My first release for over a year.
Musically I'd been stuck with a blank canvas for a while until I discovered a piece of software called ChordPulse. I normally work out my chord structure before attempting to write a track around it and ChordPulse let me do that. I've also got back into MIDI which means I can experiment with sounds and compositions before committing to getting the idea into FL Studio.
The track is called Mr Barry because to me it sounds like it could drop into a James Bond film soundtrack without raising too many eyebrows. That may sound a bit big headed but it's how I feel about this particular piece. So having said that this is my tribute to the late, great John Barry. I didn't start with that intention but it's the way things have ended up and I'm happy with that.
You can download the track for free from archive.org here.
This has been a productive weekend.
So far I've been drawing, learning, making music and today I finished the digital painting above called "Sunset".
I made the original image in Bryce 3D and over-painted the brush strokes in Artrage. It's not exactly a skilled piece of artwork but it is all my own and I like it. I added the frame in PhotoShop to finish it off.
Tomorrow it's back to music making. I have some automation, panning and mixing to do before mastering the track on Tuesday. This Jubilee weekend is just what I needed to catch up on a few bits and pieces that needed finishing.
There's new stuff to start but that can wait until tomorrow.
I have biscuits to eat.
SubStraight is finished.
Here's a quick rundown of the how and why.
I blogged the original picture some time ago. It was taken in an underground tunnel in Birmingham, UK while I was doing a delivery to the building site above. I only had time to take a couple of snaps. While the photos came out OK I wanted a much darker version. I ran the photo through Photoshop, made it monochrome and turned down the brightness significantly while upping the contrast. When I was happy I printed off the original and my adjusted version as reference pictures.
I used the original to work out where all my perspective lines should be and get some of the smaller details that I needed for the picture. I used Derwent water soluble sketching pencils and worked quite lightly adding some light toning as the picture progressed.
When all the light work was done I swapped between Derwent sketching pencils and Graphitone sticks, both water soluble until I had all the dark areas filled. This required two to three layers of toning and made an impact on the pencils.
When the drawing was finished it was quite tidy and precise. I liked it but this was as much a drawing exercise as it was an affront to my tidy and precise demons.
I spent an hour with my Derwent water brushes and a jar of water and paintbrush attacking the picture. It was fairly manic and a little exhausting. When the paper was just about dry I used a very wet paintbrush with a Derwent Inktense block and scattered blobs of wet ink across the picture until I was done.
There we have it. One finished picture.
So what did I learn?
The main thing was that my tidy and precise demons are not demons at all. They're with me for a reason. It's the way I work to get the results I like to look at. After all I'm not doing this for anyone else.
Despite the image looking exactly how I wanted I now know that that little experiment is out of my system. It's time to revert to type.
So why the red ink?
It's fairly simple really. The picture is called SubStraight, a pun on the picture's contents. The correct spelling of substrate has the definition:
A substance or layer that underlies something, or on which some process occurs. My take on that was that the underground tunnel was part of the life blood of the city, an essential vein of activity. That's the reason the ink is there. I've opened the vein to show you the life inside and some blood has been spilled in the process.
I have a confession to make.
I like arranger keyboards, no make that love arranger keyboards, always have.
It's one of those things you admit to when you're about 60 odd years old. It's OK to admit it then because you're way past being cool and you probably couldn't care less what anyone thinks of your musical tastes when you're that age anyway.
For those of you that aren't familiar with arranger keyboards they're piano keyboards with 'Styles' built in. The styles can be almost any type from 'Easy Jazz' to 'Bossanova' to 'Pops' or 'Dance', anything really. The way they work is that you can pick a style and the keyboards plays it while you add the chords and a melody on top. You really don't have to be able to play all that well, the keyboard does most of the work.
The thing is, that the sound is, well, fake. Even with the most modern keyboards there's no getting away from the fact that is just not right. The timing is too good and everything is just a little too polished. You can instinctively tell that it's not a band playing, it's just a little too automated and that is one of the many reasons that I like that sound. I like polished and organised and plastic imitations of the real thing. There is a charm to it all.
It's probably in my very nature. It's the reason I prefer oven chips and beans to some fancy foodie concoction.
Having said all that these machines are complicated beasts and it is an art form all in itself to be able to get good results from them. The best players, usually the people that end up doing the demonstrations for companies like Yamaha and Korg are particularly impressive. Talking of the demonstrators, well, they're all a bit plastic too. It's like they fell out of a poor B Movie and onto a keyboard showroom floor. But I like that as well. It makes me cringe and smile all at the same time.
Anyway, as much as I love arranger keyboards I can't afford one because they're bloody expensive. So what I did was buy the One Man Band software and between that, my PC, my old Yamaha PSR-240, my Rm1x and the QY100 I now have my own arranger keyboard albeit the size of a sofa. The great thing about One Man Band is that I can grab any of the thousands of free Yamaha or Korg 'Styles' from the web, load them into the software and off I go grinning like a chimp.
It's a complete juxtaposition to my DJing and I laugh when people ask me what type of music I like. I say electronic and add "but I wouldn't play it in a set."
Have a look at this video to see what you're missing or not as the case may be.
I've just played my first set on my new Numark NS6.
It was in my studio and it was a practise run for the weekend but it went well all things considered.
Early on there were a couple of audio drop-outs but I think that was because I was pushing my laptop a bit to hard. I've had to learn to moderate my use of effects but in all honesty I don't really need them. One high pass filter and one low are all I really need for cross-overs. The looping is great considering I haven't added Beat Grids to very many of my tracks. The Serato Itch software is pretty darn good when it comes to beat detection. I have two other bits of software, Deckadance and Mixxx and I'll give those a try in the future but because the NS6 and Serato Itch work so well together it seemed pointless starting anywhere else but there.
I'm going to have another run through tomorrow to try and iron out a few of my newbie mistakes but it has to be said, this software and hardware combination really makes you sound good if you're a seasoned DJ like myself. That and a bucket load of new music to play and the weekend is looking like a whole heap of fun.
I won't be the DJ I want to be just yet as I think a laptop upgrade is called for but I can get very close with the hardware I have. It'll see me through for a good while yet and with that upgrade it'll just be the icing on the cake.
For now it's slow and steady.
It's evolution rather than revolution.
