9 May, 2014

Some audio/video reportage from the Mogwai show last night at Union Transfer in Philly. Click the little icon in the top/left of the videos to hear the audio.

Mogwai lends itself well to short looping videos…

tascam tape delays

2 May, 2014

recording tape delays

A year or so ago, a friend of mine sourced me a beautiful Tascam 34 four-track reel-to-reel tape deck. The idea was it was a loaner, as my slow crawl from software to hardware in my musical adventures had made me analog-tape-curious. A while later, he himself made the move from recording to tape, to using a UA Apollo and the various UA plugs that come with, and no longer saw the need for these decks he had, so he offered the Tascam to me to have and to hold.
When I’m practicing guitar, or noodling with the modular synth, the deck sits at eye-level on my desk, on top of my Motu interface, and just kind of stares at me. It looks like a bug-eyed robot. I haven’t used it nearly enough, and until recently I wasn’t really sure what I’d use it for anyway. Yes yes, I can record on it. And it sounds really good. A natural compression with a little hiss and a lot of fun control with the varispeed… But I just hadn’t really got it going.

Last week I stumbled upon a video:

And it occurred to me that I have everything I’d need to do this. Well, actually, I didn’t have a mixer, as I’d just given mine to a different friend, and I’d not yet replaced it with the Mackie that I’d ordered. But I do have Ableton and a good audio interface (Motu 828mk3) with enough ins and outs to be able to easily route this. So that I did.

For a couple of years, tape delay emulations have been my favorite type of delay effects. I love the sound of the degraded signal after the first couple of echoes. My Strymon El Capistan is my desert island stomp-box, being the one I’d keep if I had to get rid of all of the others. I use the GSI WatKat free plug-in more than I probably should. And a year ago I created a chain of Ableton effects to simulate an over-saturated tape delay in Live.

But routing this delay up through my deck is when I finally really understood exactly what’s going on and why. I have to admit that, frankly, it’s sort of a pain in the ass to set up, and the sound isn’t really any more amazing than I get through the El Capistan. It certainly doesn’t have as much control (no moving heads, no looping) but with EQ, it definitely has the tone control and when it starts howling with feedback, it’s sublime.

I recorded a half hour of noodling with an electric piano in live (via MIDI keyboard) and another half hour of guitar playing, direct into a channel in Live and using a few plugs like the amp/cab in Ableton and U-he’s Runciter, which is a fantastic filter/fuzz plug-in. I edited the 76 minutes down as much as I could, and the result is this track.

The dry signal is panned left and the delay from the tape deck is panned right. I ran the signal from the piano and guitar into a send track in Ableton, the send track was sent directly to the tape deck’s input, and the tape deck’s output, the delays, went to a second input channel in Ableton. As the video shows, this gets a simple slap-back echo. It’s not until you use the aux send on this second delay track that the fun begins with feedback and multiple echoes.

The next day I took some bits of this recording, reversed them and slowed them down, playing with Ableton’s warp modes. This became the track “outside over there.” The sound of a reversed delay is one of my favorites and just makes the piano and guitar melt and weave in a way I really like.

Look forward to more of this kind of thing.

fun with Follow Actions

15 April, 2014

Four tracks of guitar noodles. Set Follow Actions to a 60% chance of the current track continuing to play after one quarter-note and a 40% chance of any of the other three tracks playing, and set the Launch Mode to Legato. I gotta try this on vocal tracks.

nocturne

7 April, 2014

sleep tight 1

Made some time to play and record this weekend. I like to start playing by just finding two or three notes that say something when played together, and find some kind of pattern for playing them. The first two tracks here contain that idea and are somewhat similar. The third one was just running up the strings while barring a D chord and looping that, then playing along with.
One of my favorite kinds of music, when I imagine music I want to make, it’s music that at first sounds pleasant and maybe even childlike, but then the listener realizes that something else is happening there. A minor key, a particular mode, maybe the instrument itself. I felt that these might fall into that category a bit.

One frustration of mine is the constant hiss/noise that I get while recording. Both of my amps make some noise, but the Rivera Venus 3 is the bigger culprit. I have had this amp for a year now and while I think the thing sounds just great, I just can’t get past the hiss it makes. Nor have I figured a way to record with it where I’m not fighting this noise. Whether with a mic, or with the line-out in back of the amp right to the recording interface, it’s just more than I’d like to hear. I’m starting to think that maybe I should be looking down a different street for a good amp that doesn’t do this. Swart? Carr?

shapes into fortresses

13 March, 2014

shapes become fortresses
Working from home today and hung with a crummy cold. I had the bright idea to collect some tracks into a second release on Bandcamp. The four tracks here were all recorded around October 2012 and consist almost entirely of a baritone ukulele sampled and looped with the MakeNoise Phonogene module and the Harvestman Tyme Sefari mk2 module. All of them appeared here originally, and the fourth track was originally part of the Disquiet Junto.

Link here.

it’s cold. very cold.

27 February, 2014

A couple of guitar tracks that I made while suffering from winter-hate, lately. One is recent, the other two come from late 2013. Two of them made with guitar and effects pedals — namely a looper. The other one made recording a ukulele on my iPhone and adding an overdubbed e-bowed guitar.

I’ve got ideas right now, and lots of intentions, when it comes to music these days. Recording a lot more is one of the intentions. Day job is nutty currently, so I try to satisfy the part of me that wants to make music with these periodic little sessions. Recording on the iPhone one morning after I return from walking the dog, for example.

a belated christmas

27 December, 2013

snow houseThroughout the month of December, I’d planned to arrange and record I’ll Be Home for Christmas and The Little Drummer Boy. The former being inspired by this odd recording I made last year with some samplers on the modular synth, and the latter because it’s my wife’s favorite Christmas song.
As it goes, I got as far as recording some demos, just to see if my ideas for these tunes would work. Actually, I got slightly further than that — I spent some time working on a peppier version of I’ll be Home with my guitar instructor, laying down a rhythm part and a bass line before things got whacked and the holiday came and went. I’ll see if I can get that up pretty soon, at least.

I’ll Be Home for Christmas starts with a dyad of D and A held with an EHX Freeze pedal, and I play the tune over that. The second time around, some echo from the Echolution delay is added.

The Little Drummer Boy isn’t too dissimilar. This time it’s a held note from an Ebow on the Infinity looper, with a palm-muted D as a drum beat.

Both are recorded with a line-in from the Rivera Venus 3 amp.

Hope you’re Christmas was a merry one, and happy new year. Thanks for reading.

hunting the whale

13 November, 2013

folksingers wordbook

Lately guitar lessons have veered off into the theoretical, and I’ve not been sure what to do about it. My ambition and creative understanding of what this instrument can do has far outpaced my ability. I find that I’ve learned a lot over the last three years, but if you sat down with me and said “let’s play a tune” I’d be hard pressed to actually do this. I can play a 1-5-6-4 chord progression, or a 12-bar blues all day long. Additionally, I can hook up to a few effects pedals and a looper and improvise with pentatonics and modal scales until my fingers bleed. But it’s weird to me that I don’t really just know many, or any, songs.
So I’ve recently pulled out a book I found last year called The Folksinger’s Wordbook by Irwin and Fred Silber. There are about 1100 songs inside, but in all cases they’re printed only as lyrics and simple chords. There is no sense of melody, or any rhythmic guide. So with words and chords, you’re on your own.
And I think this is just great. I’ve decided to learn a ton of these and apply what I know from my lessons. Furthermore, I want to arrange them and play them on my various instruments. Even furthermore, it’s good fodder for working on engineering and recording. And then maybe if I’ve had a drink or three, I’ll sing something one day.
So the first tune I picked out was in the chapter on sea songs. There are a lot of whaling tunes, and I found a simple one called The Coast of Peru. It’s written as just Dm to C, and then Am to G. So, I guessed, key of A-minor. Or maybe C Major. Or maybe D Dorian since it keeps landing on D…
I flailed around with this for a few days until I was in lessons and my instructor, Lou, decided we should look at YouTube and see if there might be something there that could give us a launching point.

It’s in a different key, but at least we were able to figure out some of the melodic points. Especially in the second line where he goes up an octave. It also confirmed that it was in 3/4 time, as I’d assumed.

Here’s my take on it, roughly and simply. I transposed the song to D (E Dorian, actually), and worked out a little melody that somewhat follows the one Martin Hugill sings in the video. I plan to work on this some more this week and next, and hopefully soon sit down and flesh it out with a few verses. If you want I should sing, you could bring by some bourbon…

(Also, it’s worth noting, this blog and my output will likely not veer into the country western and folk section of the music store. Except for the occasional foray into the soundtracks I make for my children’s books, I’d like to think that to some extent, “experimental” will always somehow fit in iTunes genre category. Yeehaw.)


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