My official training is in classical piano, but I've played keyboards in everything from orchestras to some of Australia's top rock bands. I've taught piano and guitar, programmed polyphonic ringtones for mobile phones, played in wedding and function bands, done cruise ship gigs, pipe organ church gigs, recording sessions, produced backing tracks for some of the most successful theatre restaurants in the world, and much more.
But my attention is now on writing and recording my own music. I've released the first in a series of meditation/relaxation albums, and am well into the second and third albums.
I'm also working on "Figments", an album that explores the potential of computer-controlled synthesizers, often in slightly unusual ways. It began back in 1999 but was put on hold while I worked on other projects. All the tracks are now being dusted off and given a 2009 overhaul ready for release. "Oscillator Damage" is one of those tracks.
The whole MIDI "guitar" part was sequenced early one morning in a very intense 4-hour stretch. It was inspired by a recent backing track I'd done which included a synthesized wah-wah guitar part. I was surprized at how convincing it sounded, so I wanted to do a piece of my own based on the sequencing ideas I'd worked out for the backing track. Robert Fripp really should be given credit for the idea of using diminished chords in a distorted guitar part. And Jennifer Batten's "Whammy Damage" inspired the title.
The track is pretty intense, especially now that I've got the computer power to add lots of effects to all of the parts. It will most likely evolve a little bit more before final release, which I'm hoping will be in a couple of months.
A great means to a musical end. I felt like I was sitting inside a champagne bottle desperately
holding onto a bubble as the whole fruity mix cheekily exploded in all directions.
review written by: Hormone
I have always been impressed with Bill's MIDI programming ability, and this tune is no exception.
His classical music training combined with his uncanny ability to 'understand' Logic's Environment enables him to undertake this style of technically complex programming, going where other composers just don't have the fortitude to
delve (myself included).
Oscillator Damage is a prime example of what can be achieved when combining the power of computer-based MIDI programming with a good understanding of musical theory and the ability to focus on the minutae of the MIDI sequencing environment - the piece is technically complex but also remains 'musical'.
Looking forward to hearing more in this 'make the computer bloody well work for its electricity' genre of music.
review written by: Dags