Tim Exile
http://www.youtube.com
Vince Clarke and the Temple of Synth
http://www.motherboard.tv
Remembering the E-mu Drumulator
http://www.retrothing.com
“Doctor Who” on Guitar
http://www.youtube.com
Add comment July 13th, 2010
In 1991, Krafwerk released a sort of greatest hits collection of reimagined tracks from previous albums called The Mix. It was met with heaps of scorn from diehard fans, who felt it was somewhat sacrilegious for the group to get under the hood and tinker with their classics. I feel like this album is under appreciated and is itself a classic (right up there behind Trans Europe Express). Kraftwerk has always been about reinventing itself. Most fans don’t even know the band had albums before Autobahn because Florian Schneider and Ralf Hutter downplayed their earlier, more psychedelic, sound. For the band and fans alike, Autobahn has always been considered Year One because Kraftwerk wanted it that way. But this whole idea of reinterpretations you own work is pure Kraftwerk despite the lamentations of the faithful. And because it was executed so well, I think The Mix stands on its own as something between a thoughtful greatest hits collection and a musical curiosity.
1 comment October 7th, 2009
Eventide Kitty
http://www.youtube.com
One of My Dream Synths
http://matrixsynth.blogspot.com
Synth Britannia
http://www.retrothing.com
The Stylophone Documentary
http://matrixsynth.blogspot.com
Add comment October 3rd, 2009
Back when I worked at the Lab and shared an office with Mike, I had the privilege of unfettered access to vast collection of CDs. Mike is part of that disappearing segment of society still buying compact discs rather than downloading digital files. One of the most intriguing CDs Mike ever brought in was Cypher 7’s Decoder, a 1996 release from a supergroup of sorts which may or may not have included Jeff Bova, Alex Haas, Bill Laswell (producer?), and Yellowman(!?!). The CD starts off with a sprawling 17 minute jam titled “Dead Drop”, a reference to the outdoor nooks and crannies Cold War spies used for stashing secret microfilm. The song is perfect at evoking nocturnal scenes of rainy winter avenues reflecting the glare of sodium vapor street lamps. The track also still feels fresh, even though it came out at a time when the Dave Matthews Band and Alanis Morrisette dominated our pop charts.
There doesn’t seem to be much information on Cypher 7 out there other than it was formed by Bova and Haas in the early ’90s. I believe both worked at major New York studios during the late ’80s early ’90s, so that might have been the connection. Laswell is probably best known for his work producing Herbie Hancock, who Bova played keyboards for. I’m not sure if Yellowman was actually involved in the recording of the Decoder album since he is not mentioned on the liner notes (Amazon does list him though), but he is a well know Jamaican dub DJ who might have provided some of the beats and might have traveled in the same circles as Laswell, who had a close connection to Chris Blackwell and Island Records. It wouldn’t surprise me if Laswell was the one who provided the bass playing on the album. On the surface, Bova seems like an odd musician to be involved in Cypher 7 since most of his work tends to be more mainstream with performers like Celine Dion, Michael Jackson, Eric Clapton, and Billy Joel. But then again, he also had a long relationship with Laswell, which probably exposed him to more avant-garde musical forms.
I don’t know if this is true or not, but I’ve also read the primary synth used on Decoder was the Waldorf Wave, a massive keyboard that cost around $8,000 USD circa 1994. Jeff Bova did own a Wave and is reported to have used it on numerous albums from artists as diverse as The Backstreet Boys to Meat Loaf. As an owner of Waldorf’s Microwave II, which came out later in the ‘90s, I can report that many of the atmospherics of Decoder have that Waldorf trademark to them. This is especially true of “Dead Drop”. I don’t know how many Waves are floating around out there, but I bet the numbers are pretty small. And I wonder if Bova still uses his? I would love to hear it on another Cypher 7 album someday. Oh, I almost forgot. Bill Laswell also release a couple of albums called Dark Side of the Moog that are quite good as well. They make a nice complement to Cypher 7.
Listen to “Dead Drop” on last.fm
Add comment August 14th, 2009
I’ve purchase two used late model digital synths over the past couple of months: the Novation XioSynth and the Waldorf MicroQ. Both of these create their sounds using a synthesis method called “Virtual Analog” or VA for short. This basically means software on a little chip models classic analog technology. Both of these synths have pretty much the same architecture, three oscillators w/ various waveforms, multiple filter types, digital effects, etc., but the Waldorf adds some nice extras which I’ll explain in a second. Both of these synths are cool in their own special way, so I’ll do two mini reviews.
Novation XioSynth
This is actually three devices in one: A controller, a synth, and an audio interface. I bought it because I’ve always liked Novation’s VAs and I wanted a battery powered controller (the XioSynth can also run off a USB connection)…the audio interface is just a nice additional feature. Novation deserves credit their great documentation and website, which has up-to-date drivers and additional sounds. Getting the XioSynth to work w/ computer applications has been easy so far. Numerous audio and MIDI programs recognize it without a lot of fuss, an unusual Windows experience for me. There is a nice Java based editor that makes it easy to program sounds, but that can also be done using the handful of knobs along the top of the keyboard. Still, there is a fair amount of menu diving if you really want to the program this thing without a computer. The LCD certainly helps here though. So one of the great things about the XioSynth is the arpeggiator and the X-Gator, a sort of jazzed-up step sequencer that I think is really just an audio gate, which may explain why I can’t get it to transmit over MIDI like the arpeggiator (I can be so dense sometimes). Both of these are pretty awesome, but you have to be creative in using them or everything just sounds like awful Euro-Trance™. The keyboard action is quite nice for a synth this cheap — far better than the action on my old 49 key controller I bought over a decade ago. So how does this thing sound? Pretty good really, but nothing spectacular. Many of the presets are drenched in digital effects, which I think are of pretty mediocre quality. I tend to just disable the internal effects and us outboard processing. This synth sounds great running through analog guitar pedals or older digital effects.
Waldorf MicroQ
This is a cut-down version of Waldorf’s Q series, part of a long legacy of synths designed by German legend Wolfgang Palm of PPG fame (think Rush circa Power Windows). What has been excluded from it’s big brother are dedicated knobs for every function, a step sequencer, and less polyphony; although the everything else pretty much stays the same. I wanted to get the newer Blofeld, which is sort of an updated version of the MicroQ but w/ user sample memory and an amazing interface, but MicroQs are really cheap these days. Like the XioSynth, the MicroQ is a virtual analog synth, meaning the sound is generated by software. Waldorf mixes things up a bit though by adding wavetables. So what are wavetables? It depends on the design and manufacture, but typically this means a number of small audio samples stored in ROM controlled by a table that points to the ROM sounds. It’s kind of hard to explain how this works, but it basically means a larger sound pallet to draw from when building a patch. Wavetable can also be used to create evolving sounds since the samples can be “scanned” — jumping from one sample to another. The MicroQ also adds in FM and ring modulation, which is great for producing bell-like sounds (think Yamaha’s DX-7 from the ’80s). Really, the MicroQ has a lot of sonic potential under the hood. But all that potential is useless if you can’t tap it, and the MicroQ, despite it’s lack of knobs, offers some pretty intuitive programming thanks to its matrix borrowed from the long discontinued Waldorf Pulse. There is also a Windows based software editor, but I have yet to try it since I’ve been able to do most of my basic programming from the four matrix knobs. Like the XioSynth, the MicroQ also has an arpeggiator, which can often make things way to trancy. But it’s also programmable, so you can do more abstract things w/ it as well. Perhaps one of the most intriguing features, and one I haven’t used yet, is the vocoder. I won’t go into the technical details of what a vocoder is, but if you’ve listened to Air or late ’70s ELO, you know what it sounds like. I just need to go through all the hassles of setting up a microphone to experiment w/ this, but I might finally get around to it this weekend. Overall I really like the sound of the MicroQ — more than the XioSynth, although that synth sounds perfectly fine in most contexts. The MicroQ reeks of a certain “sparkly” character that is quite pleasing to my ears. Oh, I forgot to mention the random patch generating function — every synth should have this feature.
My time spent w/ the MicroQ has gotten me lusting after the Waldorf Microwave II, which often goes for pretty cheap on eBay these days. It lacks a lot of knobs (unless you get the more expensive XT), but it still offers the matrix programming, which I think is adequate for basic sound design. The Waldorf company is quite interesting, having gone into bankruptcy a couple of years ago only to emerge strong and vibrant.
MicroQ Gripes
- Power button: You have to hold the power button down to turn the thing off. This is really annoying — should just be a standard power switch like on most synths.
- No audio input on the front: I love the fact there is an audio in at all, but I wish they would have put a jack on the front as well as the back.
- Screen saver: When I updated the OS to 2.2, I noticed this new screen saver that comes on when not in use. It freaks me out, because I think the thing is spontaneously resetting itself like my old SidStation. And I don’t thing there is any real need for a screen saver — the chances of characters “burning” into the screen during prolonged stretches of discuss are probably pretty low.
XioSynth Gripes
- Interface: I can’t complain about the interface being complicated too much, since Novation was trying to squeeze a lot of functionality into a small form factor. But just trying to get the arpeggiator to send a MIDI signal necessitated grabbing the manual a couple of times.
- Lettering: In low light situations it virtually impossible to see the labels above the knobs. It would be nice to see a higher contrast color used on those fonts.
- Internal effects: You can use a bunch of effects at once, but the quality, to my ears, is not all that great. I usually rely on outboard processing (XioSynth + Boss Super Chorus + Lexicon Reverb = Hot!)
- No MIDI in: Well, it not really a big issues, since I do patch editing via USB, but without a USB connection there is no way to send patches via system exclusive. Not a big deal, just annoying.
1 comment August 1st, 2009
OK, I don’t need a new project this summer, but I’ve recklessly put another one on my plate. I found the ARP Omni II pictured above on Craigslist for a pretty good price due to a couple issues I’ll mention in a minute. So why bother buying an ARP Omni II you might ask? Good question! The Omni II was a popular “string synth” from the late ’70s to early ’80s and was used by bands as diverse as Joy Division and Supertramp. The whole string synth fad came about in the early ’70s as an alternative to the Melotron, which was an expensive and cumbersome tape-based proto-sampler keyboard. The idea behind the first string synth, the Eminent, was synthesize string sounds rather than play back tape recorded strings like the Melotron. The Eminent lead to the Solina which lead to the ARP Omni I/II, which I guess used the basic design of the Solina, but added a couple of additional features. Pretty much every synth manufacture offered some kind of string synth back in the day (probably thanks to disco) including Roland, Yamaha, and Korg. The key to any of these old string synths is the built in analog chorus/phase effects — without it, a string synth just sounds kind of bland.
The Omni II is a bit of an odd beast even by ARP standards. It is basically three analog synths in one box sharing a common keyboard. It’s neither monophonic (meaning it plays one note at a time) or polyphonic (meaning it plays chords) but paraphonic which means that it is capable of playing all the notes on the keyboard using something called divide down technology. Polyphonic synths were quite rare in the ’70s. On of the few was the the Prophet 5, but it was also quite expensive. These string synths used the same technology as transistor based organs used allowing for chords but cost far less than standard polyphonic synths.
So what does my Omni need in the way of repairs? Well for one, all the ‘E’ notes sustain when I play the string sounds, which means there is probably a blown capacitor on one of the circuit boards. This is a pretty common issue with a lot of ARP synths from the ’70s. I guess the Omni was the product that kept company executives in cocaine and champagne, but to maximize profits, I think they cut corners wherever they could — like using cheap capacitors prone to failure. I’m also gonna need to either clean or replace all the sliders. I think someone tried to clean them with WD40 or similar, so now they’re pretty much shot. Right now I’m leaning toward replacing, since pretty much all the parts used on the Omni are still being made. Below are some links for other Omni owners to use when sourcing parts.
ARP Sliders
http://www.synthrestore.co.uk
Arp Omni II Switches
https://www.vintagevibe.com
Arp Omni II Chorus Phaser Chip
https://www.vintagevibe.com
Arp Omni II Synth and Bass Voice Chip
https://www.vintagevibe.com
Arp Omni II Voicing Circuit Chip
https://www.vintagevibe.com
Arp String Ensemble Bass Section OP Amp
https://www.vintagevibe.com
Arp String Ensemble Knobs
https://www.vintagevibe.com
ARP Omni II Problems
http://www.vintagesynth.com
Parts List
http://peterunderdog.com
Hear the Omni II in action on one of the best songs ever…
Love Will Tear Us Apart - Joy Division
http://www.youtube.com
3 comments June 30th, 2009
I received an interesting item in the mail the other day: A Gakken SX-150 Analog Synthesizer Kit. Gakken is a Japanese publisher that apparently bundles electronic projects with their magazines (Otona-no-Kagatu?). Usually they have electronic experiment kits, but occasionally they offer cool synth devices. I was turned on to the SX-150 after reading enthusiastic reviews on VintageSynths.com, so I decided to drop $45.00 to get one here in the States from MAKE Magazine.
While the SX-150 is an actual analog synth, it lacks a traditional keyboard. Instead, the SX-150 has a strip of metal and a “pen” type device used to make sounds — it’s basically an updated Stylophone, which I have talked about before on this blog. But unlike the retro Stylophone, the SX-150 offers a filter section and a low frequency oscillator (LFO) to give the sound a bit more depth. The SX-150 also has dials for an envelope, but they don’t seem to do anything.
Here are a couple of sound examples: #1 and #2. If you’re interested in buying an SX-150, check out MAKE Magazine.
1 comment November 17th, 2008
A few regular readers might remember some old posts where I talked about my attempts to create new discs for the Mattel Optigan organ. I won’t rehash the detailed explanation of what the Optigan is, but in a nutshell, it’s a cheesy home organ that hasn’t been in production for about 35 years. To produce the sounds, audio loops are read from a transparent sound disc. Various discs covered specific musical genres, like country, folk, or polka just to name a few. I’ve always wanted to make my own discs with my own sounds, but technical obstacles always got in my way. I was able to scan existing discs and print copies, but the fidelity was not all that great and it was difficult to punch out the center hole of the disc. Making a disc with brand new sounds presented even more challenges, since software was involved. But some folks with far more technical expertise have managed to do what I never was — create a new Optigan disc. Go here to see a demo. I’m super excited about this development and I’m eagerly awaiting the opportunity to buy a new disc.
Add comment October 11th, 2008
I love analog effects yo, but that stuff is crazy expensive. Lately, to satisfy my craving for audio mangling, I’ve been picking up unloved digital effects from the early ‘90s (and some of a more recent vintage). One of the best finds was from a couple of months ago: the Alesis Wedge, made for a short period of time circa 1997. The one I found on eBay was covered in grim, but it was also dirt cheap – I think around $35.00. This is a great little reverb box that lets you actually edit the effects parameters via four sliders, which is insanely cool. I’ve been using it to create these huge ambient washes. If you want an idea of what this sounds like in a mix, checkout this six minute jam with Mike Spicer from a while back. It’s mostly my Kurzweil K2000VX played through the Wedge. That other synth noodling is Mike playing his Casio keyboard through a tremolo pedal. Everything was tracked to an Alesis ADAT.
The Wedge and a MIDIVerb III chained-up via a ProCo patchbay. The beginnings of my modular effects rack.
Another, and newer, digital effect boxes I’ve picked-up recently is the DigiTech RP50. I got this one off of CraigsList for $25.00. It’s the crappiest constructed effects boxes I’ve ever come across, but it sounds great. It was designed for guitarists, so it’s really easy to use. I bought it because I love the older DigiTech whammy and pitch shifter pedals – but both of those are super expense on the used market these days. The RP50 has both of these effects, along with a ton of other ones like reverb and delay. And I think you can chain up to five effects at once. To make the whammy or wah effect work, I just hook-up my controller pedal. Apparently there is even a built in drum machine, but I haven’t tried that yet. And it has stereo inputs and outputs. And it works fine with a line level signal. The list of cheap awesomeness goes on and on. Here is an example of my K2000VX played through the Wedge with the RP50 in whammy mode at the end of the effects chain.
I did make one extravagant analog purchase recently though. With some of my tax return money I bought a used Frostwave Resonator effects pedal. I wanted to by an Analogue Solutions Filtered Coffee from the UK, which features the filter, LFOs, and envelope follower of the Korg MS-20, but it runs about $500.00 new (maybe more because of the dollar’s continuing weakness against the Pound). For around $200.00, I bought an Australian built Resonator off of eBay, which just features the filter section from the MS-20. That means no crazy Goldfrapp style vocal effects, but still lots of fun. I’ve found this pedal is most useful when the knobs are not turned to “11” since the Resonator tends to get a bit wild and unpredictable when pushed to the edge. Rather, I’ve used the filter to give character to otherwise boring sounded synths. Here is my junky Yamaha TG-33 played through the Resonator. Here is an ARP Quadra sample on my K2000VX played through the Resonator (with apologies to Boards of Canada).
Cholula loves the warmth of my Lexicon LXP-15. Unfortunately this one has blown capacitors, so I’m looking to replace it with the smaller LXP-1. Oh, one other thing I wanted to mention, Cholula is on Matrixsynth this week. My cat blogging continues unabated.
Add comment May 15th, 2008
I’ve been good at refraining from posting photos of my cats on this blog, but not so much on other people’s blogs.
Clementine on Cat Synth
http://www.ptank.com/catsynth
Add comment April 30th, 2008
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