Long story short: I completely missed the music of the 80′s. Here’s what I do know: it was a dark time for guitar tone and fashion but an incredibly glorious time for synthesizers. Never before were so many tracks made of that which was synthetic. Except now. Love it or loathe it, pop music has come full-circle, and I’m making up for what I missed.

For the past few weeks, I’ve been up to my ears in 80′s, working on synth tracks for a record coming out later this year. Being a keyboard player, I’ve always been somewhat familiar with the sounds and kit from that golden era, but what began as a mere acquaintance has blossomed into a full-fledged codependency. On other projects, I find myself going back again and again to the DX7 (or in my case the FM7… for now). It was my first synth, and it’s quickly becoming a favourite- so much so I’ve been scouring eBay for the right one.

How do I approach a track that needs that 80′s sound? First, a bit of history… Whilst analogue was well developed, digital was just emerging, and the meeting of the two yielded sound that could simultaneously be dark and bright, warm and cold, smooth and sparkly. Most had Moogs, ARPS, Prophets or Juno’s but the shiny new ALL DIGITAL synths were sexy. Digital was the new cool. It was more stable, less noisy, and didn’t require so much maintenance… But I digress. To take a track back, start at the bottom. Pull up any bass from a DX, play eighth notes, and you’re pretty much there. From there, move to the mids. Forget those soft, warm sine-wave pads. Find an aggressive, fast attack monster. Repeat as desired. Who needs guitars when you have sawtooth waves? Finally, the top. Finish with bells, sparklies, or something gross and metallic, preferably playing some infectious melody in octaves. There you have it: thirty years in three easy steps.

Granted, digital wasn’t the only game in town; the best polysynths were and still are analogue. Digital expanded the range of possibilities, giving keyboard players more ways to overshadow the guitars. Now, those sounds are back. The bottom line: if you have an 80′s synth sitting around, dust it off, tightroll your jeans, and re-discover the sounds that are just as useful now as they were then.

Imogen Heap’s new record is out, which is great, but she has also included instrumental versions of each track. I’ll say it again in case it didn’t sink in: Instrumental versions of each track. For an extra few dollars, you get 13 amazing glimpses into what she does so well. It’s safe to say she’s at the top of her game- as a writer, musician and artist. This new record is no exception- the tracks are a bit more minimal than previous projects, which in theory means the elements that are there are perfect. I have to say, I’m not thrilled with the mix of the new record; the vocals are LOUD. On the other hand, I could listen to her voice for days without growing weary of it. Perhaps the combination of instrumental tracks and vocal up mixes make for a perfectly balanced release, but whatever the case may be, it’s a wonderful release. If you create electronic music, or any music for that matter, Imogen’s records are a must-have.

Phil Stacey’s new record hits shelves and sites today- give it a listen. Phil’s got a wonderful voice and the record was produced by super-producer Brown Bannister; I did most of the programming and keys. It’s a pop record- I did lots of drum and synth layers and some string work. Drum sounds are from my own samples, Operator, and perhaps something I recorded on the spot to use inside of Impulse. Synths and pads are from Thor, Absynth, Pro53, Ultra Analog, and the MO8. I was working on it right before Live 8 was released, so all but one track was done in version 7. There was a last-minute addition that gave me a chance to use 8; I think it was the first real work I did using 8. I used the Collision instrument and some of the new effects in a song called “Hard To Get”. It turned out wonderfully and Collision has become a go-to source for anything from soft mallets to crazy craziness.

Finally- a break in the schedule. First order of business: Live 8. It’s been sitting in my studio, quietly and patiently waiting to be unleashed. Installing software whilst in critical stages of a project can be a recipe for disaster, so I’ve waited. For this upgrade I went for the Full Monty and ordered the Suite. Admittedly, I’m skeptical of some of the extras, namely the orchestral and piano samples. I doubt they can compete with the larger libraries in terms of realism and articulation, but sometimes the best sounds aren’t the best when they’re put in a track . No matter- I would I have ordered Suite regardless. Installation is relatively smooth; somewhat lengthy, thought. Time for lunch? I look forward to posting thoughts in a while.

But how does it sound? No bother, even if the OP-1 just sits there it’s bound to inspire something. The sound examples found on the website and various web locations seem promising. For now, here’s what it has: a synth, a sampler, a motion sensor, a built in mic and speaker, a sequencer, a great display and an awesome look. Yes, please.

I’ve had a number of people ask about my studio setup. I’ll say one thing- it’s fairly simple. Diapers, toys, clothes, food, school and the myriad other things that come along with family tend to take priority over synths, software, mics and preamps. There are those bits of kit that are indispensable; here’s a list, although it’s probably not all-inclusive:
I’ll start with my upright. It’s always on, ready to inspire. Unlimited polyphony and infinite tone. The Fender Rhodes. Calm, cool, and unassuming. Still can’t be beat by a plug-in. Mine is a 54 key version. Anyone else have one of those? My weighted controller is a Yamaha MO8, and I really like it, especially for the piano-type sounds. It doesn’t sound like a plug-in. Sure, it’s kind of kludgy to program, but it weighs considerably less than the MOTIF. I bought it a few years back for a tour; if I knew I was never going to move it I would want a MOTIF, but only for the expansion. Maybe a MOTIF rack is the answer to that… Anyway, back to the original topic. Ableton would be next. In a worse-case scenario, give me my laptop and Ableton. In a second-to-worse case scenario, give me my G-Media and Native Instruments plug-ins. I probably turn to those more than anything else, especially the Minimonsta, Oddity, Absynth and Pro53. Other softsynths would be the Olga, from Schwa Audio, and the Thor synth in Reason. Last but not least is my MG-1. I’ve modded it so it’s not exactly stock; it’s old and quirky but wonderful. My small controller is an M-Audio Axiom. Full-featured and built like a tank. I got mine a while back; three years without a case on the bus and several countries later and it still works perfectly. One of the knobs is crooked, but that happened when a bandmate borrowed it for a weekend.
There you have it. I should probably include my converters, which are Mytek. I should also mention my headphones, the Senheiser HD280. Not the greatest, but good enough and not so expensive that I’m afraid to throw a pair in my backpack.

If you aren’t using one or seven plug-ins from the folks at Stillwell Audio, you’re missing out. I have to admit, my fascination with cyrillic makes these plug-ins virtually irresistible, but even those with no cold-war interests will find them wonderfully different. The 1973 and the Olga are two of my favourites right now. I won’t say the ’73 sounds like a real one, but it sounds really, really good. I love the high end boost- tons of gain and never harsh. It’s quickly becoming my first choice when I need a non-obtrusive eq. The Olga, on the other hand, does obtrusive very well. It’s a relatively simple 2-oscillator synth but the accessible parameters are the ones you want. The best thing about it is that it probably sounds nothing like you have in your current synth line-up.

My WSG blog is featured on musicfromouterspace.com. Thanks, Ray!

I finished my WSG, or at least I have it in operating condition. What’s a WSG, you ask? It’s an all-analogue sound generator. I created a separate mini-blog in honour of this occasion which documents the construction of my WSG. You can view it here.

Other than the ones you make, where do you get your sounds? (You do make your own sounds, right?..What better way to be original…) Do we really need another site offering downloads of sounds for production? We do if it’s PureMagnetik.com. This is the best site I’ve seen in a long time. You can buy single sets, various bundles, or sign up for a subscription which entitles you to anything they release. A basic subscription is 6USD per month; pay monthly or, for a discount, a year at a time. The best thing about PureMagnetik is the focus on electronic-type sounds. The other great thing is the fact that they cater to Ableton users. Sounds are available programmed and formatted for Ableton, Logic, and Kontakt, which means virtually every sampler is supported. Also- the user interface is modern, uncluttered, and easy to use. Head over to Puremagnetik; get started with a few of the free bundles.

Alright. Creativity will win out every time over stacks of gear. I’m not a latest-greatest kind of guy and I work with a minimal setup. However, I have to write something about a piece of gear (or rather software) that has transformed how I work and create. I started using Ableton about a year or maybe 16 months ago, and it has really transformed the way I work. I know that sounds like a quote from a catalogue but it’s the truth. I can listen to the first thing I created with Ableton and it’s as if a switch was thrown in my brain. A good switch. Maybe it’s my appreciation of German engineering; perhaps it was a fresh perspective or maybe the software is the best match I’ve found for how my mind works. Whatever the reason, I love it and it’s my main creative (not recording/mixing) software. So go ahead, call me a sell-out, but I’m happy to give recognition to a great thing. Speaking of German engineering, Waldorf, after closing it’s doors and then re-opening, has released another winner in the form of the Blofeld. Nicely done, although my personal favorite is still the Microwave XT.

I’ve started working on a project called Tactus Cartel, and I’m trés excited about it as it’s very much my own creative vision, I wouldn’t go so far as to say it’s a solo record, but I am the driving force behind the production and writing. There will be other honorary members of the Cartel of course; I trust my instincts but collaboration sometimes yields a higher quality result. The first of the honorary members is Dave over at Bristow Design- he’s helping with visuals and probably writing as well. The second honorary member is Paul, although he doesn’t know it yet. My main goal with Tactus Cartel is expression- it’s a moody electronic/ambient/pop sound that lends itself and is primarily aimed to film and television. What you’ll hear is basically what happens when I sit down and make music without the usual input from label/a&r/management/radio/marketing/wardrobe/catering… Not that input and collaboration with the label side is bad- it’s a necessary element in creating something that everyone can be excited about.
While I’ve had this project in mind for sometime, I’m just finding the time and creative vision to pursue it. Creating something that is rooted deeply within yourself and then putting it out for public consumption is highly exciting and at the same time quite unsettling, but the initial response has been wonderful. Perhaps it’s because I finally have something to offer in the songs I am writing, or maybe people are drawn to purity as far as artistic expression. Well, perhaps that last thought is a bit utopian but here’s to hope.

I’ve started the assembly of a WSG. In addition to the normal circuit, I’m going to attempt a few extra modifications. My grand plan is to document the construction, then use it in a few tracks for all to hear. Yes, making my own analogue sound generator does make me a nerd, but I’ve been a nerd for some time now. I’m just a cool nerd. Who among you would NOT relish taking a bunch of random electrical components and, armed with a solder gun and vu meter, form a unique noise making device that boasts a totally analogue signal path? See, you’re a nerd also. I’m putting mine into a small suitcase-type enclosure, in Synthi style.

Writing about the Synthi makes me think of EMS. Check out the website for some cool old-skool photos. Looking through the list of great EMS synths reminds me of London- one of the first EMS synths was even named the Portabello at first. What is it about London that fascinates me? Of all the places I’ve visited, London is where I would return first. Something about the city resonates with me, and I feel more at home there than I do in my own city. The pace, the diversity, the underground, the history, the style, the curry… if you go, skip the traditional tourist stuff for a while and simply walk around. One of my favourite things to do is buy a brie sandwich; my customary London lunch- one Brie and tomato sandwich around noon- has the ability to sustain me well into the evening, and it makes for an inexpensive (£2) lunch. And don’t forget the Punjab on Neal Street. One thing about the UK- it seems there is a higher level of preparedness on the part of the audio teams in clubs. They take what they do seriously and it makes for a great experience.