The #Vanlife Mobile Studio

Palo Duro Canyon, Texas

Palo Duro Canyon, Texas

In Jules Verne's Twenty Thousand Leagues Under The Sea, the motto of the Nautilus was "Mobilis In Mobili", which is roughly translated from Latin as, "moving amidst mobility", "moving within the moving element", or "changing in the changes".

Pretty apt for the #vanlife thing, right?

After posting several adventures on Instagram, I received quite a few questions about the specifics of my mobile rig, so here's a full summary of the Galileo III production equipment—with links for those who are interested in more info on each item.

Field recording is covered by the Roland R-07, which is—by far—my favorite portable hi-res stereo recorder. The fact that I can use my Apple Watch or iPhone as a remote (placing the recorder on a table or closer to critters) is just icing on the cake. A full review of this unit can be found here.

Kasha-Katuwe Tent Rocks National Monument, NM

Roland R-07 Recorder

Lockhart State Park, TX

Roland R-07 Recorder

Palo Duro Canyon, TX

Roland R-07 Recorder

McKinney State Park, TX

Roland R-07 Recorder

Marfa Lights Viewing Area, TX

Roland R-07 Recorder

The iPad Air 2 with Logitech Type+ keyboard is loaded with every relevant iOS music app. That said, my main software tools for mobile composing and production are Korg Gadget and Kymatica AUM. Gadget is simply the most complete composition tool available for the iPad—and it also exports mix stems to Ableton Live. Better still, if you own the MacOS desktop version of Gadget, it will export complete projects to Live, with MIDI clips that use Gadget's bundled array of specialized VST and AU synths.

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Korg Gadget, Doss Touch Speaker, Korg NanoKey Studio

AUM, on the other hand, serves as a comprehensive hub for mixing IAA, Audiobus, and AUv3 apps and effects plug-ins, with everything synced and also available wirelessly via Ableton Link. For example, with AUM I can combine Gadget and Fugue Machine, with Rozeta controlling synths like the amazing and totally free Synth One, then apply effects. Upon returning home, I can then export the results as a mix or stems for later use. It also has options for recording audio via my latest mobile interface, the CEntrance MixerFace R4.

CEntrance MixerFace R4 self-powered interface with Kymatica AUM (and my indestructible MDR-7506 headphones)

The MixerFace is wholly unique, as it's the first (and so far, only) mobile interface with an integrated rechargeable LiPo battery. This lets it do neat tricks like power 48V condenser mics with super clean pre-amps and an integrated headphone amp. It's also the only interface I own that supports AUM's 32-bit resolution, with 192kHz sampling rates. Admittedly, I don't multitrack with those settings because my current iPad crumbles under the stress of keeping up with that resolution, but it's nice to know it's there when I inevitably upgrade the rig.

Combined, those two apps make iOS a legitimate recording platform for general tasks and road compositions that I can finish later at my studio. For MIDI, Korg's NanoKey Studio adds keys, drum pads, and knobs for the iPad. It sends that performance data via Bluetooth and shockingly, latency has never been an issue. It always feels like magic...

MeeBlip BlipCase & Korg Volcas

Volca Beats, Volca Bass, Volca Keys, and Volca Mix

For taking analog on the road, MeeBlip's incredibly practical BlipCase contains a set of four Korg Volcas: Volca Beats (drums), Volca Bass (three discrete analog oscillators), Volca Keys (3-voice analog paraphonic), and the Volca Mix for gluing the three units together and adding an input for the iPad or MixerFace. These form the core of my on-the-go performance rig, with the iPad running Moog's Animoog app for soloing. I got that idea after seeing Suzanne Ciani perform live with her Buchla 200e and Animoog at Ableton Loop 2016. The Volcas may not be a Buchla, but on the road, they're far more practical (and affordable).

Surprisingly, monitoring in the van isn't too tricky. In addition to my 20-year-old Sony MDR-7506 headphones (indestructible, affordable, and surprisingly flat), I use Vmoda Zn earbuds which sound fantastic and are quite sturdy. As for sound moving though air, I use the Doss Touch Bluetooth speaker, connected via cable to the iPad headphone output. It covers the basics and sounds full enough to compose bass lines. The Doss has an integrated SD card reader in addition to its analog jack, making it useful for reviewing field recordings from the R-07. I've even plugged the Volca rig into the Eurovan's stereo for additional referencing.

If I'm doing a preset project for desktop software I'll bring my laptop, but I generally prefer doing design work in the studio for optimal monitoring. The above rig has met my needs on every trip—and when I'm traveling light, it's just the iPad, NanoKey, R-07, Doss speaker, and Vmoda earbuds.

And if you've made it this far, follow the journey on Instagram.

Master Class: DSI OB-6

It’s no exaggeration to say that Dave Smith Instruments’ OB-6—a true collaboration with Tom Oberheim—has quickly become one of the most sought-after analog polysynths of the 21st century. By combining elements of Smith’s own Prophet 6 with the filter topology of the Oberheim SEM, the OB-6 is capable of textures that are unlike any other analog poly to date.

For this Music Radar Master Class, I won’t be rehashing the generalities of analog synthesis. Instead, the focus is on programming tricks and techniques that highlight the possibilities lurking within the OB- 6. It’s also worth noting that several of the tricks in this tutorial also apply to the Prophet 6, thanks to its similar architecture, so proud owners of that synth may find a few tidbits they can use as well.

LINK: https://www.musicradar.com/how-to/how-to-master-the-dave-smith-instruments-ob-6

Master Class: Korg/ARP Odyssey

Back in the early ’70s, the Moog vs. ARP “war” was just as passionate as the Mac vs. PC debate is today. At the time, the Minimoog and ARP Odyssey were the two dominant mainstream monosynths. On the Moog side, the Mini offered three oscillators, Bob’s massive filter, and ease of use. On the ARP side, the duophonic Odyssey included lowpass and highpass filters, hard sync, ring mod, and incredibly sophisticated modulation resources.

Korg’s ARP Odyssey re-issues are available in a tabletop version, a module version, and the Odyssei app.

Even now, the classic Odyssey’s features are capable of textures that we normally associate with modular gear, which makes sense as the Odyssey was basically a slimmed-down version of the 2600—arguably the synth that first brought modular to the masses. So with Korg’s reissue of the Odyssey available in three formats (keyboard, module, and the Odyssei iOS app), my Music Radar masterclass takes a closer look at its vast capabilities, using the tabletop version as our frame of reference.

LINK: https://www.musicradar.com/how-to/how-to-get-the-most-out-of-the-korg-arp-odyssey

Master Class: Vocoders

Wendy Carlos recorded the first mainstream performance of a vocoder for her soundtrack to Stanley Kubrick’s A Clockwork Orange, using a 10-band version she developed with Bob Moog in 1970. From there, it was quickly established as a featured component for countless pop, funk, and dance hits—and is often confused with an effect known as the talk box, which is an entirely different method for embossing the characteristics of the human voice onto a musical performance.

Over the past 45 years, there have been many successful vocoders—both hardware and software. The earliest hardware units from Bode, Roland, Moog and Korg found their way into top artists’ studios. Nowadays, software versions are baked into leading DAWs from Ableton, Apple, and Propellerhead, to name a few.

Although vocoders are typically used for creating “robot vocals,” they are capable of generating a wide variety of effects. But to get the most from this unique processor, it is essential to understand how a vocoder works. Here’s my essential guide for Music Radar.

LINK: https://www.musicradar.com/how-to/how-to-get-the-most-out-of-vocoders-a-complete-guide

Master Class: Roland TR-8S

With the introduction of the TR-8S, Roland not only advanced the popular TR-8’s sequencing tools and iconic sound, but added sample import (via SD card) and expanded its editing features to a point where it truly is an instrument in its own right. Between performance-oriented patterns and sophisticated sound design amenities, you’ll get the most from this beast once you understand how to mold its sonic resources to match your artistic identity.

I'm also testing the waters for expanding this blog to include downloadable presets and examples for selected educational material. If you already own a TR-8S, below is a link to two original kits (with patterns) based on custom analog drum samples I created last month.

Master Class Link: https://www.musicradar.com/how-to/how-to-master-the-roland-tr-8s

Download the TR-8S kit/patterns  [Instructions included]

Master Class: Novation Peak

Novation Peak

The Novation Peak has generated a serious buzz in the synth community by combining its innovative Oxford oscillators that deliver analog-grade resolution with a fully analog signal path, as well as modulation options such as polyphonic aftertouch and a pair of Animate buttons capable of real-time patch morphing.

With a front panel packed full of familiar controls, Peak gives you direct access to these and many other important functions. This Music Radar masterclass digs deeper into the synth, unveiling a world of functionality that sets it apart from many modern polyphonics. In this tutorial, I investigate those options.

LINK: https://www.musicradar.com/how-to/how-to-get-the-most-out-of-the-novation-peak

Master Class: The Minimoog Paradigm

Minimoog Model D

The synth that started it all.

Make no mistake, the Minimoog Model D was the synthesizer that kickstarted our industry. Its architecture has been the basis for countless analog monosynths to follow and its sound remains so distinctive that Moog recently reissued a circuit-perfect, limited-edition version for those with a devotion to authenticity.

But the modern era has brought us software and hardware versions of the Minimoog architecture that update the synth’s essential characteristics in ways that reflect the march of technology since 1971. For example, the Arturia Mini V has modulation amenities that would be impossible to do with analog hardware alone, whereas the Roland SE-02 offers far more flexibility than the original. And ApeSoft Mood, an iOS take on the Mini, approaches the original’s iconic filter behavior while adding sampling and FM to its array of Moogish oscillators. Consequently, if you’re in the mood for a Model D but can’t afford the real thing, these hardware and software interpretations can get you there, but with greater flexibility than the original and at a price that won’t break the bank.

My Music Radar masterclass shows you how to get the most out of of each of these synths.

LINK: https://www.musicradar.com/how-to/how-to-get-the-best-out-of-the-moog-model-d-and-3-emulations

Master Class: Korg Prologue

If you’ve read the specs, Korg’s new Prologue polysynth is far more complex than either of its siblings—the Minilogue and Monologue—though it shares their heritage. Consequently, the Prologue’s analog side is similar, but with a few notable upgrades.

The Prologue’s digital side, however, has some groundbreaking innovations. This Music Radar Master Class takes a close look at its synthesis engine and explains how to make the most of it.

LINK: https://www.musicradar.com/how-to/the-ultimate-guide-to-getting-the-most-out-of-the-korg-prologue

Master Class: Korg Gadget

In 2017, Korg expanded Gadget’s range by introducing an identical version for Mac OS, bringing its intuitive approach to the desktop. The full install of Gadget for Mac is bundled with more than 30 plug-ins, including the recording gadgets Zurich and Rosario, as well as a virtualized collection of their most iconic hardware synths.

Though many of Gadget’s synths are so immediately approachable that there’s no real need for tutorials, others can look a bit cryptic to new users. Even if you’re an experienced synthesist, there are nuances in each of the instruments that go beyond the obvious functionality. So, for this Music Radar master class, we’ll dig deeper into the more sophisticated gadgets, exposing possibilities that may not be immediately apparent.

LINK: https://www.musicradar.com/how-to/the-definitive-guide-on-how-to-use-korg-gadget-for-mac

Vintage Synth Heaven

Earlier this month, ADSR invited me to join them for a tour of Austin's Switched On Music, one of the nation's top vintage synth boutiques—and the original stomping grounds of Michael Stein (Stranger Things, S U R V I V E).

Here's the video, including some very rare and iconic synthesizers, as well as a visit to their humongous warehouse of classic instruments in the process of being lovingly restored.

Free Xfer Serum Pack (Winter 2017)

This year, the final project for my Synthesis 2 course at Austin Community College focused on preset design for Xfer Serum. For the assignment, students developed presets for each of the following categories: Bass, Pad, Lead, and Pluck.

With their permission, I'm sharing the results as a free download for Serum fans. Of the submissions, these are the best examples - assembled in a downloadable pack consisting of 25 presets covering a wide variety of genres and design approaches.

Additionally, each student’s name is included in every preset, so if you like any of the patches, you’ll know who created it.

I also added two original presets based on wavetables created from snowflake and xmas tree graphics, because holidays.

The pack is a free download that you can grab at the below link.

Download: Xfer Serum Preset Pack (Winter 2017)

Update: The Winter 2018 Xfer Serum Pack is now online.

Season’s Greetings!

Environments

When launching the Scapes project in August, I invited readers to offer insights into previous examples of synthesized environments and environmental recordings.

One of the responses startled me, as I certainly recall seeing the Environments album series at the library when I was a kid.

I say “startled” because in researching the enhanced field recordings of Irv Teibel, I discovered that he was also from Buffalo, NY, then later relocated to Austin, TX.

Synchronicity is curious stuff.

Here’s a link to the story of Teibel and his recordings:
http://www.atlasobscura.com/articles/the-man-who-recorded-tamed-and-then-sold-nature-sounds-to-america