Yamaha TG-33, Vector Madness

Yamaha TG-33 (I've owned two over the years)

The TG-33 is a descendant of Yamaha's very successful FM synthesizers of the 1980s, notably the DX7, cross-bred with sample playback technology. Each patch was made up of four sounds, some FM, some sample based — with the added magic of "vector control." The joystick on the left was used to mix these sounds over time, or within the patch. Much like Korg's popular Wavestation synth, the sound of a patch could flow from one distinct timbre to another. That movement could be saved within the patch or controlled in real time. Very cool.

It was pretty cheap, but the polyphony was less than they claimed, because each patch could use up to 4 voices of that polyphonym. It was easy to use up all your polyphony in just a few patches. But the voices where allocated dynamically. You could set up 16 midi channels, each with a different sound, and have them all available in a performance for sequencing or live performance, without needing to switch patches.

Despite the fact that the sample resolution was on the low side, quality-wise, 12 bit, I think, in the mix the sounds were pretty convincing. Alone, though, the patches could sound a bit thin.

This machine was best for creating sweeping atmospheres, a combination of the vector movement and the ample sound choices, but the thing had drums and bass guitars and everything you'd need to sequence songs.

Which is just what I used this for back in the days before computers made any sounds themselves. My Mac IIci ran Cubase, sequencing midi that this thing played back. The whole thing worked pretty well, it was easy to use, and pretty fun at that.

A bit of a relic now, but the vector joystick seems to have been an prescient ancestor to today's many midi controllers that musicians an DJs seem to love for mangling audio on the fly.
You can hear the factory demo here:

Roland SH-32

This thing is an odd hybrid of desktop synthesizer, arpeggiator and groovebox. Yes, it had sort of an identity crisis– not exactly a synth, not exactly a groovebox or sequencer or drumbox. The arpeggiator is not easy to figure out, nor any of it, for that matter.

It does have lots on hands-on envelope sliders and knobs to tweak, and those are your basic ADSR controls, though aside from that, I remember a sense of always being lost in this thing, even when it was making a cool noise. Like a beautiful screwdriver that seems to need to be turned in a different direction every time you picked it up – I literally had a hard time getting a handle on the SH-32. The grovebox/drumbox functions were the hardesst to wrap ones head around.

Maybe the SH-32 was trying to hard to be too much? Or maybe it was a lot, but just packed into too tight a space. I don't know. But it sounded great. I'd recommend it for the sound quality and the hands-on tweakability of the synth part of it alone.

You can buy this on ebay for 200. You get yourself a great synth, and a lot more (if you have time on your hands).

Roland PW-10 V-Wah

My Pod Line 6 gave way to the Roland PW-10 Wah pedal. This thing models distortion AND Wah. I really like Roland's modeling, actually. I'm not the only one: BOSS pedals are crazy popular (Boss/Roland: same company) despite the fact that you pay a lot for something that basically does one thing, albeit does it really well and from inside of a super roadworthy metal casing.

The PW-10 did a few things - it had 8 of those Roland effects in there and modeled wahs. It was a big, rock solid metal box of a thing too, which lead foot here appreciated.

Despite it's armored exterior, it's a nuance thing. Totally noiseless due to the fact that it uses some sort of optical system, and great models, I thought, of all the classic wahs.

All in all it was much simpler and more direct than the Pod Line 6. I'm a simple man, and I like gear that's simple to use. Not that the Pod wasn't, it just had more flavors than I needed. You can still get these for $125, new. That is a deal considering the individual boss distortion effects this contains, if added up would cost much, much more. While it does "less" than the plastic pedals from Zoom, for example, it does it's thing better than they do, and is built so much way better. Oh yea add the wah. Deal.

Pod Line 6

Of course it was candy apple red. (I'm into b/w photography, however, so you'll need to use your imagination).

Amp modeling was a sci-fi thing at a certain point. Imagine: Run the response of popular amps and cabinets though some kind of computer analysis that enables you to recreate what it does to the sound of any guitar. No tubes, no heavy lifting! Of course it's not the real thing, but it's pretty good, and importantly predictable, and able to be reproduced easily. I first encountered it in my VS-880 digital 8 track's effects card, which could model popular amp and microphone responses and apply them to your recordings.

The pretty amazing Pod Line 6 V2 cost me $199 dollars, and it modeled really well, I thought — a great effects machine for electric guitar (or voice, for that matter). You can see from the picture the many amp models available. You could tweak those presets. And there was some kind of software librarian available, I seem to recall.

I'm not a real guitarist, I just play one in the studio, so any kind of artificial enhancement totally helped. I can't think of anything wrong with this except that I longed for a Wah pedal and to hook Line 6's add-ons to this started to make it an expensive proposition. I got rid of it and bought a Roland PW-10 Wah pedal which you can read about next.

Behringer Bcr-2000

Behringer BCR-2000

My last post really got me thinking about finding a midi controller of my own. It would really help to mix in Ableton Live, which is what I usually use. I'm on a laptop and it's been particularly a pain using the mouse pad to mix. You can't really do things in real-time. Well, maybe one thing. Mostly, you need to set up snapshots and draw curves for fades, and envelopes. It's nice to have all that control, but some actual faders, knobs and buttons would take it to a whole another level.

I came home with the Evolution UC-33 first. For $199 it had faders and buttons, all could be programmed. I was able to set it up pretty easily, but it became clear pretty quickly that when I turned it on every fader was going to be in the wrong place! You touch it and you get a sudden jump in your volume or eq value or whatever you've mapped that partucular controller to. I woke up the next day thinking that it really sucked, if only because of that.

I returned it and got the Behringer Brc-2000 instead for $139. I thought about the BCF-2000 (F for fader) at first. It's got actual motorized faders. Nice, but for 150 bucks, how good could those motors really be? It was going to break, I figured, so I went for the BCR-2000 (R for rotary).

The BCR also has a lot more controllers on it and they also show the value of the parameter mapped to each knob by lighting up a ring of LEDs. So you get the same function and feedback as the motorized faders, but no motors to worry about. The knobs are infinite, they don't top out, so they are always in the right position.

The main problem, if you can call it that, is that with so many controllers, it's hard to remember what a particular knob or button is going to do. Think about it, there are 32 knobs and 16 buttons in each scene. But the top row of 8 knobs also act as push buttons, and has 4 encoder "groups," making those 8 into 32 knobs and 32 buttons. Add those 64 assignable controllers to the other 24 knobs and you have 88 controllers per scene x 32 scenes and you get over 2800 assignable controllers available! I bet that'll be enough. Of course midi messages can be sent on any of the 16 midi channels so the amount of possible unique messages you can program is just insane. (Oh, I forgot, there are another 4 buttons on the side. I use those for transport functions). I'll lay a strip of tape down, like we do on a big mixing board, and mark it up.
A company in the UK makes markable, erasable plastic overlays for this too.

I set mine up in a rough amalgam of the channel strip in LIVE!, with solo and mute buttons, volume, pan and send knobs for each channel, up to 8. Another 8 continue in the next scene. I rarely use more tracks than that. I saved an encoder group on top to address volumes of each of the drums in LIVE!'s drum machine instrument. LIVE! learns the controllers with a little wiggle, so it's easy to set up existing projects to receive the right controllers, and I've set up a blank LIVE! template for new ones. There are free controllers left over for soft synths and real-time tweaking of filters or effects parameters. Quite fun. I haven't felt this knob-happy since I had my Pro One.

So far so good. I've been having a little trouble with some of my virtual synths that lack documentation as to which controllers each of their virtual knobs or buttons receive, but I'm experimenting and figuring some of that out. Additionally, when I got it home I discovered the BCR-2000 is also a full a midi interface for other gear. It's midi ins and outs connect with it's USB port and the computer. Good thing, because with my Mbox and this, there's no USB port left on my laptop for my keyboard controller.

As for the look (mine is the one at the top of this post, it looks more black than blue) — call it retro — the physical design lacks the modernity of Novation's Launchpad or Nocturn controllers — this looks sort of clunky, chunky 90s. That is until the house lights go out and the Christmasy red glow of the manyLEDs begins to charm you. There's even a way to make them act like a UV meter and bounce to the music. I haven't figured that out yet, but I will.

Best $139 I've spent in a long time.

Cool Control Surfaces

I'm loving the new controllers coming out that are built to integrate with Ableton Live, which I use as my main composition tool. They mimic the software program's grid and allow you to "play" a physical surface, allowing the software to reach into the actual (not virtual) world, where our hands and bodies can interact. Composers and musicians and DJs especially love Live because of its clip view. You can use it to launch entire sets of songs, all tempo matched, and intuitively mix, add additional tempo matched (or not) flourishes, integrate virtual instruments, etc. Composers can arrange and mix variations of a tune by launching individual parts at will. All on the fly. And now with these cool controllers we have tons of buttons and sliders to "play" the software with.

1 Akai's APC40 ABLETON PERFORMANCE CONTROLLER, $349
This thing is awsome, integrating a sliders, knobs the huge pad grid. Here is what they say about it:

The unusual front panel of the APC40 is packed with glowing buttons. It looks this way because it's designed to let you to take complete control of Live's unique Session View. Session View features a grid that allows you to load audio and MIDI clips into its cells. You can play and stop each of these clips in any sequence, and you can launch groups of clips together as a "scene." You can choose to have the software time-stretch and quantize all of these sounds so they flow together musically. It's an extremely simple yet wildly creative approach to manipulating sound, but until now there has been no true hardware solution that could free the user from staring deeply into their computer monitor with a mouse in their hand.

2 Novation LAUNCHPAD, $199
I like Novation's version better. It's cheaper, has a cooler minimal design, and even though it doesn't have sliders you can mix by switching modes and sliding up and down a column of the buttons. You should really check out the promotional video. Here's some of their description:

Each button has three color states so you can see at a glance what's loaded (orange), what's playing (green), and what's being recorded (red). Similarly, Live's interface tells you what section of the Session View the Launchpad is currently controlling. This two-way communication ensures that Launchpad and Ableton Live are always perfectly in sync.

Launchpad doesn't just launch clips. Switch to "mixer mode" and the same button grid offers a unique way to control Ableton Live's mixer. Volume, pans, sends, track arming, soloing and muting can all be controlled via the grid. Using buttons instead of dials, Launchpad lets you jump to different levels across 8 channels at once, useful for controlling multiple effects sends.

Again, software is finding it's way to our physical world, where we can interact in a natural, physical way.

3 This is an plain old ACCORDION
That's right, not a cool midi controller at all. So what's the point here? Just that there is really nothing new going on. Accordions have been integrating rows of buttons to trigger chords and notes in a really similar way for 200 years. It made sense then, and it still does. So why'd it take so long for the manufacturers to figure this out again? I don't know, but I'm glad they did.

But if you really want a midi accordion, you can have that too. Roland's V-Accordion goes for about $1600.

Every Second of an 5:57 Minute Song

How can our crowded minds possibly catalog store and recall every second of an ever changing 5:57 min. song? Take Queen's Bohemian Rhapsody, for example. It's not a standard blues progression or something, like a hundred other songs. It's a totally unique string of fairly disjointed musical ideas. Yet somehow, an average person of a certain age, say, my age, who heard this song playing through their puberty has got every single moment of it hammered into his or her head.

I'm not talking about a musical professional, someone you expect to memorize the piano concerto they play at Carnegie Hall. I'm talking about how your average Jane and Joe (probably every single kid from my graduating class of J.H.S. 216), flat out KNOWS this song – stone cold by heart. This Muppet parody video really made me think about the magic of recorded music — and video, for that matter — the magic of recordING and how human memory works.

What is it, you hear something, see something a few times and your brain becomes a tape recorder? It sort of seems that way. I mean, that's what makes this video so funny. We remember the original video and seeing the spoof along side the remembered original in our head, is what makes it work. It's what makes it funny.

So for thirty years, I've been thinking my tape recorders (now digital) where helping me mimic and reproduce a live musical experience. They were the magical machines. Maybe what I've actually been doing is using my recorders analogously to how my brain already works. The more magical machine.

And to me, one striving to make good recording, working to produce multimedia experiences that work, that's kind of comforting. It means I know how to make the perfect recording. I just need to tap into what my brain is doing so well already.