Giles Shingler is a gimpless talent that deserves to be far more widely recognised. Having been ignored for most of his life he finds your attention flattering! Not all the music contained herein is all his own. The song "up" was penned also by E Palmer and J Burke, both formerly of Somerset the band we were in at the time had various names, yet the most settled one was 'family loaf'. The tune p2phouse(2) was merely compiled by Giles Shingler from a sample DVD that allows copyright by Magix using Magix Music Maker deluxe 2003. The grimy ditties were all recorded onto tape or minidisc from a range of Yamaha and Alesis recording products there follows a text from a letter I wrote to Future Music about some of these, and the fun and modern pages too.All of this music is myself or used by permission. The very-guitar ones are a jam cd from total guitar magazine with me soloing via guitar with digital effects. I have used Casio CPS101 keyboard (mostly for it's key velocity entry into the sequencer) and Sunn Mustang guitar, though these have since been sold. I returned my module (the Kawai K4r) and bought a new guitar (a Les Paul copy) and amp (Park) from a youngster on the Ilchester road in Yeovil via small ads. I have also bought a SU-10 sampler from Westside music in Yeovil, which is fun!?! And a Midi foot pedal for controlling my Yamaha DX-100 keyboard (via wind-controller reception) and my Alesis Quadraverb GT guitar effects. You might spot the GT making some almost-Wah sounds. I achieved this by setting up a mid-range peak in the EQ that I move around with my foot. I have been very restrained and not included any multiple-peak tunes, though the 5-band EQ on the Quadraverb does allow this! I still have the Yamaha QY-10 and it still works! The Alesis SR-16 drum machine still works apart from the Drum Out part of the Midi Transmit. I recorded much of the music whilst a student at school and sixth form, at university and between normal jobs at work. I will try and give a (fairly derivative) track description for each, though you should be aware I don't always find fairly satisfactory names for song-objects. Recorded 1994, when naïve, so please forgive any lyrics. Program changes to Quadraverb GT give shattering-sound delay on guitar. Filters wibble on the KawaiK4r. The guitar has chorus or flange cranked up. Piano sequenced with velocity from Casio CPS-101. Influenced by listening to the Beautiful South (one of the few bands I heard of) from Yeovil Library. I still had plenty of wrist action on the piano in those days! Don't ask from where I get my lyrics! Same again in instrumental. 2&3 recorded 1995 Filter cut-off on K4r controlled by pitch bend on DX-100 here. Recorded at home rather than at college. Recorded 1994 SR-16 Drums on feedback. The preset EQ and pre-amp EQ-type settings are explored in a rhythmic way. Plenty of whistles and crunch. I took a 1/4inch jack lead from one of the outputs of the Quadraverb and put it straight into the other input. Warning can damage chips! Do not try this at home unless feeling brave/fulehardy as it can be expensive. Recorded 1999ish Similar to 5 but with delay. 'Third' effect comes from Effects loop-in DX-100 keyboard. I switched between drums and keyboard with Effects loop in/out, but with the delay feedback on 100% the overall sound is quite sustained. As 6 The last thing I recorded on my studio as a 4-track before the cassette decks broke. QY-10, guitar and SR-16 (see below) were recorded separately left and right and 'crudely but effectively' synced whilst giving slight variation to tempo here and there. This gives a wide stereo effect. QY-10 has a few program changes. Pitched lower than many other of my composition. I hope it doesn't sound too miserable! Electric crackles come from an electric piano sound on the QY-10 that flies down to C-2 or midi note number 001. Strings top note gives it edge. Stereo sample on Quadraverb-GT of electric-guitar slide is shown round the harmonic possibilities. Bass from DX-100 with velocity changes input into QY-10 from CPS-101. The drum composition is interesting as I recorded these tracks separately whilst scrolling through preset drum sets on the SR-16 so the snare sound etc. is changing most of it's beats if you listen carefully. The stereo separation and drum programming give it a real studio sound. Recorded 2000ish A ditty, a short ditty. Experimenting with repetitions(t+1)=repetitions(t)+1 rhythmic structures on lead guitar over steady 4/4 backing samples. Recorded 2001ish When I thought I would like to sound like an experimental group all on my own! I have digitally re-mastered this to take out this mistakes I made whilst recording what was a difficult guitar line in thirds, when I hadn't been playing guitar for long. Recorded 1996. Recorded 1995. Flange on trigger for the guitar. A self-distorted DX-100 sound for bass. Swoops coming from DX-100 again multi-tracked on my studio 4-track after going through 'huge' reverb and delay. All arpeggios were played from QY-10. I can't quite remember how I made the noise at the end I think it was by reducing the delay time having put the feedback to maximum on the Quadraverb GT near the end. Recorded 1995. I was becoming ill when I recorded this with a friend from another college at Oxford. I was playing bass with my left hand on the DX-100 and a simple organ sound from the QY-10 with my right hand on my CPS-101. In those days I had stacked the two keyboards at about 40° to the horizontal (the top one held on by sticky-backed Velcro) on a block-and-board which all sat atop a keyboard stand for playing live, which I never seemed to do as much as I liked, but it felt good, playing it there. Recorded 1992ish. Organ sound by CPS-101. I had a Korg keyboard, which I also used for this, which I bought from a chap in Isle Brewers. It was a long way to go and it was very heavy and it broke a couple of years later. A friend of a friend explained that this was because of the way the chips were made in the early eighties. It had a bandpass filter and a white noise feature, which sounded like the noise a telly makes on, with no connection other than the mains. I had a couple of other early keyboards then that I either broke (a Crumar electric piano) or sold for beer (an electric piano with real tines, but which was very erratic). Recorded with friends from schools in the area. We all loved the new 'clipped' drum sounds my new SR-16 made in the band after I had programmed it. (I had been embarrassed when it didn't 'do' very much the first time we met!) Earlier we had used a Roland TR-505, which I had to repair once with a soldering iron when the connection around the adaptor (which was being unplugged every time we met for a practice) came loose. This had only 12 drums samples on it and although they were in time they weren't as 'ritzy' as the SR-16. When I was playing guitar in my first band as guitar-player I had listened to the Sex-Pistols and had been listening to the Stranglers and X-ray specs, Blondie and the Buzzcocks. I thought we could be punk, but events conspired against us. Recorded 1993. Lyrics of which anyone could be ashamed. Digitally re-mastered to attach the middle eight and final chorus to the first half. Recorded 1996. This is only a fragment of what we were recording around then. It was often played slower than this. I was getting ill around this time. I should have been studying for finals, but I felt no compunction to do anything other than make exciting dance music, silly boy. I don't feel comfortable listening to some of the samples I used from this time and have deleted many from my records/systems. I was leaving most of my music gear at a friend's where he went to college, ringing him up on his mobile and arranging time to visit him to write tunes with his new laptop and midi interface for use with cakewalk. He didn't like this tune so much because it included guitars, when he had been told he wasn't allowed guitars in his college room. We haven't really recorded anything since together, though we still let each other hear each other's compositions. Recorded summer 1996. QY-10 only. Experimenting with detuning. Bass is detuned slightly with pitch bend. I find this, combined with sustain on, gives it an otherworldly lilt to it. Recorded solely on Music Maker 2003, gives it a seemingly more professional, edge. I don't feel quite as comfortable giving these pieces away as they contain samples etc. that I haven't had so much input into. One now and again shouldn't do any harm. As usual I went for all the big options straight away and now I might not feel like I would like to use this program often. 19. Recorded 1994 to metal cassette from KawaiK4r drum samples and SR-16 drum track all QY-10 sequenced - this comprises the set-up for the two dub-reggae sounding pieces that also includes the DX-100 making siren-like noises on the first. The third is a manic QY-10 only sequence that was written straight afterwards in a sort of self-imposed backlash against the rock-steadiness of the first two. It was influenced by going to nightclubs in Oxford, such as Minchery Farm, and listening to friends' music in their rooms in Hertford College, Oxford, when I was in first year. (Hertford was close to my college St. Edmund Hall.) 20. This is from a Total Guitar CD 'topped out' by me playing extreme fuzz over the top on my second electric with Quadraverb-GT input being boosted by a Marshall Guv'nor foot pedal at full tilt. I hope that I can play guitar like this again one day, but I doubt I ever will be able to. Recorded in 2002. The track on the 'Get off your ass and jam CD' was called '70s Funk'. The second composition loosely is called tuba (or tuber)- whacker. It shows the extremes of a DX-100 on portamento attached to an accompaniment track being sent through QY-10 harmoniser by the QY-10 backing track. I recorded the ancillary guitar and vocals with the SU-10 set at low sample-rate then composed the rest of the tune around them when I had changed the sample-rate back up again! 21. I went for a baggy look on this one; pseudo-delay on the claps being sequenced with a lower midi velocity for the 'second' beat. The second bar starts with a triplet of bass drum and the last beat of the fourth with a quarter-note snare fill. The sequencer was on 255bpm for this, though the overall impression is of it being slower with backbeat every 'third' beat to avoid minimum quantization problems on the sequencer for those machine-gun snare fills. The harmonic rhythm is provided by enormous major chords including 2nds and 6th from the QY-10 which have been SU-10 sampled then had the filter applied live in places when they have been played back in sequence. Vocals still came alongside when sequenced and the samples cutting out as low-polyphony swallows them up gives the tune an edgy feel. Recorded early 2004 on just SU-10 and QY-10. 22. Intro of filter swoop coming through (suppressed) feedback loop from mixing studio line out on QY-10 tracks (very brief). Followed by rock'n'rolerawk (sorry Elton). Stereo delay with new guitar goes to SU-10 sampler. GT is unplugged from sampler then I sing goofy-pitch-changing sample for Quadraverb GT to play along with piano and bass being auto-harmonized (saves time!). Any pseudish tension resolved by dropping down from root A to G then back up again! Guitar and vocals recorded simultaneously live! Recorded 2003. Then, a piece featuring vocal-bass samples (i.e. pitched down with Quadraverb GT). Has organ and guitar going into same distortion pedal (so that when one cuts out in comes the other). Samples sequenced to the SU-10 include marine band harp (purchased duck son and pinker- Bath aged 16) and tiny fragments of audio collected from here and there, mostly percussive. 23. Making bird noises recorded 2003/2004. Featuring annoyingly catchy guitar line. The DX-100 on full midi-breath control reception to pitch makes named noises with chords flaying though the register. Cuts to a duller one featuring later SU-10 external filter from line-out on studio (something I have not been able to repeat properly since studio broke when I was trying to replace tape deck!) Drums are lively SR-16 preset arrangement. In the second one the nano-bots in the previous computer (or was it the minidisc codecs?) were dancing so they weren't paying attention and there is a skip. (Yes, I made that up). Complicated harmonic structure. 24. QY-10 only recorded 2004. Remembered listening to Andy Weatherall at Uni and so made this tune (the drums anyone? the drums?). Then later there was an interview with him in the telegraph. Coincidence? Probably. Recipe - take quarter notes and stack with harmonies and drum-runs. Hectic and the most testing to harmonize. Trial and error made this tune start edgy and turn happy, though it is a bittersweet ending with 'drink-driving kills' message beeps at the end. The sequencer makes runs up and down with 3, 5 and 7 seven note runs, but these is all mixed up with early elements at the start so you get only a glimpse of the goodies to come! QY-10 only 2005. 26. Vocals sent through a carrier on magix 2003 music maker. QY-10 track 're-noted' with same harmony to give the carrier then the sync-ed with backing (note K Bush-style rhythm track) gives a vocoder effect, lovely! Contains howler, “toe-tallying roman empire” instead of totalitarian etc. Tony Walter ex-Reading University provides S L Jackson-the-humanist-in-Pulp-Fiction-style lyrics. Recorded 2004. 27. SU-10 sampled portamento glides and noise-music, sustain on QY-10 for gamelan-style xylophone and beloved style-reeds. Squelch guitar from Yamaha MFC-10 midi foot pedal into Quadraverb-GT with EQ on the controller. Recorded 2004. 28. Another Total Guitar jam, this time the 'indie rock' one. Guitar as above. I had been investing my time heavily in guitar lessons with the local county education authority when I was recording this 2003. 29. Total Guitar jam 2003. '70s rock' I loved the way the guitar finds harmonics all over the place for you, unlike a keyboard, which can sound v. boring in comparison, unless it can perform tricks! The same guitar/effects combination provided harmonic-accentuation in unexpected places. Eat my riffs! 30. Sampled radio interference gives this a 'weird' feeling to it. Congas fly up and down the register. Samples are higher with their sample rate. Recorded 2003. Electric piano on QY-10 gives bass sound on one of my first SU-10 recordings. 31. Long-as-possible SU-10 vocal stereo sample set to the left. Preset accompaniment patterns on the QY-10 were sent to the DX-100 afflicted with MFC-10 messages being sent to it is wind controller pitch modulation on 50/50. SR-16 rap and rock arranged as rhythm. Recorded 2004. Organ bass on right doubled by flute a few octaves up on the left. 32. Drums recorded in real-time with velocity on medium and SR-16 quantization 'off'. Notes held, then glid-portamento on DX-100, were reversed in the SU-10. The sample of the stripped-down electric guitar took a couple of hours to get right, even though it is slow and recorded and played back in 'real-time'. Electric lead guitar had halfway-house volume messages sent from QY-10 to make it sound slightly 'scratchy'. Real soulful sound from machines! Followed by funky piano/drums/guitar/organ backing with feedback, wide-breaks from sequencer. Guitar completely cut or 'gated' to pieces here in all sorts of rhythmic ways by QY-10 and Quadraverb GT. Recorded 2004. 33. Orbital-influenced QY-10 only piece. Programming in octave pitch bend data took time, but gave lovely bees-style noise. Xylophone was given same treatment, though less extreme. Recorded 2004. Complicated harmonic structure on QY-10 backing track. 34. All that remains in any sensible sense of a composition I listened to very much in 2002. I had a cassette that I sent to a nightclub in Yeovil anonymously, that I still sometime miss as it was the only one that I had completed without burying in a wall of guitar noise or leaving so basic that it sounds like Nintendo in the early days. I made 'shells' à la John Mehegan's jazz harmony (which I had to sell when I left University) of three clustered notes that contained one slightly louder note that 'circled' around the 'shell'. This, being on the accompaniment track, was sent through diminished and other harmony from backing track. Also featured notes being approached from above and below at the same time with pitch bend, which is still considered adventurous! Mostly played on QY-10 in earlier versions, which included many 'Voice' program changes. These are some of the ideas used to record this music and they don't correspond to all of it as the Classical and folk page shows what I can do unaccompanied. The more brief pieces for guitar are just Sor lessons. Sor was a composer from several centuries ago. The longer one is a collection of pieces by several composers that are recognisable by more people over a certain age, ask them they may be able to tell you some of them! Of the pianoforte pieces there are too many to name, again another generation will help recognition.