Canadian Musician - July/August 2017 - Page 54

Roland JUNO-106 Keyboard Kurzweil K2000 Synth Yamaha Motif ES6 Keyboard Korg M3 Synth/Sampler Roland JUNO-106 & Kurzweil K2000 “My forte is using synthesis to recreate other synthetic sounds... for example, creating a Jupiter pad or Moog lead on my K2000. The keyboards I love to write on have a bit of ‘80s cool to them. I own two Roland JUNO-106s and Kurzweil K2000s. They’re the boards I learned to pro- gram on and I love them still. In my first band, Alex Greggs of Love Inc. did the production on some of our tunes. In some cases, he gutted them and put his own sounds in, so it was up to me to recreate his, I’m guessing, $200,000 of vintage boards on my $800 worth of gear so we could play live. He used a lot of Jupiter-8, Matrix, and Moog sounds, and so I got my trial by fire having to recreate these. The month this happened, I estimate I spent about 120 hours programming. That’ll get you good in a hurry." Lindsay’s approach: “Dissect iconic sounds and study what makes them tick. For instance, upon dissecting the stock leads on the Kurz, I learned that Algorithm 9 is a great place to start making a nice Moog lead sound. Then, when I went to make a duplicate of the squealing lead in Pink Floyd’s ‘Run Like Hell,’ I had a great place to jump off from. This is still one of my proudest pieces of scratch programming. “Listen not as much to the core of the sound, but what it does. Few are going to hear the difference be- tween a sine and triangle wave, but they’ll know if the filter doesn’t close fast enough, or if there’s not enough resonance on it, or if there’s not enough tremolo, or not enough flange sweep, or if the panning is wrong. It sounds crazy, but sometimes when I’m trying to achieve a certain filter closure, I’ll use my mouth as a model while I’m programming, as in, I’ll mock it up just by humming or singing and opening and closing my mouth.” DAVE BEATTY QED Media 54 • C A N A D I A N M U S I C I A N Avid Pro Tools Software Fairlight CMI Synth Vox Continental Organ Roland GR-1 MIDI Guitar Interface & Sound Module Korg Wavestation Synth E-mu Emulator 2 Sampler Akai S900 Sampler Moog Rogue & Taurus Pedals Sequential Circuits Prophet 5 Synth Roland D-50 Synth Korg Polysix Synth Fairlight CMI The CMI (an abbreviation for computer musical instru- ment) was introduced in 1979 as one of the first worksta- tions and samplers. Multiple versions were produced from 1979 to 1985, but finding someone familiar with the beast was a bit of a challenge. Enter Dave Beatty of QED Media in Hamilton, ON. “I own a Fairlight CMI 2, which I bought in 1986 when I first opened QED Media in Toronto,” he shares. “It was only a couple of years old at the time and had a wonderful tone. Those sound cards were huge and I got a X]و\[ Z[H\ˈHZY\[HY[HܙKB[\وHXܙY[\[ '[H\[YHX[X[ HXY8&\\]Z\ BY[[\]\\\[[YX]HY[\]Y[B[\H[Y[[Y[\Y[Xܙ[H]H[X[ۜX[X[ X^H]\H[\\[HY[˜[][X][ۜˈ\[\ܘ\[H\Z]YHY[][ۂ]\Y[\Y܈\X[H]H[Z]܂\H\][]X\\X[X\و\MHو[\˸&HH\[8)'BX]H\Y\HZ]\\[\[\[BNM LNM[YHو\]\]H[X]\YBوˈ8'H[[ݙH]H^X\^Y\&B[[ۙ\وZ\[[ؙ\Z[H[KB^\Y[ۜ[\[\X\H[XۚX^X\˂HX[YHH[وH[\]YH[وHZ\YRB[H\X\YHو]\XY[8&\X\Hܚ˜[]YH\X\X\Y]HYZYHق]\XX]\[HZ\YRH[H^HYYHۂHX\][ NMKH[Hۙ\\H\[]H[Y]]][[H\Y\XH]\]Y]]H[\\˸'B\[KX]HY][[ۛH\\HRH܈\H[\Yۈ[ 8']H[B[^\H[[XHوHZ\Y[\\B[\H\[]H[\\X]K8'HH^\ˈ8'BZY X]RH\H\HX\[H[\[]BۙK\HH]H[\[H][YH][\HH۝\[]\YۛY[\H[\BH[YH۝\܈][\H[ZH8&\8&H[ݚX]\8&H[[\ۙH܈8&[8&H[8&KB]YY 8&H[[[H[X[[YH܈YHۙ\B[[\H[\]YHYXH]YY^[[][H[[\\[X[[YK[&][و[H\^X\][] H[][]\[\B\]\[^\]Y&]Y[X\و]H[YK'