Research led practice Practice-led research by Joseph Tabua
Recording session went well today with aim and target acquired after approximately six hours inside the main studio.
Track one titled iWelcome was recorded today with at least seven takes in total.

8 tracks created inside a Pro Tools session for one guitar.

The Roland VG99 and Fender Squire Stratocaster HSS was used for Part 1 of iWelcome. Patch 151 Space Sitar and my signature Billy Corgan Fender Stratocaster was used for Part 2 of iWelcome (Earth Guitar)
Key of C# and the Key of A used today.

Because of the focus on the one song recorded today what was most fascinating was the new forms/versions of the iWelcome that began to emerge throughout the session.

Good morning, let’s record!

The magic splitter AKA Moog Voyager VX 351 CV Expander. This is used to split the Roland VG99 and regular electric guitar which is then blended together to produce perfect balanced guitar sound.

Roland VG-99.

Roda Nt2A and KM 184 Producing a brilliant stereo image.

My effects pedals and Fender Roland VG-99 Guitar Fender Squire HSS

Roland VG-99

It was a good day.

8 tracks for one guitar The things you do for minimalism reinvention.

By using the studio as an instrument reminded me once again the importance of making sufficient use of the main studio and VST synthesizer Absynth 6.
With the following presets of Timpani, Kalimba, and Reverb playing simultaneously running through the desk and through the Roland VG99 allowing me to compose a coloristic theme conjuring up images of Africa and Fiji/Oceania.

The most significant aspect of today’s recording was the drone and tabla sound bed. The drone and tabla ios app played the role of a conventional basso continuo via my iPhone
Paramount to this specific composition are two extraordinary apps called iTabla and iLehra. These are used to represent intercultural aspects which includes the Fijian and Indian diaspora.
As my research has unearthed the Indigenous Fijians fondness of the guitar, ukulele and steel stringed guitar I feel that this represents my heritage and my identity profoundly. Thus, my utilisation of the electric guitar to narrate the written text of both the history of Fiji and the diaspora is a vehicle that is not merely a surface level viewing of the exotic or the Other. This is the life we have, the life, you have.

The most rousing take that emerged from the percussive track of iWelcome was the North African influence and the log idiophone tradition found throughout Fiji, New Guinea, Samoa and Tonga.

Likewise, most exhilarating in today’s recording session was that it was only through several attempts at trying to secure a quick take of the one track iWelcome that after several attempts the realization of finding more with each attempt iWelcome was becoming more vigorous. This created a deeper compelling composition that I would not have imagined developing three months ago.

Could this track represent my aim of trying to compose and reinvent minimalist music with a guitar driven voice?
During today’s recording session iWelcome take 3 & 4 utilised Absynth 6 to create a percussive style/version of the composition. This worked quite well, in fact it worked tremendously! Being in the studio space can at times feel  intimidating. The feeling of being closely monitored under a microscope aspect one endures when recording in general. This occurred today at the very beginning of the session but it became much more easier as the session continued.

The EP will be called Intervals

1.North (iWelcome)
2.South (iiWelcome)
3.East (Guzheng)

4.West (Guitar, Drums)

Until next week. Stay fearless.
Joseph