Category Archives: Music

Random access excitement

dp-videoteaserIt hadn’t occurred to me that other people don’t care. I’d not given a single thought to the fact that, outside the circular wall of my robot-addled brain, additional human beings inhabiting this planet may not give two (or even three) hoots about an impending album release.

If you’ve spent any longer than one minute in my company over the last few weeks, I’ve probably asked you if you’re as excited about Daft Punk’s forthcoming LP, Random Access Memories, as I am. The answer, without fail, has always been brick wall specific.

“No,” you said.

With some people, I left it there. These are, after all, friendships and relations I’ve built and maintained for many years, and I wouldn’t want two French robots to spoil them. That would be a shame. And an incredibly odd way for things to end.

Then there’s my mum. As we all know, mums know everything. For a very long time, we pretend not to believe this is the case, but, as soon as school becomes a distant memory and we’re thrust into the world of work, mortgages and the requirement to deal with other human beings on stuff which doesn’t involve reenacting yesterday’s Street Fighter battle or comparing Panini stickers, we come to the distinct conclusion that everything mum says is, in fact, 100% correct.

Mums also humour their children indefinitely and it was with that in mind that I recently raised the question of whether or not she’d heard Get Lucky, the first single from the album. She had, and confirmed that it was good, if a little repetitive. This was going well. Much better, in fact, than my previous attempts to make people like Daft Punk. So, I continued. If mum liked it, maybe all hope was not lost elsewhere.

A brief, but exciting (for me, anyway), recount of some of their earlier stuff followed. Less impressed, but – as mums always do – putting boredom to one side for the sake of her child, she continued to listen intently.

I showed her the Saturday Night Live advert with Nile Rogers jamming away on a glittery stage filled by shiny instruments, a shiny Pharrell Williams and two men dressed as, yes, shiny robots. It is at times like this that, for even the most ardent Daft Punk fan, the pretentiousness of it all briefly catches breath before being stuffed firmly back into the sea of suspended belief. It all looks a bit silly. For a moment. Mum seemed unperturbed, though, so I carried on.

I then went one further and showed my mother the grainy iPhone footage from the Coachella festival, where a short clip of Get Lucky was played on big screens to the thousands in attendance, somehow managing to upstage the real acts who had bothered to make a physical appearance. This is where it got tricky, because it is almost impossible to explain why this is so ultimately cool without, once again, exposing Daft Punk’s entire viral marketing campaign for the inherent silliness such an elaborate pre-album promotional monolith launch elicits. I think I failed here, not least because my wife entered the room at the exact same time and rescued my mum with a conversation about how much of a dork I am.

Putting that brief experiment to one side, I have now heard Random Access Memories and I really am blown away. Putting all the hyperbole and silly suits to one side, it is an achievement of simply unfathomable standards for two bedroom producers who have previously been far more at home sampling others (and they are the best in the game at doing that). It is also a record which will take time to settle in your mind. You may not develop a glowing opinion of it instantly; it is not made for instant gratification. And in this world of instant everything, bland R&B, pop and dance music and a requirement for all lead vocalists to have an irritating affectation in their voice, that’s a very good thing indeed.

Thrilling, surprising and fitting everything I love about music and production into one album, RAM is an instant masterpiece. Listening to it is like floating in a space station filled with Moogs, live drums, top session players and echos of Chic, David Bowie and Pink Floyd ringing with tape-saturated warmth in your ears. It is also a perfect reason to dust off your turntable and get the vinyl ordered; if there was ever a modern album which demanded that type of playback, this is it.

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Default Rock Star

DRS Univeral Rock coverFor about twenty years, I have been playing with myself in the spare bedroom.

That’s the inevitable, masturbatory-reference-strewn intro over, and one few bedroom producers can escape from. But that’s what I have always been, and will continue to be probably for the rest of my life – a knob-twiddling, noise-making producer of music made, on the whole, purely for my own satisfaction.

For the last ten years, I’ve wanted to produce an album. Anyone who has listened to Pink Floyd’s Dark Side Of The Moon will doubtless have wanted to do the same thing themselves, but I’ve technically had the tools to do so ever since my dad bought an Atari ST and a copy of Cubase in the early 90s.

For years I’ve fiddled. I’ve even ‘released’ some stuff, in the loosest possible term, which can be found on my old Soundcloud page (click here). Inevitably, though, my journey through sound has resulted in half finished ideas, completed tracks I’ve not dared put out into the ether and hours of frustrating, key-bashing unproductiveness. Anyone who has dabbled with making their own music, whether it be electronic, rock, pop or simply a guitar and a microphone, will know exactly what I’m talking about. It’s a long, lonely process and one which usually results in 95% unproductiveness and 5% of genuine inspiration. The greats turn that 5% into beautiful works of art we buy and listen to for years to come. People like me make it work for ourselves.

It is with that in mind that I present my first album, Universal Rock. Under the pseudonym, Default Rock Star, which originated during nothing more elaborate than a dog walk, it is something I’m finally happy with. It’ll likely be the only full album I ever release, as I will now concentrate on single tracks and possibly the odd EP.

As a fellow producer friend (the rather excellent Persona1600) recently remarked about his own work, these 10 tracks are the closest things I have to children. Perhaps you’ll enjoy them. Maybe you won’t. Here they are…

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Where’s my organ?

Sitar: not an organ.

I lost my organ last night. It had been there a few days before but, last night, it inexplicably turned into a sitar.

This wasn’t convenient. Partly because a sitar doesn’t sound anything like a Hammond organ but mainly because it chose to morph into the twangy ethnic instrument during the two bar count-in to Crocodile Rock. I needed my organ back quite badly – this was only the second song I’d ever played live. In a busy pub. With half my family watching on. A Bollywood version of an Elton John classic wouldn’t have gone down well.

After much fumbling, I found my organ, eventually, but a little later I couldn’t find my brass section either. Instead, I inadvertently triggered a drum and bass groove. This surprised everyone – not least the drummer who looked twice at his kit and hands to check they hadn’t started bashing out the manic 4/4 rhythm without him knowing.

If truth be told, these instances of sweaty-fingered patch scouring were simply a couple of minor mishaps amongst an evening of quickly brushed-over Les Dawson incidents which, I think, went largely unnoticed by those watching. From my point of view, forty-five minutes of music seemed to pass by in an enthralling, sweaty, panic-fuelled adrenalin rush. Six months of work for what felt like ten minutes of performance time. But worth every second.

If, like me, you’ve spent the best part of ten years playing an instrument to yourself, your dog, or the potted plant in the corner of the room, get out there and play live. Trust me, there’s nothing quite like it. Regardless of how many mistakes you will make.

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My brain is amazing

Right. It’s only March and this postaweek thing is getting decidedly difficult. Must. Carry. On. Even though I’m not entirely sure why. It’s not as though someone’s going to hand me a fat cheque on December 31st for doing so. Is it, WordPress? Is it?

I thought I’d post a very quick muse on my brain. I’ve never paid a huge amount of attention to it and I think the feeling’s probably mutual. It’s rarely there when I need it and flat-out refuses to remember anything more than 24 hours old.

However, a few weeks ago I mentioned on this very blog that I have started learning a number of songs on the piano for a performance with my dad’s band in September.

When you first start learning a song it’s inevitably hard work. You stumble over chords, forget which key you’re in and at times feel like flinging the increasingly meaningless collection of ebony and ivory keys out of the window.

Then, you stand up and walk away from the piano. For an hour. A day, even. During that period, something magical happens, because by the time you sit down again, the music flows out of your fingers like you’ve been playing it for years. It’s that much of a step up from your previous ham-fisted attempts that you would be forgiven for being a little shocked by it. I am, constantly.

I’ve concluded that during that period of rest, my brain is playing catch up. Silently, like a task running in the background on your PC, it computes the myriad of information you fed it earlier, and, without any cursing, shouting or head bashing to distract it, practices. Without a piano. How cool is that?

There’s probably a more scientific explanation for this process and if you know it, please let me know. I just think it’s fucking amazing, my brain.

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The road to live performance starts here

On Wednesday night, for the first time ever, I played keys alongside my dad. Granted, it was in the living room and we were simply doing a dry run of Crocodile Rock; me playing the Farfisa organ part which supplies that iconic intro, him playing the piano… but it was something I didn’t realise quite how much I was missing until it took place.

It’s all in preparation for a gig with his band later this year (a week before my wedding, in fact). I’ve never played live anywhere before, and I’m tasked with learning eight songs. Eight. Scary? Slightly, but also a brilliant challenge I’ve always wanted to tackle.

I’ll track my progress on here where I can, as those learning the piano or with a keen interest in getting out of the studio and playing in front of people may find it interesting.

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Production tip – drumsticks and the perils of patch browsing

Two tips in one post today. Why? Because they’re short and sharp and I need something to fill the looming postaweek deadline!

Drumsticks

I’m not a drummer, however, a couple of weeks ago I took delivery of a £2.99 pair of drumsticks from eBay. Having recently invested in an Alesis Palmtrack, I’ve developed the ‘found sounds’ sampling bug. Whether it’s me making silly noises with my mouth or banging spanners together, I’ve managed to create all manner of richly dynamic percussive sounds for use in my tracks. What’s better, they’re not from a sample CD, nor are they nicked from another record (two past times I indulge in equally and having nothing against, incidentally). They’re mine, I made them and no one else can claim to be their keeper. A bit like fitting your own bathroom, there’s a tangible sense of pride in that.

But… there’s only so many noises you can make by hitting things with your hands and there’s nothing quite like the tactile feedback of a drum stick, hence my purchase. It’s something I highly recommend any aspiring producer/beat maker/sonic experimentalist has a bash at, literally. Not only can you hit things more accurately and procude variations in timbre and tone, you can also use them to enter 64th note drum frills and hi hat patterns if you’ve got a midi controller with some decent pads on it. Give the latter a try – you won’t be reaching for the quantise button afterwards, I promise.

One slight problem, you will look like a tit walking around the house hitting things with drum sticks.

The perils of patch browsing

I’ll keep this one short. If you’re browsing the patch bank of a synth and come across something which appears to fit the track, stop and use it (although, please fiddle with it a bit to make it your own). If I could have a pound for the number of times I’ve gone past that point, hunting pointlessly for some kind of patch nirvana, I would have a lot of pounds. And no music. There’s a reason you liked it… so stick with it.

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Time for a new pair of gloves

Ableton LiveLogic has always felt very much like a snug-fitting glove. I know it like the back of my hand and as soon as I fire up my template song, I’m instantly in a very familiar world. I know where everything is and can instantly jump into the process of creating a track.

That’s probably why, when I fired up Ableton Live yesterday, I felt like a lost puppy. I was suddenly staring at a screen full of icons, grids and text. None of it meant anything. I recognised what appeared to be faders and panning controls but everything else was foreign. Meaningless.

Having started out on Cubase and subsequently moving onto Logic, I’ve been almost solely subjected to the linear approach of timeline-based sequencing and production. Dabbles with Reason are perhaps an exception, but even that follows the same time-honoured approach to building tracks.

Rarely a week goes by when I don’t spot someone using Ableton. Whether it be a YouTube video or an episode of ‘In The Studio’ from Future Music, I’ve always been fascinated to see professionals and fellow enthusiasts singing its praises and claiming it has revolutionised the way they make music. Really?

As its name suggests, Live is partly aimed at those wishing to take elements of their studio out on the road. However, this holds little interest for someone who makes music solely in the comfort of his spare room and is partly the reason I’ve never bothered to seriously look into Ableton’s offering.

Last night, however, I decided to try the demo (and it is worth mentioning at this point the fantastic approach Ableton take with this, offering any of the Live variants on a free 30 day trial with absolutely no limitations or missing features. Bravo.).

This isn’t the first time I’ve tried Live, if I’m honest. I did so several months back but instantly got fed up with not knowing what I was doing and went straight back to my warm Logic gloves.

The same thing happened last night.

In fact, I got so fed up with it that I ended up heading downstairs to shoot some people in the face on Call of Duty.

Later, having expelled many bullets and a large glass of red wine, I went to bed, laptop in hand (my fiance is away, therefore this type of behaviour is temporarily acceptable and not at all antisocial). I decided to watch some of the videos on Ableton’s site. It was this one which convinced me to give it another go, because the guy presenting it finally explained what the mystical piece of software is all about and why ‘being different’ is actually a very good thing indeed.

Ableton allows you to build grooves in a way no other DAW will. For example, in Logic or Cubase, you can bash a few midi notes in and create a ‘region’ on a horizontal timeline. These regions can be copied and moved at will, allowing you to build and arrange your production as you go along. The timeline itself allows you to instantly recognise where you are within your track. Which all sounds fabulous. But it can also be debilitating and often leads nowhere; you get so tangled up in the process of arranging that you forget about the process of writing.

Live offers a ‘session view’ which turns this process completely on its head. Instead of viewing a timeline, you create your own loops, across any number of bars you wish. Once you’ve created, say, a drum loop, you can leave it playing and record a bass part over the top. And so on. This sounds simple, but that’s the point. Without having a massive, gaping timeline to distract you, you can get on with the process of building a piece of music from scratch, even if it is only a bar in length. Many refer to it as a sketch pad for music and that’s a perfect analogy.

It’s early days, however, and I need more time to play but immediate thoughts are positive. I can see Ableton becoming a very useful part of the writing process.

Further updates will follow…

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A history of bedroom production – Part 3

2007: Returned

Kit list: Apple Mac G5, Garageband, Reason 4, Logic Pro, Korg Triton

Apple Mac G5Eagle-eyed readers of the previous part of this series will have spotted a somewhat seismic gap in the noted period. Eleven years to be exact, for those too lazy to check.

If truth be told, I continued to make music between 1996 and 2000. This coincided with me reaching my late teens and, as confused as anyone is at that stage in their lives, I gave in to many a distraction. Going out, drink, girls… Work, even. Once you’re unleashed from the shackles of being a kid and suddenly in possession of the keys to your own car, you’re inclined to make the most of it. And more often than not, that usually involves leaving the house.

Consequently, my music suffered and eventually died a complete (albeit unmourned) death in 2001 when I met Lindsey Allen. Lindsey was the beautiful, blonde-haired girl who would become my soulmate and, in ten years time, accept my nervous, sweaty request of marriage on a sweltering day in Kefalonia. Back then, however, we were just happy to bask in all the glories of newfound romance. All of a sudden, making music was of little interest.

Skip forward to 2007. We own a house and have stable jobs. We’ve even shopped at a garden centre. Basically, we’ve grown up a bit.

Before the house purchase, we lived in a couple of tiny places. They were far too small for any kind of studio to exist, however I did, on occasion, dust off the Triton and remind myself of what I was missing. It was only now, with our own bricks and mortar, that I could seriously consider getting back into it. For days, I eyed up the then empty spare bedroom. It was perfect.

So, with little trepidation I began researching the required gear. I didn’t want to go back to the PC, having torn out my hair multiple times in the past building – and consequently fixing – them. No, I decided to turn to Apple.

Initially, a G4 sounded like a safe bet; cheap yet still capable of running some form of midi sequencer. It harked back to the days of the Atari (something I also briefly considered investing in).

Then, I noticed that a G5 could be had for a small premium. And with that, I bought a dual 1.8ghz variant through eBay, from a guy who worked at the Planet Rock radio station (the machine clearly had relevant roots).

My first experience of the G5 was Garageband, which came handily ready-installed. Bearing in mind I’d not properly worked with

Garageband

Garageband

any kind of DAW or sequencer for several years, I was entering almost unchartered territory. However, what I discovered was jaw-dropping.

 

Instantly, Garageband let me back into my midi-driven roots. But along with that was the sheer power of the thing. Bearing in mind this was essentially a free piece of software which came with any new Apple Mac, it was actually a very respectable standalone DAW with plenty of useable sounds. I couldn’t quite believe just how far things had come on. Back in the 90s, you had to be a real geek to have any idea of how electronic music was sequenced, let alone be so easily exposed to the tools used for doing so.

This got me a little excited. If this is what mass-market fodder like Garageband is like…

ReasonThe next step was Reason 4 and having dabbled with earlier variants and it’s often forgotten ancestor Rebirth some time ago, I was instantly familiar with its self-contained loveliness and addictive tab switching to reveal dangly virtual cables. It was obviously a huge step up from Garageband but it also fully reignited my passion for making music. The sounds you could create were a world away from anything I’d used in the past.

There was only one stop left: Logic. It had been a long time. Would we still get on? Would we recognise each other? What if it had gone a bit weird, met new friends and consequently become a pretentious sod?

It hadn’t. Logic Pro sealed the fate of our spare bedroom. I was back.Logic Studio

I’m not going to dwell too much on why, or go into any detailed discussion on the reason I love Logic (if you’ve kept reading this far, you’re doing well, I wouldn’t want to lose you now), but I’d never have thought after my brief and underwhelming dabblings with it on the PC in the late 90s, that it would become such a staple in later life.

I instantly got to work. Any new piece of software I can lay my hands on, whether it be a DAW, soft synth or effects plug-in, seems to inspire me instantly and Logic was no different. Within a couple of days I’d written a full-length track, the first for about ten years. Listening back, it resembles much of what I’ve described in the last few paragraphs; someone getting reaqauinted with music making. Someone experimenting with a new set of toys. It’s therefore a bit paint-by-numbers and by no means a masterpiece but I do at least have it to hand, which is more than can be said for my earlier works.

So, here it is, the aptly named Returned. I can only apologise for the dreadfully contrived intro:

p.s. My blogging buddy Chris has been charting his own history of bedroom production. It’s quite different to mine and I really recommend a read. His third and final part can be found here.

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A history of bedroom production – Part 2

1996: Discovery of Logic

Kit list: PC, Logic 4, Korg Triton

Korg TritonAlone in a York hotel, I put down a simple gated pad melody. Realising it wasn’t quite biting through, I treated it to a dose of compression. The standard logic unit was grabbed, as always, and my favourite ‘Acoustic Guitar 1′ preset did wonders.

A dash of stereo delay made it stand out yet further over the bed of bit-crushed, arpeggiated strings I’d bounced to audio moments before.

I would have gladly handed over an important body part to have been able to do that back in 1996. But to do it with such ease? On a laptop? In a hotel room? Without spaghetti cabling? Well, said body part would have come with a free member of the Ellis family.

It’s a boring cliche, but it is astounding just how quickly technology moves on, particularly in the world of audio and midi production. I can do anything I need to on my laptop. Aside from a tiny contoller keyboard, I don’t need anything else. Samples, synths and effects are all a few clicks away and putting them all together is an unbridled joy.

I’m in York on business, yet I’ve been able to bring my studio with me, hidden safely between tomorrow’s suit trousers and pants.

Such portability wasn’t really present back in the mid-nineties when I made my first significant jump into what could be described as ‘serious’ gear. Living at home and working a well paid weekend job with dad’s band, I had plenty of disposable income. It was therefore only natural that I started what was to be a long-running addiction to buying studio equipment with my first big purchase: the Korg Triton.

I’ve never been as excited as I was in the days leading up to it’s delivery. Having played it’s predecessor, the Trinity, at a trade show a year or so previous, I knew very well what this thing would be capable of. And I wasn’t dissapointed.

The  flagship workstation sounded like nothing else I’d experienced. A world away from the TG300, it offered a lush sound palette and complex onboard effects. Add to that a sampler and a little ribbon you could rub to make everything sound even more wonderful and I was quite literally in geek heaven. It’s also worth highlighting its continued presence today both in commercial studios and, more predominantly, on the road, where its workhorse capabilities are still relied upon by some of the most skilled professional keyboard players in the world.

One moment stands out for me during my early days with the Triton. I had finally mastered the art of sampling and had successfully captured a beautifully played Gilmour solo from Pink Floyd’s live album, Pulse. Then I found the reverse button. Within a day or so, I’d built a track around the now ethereal sound which resembled anything but an electric guitar. I clearly remember saying to myself, “wow, I can do anything now“; there was finally sense of the freedom I’d yearned for which would allow me to create the music I had in my head. As much as I still hold an affection for the days of the Atari and TG300, they were limited and as I reached my teens, I became increasingly frustrated with what I wasn’t able to do.

It wasn’t all down to the Triton, however. It was around the same time that I made the switch to Logic, developed as it was back then by Emagic. It wasn’t love at first sight, but as I was to find out, it would become something of a staple…

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A sound opportunity… lost.

Alesis PalmtrackCold, quiet air whipped past my ears in fits and starts, adding to the already eery atmosphere surround Northampton’s Racecourse park. Unsafe in the knowledge that some poor guy had been stabbed in the very same location last night, I continued apace, towards the adjacent road.

I’m over indulging a bit here. It was a rather pleasant dog walk and, having used the Racecourse on a daily basis for the last eighteen months, I’m certainly not going to be deterred by one sickening act of violence (the guy survived, you’ll be glad to hear).

As I trundled back towards the park entrance, the wind dropped to a whisper and it was then I realised I’d forgotten something essential.

My Alesis Palmtrack.

For the evening air was now soundtracked gently by piano, leaking through the half-opened window of the college that sat opposite the park.

The player was hammering through a rather stilted classical piece. I liked it. It was played strictly in chords, no frills and to a non-existent 4/4 beat.

That sound, teamed with the wide atmosphere created by the sprawling Racecourse would have been a fantastic recording and something that would have sat very nicely at the start of a track. Alas, my Alesis was sat at home, in the studio.

I bought it for this very reason; to capture sound while away from the comfort of a warm studio and condenser mic. So far, I’ve recorded myself making silly noises with my mouth (most of which I’ve successfully found uses for as hi hats and percussion), a door closing, my car starting and the dog barking. I think I also farted into it once (you’ve got to, haven’t you?) but it’s not really received the use for which it was intended.

Lesson learned. It shall now travel with me.

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