Made a ceramic plate at a workshop now its youtube visualiser for classical music

I created this plate using acrylic paint at a workshop I go to 

I used an app on my phone and iMovie to create the YouTube video below

Also find vinyls and CDs: click here 

 

Listen to the classical brass trio and buy merch here: click here

New store open on distrokid

Click on the item to purchase 

poster

ceramic mug 

Unisex T-shirt.

Unisex Hoodie

Other items available: click here

or scan the QR code

Vinyls and CDs

Welcome to Musical Artizan

I'm David — composer, writer, and pursuer of excellence behind Kingdom Poetry and Musical Artizan.

This shop is different. Nothing here is mass-produced.

Every CD and Vinyl is made to order through ElasticStage. That means your copy is created only when you order it — a first-generation master on eco-friendly material, not a factory repress. No bargain bins, no unsold stock.

Each cover features exclusive, original handmade artwork — no two releases are quite the same.

You'll find two worlds here:

Classical Piano 2025 Album — reflective, cinematic piano pieces

Native Flute White Wolf -- calming, meditative, relaxing 

I wrote, recorded, and created the artwork for all tracks in West Yorkshire, UK.

Thank you for supporting independent music in physical form. It still matters.

Order direct: elasticstage.com/musicalartizan

Click on the picture to visit the store

behind the scenes at the studio/kitchen

The ingredients  

turkey mince 

mushrooms 

leek

red pepper

yellow pepper

courgette 

aubergene 

The spices and herbs 

light soy sauce 

lemon juice

thyme

oregano

parsley 

garlic granules 

salt

All in the pan

Add chicken gravy granules to thicken.

Make pastry 

2:1 flour and butter 

Pinch of salt

Homemade butter 

Whizz up double cream till it separates. 

Strain with cheesecloth

Rinse with water till the water runs clear

Don't forget to clean down

Roll out pastry 

line bottom 

Fill with mix

Roll out cover 

Place over top 

Egg wash to bind and glaze

Bake at 200 celsius for 20 minutes 

or until golden brown 

Leave to cool

Serve 

 JAMES KEITH

Turns Up The Country-Rock On New Album
'I Call It Magic When I'm With You'


Album Out Friday, October 9

Stream 'I Call It Magic When I'm With You' | Download Press Images/ .mp3 / .wav








Big country-rock riffs, bright hooks and an irrepressible feel-good streak run through James Keith's new album ‘I Call It Magic When I'm With You’, out Friday, October 9. Bringing the scale of rock and the immediacy of country-pop together, Keith delivers fourteen tracks of soaring choruses, twangy guitars and husky vocals, capturing the rush, uncertainty and sheer joy of finding a love worth holding onto.


Following the release of his ARIA Country Albums Chart-topping debut single ‘Life Is Good Today’ in 2024, Australian country singer Keith continues to build momentum with ‘I Call It Magic When I’m With You’. This year Keith has continued the good run with a number of singles leading up to this album release, seeing him secure plays on ABC Country, land on the AMRAP Charts (Metro and Country), and see support from the likes of AU Review, Scenestr, AAA Backstage, CMAA, and more.


'I Call It Magic When I’m With You’, details the feelings that come with navigating a relationship and celebrating love for what it is. Keith explores the happiness love brings, the distance it creates and the doubts you can experience, while capturing the real energy of a love that lasts. As the album unfolds, Keith appreciates all the pieces of a love story and celebrates the life you can build with someone, all while embracing the happy spirit of everyday life.


Driven by bright, twangy guitars and big rock riffs, Keith delivers a high-energy and heartfelt country sound. His warm, rootsy and distinctive vocals carry the emotional weight, intertwining with the album’s country-rock drive.


The album opens with ‘Life Is (Still) Good Today’, leading the way with its bouncy country guitars and optimistic, feel-good energy. The power builds through tracks such as ‘Alive’, pushing Keith’s sound bigger and more anthemic through layered instrumentation and synth effects before exploding into high-energy choruses. Focus track ‘Don’t Wanna Stop’ keeps that energy high, celebrating the little things a partner does that make life better and the feeling of finding something too good to let go.


Turning that celebration inward, ‘Man I Wanna Be’ brings a stronger rock influence through electric guitar textures and driving rhythms as he reflects on the person he wants to become. Bringing the album closer to Keith’s own relationship, ‘Sixteen Thousand’ features a duet with his girlfriend, blending their two musical worlds through acoustic country textures and Afrobeat-inspired rhythms to form one of the record’s most intimate and personal moments.


Keith has shaped the album as one seamless story, with romance and emotional moments unfolding across its fourteen tracks. Together, the songs gradually reveal the different stages and layers of a relationship, from its earliest sparks through distance, doubt and lasting love. As Keith shares:


“It’s about love, distance, doubt, people telling you something won’t work, optimism, positivity, good times and finding someone who changes your life. There are songs about meeting her, songs about missing her, songs about fighting for it and songs that simply celebrate how bloody good it feels when you find someone you genuinely love."


Big-hearted, hook-heavy and unashamedly optimistic, ‘I Call It Magic When I'm With You’ sees James Keith turn the story of a relationship into fourteen tracks of contemporary country-rock, arriving Friday, October 9.






Follow James Keith
https://www.jameskeith.au/
Spotify | Apple Music | Amazon Music | YouTube
Facebook | Instagram | TikTok

Just recorded 432 hz flute, lyre and drum a simple ancient melody on the lyre and flute

 

Recorded today - lyre, drum & flute. Am 432Hz. Ancient, simple. Shepherd on the mountain. Album 'King David's Lyre' / 'A Shepherd's Lyre' - coming in 4 weeks. DNS © 2026.

Had to retune my lyre harp to Am 432 Hz. It kept going out of tune, as it was in a centrally heated room.

First of a 5-track album recorded today 

can I honestly use AI tools to describe how bad AI is at creating meaningful tech diagrams

I mean, what a mess 

It looks techie

I uploaded the screenshots and photos into Meta AI 

Gave a basic description 

And Meta AI did the rest

No substitute for a human graphic editor  

 

Short description given to AI

Channels 1 & 2 behringer 

Channels 3&4 m-audio 

XLR on Behringer 2: Condenser mic 

1/4 jack on Behringer 1: keyboard audio input 

XLR on M-Audio 1: dynamic instrument mic 

1/4 Jack on M-Audio drum machine 

MIDI from keyboard to MIDI in on M-Audio

graphic output 

Suffice it to say, garbage in, garbage out

Archie Tulk

 

ARCHIE TULK
Captures The Buzz Of A Love You Can't Shake On Single
'White Bee' Ahead Of Debut Album 'Human Noise'


Single and Music Video Out Friday, October 2 | Album 'Human Noise' Out November 27

Stream 'White Bee'
Watch 'White Bee' Music Video
Download Press Images / mp3 / wav








Sometimes longing can feel like a buzz that you just can’t seem to escape. Eora/Sydney-based artist and composer Archie Tulk captures that feeling on his intimate new single ‘White Bee’, out October 2 alongside an accompanying music video. The single also comes with the announcement of his debut album ‘Human Noise’, arriving November 27.


With his background in composition, Tulk brings an adventurous, genre-fluid approach to songwriting, blurring the boundaries between art-pop, jazz and orchestral music through intricate arrangements and a pop sensibility.


As a composer, his works have been commissioned and performed by Dutch National Opera & Ballet, Residentie Orkest, Luminescence Chamber Singers, Roctet, Sydney Children’s Choir and Muze van Zuid Festival.


His recent international performances include intimate events at The Grey Space in the Middle, Paardcafé and Roode Bioscoop in the Netherlands, while releases ‘August Blue’ and ‘Watercolours’ received support across Australian community radio, including FBi Radio and a feature in RTRFM’s Songs of the Week.


On ‘White Bee’, Tulk folds jazz, art pop and sweeping orchestral arrangements into an intimate alternative song. Piano and drums move through clipped, stop-start patterns, creating a playful groove and rhythmic pulse beneath his velvety baritone vocals. Around them, strings blend with winds and harp to create a lush, enveloping backdrop while retaining an immediate, intimate warmth.


At its core, ‘White Bee’ explores the yearning that comes with long-distance relationships and the strange persistence of someone remaining present in your thoughts despite the physical distance between you. Buzzing sounds threaded throughout the arrangement embody this constant rumination, becoming a recurring motif for thoughts that refuse to disappear. As Tulk shares:


“‘White Bee’ explores the buzz of a lover you can’t get out of your head, and the yearning that comes with long-distance dating. The song unfolds through a vibrantly orchestrated sound world, featuring instruments including violins and saxophone.”


The accompanying music video, directed by Guian Balan and shot and edited by Dylan Burrows, follows Tulk and his violinists and saxophonist through a series of contrasting settings. Moving between the openness of a sprawling field and the intimacy of a dimly lit jazz bar, the performance-led clip mirrors the track’s movement between expansiveness and closeness, bringing the colourful world of ‘White Bee’ to life on screen.


‘White Bee’ and its accompanying music video are out October 2, with his debut album ‘Human Noise’ arriving November 27.

Follow Archie Tulk
http://www.archietulk.com
Spotify | Apple Music | Facebook | Instagram | Youtube

DNS — Musical Artizan — Am 432Hz • 60 BPM • Logic Pro + iMovie

 

This is how I record my Native American flutes now. Simple, from the heart, and in sync.
The Gear I Use:

Yamaha keyboard as controller, Logic Pro on Mac, a good condenser mic for flute, headphones, my growing collection of flutes (12+ now), frame drum/djembe, steel tongue drum, guitalele, and my phone for optional video. All tuned to A = 432Hz — the natural frequency.

STEP 1: Set the drum to keep a pulse

I start with rhythm, not melody. Traditional was only ever flute, rattle and drum. So I set a djembe or frame drum pattern in Logic — Pop Rock Drummer or just a simple hand drum loop — at 60 BPM.
60 BPM is one beat per second — heartbeat tempo. It keeps everything steady and peaceful. No rush. This pulse is the earth, the foundation.

STEP 2: Set the countdown intro

In Logic Pro, I turn on the 4-beat countdown — 1 • 2 • 3 • 4.
I need those 4 clicks before I play. It lets my breath settle, and my heart get in time with the drum. I hit record, hear the count, and then I am ready.

STEP 3: Improvise from the heart

This is the important one. I do not read music for this. I pray, breathe, and play what is in my heart.
I play in Am (A minor) — my favourite for Native flute — at 432Hz. I have my headphones on so I can hear the drum pulse, but the melody is pure improvisation. No second takes to make it perfect — the first breath is often the most honest. This is making melody to the Lord — Ephesians 5:19.

STEP 4: Add drones and other backing

After the flute is down, I build the nest around it.

I add: Keyboard Player - Broken Chords — soft pad drone
Romance Strings — long, slow strings that answer the flute
Steel tongue drum or guitalele — for sparkle on top
I keep it simple. The flute is the voice; everything else is just the air it floats on.

STEP 5: Optionally record a video too (iMovie)

Sometimes I film myself at the same time on my phone (vertical for YouTube Shorts).
I import the phone video into Apple iMovie — I make a simple movie, no fancy editing. Just trim the start and end, add a title like "Am 432Hz Native Flute - 60 BPM" and I keep the original phone audio as a guide.

STEP 6: Sync it up — Metronome + Finger Click Trick

This is how I line up Logic audio with iMovie video:Same metronome in ear and in Logic. I put a 60 BPM metronome in my earbuds (same as Logic's 60 BPM) so my body stays on the same pulse even if I am filming.

Click your fingers to mark the beginning and end. Before I start playing, and after I finish, I do a loud finger click/clap right in front of the camera/mic.

That click makes a sharp spike in the waveform — you can see it clearly in Logic and in iMovie.
I line up the two spike waveforms — one from Logic, one from iMovie — and they are perfectly in sync. Just like a Hollywood clapperboard, but with my fingers.

Then I mute the phone audio and use the beautiful Logic Pro audio over the video. Export from iMovie, and it is ready for YouTube and the blogs.

Final thought: Drum is pulse, countdown is preparation, heart is source, backing is atmosphere, video is witness, finger-click is anchor. Keep it simple. Keep it worship.


DNS copyright © 2026 — David Nicholas Slater — Musical Artizan & Kingdom Poetry

Thank you world

 

GUITAR TRIO for Piano, Two Acoustic Guitars & Electric Bass - with TABDavid Nicholas Slater — Copyright © 2025 — Musical Artizan

This is my modern groove trio — not exotic scales like Enigma or Rome's Paradise, but a tight, interlocking band where every instrument has a different job. You can see it clearly in bars 1-12 of the score at ♩=100.

How the parts work:

1. One Guitar Uses Arpeggios:
Acoustic Guitar 1 (top guitar staff) is the arpeggio guitar. Look at bars 1-4 on your score — it has single notes with TAB underneath: 0-2-0-2, 3-2-4-2, with the little p and h markings. It never plays full chords. It plays broken chord figures — E minor, A minor shapes arpeggiated — constantly moving in eighth notes. This is the sparkle, the high movement. In the score viewer it is the line that has the flowing slurs over single notes.

2. The Other Uses Chords:

Acoustic Guitar 2 (second guitar staff) is the chord guitar. Bars 1-4 show it holding full chords — you see the stacked notes on the notation, and the TAB underneath shows 0-2-0-2-3-0 shapes, three or four strings at once. While Guitar 1 is arpeggiating, Guitar 2 is strumming and holding chords on beats 1 and 3. It is the rhythmic harmony — chunky, wooden, acoustic. One guitar moves, the other anchors. When Guitar 1 goes up, Guitar 2 holds. That duet between arpeggios and chords is the core sound of the trio.

3. The Bass Has Single Notes:
Electric Bass (bottom staff) is single notes only. Your score shows it at the bottom — tab with 3-3-3-3, 2-2-2-4 — just one note at a time, no chords. Bars 1-4 it plays half notes — D, A, E, G — root notes holding the band together. Then, in bars 5-8 it starts walking in quarter notes, and in bars 9-12 it breaks into eighth-note runs (your bouncy bass line: E, F#, G, A, B). It never plays chords — always clean single-note bass.

4. The Piano Bass Line Has Chords, Whilst The Treble Is Also Arpeggios:

Piano is doing the opposite job to the guitars, which is why it fits.

Treble (right hand) — Piano treble is also arpeggios. Look at the top staff, bars 1-12 — constant eighth notes: C, D, E, G, A, B, all slurred, flowing, just like Acoustic Guitar 1 but an octave higher and with two hands. It doubles and answers the arpeggio guitar.

Bass (left hand) — Piano bass line has chords. Bottom piano staff bars 1-12 — you see stacked notes — left hand playing three-note chords, not single bass notes. While the Electric Bass is playing single notes, the piano left hand is playing full chords underneath — Eb major, G major, D major shapes — giving the harmony that the electric bass doesn't. So the low end has both: Electric Bass single notes + Piano bass chords together.

The Full Machine: Top layer: Piano treble arpeggios + Guitar 1 arpeggios — two interlocking arpeggios, one piano bright, one guitar warm

Middle layer: Guitar 2 chords — acoustic strum holding the groove
Bottom layer: Piano left-hand chords + Electric Bass single notes — piano provides harmonic pad, bass provides punch and walk

Bars 1-4: All together — piano arpeggios flowing, guitar 1 arpeggio answer, guitar 2 chords, electric bass half notes.

Bars 5-8: Electric bass switches to quarter-note walk, piano left hand chords get shorter, guitars keep their roles.

Bars 9-12: Electric bass takes over with eighth-note runs while piano treble continues arpeggios over top and guitar 2 keeps chopping chords.
No straightforward exotic scales here — this one is groove and clarity; each instrument knows its job: arpeggios, chords, single notes.

Instrumentation: Piano, Acoustic Guitar (arpeggios) with TAB, Acoustic Guitar (chords) with TAB, Electric Bass with TAB
Tempo: ♩=100

David musical artizan Slater · Guitar Trio

Copyright © 2025 by David Nicholas Slater