For Delia

"did
i really write this?"
said grainer one day
"most of it"
delia was heard to say
i hope your mind is flying
as free as you wished
i hope you know how many minds
your sounds have kissed.... Delia
Delia
D, you were a true visionary
when we close our eyes, then we thank you for the worlds we see
the
maths & the music
the numbers & notes
these were your tools
your unique approach
i
hope that you're watching
and approve all we do
i hope you know that all we do
is down to you... Delia
Delia D, you are inspiration to me
when we close our eyes, then we thank you for the worlds we see
Delia
D, you are the epitome
when we close our eyes, then we thank you for the worlds we see
(we thank you, delia D…)
Dedicated
to Delia Derbyshire
1937 - 2001
Also dedicated to anyone touched or inspired by her work, there's more of
you out there than you might think.
i was
messing with softsynths on the laptop, I'd gotten a nice bassline going on
and written a lil melody riff on the bass guitar to go with it (which ended
up as the "flute" riff on the chorus), i recorded a repeating version
of it, with the melody every 4 bars or so, added a bit of speech synthesis
singing a few words in french, gave it a working title of D.M.A.E.M... and
sent it to bagi... bagi liked it and so i ditched the speech crap and wrote
some proper words for it, in english, in one go, on 7th feb 2007, which was
7.2.7, which pleased me no end, not only cos of the palindrome thing which
i love, but also cos Delia, I'm sure, would have loved the numbers thing too...
(in the final mix there is a bell in a 3:2:1 arrangement, 3 times before the
first chorus, twice before the 2nd chorus, and once before the end)
After writing the words, i altered the music, adding more drums, programming
speech synthesis for the repeating "..delia.." parts, i then attempted
a test vocal track and found that i'd completely forgotten the vocal riff
i'd had in my head when i was writing the lyrics, after some mild panic i
sent the revised music and lyrics to bagi, with a plea for vocal melody...
Over to Bagi...
Well like
bobbi said, he sent me a groove test of DMAEM (which I actually rather liked
with the french synthesised speak that got ditched). bobbi then re-did the
groove test without the french bit and sent it to me, along with the words,
and the comment "be interesting to hear how you visualise the words fitting
the music... if you get ideas then please record thems and share :-)"
Well there's a challenge if ever I was poked in the eye with one. So I listened
to the music and grabbed my plastic ou (open university)
mic and just sort of did it. This was one of those times where the melody
seemed to just 'become'. There wasn't any conscious thought or careful planning,
I just sang it. bobbi said he did a kevin. (ever watched
Home Alone?)
Then I sang it properly with my new AKG Perception 200 mic which FINALLY arrived
(not being the one I originally ordered, and then getting lost in the post
*shakes fist at courier company who shall remain nameless* and requiring a
replacement to be sent. I know I digress but tell you what, that mic is about
the most coolest thing ever! I mean, I can hear my house just existing!) ok
so the mic arrived and i did some vocal tracks. And I finally chose vocal
4 and bobbi duly spent hours doing the wizardry and voodoo on it and made
an excellent mix. At which point I did do an Andy from Little Britain and
went all petulant and said "i don't like it". And decided to re-do
it altogether in pursuit of perfection. And while vocal 7 is perhaps not the
ubervocal, peut-être<parfait, I was much happier with it than vocal
4 lol. So bobbi had to mix and mix and mix and mix but the final results are,
imho, fickin ace :-)
Once I'd got the vocals we needed, i started to dissect the music, adding the "and then... silence" sample to the end... adding layer upon layer of sequences for the choruses... adding percussive sequences... adding 4/4 timing synth sequences to the 6/4 main sections (at least i think they're 6/4, i make these things up as i go along, so i could be wrong, might be 16/12 or some other weirdness)... altering structure and feel to match the final vocals... altering synth melodies to create harmony parts and compliments... and finally doing mix after mix after mix to try find the one that worked best... the "delian mode" sample was added after the final submix of our parts, it gives a lovely intro and grounds the entire thing... I was sort of reluctant to use a sample, partly cos it's sort of cheating, but also cos i didn't want to disrespect the effort that Delia had put into creating the piece in the first place... But the thought of having the spirit of Delia living in the song was enough to override any doubts...
btw i think it's in 12/8 :-) - Bagi
btw it was City Link - bobbi
bobbi used:
--
FL Studio sequencer on Fujitsu Siemens laptop
FL BooBass
FL speech synthesizer
FL drums
Korg Wavestation softsynth
Korg Polysix softsynth
Native Instruments FM8 softsynth
Native Instruments Pro53 softsynth
Native Instruments Absynth 3
SC MonoOne softsynth (dual sine generator mode)
SC MonoOne softsynth (pulse / sine generator mode)
bagi
used..
--
AKG Perception 200
condenser microphone
Behringer Tube Ultragain MIC100 (microphone pre-amp with vacuum tube and limiter)
Creative Audigy soundcard
JVC HA-G101 headphones
vocals recorded in Audition v2
two
samples were used in this song,
the intro sample is "the delian mode" by Delia Derbyshire, from the
album BBC Radiophonic Music
the outro sample "and then... silence" is taken from Blue Veils and
Golden Sands, a radio play about Delia Derbyshire, produced by the BBC and Big
Finish Productions
mixed in Audition 2
all
sounds, words and pages are copyright iddod 2007
Delia image designed by Iker Spozio
(samples are copyright of their respective owners)