“Could I create a Prog Rock album completely out of the box using just VSTs? Would it work? Would people be convinced?”
In the ever-evolving landscape of music production, technology has become a pivotal tool for artists seeking to explore new sonic territories. Dave Ware, a seasoned musician with a background in rock and thrash metal, has embraced this shift towards digital creativity. With his latest project, Interferometer, Ware delves into the realm of virtual instruments, crafting an album that challenges traditional production methods. In this interview, Ware shares insights into his creative process and how virtual studio technology (VST) has shaped the sound of his latest work.
Ware’s musical journey began behind the drum kit, playing in various bands during the late 80s and 90s. However, it was the transition to recording that marked a significant turning point in his career. “Once my kids had grown up, I decided to try my hand at recording some of the songs that I had written over the years,” Ware explains. “I have a cheap Peavey Milestone bass and, along with my drums and a cheap Les Paul copy, I recorded a couple of albums using a Fostex VF160. The results were okay, but it was clear that a computer-based DAW was the way to go. I settled on FL Studio and started looking at VSTs as the sound quality was always going to be better than anything I could record in a traditional manner. I initially bought some orchestral libraries (Spitfire Albion Neo was my first), and then tried some guitar VSTs from Native Instruments. Everything changed when I discovered GetGood Drums and their incredible drum libraries. I realised there was a challenge here. Could I create a prog rock album completely out of the box using just VSTs? Would it work? Would people be convinced?”
Interferometer is a testament to Ware’s exploration of digital instruments. He highlights the key VSTs that played a pivotal role in the album’s production: “I have relied heavily on Impact Soundworks Shreddage 3 Hydra. The guitar tone and the range that a virtual 8-string gives me are immense. Any acoustic guitars will be from the Native Instruments Picked Acoustic or Strummed Acoustic 2 libraries. For the drums on this album, I have used GetGood Drums One Kit Wonder Metal. I like to stick to one drum library for an entire album as I think it helps to glue the songs together. Similarly, I will use the same bass VST throughout an album. And, my favourite is actually a patch in FL Studio’s built-in Flex synthesiser. I have used the Rocker RoundWounder from their Essential Bass Guitars pack. It has a slightly overdriven picked sound that just works with the Hydra 8 and is excellent for heavier music. On top of that, I have used various orchestral instruments from Spitfire’s Albion Neo and their Abbey Road One libraries. For the synthwave elements in my music, I’ve used many different synth patches from the aforementioned FL Studio Flex.”
The creative process behind the album’s bass lines illustrates Ware’s innovative approach to music production. Rather than relying on traditional playing techniques, Ware programmed the bass lines, ensuring they complemented the album’s dynamic range. “If I’m writing a bass line to a guitar riff, I will often copy the MIDI from the guitar and paste it into the piano roll for the bass. But, no one really wants to hear a bass line that just follows a guitar riff so, I will make melody and rhythmic changes to create a more interesting sound. I will play the bass on a MIDI controller but I tend to do that in the early stages when I’m working out what will fit the music best. Honestly, I usually program into the piano roll with my mouse. This probably isn’t the best practice but it works for me. I do a lot of work in the mixing process when it comes to making everything sound cohesive and dynamic. I create a lot of automation on volume and velocity. My mixing and production knowledge has really come a long way in the last couple of years.”
Ware’s transition to using VSTs has not only refined his sound but also expanded his musical horizons. “Using VSTs has enabled me to produce a much cleaner, more professional-sounding product. I’ve always been able to write songs but I’m getting closer to transferring the sounds I have in my head into the DAW and out of the speakers. VSTs have also broadened my genre from rock music to a much more progressive sound laced with synthwave and orchestral elements. And, because I create as I write, my songs are much more interesting and full of layers. If I have an acoustic melody, I can imagine the orchestral accompaniment that would lift the song up a notch. Now, thanks to VSTs, I can create that.”
Order Interferometer on Bandcamp.
