June/July - Kill Your Darlings; Check your Sources

It’s definitely time I posted something here. Many things have been happening.

“You will be… upgraded”

Windows 1803 forced its way on to my audio workstation, like a door-to-door Cyberman, despite my best efforts to avoid it. The only side-effect I’ve noticed has been that my computer can no longer come out of “sleep mode”. This is very annoying, and I’m not the only one to have the problem.

It is possible that the update is not 100% compatible with the BIOS on my now 8-year old unsupported Dell Studio XPS 9000 tower. That seems to be the consensus.

I can live with a computer with insomnia. It boots in 30 seconds, and I usually ensured that all apps are closed before putting it to sleep anyway, so it’s hard to get too annoyed about this.

Speaking of upgrades

I’ve been working on the next album. In this age of Pandora and Spotify, the idea of releasing an “album of songs” might be considered passé , with the caveat that, if it is released on vinyl, then you get a pass for being a neo-hipster, or something.

I’m not sure if I’m working towards a physical CD or not, but as a firm believer in pretentious  “concept albums”, I am planning a collection of songs, some of which have a common theme.

That theme is “upgrades will fuck you up”. My experience described above is just another data point in a very busy scatter plot.

For several years the working title for this new album has been “Other Points of View” but I think that will change. I have something in mind but I will let it percolate before committing.

This month (actually last month but I’m running late) I came up with an idea for a short song to open the album. It’s a five-voice chorale that, I admit, is somewhat inspired by the opening track on Rick Wakeman’s No Earthly Connection but I think it is its own thing. Call it an homage at most.

I had a couple of weeks away from work this month, and furiously worked out the harmonies and sang the parts and I’m currently finalizing the production.

The idea is for the 30 second track to start out like an old-timey wax recording and gradually progress to pristine digital stereo, thus manifesting the “upgrade” concept. However If I don’t like the results, I’ll just go for a clean 44.1/24 production straight through.

Tik Tok, Tik Tok… The cycle renews

“Kill your darlings”. Who said this? It’s not just good advice for aspiring writers, whomever said it first.

The other track I’ve been working on this month has had a more tortuous history than most. I’ve tried to produce it “for reals” at least four times prior to this, but for whatever reason, I’ve never succeeded in completing it. I’m not sure why. It dates back to 2002 which actually makes it one of my recent projects. Yeah, laugh.

When I took stock of where this project was at, I found numerous project folders, in numerous locations, all in various degrees of completeness. Each of them substantially different in content and each contained some really nice ideas and arrangements. Some had vocals; others did not, but had good instrumentation or solos or other things.

In 2012 my brother visited from New Zealand and I had optimistic thoughts of having him laying down some keyboard tracks – it’d be just like old times!

Alas, that’s a Big Ask, and although we had some fun for an afternoon, it ended up stalling that version of the project because I wanted to keep as much of Walter’s contributions as possible, and it didn’t really work out.

I collated the various project files under a common parent and took stock:

image

Then I worked through each project, taking notes on what was working in each one. There is no way everything could be included in a final project. I began to appreciate again why it has been so hard to work on this project and how I got to this point.

Too many good ideas. Some of them have to be jettisoned. I have to “kill my darlings”, even though they are special.

And perhaps this can only be done after we’ve gained some perspective. At this point I have confidence that pruning down a composition can actually produce a better final result; and also I’m confident that deleting a “really cool section with great instrumentation and performances” doesn’t mean that I won’t come up with something just as good or better in the future.

So I took the version of the project from 2015 and viciously pruned it back, keeping the drums and some guitar. Then, after listening to the very earliest versions from 2003, I identified what made them sound good  - it was a really crunchy bass sound.

So I re-recorded the bass, this time foregoing pride of finger picking, and used a pick and the neck pickup to get a kind of John Wetton-y thing. (Rabbit hole alert. This is good too. Arghh.)

Then I went back to 2012 and salvaged the “hammond” and rhodes… figured out what they were playing and re-recorded them.

OK now we’re cooking. The awesome synth solo on the 2010 project is worth keeping but let’s see if we can use the Novation PEAK for it instead because the Roland Fantom is packed away in the garage and, oh, using a different instrument means that we need to perform it differently… it’s still good. Better.

Seeing as I had the microphone out I’ve been working out harmony vocals and re-recording them as well.

At this point, I have to transfer the new vocal tracks from my temporary tracking project into the 2018 version, then finish up lead guitar… and we may have a winner.

After years of threatening to invade, and then backing off…. the Toks may have actually Invaded.

The invention of a new piece, enabled their construction
A genetic constitution was figured out
Tools could be mounted: diversity of function
Advantage evolution: opposable snout

- The Toks Invade Bogland

Group Effort

After videoing the process of recording a bass track using the Chapman Stick,  as an experiment I did the same for the next couple of tasks: Replacing the previous organ track with a one-take performance on the Roland VK-8; and replacing the lead synth track with a performance using the Novation PEAK synthesizer.

In both cases I'm replacing a virtual instrument (VST Plugin) with a real, live, instrument performance, although I admit the distinction is a bit fuzzy and arbitrary. Whatever.

Why stop there? Indeed. So I re-recorded some guitar tracks just for fun. Now we have enough material to make an interesting (?) video. Also, an opportunity to get more into the KdenLive video editing application.

Problem #1 is getting everything in sync.

Problem #2 is deciding how to put the thing together. There are a lot of possible solutions, with varying degrees of "feels right". I ended up with this:

https://www.youtube.com/watch?v=ggS9ilYbPuo

Spring Creators Update

This post has nothing to do with new versions of Windows 10, except perhaps for the delay in getting it published. I don't know what the story is with 1803 or 1804 or whatever it turns out to be, but I'm sure Microsoft are working hard to prepare it for release.

I'm also sure it will be packed with features that I, as a "Creator", don't give a sh*t about. Just like the last "Creator" release.

So, what's new this month? Quite a bit, actually:

  • I installed Reaper 5.77 and watched most of Kenny Gioia's video tutorials;
  • I migrated one of my "works in progress" from SONAR into a Reaper project.

This was actually pretty straight-forward, considering. Creating the empty project in Reaper was trivial - all the VST instruments and effects are available, and I haven't used very many plugins that are locked to SONAR-only.

The MIDI data can be exported as a MIDI Type 1 file, which keeps the tracks distinct and retains the time offset of each clip. Be warned, however, that muted clips will be exported as unmuted. So there is some preparation required of separating the tracks so that muted and un-muted are on different tracks.

Then, you can open a .mid file in Reaper in a separate project tab, and select all clips in a track and paste them into the new project, positioning the paste point at the start of the timeline.

.WAV data is migrated differently, using SONAR's export as Broadcast Wave feature. Again, muted clips need some special handling if you want to retain them, because they will be exported as silent (empty) clips.

I plan to continue working on this project in Reaper and see how it goes.

What else happened?

Uh, okay. I'll be honest and say, up until this moment, I'd never heard of BandLab. They seem to be some kind of cloud-based music collaboration outfit. But apparently their pockets are big enough to allow them to expand their market and include a "real" digital audio workstation in their product range.

Releasing it as a free download for registered users? That's... quite cool.

So:

  • I created a BandLab account;
  • Installed the BandLab Assistant;
  • Downloaded and installed the new "Cakewalk By BandLab" DAW.

It just worked. After tweaking some of the VST search paths, that is. Any project I chose to load up, opened without errors and played back correctly. However, it was about this time I realized it was 64-bit only.

Up until now I've been using the 32-bit version of SONAR, exclusively. All my VST plugins were 32-bit and things just worked, so I left it that way. If I was going to go ahead with Cakewalk By BandLab (from now on I'll just call it Cakewalk), I would have to do a little work. 32-bit plugins are loaded and used, but there's a translation layer involved that, ideally, I didn't want to use.

  • I installed SONAR Platinum x64, including the bundled VST plugins, ensuring to check the [x] 64 bit box instead of the [ ] 32-bit one.
  • I opened the Plugin Browser in Cakewalk and made a note of all the 32-bit plugins, categorizing them as "installed but never use" and "installed and definitely used"
  • I re-installed all the "definitely used" plugins and selected the 64-bit version where possible
  • I removed all obsolete 32-bit VST files into a "retired" directory so that they would no longer be detected by the DAW

This left me with a pretty small list of 32-bit VST plugins that I've used historically and wish to keep on hand :

Instruments:

  • Taurus (these days I have a patch on the Novation PEAK...)
  • 4Front Rhodes (still has a nice compressed tone, I could replace but it sounds good as-is)
  • esLine String (I will replace this with the Arturia Solina V probably)
  • MinimogueVA (these days I have a patch on the Novation PEAK...)

Effects:

  • VC-64 Vintage Channel Compressor (I can replace this eventually)
  • LFX-1310 (Used for "vintage radio voice" and I could replace it eventually)
  • Amplitude 3 (just in case I've used it on a Bass track)
  • Glimmerverb (a really really nice shimmer reverb, could replace but hard to duplicate)

With the 64-bit upgrade process completed, it's back to business as usual. I'll stick with Cakewalk for most projects, for now, but I'll continue using Reaper for that one project, just to see how it goes.

I have a back-log of tasks to work through, and first up is re-recording some solo synth lines in "Listen", using the Novation PEAK hardware synthesizer, which is awesome.

A Reaper video for everything - mapping Sonar features

Kenny Gioia may be one of the primary reasons the Reaper Digital Audio Workstation (DAW) is so popular. For any specific feature you can name, there is apparently a YouTube video by Kenny that demonstrates and explains it. He has. An odd way. Of speaking. That is disconcerting at first. But after a while, you get used to it, and I find it very easy to absorb the information Kenny is relating.

For my own benefit, I'm going to keep an index of videos I've found useful when researching how to map a specific SONAR feature to Reaper's functionality. At least, that was my intention when I started.

Master Bus, and Track vs. Buss in general:

Track Folders:

Routing:

Working with external MIDI sound modules:

  • External Keyboard or Synth in Reaper (except this isn't working for me yet!)
  • Update: It *does* work but I have no idea what I did. Maybe the input monitor button was involved? Must research further.

Arrangement, Markers, and Time-base Rulers

Automation:

Time signature changes:

Take management, and comping:

Customizing the editing experience:

Vocals:

Driving a multi-timbral VSTi with multiple tracks (e.g. Split tracks for drums)

"Fit to improvisation":

Drum Maps:

Groove clips and time-stretching:

Export to WAV (rendering a mix):

MIDI Editing

Noise reduction:

 

I should probably stop adding things to this list, because after a while it's just going to look like the complete index of Kenny's videos on his site, here.

Practice ‘til your hands hurt

I’m having some difficulty making progress compositionally on a couple of new pieces, so I decided it was time to go back to some mostly-recorded works and see what needed to be done to get them ship-shape for album #2.

I should probably document my manifesto for album #2, but one of the tenets is to go back to the first demos for each piece, and respect the original instrumentation, if it makes sense to do so.

For the piece currently known as “Listen”, the bass riffs were developed shortly after I acquired my Chapman Stick, and certainly the early demos all featured it. So why, I have to ask, does my current work-in-progress project use a regular bass instead?

So I take out the Stick case from the back of the closet, and give it a good cleaning and a new set of strings (standard 10-string tuning). Usually I spend a long time trying to find the perfect recorded tone, but this time it came together pretty quickly (see below).

Another tenet in my manifesto is to avoid building up tracks by stitching together multiple takes. I’m not normally a “one-take” kind of guy, so this means, practice. And in the case of the Chapman Stick, which I hadn’t seriously played for a couple of years at least, lots of practice.

Finally, I think I got it down. In one take.

Here’s a little video I made while (re)recording the bass:

https://www.youtube.com/watch?v=9mB38yCU6D0

The backing track is not final; it’s a special mix that keeps things simple and un-distracting.

Now, with respect to that tone, here’s how it is achieved in the DAW:

image

I’m recording a mono track (#6 in the picture) direct into computer’s audio interface via a Dual Channel PRO ST Preamp, to buffer and merge the two channels from the Stick into a single mono signal.

This mono signal is then routed in-the-box to an Aux Track “Stick FX” that contains an instance of Guitar Rig 4 virtual amplifier. A pre-FX Send duplicates the signal to a second Aux Track that allows me to mix in some of the clean, un-effected sound of the Stick.

Cakewalk is dead; Long Live SONAR

My Digital Audio Workstation (DAW) of choice is Cakewalk’s SONAR. In 2017, Cakewalk (formerly Twelve Tone Systems) were celebrating their 30th year in business. Over the years, the “Cakewalk” MIDI sequencer evolved to support digital audio and matured to became a very capable music production environment. Eventually the company took the name of its flagship sequencer, and the DAW continued under the “SONAR” name.

image

I first encountered Cakewalk Pro Audio in 1994 when my wife-to-be (long story) sent me a copy. I think it was version 5. It very quickly replaced Passport’s Master Tracks Pro * as my studio workhorse, especially after digital audio recording features were added. I’ve been a loyal, paid-up user ever since.

In 2008 the company was effectively acquired by Roland, which in 2013 subsequently sold their shares to Gibson.

In November 2017, Gibson effectively killed the company by stopping ongoing development and reducing the staff to the minimum required to keep the servers running.

We can guess that Gibson may have tried to find another owner for the company, and failed; or perhaps just decided that it was better to write it off as a loss for this financial year.

Either way, we’re not going to see any updates to the SONAR product in the foreseeable future, despite the fantasies being spun out by some on the user forum.

The company website still exists, and you can find links to “Buy SONAR” but they all eventually lead to the cease-of-business announcement and the statement that new purchases are no longer possible. Documentation and downloads of historical updates and resources are, for the moment, still available. You’d have to be an idiot to think that this will always be so, however.

So where does that leave folks like me?

  • Switch to another brand of DAW, immediately
  • Stay with SONAR for the time being

I think I’m totally in the second group. If I were to switch, it would be to PreSonus Studio One, because I already own it (I use it for the excellent Project page for mastering).

Negatives:

  • If you’re not happy with 2017.10, well, you’re out of luck waiting for changes.
  • A re-install will require access to online authentication servers (at least until a promised work-around is made available).
  • If you find an existing bug that doesn’t have a work-around, you’re out of luck getting it addressed.

Positives:

  • It’s not like SONAR is going to suddenly stop working;
  • No new features means no new bugs;
  • As far as we know, there aren’t any existing show-stopper bugs without workarounds;
  • Total mastery of the software is possible; current techniques won’t become obsolete;
  • We can finally create an up-to-date knowledge base of tips, tricks, and workarounds.

I don’t regret the time or money I’ve invested in Cakewalk SONAR up until this point. To throw up my hands and abandon it? That would be throwing away that investment. So for now, call me a happy SONAR user.

Onward, and create!

* Oh my goodness, they are still a Thing.

The VAXMIDI by Infinite Response

In 2015 a Kickstarter was created for a project called “VaxMIDI” – a MIDI keyboard controller with attractive features, including polyphonic note pressure detection or “aftertouch”, a feature that traditionally has been difficult and expensive to produce, and/or protected by patents.

The second really interesting thing about this project is that it would be shipped in kitset form, to keep costs to a minimum.

The folks behind this project were reputable (read more about Infinite Response and the VAX77 keyboard). Strictly speaking, I did not need another keyboard controller in my studio, but as an engineer/musician, the project intrigued me.

I backed the project at the top tier, in for a 8-octave unit.

After the project reached its funding goal, we had to wait for the kit to be developed and manufactured before eventually receiving our kits. I was in the second wave of beta testers, and early 2017 I came home to a large box on the front doorstep.

I took over the dining room table for several months, assembling and testing each of the four 2-octave units.

image  image

Each base is an extruded aluminum section with a complicated cross section, supplying rails for the keys to swivel and rest on, and a clever mechanism of hammers that are flipped up by each key, and pass a slotted blade through an optical detector.

The aftertouch sensor is a long slot that widens as the blade is pulled through the sensor as the key is depressed more firmly.

There is quite a few places where this can go wrong: The sensor strip (of 22 detectors) can be misaligned; the distance between the hammer rail and the sensor base can be too high or too low; the felt on which the key steel rests can be too high… all these things have to be just right in order to position the slots correctly for the note and pressure detection to work correctly.

Additionally, there are challenges in assembling each base into the chassis and connecting the system circuit boards so that it stays together in a robust and stable configuration. Also, there are bugs in the firmware such that spurious patch changes were being emitted during testing.

Bottom line: My assembled unit is back in its big brown box, in my garage, until such time as we get some updates on how to address these issues. It’s looking more and more as though they will not be forthcoming. I think the company has long burnt through their Kickstarter funding, and combined with family health issues, I don’t foresee this project coming to a good conclusion.

That’s sad, because it shows a lot of promise. Technically, I think it can work, but it is really sensitive to manufacturing tolerances, and the skill and ability of the assembly technician (i.e. me) to overcome them only goes so far.

Re-releases and Resets

You may notice that things have changed color since your last visit. I got tired of the blue and decided a change would be a good idea for the next phase of existence.

Steel Tree 2.0

Okay, the biggest news is that I have created a 2.0 version of the Fruit of the Steel Tree album, as a digital release on BandCamp. The songs are also available to stream on this site - I’ve updated the Production Notes and you can read about the changes there.

Album #2

Album #2 is taking longer than expected, due to reasons that aren’t worth discussing. I have one track 100% completed, and I’m working on a couple of others that have been around for years but have never been finished. I have another long piece in demo form, 70% of it anyway. And finally, another large piece that is in the process of being written and I’m feeling very challenged by it both compositionally and thematically and it’s been hard to make progress on it.

Bottom line: I’m not giving up. There’s too much here that I value to throw in the bin. In order to get Steel Tree finished, I had to get serious and “reset” my activity and treated it like a project, requiring management and discipline.

I need another reset, to not despair of how long things are taking and instead satisfy myself with continual, gradual progress. And also, I’ll blog about it. The studio diary lives again (hopefully).

Pardon the dust

…while we remodel. Actually, it’s exactly the same decoration but placed over a new framework – BlogEngine 3.3, an upgrade from 2.5. Some of the theme styles aren’t working as expected; and some of the plugins aren’t working yet. There may be minor changes.

It has been over a year since my last confession… what’s new, you may ask?

Gone quiet? Not really

OK, I'll admit there has been something of a hiatus but this site has been extra quiet because mostly I'm posting updates on Facebook instead.

Check it out: facebook.com/TheProdigalSounds

That said, I'm expecting to create a buttload of updates here in the near future.