Flyin’ Saucepan: The Beginning [Part 2]

18 Feb

One can only imagine such a nightmare…

It was this presentiment which was the main catalyst in the foundation of Flyin’ Saucepan. In a round-about sort of way. Mostly, in all honesty, the reasoning behind starting up my second digital label is much more self-centred.

THE FLYIN’ SAUCEPAN NAME

I have been dabbling in all things musical for as long as I can remember. When I was 3 years old, I went to my aunt and uncle’s wedding, and my earliest memory was sitting at a table at the reception in front of the wedding band. The drummer had a red drumkit, and the hi-hat seemed to open and close by itself. I was absolutely transfixed; I couldn’t take my eyes off the drums for one second. The drummer obviously noticed my awe, and allowed me to sit behind the drumkit up on his knee whilst he explained how it all worked. He gave me his drumsticks. I still have them to this day, all battered and chewed with the heads knocked off.

Everything got hit with them. The sofas and saucepans back at home became my drumkit. Scattering saucepans and cushions all around the house, I played elaborate drum solos from the living room to the toilet and back again. I was a Whirling Dervish, causing havock all around me; my finesse and sense of rhythm likened to that of a stampeding herd of deafblind cattle . The fun ended when I skelped a large upturned pan on the handle, sending it flying across the living room until it’s trajectory was interrupted by one of my mother’s favourite ornaments.

Pan Meets Lladro

Pan Meets Lladro

THE FLYIN’ SAUCEPAN IDEA

In July 1993, I obtained a copy of Amiga Format Issue 48. It included two coverdisks, one of which included the full version of ProTracker v3.10B. I had never used a sample sequencer before, but within months I’d put together about 20 tracks. They were really grainy pieces of music, comprising of bunches of samples slotted into blocks of bars and patterns, split into 2 left and 2 right channels, meaning at any one time the music could be 4-note polyphonic. You could get creative with the onboard 12-bit sample editor; re-sampling blocks of samples or notes to form chordal or multi-timbral samples, then replacing the originals to free up the remaining free channels.

This is how I started producing music!

This is how I started producing music!

Basically, it became both mentally and musically stimulating to me, to the point of obsession. I started writing public domain demos with animations or graphics accompanied by my own sounds, calling myself “Creations Of The Mind”. Before my old Amiga 1200 finally packed in, I had hundreds of diskettes filled up with tracks and ideas. Some made it onto cassette tapes and were passed to friends (whether they wanted them or not). This obsessive musical behaviour goes on to this day…

20 years on, and I’ve decided to trawl through all of the “stuff”. Anything remotely interesting or with the slightest hint of oddness and groove will be chopped up, re-structured, polished and packaged into something which I deem to be useable.

Flyin’ Saucepan will be a digital discount label with the following business model:

  • Everything’s £1 (directly from the Flyin’ Store).
  • Everything comes with a related recipe.
  • Everything comes with bonus tracks.

The label is more an excercise in cataloguing, and a creative personal project than anything else. A musical garage clearout. I’d like to see if I can turn old experiments into new things. Make stuff and share it. Chuck it out or chuck it in…

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