Pulse Two was subsequently exported to the Avid ProTools DAW via Audio Interchange File Format (AIFF) with the addition of a single MIDI track to provide relevant meta data including markers, tempo and time signature changes (see last track, ‘Guide 10’ in Figure 2 above). Now that the mapping work had been done, I felt somewhat relieved that I might continue on with the piece in a more reliable and professional audio workspace. The arrangement for Pulse Two grew a little, now with just a little extension of the introduction (see Figure 3, below) and hopes for more reworking here. However, the editing errors introduced by Logic Pro proved to be unworkable where small gaps and timing inconsistencies crept in whenever major arrangement changes were attempted, exacerbated by the many tempo fluctuations9.
Musicking to the rescue to divert me from these technical naggings, a lovely drum track came back from Bob Peele. However, given that there now was quite a gap in the development of the piece in this Pro Tools version 3, vs. what I had sent him in the original mapped, solo didj version 1 from Logic Pro, this presented some interesting musical challenges. He had presented a rather unexpected, sparse electronic drum recording which had been effected by tape delays – echos in time to reference the original didj track and some of its similar digital signal processing (DSP). Somewhat to my surprise, this didn’t prove to be too much of a deterrent technically, given the rigorous application of naming conventions, ‘save-as’ and back-up states. I loaded his drum recording into the original version 1 that had been sent, then to understand and get a good feel for how this worked and what he was trying to say in response to Daniel’s original piece. The same drum track was then imported into the later version 3, correctly located in time and /or parts extended to compensate for the longer arrangement, and finally, some of my own percussion and drum parts revised and moved out of the way to interact with the new kit recording.
Now with some critical mass for the overall horizontal form (and which would remain unchanged from the final version), I began to add some acoustic guitar parts and a simple ‘clean 5ths’ electric guitar melody that seemed to sit well as a foil to Daniel’s underscore10. The harmonic structure and the ‘vertical’ axis was beginning to take a little more shape. Here I also wondered what had become of Frank Millward’s invitation to contribute keyboard parts, but pushed ahead. No sooner was this done, then the next morning an email from Frank with synthesiser recording attached. Again, a replication of the similar asynchronous issue with the drums, but in this case there were not only horizontal considerations (relatively easy to remedy with a little cutting and pasting along the timeline), but also harmonic clashes. His choral structures didn’t necessarily add up with my newer guitar parts, however, I did enjoy the evocative, pad-like sounds he provided and so I set to work in trialling another few variations of the arrangement. In all, I substantially revised my parts to accommodate his voicings, but which were also moved around to form the backbone of the final ‘song’ arrangement: Intro, A, B and C sections etc., as shown in the Figure below: