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FROM ONE EXCEPTIONAL KEYBOARD TO ANOTHER. . . Congratulations to Keyboard Magazine for 40 years of creative and informed music journalism! You were there when we introduced the world to the original Prophet-5 and you’re here for us now as we introduce a new generation to the Prophet-6. Here’s to another 40 years of inspiring musicians together!
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OCTOBER 2015
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Editor’s Note “Here it is, at last! A magazine for everyone interested in keyboard music.” So began om Darter’s editor’s letter in the very �rst issue of what was then called Contemporary Keyboard , dated September/ October 1975. Original publisher Jim Crockett and GPI Publications had a successful precedent for the then-�edgling idea of an instrument and technique magazine for musicians, in the form of our stillsister publication Guitar Player , which had launched in 1967. Even so, no one anticipated how massively positive the response would be. Tough a diverse bunch in terms of musical interests and levels of aptitude, keyboard players pulled together because there was �nally a community speci�cally for us. Synthesizers and other electronic instruments were also �nding their way onto stages from rock arenas to the corner bar, and therefore into the cultural mainstream. Musicians were eager to learn how this new technology worked and what it could
40 YEARS AGO TODAY
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do for them, and this magazine was eager to help. I personally discovered it at around age nine or ten, when my parents got me a subscription because I wouldn’t shut up about the Minimoog I’d gotten to play some months prior at one of those hands-on children’s museums and they �gured the magazine might keep me practicing piano in the bargain. (Tey were right.) As a lifelong reader and fan, it is an incredible honor and privilege to preside over the 40th anniversary of what I believe is still the best music technology magazine on the planet—especially in the way that it balances learning musical technique from top artists with the always-fun delving into the latest technology. In this issue, we have a blend of new and vintage content that similarly balances where we’ve been and where we’re going, and I hope you have as much fun reading it as I and the Keyboard contributors had putting it together.
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Here’s to another 40 years. Tank you, from the bottom of my heart, for being with us.
Stephen Fortner
Editor
This month we say good-bye to our “30 Years Ago Today” series, and begin to revisit the earliest issues of Contemporary Keyboard (the original title, later shortened to Keyboard ). The premiere issue, which came out in fall 1975, signified the great range of music and technology that the magazine would feature for 40 more years, and beyond. The cover artist was Chick Corea, then as now, a virtuoso and icon in the piano and electronic music realms; he talked about his earliest days as a musician, as well as his then-latest equipment and techniques. We also featured new gear from the 1975 NAMM show, including the Vako Polyphonic Orchestron, ARP Polyphonic Synthesizer System, and Oberheim’s new Four Voice Synthesizer. Speaking of synthesizers, pioneering developer Bob Moog was interviewed in the issue, and debuted as Keyboard ’s “On Synthesizers” columnist. Also in the September/October 1975 debut were interviews with roots musicians Max Morath (“Ragtime Piano Master”) and Clifton Chenier (“King of Zydeco Accordion”). We offered lessons on playing like classical composer and pianist Bela Bartok, and mastering two-fisted boogie-woogie, as well as reviews of then-new album releases by artists Oscar Peterson, Glenn Gould, Kansas, Keith Jarrett, Billy Preston, Tangerine Dream, and The Captain & Tenille (!). Supporting the first issue of Keyboard were a small but mighty collection of advertisers, such as Yamaha, Hohner, Bose, DMI, Elka, and Musitronics, which featured an endorsement by the great George Duke. Barbara Schultz
>> Four DECADES of Keyboard WE’VE HAD THE PRIVILEGE OF INTERVIEWING LOADS OF OUR MUSICAL HEROES over the past 40 years the years. Here’s a handful of excerpts from some of Keyboard ’s
July 1995
most memorable Q&As.
You’ve got to remember that when you hear a guitar sound, you think “guitar.” So when you play a sampled sound, and the whole concept is a guitar sound , you gotta think with a sense of how the structure of the guitar would be. If you play strings, you think strings. You’ve got to put yourself in the mode or the place of being that musician, or of yourself playing that particular instrument, as much as you have the ability to play that instrument as if you were a guitarist, or a bassist, or a violinist, or a trumpeter.
Chick Corea
>>
he composer side of me is into a total sound. I want to hear certain things, but the elements I’m using are not only my own likes and dislikes for the structure, harmonies, and so forth; I’m also looking for ways to bring out certain musical abilities and approaches that others in the group have. So when I orchestrate something for the quartet I’ll know that Stanley [Clarke, bassist] could really sing a certain part so I’ll have him play it, or I’ll know that Al [DiMeola, guitarist] would like to get into this part, or maybe I’ll think it would be interesting to see what Lenny [W hite, drummer] would do with this concept. It’s a combination of using specified notes and phrases and dynamics in combination with general concepts that you give to the other musicians to help the composition be realized.
Had I not been in the position that I’m in, and had it not been for the fact that various manufacturers, for whatever reason, feel pleased that I’m interested and will make concessions for me to try their instruments, it would have been a lot harder to do this experimenting. I’d hate to be one of those youngsters out there trying to keep up with this parade of instruments. Where does a kid get six or seven thousand dollars a pop? Or even $2,500?
September/October, 1975
>> > > November/ December 1975
Herbie Hancock he vocal group, the Hi-Lo’s, were the greatest aid to me in harmony. I loved the harmonies they were using, especially Clare Fischer’s arrangements, which I used to take off the record. By the time I studied theory in college, I breezed through it. I also listened to mood-music orchestras a lot, like Rober t Farnon’s orchestra from England. He’d take a tune like “Laura” and—although he might have some corny things in there—by the time he got to the third chorus, he’d go all kinds of places with the harmony. I learned a lot of progressions from listening to his music.
October 1983
Oscar Peterson
July 1985
Kate Bush
I use the Fairlight in a basic way, really. What appeals to me most is the idea of having any sound that is available put into the Fairlight. I mainly use it as I would my piano. So it’s �nding the sound I want, which can take ages, and then working around it musically to make it suite the song. When I’m writing the song, normally I just use chords with a simple Fairlight sound. Ten if I want to build up things, I’ll do small overdubs as we go through the album, with the Fairlight being dragged in every other week. So in the writing process, the main Fairlight sound goes down even on the demos…. For me, the ideal is the combination of Fairlight and acoustic instruments, rather than it being all electronic or all acoustic.
Stevie Wonder
> > July 2005
Tori Amos If I never had a physical relationship again, I would be com pletely sexually satis�ed just by playing music. And I’m not just talking about physical response. I’m talking about every chakra. I’m talking about a transcendence, when you’re fully aligned with creativity. It doesn’t happen all the time, but when it does happen, it usually happens in performance. Because there’s something about not being able to repeat yourself, about it being alive, about the dangerous side of performance, about being exposed. And when it’s achieved, there’s a sense of wholeness. You’re not separate from the piece. It’s fully integrated within your being.
>>
January 2015
Lang Lang
When Mozart touched a little harmony, it changed the whole thing. It’s as if you see a cloud coming, then you see little tears falling down. He’s so detailed. His music really seems like God wrote it through him.
10.2015
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Synths of the Stars
BY STEPHEN FORTNER
OVER THE PAST FOUR DECADES, CERTAIN ARTISTS HAVE RETURNED TO OUR PAGES MULTIPLE TIMES, STANDING OUT as who many of our readers wanted to be. They were definitely who I wanted to be. This was for two reasons: their chops and their gear, the latter of which Keyboard regularly depicted stacked up in towers of awesome. Here’s a brief photo essay about what some of our most frequent flyers played back in the day—alongside what gear you might use to cop these sounds now.
N E I L Z L O Z O W E R
R E W O Z O L Z L I E N
Herbie Hancock
Josef Zawinul
From our November 1977 cover, counter-clockwise from Herbie’s hands: Oberheim 8-Voice, ARP Odyssey, Yamaha CS-50 synth atop Yamaha CP80 electric grand piano, Hohner Clavinet atop Rhodes 88 Mk. I electric piano. Side wall: ARP 2600. Back wall, top to bottom: ARP 2600 keyboard atop Solina, ARP Pro-Soloist. Now: In the ’70s, Herbie skewed towards ARP over Moog, and today he plays mainly Korg synths and Fazioli pianos. While a Fazioli may be beyond reach, the new ARP Odyssey re-issue (reviewed May ’15) perched above a Kronos should make you a sonic, er, chameleon.
Te multi-keyboard mastermind of Weather Report gets to work in our March ’84 issue with, clockwise from upper left: Prophet-5, ARP Quadra, Swanson keyboard controller for Oberheim 8-Voice, Korg Vocoder, second Prophet atop Rhodes Chroma, and Emulator. Now: Zawinul liked to pitch-bend the piano sound of his Korg M1—something perhaps only he could make sound good. Whatever sound sources he used, he also preferred his vintage Prophet-8 as a controller, for its unique action and polyphonic aftertouch.
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Tony Banks For the 1984 Genesis tour (and our November cover story), ony’s rig represented the most desirable tech of the era. Clockwise from left: NED Synclavier II atop Sequential Prophet-10, ARP Quadra atop Yamaha CP70B electric grand, Chilton mixer, and E-mu Emulator sampler. Now: ony has played the OASYS and other Korg synths in recent years. If you really want the dual-manual analog insanity of the Prophet-10, you can always get two Prophet-6s and be two voices of polyphony up—without the overheating.
T R E V E I S N O J
N E I L Z L O Z O W E R
Chick Corea Digital dream studio in our Oct. ’85 issue! From left: New England Digital Synclavier (third-generation) atop Yamaha GS1, Yamaha DX1 atop Chick’s beloved Rhodes Mk. V. An Oberheim DMX drum machine and Garfield Dr. Click sync box sit atop the Synclavier. Now: Chick is a fan of the Yamaha Motif series and the Minimoog Voyager. Importantly, that Rhodes Mk. V is available as a sample set for the Motif XF’s Flash memory—so you really can play his sound! T R E V E I S N O J
Rick Wakeman On our March/April ’76 cover, Rick plays a Hammond C-3 with an RMI Electra-Piano and Clavinet on top. In the foreground is a Minimoog atop a Mellotron. Depending on the year, his onstage rig might also have included a grand piano, Polymoog, Rhodes, Wurly, and a tape-playback keyboard he funded, called the Birotron. Now: “For a big rock show, I’d pick a Korg M3 and a Minimoog,” said the man himself in our January ’11 cover story, when asked what he’d do if limited to two keyboards. “For a more intimate show, acoustic piano and either the Roland Fantom-X8 or Korg OASYS.” Tough discontinued, everything but the OASYS is easy to find used. Te Roland FA-08 and Korg Kronos are modern equivalents, and if you’re committed to the prog, get a Minimoog Voyager.
Geoff Downes Te all-time king of keyboard excess poses with his Prophet Remote in front of his rig in November 1983. Lets take the stacks left to right, each top to bottom: Memorymoog atop S T Yamaha CS-80 (al R E most out of frame). B O Prophet-5 atop Ham R T mond J-122 organ E B atop Yamaha electric E grand; below are Moog aurus pedals. wo Minimoogs atop two Fairlight CMI keyboards, on top of a PPG Wave, above a Mellotron. Finally, Prophet-10, ARP Solina, Clav, Rhodes. Tat happened, people, and we let it. Now: All kidding aside, Geoff (whom we love) still likes a lot of gear, his setup consisting of a U-shaped and Roland-centric fortress of nine or more keyboards: Fantom-G8, JP-8000, V-Synths, you name it. Recently the Studiologic Numa piano and Sledge synth have rotated in, as has the Hammond SK1. 10.2015
Keyboard
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RETRO REPRINT
BACKSTAGE WITH . . .
Joe Sample BY ERIC KRISS
JOE SAMPLE IS THE KEYBOARD PLAYER WITH THE CRUSADERS, A group he helped form in Texas in 1954. The Crusaders have recorded many albums for the Blue Thumb, Pacific Jazz, and Motown labels. Sample has also done extensive studio work in the Los Angeles area.
A few years ago, your group, the Crusaders, shortened the name from the Jazz Crusaders. If you had not changed the name band then, would you still eliminate the word “jazz” today? I think so. As a young kid, I was listening to all of the jazz pianists—Oscar Peterson, and everyone. I found I was playing like these people, and I kept wondering if I had a style of my own. As the years passed, I found I did have a style, and it was based upon a love of jazz, blues, and gospel music. Tat’s what I had inside me, so I felt I couldn’t use the word “jazz” to completely describe my music.
What equipment do you use in your usual stage setup? A Fender Rhodes 73, two Acoustic 240’s or 270’s, a Leslie speaker, a Hohner Clavinet, and the ARP Odyssey. On the recent Arthur Adams release, How Brew [Fantasy, F-9479], you play something called a phase Clavinet. Could you explain what that is? A phase shifter was switched on to the Clavinet; it’s not a new kind of instrument. Do you use any special wiring in your setup? No. But I’m in the process of developing a new keyboard system with improved access to all the instruments. It will be a component system of some sort, but I don’t want to get involved with too many controls; the more buttons I have to press, the more it detracts from my playing. In the studio, do you use the same basic con�guration of instruments? Yes, plus the addition of an acoustic piano. How do you mike the acoustic piano in the studio? I notice you get a “realistic” acoustic 14
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sound, rather than an ultra pure sound on the Crusader releases. Te piano is recorded in stereo. One mike is put on the bass, another on the treble end, about three inches off the strings. I don’t like the real clean sound; if the hammer noise and so on is picked up, it’s �ne with me. What are some of the performance differences you’re aware of between electric and acoustic pianos? Above is a scan of this interview with now-legend Joe Te range of the acoustic piano Sample as it looked in our inaugural September/Octo ber 1975 issue. Given Mr. Sample’s passing in Septemcan be heard consistently from the highest to the lowest pitch, and the ber 2014, just a year before we finalized this 40thanniversary special, we thought it right to include it percussive attack is the same for each note. Te Fender Rhodes, on here, unedited except for being re-typeset. —Ed. the other hand, I �nd lacks the power to do certain things. If I boost the highs on the Fender, I lose something in the bass. to do whatever they wish. Te acoustic has more evenness of attack, while the Compared to an instrumental group, is there electric has more impact in a limited range. a difference in how you voice chords for a Do you have any particular warm-up routines? vocalist? Not really. I just make sure I hold my drink in Yes, there can be points in a song where I have my left hand, so I don’t get out on the stage with to voice a chord a speci�c way so I won’t throw cold �ngers on my right! the vocalist off. ake a turnaround: If I play a chord on the �rst beat, and the singer comes in Most of the time, of course, you’re involved on the second beat, I voice my chord so it won’t with Te Crusaders, an instrumental g roup. detract from the singer’s melodic line. Tere is But you’ve had experience backing up singalways a certain point where I must play a simple ers. What are some of the things you need to chord devoid of complex color tones. know to work effectively with vocalists? Te �rst thing is that I have to know the song, otherwise I can’t really accompany the melody Watch our 2010 video inwith downbeat chords, and so on. I follow the terview with Joe Sample. singer harmonically at all times; I am supportkeyboardmag.com/october2015 ing the singer, and they must have the freedom
Ex. 10
10. Billy Jay Stein “My favorite piano lick is from R achmaninoff’s Prelude in C # minor. Te double-handed descending run in measures 36 through 43 ( Ex. 10) is amazing on many levels. I practice this lick every day, in different keys and varying tempos, as part of my warm-up regimen. I’ve incorporated this pattern into all different styles of music while performing. Rach rocks!”
4
11. David Baron “Te eighth-note rhythmic piano part is one of the most successful devices in pop music (Ex. 11). I used it on Meghan rainor’s song ‘All About Tat Bass’ and it felt like it turned the song into a party when I originally played it. It comes from 1950s rock ’n’ roll piano players like the great Fats Domino. I doubt any one person invented it. It probably came out of a drummer not showing up to a gig. Someone must have said, ‘Play the right hand like it’s a hi-hat,’ and the rest is history!”
7
Ex. 11
12. Peter Dyer “Tis looping lick was the guitar, bass, and synth unison riff at the end of a live outro I made for an artist ( Ex. 12). With horn hits on top, it helped turn a meandering song into a coordinated set highlight, complete with audience dance participation. Big octave-stacked Moog sawtooth waves with glide played loud and sloppy!”
3
13. Brian Charette Ex. 12 D min7
G 13
E min9
A 7#5 9 3
Ex. 13
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“One of my favorite licks is a symmetrical diminished lick shown to me by a great saxophonist named Jay Collins who now plays in Gregg Allman’s band (Ex. 13). Tere are a lot of cool things about this lick. It’s a raised ninth ‘shell voicing’ that moves down in minor thirds with the hands in octaves. It also has the eighth notes in groups of five, so an interesting, over-the-bar pattern is the result. ry this lick the next time you’re playing over a C7# 9 chord. Te notes in the voicings also come from a C half-step/whole-step diminished scale (C , Db, Eb, E, F# , G, A, Bb).”
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SYNTH SOLOING
THE ART OF SYNTH SOLOING SOLOING
It Was 40 Years Ago Today BY JERRY KOVARSKY
IN SEPTEMBER 1975 A NEW MAGAZINE FOR KEYBOARDISTS DEBUTED, CALLED CONTEMPORARY KEYBOARD, AND IT featured Chick Corea on the cover. I was a charter subscriber, as I was a fan and wanted to see what this fledgling publication
would uncover. Plenty! And here we are—40 years later, the magazine is still dishing out information and inspiration, and so is Chick Corea. So it’s high time that we cover his lead synth playing.
A Seminal Synthesizer Soloist Chick has had a long and influential career, which started in the mid-’60s and is going strong to this day. He first started using synthesizers on the electric version of Return o Forever’s second album, Where Have I Known You Before , released in 1974. He favored the Minimoog for his solos, although he did also have an ARP Odyssey. His sound was pretty basic: a bright sawtooth lead with no detuning, varying the filter cutoff and resonance to taste. He used pretty deep LFO-based vibrato, and had an unusual pitch-bending technique. Watch some videos of Return o Forever from the mid-’70s and you’ll see that he kept his left hand just behind the wheels, resting his fingertips on the end block of the synth. He would grab the pitch-bend between his thumb and index finger, rather than the more usual resting-of-the-palm-on-the-surface and using only the thumb. He tended to bend much further, often going the full range of the wheel, which was almost a perfect fifth; resulting in some serious pitch swoops.
Dig His Notes! Whether you’re of fan of his synth timbres or not, what Chick plays is masterful. When he started using synths he was already a highly influential jazz pianist, and an early adopter of the Fender Rhodes. He had taken the influences of Bill Evans, McCoy yner, Telonious Monk, Bud Powell, Latin jazz and much more, and spun that all into a unique and instantly recognizable voice. Space doesn’t permit me to explain his musical vocabulary, as I would be wr iting a veritable history of modern jazz. But we do have room to point out some core and important attributes: Clear motivic development and pacing. Chick often starts out a solo with a simple idea, and leaves space so s o he can develop it. It may be melodic development, or rhythmic, but his solos always have clarity and purpose. pur pose. See Ex. 1, inspired by the opening of his solo trading with Joe Farrell (on soprano sax) on the classic “Nite Sprite” from 1976’s Te Leprechaun album. A very very art articu iculat latee twotwo-not notee moti motiff is is deve devellEx. 1 b C B oped (based on the alternating and and triads of the tune’s main comping figure), figure), which progresses into a pentatonic scale line, resolving nicely back to the tonic. Pentatonic scales. He makes liberal use of this vocabulary; see my November and December 2014 columns for more Ex. 2 info. Where his acoustic piano work would take this vocabulary into very advanced realms, for his jazz-rock synth soloing he would stay more basic. Ex. 2 shows how he would have used pentatonic pentatonic-scale -scale notes to navigate the fast moving changes in the tune “Te Samba”, from his guest ap pearance on Jeff Lorber’s second album Soft Space (1978). Te whole line is based on the F# minor minor pentatonic scale—a very “inside” choice. Also note the characteristic two-note groupings he uses for this opening salvo in his solo. Ex. 3 Ex. 3 is a short, but classic Chick-let [Hold on Jerry, I’m supposed to be the bad pun guy!! —Ed. guy —Ed.] inspired again by “Nite Sprite,” this time showing the concept of superimposing a pentatonic scale over a chord for a cool color. Te solo is on a C7 chord, but he 22
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uses the G minor (or Bb major) pentatonic, which avoids the third of the chord, emphasizing the second, fourth, fifth, flat seventh, and root. Still very “inside” sounding, but not the typical major pentatonic or blues scale approach. Broad pitch bends. As mentioned earlier, his ’70s and early ’80s work often exhibited this characteristic, as opposed to the more bluesy, and guitar-like work of many of his peers. Ex. 4 shows this. Advanced bitonality and chromaticism. Don’t think that all is simple with Chick. He explored very “outside” and free jazz-style playing starting with his time with Miles Davis and into his group Circle, and he can build wonderful tension in his lines. Ex. 5 moves through some advanced chromaticism and is hard to analyze, I think of it more as a form of tension and release. Even further “out” is the passage in Ex. 4 Ex. 6, which is reminiscent of “Duel of the Jester and the yrant” from Return o Forever’s epic RomanticWarrior recording (1975). Here Chick is sliding from key center to key center, with many chromatic passing tones. Tis phrase occurs deep into the solo, as he doesn’t begin the solo with moves that are this advanced. Ex. 5 Check out Ex. 7 for an earlier passage, where he stays closer to the chords/key center. Te first two bars are basically the first five notes of the D major scale, and in the third bar he moves into a D major pentatonic, then quickly slipping into a D9 over the C chord. Bar 4 seems more like the D major pentatonic over the B7, avoiding the major third and the tension of the chord altogether. Bar 5 can be thought of as a fragment from the A minor penEx. 6 tatonic scale, again avoiding spelling out the chordal movement that is happening underneath it.
Are We Overthinking?
Ex. 7
Any time you want to discuss advanced playing of this sort, it may come off as getting too technical and analytical. Do I think that Chick was thinking as I am describing while he was taking the solos? Surely not. At his mature level of playing, the theory has been deeply absorbed and it becomes second nature. Sometimes he uses a common scale to flatten the harmony that is occurring underneath, and other times he superimposes a shifting palette of key centers while the harmony remains static. Tese were the languages developed in the late ’60s and throughout the ’70s, when modal jazz and then jazz-rock fusion were first being explored. Chick Corea was one of the most influential and accomplished players in those idioms, as he remains today. Next month we’ll move into the later ’80s and early ’90s and explore some of his work with the Elektric Band. Enjoy!
Download, hear, and play more Corea-style solos!
keyboardmag.com/october2015 24
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KNOW
ROUNDUP
40 Years
OF GAME-CHANGING KEYBOARDS BY STEPHEN FORTNER
IF YOU’VE READ KEYBOARD FOR ANY LENGTH OF TIME, YOU PROBABLY STILL READ
it like you and I did when we first discovered it. We resolved to put it on our music stand and tackle all the musical concepts and notation examples before the next issue arrived . . . and then sat back and went straight for the gear coverage. Keyboard always has and always will explain the latest developments in electronic instruments, but—as our reprints of inaugural columns by Chick Corea and Bob Moog (see pages 34 and 36) established right at the beginning—always in the context of serving the music.
Terefore, we present 22 keyboards that stand out for elevating musicians’ expectations about how the technology of the day could aid their creativity and take their work in new directions.
For space reasons, we’ve limited ourselves to keyboards that make their own sounds, ignoring many important developments in areas such as drum machines, MIDI controllers, and software.
We also wanted to focus on gear that’s been around since we have, this being a 40th anniversary issue and all. So we ’ve omitted some obvious staples that significantly predated us, such as the Hammond B-3 organ, the Rhodes and Wurlitzer electric pianos, and early modular synths. With lists like this and anything less than Vogue’s page count, worthy contenders will inevitably be left off, which is why it’s fortunate that thanks to our online forum and social media, this article can be the beginning of a conversation, not the end. Now, on to the gear!
SEQUENTIAL CIRCUITS PROPHET-5 Te Prophet was the first self-contained, commercially available synth to offer both polyphony and patch memory. With five voices, a player could play full one-handed chords, or lefthand bass with enough notes up top to be truly musical. Forty memory slots (later expanded to 120) let players change sounds immediately without turning knobs—a boon for live performance in a band. It didn’t do splits or layers (the behemoth Prophet-10 solved that with a second manual), which brings us to . . . 1977:
R.A. MOOG, INC. MINIMOOG Enter the first truly modern, gig-friendly synth. You could dial in a musical sound immediately without patch cables, and it was small enough to sit atop your Rhodes or B-3 at the gig and in your front passenger seat on the way there. It also established the signal path that most synths follow to this day in one form or another: oscillators mixed into a filter, with envelope generators (“contours” on the Minimoog) modulating the amp and filter cutoff. Yes, it launched five years before we did, but we ’ll make an exception here. Fun fact: Our October 2010 issue was devoted to its 40th anniversary. 1970:
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OBERHEIM SEM SYNTHS Te transformation of synth-produced music from 1975 to 1979—Joe Zawinul, Lyle Mays, Gary Wright, Herbie Hancock, and many others—benefitted hugely from the 2-Voice, 4-Voice, and 8-Voice, which integrated multiple Oberheim SEMs and gave the player not just polyphony, but an independently adjustable synth engine for each note. Tis affected the transition from synths used mainly as s olo instruments to synths that could sound like orchestra sections. And it didn’t hurt that the sound was unsurpassed— with the possible exception of the Yamaha CS-80. 1975:
AFFORDABLE ANALOG POLYSYNTHS
Especially in early-’80s dollars, a Prophet-5, Oberheim OB-Xa, or Roland Jupiter-8 just wasn’t going to happen for most keyboardists in local bands. Te industry saw an opportunity, and responded with machines at roughly the $2,000 level such as the Korg Polysix (shown) and Roland Juno series. ypical corners cut: One oscillator instead of two (the Sequential Prophet-600, which is in this category, had two), six voices instead of eight, no splits or layers, and in some cases DCOs instead of VCOs (e.g., Korg Poly-61). All these machines let players add a real synthesizer to their rig, get the sounds that were popular, and get gigs. 1981 – 1984:
ROLAND JUPITER-8 FAIRLIGHT CMI 1979: Made all the way through 1992 in steadily
improving iterations, the Fairlight’s milestone was that it was the first commercially available keyboard instrument to make use of now-ubiquitous PCM sampling. Tis let musicians play acoustic instrument sounds with an unprecedented level of realism, as the sounds were in fact digital recordings of the real thing. (Tere was conceptual precedent in the form of the tape-based Mellotron.) Te Fairlight remained a very high-end machine throughout its life, with full-spec systems stretching into six figures. Te “Page R” mode added multi-track sequencing—making the Fairlight the first bona fide keyboard workstation as well.
Now one of the most sought-after vintage polysynths on the used market, the Jupiter-8’s big “first” was that you could play different sounds with your left and right hands, or layer two sounds together such as a bell and a pad. Te addition of a highpass filter contributed to its signature sound, as did the arpeggiator. Fun fact: Troughout most of the ’80s, split/layer capability remained the purview of pro synths around the $5,000 price point. 1981:
PPG WAVE
Setting the template for the “wavetable” synthesis that the Korg Wavestation would bring to the masses in 1990, the PPG wowed us with the possibilities of digital s ynthesis. It could take a list (or table) of single-cycle digital waveforms, each of which could have a very different harmonic profile than the last, and step through them rhythmically. Tis resulted in sparkling, evolving, moving sounds you couldn’t get simply by applying modulation in a simple subtractive context. Along with the Fairlight, it was a favorite of Tomas Dolby. 1981:
KORG CX-3
Te sound of the Hammond B-3 organ through a Leslie rotary speaker is so challenging to duplicate that we still have product shootouts about it. Tough not the first “clonewheel organ,” Korg’s original CX-3 (and its dual-manual sibling the BX-3) was the most refined for its time and ubiquitous in professional multi-keyboard rigs. Te Leslie simulation was weak, but it was a lot more practical to carry just a real Leslie than a B-3 and a Leslie. 1980:
E-MU EMULATOR
Tough 1984’s Emulator II was far more ubiquitous (and a better instrument), it’s the first version that gets the nod here. Why? Because it brought digital sampling to the “affordable” level of $8,000. Many professional touring keyboardists, universities, and studios that could never approach a Fairlight could buy an Emulator. 1981:
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KURZWEIL K250
Te legend goes that Stevie Wonder owned a Kurzweil Reading Machine, which scanned books placed on its copier-like surface and read them aloud. He suggested the idea of making a musical instrument to Ray Kurzweil, and sometime later the K250, a 16-bit sampling workstation with musically useful synth-like functions and sophisticated editing, was born. Te legend is true. Notably, the K250 was celebrated for its piano sound, with marketing demos featuring blind listening tests of a K250 and grand piano in the same hall. 1984:
MIDI 1983: At
NAMM 1983, a Sequential Prophet-600 and Roland Jupiter-6 were set up on a keyboard stand, and minds blew wide when playing notes on one synth triggered notes on the other. Such was the debut of the digital language by which any electronic instrument communicates with any other. Co-developed by Dave Smith and Roland founder Ikutaro Kakehashi, it was also a business milestone, representing an unprecedented (and as yet unrepeated) level of cooperation between competitors. Now, we take it for granted as the foundation of all we do. ’Nuff said.
NEW ENGLAND DIGITAL SYNCLAVIER
Tough the first Synclavier was developed as early as 1977 and the model II in 1980, it was the third generation, featuring the ebonypaneled, weighted VPK keyboard, that firmly established the Synclav as the most desirable unattainable keyboard in the world. Integrating features like true additive synthesis, s ampling, FM, multi-track sequencing sheet music editing and printing, re-synthesis, detailed waveform editing, and even hard-disk audio recording, prices for well-appointed systems could make a Fairlight look downright economical. It was billed as the “complete tapeless recording studio,” which was accurate. Even today, some composers keep their aging systems running and insist the Synclavier has a sound nothing else does. 1984:
YAMAHA DX7
One of the biggest game-changers of all time and the second best-selling synth ever next to the Korg M1, the DX7 applied principles of frequency modulation (FM) developed by Professor John Chowning of Stanford University. FM let a savvy programmer build complex harmonic spectra that were impossible to achieve using subtractive analog synthesis. Te musical benefits? Far more articulate electric pianos, mallets, and horns, to name a few. Yamaha made many DX series synths, b oth upmarket and down, but the DX7’s combination of power and $1,995 list price hit the sweet spot: With this and an affordable analog poly on your stand, you could cover more sonic ground than with a single synths from the $5,000 pro stratosphere. In fact, editor Stephen Fortner’s first gig rig consisted of a DX7 and Korg Poly-800. 1983:
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CASIO CZ-101
Te CZ series represented Casio’s take on digital sound-sculpting, employing a method they called “Phase Distortion.” Tis was similar to FM, but with additional options for modulator waveforms and other functionality that in many cases made it easier to program musical sounds more quickly. Te CZ’s synthesis method was employed in higher-end instruments—the CZ-3000 and CZ-5000—that got Casio taken seriously as a maker of truly professional synthesizers. 1985:
ENSONIQ MIRAGE
Continuing the arc of digital sampling becoming ever more affordable, the Mirage stored samples on 3.5" floppy disks and loaded just one sample set at a time into its 8-bit, 32kHz, decidedly lo-fi playback engine. It had only eight voices of polyphony. But when for $1,699, you could play recognizable pianos and marcato strings, not to mention give the Max Headroom stutter treatment to James Brown saying “Hah,” everybody wanted one, and retail salespeople be gan to wonder whether transferring to the drum department would really be all that bad. 1984:
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HAMMOND XB-2 1991: After
Korg’s 1980 CX-3, this is the first single-manual drawbar organ to really capture the hearts and minds of pro and semi-pro gigging keyboardists alike. It was extremely portable, really nailed the scream of the B-3, and wouldn’t really be upstaged until Roland came out with the VK-7 in 1997. Again, the Leslie simulation wasn’t great by today’s standards, but many players got a lot of mileage out of it by pairing it with a “portable” Leslie or rotating Pro-3 treble horn from Motion Sound.
ROLAND D-50 1987:
If the DX7 was the must-have synth of the early to mid-’80s, the D-50 dominated the latter third of the decade and remains a part of some touring rigs to this day. Its “Linear Arithmetic” engine raised affordable digital synthesis to a new level of musicality—and it was also the first Roland synth to use PCM samples, which were employed as the attack transients. Musicians also loved its familiar subtractive features such as lowpass filters, which the DX synths lacked. Signature patches include the oft-imitated “Fantasia” and “Digital Native Dance.”
YAMAHA MOTIF SERIES
With workstations being a known quantity since the Korg M1, Yamaha saw an opportunity to evolve the concept: Your sounds lived in one place, your multis in another, your samples in another (if your machine did sampling), your arpeggiator in yet another, and your multi-track sequencer in another still. What if you could make moving music between these realms seamless, for a much better workflow? Te Motif succeeded in this effort to such an ex tent that it re-wrote the rules for workstations, became standard issue for most tours and backline rental companies, and is now in its fourth generation: the Flash memoryequipped Motif XF (shown). 2003:
CASIO PRIVIA SERIES
Why the Privia, and not an earlier digital stage piano? Because for the past 20 years, a player wanting true piano sound onstage was faced with the truth: “Portability. Sound quality. Price. Pick two.” When it debuted, the Privia line very aggressively said, “ You can have all three.” And it’s still going strong. 2003:
NORD LEAD
oday, real analog synths are back to an extent that we don’t talk much about virtual analog ones as much as we used to, this wasn’t the case. But with ten years of FM and PCM-based instruments behind us, and most of these having a series of buttons and a single data knob or slider on their panels, musicians started to reminisce about classic analog sounds and being able to quickly grab a filter or an envelope during live performance. Almost no one outside of boutiques such as Studio Electronics was making new analog synths in 1995, so for a knob-tweaking, pulse-width-modulating experience, the Lead filled the need. 1995:
KORG M1
Here it is: Te best-selling synth of all time. Combining ex tremely realistic-for-the-time multisamples in just about every acoustic and electric instrument category with a powerful 8-track sequencer meant two things: It was a crushingly good live gigging machine, and you could finish a complete composition on it in the studio. Te dawn of the mass-market workstation was upon us, and the bar for what a single keyboard should do was raised. All-in-one workstations’ popularity may be waning now, but because of what the M1 started, that took over 25 years. 1988:
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KORG OASYS
Tough discontinued and bettered in nearly every way by the Kronos, the OASYS makes our list because it was the first attempt by a major keyboard company to make a high-end, no-holdsbarred, do-everything system that we described as “the Aston Martin DB9 of keyboard workstations” in our original review. One could just as easily call it a modern Synclavier, as it incorporated different synthesis engines and had multitrack hard disk audio recording on board. 2005:
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KEYBOARDS & MUSIC
The Electric/Acoustic Controversy BY CHICK COREA
WELL, I’M NO WRITER, BUT I LOVE TO COMMUNICATE. I LOVE MUSIC AND I’M particularly fond of the piano and keyboard instruments in general. So I’m going to write some stuff down that I hope you’ll be interested in and find useful in your own music.
How about for openers: “Te War Of Te Electric Instruments Against Te Acoustic Instruments.” Who will win? (Some rising diminished seventh chords here.) Will the Electric Instruments with their voltages and �lters annihilate the mild-mannered Acoustic fellows? Or, armed with reason and staunch tradition, will the Acoustic side show the cocky Electric brigade the folly of youth, and subdue their wild roar? Here is how I feel about the whole thing. It’s so simple, it’s a bit funny. Let’s start with some straight facts. A Fender Rhodes Electric Piano is a Fender Rhodes Electric Piano. A Steinway is a Steinway. A table is a table. You get the idea—each thing in life is what it is, and is to be looked at and evaluated separately. L. Ron Hubbard, my favorite philosopher, says: “Sanity is the ability to differentiate.” Now, every instrument has its own particular timbre and response, and every musician has a result that he would like to achieve musically. Tis result is a combination of a way he would like his music to sound, and the effect on his environment (other people mainly) he would like to achieve. Te rule here seems to be that one should use the tool (instrument) best suited to produce the above results. You know, if you wanted to drive a nail into a two-by-four, you wouldn’t use a feather. Wrong tool. And if you wanted to tickle your friend under the chin, you wouldn’t use a hammer. It’s obvious that instruments like the acoustic piano have hundreds of years of tradition behind them. Years of research have gone into the development of the instrument itself, and many creative composers and performers (Beethoven, Chopin, Liszt, Ravel, Debussy, Satie, Bartok, Stravinsky, atum, yner, Rubinstein, and Jarrett, to name only a few) have composed for and played the piano. Te result is a really �ne instrument. Tis is how a really high level of quality comes about—it doesn’t happen in a year, or even in a single lifetime. Now we turn to our youthful Electric fellows. Te synthesizer and electric piano only began to be developed about ten years ago. It’s a new �eld of instrument-making, so new possibilities are given to the musician. In searching for new musical ap34
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plications, new possibilities for performance, you’re bound to get coarseness, and a lot of the screeching and ungracefulness that goes along with learning. But the entity that produces sound and music and beauty is not, ultimately, the instrument; it’s a real person, who wants to create something. (De�nition of “instrument,” according to the New World Dictionary: “A thing with or by which something is done.”) Te musician uses the instrument. Te person is the creator, the instrument is the machine— whether it’s made of wood and strings or integrated circuitry. Hooray for the person. A few cheers for the instrument. (Big fat E major chord). So it’s obvious that the major thing is the beauty of the musical creation and the quality of the effect on the listener. Ten comes technical expertise and the tools used to help create the result. Te two things (the effect and the means used to achieve it) must be differentiated and evaluated separately. Tis will make things a bit easier to grasp. So you prefer John McLaughlin to Julian Bream. Great! Or Vladimir Horowitz to Keith Emerson. Wonderful! I like vanilla ice cream better than chocolate. Fantastic! Maybe we can go to Howard Johnson’s some night, I’ll get vanilla, and you can have whatever �avor you like—Acoustic Delight or Electric Dip. Here’s how I look at some of my musical tools. Te piano solo records that I recorded around 1971 [Piano Improvisations, Vol. 1, EMC/Polydor, 1014; Vol. 2, ECM/Polydor, 1020] are a real good example of how I like to use acoustic piano. It’s my main instrument, one that I have played so much that it is easy to express subtleties. I’m able to make a real personal kind of statement. With the formation of Return o Forever, I began to use electric instruments more for a couple of reasons. One has to do with playing music with a drummer who plays strongly. And acoustic piano is not made to be played with a big drum set and cymbals. Electric keyboards
work really well with drummers, because you can play at a volume that is compatible with a big drum set and strong, heavy rhythms. Tat’s the general idea of working with a drummer, and all of the Return o Forever albums have this concept behind the use of electric keyboards, to one degree or another. Also the use of the textures of electric keyboards are fascinating to me as a composer, and that is the other reason I use them in Return o Forever. “Señor Mouse” is a piece of mine that has appeared in a number of different versions. I wrote it while I was staying with some friends in a rented farmhouse in Switzerland. I wrote the piece on the Fender Rhodes piano that I had set up in my room, and the original bass line of the piece was conceived for electric bass coupled with the bottom of the electric piano, plus a good strong Latin beat. So the conception was very electric. I used the piece with Return o Forever when Flora Purim was still with the group, and at that time it was the only piece on which Stanley Clarke played electric bass. Later on, I had a project with vibraphonist Gary Burton to do some duet music [Crystal Silence, EMC/ Polydor, 1022]. Gary liked “Señor Mouse,” and he gave me the impetus to use the piece on the album, which uses acoustic piano exclusively. Te whole feeling was looser in this version. I used the piano rhythmically, to kind of take the place of drums, while Gary played the solo lines. Te feeling was very rhythmic, but light. When I rearranged “Señor Mouse” for a later edition of Return o Forever, I had a much more physical rhythmic impact in mind (and of course more instruments and textures). So the tune comes out sounding really different on Hymn Of Te Seventh Galaxy [Polydor, 5536], in that it is a totally electric piece—but the melody lines are exactly the same, and the structure of the piece is the same. I had a different effect in mind, so I used a different set of tools. In 1975, Chick Corea wasn’t only a legendary jazzfusion keyboardist, he was a Contemporary Keyboard columnist! His first column, (scanned here) appears unedited here. —Ed.
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ON SYNTHESIZERS
What Is a Synthesizer? BY BOB MOOG
A Synthesizer is
A.
B.
C.
None of the above.
What is a synthesizer? Is it an electronic marvel that �awlessly imitates all instruments of the orchestra? Or is it the ultimate sonic trip, capable of blowing listeners’ minds at the �ick of a switch? Worse yet, is it the creation of a team of demented scientists—a super-computer that replaces musicians and violates the music that we humans know and love? Of course, the answer is “None of the above.” Synthesizers are a class of new electronic musical instruments. Like all valid musical instruments, they are made of carefully chosen materials which are assembled and adjusted by skilled people. rue synthesizers are designed not to imitate existing instruments, but to utilize contemporary technology to extend the tonal resources available to musicians. In other words, synthesizers are a class of new tools for musicians, versatile enough to be used in the production of any kind of music. Synthesizer recordings of music from Monteverdi to Mahavishnu are selling well; composer-performers from Carlos to Corea are expressing their musical ideas with synthesizers. But all synthesizer music is made by musicians. Synthesizers can make sound patterns; only human beings make music! Tis is the �rst of a series of columns in which we will discuss the basic capabilities of synthesizers and what they mean to musicians. We intend to help you understand synthesizers, select an instrument that is suited to your musical requirements, and develop facility and technique in the electronic music medium. We will describe the features of various types of synthesizers that are currently available. However, we will not actually rate competing brands.
Well then, what is a synthesizer? A synthesizer is an electronic musical instrument that offers the musician direct control over the 36
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basic properties of musical sounds, and thus allows the musician to build up his sound material out of its component parts. Tis is what “synthesize” really means: o assemble a complete entity out of its component parts. Most synthesizer designers take a simple, direct approach. Tey design a group of circuits that perform single speci�c functions in producing musical tones. Ten they As of our very first issue, we were lucky to have Bob Moog—who was already an icon in 1975— make it convenient for musicians demystifying this new and exotic instrument called to adjust and interconnect these the synthesizer. Above is his column as it appeared in circuits. Tis means that the musician assembles his own “instrument” our first issue. Below, it’s uncut and unedited. —Ed. (tone color) with the resources provided by the synthesizer. Te ability to set up rich, musically appropriate tone colors nals (audio) and becomes acoustic vibrations only is an important part of synthesizer playing techwhen it is fed to a speaker. Any synthesizer worthy nique. Pro�cient synthesists often change tone of the name will have at least one audio generator colors many times within a single piece of music. which produces the raw audio tone, one �lter which tailors the sound by emphasizing some overtones Some Definitions and cutting down others, one ampli�er that shapes In any acoustic instrument, the sound travels the strength of the sound, and one controller (such as a keyboard or �ngerboard) that translates the from the vibrating element through parts of the instrument that shape, re�ne, and strengthen musician’s “commands” into sound changes. Each of these circuits is called a module or section of the it, and then �nally out into the open air. Other parts of the instrument are not in the sound synthesizer. Te musician adjusts each of them by means of the panel controls, and interconpath, but provide the means by which the musician controls the sound. For instance, the sound nects them with patch cords (audio cables), panel switches, or matrix pins. Large synthesizers enable path of an acoustic guitar consists of the s trings which vibrate, the bridge which transmits the the musician to produce complex sonic textures, or to play more than one tone at a time. However, we vibrations, and the hollow body which couples the vibrations to the air. Te �ngerboard is not in shall always be able to talk about synthesizers in the sound path, but is the “interface” between the terms of their audio paths and the controllers that musician’s hand and the strings. electrically adjust the audio paths’ modules. We can think of a synthesizer in the same way In November/December : Te Keyboard – Te we think of an acoustic instrument, except that Musician’s Handle On Te Electrons. the sound exists in a synthesizer as electrical sig-
PLAY The KeyLab 88 is a prof essional-grade 88-note MIDI keyboard controller, with a high quality hammer-action keybed, designed for the working musician.
KNOW
SOUND DESIGN
Roland AIRA System 1 Step 1. Start by setting all knobs to default posi-
The Rockford Files Theme
tions, with the �lter cutoff all the way open and an amp envelope with instant attack, maximum sustain and a touch of release.
BY FRANCIS PRÈVE
WHEN THIS MAGAZINE WAS BORN IN 1975 SYNTHESIZERS WERE STILL VERY much a novelty in popular music, so in retrospect it’s remarkable that one of the biggest hits of the year featured a synth lead front and center. The track? Mike Post’s absurdly ear-wormy theme for the TV series The Rockford Files, which starred James Garner as a private detective and ran from 1974 to 1980.
It’s even more impressive that a synth-centric television theme remained on the Billboard Top 100 chart for 16 weeks—and earned Mr. Post a Grammy for Best Instrumental Arrangement. It’s no small feat for a track that owes so much of its sound to the Minimoog. Of course, it would be obvious to use a Voyager or original Minimoog D emulation to recreate this sound for 2015, but with so many modern synths that are also capable of reproducing this patch, we decided to approach it using both modern hardware and software. For hardware, we’ll rely on Roland’s new AIRA System-1 (reviewed Oct. ’14). On the soft side, we’ll use Apple ES2, since it’s in a large number of software rigs thanks to both Logic and MainStage.
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Step 2. Because we’ll need three pitches at 16’, 8’,
and 2’, set both oscillators to sawtooth wave with a very small amount of detuning. Since oscillator 1 is linked to the sub-oscillator (which will give us an additional tone, one octave lower), set that to 8’ and use oscillator 2 for the highest pitch in the trio. Step 3. In the mixer,
set all oscillator levels to approximately the same volume.
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Step 4. Now that you can hear the basic sound
Apple ES2
from the three oscillators, it’s time to fine-tune the filter settings. If you listen to the original theme from Te Rockford Files, you’ll hear that the filter gently decays on the longest notes, so here’s how to recreate that effect. Back off on the cutoff to around 40 to 50 percent, add a touch of resonance—around 30 to 40 percent—and set the filter envelope to maximum. From there, give the filter envelope an instant attack, long decay, zero sustain and a bit of release.
Step 1. Te ES2 factory default preset is set up
quite well for this patch. o prepare, open the filter cutoff to maximum and set the synth to monophonic mode for the lead.
Step 4. For the fil-
ter, back off on the cutoff to around 20 to 30 percent and increase the resonance to about 40 to 50 percent (the ES2 is a bit more subtle than the System-1 in this regard). Finally, increase the drive to 50 percent for a bit more aggression. Step 5. Te filter enve-
lope amount is located in ES2’s modulation matrix. Increase its value to maximum to recreate the long filter decay of the lead. Step 2. Unlike the System-1, ES2 has three Step 5. o recreate the lead’s distinctive glide,
set your portamento to around 100 to 200 milliseconds by setting the System-1’s portamento to around nine o’clock. Now play the lead from Te Rockford Files. If you’ve set it all up correctly, you’ll be back in front of the V listening to Jim Rockford’s answering machine message and coveting his gold Pontiac Firebird Esprit.
discrete oscillators with coarse tuning based on semitones, not feet. So here, we’ll set the first two oscillators to sawtooth waves with tunings of 0 and +24 semitones. For the third oscillator, we’ll switch to a square wave with a tuning of -12 semitones. Te mixer defaults to equal volumes for all three oscillators, so we’ll leave that as-is.
Step 6. As with the Sys-
tem-1 approach, portamento is the finishing touch for this lead, so increase the amount to around 30 percent, making fine adjustments as you play the lead.
Step 3: In the ES2, envelope 3 is the amp enve-
lope, while envelope 2 defaults to filter modulation. Here we’ll set envelope 3 to instant attack, maximum sustain, and a touch of release. With envelope 2, we’ll use an instant attack, long decay, zero sustain, and the same release as envelope 3.
Audio examples.
keyboardmag.com/october2015 40
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REVIEW
ANALOG SYNTH
SEQUENTIAL
Prophet-6
Snap Judgment
BY MARC DOTY
PROS Your days of wishing IT’S HARD TO BELIEVE IT WAS ABOUT 20 YEARS AGO WHEN SOME OF US FIRST
started missing the great sound and instant-results interfaces of analog synthesizers. “Why doesn’t someone make a fully-analog mono synth?”. . . “Wouldn’t it be great if modular synthesis came back?” . . . “Companies should recreate the great analog synths of the past, but with modern stability.” We asked for all these things and, amazingly, we got them. But one plaintive cry, especially present in online forums has gone unanswered: “Will someone make a classic polyphonic slab synth based on actual voltage-controlled oscillators?” Until now.
Concept Who would do it? Of course, we all looked to Dave Smith, but he seemed ambivalent about VCOs, and with the success of his Prophet 12 and Pro 2, both of which employ digital oscillators feeding analog �lters, he had every reason to be. 42
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Tat is, until the Prophet-6 was announced at NAMM this past January. Right in the midst of the success of his other new synths, he granted our wish for a VCO poly, in the form of a successor to the iconic Sequential Prophet-5. Tat even extends to its “Sequential” branding, as Yamaha, who had
for an all-analog polyphonic synth from an historic designer are over. Powerful and expressive functionality. Interface is immediate and fun. True VCOs make for unparalleled analog warmth. CONS Some may wish the
keyboard had five octaves. Not multi-timbral, so no splits or layers. Lack of CV/ gate connections makes it a non-starter for integrating with modular rigs.
owned the name, returned the rights to Smith at the beginning of this year. But this is no mere reissue. Te Prophet-6 draws on the foundation of the Prophet-5 (let’s call those the P6 and P5), but is greatly expanded in functionality and expression. Te Prophet aesthetic is delightfully preserved with similar graphics, similar LEDs, and similar buttons. It’s de�nitely a “vintage” interface and yet gives all the control necessary to effectively access all of the new features.
Oscillators
Historically, Dave Smith Instruments has used digitally-controlled and outright digital oscillators in their synthesizers. But for the Prophet-6, they designed a brand-new VCO that boasts a substantially-expanded feature set compared to the P5. Plus, it’s stable enough for you not to need to worry about tuning, but analog enough to create slop between the two oscillators if desired. Te tuning knobs for each oscillator are quantized to pitches. As such, the synth is largely in tune at
any given moment. Dialing in octave and interval changes is very easy, even if some might prefer a continuously free range of frequency to choose from. Te P5 had buttons to select the somewhat limited choices of a sawtooth or a square waveform for either oscillator. Te Shape knobs in the oscillators of the Prophet-6 de�ne the waveform, and they show a square wave, a sawtooth, and the new inclusion of a triangle. But unlike the P5, these waveforms are continuously variable. As you turn the knob, one analog waveform morphs 10.2015
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REVIEW
ANALOG SYNTH
Fig. 1. In the Poly-Mod section, you can dial in positive or negative amounts of the filter envelope or oscillator 2 as modulation sources, and hit the buttons to route them to destinations. It looks simple, but can sound complex.
into the next with an effectively infinite amount of intermediate shapes in between. Tis may be one of the few examples of continuously-variable waveforms on a VCO-based synthesizer. Plus, the waveform of Oscillator 1 can be modulated by Oscillator 2 in the Poly-Mod section (more on this later), putting this continuous variation on musically useful auto-pilot. Trow pulse width modulation into this mix, and you can modulate the waveform with a waveform that has itself been modulated. I don’t need to belabor how “meta” that is. Te second oscillator can still be set a lowfrequency mode, not to mention used as a modulation source in the Poly-Mod s ection. Using the second oscillator as a modulation source in PolyMod, and then modulating various aspects of either oscillator using the LFO, can result in some astounding and unpredictable sounds, especially if Oscillator 2 is in the audio range. Tese days we have ver y high expectations about tuning stability, and the Prophet-6’s VCOs certainly stay in line. However, some of us crave a more vintage sound that was the result of wellmeaning-but-unruly oscillators drifting. Te Slop knob on the P6 allows oscillators leeway in regard to pitch—anywhere from subtle phasing to fullon cacophony. Artful usage of this feature allows the vintage synth lover in all of us to have our cake and eat it, too. Yes, hard sync is still here, so you can play Cars covers for days.
2, so I was happy to find out it’s that very filter (times six) that’s in the P6. It’s warm, rich, and has a pleasing character. Te highpass filter is a new design, and works very well alongside the lowpass to create bandpass effects, nasal sounds, serious low-end emphasis, formant simulation, and more. Te filter envelope is shared by both filters, but can be modified by the Amount knob (which is bipolar) and Velocity buttons, which determine the intensity of the envelope from the velocity of your playing. Features like this make the P6 capable of expressive feats the P5 could only dream of. Keyboard-based intensity includes “half” and “full” options for each filter. “Half” is great for producing traditional dark basses when you play softly and bright funky synth stabs when you play hard. “Full” does this even more, but can get extreme enough to turn the self-oscillation of the lowpass filter into a further sine wave generator. In addition to the filter envelope, each filter can be independently modulated by aftertouch, the Poly-Mod section, or the LFO, allowing a tremendous diversity of simultaneous modulation possibilities. Te mixer in the P6 is similar to the P5 with one addition: a sub-octave tone, which is a triangle wave derived from Oscillator 1. Suboscillators are popular in monophonic synths for bringing in low end, but this works well in a polyphonic context, too.
LFO Filters and Mixer Te Prophet-5, like most other vintage analog synthesizers, featured a lowpass filter. But as the owner of a Yamaha CS-50, I’ve always loved the versatility that comes with also having a highpass filter. So I was quite excited when I saw a resonant highpass filter on the Prophet-6. I was a fan of the lowpass filter on the DSI Pro 44
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On the Prophet-6, the LFO (low frequency oscillator) and “Wheel-Mod” of the Prophet-5 have been combined. Te waveforms “Reverse Saw” and “Random” (equivalent to sample-and-hold) have been added as modulation sources, and the new highpass filter and amp have been added as destinations. On the P5, you could direct LFO modulation to each oscillator’s pulse width independently. On
the P6, the two have been combined via a single button. However, the option to control the amp with LFO modulation is new, and greatly increases the synthesis possibilities. Te LFO can affect the lowpass and highpass filters either simultaneously or independently via the multiple-select button; LEDs help you keep tabs on which filters you’re modulating. An LFO Sync button syncs the frequency of the LFO to the Arpeggiator/ Sequencer clock. Most commonly, you’d bring in the LFO using the modulation wheel, but if you’d like LFO-based modulation to occur at a fixed amount without using the wheel, you can use the Initial Amount knob that Sequential has added to the LFO. Tis can be used in tandem with the mod wheel to change the degree to which either of them modulates.
Poly-Mod Section One of the huge claims to fame of the original Prophet-5 (alongside polyphony and patch memory) was the Poly-Mod section, and it has returned in the Prophet-6 (see Figure 1). Te term is short for Polyphonic Modulation, which is the ability for multiple sources to modulate multiple destinations at once, in varying amounts. On the P5, via two amount knobs, you could use oscillator 2 (which could operate either in its normal audio range or as a secondary LFO) and the filter envelope to modulate any combination of the pitch of oscillator 1, the pulse width of oscillator 1, and the (lowpass) filter cutoff. Te P6 adds more to this section, namely bipolar positive/negative knobs for the sources (the P5’s amount knobs were positive only), and more destinations. Tese include the continuously-variable waveform of oscillator 1 and, since there are two filters, either the lowpass or highpass filter or both. Te possibilities for modulation are very deep here. Beyond the ability to route multiple sources
REVIEW
ANALOG SYNTH
to multiple destinations, you can circle back and modulate some of the sources themselves, which again has the “meta” result of modulated modulation. Poly-Mod may not be as multifarious as the mod matrix on a soft synth such as Omnisphere, but because of how cleverly this seeming handful of sources and destinations is implemented, it’ll be a long time before you exhaust its sonic diversity. After playing a prototype at DSI headquarters, editor Stephen Fortner remarked, “Between the sequencer and the Poly-Mod, this thing can practically do generative music like a large modular synth if you want it to. You can just let it rip and not hear a timbre repeat for over an hour.”
Aftertouch Te keyboard of the Prophet-5 (and those on most competing slab synths of the era) sensed neither velocity nor aftertouch. In keeping with modern expectations, the Prophet-6 senses both. Te Aftertouch section lets you apply positive or negative pressure-based modulation to a number of destinations. It’s “channel” aftertouch, so the effect is uniform on all depressed keys. Want upward or downward pitch-bend on one or more oscillators? Te aftertouch can do that. I found that setting one of the oscillators to bend up a full octave (the rough limit on the positive side of the Amount knob) led to some beautiful CS-80-like glides against the static pitch of the other oscillator. A common application of aftertouch is to add vibrato even when both hands are engaged in playing. Te LFO Amount button works in con junction with the Amount knob to let you bring in just the right depth without excess pressure overshooting the mark. Te Amp button lets you control volume with pressure; with a negative amount setting, more equals less. Plus, similarly to other sections, a dual button routes aftertouch to either or both of the �lters.
Bottom Line Combines vintage and modern virtues so well that we’re wondering what will happen to demand for the Prophet-5 on the used market.
$2,999 list | $2,799 street sequential.com
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Choosing multiple destinations, e.g., amp and �lter in order to get louder and brighter (or quieter and darker given negative amount settings) can add subtle but powerful expressiveness. Finally, you can �ne-tune the aftertouch sensitivity in the Global section. Players who �nd themselves going to fullblast pressure too quickly will �nd this very useful.
Unison In general, unison functions stack all the oscillators of a polyphonic synth into one huge monophonic voice. While there have been many terrible implementations of this concept in the past, it sounds wide and warm on the Prophet-6— mainly because it’s not the perfectly-in-tune proliferation of PCM-based samples you’d get on a modern workstation. Furthermore, the P6 lets you de�ne how many oscillators will speak in unison mode: anywhere from a single one to two layers of six. Best of all, even if you pummel your listeners with 12 stacked-up VCOs, you have the Slop knob to dial in the warm tuning and phase variations of those VCOs, as opposed to the more robotic sound that can occur when this stacking is imitated digitally. Add some portamento, and presto—you’ve got yourself a monster of a mono synth.
expect from a mid-’80s poly synth. Alternately, this section can act as a 64-step polyphonic sequencer, where each step can play up to all six voices if desired. Te sequencer is dead simple in that you simply hit Record and play the keyboard, and it’s pretty straightforward to add rests and ties via a secondary mode of the patch storage buttons. Te tempo of the arpeggiator and sequencer is controlled by the Clock section, which includes a ap empo button and can sync to any external MIDI clock source. Te P6 can output monaural or stereo audio. If it’s set to stereo, then you can use the Pan Spread knob in the Misc. Parameters section to disperse note events across the stereo �eld. Tis adds interest as well as perceived warmth. Also in this section are pitch-bend range (up to an octave with the same range in both directions), note priority for unison mode, and a per-program entry volume that’s independent of the master volume. Tis last one eliminates unpleasant surprises when switching patches during live performance, as the nature of analog synthesis can make for variations in volume from one patch to another. Last but not least, there’s a chord hold mode and several musically useful alternate tunings are supported.
Conclusions Effects In general, I’m the kind of analog purist that doesn’t use many effects, but I have to say that the ones in the Prophet-6 really complete the process of creating iconic sounds. While they are digital effects, they are implemented in such a way as not to detract from the synth’s overall character. Tey’re immediately accessible, controllable via a knob-per-function setup, feature true analog bypass, and sound simply great. wo effects channels are available simultaneously. Effect A includes bucket-brigade-style and digital delays, chorus, and two phasers. Effect B has all of the above plus a reverb with hall, room, spring, and plate simulations. Tere’s actually one analog “effect” present, namely stereo analog distortion, which has its own knob on the far left of the panel. While it’s fun to create guitar-like distortion sounds (and make guitarists’ eyes widen as you play “Eruption”) for me the real joy of the distortion knob is using subtly, which can add even more to the richness and warmth that’s already on hand.
More Features Te Prophet-6 includes an arpeggiator with all of the standard note values and note-playing orders you’d
We’ve had to wait a long time for a great contemporary iteration of a truly voltage-controlled polyphonic analog synth. It’s hugely challenging to combine completely analog tone generation; a thoughtful, attractive, and immediate interface; the warmth that people who never gigged with vintage synths reminisce about; and the reliability and stability that people who did gig with them appreciate. Te Prophet-6 has most de�nitely been worth that wait. Of course, it may or may not be for you depending on your needs. Synths with digital hearts such as the John Bowen Solaris, Roland JD-XA, or Dave Smith’s own Prophet 12 can create many more different kinds of sounds and offer multitimbral capability—for starters. And if you’re looking to interface to your modular gear via CV/ gate, you’ll �nd plenty of I/O on the Pro 2 but none here. But for the hardcore poly-analog enthusiast, I struggle to imagine a more ideal realization of a traditional yet modern synth than the Prophet-6. Even if you’re not that hardcore, how quick and fun it is to dive into the control panel and whip up sounds makes the P6 ideal if you’re just getting into synthesis. Dave Smith Instruments—um, Sequential—has another winner on their hands. A Key Buy winner, in fact.
REVIEW
HYBRID SYNTH
ROLAND
JD-XA BY JIM ALFREDSON
ROLAND SURPRISED EVERYONE AT THE 2015 WINTER NAMM SHOW WITH THE
miniature JD-Xi crossover synth (reviewed in May 2015), a hybrid of a monophonic analog synth and a polyphonic digital component derived from their ubiquitous “SuperNatural” sound engine. Now it’s time for the flagship of the line, a polyphonic analog/digital hybrid powerhouse called the JD-XA. Housed behind a seductively shiny black panel brimming with glowing red knobs and sliders, the JD-XA demands your attention and coyly entices you to play it. The JD-XA is reminiscent of the beautiful JD-800, but in a little black dress. As we’ll see, its beauty runs more than skin deep.
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Snap Judgment PROS Real analog polysynth
with great filters, plus powerful digital engine. Beautiful front panel with extensive dedicated controls. Lush and varied effects. Fantastic sound. CONS Maximum of four-
note polyphony in the analog section. Unlike JD-Xi, no drum sounds.
Overview Te build quality is solid despite the almost allplastic exterior. Just two strips of metal decorate the face, one above the keys and one at the very top of the front panel, studded with small raised bolts for an industrial look. Te angular sides with their red accents are a cool futuristic touch. Despite being barely over 14 pounds, the JD-XA feels very sturdy. Te knobs and sliders do not feel cheap but rather �rm and precise. Te full-sized 49-key keyboard is very responsive and a welcome respite from the current minikey craze. I’m very happy Roland didn’t go with 37 keys, as seems to be the direction in the industry these days. Yes, it has channel aftertouch. Another welcome addition is Roland’s well-known combination pitch-bend and modulation paddle, plus two fully assignable mod wheels. Te sound organization of the JD-XA is similar
to the smaller JD-Xi. Programs—a word that usucombination of two different engines: analog and ally implies single-sound patches—are actually digital. Both engines consist of four Parts. Let’s multi-timbral setups here. Programs contain indidive into the analog Parts �rst. vidual Parts, effects settings, and information for Part organization. By default, what we have the Pattern Sequencer. Programs are stored 16 to a here are four separate monophonic synth voices. bank, with 16 banks available. Te �rst four banks Each of these can be individually edited by pressare �lled with factory Programs. Te remaining 12 ing its corresponding Analog Part Select button, are empty and for saving your own Programs. A all of which are located in the upper left of the USB �ash drive port expands the Program storage. panel. Once selected, the button lights up blue. Te Pattern sequencer records both individual You can select multiple Parts at the same time by Parts and knob data. It allows real-time recording pressing the buttons s imultaneously. You can do and step recording with a variety of bar lengths this in any combination, up to pressing all four and quantization levels, including variable shuffle buttons so that the control panel edits all four (swing) as well as an independent click output. analog Parts to the same settings. R-808-style graphics on the front panel inform In order to hear the Analog Part that you’re you of rhythmic subdivisions. editing, make sure it’s turned on. Tis is done with the Analog Part On buttons immediately below the Select buttons. Tese glow red when the Analog Section Te synthesis in the JD-XA is the result of a part is on and turn green when you press a key. 10.2015
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Roland includes the standard array of inputs and outputs on the back, but also some surprises like two continuous pedal inputs, a dry monaural audio output, and analog control voltage inputs and outputs.
depth is set by sliders in the oscillator section. “But what if I want to use this section as a Oscillators. Each Analog Part consists of polyphonic synth?” No problem. o the immetwo digitally-controlled analog oscillators labeled diate left is another button labeled Poly Stack. A-OSC1 and A-OSC2. Te two oscillators can be Pressing this assigns one part per note for fourvoice polyphony. Tis also disables the Part Select set independently via their own dedicated rotary switch to one of five waveforms; ramp-up sawbuttons, but curiously, not the Part On buttons. tooth, fixed square, square with pulse width modPressing one of these will switch to that particuulation, triangle, and sine. You can’t assign more lar Part, but the section will still be in Poly Stack mode. You can actually create four different poly- than one kind of waveform per oscillator. Each oscillator also has dedicated knobs for coarse and phonic sounds per Program this way and switch fine-tuning. Te knobs have a solid center detent between them. It’s not that this magically infor quickly returning to their default values. creases the analog voice count to 16 (it doesn’t). Both oscillators have dedicated pulse width Instead, it seems that the Part On buttons become “macros” that can switch between four sets modulation sliders, one for the depth of the modulation and one for the actual width. Tese of memorized knob settings. only affect the sound if the oscillator is set to the When Poly Stack is turned off, the sound is asymmetrical square waveform. Each oscillator monophonic, with all four Analog Parts in unican be modulated be either LFO. son. With two oscillators per part, that equals A-OSC1 also has a Cross Mod knob. Tis coneight analog oscillators in unison. alk about trols the amount of audio-rate modulation (call it some thick leads and big basses! Tere’s a UniFM) into the frequency of A-OSC1 from one of two son button as well. Confused? It’s a bit strange sources: A-OSC2 or an auxiliary source you select but makes sense. Te Unison button is linked to via the dedicated Mod Source button. Te sources the Poly Stack button. Poly Stack must be on for on hand here are impressive: a separate noise genUnison to function. Tis dynamically allocates erator oscillator (white or pink), one of the synth’s the four analog parts depending on what you’re Digital Parts, or the mic input. Yes, this means you playing. If you play one note, all four parts will can modulate the analog waveform with a digital trigger. If you play two notes, each note triggers waveform or even incoming audio. two parts. Tree notes? One gets two parts and Ring modulation is also available, with either the other two get one part each. If you play four, A-OSC2 or the Aux as the source. You can even each part triggers one voice per note. LFOs. Te JD-XA includes two LFOs per Ana- use both at the same time for everything from log Part, named LFO1 and LFO2. A select button subtle dirt to bell tones to all-out craziness. Finally, there’s Hard Sync, which forces both oscilladetermines which LFO you’re currently edittors always to begin their waveform cycles at the ing. Six waveforms are available per LFO: sine, same time. While it’s most often associated with triangle, downward sawtooth, square, samplethe “squawk” sound from Cars tunes, that’s just and-hold, and random. A dedicated Rate knob adjusts the speed, which can be tempo-synced via the beginning—especially if you modulate one oscillator or the other. a button. Te division of the tempo sy nc can be Pitch Envelope. Rather than the typical ADSR 32nd-notes all the way to a full 16 bars. Four slidenvelope, Roland’s take could be summed up as ers allow instant adjustment of key parameters. DAD: Depth, Attack, Decay. Te Depth knob adFade ime adjusts how soon the LFO reaches its justs the amount and direction (up or down) of the maximum amplitude, allowing the modulation bend, with Attack and Decay determining the time from the LFO to fade in over time. Dedicated it takes to reach and return from (respectively) the Pitch Depth, Filter Depth, and Amp Depth slidmaximum depth—whether that depth is positive ers adjust their respective parameters. Finally or negative. Independent editing of the pitch envethe PW DS button selects which oscillators will have their pulse width modulated by the LFO. Te lopes for either oscillator is supported. 50
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Mixer. Next in line is the mixer section, which is very simple. It contains dedicated knobs for the level of both oscillators and the aforementioned Aux source/noise generator level knob and source selection switch. Filter. Here, the first knob controls a separate highpass filter. A Drive knob adds some distortion by driving the input harder. Five different filter types (and bypass) are selectable via a large rotary knob: LPF1, a 24dB-per-octave filter based on Roland’s classic designs; LPF2, Roland’s take on the Moog-style ladder filter; then LP3, HPF, and BPF, which are all part of a multimode 12dBper-octave setup. Te Cutoff knob has a red cap, evidently to catch your eye in the midst of a performance. Resonance, Key Follow, and Envelope Depth knobs round out the top part of the filter section. Below them is a dedicated envelope generator with four sliders for each stage. Amp. Te amplifier section has its own ADSR envelope with dedicated sliders and a knob for the overall level of the part you’re editing.
Digital Section Te Digital Parts are selected via the buttons just below those for the Analog Parts. Te same rules apply: Press the corresponding Select button for one of the four parts, and it turns blue for editing. Te biggest difference in working with the digital oscillators is that only the knobs and sliders for A-OSC1 are active (the LEDs for A-OSC2 go dark). But there are three partials (really multi-timbral layers) for that oscillator and each partial can be one of 448 waveforms, including variations on all the basic waveforms available to the analog oscillators as well as a wide variety of sampled content. Each partial can be edited separately or together and there are similar selection buttons for them. Some other differences include the ability to pan the partials, chromatic portamento, 64-voice total polyphony, and more unison layers. In fact, each Digital Part can be monophonic or polyphonic independently of the other parts. Te digital section also has an Analog Feel parameter in the one Common submenu.
DIGITAL ACCESS THIS DIGITAL ACCESS PACKAGE INCLUDES 1 YEAR (12 ISSUES) DIGITAL & iPAD/iPHONE ACCESS
DIGITAL ACCESS THIS DIGITAL ACCESS PACKAGE INCLUDES 1 YEAR (12 ISSUES) DIGITAL & iPAD/iPHONE ACCESS
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Te digital filter section is expanded to 14 types of filters. Tere are multiple counterparts for all the analog filters, plus two peak filters. Effects and Vocoder Te effects are expansive, and the dedicated knobs for commonly used effects such as reverb and delay are a nice touch. wo global selectable effects slots augment the dedicated reverb and delay, called FX1 and FX2. Tere are 29 different effects to choose from including loopers, bitcrushers, wahs, tape echo, modulation (chorus, phaser, flanger), panning, distortion, EQ, and even a vinyl record simulation. FX1 and FX2 each have two dedicated knobs for choosing the effect and adjusting a single parameter, such as chorus depth or delay time.
What’s more, each of the four Analog and four Digital Parts has its own MFX slot, with 67 different effects available. Tese include more reverbs and delays, rotary sims, electric piano amp sims, filters, lo-fi, and 22 combination chains. Te options and quality of the effects is impressive. MFX can be turned off or on per Part via a button but the effects themselves and their parameters are set in the menu system. Unlike the JD-Xi, the JD-XA does not ship with a microphone for the vocoder. But it does have phantom power on an XLR input, enabled in a menu. Also unlike the JD-Xi the vocoder does not disable the analog section. Te modulation destinations are functional, including filter cutoff and resonance, amp, pitch, and various parameters for the LFOs.
MIDI IMPLEMENTATION The JD-XA handles MIDI on separate channels for each part. So each Analog Part and each part of the digital section gets its own channel. When in Poly Stack mode, the four Analog Parts merge into channel 1. The JD-XA can also act as an eight-channel MIDI controller. By selecting the corresponding part, you can transmit messages via MIDI out or USB to outboard gear on channels 9 through 16 from the knobs, sliders, and even the 16 sequencer buttons. The front panel no longer controls the internal sounds while in this mode.
In Use Roland really did a spectacular job with the interface of the JD-XA. With the number of parameters in the analog section alone, a frustrating experience might be a real risk for synth newcomers. But this is avoided due to the number of dedicated controls and the ease of switching between the four Analog Parts for editing. Holding the Exit button and moving a knob or slider automatically displays the value for that knob or slider on the LCD, letting you quickly check a parameter without changing it, a handy inclusion. A few small quibbles: Some parameters are hidden in the menus, including filter velocity sensitivity and many of the modulation matrix values, but overall the most commonly needed parameters are at your fingertips thanks to all the dedicated controls. Also, the two engines are completely separate, with the exception of modifying the first analog oscillator with its corresponding digital oscillator. You can’t route the digital section through the analog filters or vice versa. A scroll wheel or data slider would be welcome. And as snazzy as the illuminated front panel looks, the actual red-on-black labeling can be hard to read onstage, made more difficult by the intense red glow around the knobs and sliders.
“For my style and the way I play, I like the weight, response, and consistency of Kawai. It’s all about feel; the feel I get from Kawai allows me to just play.” –Ryan Tedder, OneRepublic
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LOS ANGELES | CHICAGO | NEW YORK | TORONTO
A Celebration Of Music Technology IMSTA FESTA brings music software & hardware makers HIGHLIGHTS of face-to-face with their customers in one place. IMSTA KEYNOTE ADDRESS from music industry luminaries. FESTA is the place for learning, sharing, networking and EXHIBITS from the planets top music technology companies making your fav orite DAWs, Plug-ins and Tools. you walk out smarter and more inspired than when you PROFESSIONAL PANELS focusing on both the creative and busiwalked in. This FREE event is happening in Los Angeles, ness sides of the new music industry. Chicago, New York and Toronto.
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Finally, in monophonic mode, you can pan the individual Analog Parts in the stereo �eld but when you enter Poly Stack mode that panning disappears and the Analog Parts are all centered. I would love to be able to create a nice four-voice analog pad with the different voices panned across the stereo �eld.
The Sound If I had to summarize the sound quality of the JD-XA with one word, it would be “massive.” Te analog section can sound raw and wild or contained and smooth. Te oscillators are lovely, with beautiful sine and triangle waves and thick sawtooth and square waves, effortlessly creating gorgeous leads in unison mode. Te analog �lters are varied and warm, capable of intense sound-shaping. Te envelopes are snappy and the modulation options cover the basics. If Roland released an eight-voice version of just the analog section (a true Jupiter-8 successor?) they’d give the boutique analog synth makers a serious run for their money. Te digital side of the synth is also powerful and �exible. And it sounds every bit as good as the analog side. It’s like having an amazing virtual analog synth combined with a real analog one; truly the best of both worlds. It’s almost comically easy to program sublime pads in a matter of
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minutes. Punchy round basses are easy, too. And I already mentioned the leads, which are spectacular. A generous assortment of bread-and-butter sounds are included in the digital waveforms, including EPs, organs, guitars, electric basses, Clavs, bells and tuned percussion, and strings. Tey’re not what you’d buy this synth for, but it’s good to know you can reach for them if needed. Te arpeggiator and sequencer add movement and rhythm to the sounds, all temposynced internally or externally, and the enormous variety and routing of the effects round everything out, adding shimmer, space, atmosphere, and grit. Layering the two engines together is a joy. Just when you’ve nailed that analog pad, you can add some digital spice to it. Or dial that digital sound in and add some real analog warmth and thickness. By connecting a DAW or with creative use of the onboard pattern sequencer, you can drive all eight Analog and Digital Parts independently on their own MIDI channels. I do wish the JD-XA had some of the drum machine features of the JD-Xi. Te JD-XA lacks drum samples completely—an odd omission given that its little brother is effectively a standalone groove production station in addition to being a cool synth.
Conclusions Te Roland JD-XA is an amazing synthesizer. It’s both a great analog synthesizer and a great digital synthesizer, but also a refreshingly sincere return to the concept of synthesis for the sake of synthesis. It isn’t trying to be a do-it-all workstation. Instead it generates the kind of warm, lush, cutting, other-worldly sounds we want to hear from great synthesizers. Despite its large complement of �lter types, it’s not tr ying to directly emulate a vintage Oberheim or Moog. It’s sonic signature is proudly Roland—both vintage and modern—which is a very good thing. Te JD-XA is an inspiring synth with an exciting potential and sound to match its beautiful looks.
Bottom Line The new JD-800? The real new Jupiter? Four SH-101s plus a good chunk of a JP-80? All of the above, but far more than the sum of its parts. A real synth for real synth players.
$2,499 list | $2,199 street rolandus.com
REVIEW
DIGITAL PIANO
CASIO
CGP-700
Snap Judgment
BY RICHARD LEITER
PEOPLE OFTEN ASK US W HAT KIND OF DIGITAL PIANO TO BUY FOR THEIR
families, and their needs are surprisingly uniform: something for the younger kids to take lessons on, for the older kids (or mom and dad) to amp up and jam in bands, and something with enough style to reside in the living room and let a talented guest be the life of the party on Saturday night. What do I tell them? There’s just been no perfect piano that’s both a hearty console and a lightweight gigging keyboard. Until Casio introduced the CGP-700.
The Concept welve years ago Casio pretty much invented the inexpensive, lightweight, weighted-key digital slab piano with the Privia line. No longer alone in the marketplace, they’ve re�ned the breed impressively and added both a pro version (the PX5S, reviewed Aug. ’13) and an upscale consumer 56
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version (the PX-300 line). Tere are also home console models under the name Celviano. What Casio has done with the CGP-700 is to add a color touchscreen interface as well as a spare, elegant stand that conceals a remarkably ballsy 40W stereo amp. Te CGP-700 is a joy to play, sounds exciting on many levels, and now has the volume
PROS Without the stand, it’s an extremely portable and
great-sounding stage piano. With, it’s an elegant livingroom digital piano. Color touchscreen. Full-bodied, 40W built-in stereo amp. Upgraded 550-patch sound library is stronger in every instrument category. CONS No expression pedal jack. No modulation controller. Finger-swipe on touchscreen could be smoother.
to actually cut it in the living room. And here’s the kicker: You can lift the 26-pound slab out of its stand and cover just about any gig in town.
The Piano Experience Every manufacturer knows that their customer’s “Buy” switch is triggered—or not—in the �rst three seconds of playing the piano sound in memory slot number one. Here, the CGP-700 brings it. Feel is everything, and the key surface is textured like vintage ebony and ivory. Even before you hear the instrument, there’s an impression of quality. Casio says that their action is unchanged from the previous version, but it feels slightly lighter and more responsive to me. Te basic piano sound is so fundamental that Casio has placed a Grand Piano button on the panel that shoots you right back to “Grand Piano 001” no matter where you are: laying down a 16-part song demo, doing an audio recording, or jamming with the auto-accompaniment. Tat nine-foot grand is always one click away. And what a sound it is: Rich, well-balanced mids, a low end that actually feels and sounds like a big grand, and smooth highs that go right up through the top 12 notes. Casio boasts of an MXi (Multi-Expressive Integrated) sound source with damper resonance simulation, but what all proprietary processes like this do is bring you closer to the grand piano experience. In this case, the 128-note polyphony, which is half that allotted to their pro model, is more than sufficient to fool your ears and �ngers. If you run out of notes, you’re over-pedaling. Outside of the Casio Privia family, the CGP’s triple sensors and graded hammer action are a rarity at under a thousand bucks.
So Many Sounds, So Little Time Te Piano assortment lays out the expected ensemble of EQ variations and layers (I spent way too much time with the funky, Clav-ish “Dance Piano 008.”) and serves up a couple of nice harpsichords, too. Te Electric Piano menu is way above average. Te Wurly patches, for instance, don’t buzz and frizzle when you smack them, but they’re so musical you keep coming back to them. Of the 37 EPs, you’ll easily �nd �ve that will become indispensable. Te same high proportion of wheat to chaff is true in the Clavs and mallets as well. Organ patches are greatly improved in variety and authenticity over previous incarnations, and offer a sufficient banquet of rock, and j azz choices to cover most bar-band gigs. For worship services, you can enrich your sound if you split
the keyboard and use a different bass setting; there’s even an “Organ Bass” sound provided for this purpose. Speaking of basses, there’s a fresh new sample for the acoustic upright and a potent posse of new �nger, pick, and synth basses. Yes, I did due diligence and auditioned every single one of the 550 Sitars, Shanais, Sarods, and all the brasses, reeds, drum kits, strings and guitars. Should you throw away your extensive software sample libraries? Of course not. But this is far and away Casio’s deepest and most arrangerworthy assortment of instruments. Tere are some clunkers: We all have better shakuhachis. But, in the same woodwind collection, “Breathy Alto Sax 002” is probably the most lifelike I’ve heard on a production keyboard (you’ll revisit “ake Five,” guaranteed) and hipped me to a compelling sonic illusion that the onboard speaker system conjures on some patches: You can practically see the sax hovering three feet above the keys.
Bells and Whistles For starters, the multi-track sequencers on most keyboards are pretty clumsy to use and most key board players I know avoid them. But you might use this one, because it’s instantly intuitive and it works well as a very basic 17-track MIDI recorder. Tink of it as the Rolls-Royce of notepads: You can record, do auto-punches, and perform simple edits. Tere’s none of the fancy stuff such as quantizing, but for 800 bucks, who cares? Metronome? Check. Drum machine with 200 patterns? Check. Auto-harmonize? Check. Extensive auto-accompaniment? Check. You can have real fun in the World Music section getting lost in a Pixar movie of evocative and sometimes insane styles that to me are fabulously novel and stimulating. eachers will appreciate Duet mode, which gives you two side-by-side sections of keys in the same pitch range. I’ve yet to �nd a keyboard feature that somebody doesn’t swear by. On the CGP-700 my favorite addition, aside from the gutsy speakers, is the new color touchscreen.
The Touchscreen Tere’s so much going on under the hood here that you need an extensive control panel, and Casio’s gone one better with this bright, well-thoughtout screen. Although Casio claims all the �ngerswiping gestures of a tablet, it’s actually closer in functionality to the kind of screen on the priciest digital pianos, which is still a huge improvement over tiny buttons on a black surface. Te screen defaults to a matrix of menu icons,
with more on deck when you press the arrow to the right. It was easier for me to use the right arrow than the �nger-swipe. Tree navigation icons take you to the Main Screen (which gets you to tones, layers, splits, and half a dozen other functions you’ll use all the time), the Menu, and the Exit/Back button. Each Menu icon opens an intuitive page for things that used to require endless button presses: balancing layers, choosing effects, setting their levels, and so on. Once you’ve gotten used to the touchscreen, you’ll resent any keyboard that doesn’t have one.
In Use Te stand is a little tippy on deep-pile carpets. o correct this, you can either shim it yourself or adjust the included anti-tip brackets. (I wouldn’t use those brackets in a boisterous bar setting, though.) Tat handled, the CGP-700 is like playing a much weightier, more expensive console keyboard. A sturdy crosspiece holds the big speakers and you can position them to shoot the sound towards the player or into the room. As a standalone slab I played it through my Barbetta 41C combo amps and Yamaha DXR10 powered stage speakers, and it amps up nicely in both settings. It sounds better in stereo than mono, but the mono out is clean and uncolored. It lacks some pro features, like a modulation wheel and expression pedal input, but again, given the price it’s hard to complain.
Conclusions For 800 bucks, you get a killer 26-pound, 88-key, graded hammer-action gigging keyboard plus a stand with built-in 40W stereo amp. Plus it’s a handsome devil. Plus it sounds phenomenal in just about every instrument category. Casio has put exactly the right features together for those who need a �rst-rate digital piano experience for both home and stage, and the CGP-700 earns our Key Buy award for outstanding bang for the buck.
Bottom Line The perfect family and stage piano. At a “How can they do that?” price, it doesn’t compromise either application. Remarkable.
$1,099 list | $799 street casiomusicgear.com
10.2015
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REVIEW
SEQUENCER
ARTURIA RT RI
BeatStep Pro BY FRANCIS PRÈVE
IF SOMEONE HAD TOLD ME THREE YEARS AGO THAT HARDWARE STEP
sequencers were about to become one of the hottest gear trends, I probably would have recommended a good therapist or at least asked what they were drinking. Granted, my crystal ball generally works well when it comes to technology, but the explosion of modern modular rigs is unprecedented by any standard. Arturia has been ahead of this curve for a while now, and the success of last year’s original BeatStep (reviewed July ’14) has given them some serious insight into what keyboardists and synthesists really want in a performance sequencer. I use the word “performance” for a specific reason here, because the step sequencer trend doesn’t target composers and producers per se. Instead, it’s targeted at the growing ranks of gigging electronic artists who want to interact with their sequencing tools in real time as they perform or compose. So Arturia has taken their original concept, listened to their users, innovated wildly, and created a live sequencing product that integrates beautifully with almost any rig.
Overview Te BeatStep Pro’s design is frankly stunning. Te front panel is clearly laid out with multiple LED displays, sixteen backlit pads, a 16-step row for programming, 16 knobs, and an array of parameter buttons that are also backlit, making it easy to see what’s going on even on the dimmest stage or DJ booth. Combined with its metal construction, the whole package inspires con�dence in a big way. 58
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In terms of its functionality, the BeatStep Pro is based on three tracks of parallel step sequencers: two for pitch-based sequencing and one tailored for drums. Tese are organized as 16 projects, with 16 sequences per track, which is ample for most live performance requirements. Tere are no song construction tools of the sort that would let you chain patterns together into larger memo ry objects, but that’s not the point of the product,
Snap Judgment PROS Three performance
sequencers with extensive real-time control options. Compatible with a wide variety of interface standards, including CV/ gate, MIDI, USB and Roland DIN sync. Also doubles as a control surface with 16 knobs, 16 pads, and Mackie HUI integration. Included software allows for thorough customization. Roadworthy construction. CONS No printed
documentation. No song construction tools.
WHETHER YOU’RE A SINGER-SONGWRITER, ASPIRING PIANIST, COMPOSER OR PRODUCER, KEYBOARD HAS BEEN HELPING MUSICIANS MASTER THEIR CRAFT SINCE 1975.
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REVIEW
SEQUENCER
so for most users it won’t be an issue. While the front panel covers all of the essential parameters, including dedicated knobs for tempo and swing, some con�guration options—like voltage-per-octave and gate formats—are handled by Arturia’s MIDI Control Center software. While some users may gripe at having to connect the BeatStep Pro to their computer to edit these functions, I greatly prefer it to endless key combinations and cryptic LED indicators.
Connectivity Te BeatStep Pro’s array of connections covers an astonishing range of interfaces for both drum sequencing and note-based patterns. For the step sequencers, there are voltage outputs for pitch, gate, and velocity. Te pitch CVs can operate in either volt-per-octave or Hertz-pervolt mode, allowing them to integrate smoothly with both Moog and Roland gear (and of course, Arturia’s own Brute serie s of analog sy nths) as well as Korg’s MS-20, which relies on the less common Hertz-per-volt standard. Tere are also connections for MIDI and USB, allowing the BeatStep Pro to control MIDI hardware and soft synths, respectively. Naturally, the drum sequencer also works via MIDI and USB, but in an impressive nod to the growing ranks of modular users, there are also eight voltage gate outputs for direct triggering of analog gear. Tese can be con�gured for either the V-trig or S-trig standards via the included software as well. In addition, the BeatStep Pro includes DIN sync compatibility, both in and out, so if you’re a lucky owner of classic Roland gear, you’re covered here.
Step Sequencers here are two step sequencers for musical riffs, each of which can be configured for different outputs, so you can have one control analog gear via the voltage outputs while the other sends its data to your MIDI hardware. On the voltage side of things, I had no problems using the BeatStep Pro to control my beloved Roland System-1m, Doepfer Dark Energy, and Korg MS-20. In all cases, it performed like a champ. he sequencing tools are extremely comprehensive, so much so that it required keeping my iPad nearby so I could reference the PDF-based manual as I got up to speed with everything. Once I got the hang of the tools, the sequencer sprang to life. For starters, e ach sequence can be up to 64 steps in length, with step quantization ranging from quarter-notes 60
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to 32nd-notes. here’s also an option for triplets, which many other step sequencers lack. You can progra m seque nces in real ti me via the Beatstep Pro’s bank of pads, which illuminate to display a one-octave keyboard. As you enter notes, the X0X-style buttons light up to reflect your sequence, which is a lovely touch. From there, you can keep recording overdubs until you perfect your riff, toggling steps on or off as you go. his approach really invites experimentation, especially in conjunction with the BeatStep Pro’s ability to restrain your note options to specific keys and modes, much like iPad compositional tools or Ableton’s Push controller. What’s more, you can transpose your sequences on the f ly, which is great fun, regardless of whether you’re composing or performing. Alternat ely, you ca n enter y our note information directly via the knobs, with the note names mirrored in the LED dis play, which helps greatly. Here, you can also enter gate duration and velocity info via the knobs to finetune your sequences. he gate duration control is more tailored to voltage-based equipment, since MIDI gear isn’t finicky about trigger length. his is extremely handy for ensuring that the events in your se quence don’t get lost due to gates that are too short. hat said, the velocity control is another huge plus when working with modular gear, as it’s essentially a second, parallel set of voltages that can be applied to destinations like filter cutoff or the second oscillator in a hard-sync patch. Once you’ve got your sequences programmed, the BeatStep Pro’s performance features come into play. In addition to the aforementioned ability to transpose your sequences on the f ly, you can change the sequence direction from forward to backward to alternating, all in real time. You can also instantly change the last step of a sequence, allowing you to quickly shift from a half-bar loop to a full measure, or to create interesting polyrhythms with more exotic sequence lengths. As if that we ren’t eno ugh, Ar turia a lso in cluded two unique per formance features that really set it apart from the pack. he first is a small ribbon controller that allows you to drop in rolls and stutter e ffects, with different results based on your finger position and how you slide it along the ribbon. he second is a very cool randomization algorithm that can be fine-tuned via two knobs: one for the degree of randomness and the other for “Probability,”
which determines how often the randomization is applied to your sequence as it cycles. What makes this feature so musical is that fact that the random notes are derived from your sequence, so the effect is always musical and relevant, with no awkward clashes. Adding to the ver satili ty of these performance options is the ability to apply them to either of the two s equences independently, or linking them, so that they’re tied together as a whole. he only caveat, if you can even call it that, is the fact that it definitely takes some time to get the hang of everything, to ensure that your performances are fluid and seamless.
Drum Sequencer he Beatstep Pro’s drum sequencing tools are just as compell ing as i ts dual sequence rs and function in a similar manner. Here, you have 16 discrete drum sequences that can be composed in real-time or via the step sequencing row. he output of the sequencer can be assigned to any of the outputs: voltage, MIDI, or USB. Because there are only eight gate outputs for tr iggering voltage-based gear, you can also use the upper row of pads to control additional drum sources, via either of the other output options. Programming drum sequences is a breezily straightforward process, with no real surprises if you have any previous experience with drum machines. Tat said, there are several added amenities that allow for really precise control over your grooves. For example, you can use the knobs to dial in exact gates when working with voltagecontrolled equipment, an essential for getting accurate triggers. Speci�c velocities can also be set via the knobs, which allows for some really detailed hihat and shaker patterns. Finally, the knobs can be used to shift timing offsets for each of the drums on a per-step basis. Tese shifts deliver some really funky and/or humanizing results, like allowing you to push or pull your snares or claps on the two and four. Kudos to Arturia for their attention to detail on this point, as it really takes the rhythmic feel of the BeatStep Pro up a notch. As for perfo rmance fe atures, you can q uickly mute individual drums, with the added bonus that the mute is deactivated on lifting your finger off the button—a huge benefit when it comes to timing. Additionally, the randomization and roll features also apply to the drum grooves, so your patterns can constantly shift and evolve as they cycle. In my tests, this was
Eurorack owners will appreciate the copious CV and gate I/O, all on 1/8" jacks along the rear panel.
most effective when set to very small amounts, as the results with more extreme settings can be a little too random.
Performance Control
in groups of eight, via the left and right buttons on the front panel. Moreover, the BeatStep Pro’s transport controls are also integrated into the system, so you can actually do a lot via this schema without touching your mouse. Good stuff.
While the BeatStep Pro’s focus is squarely on sequencing, it also serves double-duty as a �exible control surface, which is a wonderful bonus. In this mode, each of the 16 knobs send out MIDI continuous controller information while the pads send note messages. What’s more, the BeatStep Pro can also perform in accordance to the Mackie HUI protocol. I’m an Ableton Live user, so with my con�guration, the two rows of knobs served as level and pan controls, while the step sequencing buttons worked as solo and mute buttons. Tese can be shifted through your mixer channels
All in all, I was blown away by the value of the Beatstep Pro. For a street price of around $250, you get a t rio of incredibly powerful step sequencers that can integrate with pretty much any imaginable rig, real-time performance features that are both impressive and intuitive, and a control surface for your MIDI and DAW needs. As with the best tools, some of these features are easy to learn but tricky to master, but exploring the possibilities is half the fun with a product like this.
The Harrison of Digital Audio Workstations.
Whether you’re a live performer looking to add intelligent improvisation to your shows or a modular fanatic in need of additional rhythmic options, Arturia’s BeatStep Pro has you covered.
Conclusions
Bottom Line A powerful but affordable sequencing nerve center for those who own modular gear.
$299 list | $249 street arturia.com
REVIEW
SOFT SYNTH
WIDE BLUE SOUND
Orbit BY FRANCIS PRÈVE
WHEN TWO OF THE WORLD’S MOST IN-DEMAND FILM AND TELEVISION composers—Jeff Rona and Nathan Rightnour—collaborate on the design of a new soft synth, it’s a no-brainer that the results will sound amazing. But when great sound is wrapped in a user interface that delivers immediate gratification with minimal head scratching, you’ve got a true show-stopper on your hands. And that’s ex-
actly what Wide Blue Sound’s new Orbit synth for Native Instruments’ Kontakt and Kontakt Player delivers: power and simplicity in an interface that makes light work of both intelligently rhythmic textures and wildly ethereal soundscapes.
Synthesis Engine Te core engine behind Orbit consists of four discrete synth channels that constantly cycle (or “orbit” if you prefer) at a user-determined tempo. Each channel contains its own cleanly looped sample, selected from the factory bank of 101 sounds, which are categorized as either Dark, Dreamy, Mysterious, or Aggressive. From there, the sounds are processed via �ve straightforward parameters: volume, panning, tuning (in semitone increments), �lter cutoff frequency, and resonance. As for the �ltering pa62
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rameters, there’s also an option to choose a different �lter type for each channel: lowpass, bandpass, highpass, and notch. Each of the channels can be switched off, creating a “rest” in the four-step cycle, and the sounds can be quickly reordered via swap arrows at the top of the channels. At �rst glance, this would appear to be a simple four-step sequencer—and in a way, that’s true—but things get more interesting as you manipulate the orbit “mode” tools at the bottom of the screen. Instead of a simple sequence, the system actually
Snap Judgment PROS Intuitive and approachable interface, regardless of your synthesis experience. Great array of source samples. Four step sequencers can be applied to a wide range of param-
eters. Integrated effects. CONS Effects and modulation tools are easy to miss,
unless your Kontakt player window is sized correctly. Effects series is hardwired.
selects from three different cross-fade modes. For rhythmic, dance-oriented textures, there are sawtooth and square options that impart a more percussive or chopped character. For sweeping, ethereal soundscapes, the sine wave mode smoothly transitions between each of the channels. In addition to the mode and tempo of the cycling, there are attack and release controls that affect the overall amp envelope. All in all, this is a really clever way to approach morphing and rhythmic textures in a manner that’s reminiscent of digital wave synthesizers such as the Korg Wavestation or Sequential Prophet VS. In fact, it’s almost impossible to get a “bad” sound with an approach that’s so blissfully straightforward.
Effects I was having a blast with the synth engine alone, before I increased the size of Kontakt’s interface and discovered that Orbit also includes integrated effects and additional step sequencers. Te selection of processing tools is pretty standard, with two different distortion effects, a chorus/�anger/ phaser, delay, reverb, and a �nal lowpass �lter that’s applied at the end of the chain. Tese all perform as expected, sounding solid as part of any given preset. It’s also worth mentioning that the reverb includes a bunch of really nice convolution options that sound extremely good in the context
of the synth’s features. Te only caveat is that you can’t change the order of the effects. Fortunately, Orbit’s hardwired series is intelligently organized for all but the most exotic applications.
Step Sequencers Adding to Orbit’s morphing capabilities are four independent step sequencers, with up to 16 steps each. You can also change the note value for each sequencer, with longer durations available for subtle, evolving patches. Each sequence can be assigned to a single parameter, with an emphasis on the synth’s global functions like Orbit mode, rate and depth, as well as quite a few of the effects parameters. In addition, each of the sequencers includes a wide array of step processing options, allowing for inversions, randomization, alternating between odd and even, and shifting the entire sequence left or right. What’s more, all four sequences are visible simultaneously (a huge plus) so you can create extremely complex rhythms quickly, thanks to the ability to see each pattern in relationship to the others.
Conclusions Considering Orbit’s design pedigree, I was expecting a lot from the outset, and it’s a testament to Jeff Rona and Nathan Rightnour’s vast experience that this soft synth lived up to its hype. Te �rst
night I installed it, I was lost for hours experimenting with its possibilities, and pretty much everything I tried sounded very polished and professional. For dance music producers, Orbit is capable of some truly impressive rhythmic tricks. For soundtrack composers, it’s a veritable secret weapon for massive sonic soundscapes. If either of those types of music is your specialty, download the demo and get your credit card ready. Download original loops you can use, created with Orbit.
keyboardmag.com/october2015
Bottom Line A deep source of inspiration and song starters for both danceoriented rhythmic and soundtrackoriented atmospheric needs.
$199 widebluesound.com
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REVIEW
AP P
WALDORF
Attack for iPad BY FRANCIS PRÈVE
WAY BACK IN 2001, I REVIEWED WALDORF’S FIRST ITERATION OF ATTACK, A percussion-centric soft synth that was surprisingly capable, even in an era of constrained RAM and megahertz CPU speeds. At the time, I was a huge fan, but as my OS, DAW, and production needs changed with the times, Attack fell through the cracks. Now that Waldorf has updated and enhanced this remarkable drum synth for iOS—adding clever sequencing features and new effects, and doubling the number of sounds in a kit from 12 to 24—it was time to re-evaluate Attack.
Because of its focus on beat-making, Attack’s synth engine is decidedly optimized for percussion, to the extent that neither of its envelopes include a sustain segment. Each sound in a kit consists of two oscillators, which include the usual synth waveforms, white noise, and the ability to load samples. Oscillator 1 also includes the ability to add FM from oscillator 2, with the option of adding an envelope to its amount, which is great for both classic FM effects as well as inharmonic sidebands. Te oscillators feed a multimode resonant �lter that also includes comb and bit-crushing modes. After the �lter is a fourmode distortion circuit for adding additional grit. Modulation amenities are extremely straightforward. Tere’s a dedicated sine/triangle LFO for the �lter cutoff, which can be synced to tempo for clever rhythmic sweeps. Dual ADR envelopes (with continuously variable curves) can be simultaneously assigned to a wide variety of parameters, including oscillator pitch, FM amount, mixer, and of course, �lter and amp. Some of the curve settings are wonderfully snappy, perfect for really sharp transients. Finally, there’s a “crack” generator, which was one of my favorite features on the original Attack software. Essentially, this is downward ramp LFO that includes parameters for depth, rate, and most 64
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importantly, the number of cycles. What makes this so cool is that you can use it to create classic analog clap sounds by setting the speed and depth to fairly extreme amounts, then limiting the number of repeats to three or four. Tis creates a quick repeating burst at the beginning of a sound, which is essentially how the Roland R-808 and 909 achieved their distinctive character. In addition to a global reverb and compressor, each sound can be sent to one of four inline effects slots which run the gamut from essentials like delay, �anger, and EQ to an extremely unique speech synthesizer that can be quickly programmed to say anything by simply inputting text – much like Waldorf ’s Nave soft synth. Each of the four processors also includes its own send for the global reverb. Te original Attack soft synth didn’t include sequencing tools, but in an iPad app it makes total sense. Fortunately, Waldorf’s implementation is quite straightforward, thanks to its X0X-style grid layout. Creating songs is a breeze too, thanks to a graphic, drag-and-drop approach to pattern arrangement that makes it extremely easy to edit your compositions on the �y. And if you prefer tapping in your parts in real time, a pad mode allows access to all 24 drums, MPC-style. It’s been a long time since I worked with
Attack, and the new iPad version was a strong reminder of why I loved it so much in the �rst place. Adapting existing soft synths to a touchscreen interface can be tricky business, but Waldorf’s development team has done a terri�c job at making the iPad version a true joy to use. If you’re just getting into iOS apps and want a groovebox you won’t quickly outgrow, Waldorf Attack is 20 bucks well spent.
Snap Judgment PROS Flexible and comprehensive synthesis tools, optimized for percussion. Integrated pattern sequencer with intuitive song arrangement tools. Four independent effects include an innovative speech synthesizer. Audiobus and Inter-App audio support. CONS No MIDI sync or WIST.
Bottom Line An absolute must-have for iPad groovebox fans.
$19.99 waldorf-music.info
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[email protected] 10.2015
Keyboard
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CODA
O C C U Z Z A M E I R A M A S I L
5
THINGS I’VE LEARNED ABOUT
Simone Dinnerstein gained an
Playing Bach
BY SIMONE DINNERSTEIN
SINCE ITS INCEPTION 40 YEARS AGO,
KEYBOARD HAS
COVERED CLASSICAL
music in addition to rock, pop, jazz, and electronic genres. I grew up as a Glenn Gould addict and for many years that both inspired and inhibited me from conducting a personal investigation of Bach’s music. In the 1990s, I was given Jacques Loussier’s recording of the Goldberg Variations with his jazz trio. It was a revelation for me to hear the music through his lens—to feel the rhythmic stresses in unexpected places and to hear new articulations in the bass. I decided to learn the Goldberg Variations and explored the myriad ways in which to shape the phrases, the places where breaths could be taken, where dissonances could be highlighted. I treasured the irregularities in Bach’s music and realized that for me this was where the expressive “spoken” nature of his music existed. Here are five things I’ve learned about playing Bach.
1.
How To Practice
Always practice voices separately, though divided amongst the hands the way they’ll be played. For example, if I’m practicing a piece that has three voices, most likely the middle voice will be divided between the two hands. I make sure to follow the �ngering I’ll use when playing all three voices when I practice the voices separately. Sometimes I �nd that my (weaker) left hand might not shape a phrase exactly as I envision. In that situation, I’d try playing that same phrase with my right hand, letting me hear how good it could sound. Ten I go back to my left hand and �nd that it has “learned” from the right.
2.
Remember to Breathe
As a pianist, it ’s possible never to think about breathing. Wind players and singers have to think about it. Bowing is string players’ equivalent of breathing. But pianists can easily barrel along as if they’re digitized, with no pause for breath. I spend a lot of time looking at the music and envisioning how it would be sung or bowed. I look at the registration on the keyboard, at the intervalic leaps. If a line jumps up a minor seventh or suddenly moves down a tenth, I consider a change of timbre, and think 66
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of this as a point where a breath would be taken to prepare for that change.
3.
Fingering Finesse
Tere are so many patterns in Bach where two hands are playing in parallel, contrary motion, or imitation. I �nd it very useful if the �ngering in both hands is parallel ( i.e., 1 on the right hand equals 5 on the left). Similarly, if there’s a sequence played by one hand where the same pattern is repeated starting on different keys, I like to use the same �ngering each time. Even though each sequence might have a different combination of black and white keys that might make using that same �ngering slightly unorthodox (say, the �fth �nger on a black key), it makes it much easier for me to remember the pattern.
4.
Play Legato and Don’t Ride the Pedal
In general, I favor a more legato approach. Bach’s writing is so expressive, even in quick, running passages. It’s challenging to make a staccato attack expressive, so it’s more effective to use staccato as an occasional articulation than as a constant one. It’s also much clearer to hear the
international following in 2007 due to her crowdfunded recording of Bach’s Goldberg Variations. This past season has included debuts with the Jerusalem Symphony Orchestra, Munich’s Bach Collegium Musicum, and RAI Orchestra Nazionale Torino. She’s also continuing her “Neighborhood Classics” series, organizing performances by professional musicians to raise money for New York City public schools, and her “Bachpacking” program, where she brings a digital piano to classrooms and conducts short workshops with kids to make classical music accessible and fun. Her most recent album Broadway-Lafayette is out now. Find out more at simonedinnerstein.com.
various voices interacting with each other when the sounds are sustained. I love playing Bach on pianos that have a long sustain because I can hear the suspensions so much better. I use the d amper pedal sparingly—to help bind leaps that I can’t reach physically or to add a bit of “glow” to a passage. But all of the articulation is primarily controlled by my �ngers and never by the pedal.
5.
Slow Down
I favor slower tempi because they leave so much more room for rhythmic nuance. Te faster the tempo, the more motoric the music becomes. I like to think in terms of bigger pulses—as an entire measure or group of measures as being the pulse as opposed to every quarter-note or eighthnote. If the beat is large, then there’s room for freedom within it. If the tempo is slower, then there’s more time to take breaths in unusual places and to vary the articulation.
Read our February 2014 interview with Simone Dinnerstein.
keyboardmag.com/october2015
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