Canadian Musician November / December 2019 | Page 22

ROAD
TEST
MeeBlip Geode Compact Synthesizer
By Kevin Young
A
s a lover of simplicity and
hardware that does one thing
well and transparently, the
MeeBlip Geode synth appealed
to me immediately – doubly
so because it’s compact (about the size of a
guitar FX pedal), sturdily built, and easy to set
up anywhere, anytime.
Setup
The Geode (1.0 as it’s referred to on the com-
pany’s site) is a plug-and-play monophonic
synthesizer that can be connected via USB to
your computer, tablet, or smartphone, or via
MIDI to any standard controller. In either case,
power is supplied over USB. It works with
Mac, Windows, Linux, iOS, and Android, but
for my test run, I’m using a MacBook Pro and
iPhone and a Roland RD Series keyboard as
a controller. For iPad or iPhone, you’ll require
Apple’s iPad Camera Connection Kit or Light-
ning to USB Camera Adapter, respectively.
In service of simplicity, a switch on the
rear of the Geode allows selection of either
MIDI DIN or USB. Right next door is a recessed
set of four DIP (dual in-line package) switches
that can be set to the desired MIDI receive
channel (1-16 or omni) in binary. For example,
set the switches to 1000 for MIDI channel one
or 0000 for omni. You can find a table of chan-
nel settings at www.meeblip.com along with
comprehensive details concerning setup and
use of the Geode. The online documentation
also suggests a variety of software to use with
Geode. Additionally, the rear panel has a dual-
mono 1/8-in. jack for audio output.
You’ll know you’re in business and receiv-
ing MIDI when the Geode’s power light blinks.
Again, as an Apple user, I’m using MainStage,
Beatmaker, and Arpeggionome (on iPhone)
and, for MIDI/DIN connection, a controller.
In all cases, Geode works out of the box as
long as your software/hardware is communi-
cating on the channel you’ve selected and the
platform you’re using actually outputs MIDI.
Two notes for Apple users: first, in
MainStage you’ll need to create an external
instrument track to feed Geode MIDI. Second,
if you’re attempting to use GarageBand, there
are extra steps. GarageBand was my first
22 C A N A D I A N M U S I C I A N
choice to test the Geode, but
GarageBand doesn’t output
MIDI. I just assumed that it
would. Of course, rather than
figure that out on my own,
I called MeeBlip and they
informed me of my error and
suggested a potential hack in
midiO, a free AU plug-in for
applications that don’t sup-
port MIDI output. In all hon-
esty, I didn’t put it to the test.
While I was tempted to go
down that rabbit hole, having
other options, I opted not to.
In Use
Using it as a lead synth, noise and modulat-
ing monster sound generator with a control-
ler, and with Arpeggionome on my phone, it
sounds refreshingly old school – as capable
of delivering big, dirty leads and percussive
noise patches as it is sweet, understated
synth tones.
For me, a primary driver to take the mea-
sure of any instrument is how long I can lose
myself just mucking about with it. By that stan-
dard, the Geode is a winner, and much of the
attraction is rooted in its outright simplicity.
On the main panel, starting from the top
down, is the envelope section, with knobs for
attack, decay, and portamento as well as an
on/off sustain switch. With sustain in the “on”
position, the decay knob controls both decay
and release.
Below that there are controls for oscil-
lators A and B and dials to select various
waveforms (including a very sweet noise
waveform on Osc. B). In this section, you’ll
also find a detune and an octave switch,
the latter of which allows you to lower
oscillator B one octave. The filter is based
on a 1970s guitar distortion circuit from
a wah wah pedal, and sports cutoff and
resonance dials.
Finally, there’s the LFO section, which
can be applied to either oscillator’s pitch or
filter and has Osc. A/B mix, rate, and depth
dials. These controls can be automated
using MIDI CC messages. Doing so allows
users access to “extra” settings, including
filter envelope modulation amount, pulse
width, LFO randomize, and retrigger.
Summary
Designed by MeeBlip’s James Grahame in part-
nership with Berlin-based Peter Kirn of Create
Digital Music, Geode is simple to set up, easy
to use – whether you’re an accomplished or
“fly by the seat of your pants” synthesizer user –
and a hell of a lot of fun to play.
Beyond being a fat-sounding synth with
a significant amount of functionality in a
small package, it’s the kind of instrument that
might inspire you to hang long chains of ef-
fects post audio output on it and just twiddle
its controls and let the sounds wash over you.
Additionally, for anyone looking to learn the
basics of synthesis, it’s an ideal tool.
There’s also something refreshing about
Blipsonic Inc. as a company – an old school
vibe that’s reflected in both their product and
their instant response to my inquiries. Going
forward, the Calgary-based firm will be add-
ing to its unique line of gear, experimenting
with other designs and sounds and expand-
ing on their offerings with similar, easy to use,
compact format synths.
Personally, I can’t wait to see what they
come up with next.
Kevin Young is a Toronto-based musician and
freelance writer.