try to give my impressions of the show in terms of the music and the musicianship.  let me first say, that I only very rarely attend live concerts any more, and usually only when I feel that I will be witness to truly great musicianship.  very few players in this day and age meet my exacting standards.  for example, so far, this year, I am only planning on two concerts for the whole year – this one, van der graaf generator (who are, after all, one of my favourite bands of all time) and in november, because I love them, a “modern” band – queens of the stone age (who are my current favourite “modern band”).

that is it – so far.  sure, if robert fripp or king crimson or someone of that calibre was touring, and played in scotland – I would make it three concerts.  but having seen many of the best bands over the years (bear in mind that I’ve been going to rock concerts since 1973, so that”s actually forty years worth of live shows, and amongst those shows, I’ve been fortunate to see some of the best musicians of the day – very fortunate indeed) I just don’t often get the urge to put up with all the negative aspects of live shows.  to see a show as good as this one was – was worth the minor hardships of tiny venue, high temperature, and cramped seating arrangements – well worth it.

so – the aforementioned “over the hill” was the opening piece, and, having seen the trio twice previously, on both of those previous occasions, they had opened with the very, very tricky “interference patterns ” from trisector – so I knew that they would have to break that pattern (pun not intended, but, accepted 🙂 ), and sure enough, they did – but what a choice – with it’s odd stop / start arrangement, and it’s wonderfully dissonant piano riffs, all of which gradually resolves into one of the most glorious pieces of music ever created – the piece becomes less dissonant, more glorious, more beautiful, as it progresses to it’s regal ending.  the fact that they replaced the nearly impossible to perform “interference patterns” with one of the most complex, difficult and beautiful tracks from the same amazing studio album, “trisector” (2008) – well, to me, that choice just oozes class.  you mustn’t be predictable; the last two tours, you usually open with “interference patterns” – so how can you top that?  by substituting an even better track from the same album (your strongest post-quartet album, surely).

a fantastic choice, and I thought it was a great way to start the show.  the organ parts, the amazing distorted signature hugh banton solos in this piece are truly spine-tingling in their beauty, and the band played the piece well as they always do – a fantastic starting point for an amazing evening of live music!

next, comes the enigmatic and wonderful “mr. sands”, from the very surprising follow-up to “trisector”, “a grounding in numbers” (2011)– so – two songs from the current van der graaf catalogue, one from each of the first two “trio” albums – to me, a statement, a reminder, that we are here now, and this is the music we are writing and playing – it’s not all about our seventies output.  and what better two songs?  “mr. sands” means a lot more to me now that I understand what it is about, it’s one of those songs that it really, really does help to understand what it means, lyrically, for you to truly enjoy it.  a rocking little number, and the band knocked through it with the confidence and the knowledge of a band playing a current catalogue item – no problem – we know this one 🙂

then, without any ado whatsoever, the third song of the night, the band launches confidently into “flight” – which they had not played previously outside of the last US tour, so we are seeing and hearing this performed live for the first time ever here in europe – “flight” being a peter hammill solo song (from his tenth solo album, “a black box” from 1980) rather than a van der graaf song – so it’s unique in that this is van der graaf generator, 2013 trio version, playing a peter hammill song – and not just any peter hammill song; one of the most convoluted, challenging, and simply remarkable pieces of progressive music ever composed by anyone.  I love this song; I was fortunate enough to have seen peter hammill, solo at the piano, play this piece back in 1981, at the roxy theatre in los angeles, california – and here I was, suddenly, thirty three years later, seeing peter hammill playing “flight” again – but this time, with the best backing band in the world; and, with good technology and reliable instruments – and while both the 1981 and the 2013 performances were amazing…the 2013 really was something to behold.

not perfect – at one point, just one time, someone missed a cue, and they shifted uncomfortably from one impossible section to another impossible section with a bit of a “bump”, but, always professional, carried on as if nothing had happened.  that you could play this 20 minute sequence of music “perfectly” is in doubt anyway – I spent ages just learning the first three minutes of it (the section known as “flying blind”), which I can just about play after 30 years plus of trying – and I never could learn any of the rest of the 20 minute piece!! it is difficult.  I watched with my mouth hanging open, while peter hammill‘s hands played the impossible riff that is “nothing is nothing” while his voice sang in a completely different time signature, and it makes you realise what an amazing performer he really is – he can completely disconnect his voice and his hands – the hands are on automatic, and the vocal is what he concentrates on.  and – somehow – both come out sounding amazing – “I say – NOTHING IS NOTHING!” and another crazed section of impossible prog is launched (the piece is broken into several sections, each which bear a sub-title on the album) – but they are collectively, “flight” – and I am so, so happy, that I can add seeing “van der graaf trio” flight in 2013 to seeing peter hammill “solo” flight in 1981….brilliant!  I am very, very lucky.

peter and hugh handle all of the melodic and harmonic information: on a song like “flight”, the piano is the basis (hammill) the voice is the message and the lyrics delivered (hammill) and then there is the bass player (hugh’s feet) and the organ player/synthesist (hugh’s hands).  and guy…is the glue, the percussive glue, that drags and fits and forces and slams and makes it all stick together as music.  you’d see guy staring up at hammill, waiting for the visual cue, and then going into an impossible, high-speed drum fill that can’t possibly fit in the two seconds available before he has to do yet another impossible drum fill…but somehow, he makes it happen – and it’s really something else watching the three of them, all working to that singular purpose, to deliver “flight” to an unbelieving audience.  the applause was thunderous, and the performance was absolutely unforgettable.  sigh.

“bunsho” is song four, and for me, slightly spoiled by a not quite-in-tune electric guitar (of course, the 100 degree heat in the room wasn’t helping any guitar’s tuning, in all fairness to hammill) but they soldiered on, I like this song, but it’s not something that really rocks my world personally – and it had the difficult task of following “flight” – an unenviable role, we might say!  but still, another great “new” song, and I love seeing hammill play guitar – surely, he’s one of those guitarists that is constantly being underrated, because, we are always talking about his piano playing, his voice, his songs, his lyrics…but not his guitar playing.  I shall rectify that shortly.  “bunsho” passes unobtrusively,  making it three out of four for “new songs” – three new, one old (and that one, not even a van der graaf song!).

the fifth piece of the evening, “lifetime”, is a track from the first “reunion” album, 2005’s “present” and it’s a real favourite of mine, a great organ sound and riff, and hammill playing some wonderful guitar – and the last time I saw them play this, it was a bit of a row, hammill could not seem to come to grips with the guitar solo (which occurs twice in the song) and I was a bit disappointed with it at the time (felt bad for him, it was just not his night!) – but this time, it was right, it was as it should be, and in fact, in my opinion, the solos he played here, are better than what was on the original record.

he’s at home with the song now, he sings it’s beautiful verses with a lovely, quiet passion, and then settles down to play those beautifully chorused, clean lead solos as perfectly as humanly possible – and he nailed them; both of them – much to my everlasting satisfaction.  those earlier awkward performances are redeemed, and he has the guitar parts perfected – great – guy just supports this one, so gently, while hugh plays really, really beautiful hammond-like and other gorgeous organ sounds and bass – really well done.

and with the conclusion of song five, we now leave the present, and the recent, and move back to the classic van der graaf 1970s repertoire that we all love so much – we go to that place, and we stay there until the concert is finished.  probably a calculated move when creating the set list – blow them away with amazing renditions of songs from across our back catalogue – and that’s what they proceeded to do…

song six, “childlike faith in childhood’s end” – an absolute classic from “still life”, which is perhaps my favourite mid-70s van der graaf generator album (from 1976) I think this has the most uplifting, challenging and beautiful lyrics ever written, it asks all the questions, it poses those questions to us, the audience, and then it fills us with joy with it’s thoughts of infinity and how, with the death of mere human….life shall start.  when this song started, I was transfixed, yes, I’d seen them play it before, in fact, three times before, and now, I was going to see it a fourth time – but this time – again – the lead guitars were far exceeding any earlier version I’d seen or heard.

hammill sings this with great, great passion, and on more than one occasion, I could feel myself welling up, at certain lines, certain lyrics – it’s just one of those songs that has always affected me emotionally, and this time, for some reason, I found it more hard-hitting than usual – I don’t know why.  but one thing raised this performance up in my esteem and in my mind – peter’s lead guitar playing.  when it comes time for him to play his beautiful, melodic solos on this track – I always cringe a bit, because as often as not, he struggles a bit, and I want those lead solos to sound perfect. he usually does pretty well, but there’s always a bit I wish could have been…somehow…”better”.

this time, they did not disappoint – in fact, they excelled, they were BETTER than they would normally be – he was so, so “on” – and he played the solos with renewed strength, vigour and excitement – and that absolutely blew me away.  really good, really excellent guitar playing – and all in between singing that impossibly difficult vocal – no problem.  this is one piece too, where you really hear and see the power of guy and hugh working as a team – basically, they take the place of a four man band, but there are just two of them – while peter is either silent, is singing, or is singing and playing lead guitar.  they carry the song – peter is the soloist, and the vocalist, and the lead guitarist, too – what a great arrangement of a fantastic song.  peter’s two supporting musicians pack a sonic wallop that sounds more like four or five sidemen – not two.

from strength to strength we go – no sooner had the band ended the remarkable, powerful, positive universal hymn that is “childlike faith”…than they launched immediately into the never-before heard on a UK stage “a plague of lighthouse keepers” – so – from a 12 minute masterpiece straight into a 22 minute masterpiece.  newly arranged for the trio, newly adjusted for the realities of being played by the trio in 2013 as opposed to being played by the quartet (once or twice, only) in long-ago 1971 – and the new arrangement is absolutely amazing – I was transfixed.  those lyrics, so dark, so astonishing, just giving me the chills, setting the stage for this long, sad tale of loneliness and grief –

“still waiting for my saviour, storms tear me limb from limb;

my fingers feel like seaweed…I’m so far out I’m too far in.” **

 

** [that last line famously plagiarised by fish, when working on an early marillion masterpiece – borrowing from the best, I suppose].

the beautiful vibrato on the electric piano was reproduced flawlessly, but sounding a million times better than the original (advances in technology, I love you) and hugh providing some wild sound effects when required – the band played steadily, like a ticking time bomb waiting to go off – moving through the familiar sections, “the presence of the night” with it’s almost ambient, eerie feeling…all building and building to those vocal storms that we all knew were coming (and a word about that in a  moment):

“where is the God that guides my hand?

how can the hands of others reach me?3

when will I find what I grope for?

who is going to teach me? I am me / me are we / we can’t see any way out of here.

crashing sea, a trophied history: chance has lost my guinevere…”

I think everyone was a bit…worried about what hammill would do when it came time to re-create the highest pitched, most insane “screaming” vocals that are part and parcel of “lighthouse keepers” – but I wasn’t worried; he did exactly what I would expect – he adapted the melodies to the current range of his voice.  he still did some of the build ups, but, pitched a bit lower – he hit what notes he could – but it didn’t matter, it’ just sounded perfect – they did an absolutely fantastic job.  his vocals were absolutely wonderful, very tasteful, very, very well executed – I really respect hammill’s ability to sing these songs now, when his voice does not have the range it once did – yet, you would hardly know that from listening.  he just makes the vocals work, and works around the tricky parts professionally, tastefully, and beautifully.

for me, it wasn’t so much the “insane” parts or the wild, screaming vocals, but instead, the peaceful resolution at the end – after all of the tumult, including one section where I couldn’t tell if it was a really, really loud and long bass note, or maybe even, feedback – a sound so loud it rattled your very bones – and the swirling instrumental sections that we all know and love from the original album, not just faithfully reproduced, but, improved with this new arrangement – but all the wonderful, crazy sections are all really just leading to… “land’s end (sineline) / we go now” – I realise, this is what I have been waiting to hear …

“cceans drifting sideways, I am pulled into the spell,

I feel you around me, I know you well.

stars slice horizons where the lines stand much too stark;

I feel I am drowning – hands stretch in the dark.

camps of panoply and majesty, what is freedom of choice?

where do I stand in the pageantry, whose is my voice?

it doesn’t feel so very bad now, I think the end is the start, begin to feel very glad now:

all things are a part

all things are apart

all things are a part”.

this was the section that I realised I was waiting for, how the song resolves itself in an incredibly melodic and beautiful and harmonious section comprised of glorious organs and pianos, crashing cymbals, and the oddly phrased coda of “all things are a part / all things are apart / all things are a part”, beautiful vocals, made even more beautiful in the now calmer, more mature 2013 voice of peter hammill…a lovely outro to one of the most tumultuous, strange yet wonderfully reborn pieces of music ever created, and I am so pleased to have been able to hear and see the band play this song – really pleased.  a once in a lifetime experience that I will not soon forget.

so with the words “oceans drifting sideways” I was suddenly there, at that moment, “land”s end” – I’d finally reached that amazing place of peace and beauty after the terrific maelstrom of the first 18 minutes of “plague” – I had reached the place of peace – “land’s end” – and it was just the most wonderful resolution, a great journey through a long and difficult terrain – but ending up in such a good, good place.  sigh.

I am so glad that they undertook the decision to do this, I think that the success and the positive reactions to “flight” from the last tour, lead them to this idea, of adding an even more unlikely candidate into the set list – so for that, I am so, so, grateful, and I feel even more fortunate, because of this, I am doubly lucky, as we got to hear and see both songs in one amazing concert!!! two impossible things before breakfast, as it were…

before we could catch our breaths…while the loud, loud, wild applause for “a plague of lighthouse keepers” was still resounding, not yet finished – the encore began. a moment of sheer shock, as I realised – “this is gog” – “oh my dear god, it’s gog…”

the most chilling hammill lyric yet, with it’s nihilistic denial of all labels, some who would have him as satan, some as god – and when he delivers the edict “I AM NONE” it’s just the most chilling moment in any song, anywhere – the creepy church organs-meet-freestyle-jazz cymbals, with potent, throbbing organ bass threatening – and then suddenly it’s hammill’s voice “some swear they see me weeping in the poppy-fields of france….” – god, there’s just nothing like it, a fantastic lyric, a great piece of free-form prog…an astonishing choice of encore, too – a second peter hammill song (this time, from 1974’s “in camera” – an absolute classic, but, a solo album, not a van der graaf album) – although in this particular case, it does so happen that van der graaf performed on the original – which is probably what made it possible for them to resurrect it for one of the earlier trio tours.

and I was careful to watch what hammill played on the electric guitar during this tune, it’s not evident on the studio recording, but there is an absolutely stonking guitar and organ precision riff, that hammill and banton play at speed, in perfect time, repeatedly during one of the verses of this song, so, they are playing this convoluted, impossible descending guitar and organ riff while hammill is singing the song – and it’s another one of those sleight-of-hand things, if you blink, you might miss it, but it’s that disconnected my hands are doing one thing in one time signature while at the same time, my voice is singing in a different time signature…and together, that makes “gog” what “gog” is – a fantastic piece of progressive music, especially in these live “trio” versions – they play it really, really well – better than the record.

I was lucky enough to see them play it once, but to see it again, now, in 2013, following immediately on the heels of none other than “a plague of lighthouse keepers” – and, as the bloody encore – gog – take no prisoners; no happy, positive tune of hope, no “refugees” or other audience placation – instead, the dark side, the darkest of the dark lyrics, and, the fantastic denial of the labels that were applied to hammill all encapsulated in this song’s lyric; the audience’s reaction was to scream even louder than they did after “lighthouse keepers” – if such a thing is even possible – a fantastic reception – but it did, in the end, have to end – so, as they left us with last night, I leave you know with the full lyric of the remarkable “gog”:

some call me SATAN others have me GOD some name me NEMO…

I am unborn.

some speak of me in anagrams, some grieve upon my wrath… the ones who give me service

I grant my scorn.

my words are ‘Too late’, ‘Never’, ‘Impossible’, and ‘Gone’;

my home is in the sunset and the dawn.

my name is locked in silence, sometimes it’s whispered out of spite.

all gates are locked, all doors are barred and bolted, there is no place for flight.

Will you not come to me and love me for one more night?

some see me shining, others have me dull; gun-metal and cut diamond –

I am ALL.

some swear they see me weeping in the poppy-fields of France…

in the tumbling of the dice see them fall!

Some laugh and see me laughing down the corridors of power: some see my sign on Caesar and his pall.

My face is robed in darkness, sometimes you glimpse me in the shade,

All friends have gone, all calls are weak and wasted, there is no more to say.

will you not crawl to me and love me for one more day?

Some wish me empty, others will me full, some crave of me infinity –

I am NONE.

Some look for me in symbols, some trace my line in stars, some count my ways in numbers:

I am No One.

Some chronicle my movements, my colours and my clothes, some trace the work in progress –

it is done.

My soul is cast in crystal yet unrevealed beneath the knife.

All wells are dry, all bread is masked in fungus and now disease is rife.

Will you not run from this and love me for one more life?

now that’s how the encore of a progressive rock concert should go!! – with drama, with darkness, with a tinge of hopelessness mixed with a tinge of hope…

that’s gog.

what a way to follow “lighthouse keepers” too – totally a grand slam – the impossible 22 minute saga of a “lonely man” followed by the ultimate denial of any labels at all being applied to that same man a few years later…I AM NO ONE !

for those of us who were lucky enough to see a show from this current european tour, those of us who won the “double van der graaf generator lottery” and got to see and hear the band play “flight” anda plague of lighthouse keepers” in the same show…it was an unforgettable experience, and I am so, so glad that the band decided to return to scotland again this year, and that we were lucky enough to get to see them play again – highly recommended if you want the real deal, a real progressive rock band playing at the height of their skill, their musicianship is untarnished by the years that have passed – and we are left with…the music.

and, it stands the test of time as no other classic seventies prog band’s catalogue does – van der graaf generator, could easily be voted “least negatively changed” over time, or better still, “most amazing after all these years” – because they truly are, and no other reunion or reformed prog band that started in the late sixties as van der graaf did, can boast a current musical quality like the one we witnessed at the abc theatre on june 27, 2013 – no other prog band can touch them, now.  seriously.

a remarkable experience. you should see them if you have the chance.

application of the moment

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

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

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

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

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

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

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

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

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

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

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

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

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

🙂 🙂