In this no-overdubs-performed-live track a paraphonic chord pattern from the Korg Volca Keys is prominently featured. I used several other favorites in the piece including the Roland D-50, Roland Juno-106 arpeggiated by Ableton, Novation Bass Station II, and the DSI Tempest. There’s also signature delay feedback swells from the Memory Man.
Here’s another “straight-to-tape-no-overdubs” track. This time I gave myself the liberty of pre-recording a few MIDI loops in the DAW with the mutes routed to a MIDI controller. I used eight of my favorite instruments including the Rhodes, Roland D-50, Roland Juno-106, Roland MKS-80, Korg Volca Keys, Novation Bass Station II, and SCI Pro-One.
Incidentally, the title of this track was inspired by a comment on Japan, California, UK that reads: “If, within 6 months, this isn’t the soundtrack to an inspirational, animated montage where cartoon field mice build an aeroplane from junk and fly above their home waving down to their friends, then there’s no justice.”
Here is another no-overdubbing, straight-to-tape, composition using four of my favorite synths. The Yamaha FS1R provided the brittle, sustained, chord pattern. The Tempest handled the synth bass. The Bass Station II produced the arpeggio. Finally, I used the mighty MKS-80 for the lead playing. BTW: I took the photo in Seattle.
Here’s another offering from experiments concocted in my studio. I created this piece with no overdubbing. All tracks were recorded simultaneously. Post-production was limited to editing for length, fades, and one reverb send.
On this fifth piece within the series the lead was played on the Volca Keys using a MIDI controller allowing for spanning several octaves and applying pitch bend and velocity. To get the intermittent pitch modulation I adjusted the LFO amount during play. Other instruments included the DSI Tempest and Novation Bass Station II.
I also followed these rules: 1) No overdubbing. All tracks were recorded at the same time. 2) No computer sequencing. All sequencing was on the instruments used. 3) No looping or shuffling parts in post. Editing for length and content was allowed. 4) One reverb send, one delay, and fades were allowed. No other processing. 5) No mix tricks in post. Reverse and rolls were performed live.