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ten seventeen (aka nine nine)
recorded: 20161017 - 20161111
type: active rock / orchestral / dubstep / melodic pop garageband composition
a very strange bassline appears over a drums and orchestral beginning; Indian drums arrive which join the drum kit, and the bass works along with the synth chords, when suddenly, the very first of several different bass synth/dubstep pieces appears, over which I also play a real bass guitar line - and in this first one, I do my first "Black Sabbath" quote on the bass, I play the riff from "Iron Man" on the bass over the wild synth bass part.
another orchestral section with Indian drums, and embedded synth melodies arrives, over which, I play my second "Black Sabbath" bass quote - this time, the rather more tricky riff from "Paranoid" - which seamlessly segues into unison with the synth lead that is currently playing (that was a lot of fun to get right).
more wild, wild synth/dubstep bass parts emerge, then, a lovely, deeper orchestral mode, with lovely high pitched bass, again played on the Liverpool bass by myself.- leads to a quick u-turn ending - and then, a final shuddering coda of bass and a lone sitar note - which creates the most amazing mini-atmosphere for the ending - it's just perfect, I could not have begged for a better ending than that - it came out just right.
I find this song very, very hard to describe, because the bass guitar is kinda like the lead instrument, and it moves throughout the piece, sometimes playing against the track, at other times, merging with it perfectly - but always complimenting what is going on - I love that normal Paul McCartney bass tone.
it's really very good for almost any bass part - and it works great on this track. the addition of the Indian drums, which despite sounding like tabla, are actually not tabla (I think they are kohl, but not completely sure) is really an important point - they stop and start, and when they return - they really add so much beautiful percussive flavour to the track.
the two or three different dubstep / bass synth pieces that I used, which I overdubbed with real bass, just for the heck of it - were so much fun to insert, and then, they stop, and a sort of orchestral, ambient, with super-melodic bass guitar section - a calm, lovely section after the dubstep madness - takes over - so you move from chaos to beauty to chaos to that strange, strange bass-and sitar-note (ONE NOTE) ending - which is the perfect way to conclude the piece.
this piece is probably the most sophisticated so far, and it did actually take me nine iterations until I was finally happy with the bass part - most of the song was "done" within the first few days, and from there, it was improving and improving and improving the bass guitar part - until it was right. I am glad I took the time - it's far superior to the earliest versions, and I like the inclusion of the Black Sabbath bass guitar quotes - because I am going to see them play live in January 2017 - so I am already getting excited about that concert - so I just felt like playing a couple of Black Sabbath riffs in this song.
a song that really, they kinda have no place in - so of course, it works out just great - they fit right in, and i especially love the way the riff from Paranoid merges into the synth riff in progress - picking it up mid-melody without missing a beat - really fun to do!
I love playing that Liverpool bass. I really do. this song was a wonderful compositional experience, and I hope I can do more like it.
ambient loop guitarist dave stafford performed on stage with robert fripp and the orchestra of crafty guitarists in early
2009, and again with robert fripp and the symphony of crafty guitarists in 2015, and has worked with ambient music and looping for over twenty years. stafford has a rich back catalogue of ambient and loop music, +rock, prog or acoustic crafty guitar music: www.pureambient.com...more