Music Technology Soul Searching

Posted on February 24, 2011 by John C.S. Keston

Today is my fiftieth article so far in the One Synthesizer Sound Every Day series that I started on January 5, 2011. Throughout the process of presenting these sounds, I have been learning about new instruments, old instruments, and reflecting on my personal music technology background and philosophy. Today as musicians, we experience a vast wealth of sonic possibilities never before possible throughout history. How do artists that are fortunate enough to experience and participate in the invention and use of these instruments find a distinct voice?

This is something that I have pondered since my childhood exposure to synthesis in the 80s. My dad brought home Tomita records and a friend exposed me to Wendy Carlos, Jean Michel Jarre, and Laurie Anderson. This led me to my first synthesizer; a Moog Rogue monophonic with a broken key. Next, after disciplined savings, came a Korg Poly-800. Polyphony and MIDI implementation opened up a new realm of possibilities, but I missed the expression of tactile controls. Unfortunately, the replacement of costly knobs and sliders with cheap LED displays and a few buttons was an industry trend by the time I started performing regularly as a keyboardist.

By the early 90s, sampling overshadowed synthesis. Many chose, and still choose, to use samplers to play analog and acoustic sounds rather than lug the instruments themselves. These are often choices of convenience rather than an aesthetic decision. I became, as many of us did, frustrated by these “slabs”; featureless keyboards with hundreds of presets, but only programmable through a two inch wide LCD and minimal set of cold buttons. I largely rejected the “slabs” and looked backwards in time at Hammond organs, the Hohner clavinet, the Rhodes electric piano (my main axe to this day), and my favorite monosynth of all time, the Sequencial Circuits Pro-One. I used processing, such as delay, distortion, wah wah, and a Leslie cabinet to augment the sound of the Rhodes and Pro-One. These instruments are still a dominant voice in my work. Simplicity and expressiveness is what led me to this palette.

The key to finding this voice was limitations. I like that the Pro-One has no way to store presets, no MIDI, and needs to be tuned. I have learned to use it expressively and quickly dial in approximations of the sounds I’m after. The Rhodes is limited to one sound, but it’s mechanically velocity sensitive – much more dynamic than a mere 128 possible levels of loudness. We are easily lured into embracing magnificent technological devices that can do everything and more than the last thing, but is this what’s best for our musical psyches? Personally I aim to discover new ways of using my instruments. With the lack of sonic limitations that many new instruments achieve, every way you use them is new. New discoveries are a button press away. There’s no path to discovery, it’s just there at one’s fingertips. I need the path. Along the path we learn, experiment, develop, gain experience, and ultimately become better musical communicators.

The One Synthesizer Sound Every Day project has initiated a period of exploration for me. I have opened myself up to the possibilities offered by a new subset of instrumentation. While this is a fascinating time and I have already begun composing music with these textures, I understand that I will need to scale down the possibilities and create a new set of limitations in order to find a path to producing meaningful work.

Here’s a live recording of DGK from Monday, February 21, 2011. Jon Davis is on bass, and Tim Glenn is on drums. My instrumentation is Rhodes, and Pro-One through an Electro-Harmonix Memory Man delay.

Lost on Enceladus
by DGK

Synthesizer Noise Jam #3 Though Master Effects Chain

Posted on February 23, 2011 by John C.S. Keston

Here’s the third in my series of noise making experiments with the Roland MKS-80. This time I decided to drop the recording into one of my Live sets and run it through my chain of master effects. This includes a filter, bit reduction, delay and reverb. I have most of the parameters for these effects MIDI mapped, giving me instant access to them via nine knobs on my Korg nanoKONTROL. This gave me the ability to further deconstruct the already destructed chaos that I started with.

Noise Jam #3 Through Master Effects Chain

Synthesizer Noise Jam #2

Posted on February 22, 2011 by John C.S. Keston

Here’s another segment from the noise experiments I produced using the Roland MKS-80. I’m enjoying the sound of the triangle wav setting on the LFO that you can hear at the end.

Noise Jam Segment 2

Synthesizer Noise Jam #1

Posted on February 21, 2011 by John C.S. Keston

I have been recording a series of solo noise jams using the Roland Super Jupiter MKS-80 while in the process of researching repairs. The unit currently cannot be tuned and does not respond to keyboard velocity information. This does not prevent me from exploring what the instrument can do sonically, without depending on traditional scales, or harmony. This sort of experimentation is usually done with modular synthesizers, or instruments that have most of the parameters available as tactile controls. In other words, to do this on an MKS-80 you need the MPG-80 programmer, or a viable alternative.

As far as physical controllers go, the CME Bitstream 3X seems to be one that a lot of MKS-80 users are talking about. It looks like a pretty good controller for a lot of things, but once again, it’s a little on the expensive side of things. I opted to use the reKon editor as a plugin and map MIDI controls to it as I described in reKon Audio VST-AU MKS-80 Editor. This worked great, with no noticeable latency. Here’s a segment from the first experiment in this series.

Noise Jam Segment

reKon Audio VST-AU MKS-80 Editor

Posted on February 20, 2011 by John C.S. Keston

If you know anything about the Roland Super Jupiter MKS-80 you know that it’s glacially slow to program the beast without using the Roland MPG-80 programmer. That’s all well and good, but the MPG-80s are pretty hard to come by and if you do find one you might have to sell a kidney to pay for it.

That’s where the reKon Audio VST-AU MKS-80 editor comes in. It’s a software editor for Mac and Windows that has an interface modeled after the MPG-80. It’s got all the real-time controls that the MPG-80 has, plus a patch librarian, randomizer, and more. What I have found most useful is the ability to run it as a plugin.

In Ableton Live I was able to save the patch data with the set. I also mapped many of the controls in the editor to sliders and knobs on a MIDI controller. In the process of setting this up, I thought that there would surely be noticeable latency going from the MIDI controller to the reKon plugin, then to the MIDI out, and back into the MKS-80, but it was fast and fluid. I did notice some minor aliasing when sweeping the filter, but I got the same result when I made the adjustments directly on the MKS-80.

Here’s a mono lead sound that I programmed using this technique. Please pardon the self indulgent playing, but I’m pretty pleased with this patch and it was a breeze to program with the reKon plugin. I’m also impressed with the quality of the MKS-80 VCOs over a broad frequency range. With sampled and modeled waveforms you often end up hearing artifacts or undertones in the high frequencies. Not so with this beast.

Self Indulgent Synth Solo