Here’s another example that fits into the stacked polyphonic synthesis series I started on April 4, 2011 with Stacked Polysynths Part 1. This time I played a chord progression while recording rather than adjusting parameters in realtime, making it into a micro-track of sorts. The fifths sounds was on the D-50 while the filter sweeping sound is something I dialed in on the MKS-80.
Stacked Polys Part 4
This 1:52 minute segment of improvisation from the DGK performance at Try This 2 on March 25, 2011 contains drums by Tim Glenn, Soprano Sax by Jon Davis, and jumble sale of gear played by yours truly. These instrument include, in order of appearance, the Sequential Circuits Pro-One, followed by the Korg Monotron, my handmade Sonodrome Posc, and my Max for Live, granular synth, Grain Machine. Prior to this performance I had been limiting my palette of textures to the Rhodes and the Pro-One, but for this performance I thought I would try including the Monotron, Posc, and Grain Machine in order to draw from a few more atonal colors.
DGK Try This 2 Segment
Yet another example of stacked polyphonic synthesizers. The hollow square wave arpeggio, courtesy of the Super Jupiter, is augmented by a glassy pad provided by the Roland D-50 Linear Arithmetic synthesizer.
Stacked Polys Part 3
I created this meditative drone on the MKS-80 by holding a chord down with the sustain pedal and adjusting the filter, pitch bend and modulation wheel during the 2:21 minute length of the piece. I also drenched it in an unhealthy dose of stereo ping pong delay giving it a dreamy atmosphere especially during the slow bends. Fun!
Meditative Drone
Here’s the second in a series of stacked polyphonic synthesizer experiments. Once again I used the Roland D-50 and the Roland MKS-80. The percussive sound that fades in and out was made by by the D-50, and the evolving synth texture came from the Super Jupiter while manipulating parameters with the Bitstream 3X. My goal is to eventually have control over D-50 with the BS3X as well.
Stacked Polys Part 2