Chat and commentary music show Featuring music by the Tale teller Club, the Tale Teller Orchestra and Sarnia de la Maré FRSA.
Electronic dance music, children's music, and contemporary music studies feature in this chat show for students and fans of the TTC and Vapor Punk.
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Interactive storytelling at the Tale Teller club using video, music, audiobooks, sensory experiences, and role-play scenarios to engage readers and ...
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The Tale Teller Club is a musical project using artificial intelligence to create music and audio scapes. The music of the Tale Teller Club fuses found ...
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Chat and commentary music show Featuring music by the Tale teller Club, the Tale Teller Orchestra and Sarnia de la Maré FRSA. Electronic dance music ...
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Tracks ; Over Jordan Presented by the Tale Teller for the Ministry of beats, 03:42 ; Nothing Matters in the Sun You Are My Gasoline Tale Teller ...
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Electronic dance music, children's music, and contemporary music studies feature in this chat show for students and fans of the TTC and Vapor Punk. # ...
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42 episodes. Chat and commentary music show Featuring music by the Tale teller Club, the Tale Teller Orchestra and Sarnia de la Maré FRSA.
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4 Jun 2022 — Tale Teller Club™ · @TaleTellerClub. New Podcast! "Nothing Matters in the Sun You Are My Gasoline Tale Teller Club Music" on.
I am launching the new radio show and will be adding new fab things everyday by friends of the club and the orchestra.
A mix of classical, jazz, modern, ancient and some DJ sets too. I promise to be diverse as soon as possible and I will update with news and chat as well.
If you are an alternative style DJ or presenter, drop me a message and I will feature your show too. Share the love....get your voices heard.
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hello everybody welcome to uh the telltale club uh broadcast podcast i don't podcast very often anymore because i'm doing so much more work in the studio but anyway this weekend i spent many many hours slaving over my uh my instrumentation and my editing suite in the recording studio and i've done a couple of covers i'm not going to do anymore for a while because the thing with when you do a cover of an instrumental i'm not a singer so i'm not sure how it works with singers but perhaps similarly but when you want to modernize a piece of older music for me i want to stay as true to the original as i possibly can except for the bits i don't like which is you know the uh might be seen as a bit rude but actually as a film composer i want drama all the time and silence is a drama too of course and sometimes you have to peel back the onion skin you know to to find what's inside and what's really important and adding drama for me doesn't necessarily mean oh that you know i need to bring the string section out or um or i need a drum track which quite often i use that uh the old ye oldie drum trick um but wherever the the passion lies i need to dig it out and and utilize it and passion does of course lie in understatement as well as overstatement so when i work with a composition that's quite an old composition somebody else's from you know 100 years ago or 200 years ago or 500 years ago whatever um i'm bearing in mind all of these things but i'm also bearing in mind what it is that i need and what i want to do and that takes a very long time and it takes much much longer than if i just write write a song myself so i've worked really really hard this weekend on on two covers um so i'm going to play you i'll play the back to back actually dinah which is a standard classic and rhapsody in blue of course and if you pop along to my blog you can find out more about the the people the guys actually both guys um who wrote those um gershwin of course is very very well known and he to me he was he was not dissimilar i thought to mozart i mean working with his um instrumentation was a bit like drowning in carpet it was so textural that i you know it was quite hard to bring myself out of it and of course the easy way is just to strip everything away and just use the the the motif the the melody the clip and as the same for diner actually as well um but then what do you end up with of course is something very repetitive i didn't want to do that so i've kept these both down to let me see yes just under 10 minutes and the reason i do that guys is because these are my new singles and for my publishing i can only release up to 10 minutes and also for pond5 because you can buy these to even buy the license for both of these actually to use on your films i would say that um dinah i use strings and piano it's fairly simple but very romantic very pleasing actually it's it's almost a pop song and there are lyrics to that as well if you go online you'll be able to find those the rhapsody in blue was or is rather something that incorporates so many different emotions and feelings that you could actually separate bits of it and you wouldn't necessarily know that it came from the same composition it's interesting isn't it very diverse i felt and i didn't deviate from the original composition in terms of the sort of running schedule i did cut it in half though because it was 20 minutes or so um the original that i had so let's see what you think and look guys come to the blog and uh message me tell me if you liked it or if you hated it if you think you know that i did a disservice and it would be much better played by you perhaps um i'm open to disagreement i'm very used to it i think what you have to know as an artist actually is that you're going to upset people all through but the biggest thing about being an artist is you mustn't care if people say you're rubbish it's really you know anybody who says that about you is irrelevant because what's important is you and the art and what you're making and you'll probably find that when they tell you your rubbish they can't do anything themselves so i'm if i'm going to pass on some advice i've had lots of people all my life tell me i'm rubbish and i never let it bother me at all actually i just i just get on with what it is that i absolutely love and enjoy which of course is music and a bit of painting as well on the weekend so here we go do enjoy and if you get time pop over to my blog it's taletellerclubnews.blogspot and you know fill me in fill me in with your take on things okay uh
up
wow
foreign
uh
so
ah
you
The new Tale Teller Club Cerebral Dance Music track has been released this week and we are very excited to be on POND 5 as well.
hey guys welcome to telltale club now i've just set up this mic in a new position so i hope i'm not too loud i hope i'm not screaming maybe i'll stand a bit further away anyway look i've been crazy busy and what i've been doing is i've been creating my portfolio which is available for um licensees people makers broadcasters people like that who need a bit of music a soundtrack an exciting interesting soundtrack perhaps with electronic music well look all of my music's electronic even when i play my cello and record it it still goes through my electronic software and somebody in the studio above is being very noisy so sorry about that um so the music that i'm providing on pond5 is pretty much totally made on logic pro with me putting in the piano and cello acoustically however i'm going to be doing lots of really cool loops with just um the cello so that you'll get that really lovely acoustic vibe literally vibe the vibrations you know which quite often when you work with electronica and obviously when you work with pop music and everything has to be sort of shut off or you know the the vibrations actually in the acoustics when you make pop music they're not appropriate you know you can't have the same amount of deviation from the um the normal that you would get in an open space like the corn exchange or you know other sort of venues that are particularly theatrical where the acoustics just goes absolutely mental and crazy and it's wonderful absolutely wonderful that's no good for pop music um but i thought today you know when i do my cello when i record my cello for one of my pop songs well the not really pop songs are they dance one of my dance tracks um i'm cutting out all of that stuff but if i use the electronic cello on logic pro it doesn't compare so it's kind of finding that happy medium really i think um but i thought today you know peop you know i can play this thing and what i'll do is i'll just do individual notes but i'll say let's say i'm doing um a c i'll do all the octaves and i'll do a vibrato c um i'll change the intonation up and down and they'll be available also on pond5 probably next week now anyway today i've done this track okay and it's um it's called rise and it's one of my robotic pieces so i use a lot of ai and uh fake vocals um sampled vocals mostly um but what i've done is i've done a version i think i'll do this for all my tracks a version with the vocals and a version without the vocals because if you're making a movie and you really like my music because it's fantastic but you don't like the very distinctive robots which are very much part of my storybook immersion and that would be difficult to use those because they're you know they're wrapped up in the personality of the book the music itself would be a really really good thing for you possibly so i'm putting up two versions so this is the the one i'm going to play is the version with the vocals but i'm also putting up in a minute actually onto the pond5 platform the version without the vocals and i'll be doing that for all my tracks as well because i still got all the tracks handy um so and i think that's you know that's a much better idea for people who you know a vocal is quite often too much for um certainly for an advertisement for uh a film a film score your own story the music would work but as soon as you put words and lyrics in you know it's just got a whole different vibe hasn't it um so that's on pond5 so if you pop into pond5 and you can subscribe and you can it's a really good deal and basically you're buying off the peg music um that you buy a license to use for all your commercial projects i bought i remember i was doing a little video with mom and i having a conversation i called it the mothership and i actually bought a scene that somebody had done it was absolutely amazing with the the globe the planet earth um in the galaxy and all these stars and then this wonderful spaceship this came around the corner and it was only i think it was 13 and when you think that to get to the stage where i would have been able to make that animation i'd have to train for 10 years probably and and you know with all the software updates and everything and then i'd have to have paid for all of my training or i would have had to have paid um somebody a freelancer to do that and they would have probably charged me about five grand so this idea that you can you know go to pond5 and and buy a license to use the thing is it's not an exclusivity license so other people can buy it too but there are billions and billions of people in the world and that really doesn't matter and i think it's a really good idea for waste as well not you know not wasting stuff um so the the other thing is quite interestingly actually i i've got loads and loads of um material across different media mediums as we say in the art world and so i've got uh you know digital um films digital i've got gifs i've got photography i've got actual artworks watercolors you know did it the list is sort of endless um so as i'm trying to collate everything and and put it into different parts of the internet where they're most suited to the there are so there is quite a bit of footage that pond5 have accepted how cool is that so i'm going to be putting up um this sort of more tame stuff i suppose goes on pond5 and then the more raunchy stuff goes on my only fans because um you know when i was the artiste the dominant artiste as it was a performance artist who dressed as a dominatrix and did all these crazy things in galleries and stuff and a lot of the photography is just too according to google it's too obscene to be shown in in spaces where children can um you know or not even children actually just people who be offended so my commitment to for the freedom of um speech for artists has it's infuriated me this concept that google is in in control of what art people look at it's absolutely infuriated me and finally enough with this single i released it on apple etc the other day and the original cover was a shoe with an ak-47 as the heel and it was flagged up as um explicit i think i think that was the word they used uh so i was either going to have to mark it as explicit which it wasn't at all you're here now it's there's no except rise and i thought do they not like that word or eyes is that is that maybe the problem and it wasn't it was just the cover so i've changed the cover so you might see around you know two different covers of this uh anyway i'll put the new cover actually on um on the cover of this podcast and then you'll be able to find it so i'm just going to play the one with the with the lyric at the moment um and then as i say if you pop over to pond5 or my blog i've set up all these blogs it's really exciting and you can just you know go to the blogs so if you put in telltale club hopefully in a few weeks when we get going on it because i've had to close down one website and sort of move it sideways and if you go to the any of the blogs telltale cup blogs you'll find you just click of a button you'll be on my pond5 account um and or page i should say my my sort of profile you know and you'll be able to see what i'm putting up so still getting a bit organized because i've got thousands and thousands of audios to update most of them are ringtones and sound bites and samples and loops now the other thing that i've done this week which is sort of exciting um i was making all these ringtones for the show the podcast show and i get thousands at least a thousand dollars a day which is you know no mean feat if you ask me we haven't even been going a year yet um but i thought you know the where who's nobody's buying them because it's you know the business model is that people here they can download and i make money on the advertising but this thousand downloads a day i'm not really generating very much advertising revenue at all so i was sort of looking around at opportunities and apple do a ringtones catalogue so i'm going to upload my thousand ringtones over the coming it'll take me two years probably i mean three three years if i did one a day i mean that's how it works i'm one a day i i only want to do one a day now because you can find with the internet and working in this way you know with um small small um streaming possibilities small money making possibilities you know you can find that actually if you sit there for a week as if you're in some sort of factory you know and and 12 15 hours a day just uploading uploading it doesn't really make any difference the only difference is your whole catalog will be up there much quicker and what's the hurry you know we're in a recession um i don't think any of us are going to have much money so i thought well i'll just do one a day so you can now get my ringtones on apple if you've got an iphone which uh is a bit annoying but you know you you just go where the market is don't you and there's there's i don't have any say in that really um but so you can get all of my ringtones on the podcast now you can get daily ringtones on my apple for the iphone ringtones portfolio and you can get all my songs and the ringtones as well on pond5 so those are my sort of three main things and then anything raunchy visually anything with a nipple for example in the name of art obviously darlings it's all art it's always art don't ever think that just because i'm on only fans it's some kind of you know salacious pornographic um element though there isn't look you can't i mean i know men who get off on a on a bra catalogue so you you can't you can't actually dictate who the viewer is or who the client is however everything that i've ever done is in the name of art so if you see my nipples um you'll you know you should remember really that i'm an artist and i wasn't there
Love this track!
www.tale-teller.club/immersion
Freak Song
with your pale white skin
and your bright blue veins
you’re a wild crazy bitch
when you’ got the reigns
you’re so plain and
you’ll look the same
you think your gonna spoil me with yer ill gotten gains
you look so weird
and your voice is so high
I only really like you when I’m getting high
you’re a freak and I think I love you
im a freak im a freak
get on yer knees like a dog on a leash
Ill take control with my extra long reach
you’re a freak you’re a freak
comin right at ya with my big hot thing
its a freak its a freak
Ill show you how it feels if ya let me put it in
close yer eyes soldier ill take you to Mars
you’ll be saying some prayers looking at stars
lets get it on
lets party
together
we can be freaks for
ever and ever
roleplay, imagination, collaboration, futurism, sci-fi, magic, book, immersive, entertainment, immersion, immersive, interactive, fiction, fantasy, vaporpunk
taletellerclub, interactive-books, fantasy, gaming, audiobook, virtual, virtual-reality, vapor-punk
Gospel and drums make for great listening with the latest track from the Tale Teller Club.
Over Jordan by Beats Ministry ft Mirium Goldman
Love this version. This is the premix but it will be on sale as soon as it is finalized tomorrow.
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My new single for the Scouting for Boys episode, Strata 11, Immersion
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An old composition that I am using for this week's Immersion single Scouting for Boys at Tale Teller Club.
I finally finished Flex from Immersion and am finishing Strata 10 right after this update.
It is so exciting and now I am thinking about Renyke's anthem which is well overdue, as is Shabra's.
You can read the Immersion sci-fi role-play adventure for free at
www.tale-teller.club/immersion
Welcome to my little podcast show celebrating life in words and music!
% hours of great music and chatter from the Tale Teller Club cellist.
For more great things, pop over to the website
www.tale-teller.club/immersion
A big day is planned making a techno drum track for my character Flex.
Join me on a journey of fantasy and make-believe for the modern age.
Sign up for free to read the Immersion sci-fi role-play adventure
www.tale-teller.club
Welcome to my musical world of electronica, piano and cello.
Sign up for free to read the Immersion sci-fi role-play adventure
www.tale-teller.club
My new track for week 6 of Immersion Strata 6.
You can watch the film by signing up and follow the roleplay story for free on the Immersion blog
https://www.tale-teller.club/immersion
Daily updates and remember the story is being written each day so you can read the entire book some time in the future as I am pretty sure it will go on ad infinitum.
These soundtracks and audiobooks are made each day to introduce readers and listeners to the next level strata of the interactive stories on our website at
www.tale-teller.club/immersion
Follow and get involved for free.
www.tale-teller.club/immersion
The 2021 Advent Calendar Songs are available to listen to here and on the online live advent calendar.
Click the link below to get there.
https://calendar.myadvent.net/?id=412ccaf8339fe212f885a89531808b71
One of my favourite composers with a modern performance and arrangement by the Tale Teller Club.
I loved working on this piece so much that I didn't want it to end.
One of the hardest piano pieces in my opinion.
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Chat and commentary music show Featuring music by the Tale teller Club, the Tale Teller Orchestra and Sarnia de la Maré FRSA.Electronic dance music ...
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Chat and commentary music show Featuring music by the Tale teller Club, the Tale Teller Orchestra and Sarnia de la Maré FRSA. Electronic dance music ...
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Trouble in the Jungle - Single by Tale Teller Club on Apple ...https://music.apple.com › album
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Vapor presents the Christmas Song by Tale Teller Clubhttps://www.youtube.com › watch
4:15
Music and poetry by the boy robot Vapor Punk from the Tale Teller Club. Daily lessons in singing, cello, and ...
YouTube · Vapor Punk · 4 days ago
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22 Nov 2021 — Chat and commentary music show Featuring music by the Tale teller Club, the Tale Teller Orchestra and Sarnia de la Maré FRSA.
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Some recent tracks and chat from Sarnia.
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hi everybody welcome to tell teller club music now i'm just putting together a couple of tracks for you this lunch time they're not complete uh as in ready to um go out you know as released singles but the things that i'm playing around with exploring looking at and because i'm a filmmaker and an animator i'm always looking for little snippets so i i've got a habit of working with something and um realizing that i'm probably only going to use literally seconds of the entire piece so i tend not to think quite often as the the piece as a whole unless i'm commissioned of course to create a whole entire piece and this is what the tale teller club is all about um a fusion of different media actually so i tend to work with the a video and a piece of music rather than a piece of music entirely on its own and when i create music i'm quite often already aware of the at least an embryonic idea of the video that's going to go with it um at least these things can take years anyway um some of these explorations are actually quite exciting so i'm going to share them with you today and also some of these um pieces i i sort of do for the lunchtime recitals and you know that's a kind of separate thing it's really just sharing the joy of um classical music and jazz music that's already in the public domain and that i've played around with and done some stuff too i really like doing that um anyway i was working with i am working on a whole piece a chopin piece um a piano concerto and i'm working with that as a single i'm going to release that as a single rather than something with a video it's 20 minutes long and i use a lot of synthesizers and a lot of found sound and acoustic jelly because i'm a cellist but i was wondering about last night how chopin would feel if he knew that i'd stuck you know six seven eight synthesizers um and and removed his string section um and i was thinking how disappointing it is that it's so difficult to find or to know by heart the women composers and there are um you know actions at the moment to redress that balance and to find out where this canon of women's compositions is so much of it is hidden from us and it's certainly not taught in schools and that's all starting to change now um anyway i was curious about female composers and also i'd read this actually a thesis a research project i should say about female piano teachers and how they feel about themselves and how they value themselves and it was very very interesting it's very revealing because actually it's women piano teachers who are almost entirely um responsible for passing on music knowledge to children and not not just piano teachers i should say you know the the parapathetic teacher the teacher that um you know is self-employed um very rarely uh has any job protection um is an unsung heroine actually in the realm of passing on knowledge to children who then go on to become very often hugely successful musicians performers etc very often it's the um the part-time uh teacher who's nameless but it you know the stepping stone to getting to um the next level of musicianship which is perhaps a teacher in who's you know linked to yehudi menu in school or you know these uh the greater as it were the perception the perceived greater um teachers who who are not in the grey economy if you like and i just think it's really interesting that so many of these women have written um music as well and i've written music i've been a teacher i'm i don't really teach anymore but i was a piano teacher for 17 years and it was very much you know sort of um cash in hand under um the banner of a sort of piece work almost and you just got what you could and yet i know for a fact that a lot of these children went on to become um more engaged in their in their studies at other schools and i i'm responsible for scholarships and it's interesting isn't it that these people who pass on that sort of knowledge are really invisible very very invisible um anyway what i was thinking about all this as i was doing the chopin who's a master of course an absolute genius but the the genius is really it a lot of it is dependent on what's at your disposal so you know if you have full orchestras at your disposal which indeed we have now uh as digital musicians then you can produce masterpieces of course but if all you have is a pen and paper and um some five-year-olds to teach well how far can you go do you see um anyway i found jane bingham and think of today her her pieces in the public domain now if you could pop along to musescore actually they have a lot of different catalogues for public domain material that different organizations universities um archivists are collating and putting together and so jane bingham came up today and i'm going to try and feature some some other female composers uh in these coming weeks i'm going to try and find them and um find out about their lives and and how they've impacted some of these tunes are very simple um and putting them into an orchestral situation has sometimes it works sometimes it doesn't this is what i've done i took a jane mcbinga's piano piece and i just chucked it in my software to see what would happen um i haven't done too much to it it's really largely an experiment and i started off without a drum and and i think i really heard actually in her left hand i really heard the percussion so i thought um i like that it was really it was talking to me and so i thought i'm going to give that um some pizzicato on my cello and not my or my acoustic joe because setting up a recording of that is we're talking about a couple of hours work and i wasn't prepared to do that so i just used my um my software pizzicato cello and i really picked it out and i thought this is something really drum like and you know what tail teleclub is like telltale club or usually uh cannot resist a drum track and and so you hear the sort of drums rising in it and it does give it that sort of quite a modern sense if i had more time to play around with it i would definitely have taken out the strings um and taken out some of the piano and used some other um instrumentation perhaps my solo cello actually would have worked really really nicely with it alas i don't have time because there are other pressing engagements so i'm going to play you um this little experiment with the jane bingham piece followed by my waltz in a flat major by johann brahms and then the humaresque by devorjack of course um just a by way of saying hello and welcome to the world and um a little bit of a dedication to all the musicians that have been before us
Solace, a ragtime jazz work written by Scott Joplin and performed by Tale Teller Club.
Lovely live event in our club with a 1909 speakeasy vibe.
Welcome to the wonderful world of Jazz Baby.
Night Sounds, live artwork on air now. It is being recorded as well so it won't disappear into the live and died ether.
I am at the L A Airport on a virtual link up and the planes are in and out.
The artwork is about anxiety and dreams of leaving your zone of existence when you're trying to sleep.
I wanted to layer a few ideas here.
A poem.
Three notes to create a tune (which went through an arpeggiator)
A loop recording.
A live link to night sounds.
The sound of the electric things in my apartment, fridge, pc etc.
This is the result.
After a bit you kind of zone out. The whispers sound more tuneful and I can here a choir.... Must be my ears playing tricks.
Then I wait with excitement for the planes and the guys on the comms. It seems thrilling.
Let me know what this makes you feel, even if it is nothing, I don't mind.
Welcome to the all-night showcases for Tale teller Music.
This is one of our tracks with some insight into how I made it.
Let me know what you think.
One of the early tracks by Tale Teller Club is presented by Sarnia de la maré FRSA, a contemporary electronica musician from London.
hi so um welcome to saturday night live and i'm gonna um pop this up you'll hear it repeating through the night um but i've popped a lot of stuff up a lot of music stop stuff up and i'm sort of clearing my catalogue now this is called black jeans and this was the very first thing that i did when i was i was very very lucky to receive funding from future venture for an arts project or for artist development and they gave me money for equipment but i hadn't worked out how to use anything yet and although they had bought me a microphone i hadn't worked out how to use it so i actually recorded this um with garageband and a phone and so the very first thing it's around somewhere you can hear it i'm not sure where it is anymore but it was the demo which i i don't have access to anymore um but that was you know pretty grim but i just wanted to kind of get used to things and understand and i was experimenting because that's what i do i'm an experimental electronic musician and um anyway this one i remastered when i bought logic pro well i didn't buy it i got a free um trial but then i went to buy it and they don't make it anymore so i'm sort of i don't they don't make the one the version that works with my computer so i have to wait now to get logic pro again when i you know when i can upgrade my computer which i just can't do so i'm not sure if i can get logic pro 10 anywhere that's the one i need so maybe you can tell me if you're listening to this anyway this was recorded on my phone the cello part and the vocals all the vocals in there were recorded on my phone and then it was mastered on logic pro 10.5 um and now it's here and i like it i really like it and see what you think enjoy it um and i'm going to pop some another one up that i did in a minute called cowboy which is equally as interesting and i do understand that you know the thing is when you work with editing software you get better and better and better at it the more you do it's like anything isn't it it's like my cello you know when i play cello um since lockdown my well i only started cello in during lockdown so you know it's really rocketed my my skill level and it's interesting that that happens with um software as well because you think well it's just there you know what have you got how um creative can it be but it can be incredibly creative and what you learn to do actually is you know the limitations and the possibilities of your software and and you work within that um that sort of paradigm you know you've got the formula there you know you think right but if i play this note on my cello i know that i can bend it or i can pitch shift it or i can put loads of reverb on it or i can do this or do that or whatever or you know and you you think ah it's a bit like a painter so you want to make um blue blue is it blue you make with green and yellow so blue and yellow makes green i think it's that way around you you should know i've been a painter for years and you think yourself right i know that i can make something with with what i have in front of me um and therefore i'm going to make it do you see um i hope that made sense it's a bit convoluted but i i i'm trying to say i think that you get better and better so you will improve however i really like my old stuff because it shows me a very naive and trusting way of working working without knowledge and without understanding and it's very freeing to do that actually and it also makes for more interesting work you know before i realized how to make a pop song the stuff that i was doing was less poppy and now that i know how to make a pop song i find myself you know drawn into that rather ugly horrendous formula so naivety is a really good thing it can be really a state of bliss darling it's a state of bliss anyway here is black jeans it's a dance track and i hope you like it and message or whatever um and yeah lots more coming i've got i'm putting the whole portfolio up tonight
bye
again
Welcome to our all-night shows and the portfolio of new works made by the Tale teller Club.
Lots of music and chat about how things are made.
hello guys welcome to the tale teller and tell teller club online all night music extravaganza um now i'm putting all my portfolio stuff on the loop i don't stay up all night darlings i i try but quite often you know i'm getting on a bit and quite often i have to go to bed because i'm just too too tired and i i took a an antihistamine yesterday because i'm allergic to lots and lots of things and it knocked me straight out so um i didn't even put it on last night i didn't even turn you know press the play button in for last night so there was no live radio last night but tonight there's live radio now i've put it on now and what i'll do i think is you know put it on at eight o'clock our time when i'm still lively so you can chat to me and i'll answer but you know come midnight darlings i'm like let's go to sleep anyway i'm going to play for you cowboy which is another one that i've dug up i found now i i received funding a couple of years ago to launch my studio but i've i before that i wasn't a practicing um a digital musician although i studied at university decades ago digital music i was like the only woman in the course well there were two of us i mean it was grim darlings and i just thought i i don't think it's a career that i want to be involved in you know because of this just the manliness of it all it was very highly competitive um not particularly creative i didn't think i i felt that it was much more technical i.t and almost scientific that's that's how i felt and of course it's important how you feel is important you're not going to do well if you don't feel comfortable in an industry but i received funding from futures venture and of course what what we can do now and we learnt during lockdown is we don't need anybody else so it doesn't matter how many men are in the industry does it um i don't have to talk to them i don't have to compete with them or i mean ma in marketing terms of course i do but you know i don't have to go into a studio and not be heard because no men are listening to me i've got my own studio and that's what the funding from futures really did for me it enabled me to set up my own studio and i'm still learning i'm still learning every day so this was cowboy and unfortunately i can't i don't know where the project is because there's some timing issues with it which i do need to sort out if i can but you know maybe i can't and maybe what's done is done um this was recorded live a lot of it rather than um going into a digitally or by midi so um you can kind of get that you've you feel that so the timing's bit out sometimes i can't remember what instruments i used but it was likely to be my cello and definitely my piano um but i really like this one i think it's i love the layers i love its complexity i think sometimes there's a bit too much and it probably it could have done with you know paring down a bit i don't know if a post edit will be able to do that now i'm not sure i want to go back there at this particular moment in my life if i ever find the project again because it's much easier once you've edited something and you've mixed it down and you've just got that mixed file you you know it's too late to sort of go in and and take out some of the instruments but you can do a bit you can do a bit of eq'ing of things um you know to pair them down a bit um i mean there's lots of tricks i use uh sometimes i i double the track and then i pan things and that's a really good way of getting some getting rid of some stuff um i mean it's difficult to explain why these things work but they just do um so i'm big on experiment and i think this is a really experimental track and that's why i want to share it with you because you know i'm launching a phase in my life where i'm not i'm no longer going to teach i'm just going to perform and make music every day and i've got a wealth of it and i've got my studio here i've got finally set up my microphone which has taken two years right you know and it was literally a button and i mean this is the this is the thing if there was a man around an engineer a qualified male producer he would have told me loudly before i'd asked how to plug it in so anyway there we go these things take a while when you're um when you're doing them on your own of course they do and but actually the reason the mistake i was making was um just complicated by uh some preamps that i was using and which it turns out i didn't need so it you know it was a little bit deeper than uh just plugging something in only slightly deeper than that um and also changing changing systems and things like that um and these things do take time these things are they're annoying actually but i you know you you can find most things out on youtube and i do follow a number of fabulous boys on youtube who um you know talk about digital music and logic pro garageband cubase all of the different you know so you it's the same with the movie stuff but it's just nice to know now that um you almost entirely self-sufficient as a digital female artist you know and i'm 59 i'm not i'm not young uh in terms of you know in terms of getting a musical career and launch it launching yourself into the sort of stratosphere of music and musicians and popular culture i probably doubt and i no i don't really care that i'll never be part of popular culture you know it's not why i make music at all um it's much much more about uh finding the unity with my human spirit that's for me it's it's completely and utterly about something else um but obviously in a marketing economy you have to make money to survive and you know money does come into it but i don't know how to be populist or how to make um i you know i've been an artist for many years i've never never been able to paint commercial art i don't know but i can't something in me stops me just i just can't i don't know how to i'm not drawn to it i don't want to if i make something like that i wouldn't recognize it as something that i liked so you know you have to consider about you know being true to yourself i guess um and but that you see that that's what makes one happy if you're doing stuff and you you're really proud of it you really like it then you can be really really happy about it um and it's it's just a pleasure you know as long as you've got money for the next uh bloody upgrade you know the logic pro upgrade um and i just uh i just swore i wonder if that means i can't put this on tail tell the kids i probably will anyway and put a pg next to it and so here we go here is my track cowboy which i really really like um obviously wow mama i walked right into that bar i did and i looked at him and he looked at me and i said hey cowboy you look mighty fine
and he said hey missy will you be mine
and i said hey sailor slow down take your time and he said sailor i thought i was a cowboy and i said hey soldier you're whatever i decided
Loved working on the TTC track today which feels very optimistic and seasonal.
Lots more great tunes n chat every day and live on air all night London time.
hello wonderful people of the internet yet again yes this is my second broadcast today now then i am scottish actually and i realize i sound way way way off from scottish but that's um because my parents sent me to an english public school so that got rid of any scottish accent but i feel quite strongly about scotland you know i'm i warmed it and i wanted to do something really for my mum as well who's very very scottish and has never lost her accent despite living in england for 20 30 40 years um very long time i know that maybe 50 actually i think it's near a 50 or 60. anyway she won't forgive me for revealing her age so i wanted to do something with this kind of scottish film um with the telltale club was my band and i was sort of thinking about you know because i'm a teacher and an analyst and a composer and all these things i think about what makes certain genres unique what makes them feel a certain way etc so thinking about what makes things sound scottish and i i've come upon a couple of things one of them is um there's the sort of big band you know the the kind of scottish marching band that you get up there at the um at the castle when they do the tattoo and so i was thinking about that that sort of rhythm and a sort of marching um and then i was obviously thinking well not obviously but about bagpipes because they've got that sort of um they're quite unique although i think they're from switzer were they from sweet sweden or so they're not actually scottish originally but they came over the water um and then i was thinking about how the um you know the salvation army when they play at christmas and then it got me thinking that you know you this sort of idea of making christmas songs which i've been doing lately because i wanted to do a christmas advent calendar like an audio thing for kids and it struck me that actually scottish music can sound quite christmassy and then i was thinking well what makes scottish music sound christmassy and then i was thinking well that's kind of obvious isn't it it's a hug monet but although hogmanay's um new year we it's the same type time of year isn't it and we use so much tartan for christmas decorations with ribbons and um well ribbons and you know tied logs have always got some sort of tartan surround and there's a lot of tartan going on at christmas i was getting quite curious about this overlap between christmas tartan and scottish um anyway i took the hummuresque which is um devorjak um who it doesn't sound very scottish at all of course not and the piece when i play it was i play this with my cello doesn't sound remotely scottish but what i've done with it i think it sounds very scottish but i really like it so you've got four minutes of sort of scottish um band it feels very like a band and yeah i really like it and i might as well play the adagio from the d minor concerto straight after you must have got two for the price of one um why not and this uh these two will go on my live show later on this evening so um you can catch up with me and all my tunes later on after midnight after midnight so i hope you like it i think it's rather fabulous here's to a very scottish christmas and new year
there we go it's quite browsing isn't it that uh that lovely drum i'm gonna use that in some other things anyway i'm not allowed to play the adagio you'll have to go to the other um the other chat for that i did it earlier because i have to make way for some live stuff for the kids um so we've got some live books going out today we've just done a spanish collection for spanish students and um little short esop fables um in spanish which i think's rather nice um so they want to do some more stuff so i'm going to have to say goodbye but i'll be back tonight don't forget every night from midnight um you can chat box me as well if you like in fact i put a chat box on the website earlier um or last night actually which means if you can't find me anywhere you can message me on the chat box um you know if you're if you're listening to this and you're a member of my family and you're going to want something
something you know picked up from the supermarket don't be messaging me on my website for that although you see i don't really use a mobile phone so um it you know it is quite a good way to get hold of me and the reason i don't use a mobile phone is because i'm always recording live recording and therefore i just have i can't have a phone on because it it disturbs everything anyway that's not forfeiting i better go and let the language students get hold of the radio waves
I am producing one new track a day and we are kickstarting with my latest version of the famous Adagio from Concerto in D minor BWV 974 by A. Marcello-J.S. Bach for Violin and Piano. Lots of electronica and some ramblings about the weather, because I am English and it is all we talk about.
A little taste from the archives, not great quality but worth sharing as we get ready for the winter productions.
Welcome to the Tale Teller Club Music Show.
We run all night too with music and bookish things, all about music of course!.