The mighty SC-88!
This section (and subpages) includes information about tim p scott, his CV and works, contact information, and possibly other musicians, bands, composers and works of especial interest or merit. There are plenty of sites about famous or well known music, so this will try to not repeat all that thoroughly hashed out material…
Tim P Scott musical bio
First some biographical information about tim p scott. Now I’ll switch to first person mode since it’s too weird otherwise.
I am “yet another solo composer/producer” currently living and working in Southern California. Although in the 1970s and 1980s I played bass and drums in a few local bar bands, my dream was always to write and produce his own compositions. But not “solo singer/songwriter” stuff; rather composed music for small band/ensemble. So how does one do this when one is a loner/sociopath?
A short history of “D.E.Y.” (“Do Everything Yourself”)
This was not something that was easy to do back in those days.
In the history of pop music there were some producers who wore the hats of songwriter, arranger, performer, and engineer. This was a very rare thing. The recording studio in the early days was not a place that musicians found comprehensible, and required a cadre of what we now think of as geeks. One who comes to mind was Joe Meek (look him up) who had his own vision of the way records should sound and sequestered himself in a studio in an effort to make it happen.
Another fascinating story is the Boston multi-platinum stadium rock project by genius producer Tom Scholz; but that’s a story for another time, mes enfants.
One of my heroes of “D.E.Y.” is Mike Oldfield, one of the most famous examples of the “D.E.Y.” ethic. Oldfield wangled some studio time in the wee hours of the morning from Richard Branson, who at the time was not yet a world airline mogul, but just ran a mail order record business. Oldfield’s first and most famous production, and Branson’s Virgin label’s first release, was the blockbuster Tubular Bells in 1973.
Oldfield had the same dream as I did but had a way (and the initiative) to actualize it. People still regard Tubular Bells as truly seminal if not brilliant. Besides selling millions it got a Grammy in 1974. The fact that it was practically all done by him alone even makes it that more amazing.
But for the average punter, especially living in a musical backwater (like Southern California), things were not so easy. Technology was not quite up to the self-producing and recording task for the average person at that time.
In the 1960s the one and only Frank Zappa came along and had the same burning desire. Interestingly, he came out of the Southern California area and had even fewer resources than me. Zappa’s strategy was to put together a group to do humourous and possibly outrageous music, which would establish him as a Real Professional musician and (he hoped) provide him with a basis to do the less commercial and more serious stuff that he (claimed he) really wanted to do.
Meanwhile in Europe, Tangerine Dream (and slightly later, Kraftwerk) were forming to make music pushing the envelope of the technologies available at the time. Their success starting in the 70s was really remarkable and gave hope to a person sick of the usual pop product.
Not having access to machines of that caliber, however, I basically gave up on his plan, got rid of most of his musical equipment except for an upright piano, and started taking piano lessons. Then started about 15 years of serious listening and collecting records.
Collaboration with machines
Finally in the mid 1990s, a friend introduced me to synthesizers, samplers and MIDI sequencers. Although this was clearly a compromise, on the other hand it finally created a route to create, edit and produce multi-layered compositions.
These tools and gadgets were able to more or less make up for the fact that I didn’t have a group of obedient musicians who would play his pieces.
For better or worse, technology developed in the last half of the 20th Century made it possible for a composer to realize music more complex than a single person could play relatively economically. This meant, in general, electronic synthesizers and samplers, multichannel recording with overdubbing and computer sequencing.
Ironically, I lives not far from one of the primary centers of electronic and experimental music in the world, the CRCA center at UCSD–but never got any benefit from it, not being a student at that university,
OK…here’s a PDF file of the graphics that goes with the “Circle of Art” release: poster-back …let’s see if this works…
Email me
Here’s a contact address as a graphic (so robots can’t scrape it so easily for spamming purposes): 
Other Tim Scotts!
Imagine my surprise when I turned a page in a copy of Sound On Sound and there was a review of a song demo submitted by Tim Scott! Well, obviously this is not me, but it turns out that there is another Tim Scott (not that remarkable considering) but what is remarkable is that he is a real, professional, highly regarded musician. If my stuff leaves you completely cold, mosey over to his site and see what he’s got going on.
And yet another one
I learned yesterday that there’s a Tim Scott who’s a member of the South Carolina State Legislature, now with the Republican nomination for the US House of Representatives. So good on him as well. More hits to my music pages…
And if that’s not enough…
I started a new job a few weeks ago. About 10 cubicles to my south who is working there but another Tim Scott. This world is just crawling with em I tells ya!
Ambient and “soundscape” music
My first exposures to long-form, quietistic and static compositions were works by Brian Eno and transcendent “Music for Zen Meditation” by Tony Scott. This led to explorations of other composers such as Harold Budd, K. Leimer and William Basinski. Actually, I learned about Basinski purely by serendipity when I entered composers I liked into the Pandora recommendations engine. (Basinski’s bio is on his website here.)
Page#20 / last edited 2019-06-30
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