www.keyboardmag.

com
OCTOBER 2010
A NEWBAY MEDIA
PUBL I C AT I ON
Portable. Affordable. Analog.
Dave Smith, creator of the fabled Pro-One (frst crush of many a synth
geek), unleashes his 21st century take on an analog mono synth for the
people. And if one voice isn’t enough, pair it with a Tetra for a full-featured,
ultra-compact, fve-voice poly synth.
Get the lowdown at davesmithinstruments.com.
Tetra Mopho
Desktop
EYVAVcW`c^Vc
Pluy live, record keys, voice, und guitur, und integrute with
comþuters - do it ull with the new JUN0-0i ïrom Rolund. 1his
monster mobile synth is þucked with over 13ûû performance-
ready sounds, ulong with u ïull-ïeutured mu|titrack audio
recorder und toþ-line guitur eïïects þowered by B0SS. Plus,
it's u USß audio/MIßI interface, und comes bundled with
Cukewulk's S0NAR 8.5 LL 0Aw soïtwure. All this, und it
even runs on butteries, so you cun creute und þerïorm
music unywherel
Visit Ro|andUS.com/JUN0-6i to |earn more about
this performance and songwriting partner.
Dynamic V.A.S.T. Engine
So powerful, it can combine up to 32 layers
of spectacular samples, KVA Oscillators,
and Filters in every preset program.
Cascade Mode
Each layer in a program can be routed through the
DSP of any other layer, in series or blended together,
firing at once or velocity-switched, allowing a level
of detail only attainable with a Kurzweil.
The Kurzweil Sound
Whether it’s our world famous pianos, vintage
keys, KB3 organs, KVA oscillators or our acclaimed
orchestral sounds, the PC3 turns heads with
jaw-dropping sound quality.
®
“The Kurzweil PC3x is truly the ultimate gig machine.
For versatility and realism, its sounds slam the balls
out of the park and into the next county.”
Stephen Fortner
Keyboard Magazine
“Whether your interests are classical, pop,
rock, jazz, or urban, the PC3x will become the
centerpiece of your composition duties and the
star of your stage performance.”
Jason Scott Alexander
Electronic Musician
www.kurzweil.com Info@AmericanMusicAndSound.com
COMMUNITY
10 Your pictures, anecdotes, questions, gear, and feedback!
KEYNOTES
Today’s hottest artists help you play better and
sound better.
12 Kristen Lawrence on Halloween Carols and Pipe Organs
14 Malcolm Jackson on Touring with Isaac Russell
16 Weekend Warrior
MAJORminor
18 The Editors’ Playlist
LESSONS
22 Misha Piatigorsky on Brazilian Jazz Basics
24 Jordan Rudess on Playing Pitchbends
COVER STORY
32 The Minimoog at 40
From Bob Moog’s early prototypes through today’s Voyagers, a
history of the instrument that put the synthesizer on the cultural
radar and forever changed music.
40 Bob Moog Lives
Michelle Moog-Koussa gives us a highly personal memoir and
details the educational and curatorial work of the Bob Moog
Foundation.
SOLUTIONS
46 DANCE Percussion Grooves From Scratch
48 STEAL THIS SOUND Five Legendary Minimoog Sounds
50 PRODUCERS’ ROUNDTABLE Richard Dinsdale, Josh
Gabriel, Josh Harris, and Patch Park on Go-To Synths for
Electronic Dance Music.
GEAR
20 NEWGEAR
52 Casio PRIVIA PX-3
54 Korg PS60
60 Moog Music TAURUS 3
62 Propellerhead REASON 5 / RECORD 1.5 DUO
TIME
MACHINE
74 Beyond and Because of the Minimoog
CONTENTS
KEYBOARD (ISSN 0730-0158) is published monthly by
NewBay Media, LLC 1111 Bayhill Drive, Suite 125, San
Bruno, CA 94066. All material published in KEYBOARD
is copyrighted © 2010 by NewBay Media. All rights
reserved. Reproduction of material appearing in KEY-
BOARD is forbidden without permission. KEYBOARD is
a registered trademark of NewBay Media. Periodicals
Postage Paid at San Bruno, CA and at additional mailing
offices. POSTMASTER: Send address changes to KEY-
BOARD P.O. Box 9158, Lowell, MA 01853.
Canada Post: Publications Mail Agreement #40612608.
Canada Returns to be sent to Bleuchip International,
P.O. Box 25542, London, ON N6C 6B2.
D
O
U
G
L
A
S

K
I
R
K
L
A
N
D
Cover design by
Paul Haggard
Get these links and more at keyboardmag.com/oct2010
Josh Charles
teaches you
smokin’ New
Orleans-style
piano.
Video first
looks: Arturia
Analog Experi-
ence and Zoom
R24 recorder.
Our 2005 trib-
ute marking
the passing of
Bob Moog.
More Online!
Follow Keyboard on
B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N

A
R
C
H
I
V
E
Bob Moog and
partner Herb
Deutsch in 1963.
7 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
VOL. 36, NO. 10 #415 OCTOBER 2010
eyboard
EXECUTIVE EDITOR: Stephen Fortner
MANAGING EDITOR: Debbie Greenberg
EDITORS AT LARGE: Craig Anderton, Jon Regen
SENIOR CORRESPONDENTS: Jim Aikin, Tom
Brislin, Ed Coury, Michael Gallant, Robbie Gennet,
Scott Healy, Peter Kirn, Mike McKnight, Dominic
Milano, Franics Preve, Ernie Rideout, Mitchell Sigman
EDITORIAL INTERN: Grace Larkin
ART DIRECTOR: Patrick Wong
MUSIC COPYIST: Gil Goldstein
GROUP PUBLISHER: Joe Perry
jperry@musicplayer.com, 770.343.9978
ADVERTISING DIRECTOR, NORTHWEST, MID-
WEST, & NEW BUSINESS DEV.: Greg Sutton
gsutton@musicplayer.com, 925.425.9967
ADVERTISING DIRECTOR, SOUTHWEST:
Albert Margolis
amargolis@musicplayer.com, 949.582.2753
ADVERTISING DIRECTOR, EAST COAST &
EUROPE:
Jeff Donnenwerth
jdonnenwerth@musicplayer.com, 770.643.1425
SPECIALTY SALES ASSOCIATE, NORTH:
Contessa Abono
cabono@musicplayer.com, 650.238.0296
SPECIALTY SALES ASSOCIATE, SOUTH:
Will Sheng
wsheng@musicplayer.com, 650.238.0325
PRODUCTION MANAGER: Amy Santana
MUSIC PLAYER NETWORK
VICE PRESIDENT: John Pledger
EDITORIAL DIRECTOR: Michael Molenda
SENIOR FINANCIAL ANALYST: Bob Jenkins
PRODUCTION DEPARTMENT MANAGER:
Beatrice Kim
DIRECTOR OF SALES OPERATIONS:
Lauren Gerber
WEB DIRECTOR: Max Sidman
MOTION GRAPHICS DESIGNER: Tim Tsuruda
MARKETING DESIGNER: Joelle Katcher
SYSTEMS ENGINEER: John Meneses
NEWBAY MEDIA CORPORATE
PRESIDENT & CEO: Steve Palm
CHIEF FINANCIAL OFFICER:
Paul Mastronardi
VP WEB DEVELOPMENT: Joe Ferrick
CIRCULATION DIRECTOR: Denise Robbins
HR MANAGER: Ray Vollmer
IT DIRECTOR: Greg Topf
DIRECTOR OF PUBLISHING OPERATIONS
AND STRATEGIC PLANNING: Bill Amstutz
CONTROLLER: Jack Liedke
SUBSCRIPTION QUESTIONS?
800-289-9919 (in the U.S. only) 978-667-0364
keyboardmag@computerfulfillment.com
Keyboard Magazine, Box 9158, Lowell, MA 01853
Find a back issue
800-289-9919 or 978-667-0364
keyboardmag@computerfulfillment.com
Publisher assumes no responsibility for return of
unsolicited manuscripts, photos, or artwork.
Follow Keyboard online at:
H.E.A.R. today,
hear tomorrow.™
We can help.
H.E.A.R. is a non-profit
organization co-founded
by musicians and hearing
professionals that is
dedicated to the
prevention of hearing
loss in musicians.
Music
lives...
and your
hearing survives!
Protect
the hearing you
have now, and
for years to come.
®
®
Support
Purchase your
hearing protection
at www.hearnet.com
®
8 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
800.747.4546 www.ilio.com
Contact your favorite dealer!
synthogy.com
Up to 18 Velocity Levels Per Piano
Sympathetic String Resonance
Half Pedaling
Pedal Noise
Lid Position
Timbre Shifting
Parametric EQ
Tuning Tables
New Synth Layers and Synth Layer Controls
Ivory’s Legendary Pianos—and more
NEW FEATURES
On the last page of the September issue, you show the
keytars of the past, but you missed one. Back in 1972 or
’73, Edgar Winter wanted a keyboard he could carry like
a guitar, so he found a lightweight one at a music store.
It was from one of the original ARP 2600s. The keyboard
was separate from the controls, and he had it further
separated with long cables running to the main synth.
There are a few videos on YouTube showing this, and
Edgar describes what he did. So when you show Roger
Powell playing his in 1977, I believe you’re wrong—
Edgar’s was first. Edgar even states in an interview that
he was the first to use a keyboard like guitar. Oops! Jyme Bale
Because our “Time Machine” feature has limited space, we went with narrow criteria for “keytar”: an obvious guitar-like design and a neck you
grab with your left hand. This means we omitted some worthy contenders, including the Prophet Remote and Korg Poly-800. Also, Roger Powell’s
Probe was, to our knowledge, the first custom-built keytar controller, as opposed to a modification of something that already existed. Incidentally,
Roger tells us it controlled a bank of OberheimSEMs using a custom-written, pre-MIDI serial protocol. However, you’re right to point out that Edgar
Winter predated Powell for wearing a keyboard like a guitar. In the pic above, he’s still at it with an Edirol MIDI controller. Stephen Fortner
From the Editor
I’m lucky to have a
musical family, my
mom being a clas-
sical pianist, and
her mother and
father, respectively,
being a prohibition-
era flapper who
could throw a mean
Scott Joplin stride and a high-note trumpeter who played
big band swing the first time it was popular. I didn’t
appreciate it as much as I should have when I was a kid,
but my family knew that the way to keep me at the key-
board was to plunk my Star Trek-watching little-boy
brain in front of an instrument with buttons and blink-
ing lights on it. That’s why we got our first home organ,
and why I first encountered the Minimoog.
When I was seven, we paid one of our regular vis-
its to the Discovery Museum, a hands-on children’s
museum in Vermont. I don’t remember the theme of
the exhibit, but I do remember this odd little keyboard
that hadn’t been there last time. It had a wooden case,
lots of knobs on a panel that flipped up on a hinge,
and it made unearthly sounds that were nothing like
the Hammond T-series spinet in our living room. They
had to tear me away from the thing to give the next
kid in line his turn. “Great,” intoned my grandfather.
“Something else he won’t shut up until we buy.”
In fact, I wouldn’t get my first actual synth until
age 15, but my grandfather was right. In the eight
years between, I never shut up about synthesizers,
and given my job description, it looks like I never will.
So here’s to Bob Moog, for starting my journey into
electronic music, as he did for so many others.
Tell us what you think, link
to your music, share tips
and techniques, subscribe
to the magazine and our
e-newsletter, show off
your chops, or just vent!
Your forum post, tweet,
email, or letter might end
up in the magazine!
CONNECT!
COMMUNITY
Comment directly at
keyboardmag.com
twitter.com
keyboardmag
facebook.com
KeyboardMagazine
myspace.com
keyboardmag
forums.musicplayer.com
keyboard@musicplayer.com
SOAPBOX
10 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
I’m in two bands and also take hired-gun gigs. I’m
lucky to have accumulated over 90 keyboards and
rack modules from which to build rigs for a spe-
cific purpose—good job, Keyboard advertisers!
For my ELP-style band MTR, I use a Yamaha
Motif ES7 and a Korg CX-3, which has the “organ
power-down” sound I can trigger with a pedal. I
use a Roland JD-800 and a Minimoog Voyager
Anniversary Edition, and I work the knobs on both
for the whole show. An M-Audio Oxygen 8 is
MIDI’ed to the Voyager, extending its key range to
hit the low notes in “Tarkus.” For getting out front,
the Casio AZ-1 is my favorite keytar due to its after-
touch and left-hand controls layout. I bring out a
vintage Minimoog and Multimoog for choice gigs.
Then there’s Last Licks, a classic rock group in
which I use a Hammond XK-2 because it really nails
the Jon Lord sound, and I can almost get a Vox Con-
tinental out of it for Doors-style playing. In this band,
I need quick sound changes more than realtime con-
trol, so a 73-key Korg M3 with the Radias expan-
sion really delivers with its splits and layers. Then,
it’s a Roland VK-1000 MIDI’ed to a Yamaha Motif
Rack, and a Korg MS2000 for its button layout and
easy sound manipulation. Bruce MacPherson
In Andy LaVerne’s otherwise excellent blues lesson beginning on page 32 of the August
issue, the sheet music for Examples 1 and 2 appears to be identical. Which one is correct,
and can you provide the right sheet music for the other? —Tom Ruggles
That was indeed a clam. The music for Ex. 2 is repeated—once in Ex. 1, and again in Ex. 2, where
it’s supposed to be. Here’s the correct music, which you can enjoy larger and with audio examples,
on our website. Here’s a shortcut link: keyboardmag.com/article/117243. Stephen Fortner
DIG MY RIG!
You run your keys in
stereo. The house P.A.
is mono. What do you do?
Monitor with my stereo
gear; feed the house mono
Run in mono with a smile
on my face
Question the sound
engineer’s competence
Who cares? How many drink
tickets do I get?
Run in mono begrudgingly
Crank my stereo monitor
rig to fill the house
The
Poll
Be counted!
New polls go live the first and
third Tuesdays of each month
at keyboardmag.com.
DEPT. OF CORRECTIONS

´
G

´
G

´
G
= 95 ,
.
.
.
.
.
.
1
5
9
¸
¸
`
`
¸
¸
¡
,
,
, ,
,
,
, . .
.
.
¡
,
, ,
,
,
,
, .
.
.
.
¡
,
, ,
,
,
,
, .
,
,
,
,
,
,
, .
,
,
,
,
,
,
,
, . .
.
.
,
,
.
,
,
.
,
,
. ,
,
,
,
.
.
,`
F7 B 7 F7 .
¡
,
, ,
,
,
,
, .
.
.
.
¡
,
, ,
,
,
,
, .
.
.
.
¡
,
, ,
,
,
,
, .
,
,
,
,
,
,
, .
,
,
,
,
,
,
,
, .
.
.
.
,
,
.
.
,`
,
,
.
.
,`
,
,
. ,
,
,
,
.
.
,`
B 7 . F7
¡
,
, ,
,
,
,
,
.
.
.
¡
,
, ,
,
,
,
, .
.
.
.
¡
,
, ,
,
,
,
, .
,
,
,
,
,
,
, .
,
,
,
,
,
,
,
, .
.
.
.
,
,
.
.
,`
,
,
.
.
,`
,
,
. ,
,
,
,
.
.
,`
C7 B 7 . F7
, .
, .
, .
, . , .
, .
, .
, .
, .
`
`
.
,`
.
,
`
11 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
Halloween Deserves Carols Too!
KEYNOTES
If the Halloween Town of Tim Burton’s The Nightmare Before Christmas
had a resident keyboardist, it would be Kristen Lawrence. “I’ve always
loved autumn,” she says. “Something about the angle of the sun, the chill
in the air, and the energy I felt as Halloween neared—it was magical to
me as a child, and it still is.” She also cites a childhood spent in Orange
County, California: “Basically, I grew up at Disneyland, and my favorite
ride was the Haunted Mansion. I still remember the music from it.”
Trained from age 12 in classical organ, and possessing a tremulous
soprano that evokes a less breathy Kate Bush, Lawrence has appropri-
ated the Christmas spirit on Halloween’s behalf with an elegance Jack
Skellington never quite managed: The songs on her EP Arachnitect and
album A Broom With a View are unmistakably carols—in both their
structure and their sense of joy—but they celebrate ghosts, bats, black
cats, spiders, and vampires.
“There’s so much wonderful music for Christmas,” she reflects, “but
what does Halloween get? Bach’s ‘Toccata in DMinor’ and ‘The Monster
Mash’ is about it. I wanted to change that.” Though the skeletons of her
songs are sing-along rounds (“I love rounds. They’re harmony 101 for
dummies.”), there’s plenty of musical meat on those bones. Pipe organ,
strings, and harpsichord weave counterpoints as intricate as any spider’s
web, and influences run deep—from Camille Saint-Saëns’ Symphony No.
3, which lent themes to “Cats in the Catacombs,” to Richard Einhorn’s
score for Carl Dreyer’s 1927 silent film The Passion of Joan of Arc. How
did her journey begin?
“At age 12, I was actually tall enough to reach the pedals on the pipe
organ. My teacher, Bob Cummings, noticed that I always preferred the
Bach pieces that were in minor keys. As a reward for having practiced,
he’d let me pull out all the stops! The majesty of that sound coming from
all around you, it hooked me for life. Later, in September 2004, I was play-
ing, appropriately enough, at a funeral. I kept hearing the children’s song
‘The Ghost of John’ in my mind. I went home and wrote out the first four
carols that day.”
Kristen’s mission to make Halloween as musical as Christmas
received a major nod in October 2008, when she performed with Orange
County’s Pacific Symphony at their yearly “Spooktacular” concert.
“Segerstrom Hall at the Orange County Performing Arts Center had
recently installed a gorgeous, four-manual C.B. Fisk pipe organ. I can’t
believe I got to rehearse on it. I can’t believe I still do. The console sits
KRISTEN LAWRENCE
12 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
right behind the orchestra and under the pipes, because it’s a tracker
organ.” That means that the keys are all physically connected to the
valves that let air into the pipes, and it’s only your finger pressure—not
an electrical servo as on many modern pipe organs—that opens those
valves. “Playing a tracker is a workout,” says Kristen, “but there’s noth-
ing like it. The sense that you’re functioning as the brain of this living,
breathing creature is awe-inspiring.” Stephen Fortner
13 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
Hautpwerk
“My favorite virtual pipe organ. Not only does it get the inter-
action between different combinations of stops right, but you
can voice the pipes individually. Plus, you can add models of
historical pipe organs from all over the world.”
Korg Triton Studio
“It’s my main controller. The harpsichord on ‘Vampire Empire’
is actually the ‘HarpsiKorg’ patch.”
Allen MDS-35 Organ
“I’m lucky enough to have this organ at my parents’ house. Allen
makes such beautiful, well-built instruments. It’s a joy to play.”
EastWest Quantum Leap
Symphonic Orchestra Gold
“This is my source for strings. I tend to use solo instruments
and build up sections by recording parts separately, to sound
more like how a string section would actually play.”
A favorite of Kristen’s,
the C.B. Fisk pipe
organ at the Orange
County Performing
Arts Center boasts
four manuals and
4,322 pipes.
R
O
B
E
R
T

C
O
R
N
E
L
L
KRISTEN’S
GEAR
Get these links and more at keyboardmag.com/oct2010
Preview A Broom With
a View on CDbaby.com.
Connect with Kristen
on Facebook.
Learn more about
Hauptwerk, Allen, and
C.B. Fisk organs.
More Online
J
O
N

M
C
F
E
R
S
O
N
KEYNOTES
Keyboardist and vocalist Malcolm Jackson never planned for a
major-label sideman career. It just happened. The 25 year-old Bakers-
field, California, native grew up amidst his family’s record collection,
in which the Beatles, the Beach Boys, and Pearl Jam got equal airtime.
Later, Jackson came to admire the music and stage antics of piano rocker
Ben Folds.
“I had never seen a pianist go where he dared to go,” Jackson tells me.
“I was amazed at how he’d just rock out on the piano, curse on the mic,
and throw the piano chair over. He really got into it!” Jackson would form
his own rock bands in Bakersfield during junior high, playing guitar and
drums as well as piano. Later, he would move to Provo, Utah, where the
dream of a career in music seemed to be slowly slipping away.
“I was working in a restaurant,” he tells me, “playing piano and writ-
ing songs on my own, but planning on going back to school. I didn’t think
anything was going to happen for me musically.” A chance meeting with
local phenom Isaac Russell, a 17-year-old singer-songwriter with esca-
lating indie buzz, would change everything.
“Isaac’s family and mine have been close since we were both kids in
Bakersfield,” Jackson says. “We lost touch, and ironically, both ended up
moving to Provo. When Isaac’s brother Spencer heard me playing piano
in church one afternoon, he told Isaac to call me. Unbeknownst to me,
Isaac had been looking for a piano player. We started jamming, and every-
thing just clicked.”
Soon after, Russell would sign to Columbia Records, tapping Jackson to
anchor his live acoustic duo tour to support his recent self-titled EP. While
most bands try to emulate their studio releases live, Russell and Jackson find
new stories to tell through acoustic versions of the album’s songs.
“We realized that with just the two of us, we’d never recreate the sound
of the album,” Jackson says. “So we decided to make the setting more
intimate, focusing on the guitar, keyboards, and vocal harmonies. The
piano parts are similar to the album, but Isaac has a really unique guitar
style, where he sometimes does intricate finger-picks, hammer-ons, and
pull-offs. I try to build around that.”
Live, Jackson uses a Roland Juno-Di, focusing on vintage sounds that
complement Russell’s guitar and vocals. “The Juno sounds great and is
really portable. It has a lot of synth sounds, but I’m using it primarily for
Rhodes, Wurly, organ, and piano—also flute, bells, and strings at times.
For what we’re doing as a two-piece, it has a great selection of sounds.
“As long as you keep yourself open to the opportunities around you,
you end up where you’re supposed to be,” Jackson says. “I thought I
might not ever make a living playing live, but I never gave up on the
music.” Jon Regen
MALCOLM JACKSON
Accidentally Major
Isaac Russell site
and tour dates.
Watch Isaac
and Malcolm
perform “House
of Cards” at
ProjectMUSIC.
More Online Get these links and more at
keyboardmag.com/oct2010
C
A
L
E
B

M
I
T
C
H
E
L
L
14 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
(800) 222–4700 • www.sweetwater.com
ROLAND VR-700
Fully Loaded with Awesome Combo Sounds!
When you buy a VR-700 from Sweetwater, you get
a thumb drive full of the absolute best combo and
layered sounds available for this amazing keyboard!
MOOG LITTLE PHATTY STAGE II
A Sweetwater-exclusive Synth!
You won’t fnd this Solar CV Edition Little Phatty
Stage II anywhere but Sweetwater. It looks amazing
and comes factory equipped with expanded CV I/O!
FREE Shippppingg • FREE 2-yyear Warrantyy • FREE Tech Supppport • FREE Professional Advice
NORD WAVE
Incredible Bonus Instrument Collection!
We’ve added an amazing collection of super-detailed
bonus sounds to the Nord Wave — pre-loaded and
ready to play, right out of the box!
Modern Twist
with a
Classic Keys
M d
with a
Dreaming of the perfect vintage keyboard? Sweetwater has what you’re looking
for, from the top digital modeling synths to genuine analog electric pianos. The
killer gear from names you trust plus today’s hot new manufacturers — it’s all
here. Check out our massive selection of keyboards, virtual instruments, recording
software, and more at www.sweetwater.com. Got gear questions? Call Sweetwater!
A knowledgeable and friendly gear expert is just a phone call away.
>> Get These FREE Extras — Only at Sweetwater!
Rhodes Mark 7 Active MIDI 88
oland GAIA SH 01 Rooland GAIA SH-01 Ro S
Korg SV-1 73
MAJORminor
DAY GIGEarly in my career, I worked in architectural acoustics—designing treatments
for recording, performance, and worship spaces. Now I do environmental acoustics—
studies to evaluate how sounds from things like highways, wind turbines, mines, and
amphitheatres affect people. It’s a nice way to incorporate my interest in math, science,
and music into a reasonably stable career.
HOW I GOT STARTED I studied classical piano for ten years starting at age eight.
When I was 12, my older brother started bringing home jazz albums. I sat at the piano
and tried to figure out what was being played, and started to get a sense of what improv-
isation was all about. I played in my high school jazz band, and bought a Fender Rhodes
my senior year. Later, I joined a rock band, and we played high school dances all around town.
BAND Steelin’ Dan is a Steely Dan tribute based in Sacramento, California. We try to be as true to the records as possible. This is some of
the most difficult pop music, created by some of the best musicians in the world, so you have to put in serious time and effort to pull it off.
The singers, horns, and rhythm section generally rehearse independently, and it all comes together on the gig. We play mostly at outdoor
summer concert series, regional theaters, and casinos.
LIVE RIG My Yamaha S90XS covers all the sounds I need for the Steely Dan songbook, with great piano, Rhodes, and Wurly sounds, and
it handles the occasional marimba and strings nicely. The onboard phaser and chorus are perfect. We always use a full sound system, so my
Roland KC-100 amp is just a monitor. If space permits, I’ll bring JBL EONs to monitor in stereo.
INFLUENCESLes McCann was my earliest. Vince Guaraldi’s Peanuts
music left an impression on me as kid, and increased my interest in
jazz. I love the way Keith Jarrett makes the piano sing. One of my near-
term goals is to study Bruce Hornsby’s music in more detail.
WHY I PLAYSitting at the piano feels like home. If my music makes
just one person’s day better, I’ve succeeded.
MORE AT steelindan.com Ed Coury
WEEKEND WARRIOR
Dave Buehler of Steelin’ Dan
Henry Hershey
Henry Hershey is a jazz-loving sophomore at Westfield High in New
Jersey, with a penchant for Bruce Hornsby, blues, and improvisa-
tion. In addition to piano, Hershey plays tenor sax in the school
marching band.
First memory of piano: My grandparents’ house in St. Louis, Mis-
souri, with the whole family in the living room. We played a game
where you pass something around a circle of people while music plays,
and when the music stops, the person holding it is out. My dad pro-
vided the music—he’d play boogie-woogie and piano and improvise.
Age lessons began: Around five or six.
Musical influences: My teacher, Joe Kurasz of Rahway, New Jer-
sey. I also admire Bruce Hornsby’s harmonizing techniques on his
album Camp Meeting.
Why piano? I think that piano is the most versatile instrument in
the world. One can play practically any genre, from bebop to classical
to rock.
Favorite music to play? Jazz and blues, because of the freedom
they provide me. I can do whatever I want to the song to make it
sound how I want at a specific moment.
How important is traditional training? It’s important to learn
the basics and start with a classical music teacher. That way, you
learn the importance and discipline of practicing, and how to read
music. Later on, one can switch to another genre if one isn’t satis-
fied with classical. That’s basically what I did, and it’s working out
pretty well.
Read music or play by ear? I read fake book-style music for jazz.
I read the chords and melody, and the rest, my teacher and I make up.
For example, on some songs we’ll use a stride bass; in others, straight
chords. To pick up a song on my own, I’ll sit down with my iPod and
learn it by ear.
Goals in life: Someday I hope to be a cardiologist. Maybe my inter-
ests will change along the way, but I know one thing for sure: I’ll always
find time to play piano. Jon Regen
Know a young keyboard wizard in your area? Let us know
via email, Facebook, or Twitter, and they might be our next
MAJORminor!
KEYNOTES
16 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
What’s on your playlist? What should be on ours? Let us know by email or Twitter, or at forums.musicplayer.com.
JOSH CHARLES
Love, Work, & Money
When it comes to New
Orleans piano, it’s no small
feat to combine deep
scholarship of the genre’s musical complex-
ities and cultural roots with the pop sparkle
that seduces the uninitiated. Once a student
of Dr. John, Josh Charles does this brilliantly
on gems like the get-up-and-dance “The Wait-
ing Game” and honey-dripping ballad “It Ain’t
Easy.” Taste Charles’ gumbo of stride, boo-
gie, blues, and gospel, and find out why he’s
the new young lion of a uniquely American
art form. (joshcharlesmusic.com)
STANTON MOORE
Groove Alchemy
Speaking of New Orleans,
Moore may be the funkiest
drummer since Zigaboo
Modeliste, and Robert Walter’s approach to
the B-3 eschews playing lots of notes in favor
of just the tastiest ones, on this top-to-bottom
excellent album. Two highlights: “Squash Blos-
som” would make the Meters proud, and “Pot
Licker” is how an organ trio would accompany
a chase scene from Cowboy Bebop. This is
deep-fried instrumental funk at its very, very
best. (Telarc, stantonmoore.com)
THE BAD PLUS
Never Stop
The band’s first all-original
album is a detailed musi-
cal self-portrait. Painted
with richly colored piano melodies and grooves,
this album mixes funky drum pulses with clever
bass lines, making for music that gets into
your bones. Lyric-less throughout, the keys
act as the vocalist on a number of the record’s
pieces with exceptions surprising us on tracks
like “My Friend Metatron” where we feel the
bass speaking to us, keeping us ever-inter-
ested in the sounds to come. (Entertainment
One, thebadplus.com)
CHILLY GONZALES
Ivory Tower
Known for his production
work with Björk, Daft
Punk, and Feist, Chilly
Gonzales reminds us why he’s behind so
many musical successes. He takes us on a
poetic ride through his mind, which is that
of a humorous and insightful rapper and
meticulous pianist. His lyrical wits combined
with his exquisite technique and fluid deliv-
ery are what set him apart from other song-
writer-producers, making for an album more
clever than anyone might have expected.
(Arts & Crafts, chillygonzales.com)
Stephen Fortner
RYAN STAR
11:59
Many will remember Ryan
Star from his renegade
run on the 2006 CBS
reality series Rock Star Supernova, where
his alt-rock piano panache catapulted him
to solo success. On his Matt Serletic-pro-
duced major-label debut, Star surrounds
himself with a cast of keyboard killers includ-
ing Serletic, Kim Bullard, and Patrick War-
ren, who bathe his soaring pop choruses
in an ever-evolving sonic glow. (Atlantic,
rstar.net)
SOULIVE
Rubber Soulive
Who funked up the Beatles?
Soulive, that’s who! Just
when you thought you’ve
heard every imaginable Beatles tribute, Soulive
serves up this booty-shaking, organ-grinding
festival of funk. Right from “Drive My Car,” key-
boardist Neal Evans’ blistering bass grooves
like it’s about to jump out of the record’s grooves.
Other standout tracks include the simmering
“Come Together,” and a surprising Chicago-
meets-church romp through “Eleanor Rigby.”
(Royal Family, soulive.com)
FRED HERSCH TRIO
Whirl
With a silken piano touch
and a seemingly limitless
palate of improvisational
interplay, Fred Hersch delights on his latest
release. Featuring a melodious mixture of stan-
dards including a metrically-modulated romp
through “You’re My Everything,” plus originals
such as the affecting “Snow Is Falling,” Hersch
proves once again that his singular, supple
piano sound is a force to be reckoned with.
He’s a modern musical master at the peak of
his creative powers. (Palmetto, fredhersch.com)
Jon Regen
Grace Larkin
THE EDITORS’ PLAYLIST
KEYNOTES
RECORD STORE DAYS: FROM
VINYL TO DIGITAL AND BACK
AGAIN
by Gary Calamar and Phil Gallo
Before the Internet reinvented the
music-buying experience, the record
store reigned supreme as the head-
quarters for the audio-obsessed. In
this pictorial romp through the history
of music sales, the authors leave no
record sleeve unturned. With heartfelt
commentary by the likes of Paul McCart-
ney, John Mellencamp, and Bruce
Springsteen, and a foreword by Peter
Buck of R.E.M., Record Store Days is
sure to bring out the nostalgic side of
your inner music fan—even if you’re
young enough to be a “digital native.”
(sterlingpublishing.com) Jon Regen
Book Review
18 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
Own a full-blown workstation from the company that created the category. Powered by Korg’s EDS-i engine,
the microSTATION delivers hundreds of top-shelf sounds, from synth mainstays to must-have keyboards
– grand & electric pianos, organs, strings, basses, drumkits – and so much more. Our Natural Touch mini-
keyboard provides an expressive experience for players at every level. Need an extra set of hands, a powerful
drum machine, or a complete MIDI production suite? Take that leap from playing to creating with our built-in
MIDI recorder/sequencer. Weighing in at under 6 pounds and less than 32 inches in length, the micro-priced
microSTATION does it all – and keeps it small.
korg.com/microstation
;f`kXcc%
B\\g`kjdXcc%
NEWGEAR
by Stephen Fortner
YAMAHA MOTIF XF
Concept: The next-gen Motif sets a new
bar for integrated keyboard workstations.
Big deal: Factory sound ROM of 741MB
is the largest in any workstation by a wide mar-
gin. Takes up to 2GB of Flash memory, which
you can load with custom sounds: your own,
or upcoming packs from such names as Garri-
tan and Sonic Reality. These are retained with
the power off.
We think: Yamaha has moved the hardware keyboard a big step closer to computer-like flexibility.
XF8 list: $4,039. Approx. street: $3,500 | XF7 list: $3,539. Approx. street: $3,100 |
XF6 list: $2,999. Approx. street: $2,400 | yamahasynth.com
AVID HD OMNI
Concept: Integrated single-rack audio interface for Pro Tools HD.
Big deal: Converters are greatly improved over previous PTHD interfaces. XLR combo mic inputs on front panel. Monitor control
of up to 7.1 surround, with mono fold-down and speaker selection. Works as mixer with computer off.
We think: This lowers PTHD’s barrier to entry for spare-bedroom pros, as you no longer need several rackspaces of gear to feed those
cards in your computer.
List: $2,995 | Street: $TBD | avid.com
JUNO-Gi SYNTH
It’s a constant in the keyboard industry that features of yesterday’s
standalone products trickle into today’s Swiss Army synths, creat-
ing immense bang-for-buck. Case in point: the Juno-Gi, which
packs over 1,300 Fantom-G-class sounds next to a digital audio
eight-track that records to SDHC cards of up to 32GB. There’s a
dedicated rhythm track; XLR mic and 1/4" line and guitar inputs around back; vocal and guitar effects you can track, mix, or master
with; even USB audio interfacing to your computer.
List: $1,199 | Street: $TBD | rolandconnect.com
RD-700NX STAGE PIANO
Roland’s “SuperNatural” technology gave us tweakable, ultra-real-
istic electric piano, drum, and brass expansions for the Fantom-G.
Now, it does the same for acoustic and electric piano sounds in this
high-end stage piano. Also on hand is Roland’s best Ivory Feel key-
board with simulated escapement, plus a nifty Sound Focus knob that brings you forward in the mix even if you’re at maximum vol-
ume, without adding compression or unwanted artifacts.
List: $2,999 | Street: $TBD
See new gear press releases as soon as we get them at keyboardmag.com/news.
NEW PRO KEYBOARDS FROM ROLAND
20 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
PA AND MONITORS. COMBINED.
THE BOSE
®
L1
®
MODEL II SYSTEM
THE MOST ADVANCED L1 SYSTEM FOR MUSICIANS
More than just a speaker system – this represents a different
approach to live sound. The Bose L1 Model II system delivers our
widest and most uniform sound coverage. Add the T1 ToneMatch
®

audio engine and you’ll get access to an extensive library of
ToneMatch presets, custom EQ capability and a suite of studio-class
effects and processing. Using proprietary Bose technology, L1
systems combine PA and monitors into a single, highly portable
solution. So whether you choose the L1 Model II, the original
L1 Model I or the L1 Compact system, you fill the room with
your sound in a way no ordinary speaker can.
The L1 Compact
portable line array
system is the latest –
and most portable –
addition to the
Bose L1 product line.
This system fills the
room with only one
speaker, can be
carried in a single trip
and set up in less
than one minute.
Take your live sound in a new direction. Find out how at Bose.com/live4 or call 1-800-486-1869.
©2010 Bose Corporation. C_008984
What could be more addictive than Brazilian Samba? When I first
heard pianist Cidinho Teixeira at New York’s Zinc Bar in the mid-’90s,
it was as if I’d discovered a whole new way to breathe music. Leading
Brazilian jazz pianists such as Teixeira, Tania Maria, Sergio Mendes,
and Eliane Elias all have two important things in common: a rich har-
monic vocabulary, and an incredibly strong sense of the upbeat. Let’s
learn how these elements work together.
Brazilian tunes have much in common with jazz standards. They’re
usually packed with ii-Vmovement—minor-to-dominant progressions
like Cm7 to F7. Ex.1 illustrates typical Brazilian left-hand voicings
that follow the Bill Evans style, where the chord doesn’t include the
root, but is built starting on the third or seventh. I’m also adding color
tones, most noticeably on the dominant chords where I’ve altered the
fifth and the ninth.
In Ex. 2, we use these chords as a template for soloing and
comping. Start by playing bass notes in the left hand and rootless voic-
ings in the right to see how they fit together. Brazilian music is usually
written in 2/4 time, not 4/4, so we subdivide each of the bar’s two
quarter-notes by four sixteenth-notes. The upbeats are the second,
fourth, sixth, and eighth sixteenth-notes in every measure. The bass
line moves much like the way a jazz bassist would play on a swing tune.
Ex. 3 illustrates a simple F major melodic pattern in the right
hand, with our upbeat-centric comping in the left. Accenting the final
sixteenth-note of each measure creates a swing feel in your right-hand
lines. Try tapping your foot on beats 1 and 2 to bring out the groove.
In Ex. 4, I’m putting all these elements together. It’s okay not to
play all the time in the left hand. Often, I play upbeats in my left hand
when my right is taking a break. When my right hand is busier, my
left will either play sustained chords, attacking them on upbeats only,
or not play at all.
LESSONS
{
G‹…‘ß C¹Ú AÞ½ DÞ½
?
?
w
w
w
w
b
w
w
w
w
b
w
w
w
w
b
w
w
w #
n
w
w
w
w
{








G‹…‘ß C¹Ú AÞ½ DÞ½
2
4
2
4
?
?

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ #
n
R

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
R
œ
œ b
œ
œ b
œ
œ b
œ
œ b
{








G‹…‘ß C¹Ú AÞ½ DÞ½
2
4
2
4
&
?
œ
œ
œ
œ b
œ
œ
œ
œ
œ
œ
œ
œ b
œ
œ
œ
œ
œ
œ
œ
œ b
œ
œ
œ
œ
œ
œ
œ
œ b
œ
œ
œ
œ

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ #
n
R

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
R
Ex. 1: Rootless Chord Voicings
Ex. 2: Rhythmic Subdivision
Ex. 3: It’s Got That Swing
Misha Piatigorsky
ON BRAZILIAN JAZZ BASICS
D
A
V
I
D

L
O
W
E
S
22 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
{
{
{
{
{
G‹…‘ß CÞ AÞ½ DÞ½
G‹…‘ß CÞ AÞ½ DÞ½ 5
G‹…‘ß CÞ AÞ½ DÞ½ 9
G‹…‘ß CÞ AÞ½ DÞ½ 13
GÞ CÞ AÞ½ DÞ½ 17
2
4
2
4
&
b ∑ ∑
?
b
&
b
?
b

&
b
?
b
&
b ∑ ∑
?
b
&
b ∑
?
b

œ
J
œ
œ
J
‰ ‰

œ
R

œ
R

œ
R
œ
œ
œ
œ





œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ #
R

œ
œ
œ #
R

œ
œ
œ
R

œ
œ
œ
R


œ
R

œ
R

œ
R

œ
R
œ
J
‰ Œ Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ b
œ œ b

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ
œ
b
R
œ
œ
œ
Ϫ


™ œ
œ
œ
œ
b

œ
œ
œ
œ
R

œ
œ
œ #
R
œ
œ
œ


™ œ
œ
œ #

œ
œ
œ
R

œ
œ
œ
œ n
R
œ
œ ‰ Œ ≈
œ
œ
œ
œ
œ
œ b
œ b
œ
œ
œ
œ
œ
œ
œ
œ
œ #
œ b
œ
œ
œ
œ
œ
œ
œ
œ
œ



™ œ
œ
œ
œ

œ
œ
œ
œ
R

œ
œ
œ
R
œ
œ
Ϫ

™ œ
œ
œ
œ
œ
Ϫ


œ
œ
œ
œ
b
œ
œ
œ
Ϫ


™ œ
œ
œ
œ
b
œ
œ
œ
Ϫ


™ œ
œ
œ #
œ
œ
œ


™ œ
œ
œ #


œ
œ
œ
œ n
R
œ
œ
œ
œ
œ #
œ
œ
œ
œ œ
œ
œ
j

œ
œ
œ
œ



™ œ
œ
œ
œ


œ
œ
œ
œ
R
œ
œ
œ
œ

œ
œ
œ
œ
R

œ
œ
œ
œ
b
R
œ
œ
œ
Ϫ


™ œ
œ
œ
œ
b

œ
œ
œ
œ
R

œ
œ
œ #
R
œ
œ
œ


™ œ
œ
œ #
n

œ
œ
œ
R

œ
œ
œ
R
œ
œ b
œ ≈
œ
R

œ
r
œ
œ
œ b
œ
j
‰ Ó
œ
œ
œ
n
œ
œ
œ
œ
œ
œ

œ
œ
œ
b
R
œ
œ
œ
œ
œ
œ
œ
œ
œ

œ
œ
œ
œ
b
R

œ
œ
œ
œ
b
R

œ
œ
œ
œ
R

œ
œ
œ
œ
R

œ
œ
œ #
R

œ
œ
œ #
R

œ
œ
œ
R

œ
œ
œ
R

œ
œ
œ n
R
Ex. 4: All Elements Together
Born in Moscow, Misha Piatigorsky began studying
music at age five, immigrating to the U.S. at eight. After win-
ning the 2004 Thelonious Monk Competition, Piatigorsky
has stayed active as a sideman and a leader, anchoring his
own trio and septet, as well as his band Paris Troika. Find
out more at mishamusic.com. Jon Regen
Samba videos by
Tania Maria,
Cidinho Teixeira,
and Eliane Elias.
Misha plays
audio examples
of these lessons.
More Online Get these links and more at
keyboardmag.com/oct2010
23 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
I still remember the day my high school buddies showed up at my
door with a Moog Sonic V synthesizer, like the one shown above. After
hearing Patrick Moraz shred a bendy Minimoog solo in the song
“Someday” with his band Refugee, I bought a Minimoog of my own,
and began practicing my own original exercises with pitchbends. Here
are some tips and tricks to get you started in using this often misun-
derstood underrated means of musical expression.
A word about how I notate pitchbend in the examples: Notes not
in parentheses are played physically, while notes in parentheses repre-
sent the pitch you hear due to pitchbend. V-shaped lines denote up or
down movement of the pitch wheel. The numbers show the duration
of the bend: either a whole step (1) or a half (1/2). Stemless grace-notes
mean that you quickly bend the note right as you play it, so the bend
has almost no rhythmic duration.
LESSONS
q = 170
4
4 &
1 1 1
&
1
1
1
3
3
3 3 3
œ
œ
œ
œ
œ
œ
e
œ
œ
e
œ
œ
œ
œ
œ
e
œ
œ
œ
œ
œ
œ œ
œ e
œ
œ
œ
e
œ
œ
œ
œ
œ
œ
œ œ
œ
e
œ
œ
œ
œ
Ex. 1has an A minor pentatonic riff with bends you’d find in blues or rock leads. I’m bending from the third of the scale to the fourth,
then from there to the fifth. I’m also bending the seventh back into the root. Here, I start with the pitch in the center, then bend up a
whole step, before I drop back down to the note I originally played.
1. Blues/Rock Bends
Jordan Rudess started classical piano studies at the renowned Juilliard
School of Music at age nine. Since then he has performed his own solo
works, as well as with Dream Theater, Jan Hammer, and David Bowie.
Find out more at jordanrudess.com. Jon Regen
Get these links and more at keyboardmag.com/oct2010
Jordan plays these
audio examples.
Videos: Rudess
interviews, synth,
and apps demos.
Check out Jordan’s
amazing iPad synth,
MorphWiz.
More Online
Jordan Rudess
P
A
U
L

U
N
D
E
R
S
I
N
G
E
R
B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N

A
R
C
H
I
V
E
A PITCHBEND PRIMER
24 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
The Power of Ten.
© 2010 Samson | samsontech.com
The All New Expedition 510i.
Delivering roadworthy sound in a unique, pack-and-go design,
Expedition features a 10-channel, 500-watt Class D mixer with
digital efects and an iPod dock. Its vented enclosures use 10-inch
woofers and 1-inch titanium tweeters for rich bass and crystal clear
highs. With Expedition, portable perfection is easier than ever.
LESSONS
q = 185
7
8 &
1 1 1/2 1 1 1 1 1/2 1 1
œ œ
e œ
œ
e œ
œ
e
œ
œ
œ
e œ e œ
œ
œ
œ œ
e œ
œ
e œ
œ
e
œ
œ
œ
e œ
e œ
œ
œ
œ
Ex. 3 demonstrates how to start on a note, like the F at the top of this example, and bend the pitch up a whole step, then play that
same pitch again without being able to hear the bender on its way back down. You can hear this technique on the song “6:00” from
Dream Theater’s Awake album.
3. Guitar Bends
q = 170
4
4 &
1 1
.
1/2 1
.
&
1 1
.
1
3 3 3 3
œ
œ
œ e
œ
œ
e
œ
œ
œ œ
œ œ e
œ
œ
e
œ
œ
œ
œ
œ
œ e
œ
œ
e
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
e
œ
œ
œ
œ
œ
The most common pitchbend setting on a synth bends a whole step up and down. Ex. 2demonstrates bending both whole and half
steps. I sometimes set the bender to asymmetrical intervals—the up range to a whole step, and the down range to an octave. This lets
me do whammy-type pitch dives.
2. Interval Bends
IT'S THE FEEL
Velocity-sensitive, semi-weighted action Italian made keyboard with assignable after-touch.
The SL MkII is an musical instrument, not a computer add-on. The most intelligent keyboard
with Novation’s AutoMap™ software.
25 Key SLMkII 61 Key SLMkII
(310) 322-5500
www.novationmusic.com
q = 92
7
8
4
4
7
8
7
8
4
4
&
#
#
1 1 1 1
ĺĺ
1
ĺĺ
&
#
#
1 1
ĺĺĺ
1
ĺĺĺ
œ
œ
œ
e
e
e
œ
œ
œ
œ
e
e
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
e
e
e
œ
œ
œ
e
œ
œ
œ
œ
œ
œ
œ e œ

œ
œ
œ
e
e
e
œ
œ
œ
œ
e
e
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
e
œ
œ
œ

q = 185
5
4 &
1 1 1 1
&
1 1 1 1
ĺĺĺĺĺĺĺĺĺ
œ
e œ
œ
œ
e
œ
œ
œ
e
œ
œ
œ
œ
œ œ
œ
e
œ
œ
œ
œ
œ
œ
œ
e œ
œ
œ
e
œ
œ
œ
e
œ
œ
œ
œ
œ œ
œ
e
œ
œ
˙
Ex. 5has bends where the pitch wheel is held up while multiple notes are played. Here, the first three eighth-notes are played phys-
ically (B, D, B) but sound as C#, E, C#, with a release to B on the fourth sixteenth-note. Note that I don’t use the modulation wheel for
vibrato—I use pitchbend exclusively.
5. Multiple Bends
In Ex. 4 we bend up to a note, then play that exact note again without a bend. Practice the first three beats in measure 1 as a loop
to get the feel for this. The V-shaped figures at the bar lines denote quick downward scoops, and vertical lines at the end of a bend
diagram mean you release the bend quickly before playing the next note.
4. Upward Bends with Repeats
The renowned Fatar
keybed, unique to
controllers in this price
range, is synonymous
with high quality
keyboards for digital
pianos, synthesizers
and classical organs.
Touch sensitive controls
mean you can reveal what
they are controlling,
or re-assign them.
Columbia College Chicago
MFA Music Composition
for the Screen
You’re talented, creative, and serious about making it. You’re
ready for a graduate program that understands your ambition
and is focused on your success. Columbia College Chicago’s
MFA program in Music Composition for the Screen is a complete
education in the art and business of composing and producing
music for film, television, and new media.
Nathan
MFA Candidate
Music Composition
for the Screen
APPLICATIONS DEADLINE
January 5, 2011
Photo by Nolan Wells
...it keeps getting better!
COLUM.EDU/SCREENMUSIC
312.369.7260
GRADSTUDY@COLUM.EDU
www.makepeacebrothers.com
In the studio with LSR2328s
The Makepeace Brothers concert at GC Studios
© 2010 JBL Professional
Powerful. Rugged. Versatile.
Learn more at www.jblpro.com/prx600
PERFORMANCE
YOU CAN
TRUST
“We make a living writing and performing music, it’s our life.
Our fans expect to hear our best, so every word we sing and
every note we play has to come across as honest and natural.
That’s why we count on JBL LSR’s in the studio and PRX 600’s
gig after gig. The JBL’s give us the total confidence to let us
focus on making music, not messing with the PA ... it’s simple;
we’re never distracted by the gear because we trust our JBL’s.”
- Finian Makepeace
Products on command, knowledge on cue.
bhproaudio.com
bhproaudio.com
A wealth of options at the tip of your fnger. Find exactly
what you need through advanced search flters and Live
Help. With in-depth product demos, podcasts, and customer
reviews, you’ll know exactly what you’re getting. Knowledge
is expansive. Get more of it at B&H.
Visit Our SuperStore
420 Ninth Ave, New York, NY 10001
800-932-4999
Speak to a Sales Associate
©

2
0
1
0

B

&

H

F
o
t
o

&

E
l
e
c
t
r
o
n
i
c
s

C
o
r
p
.
J
N
6
7
0
Hot on the heels of the first moon landing, building on what had been
a modestly successful business in electronic sound, a small team of engi-
neers at the R.A. Moog company unwittingly set the course of the mod-
ern synthesizer. Forty years later, what came out of their workshop still
defines essential ingredients of electronic instruments, in ways musicians
have since taken for granted.
The story of inventions is an odd thing, in which each dial on the
invention is a potential path into an alternate history. In this case, hand-
sawed wood, half-broken parts, and reverse-engineered airplane controls
combine with ingenious engineering personality to produce Moog’s first
great hit. Of course, the story isn’t over. Moog Music’s resurrection of its
founder’s name, with a successor to the original Minimoog, has proved
a winning formula for a new generation of musicians. Led by the Voy-
ager line, the Minimoog may be bigger than ever before.
The Birth of the Minimoog
The Minimoog really was the first recognizably modern synth. In 1969,
the word “synthesizer”—whether Moog or any other maker—meant com-
plex, expensive, heavy, large, and fragile modules and patch cords. The
need for something new was clear. It was certainly apparent to Bill Hem-
sath, the member of the Minimoog team who constructed the original
prototype with Bob Moog.
“One of my jobs was to demonstrate products to potential customers,”
says Hemsath. “We had a Model III—a large studio synthesizer with
dozens of modules. Every time, I’d plug the oscillator into the filter and
the filter into the VCA—probably six patch cords, total. It occurred to
me after a month or two of this, what if I built a box that way?”
With the need to replace the Moog modular racks with something
portable, Robert Moog hired outside consultants to do drawings of what
COVER STORY
The Minimoog at 40
From the Dawn of the Synth Age to New Voyages by Peter Kirn
Bob Moog performing on two Minimoogs at the Strasenburgh
Planetarium in Rochester, New York, in 1972.
B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N

A
R
C
H
I
V
E

32 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
the case might look like. The resulting concepts were fitting for the Space
Age. “They look like spaceships with curved backs—silly, but lovely,”
Hemsath recalls. “I think they did a dozen of those futuristic things. Down
in the corner was this little, square wooden box with a flip-up lid.”
As Bob Moog once recounted in Keyboard, a quick poll of musician
friends revealed that they preferred the “natural wood and simple lines.”
Hemsath remembers a more practical reason: “Everybody said, ‘I can
make that. I can build that.’ So we threw out all the curved stuff, and Bob
and I came in the next Saturday morning to the woodshop and just started
sawing until we had that.”
The future of the synth may have been determined by just which
junked and cannibalized parts lay in storage. “There was a five-octave
keyboard that [Bob] would steal keycaps off of to replace chipped and
broken ones,” Hemsath remembers. “Then there was an upper console
case—it was four feet long but the end was broken out. So I got to work
on the keyboard. The number of remaining keycaps determined its size,
which turned out to be three octaves. So I hacksawed that down. There
was a smashed keyboard case, and I cut it down to match. Originally,
[Bob] had the portamento control on the left cheek. That was missing,
so there was a little notch in the left cheek. And I needed something there.
Well, how about a slider? That’d fit. So the forerunner of the wheel was
that slide pot, just to fill that space.”
The result was the shell of what would become the Model A, the first Mini-
moog prototype. Hemsath bolted together modules from spare and rejected
parts. “I’d sit down at my desk and take an apple out of one drawer and a mod-
ule out of the other,” he says. By his count, just one model 901A oscillator was
fresh stock; everything else was salvaged from Moog’s junk bin.
Even this Frankenstein-like model was already taking the shape the Moog
team wanted. It was the synthesizer as discrete object—something Bob Moog
had built years before, with his suitcase synth kit, but now with some of the
sophistication of the modulars. “You could carry this thing around,” beams
Hemsath, even today. “It was a complete synthesizer in one hand.”
With Bob Moog, Jim Scott, and Chad Hunt, the design was refined
over four models, culminating in the Model D manufactured for the pub-
lic. Each model introduced new innovations (see “Thank a Minimoog”
on page 36). The great achievement of all of this is the lasting power of
the Model D design. Introduced in 1970, it was still made in 1980, and
remains highly sought-after today—not only because of the vintage-cool
factor, but because it’s still useful, a Stradivarius for the 20th century.
Hemsath takes pride in the fact that it didn’t change. “Ninety-five per-
cent of the stuff in there [in 1980] was what we designed in 1970. Some-
thing that would remain in production for ten whole years—that,
intellectually, is what I like more than the sheer numbers sold—the fact
that we did a good job the first time out.”
In the summer of 1970, the Model D was ready for manufacturing and
introduced to the world. Dick Hyman, the legendary jazz pianist and
composer, presented its debut at a public performance at the Eastman
School of Music.
A Crossover Hit
The Moog company wasn’t aiming especially high in sales. According to
Hemsath, Bob Moog expected to sell a lifetime total of 200. When the
last Mini rolled off the assembly line in 1981, the company had sold well
over 12,000—a success unheard-of in the modular era.
That doesn’t mean the reception was immediately enthusiastic. In
June, 1971, R.A. Moog ehxibited the Minimoog at the NAMM Show. “We
did not experience a warm reception,” said Bob Moog. “Most of the deal-
ers didn’t know what to make of an instrument with words like ‘oscilla-
tor bank’ and ‘filter’ on the front panel. Retailers would pass our booth
and ask questions such as ‘What’s that?’ and . . . ‘You expect me to sell
that in my store?’” Moog conceded that part of what was lacking was
“convincing musicianship” to demonstrate the creation—that perennial
challenge for new music technology.
As with the Moog modular and Wendy Carlos, the ambassadors of
the Minimoog again proved to be musicians. In Bob Moog’s eyes, they
“showed us all what the instrument was capable of. Keith Emerson nailed
its analog sound into the vocabulary of rock, first on his modular behe-
moth and then on his Mini. Then came Jan Hammer, who developed
Wondering what that stretch-limo Moog on our cover is? The Minimoog Voyager XL restores a full keybed for the first time since Bill Hem-
sath hacked off the spare one to build the Model A. With 61 keys and a ribbon controller, it’s bigger than any Voyager before. It also brings
back patching, but in a friendly, integrated patch panel that keeps the cords out of your way. “The extensive patchability harkens back to
Moog Modular synths,” says Marketing Director Chris Stack. “A four-channel CV mixer, two-channel attenuator, lag processor, and MIDI-
synced LFO make this a dream machine.”
Bob Moog talks
about the making
of the Minimoog
Voyager.
Our reviews of the
original Minimoog
Voyager and
Voyager Old
School.
More Online Get these links and more at
keyboardmag.com/oct2010
THE NEW VOYAGER XL
33 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
COVER STORY
incredible chops with the left-hand wheels. The play-
ing styles developed by both Emerson and Ham-
mer, along with Chick Corea, Rick Wakeman, and
many others transformed people’s ideas of the Min-
imoog from something akin to a box full of knobs
to an expressive musician’s axe.”
An Imperfect Classic
The Minimoog’s endurance doesn’t mean it was per-
fect. Hemsath regrets not including velocity sensitiv-
ity: “There were three contacts on each key. One was
for pitch, but the trigger had both a front and a back
contact. We never used the back contact. If we had,
we could’ve done velocity sensing.”
One flaw is also part of what makes the Mini-
moog beloved. “Jim Scott did the filter and the volt-
age-controlled amplifiers,” recounts Hemsath. “He
made a calculation error, and he overdrove the fil-
ters by ten or 15 dB, something like that. If you look
at, say, an ARP synth, it was crisp and clean, and it
was beautiful and sounded like water. Our instru-
ment had punch to it, because we inadvertently over-
drove the filter like crazy. Nobody knew that until
a month or two before we started production, and
then everyone said to leave it alone.”
The rest of the Minimoog’s appeal lies some-
where between the mathematical and the ineffable.
Hemsath notes the commitment to discrete transis-
tors in favor of integrated circuits—the latter, while
perfectly usable now, were “terrible” in 1970. Bob
Moog credited the Minimoog’s success to the sum
of many design decisions: “The warm, low-order
distortion introduced by the VCF and the VCAs,
the rapid attack times of which the [envleopes] are
capable, the small amounts of noise in the oscilla-
tors that keep them from locking together at very
small frequency differences, and the frequency
response as a whole. I also believe that musicians
like the Minimoog because its controls have a com-
fortable feel.” But he also ascribed something beyond
engineering: “Our own intuition and discretion were
our most important tools. In this respect, we per-
formed like artists rather than engineers.”
The Return of Moog
The irony of the Minimoog’s triumph is that not
long after its introduction, a chain of events set into
motion the business transformation that would even-
tually cause Bob Moog to lose access to his own
name. Dr. Moog himself left in 1977, the company
he left behind failed to keep pace with competitors,
and quality suffered. The Norlin-owned Moog Music
shuttered in 1986, leaving Bob Moog with his own
Big Briar company, which returned to the small-
scale electronics and Theremin that had first inspired
VOYAGER TIMELINE
2002
Signature Edition
The first Voyager added extensive
modulation, touch control, MIDI, and
preset storage to make a better Mini-
moog than the Minimoog.
2003
Performer
Edition
Looked similar to Signature Edition, but
increased memory to 7 banks of 128 presets.
2004
50th Anniversary Edition
Limited run commemorating
50 years since the original R.A.
Moog company started.
2005
Electric Blue
Added custom-color trim and blue
backlighting.
2005
Rack Mount Edition
Voyager sound and knobs in a
compact rack format.
2006
Voyager Select Series
Offered a choice of six different backlight
colors and seven wooden cabinets.
2008
Voyager Old School
Recalling the Model D, this retro Voyager
skipped MIDI and preset storage to go all-
analog. Even the knob positions weren't
scanned digitally—it was pure voltage.
2010
Voyager XL
Eight years after the original and 40 years
after the Model D, the XL adds 61 keys, rib-
bon control, a MIDI-synced LFO, and
onboard modular patch panel.
34 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
Our hybrid can take you from home to concert halls—
and everywhere in between. The Yamaha AvantGrand
N3 is completely unique; it’s the ultimate blend of personal and
professional. Within the small 4' cabinet—ideal for an apartment
or a cramped teaching studio—Yamaha has loaded the
AvantGrand with premium features worthy of a concert hall. For
instance: an authentic acoustic grand piano action, the exclusive
Yamaha Tactile Response System that re-creates an acoustic
piano’s reverberations so you literally feel the sound, and spatial
acoustic speakers that reproduce a 9' grand piano’s tone (by
far the best sound system ever installed in a hybrid). Whether
you play it at home or work, the AvantGrand will give you a lift.
Learn more about it at www.avant-grand.com.
COVER STORY
THANK A MINIMOOG:
DESIGN BREAKTHROUGHS
[Special thanks to Dave Kean and the Audities Foundation for these pictures of rare Moog protoypes. Visit them at audities.org. —Ed.]
Model A: simplified controls. Bill Hemsath’s “demo patch” was the
basis of a musician-friendly, ready-to-play instrument. Said Bob Moog in
Keyboard, “You couldn’t do much with it, but you could create some basic
analog sounds, and—more importantly—you could play the instrument in real
time. Remember, this was a long time before synthesizers had presets. The
Model A had few controls, so a musician could remember how everything
was set without having to stop and study a front panel jungle. For that rea-
son, every musician who tried the Model A liked it.”
Model B: no more
patch cords. Hemsath
recalls just how tedious re-patching instruments could be. Case in point: com-
poser Dave Borden and his trio in Ithaca, New York. “They showed Mickey Mouse
cartoons while the musicians were patching,” says Hemsath. “At the end of the
cartoon, they’d play the next number. Some of the people came for the car-
toons.” Not so with the Minimoog.
Model C: pitch and modulation wheels. The now-famous wheels began
a long evolution that started with a joystick. The company needed to work
through a list of dozens of promises Bob Moog had made, literally phon-
ing those people to confirm they wanted this or that feature. Hemsath
got the joystick.
“I started out with a model airplane joystick,” he says. In order to
correct nasty slop and backlash, he stripped it to three moving parts,
two pots and a stick, which later became a module on the Moog price
list. “I couldn’t use the joystick for [the Minimoog] because it’s got
this one-inch square hole. Cigarette ashes, flies—anything could get in there. It ocurred to me to split the X and Y axes apart. I
think originally I had two ‘ciagrette’ levers: one for modulation, one for pitch.” Machinist Don
Pakkala turned those levers into wheels, adding a center detent for pitch.
Model D prototype: Temperature-stable oscillators. Oscillator drift was still
a reality on the Minimoog, but in an essential step for portable instruments, it
was the first Moog with proper temperature resistance. “Somebody brought
one in from Binghamton in the middle of winter,” says Hemsath. “It was, like,
zero degrees out, and this had been in his trunk all night long. He brought it in,
plunked it on the bench. We turned it on, and it was in tune. Yes! We succeeded.”
A retail-friendly synthesizer. Com-
plex and fragile modulars downright scared
music resellers, but the Minimoog was differ-
ent. It took a salesperson to realize its potential. As Bob Moog once told
Keyboard, “Starting in central Florida, David Van Koevering introduced the
Minimoog to instrument retailers on their own turf, wielding his unre-
strained enthusiasm to close sales. If it weren’t for Van Koevering, the
rest of us might have concluded that Minimoogs were unsalable.”
36 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
his love of synths.
The story might have ended there. Instead, the second coming of
Moog has proven a turning point in the saga of the music technology
business. In 2000, Bob Moog announced that he would make a new Min-
imoog. In 2002, he reclaimed the trademark not only for Moog Music,
but for “Minimoog.” With a new team in place, the father of the modern
synth chose to tackle the unthinkable: Make a successor to the best-known
synth of all time that would not only replicate, but best the original.
Demand for what would come to be the Minimoog Voyager was imme-
diately astonishing. “When Bob announced he would introduce a suc-
cessor to the Minimoog, there was a huge response.” recalls Mike Adams,
president of Moog Music. “We literally had millions of dollars in pre-
orders for this undeveloped instrument.”
The Voyager itself, now eight years on the market, has already proven
its staying power. Guided by Bob Moog, the design combined the distinc-
tive Minimoog sound and voltage control with new enhancements that
reimagine the instrument for the 21st century. Unlike virtual analog synths,
the Voyager boasts all-analog audio paths and, more importantly, control
voltage. In fact, its modulation routings are significantly more flexibile
than the original. It also adds features that 1970 buyers couldn’t have imag-
ined, like a touchpad controller, MIDI, and preset storage.
Moog Marketing Director Chris Stack emphasizes that the return to
control voltage, alongside other ways of “touching” sound on a modern
Voyager, is part of the appeal. “The design and topology of Moog gear plugs
musicians into the fundamental building blocks of sound in unique and
musical ways,” says Stack. “Whether it’s controlling the Voyager’s analog
oscillators through its touch surface or bending the strings of the Moog
Guitar, players are in direct contact with the source of their sound. This
results in some of the most expressive music ever made.”
For a perhaps surprising illustration, look no further than the success
of the limited-run Voyager Old School reviewed in Keyboard in October
2008. While based on the Voyager, the Old School returned to a Model
D-style case, dropped the touch controller and, controversially, eliminated
Bob Moog in his workshop, from our
May 2003 feature on the making of
the Minimoog Voyager.
B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N

A
R
C
H
I
V
E

17@?C32CA=:37:
®
lS SEEKlNG
PROFESSlONAL MUSlClANS
FOR LlVE PERFORM/NCES
lN lTS CURRENT SHOWS
/ND UPCOMlNG CREATlONS
KEYBOARD
KEYBOARD/BANDLEADER
KEYBOARD/ACCORDlON
KEYBOARD/SAXOPHONE
(OR ANY HlGHLY OUALlFlED
lNSTRUMENTALlSTS & SlNGERS)
FOR JOPS//UDlTlONS,
/PPLY ONLlNE NOV!
WWW.ClROUEDUSOLElL.COM/JOBS
37 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
presets and MIDI, turning the clock back to
1970. Signs at the 2008 Winter NAMM Show
read “Are You Old School?” (On the website
createdigitalmusic.com, an anonymous Moog
employee reported that the original sugges-
tion was, “Got Balls?”)
Some worried that the Old School would
have limited appeal, but it was a huge hit. “After
its introduction, we were amazed by the music
that was being produced with it,” says Chris
Stack. You can partly thank what’s happened
outside the Moog case: “Software such as Able-
ton Live lets musicians record Old School
notes, riffs, sound effects and more and
arrange and process them in ways that was
difficult or impossible back in the heyday of
the Model D,” Stack notes.
The Voyager continues its forward march.
The Moog DNA is found in the Voyager, in
the wildly successful Little Phatty, in the
Moogerfooger effects, and now in the Tau-
rus 3 (reviwed on page 60). Most significantly,
this year the Voyager gets its biggest
upgrade—literally. See “The New Voyager
XL” on page 33 for more.
Generation Moog
None of this success would have happened
had a new generation not embraced Moog
with open arms. “Inspired by the likes of
Kraftwerk, Devo, Yes, ELP, Wendy Carlos,
Bennie Worrell, and Giorgio Moroder, new,
younger artists have rediscovered synth-laden
sounds,” says Moog’s Emmy Parker. MoogFest
started out as as a small nightclub event in
New York City. Now in Moog’s home of
Asheville, North Carolina, it has become a
mecca, this year having grown into a three-
day, multi-venue music festival offering a
lineup from MGMT to Devo to Massive
Attack. The programming strays far enough
from traditional synth territory that public
radio personality and Echoes host John Dil-
berto accused MoogFest of being “just
another hipster alt-rock festival.” In Keyboard’s
opinion, Moog Music and the Bob Moog
Foundation should take that as a compliment
about their rising profile in our comparatively
synth-averse pop culture.
In fact, the name “Moog” inspires the kind
of grassroots loyalty that automobile and soft
drink makers spend billions trying to drum
up. Without the slightest urging, Moog fans
famous and unknown express their affection.
“In just the last few weeks we’ve seen it show
up in photos from Trent Reznor’s studio and
onstage in Björk’s new live DVD,” says Stack.
“Just as gratifying are the huge number of
YouTube videos we see of Voyager users in
their home studios, pushing the sonic bound-
aries in ways we haven’t imagined.”
Perhaps that’s the ultimate achievement of
the Minimoog. Without it, Bob Moog would
certainly still be remembered for his pioneer-
ing work in electronic sound. But with it, some
40 years later, the second most popular word
for “synth” after “synth” is “Moog.”
COVER STORY
B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N

A
R
C
H
I
V
E

Bob Moog in his office, 1974.
38 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
© 2010 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice.
Avid, the Avid logo, M-Audio, and Axiom are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other trademarks contained herein are the property of their respective owners.
Elevateyour music production.
Oxygen 49 Axiom 49 Axiom Pro 49
Get your hands on
keyboard controllers
As the world’s leading manufacturer of MIDI keyboard controllers*, we understand
that your keyboard is the link between your ideas and your music. The M-Audio
®
Axiom
®
Pro, Axiom, and Oxygen families deliver unmatched playability and intuitive
operation—plus deep DAW integration that will fundamentally change the way you
approach music production. The onboard controls are automatically mapped to
common software parameters, so inspiration is at your fingertips from the moment
you open the box.
* Based on MI SalesTrak reports from July 2004 – March 2010.
Contact an M-Audio Reseller to learn more:
April 29, 2005 is a date I will never forget. While working at my gift
boutique in Asheville, North Carolina, my father called to share the rea-
son he’d been having trouble moving his left arm. He’d had an MRI a few
days prior, and the results were in. “Well, I don’t have a pinched nerve,”
he declared with authority, “I have a brain tumor.”
With this five-word pronouncement, my whole world shifted. My
dad? My pillar of quiet wisdom and logical thinking? He hardly ever had
a cold, or any major health issues. How could a human being so resilient
suddenly be weakened by something so damning?
Three months and three weeks later, on August 21, 2005, my father
died. He was barely 71 years old.
The emotional devastation was countered by a stunning revelation
that came by way of the Internet. At the beginning of July, as Dad’s health
declined, my brother Matthew created a page on the CaringBridge web-
site (caringbridge.org) as a way for the family to keep close friends informed
of Dad’s condition. Before we knew it, more than just close friends were
visiting the site. What happened between July 7 and August 21 was an
outpouring, with over 80,000 people logging on.
During these seven weeks, thousands of people wrote tributes to Bob
Moog in the guestbook of his CaringBridge webpage. My family and I
read them all, and we were overwhelmed at the depth of connection
expressed from all over the world. People from 70 countries expressed
such sentiments as, “Bob Moog gave me a voice for my creativity,” “Bob
Moog changed the face of music forever,” and “I’m a musician because
of Bob Moog’s instruments.”
This was an awakening. My cool, geeky, wise, ever-humble dad was
also Bob Moog, Electronic Music Icon—an inspiration to thousands of
people around the world.
The Birth of the Foundation
From this remarkable breadth of support, my family realized that our father
had left a profound and indelible legacy steeped in inspiration, creativity,
innovation, humility, and human interconnectedness—a legacy, we felt, that
must be carried forward. Hence, the Bob Moog Foundation was created.
I began as Volunteer Director of the Bob Moog Foundation in Sep-
tember 2005, and became full-time Executive Director in February 2007.
We were, and in many ways still are, a quintessential startup—highly
motivated to succeed, inspired by technology and the urge to share it,
and continually fighting for the resources to accomplish our mission.
Given that we’re an entirely separate entity from the current Moog Music
COVER STORY
B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N

A
R
C
H
I
V
E

BOB MOOG LIVES
Through education programs, a historic archive, and a planned museum,
the Bob Moog Foundation carries on his legacy. by Michelle Moog-Koussa
Michelle Moog-Koussa is the daughter of
Bob Moog and the founder and Executive
Director of the Bob Moog Foundation.
You can mail a donation of any size to:
Bob Moog Foundation, P.O. Box
8136, Asheville, NC 28814.
Bob Moog with an early Moog
Modular synthesizer.
40 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
instrument company (though we do enjoy a friendly
partnership with them), and that my father cared far
more about making circuits sing than about his bot-
tom line, we’ve faced our share of financial chal-
lenges—and are proud of the work we’ve done in
overcoming them. This progress has been the result
of thousands of hours of dedication, persistence, and
hard work by countless volunteers.
Our mission is a reflection of Bob Moog’s legacy:
To educate and inspire people through the power and
possibilities of electronic music, and through the inter-
section of music and science. On the ground, three
important projects are how we realize that mission.
· With our MoogLab
Student Outreach
project, we bring
Moog instruments
into schools to teach
children the math and physics behind elec-
tronic music and inspire them to create
in their own ways. More about that below.
· Archive Preservation Initiative: Bob
Moog left behind an extensive, compelling,
and historically rich archive that includes
photos, schematics, prototypes, project notes,
articles, correspondence, and audio recordings, all of which we’re preserv-
ing. Currently, we’re restoring and dig-
itally transferring some of the most
delicate specimens in the archives—
the reel-to-reel tapes—thanks to two
generous grants from the Grammy
Foundation. Our goal is to bring this
unique archive to life through our
website, traveling exhibits, and our
future Moogseum. The Museum of
Making Music in Carlsbad, Califor-
nia recently hosted an eight-month
exhibit featuring over 250 items from
the archives. It received over 20,000
visitors.
· The Moogseum is planned to be
both a website and a facility in Asheville where the above two goals con-
verge in a hands-on, interactive environment. Asheville’s Tourism Product
Development Authority has awarded the Bob Moog Foundation a gener-
ous lead grant for the construction of the facility. The challenging economy
has made raising the remaining needed funds difficult, postponing the open-
ing of the Moogseum to 2014 or beyond. In the meantime, we continue to
grow the MoogLab and Archive projects so that both will be fully devel-
oped by the time the Moogseum is realized.
MoogLab Unleashed
With school music and arts programs suffering across the country, and
U.S. science education lagging behind other developed countries, the Bob
Moog Foundation is committed to making an impact immediately with
MoogLab. To date, this has been a pilot program we‘ve brought to area
elementary and middle schools, festivals, and our own public events.
To introduce students to the physics of sound, we follow the trajectory
of electronic music evolution and begin with the Theremin, the very
instrument with which Bob got his start when he was only 14. Bob con-
sidered the Theremin, invented in 1919 by Russian physicist Leon Theremin
(a.k.a. Lev Teremen) the cornerstone of electronic music, and of his own
work specifically. The fact that you play it without touching it makes for a
captivating visual with which to teach kids the principles of oscillation as
a form of sound generation, electromagnetic fields, and circuitry.
As part of our lesson, our trained teachers connect the Theremin to
an oscilloscope and the proverbial circuit is formed: Students hear the
sound, watch the waveform, and interact with the instrument to make it
all happen. The expressions we’ve seen on the kids’ faces have shown
priceless “light-bulb moments.” This is MoogLab in action.
We add a layer of sonic experience by connecting the Theremin to
one or more Moogerfoogers, Moog Music’s effects pedals, many of which
are beautiful expansions on early modules designed by the R.A. Moog
company in the mid-1960s. The Moogerfoogers introduce students to
the concept of synthesis—the ability to alter sound waves with the flip of
a switch or the tweak of a knob. With the Low Pass Filter, we use swoop-
ing filter sweeps to teach basic subtractive synthesis; with the Analog
Delay, we use trippy echo effects to go deeper into waveform concepts.
Whether we’re talking about oscillators in a Theremin or filters in a
Moogerfooger, Moog devices provide a unique onramp to subjects rang-
ing from the relation between mathematical frequency and audible pitch
J
O
H
N

L
E
I
D
E
L

F
O
R

B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N
B
O
B

M
O
O
G

F
O
U
N
D
A
T
I
O
N

A
R
C
H
I
V
E
To-do list for the Minimoog
project, from Bob Moog’s desk
notepad, dated 1970.
“Not now, Mom. I’ve
almost got this tap
delay synced with
the filter mod.”
41 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
COVER STORY
to the difference between digital and analog sound. They also wed these
concepts with fun, real-life examples. Even if students can’t fully grasp
such complex subjects in a single teaching session, the connections forged
in a MoogLab class between math and music, science and sound, prove
to be valuable assets as their education continues.
Synthesizers such as the Minimoog Voyager are possibly our most
powerful tool for teaching the science of sound, but they’re also the most
complex, and therefore better suited to upper grades. While we’ve not yet
brought MoogLab into high schools, our goal is to do so within the next
two years. Bob Moog designed his synths to have logical, intuitive inter-
faces, and to be easy to understand for musicians. This also makes them
ideal teaching tools. Many musicians have told me that they taught them-
selves synthesis on a Minimoog Model D, and that the experience shaped
their musical lives. We aim to offer that same experience to a wide range
of students in hopes of unleashing their creativity.
The Bob Moog Foundation aims to follow Bob’s ethos of doing things
right the first time. That’s why we’re spending some time developing
MoogLab in the Asheville community—we want to sculpt it into a refined
teaching tool that we can eventually share with teachers on a national
and international scale.
Make Waves
The most important thing we can do is to continue to impact lives in the
way that Bob did. MoogLab and the many history lessons hidden in the
archives serve as powerful vehicles, opening minds to the possibilities
that exist at the intersection of music, science, and imagination. Make no
mistake, the Bob Moog Foundation is not about Bob-Moog-as-celebrity.
Rather, it’s about igniting creativity and stoking intelligence in present
and future generations.
To carry out this work, we look for the collaborative spirit in those
who care deeply about electronic music. We seek the support of musi-
cians who use tools that Bob dedicated his life to developing—as well as
the support of fans who enjoy the vast ocean of music that might not exist
if it weren’t for Bob’s work.
My father was not just a brilliant technician, but also a generous soul.
For that reason, and in spite of his renown, he left behind relatively little
personal wealth. The Bob Moog Foundation is a small non-profit organ-
ization with one full-time employee (me) and a corps of dedicated vol-
unteers. While we receive some funding from grants and fundraising
events, we’ll always be mainly donor-driven and sincerely appreciate all
sizes, shapes, and flavors of support—see the “dashboard” on page 44 for
different ways you can help.
The Gift of the Driver’s Seat
I’ve been acquainted with Keyboard magazine since I was a kid. Dad, who
could be a bit of a procrastinator, used to write a monthly column called
“Vintage Synthesizers.” [He also authored our instructional “On Synthe-
sizers” column and myriad one-shot stories, including a renowned article
TME BEGT OF TME
KEYBOARD PRESENTS:
THE BEST OF THE ’80s
THE ARTISTS, INSTRUMENTS, AND TECHNIQUES OF AN ERA
edited by Ernie Rideout, Stephen Fortner, and Michael Gallant
BACKBEAT BOOKS
No single decade revitalized the keyboard as a focal point as much as the 1980s.
Now, the editors of Keyboard magazine have culled that era’s most significant
articles and combined them with a wealth of insight to create this landmark book.
Features 20 interviews with noted players and producers like Jimmy Jam & Terry
Lewis, Duran Duran’s Nick Rhodes, Depeche Mode’s Vince Clarke, Peter Gabriel,
and The Human League, as well as such visionary pioneers as Herbie Hancock,
Chick Corea, and Frank Zappa.
00331932........................................................................ $19.95
OHÐEH
TOÐAYl
T-ØOO-GØ7-RØGR T ØOO GØ7 RØGR
www.mueîodîepa¥oN.oom
T ØOO GØ7 RØGR
See your favorite retailer or call Music Dispatch at
42 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
©2010 CASIO AMERICA, INC. FOR MORE INFORMATION PLEASE VISIT WWW.PRIVIAPIANO.COM
BREAKING THE RULES... AGAIN!
RULE #1 – AN 88 NOTE WEIGHTED ACTION KEYBOARD MUST BE HEAVY
Weighing in at an unbelievable 24 lbs, the PX-3’s scaled weighted hammer action redefines the stage
piano category. With an Ivory Touch matte key finish and the feel of this remarkable Tri-Sensor action,
you’ll never believe that you can carry the PX-3 under one arm.
RULE #2 – IT MUST BE EXPENSIVE
The PX-3 offers four layer dynamic stereo piano samples, editable sounds, insert effects, a backlit
LCD and more. It only sounds like it costs thousands.
RULE #3 – A STAGE PIANO CAN’T CONTROL OTHER GEAR
The PX-3 allows for 4 simultaneous sounds. These can come from the PX-3’s great sound engine,
an external MIDI device or both at the same time. Use it on stage or in the studio with your computer,
the class-compliant USB MIDI interface works seamlessly on any Mac or PC.
RULES WERE MEANT TO BE BROKEN
The Privia PX-3 breaks all of the rules and more by delivering an extremely lightweight, high
performance, 88 note weighted action stage piano and controller at a price that is an absolute steal.
COVER STORY
on the synth soundtrack to Francis Ford Coppola’s film Apocalypse Now
in the January 1980 issue. —Ed.]
One day he announced that then-editor Dominic Milano had called and
said the article had to be at Keyboard’s offices across the country the next
morning. Dad spent the day huddled in his workshop, banging out yet
another technically stunning article. I was 15 going on 16 at the time, and
about to get my driver’s license. At the last minute, Dad asked me to drive
him to FedEx, which closed in 30 minutes. We lived 35 minutes from town.
I wondered for a split second how he could even trust me with such a respon-
sibility, as there was so much riding on it and I was a brand new driver. Then
I realized that if Dad trusted me, I should seize the opportunity.
We made it to FedEx five minutes early. Dad got out and asked me to
wait in the car. He got back in a few minutes later and said, “I think we
can go get your license tomorrow.”
Once again I find myself in the driver’s seat, with even more respon-
sibility. Foremost is cradling Bob Moog’s legacy with integrity for future
generations to enjoy. This is also a gift for which I’m deeply grateful—an
opportunity to make a difference in a truly meaningful way. Thanks, Dad,
for blazing the path that I, along with countless others, trace with humil-
ity and awe. And thanks for the inspiration.
Get these links and more at keyboardmag.com/oct2010
Volunteer, donate, or buy cool
swag at moogfoundation.org.
Make music? Donate a track
to sell on the Foundation’s
iTunes store.
Rock out at MoogFest 2010,
which gives the Foundation
$1 for every ticket sold.
More Online
Donate part of your eBay
proceeds to the Foundation
via MissionFish.org.
Donate signed CDs or mem-
orabilia for auction on the
Foundation’s eBay site.
Vote for the Bob Moog Foun-
dation at Pepsi’s Refresh
Everything grant site.
WAYS YOU CAN HELP THE BOB MOOG FOUNDATION
44 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
It’s about time you stop
playing the same lifeless and
generic piano sounds that sits in
your instrument forever and ever.
Finally you can choose
the sounds you really want to play.
Nord proudly introduces the
Nord Piano 88, the dynamic
Nord Piano Pedal and the
Nord Piano Library.
True original sounds
with lots of character.
A T N O R D W E D O T H I N G S
d
i
f
f
e
r
e
n
t
l
y
www.nordkeyboards.com
Nord Piano Library - Original Sounds for Free
For more information: info@AmericanMusicAndSound.com
When whipping up a groove for a new track, it’s all too easy to just grab a few percussion loops from your favorite library, lay them into
your mix, and grab a latté. But what if you went to a four-star restaurant and the alfredo sauce came from a box? Eew. This month, we’ll
tackle putting your own stamp on your electronic percussion elements. Even if you’re not a veteran sound designer, rhythmic loops that are
entirely your own will ensure that you sound like no one else—a sure-fire way to stand out from the pack. Francis Preve
PERCUSSION GROOVES
FROM SCRATCH
Dance
SOLUTIONS
Step 1. Make a small array of short sound effects using
whatever synths you like. The only criteria is that you don’t use any
presets. While we normally frown upon simply turning random
knobs until it sounds cool, this is one situation where you can get
away with it. Start with four to six unique sounds and make sure
they’re complimentary, but don’t sound too much alike.
For best results, use short envelopes: immediate attack, short
decay, no sustain, quick release. Another approach would be to
take extremely small slices of any sort of sampled material:
voices, Foley effects, or audio you grabbed with your iPhone or handheld field recorder. Just make sure the samples are short and percussive.
Step 2. Once you have your
sounds ready, render each one as a single
hit and collect all of these in one folder so
you can find them easily.
Step 3. Depending on your DAW, you have a few options. The first is to dedicate each of four to six tracks in your arrange window to
a different sound. Alternately, in Ableton Live, you can place each of these sounds on a different Drum Rack “pad” and create a pattern. This
same technique works with Ultrabeat in Apple Logic. On an Akai MPC, you can load the sounds onto different pads and work from there.
Step 4. You’re ready to sequence. If you’ve chosen to use multiple tracks
in a DAW, create a one-bar loop, and while it cycles, arrange the samples to cre-
ate a unique rhythm, adding effects on a track-by-track basis. If you’re using an
Ableton Drum Rack or Akai MPC, it’s even easier: Just create a sequence using
the samples and leave room for each event to “pop.”
Get these links and more at
keyboardmag.com/oct2010
Audio examples by
Francis Preve.
More Online
46 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
Without a doubt, the Minimoog is the classic analog synth, so much that early recordings often attributed any synth simply as “Moog” on
album sleeve credits. The progressive rock and jazz-fusion movements pushed the Mini into the spotlight during the ’70s. Let’s check out some
of the Mini patches that made it famous, with patch diagrams from today’s Minimoog Voyager Old School. These translate to the “regular” Voy-
ager (though the modulation section is configured somewhat differently), and soft synth imitations equally well.
A couple of general notes: No two analog synths are alike, so if the oscillator tuning, filter settings, or envelope of a patch doesn’t sound quite
right to you, experiment with very small knob movements. Also, we’ve left the second modulation bus blank, as it’s not critical to any of these
patches. You could use it to add more performance control, e.g. opening up the filter a bit when you apply aftertouch. Mitchell Sigman
SOLUTIONS
Step by step
audio examples.
Archive of Steal
This Sound audio at
the author’s site.
More Online Get these links and more at
keyboardmag.com/oct2010
2. Rush’s “Tom Sawyer” Lead
One of the most recognizable synth leads ever. The secret to this patch is two sawtooth oscillators just barely detuned from each other. You’ll
need to tweak oscillator 2’s fine-tune knob until the oscillators almost sync—check out the online audio examples for reference. Another crit-
ical aspect: just a little bit of glide, i.e. a fast rate. (Clockwise = slower on the Voyager’s glide knob.)
1. Super Funky Bass
Here’s the funky, squirty bass patch used in the Bee Gees’ “Jive Talkin’” and countless disco classics. We’re using all three oscillators with the
first two set to sawtooth waves, and the third set to a square wave for thickness. The oscillators are detuned very slightly: +1 cent for oscilla-
tor 2, and –1 for oscillator 3. Filter cutoff is 50% open and resonance is about 60% of maximum.
Steal This Sound
FIVE LEGENDARY
MINIMOOG SOUNDS
48 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
5. Pseudo-Theremin
As heard in the Portishead track “Humming” from Roseland NYC Live, this simple one-oscillator sawtooth patch with heavy vibrato from the
LFO, along with a fairly slow glide, evokes ’50s sci-fi shows. This patch sounds great with spring reverb emulation or a warm delay, and is way
easier to play than a real theremin!
4. Wakeman Wah
Rick Wakeman really put the classic ladder filter to use in his “Catherine of Aragon” from The Six Wives of Henry VIII. Three slightly detuned
saw oscillators, a whole lot of filter resonance, and a very slow filter envelope are the keys to this patch.
3. ELP’s “Lucky Man” Lead
The other most recognizable synth lead! Keith Emerson sets all three oscillators to slightly detuned square waves with the filter wide open and
a generous amount of glide. Add some reverb for flavor, and go nuts with the octave and resonance knobs at the end.
49 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
Producers’ Roundtable
GO-TO SYNTHS OF EDM
This month, we’re kicking off a series of roundtables with today’s hottest producers. Each time, we ask a different question to a panel from
the electronic dance music or indie-pop worlds. Reach out to us by your favorite means (see page 10) with questions and names of artists you’d
like us to interrogate. Francis Preve
SOLUTIONS
Get these links and more at keyboardmag.com/oct2010
Visit these artists
online.
Our full review of
FXpansion Strobe
and DCAM Synth
Squad.
Our full review of
Native Instruments
Absynth 5.
More Online
Richard Dinsdale
At the moment I’m all over the Minimoog Voyager. I was lucky
enough to have Micky Slim lend me his, after which I had to
get one. No matter what I’m making, I can’t stop myself from
going to the Voyager. It’s packed with fat sounds,
and with three ocscillators with massive ranges,
there’s no limit to what it can make.
Josh Gabriel
With all my touring, there’s no choice but
to have my laptop be my studio. My go-to
synth is FXpansion Strobe. It generates sound using actual circuit models rather than plain DSP synth
modules. The results remind me of the fun I had in the ’80s with analog synths. Strobe is warm and
alive, a sound not often present in soft synths. The user interface is simple and inviting. They were
smart enough to have a basic “init” patch for control freaks like me. What’s more, this synth has one
of the best modulation systems I’ve ever seen. I can experiment with modulation possibilities that really
push the limits of traditional synthesis.
Josh Harris
For a while now, my [Access] Virus TI desktop module has been my go-to synth. Although soft synths
have come a long way over the last few years, I’ve always leaned towards hardware. There’s a sonic depth
my ears don’t usually hear in a virtual synth. The Virus TI is extremely deep. The saw wave patches are
some of the fattest out there, and the built-in effects add such dimensionality that I do very little to fit sounds
into a mix. It also interfaces perfectly with Logic via USB. You can automate it like a plug-in.
Patch Park (Perry O’Neil)
I’ve been into [Native Instruments] Absynth since I discovered it a few years ago. Its ver-
satility at producing soundscapes is like no other synth. I strongly recommend it for new
techno producers, as it’s packed with crazy presets. Just a few clicks can turn a rather sim-
ple pad into a neat chord stab or a nasty pluck. A feature called Mutator lets you create
new sounds based on characteristics of the presets you choose. For me, Absynth is really
the flagship of available software synths.
Richard Dinsdale
Josh Harris
Josh Gabriel
Patch Park
WHAT’S YOUR CURRENT GO-TO SYNTH FOR YOUR PRODUCTIONS?
50 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
W
e went way past “intuitive”
an
d
d
id
n’t sto
p ‘til w
e h
it “
d
u
h
.”
WWW.KORG.COM/PS60
It’s our most playable synthesizer ever. No complicated menus or manual diving required. We didn’t scale
back. We simplifed. We didn’t remove features. We added knobs. In the end, we designed the PS60 with
only one thought in mind: your next gig. So head down to the club, take the stage and leave the menus
where they belong – on the table!
Find the right sound fast with 440 in-demand sounds,
divided into six popular categories. Turn on more than
one to build simple layers or massive stacks.
Dedicated knobs and buttons make it easy to add,
remove, switch, and control the built-in EQ and effects
as you play.
Why settle for one synth when you can have two?
The PS60 can be split instantly at any key, playing different
sounds or layers on each half of the keyboard.
*Bonus FREE software runs your PS60 as six “hardware plug-ins” under any recording program!
Here’s the review: The Privia PX-3 is the most insane value out there
in a stage piano right now. Want acoustic and electric piano sounds that
stand tall at any gig? Want solid non-piano sounds? Want splits and lay-
ers? Want 88 weighted keys that feel a lot more expensive than they are?
Want to carry it under one arm almost as easily as you would a four-
octave MIDI controller? Want it all for less than the cost of eight first
dates at a toney gastropub? Get a PX-3 and be happy. If, however, you
think “Casio” connotes keyboards played only by irony-seeking hipsters
and actual children, keep reading. You’re going to feel like Woody Allen
in Sleeper.
Standout Sounds
Are the main piano sounds better than they should be? That’s the under-
statement of the year. The dynamic and harmonic transition through
the full velocity range is so smooth that if Casio didn’t say there were
four layers, I might guess eight to ten. “Grand Piano 1” is the full but
bright-leaning sound you’d play standing up in a cover band; “Grand
Piano 2” is mellower and more suited to jazz and classical.
My favorite electric piano is the effect-less “Elec. Piano Pure,” which
sounds just like a Mark I Suitcase, from the not-overdone tines to the
low-end brap. My second favorite is “60’s Elec. Piano,” which sounds
more full-bodied than many ROMpler Wurly presets. In both the acoustic
and electric piano banks, a couple of presets add strings or pads so you
don’t have to use up a layer.
Clavs cover the right bases, from “Superstition” sharp to “Use Me”
warm, but “Wah Clav” has a bit too much filter resonance. Though Casio
didn’t include the virtual drawbars of some other Priviae, organs range
from percussive to 16’-and-1’ reggae skank to all-bars-out. The rotary
effect doesn’t compete with dedicated clonewheels, but you can trigger
slow/fast speed with an assignable button.
The “Others/GM” bank hides some gems, including Oberheim-like
synth brasses and Moog-y saw, square, and pulse leads. The ten drum
kits at the end are very punchy. “Synth Set 1” in particular is a credible
TR-808 emulation, right down to the cowbell.
Controls and Editing
Splitting and layering is pretty easy: Zone Select buttons on the left choose
which of four parts the panel affects, while Layer and Split buttons on
the right determine what you actually hear. You set the split point by
striking a key—nice. The limitation here is that the keyboard does only
a two-way split of up to two layers on each side; you can’t, for example,
reassign an unused left-hand layer as a third right-hand part.
A global EQ with sweepable frequency on each of four bands pro-
vides major flexibility for sculpting your tone to the room or P.A. At the
per-part level, the PX-3 goes beyond basic mixing and panning to pro-
vide some synth-style tweaking: envelope attack and release, filter cutoff
(but not resonance), velocity response, portamento time, and LFO-based
vibrato. Oddly, there’s no monophonic mode, which should be an option
for synth leads. That said, the polyphonic portamento is sweet.
The Spartan button layout and small LCD keep the price low, but the trade-
off is that nearly every button does more than one thing. For some tasks, you
press one button while holding another. For others, you hold one down a
couple of seconds to engage its alternate function. Overall, this makes for some
manual-diving and “How’d I do that last time?” moments, at least at first.
The 64 Registrations make up for this by storing the entire state of
the PX-3: sounds, split/layer status, effects, EQ, those synth-like settings,
Casio
PRIVIA PX-3 by Stephen Fortner
GEAR
52 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
transposition, you name it. Pre-program some before the gig and you’ll be
golden. I’d like to see assignable knobs, or at least a data slider instead of
just up/down buttons, but again, moving parts add cost and take up space.
In Use
Our PX-3 made rounds between me, composer Richard Leiter, and New
Orleans-style piano rocker Josh Charles (see CD review on page 18), to
whom I rushed the PX-3 when the club he was gigging at didn’t have a
piano. After pounding out NoLa stride and boogie all night, Josh offered,
“This has to be the best lightweight digital piano out there. The mono
piano sound really cuts through the band, too. I’m quite impressed.”
Leiter praised the weight: “My fat cat weighs almost as much. It’s a lit-
tle odd putting it on the stand—the PX-3, not the cat—because it’s so
light. Once you start playing, though, it feels as solid and responsive as
any 75-pound keyboard.”
All who tried the PX-3 raved about the feel. Though it has plenty of
weight for serious piano practice, there’s a fluid, non-fatiguing quality that
made Josh say, “Usually, my hands hurt after playing a digital piano all
night, because I’m digging in too hard, trying to draw out something that’s
not there. Not this time.” I agreed completely. The black keys do have a bit
of side-to-side movement, but this was never an issue in actual use.
Conclusions
Doctor Who’s TARDIS is famously bigger inside than out. Casio seems
to have employed similar sci-fi technology to put such a serious piano
action in an instrument that weighs next to nothing. The least expensive
step up in features and sound would be something like a Yamaha CP50,
at literally twice the street price and weight. That illustrates the ground
the PX-3 stakes out: It’s damned good—more than enough for most real-
world gig use—and to get any better, you’re looking at multiples of price.
That’s the kind of value we call a Key Buy.
You get driverless, drag-and-drop backup when
connected to a computer via USB, and SMF song
playback from the onboard SD card slot.
CONCEPT Ultralight stage piano with split/layer ability.
POLYPHONY 128 voices.
ACTION Fully weighted and graded.
KEYBOARD ZONES Upper 1 and 2, Lower 1 and 2.
EFFECTS Global chorus and reverb plus a DSP multi-effect sharable by
two zones/parts.
W x D x H 52.04" x 11.25" x 5.31".
WEIGHT 23.8 lbs.
List: $999.99
Approx. street: $800
priviapiano.com
Specifications
Smooth, detailed, playable piano sounds. Great EP and synth sounds.
Impossibly light given the great-feeling weighted action. Supports half-
pedaling with optional three-pedal unit.
Editing is fiddly using the buttons and small LCD. No after-
touch. No sweep pedal input, just two footswitch inputs.
Video: Privia PX-3
unboxing and
first play.
Casio’s Mike
Martin demos
the PX-3 at
retailer Kraft
Music.
More Online Get these links and more at
keyboardmag.com/oct2010
53 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
The look of Korg’s new PS60 is all business, not unlike their earlier
M- and T-series keyboards or a Roland D-50. While Korg’s designs for
the Radias, M3, and SV-1 are certainly more audacious, the PS60’s no-
nonsense appearance bespeaks its single-minded mission: To be taken
onstage and played live. You have to wonder if the lack of flamboyance
is calculated to enhance appeal in hard times: “Look, honey, it’s not a
flashy toy. Can I get one, please, can I, please?” The lightweight plastic
enclosure is reasonably rigid, and the panel is as organized and as easy
to read on a dark stage as it is in bright sunlight. (The LCD doesn’t fare
as well in the sun, but what LCD does?) It’s also appealingly compact.
Layout
Performance controls are at left and include a dedicated button for simu-
Leslie speed on organ sounds, octave and semitone transpose controls,
and four banks of five preset Performances per bank. A Performance is
a macro-level setup encompassing sounds, splits and layers, effects sends,
modulation effects, delay, reverb, and EQ. The Easy Setup panel at cen-
ter is where you choose sounds and build splits and layers on the fly.
Here’s where things get interesting. The PS60 is always in what many
other axes call multi, combi, or performance mode. All six sound cate-
gories are available at the touch of a button. Want an acoustic/electric
piano layer? Light the On button under “A. Piano” and choose a piano
sound, hold that On button and press its counterpart under “E. Piano,”
then choose an electric piano. Balance to taste using the white volume
knobs. Done. Dare to create a massive, six-layer monstrosity? Light up
all six On buttons and go nuts. With 120-voice polyphony, you’re pretty
much ready for anything.
Keyboard Feel
When I placed the PS60 front and center in my studio, and before turn-
Korg
PS60
by Ken Hughes
GEAR
Video: First look at
Korg’s other new
keyboard, the
MicroStation.
Audio demo by
the author.
More Online Get these links and more at
keyboardmag.com/oct2010
54 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
ing it on, I thought its synth-action keys were way too light and that they
bottomed out too softly. Why do I mention this? Because you might make
the same judgment if you encounter the PS60 at a retailer where they
don’t keep every unit plugged in. After I spent some time playing (what
a concept!), a whole new impression confronted me. The PS60 impressed
me as much with its keys-to-sound connection as the vastly more expen-
sive Yamaha CP1 stage piano. Granted, it’s a completely different feel
from anybody’s piano-weighted keys, but the PS60’s keys are a pleas-
ure to play because—and this is important—their response is so tightly
integrated with the internal synth engine. Many of the source samples,
if they don’t actually feature a dozen or so velocity layers, feel as if they
do. It’s so bloody easy to be musical. Okay, I’m gushing. Go play one
and find out why.
Sounds
Certainly we’re in bread-and-butter land—but it’s artisan bread and fresh
butter from a local creamery. The grand pianos in particular are gorgeous,
with plenty of girth, sparkle, and air. They’re everything you want in a
stage piano, and there are several tasty flavors. It’s here that the finger-to-
music connection is at its absolute best. If you buy and connect a Korg
DS1H damper pedal (about $60), you get half-pedaling, too. Stretch-
tuned pianos are offered; try them for solo piano songs or passages.
Electric pianos, both Rhodes and Wurly, are every bit as good, aided by
a clever implementation of the Lock button above the joystick: Push the stick
forward for tremolo to taste, then press Lock to keep it there. (Incidentally,
the Lock button can affect either, but not both, of the joystick’s axes.) Creamy,
swirly, snarly, Disney end credits—all the essentials are on hand, as well as
cool extras like digital, Prophet VS-style electric piano sounds, which are ren-
dered really well. Clavs and harpsichords live in this bank, too, including one
with the key-off noise of a real Clavinet with sticky old hammers.
Korg has great organ simulations, but CX3-style drawbar modeling
isn’t part of the PS60’s innards. The simu-Leslie isn’t as convincing as I’d
like to hear, but Korg has included a slew of drawbar tonalities, plus
delightfully cheezoid transistor organs for when you need to pump it up,
light someone’s fire, or cry 96 tears. If you spend most of your time play-
ing B-3 sounds, you’re probably going to get them from a dedicated
clonewheel anyway. All this said, the audio demo at keyboardmag.com
attests that even a relative hack like me can wring a decent Hammond
sound out of the PS60.
In Use
Spending a few weeks with the PS60 was really enjoyable. I used it in the
studio as both MIDI controller and sound source. The keys that I had
initially dismissed became my new favorite for playing soft synths, devices
in Propellerhead Reason, and the like.
I cooked up a demo tune that answered the question: “What would
it sound like if Tower of Power had Donald Fagen and Bernie Wor-
rell sit in?” Since the PS60 contains no drum sounds, not even in a
General MIDI bank buried somewhere, Reason provided drums and
percussion. Since the PS60 isn’t a workstation with a built-in sequencer,
I recorded everything else live as audio into Pro Tools LE 7.4. I found
a perfect bass guitar among many worthy candidates in the Synth
bank, which seems to be more or less the “everything else” category
in the PS60.
Layering a Dyno Rhodes with a bright grand piano was a snap, and
with a little tweak to the phaser effect on the Rhodes, I had exactly the
GEAR
CONCEPT An always-in-multi-mode gig synth loaded with high-quality sounds
you can split and layer with alarming speed.
POLYPHONY 120 voices in single mode; 60 voices in double mode.
MULTITIMBRAL PARTS 6: Acoustic Piano, Electric Piano, Organ, Strings,
Brass, and Synth.
SIMULTANEOUS EFFECTS 5 inserts, 2 master, plus global EQ.
W x D x H 36.41" x 11.45" x 3.54".
WEIGHT 10.14 lbs.
List: $899
Approx. street: $700
korg.com/ps60
Specifications
Exceptional finger-to-music connection. Half-pedaling on piano
sounds with extra-cost pedal. Compact and light. Great sounds.
Multiple tuning temperaments.
No aftertouch. No arpeggiator. Can’t layer programs from the
same category.
56 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
musiciansfriend.com 800.776.5173
Friend Us. Fan Us.
Follow us for weekly
deals just for you. Best Selection, Price & Service. Guaranteed.
GEAR
With the PS60 connected via USB and this plug-in or standalone editor running on your Mac or PC, knob and button
moves on the PS60 update instantly onscreen, and vice versa. You can also automate the PS60 like a soft synth.
right texture. I tracked the layered piano-and-Rhodes in one pass. Build-
ing a credible funk horn section required two passes with different sounds;
the PS60’s otherwise excellent “TOP Section” patch gave me a pre-made
split (this is a single program, not a multi) with a fat baritone sax in the
left hand and a sax-and-trumpet trio in the right. It sounded a little soft,
though, so I overdubbed a pass of “Killer Brass,” which skews more into
Jerry Hey territory. Mixed just under “TOP Section,” it added extra sharp-
ness. I also used the pitch bender to add very subtle “falls” to the end of
each brass stab on this pass. Korg’s joystick has always made this gesture
easier for me than a pitch wheel or Roland-style paddle. If the PS60 let
me layer Programs from the same category, I could have recorded both
brass sounds in one pass, but no dice.
After that, I tracked the organ, with some judicious volume pedal
work using the pedal from my Korg CX3. I used the “Distortion” patch,
which did a nice job of evoking Chester Thompson’s “Squib Cakes” and
“What Is Hip?” tones. For the lead synth sounds, I had so much fun blow-
ing through them that I can’t tell you exactly which ones I used, but I can
tell you there’s nary a ho-hum sound in the lot. Hiding in the Synth sec-
tion are a number of pretty good guitars as well, including a distorted
lead and a jangly, tremolo-dipped Telecaster.
Not only is there a great software editor included with the PS60, but
it also runs as a plug-in in all major DAWs, as well as standalone. It makes
working with the PS60 like working with a soft synth, right down to
automating all front-panel parameters from your DAW. (In Pro Tools,
you need to add those you wish to automate in a pop-up after clicking
the Auto button in the plug-in itself.)
The PS60’s editor wants to be connected to the PS60 by USB only; I
tried it with old-fashioned MIDI and USB at the same time because my
rig includes hardware synths connected via a vintage Midiman interface,
and I got a MIDI note loop that ate up the PS60’s polyphony and gave me
phasey sound no matter what the local on/off settings were on each end.
The fix was to go into Pro Tools’ “Input MIDI Device” settings and de-select
the Midiman port to which the PS60 was connected, so that Pro Tools
saw the PS60 over USB only. Not the PS60’s fault—just something to look
out for if your studio is “blended” like mine.
Conclusions
As I put a rig together for a tour with my band Maybe Tuesday, the PS60
is very attractive with its light weight, small size, low cost, fantastically
responsive keys-to-synth connection, and quick navigation. Using the
editor software beforehand and storing custom presets will save time. I’ve
seen some online forum chatter bemoaning the lack of a sequencer. That
misses the point—if you want a workstation, go get one. An arpeggiator
would’ve been useful, though. Though the absence of aftertouch detracts
from the appeal as a player’s axe, you can’t have everything at this mod-
est price.
The needs of weekend warriors in bar bands and in churches are
remarkably similar, and the PS60 is a home run for both camps, espe-
cially those on a tight budget, and isn’t that most of us right now? I
predict that a lot of mid-level touring pros, not just beginners, will
get a PS60, a case, and a spare wall wart, and hit the road. I’ll likely
do just that.
58 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
One of my best musical memories is the first time I heard a Moog
Taurus in the early ’80s. Geddy Lee of Rush masterfully employed this
foot-powered tank on the screen of my friend’s black-and-white TV
while simultaneously playing a mountain of synths and a double-necked
Rickenbacker. It was a magical, archaic, unobtainable instrument per-
haps only meant for this special breed of one-man-band warlock. Still,
it looked just like the pedals on Mom’s old Lowrey organ, so I thought
to myself, “Maybe someday.”
The majestic bows and wows of the Taurus were expertly programmed
by Dave Luce of Polymoog fame, and etched permanently on many minds
as the definitive synth bass tone. Tone-questers have been driving up
prices of used analog gear steadily, including the original Taurus, owing
to that old notion that there’s no way to put the “wow” in our bow-wow
other than to spend ungodly cash on the clunky greatness of ancestral
technology. That may have been true once, but thankfully, it no longer
is. After years of pleading by Moog fans, the company has released the
Taurus 3, a glittering, wood-capped, aluminum marvel that culls design
cues from their oldest to their newest synths.
Overview
The Taurus 3, like the first Taurus, is a one-octave pedalboard attached
to a throaty two-oscillator analog synth. Though the Taurus 3’s oscilla-
tors generate sawtooth waves only, it adds a far more programmable
interface than the original, not to mention patch memory for 52 presets.
The two big sliders from the original Taurus give way to oversized, rub-
berized, light-up footwheels: Volume, and a Control wheel assignable to
Moog Music
TAURUS 3 by David C. Lovelace
GEAR
60 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
anything you’d want to tweak.
The design is so evocative of the Little Phatty that you could call the
Taurus 3 a “Big Phatty.” Connections, which are all on the left end block,
include hi-Z and lo-Z mono audio outs (for plugging into a bass amp or
mixer, respectively), plus control voltage (CV) inputs for volume, filter,
pitch, and keyboard gating, enabling modular synth-like patching with
your other analog gear. The top area of the panel contains the Phatty-like
buttons, which control oscillator, LFO, filter, and arpeggiator parameters.
The bottom half of the panel has nine stompbox-style buttons for patch
and bank select, transpose, and various performance controllers. Though
the panel says “Control” under the three rightmost buttons (Glide, Decay,
and Octave), those aren’t assignment buttons for the Control wheel—
they’re separate on/off toggles. As a rule, the Control wheel affects the
most recently selected parameter in the top area—and the adjacent ver-
tical LED bar is both quick reference and cool eye candy.
Performance
At a public performance of electronic music, the only problems I had
were solely on my own foot—pardon the pun. Despite never quite mas-
tering the pedals like Geddy Lee did, I had an easy time changing patches,
sweeping parameters with the Control wheel, and setting tap tempo, an
alternate function of the Transpose button when in Program mode. You
should practice on these pedals as you would on any unfamiliar instru-
ment before performing. The technique associated with the original had
more to do with root-and-fifth rock foundations than with Hammond-
style fancy footwork, so it’s not inordinately difficult to become compe-
tent. Else, hook up a MIDI controller and play this beast with your fingers.
On the subject of MIDI control, the Taurus 3 receives note-ons for C0
through C3 only. This is a MIDI limit only, meaning you can get higher
by controlling pitch via analog CV. Depending on your MIDI keyboard,
you may need to downshift an octave or two to get to C0, the low C of
the pedalboard itself. Then you’ll have the full three-octave range—four
if you stomp the Octave button at the right time. Still, given the many
presets that sound like they’d make great leads, I’d like to see a higher
MIDI note range for finger-dependent shredders.
Sounds
While the Taurus 3 may not double as a lead synth, it makes up for this in
spades with its collection of preset patches. Right out of the box, you’re in
business with A1, “Taurus III,” a low growl that opens up wonderfully with
the Control wheel, here assigned to cutoff amount. Possibly my favorite
preset is B2, “Gordon.” It’s a perfect resonant sweep I used quite a bit as a
one-note accompaniment that rounded out many a performance with its
pure synthetic bliss. Presets E4, “SlowRezzRamp,” and G2, “BullAcidTest,”
are two great choices for definitively acidic Roland TB-303-style arpeg-
giations. You might even give Geddy himself a run for his money with G3,
“Muted Arp,” which sounds like it was lifted directly from one of Rush’s
1980 Signals tracks. If you play prog, fusion, or any kind of electronica,
you’ll be very happy with the sounds the Taurus 3 will add.
Conclusions
Sure-footed bass pedal-ists and analog fans in general are sure to love the
return of Moog’s big, bad, bass beast. It’s a stylish, well-built synth with
an analog soul that purists and traditionalists will instantly recognize and
fall in love with all over again. It sounds as great as it looks. More impor-
tantly, it sounds as great as its ancestor.
CONCEPT Foot-controlled analog bass synthesizer.
OSCILLATORS 2.
FILTER 24dB-per-octave lowpass, ladder 20Hz–20kHz range.
MODIFIERS Latch arpeggiator, volume and filter envelopes, LFO.
PRESETS 52; 1 bank of 4 factory presets each, 12 banks of 4 user
presets each.
W X D X H 25" x 24" x 8.5".
WEIGHT 45 lbs.
PRICE:
$1,995 (no list/street difference).
moogmusic.com
Specifications
Recaptures the huge sound of the original Taurus. Great updates,
including arpeggiator. Fluid performance ergonomics. Missile-proof
construction.
Oscillators generate sawtooth waves only. Three-octave maximum
MIDI input.
Video demo by the
author.
More Taurus 3
audio examples.
More Online Get these links and more at
keyboardmag.com/oct2010
The Taurus 3 is more like the original (right) than the Taurus II (left),
which was essentially a Moog Rogue on a stick, albeit with a longer
18-note pedalboard.
61 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
In a world overflowing with great music software, some key factors
set Reason apart. First, Propellerhead has always paid close attention to
user interface design. As complex as Reason is by now, it’s remarkably
easy to use. Second, the Propellerhead gurus have always had a clear vision
of what Reason is and what it’s not.
Though the combination of Reason and Record is a complete audio
and sequencing-based multitrack production studio with its own great
instruments and effects, it’s not a do-everything digital audio workstation
in the mold of Logic, Cubase, Sonar, and Digital Performer. This leads to
certain limitations. Notably, Reason doesn’t host third-party plug-ins. Nor
is there a video window, so it’s not suitable for soundtrack work. One
advantage of this sort of closed system is that it’s extremely stable. While
working on this review, I encountered not a single glitch of any kind. Also,
the user interface is consistent no matter what module you’re using.
Discussing even the basic features of Reason would take many pages. It
has terrific synths (Thor, Malström, and Subtractor), a full-featured multi-
sampler, a ten-channel drum sampler, a monophonic step sequencer, detailed
control over the feel of rhythm tracks, a variety of great-sounding effects,
and a rear-panel patching system where dragging virtual cables between
virtual jacks turns the whole thing into one vast modular instrument.
Prior to Record 1.0 (reviewed Dec. ’09), you had to use ReWire to
pipe Reason’s audio output into a DAW if you wanted to record audio
Propellerhead
REASON 5 / RECORD 1.5 DUO
by Jim Aikin
GEAR
Two new modules beef up Reason 5.
Kong is a percussion designer with a
choice of synthesis types. Dr. Octo
Rex loads eight REX file beats at
once and lets you switch between
them on the fly.
62 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
tracks. Record changed all that. Record is available separately, but if you
own Reason, the two become a unified program. All of Reason’s instru-
ments are available for adding MIDI tracks to Record, all your tracks
appear in one sequencer display, and Record’s powerhouse mixer is avail-
able as an output for Reason instruments.
In this review, we’ll focus on two things. First, the new features in Rea-
son 5: the Kong percussion designer, Dr. Octo Rex drum loop player, a
new sequencer mode, and integrated sampling. Then we’ll take a look at
Record 1.5, which adds the much-needed Neptune pitch corrector/voice
synth to the lineup.
Kong
Reason’s ReDrum module is very capable, but by now it’s looking a little
old-school. ReDrum is still part of Reason, but Kong kicks Reason’s per-
cussion into a whole new dimension. Kong lacks ReDrum’s pattern
sequencing, but this is not a problem. First, many people record ReDrum
parts directly into Reason’s sequencer, and seldom use the pattern edit-
ing features. Second, if you prefer patterns you can easily set up a pair of
ReDrums and use their patterns to play Kong, by connecting ReDrum’s
rear-panel gate outputs to Kong’s gate inputs.
Kong has 16 pads and a vaguely MPC-like look. You can record from
the pads into the sequencer by clicking them, which is a nice extra, or
play them from a MIDI controller in the normal way. They even respond
to mouse position by varying the velocity, which many mouse-click pads
don’t do.
Kong is a bit like Thor in that you can choose different modules for
its sections. Each pad can produce sounds using sample playback, a trig-
gered REX file loop, physical modeling, or modeled analog synthesis. The
latter two are brand new to Reason, and they add a huge palette of sounds
to Kong.
Speaking of sounds, Kong comes with dozens of high-quality kits,
some of them designed by such luminaries as Printz Board and Bomb
Squad. And naturally, you can mix and match hits from different kits.
Each pad has two insert effects, and some of them are unusual: a noise
source, a tone source, a snare rattle generator, and a transient shaper.
Rounding out the list are compressor, filter, parametric EQ, reverb, tape
echo, ring modulator, and an overdrive/resonator. After the insert effects,
the drum sounds can then be routed to a dry output, or to either of two
more “global to Kong” effect modules. On the rear panel there are inserts
(stereo) between the two global effect modules, so you can patch any of
Reason’s devices into the signal path.
I would’ve liked to see rear-panel “CV” inputs to the individual
drum modules, but that would’ve made the rear panel a mess. Also,
some of Kong’s knobs can be automated and some can’t. On the phys-
ically modeled bass drum, for instance, Pitch, Damp, Decay, and Level
can be automated, but Beater Level, Tone, Density, Tune 1, Tune 2, and
Bend Amount can’t. In the NN-Nano sampler, Pitch, Sample Start,
Level, and Decay can be automated, but not Amplitude Attack Time,
Pitch Envelope Amount or Time, or any of the five Velocity Response
knobs. Depending on what you want to automate, this may or may not
become a source of frustration.
Describing every feature of Kong would take pages. Briefly, the sam-
ple playback module lets you stack and assign velocity zones to multiple
samples. There are three physical models (kick, snare, and tom) and four
analog models (the same three plus hi-hat). If you’re into designing drum
sounds, you’re gonna love Kong.
Dr. Octo Rex
The Dr. Rex loop player has been around since Reason 1.0. In Reason 5,
Dr. Octo Rex replaces it. According to Propellerhead, existing songs that
use Dr. Rex should work fine, as Dr. Octo Rex will load the old Dr. Rex
data into its first slot and play it back.
Dr. Octo Rex loads eight REX files at once. All eight share the same
basic set of voicing controls (filter, two ADSR envelopes, and so on), but
four new parameters have been added for each slice of each loop: filter
frequency, reverse, output, and alt group. There are four stereo output
Get these links and more at keyboardmag.com/oct2010
Author’s audio demo of
Neptune pitch correction.
Our original review of Record
version 1.0.
Tutorials by former
Keyboard editor-in-chief
Ernie Rideout.
More Online
CONCEPT Reason: A do-everything rack of synths and effects with a very
capable sequencer. Record: Audio multitracking and modeled-analog mixing con-
sole. Duo: Record and Reason devices integrated as a do-it-all virtual studio.
REASON INSTRUMENTS Subtractor modeled analog synth, Malström
granular synth, Thor modular synth, NN-19 and NN-XT samplers, ReDrum
and Kong percussion, Dr. Octo Rex loop player.
REASON EFFECTS Reverb, delay, chorus/flanger, phaser, Scream distor-
tion, vocoder, envelope filter, mastering (equalizer, stereo imager, compres-
sor, maximizer).
RECORD INSTRUMENTS AND EFFECTS ID8 sample player, Neptune
pitch correction, vintage-emulation EQ and dynamics on every mixer chan-
nel, master bus compressor, plus most of the Reason effects.
Record/Reason duo
List: $449.99 Approx. street: $400
Reason 5
List: $349.99 Approx. street: $300
Record 1.5
List: $299.99 Approx. street: $250; $149 for Reason owners
propellerheads.se
Specifications
Powerhouse percussion synthesis. Integrated sampling. Convenient song
arrangement tools. Great user interface. Extensive rear-panel patching.
2GB sound library. ReWire support.
Sample editing could be beefed up. Still doesn’t host third-
party plug-ins. No video window.
63 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
pairs in addition to the main output. This means that you could route a
snare, for example, out to a reverb.
You can trigger separate loops in Dr. Octo Rex using MIDI keys in
the octave below a 61-note keyboard’s five-octave range—shift your key-
board down an octave to get there. In this performance mode, only one
loop will play at a time. The new loop that you’ve triggered can start on
the next bar, the next beat, or the next sixteenth-note—but the operative
word is “start.” Dr. Octo doesn’t keep track of where you are in relation
to bar lines, so it can’t switch to a different loop in the middle of the cur-
rent loop. If you trigger a loop on beat 3 of a bar, for example, it will be
offset by half a bar.
When you use the Copy Loop to Track button, each loop will have its
own lane within the sequencer track, and the selection of which Dr. Octo
slot the notes will be sent to is controlled by automation. This is quite
useful, as you can easily copy one loop to the track, then have its note
data play different REX file slices.
When two or more slices of a loop are all assigned to the same alt
group, Dr. Octo will choose among them randomly if it’s playing back a
loop using its internal sequencer. When you click the Copy Loop to Track
button, each iteration of the beat loop within the longer loop region in
the sequencer track will have its own randomized pattern of note events
for each alt group, but from then on the pattern will be repeatable, and
you can edit it as needed. One way you’d use this feature is for randomly
choosing which of four snare hits will fire on beats 2 and 4.
Blocks
Although Reason has a couple of pattern-based devices (ReDrum and
Matrix), its main sequencer has always been linear, playing your song
from start to finish. Blocks change all that. The song still plays as it did
before, but you can now record up to 32 multitrack Blocks and insert
them wherever you like in the song. A Block could be a multi-instrument
drum groove, for instance, or an entire verse. Laying out verse/chorus
forms with Blocks is easy.
Thirty-two Blocks may not seem like a lot, but the clever thing is that
you can override the data in any Block at any spot. If you want a different
drum fill at the end of the second verse, for instance, just go into record
mode and overdub it. Your new recording will replace the data in the
Block—but only at that one spot. In addition, any track or lane can be muted
during the playback of any Block, so you can build an intro one layer at a time
using only a single block, by unmuting a new track every two or four bars.
Sampling
New in Reason (Record is not required for this) is the ability to capture
new samples. These can be automatically assigned to sample playback
devices, such as a ReDrum or Kong channel. You can sample external
audio, or capture the sound coming from one or more Reason devices.
You can then export samples if desired—say, if you’ve designed a killer
drum sound in Kong and want to use it in another program.
A maximum of 30 seconds of stereo sampling time (per sample) is
available. This will be plenty for sound design or for capturing loops, but
not enough to record a whole song.
In the basic Sample Edit window (see above), you can normalize the
gain of an entire sample or any part of it, but user-definable gain change
is not implemented, so there’s no way to squash unwanted clicks or pops.
Likewise, you can program a fade-in or fade-out for the sample, but user-
definable fade curves aren’t possible.
Record 1.5
By itself, Reason is strictly for making music with its own suite of instru-
ments. You can import samples recorded elsewhere and play them using
GEAR
The modules in Record include the ID8 synth and the audio track device, which can host inserts.
Here, the Neptune Pitch Adjuster is inserted in an audio track.
After capturing a sample in Reason, you can edit it in the
Edit Sample window. The tools here are basic: normalize,
fade-in/out, reverse, crop, and loop point editing.
64 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
is lle lalesl ºersicr cí lle tllirale scílWare cclleclicr írcr
Naliºe lrslrtrerls. NcW liccer ar1 leller, ar1 íealtrirc Z1 KOM|lE!E lrslrtrerls ar1 Eííecls, llis 9J OB
rac|ace is ltrslirc Will rcre llar lJ,JJJ rrc1tclicr-rea1¡ sctr1s ícr all sl¡les ar1 cerres. KOM|lE!E !
irclt1es rercWre1 ƃacslir rrc1tcls li|e KON!AK!, OUl!AR RlO ar1 lle re1esicre1 REAK!OR 5.5 rlts all-
reW irslrtrerls ar1 eííecls írcr Naliºe lrslrtrerls ar1 lrar1s li|e Alle¡ Rca1 ar1 Scarlee. Rlalős rcre,
¡ct alsc cel a SCJ e-ºctcler lc |eer cr e\rar1irc, ra|irc llis lesl-sellirc ltr1le rcre |crrlele llar eºer.
Oel ítll 1elails cr all Z1 KOM|lE!E lrslrtrerls ar1 Eííecls al:
www.rat|ºe-|rstraæerts.ooæ/koæp|ete
M0RE K0MP|E!E !HAN E\ER.
M
A
S
S
l
\
E

W
a
s

1
e
s
i
c
r
e
1

a
r
1

1
e
º
e
l
c
r
e
1

e
r
l
i
r
e
l
¡

l
¡

N
a
l
i
º
e

l
r
s
l
r
t
r
e
r
l
s

O
r
l
N
.

S
c
l
e
l
¡

l
l
e

r
a
r
e

M
a
s
s
i
º
e

i
s

a

r
e
c
i
s
l
e
r
e
1

l
r
a
1
e
r
a
r
|

c
í

M
a
s
s
i
º
e

A
t
1
i
c

l
r
c
,

U
S
A
.

A
B
B
E
\

R
O
A
D

i
s

a

r
e
c
i
s
l
e
r
e
1

l
r
a
1
e
r
a
r
|

c
í

E
M
l

(
l
|
)

l
i
r
i
l
e
1
.
a Reason sampler module, but that’s hardly a convenient way to record audio for, say, adding a
vocal track.
Record is for audio multitracking. Even without Reason, Record has most of the Reason
effects, but only one basic MIDI instrument, called ID8. Record has a massive, feature-rich
mixer, and also a guitar amp modeler. You can record multiple takes in loop mode and comp
together a keeper track without trouble. ID8 gives you a simple but useful selection of key-
board, bass, and drum sounds in case you don’t have Reason and want to support your guitar
or vocal tracks.
Since version 1.0, Record could time-stretch audio tracks—very convenient for changing the
tempo of a vocal for a dance remix. In 1.5, you can also adjust the pitch of audio, thanks to Nep-
tune (see below).
Unlike most DAWs, Record saves all of its audio data in the song file itself. This has advan-
tages and drawbacks. A plus is that it aids collaboration: Send someone your project, and
they won’t be asked to “please locate” audio files. On the other hand, if you save incremen-
tal versions of a song as you’re developing it, Record will chew up hard drive space pretty
quickly. Also, if you want to open an audio track in another program, you’ll go through an
extra exporting step first.
Neptune
Like other retuning systems, Neptune is designed mainly for monophonic tracks such as vocals.
Neptune has a number of features beyond simple pitch correction. I found that it worked well for
both subtle pitch correction and T-Pain-style vocal mangling.
Neptune processes audio while the music plays—it’s not an editor. Its most important con-
trols are the Correction Speed and Preserve Expression knobs. As you turn up the Correction
Speed, the vocal will “snap” to the correct pitches more quickly. The Preserve Expression knob
lets vibrato and pitch slides sneak through without being squashed.
In the center of the panel are controls for setting a scale whose pitches will be used in the cor-
rection process, and a Catch Zone Size slider: When an incoming pitch is in the “catch zone,”
Neptune will correct it.
There are four programmable presets for the scale controls, and the preset select buttons can
be automated. This is nice if your song changes key in the middle, for instance. Correction Speed
and Preserve Expression settings aren’t stored with the presets, but these knobs can be automated
separately, which is even better.
If you send Neptune MIDI notes, it “corrects” the pitch of the vocal to whatever note you play.
This lets you superimpose an entirely new melody on a vocal. Instead of (or in addition to) cor-
recting the pitch, you can use Neptune as a transposer; its range is plus or minus 12 semitones,
and there’s a Cents parameter for fine-tuning. With the Formant Correction knob, you can move
the vocal formants up or down independent of the pitch, to help the transposition sound more
realistic, or intentionally less so for chipmunk or Darth Vader vocal effects.
Neptune also includes what appears at first glance to be a bare-bones vocoder. Reason has a
real vocoder, of course, but the Voice Synth in Neptune, while not actually a synthesizer, is easy
to use, and it’s in Record if you don’t have Reason. When you route MIDI notes to it, the Voice
Synth pitch-shifts the input up and/or down simultaneously to all of the MIDI notes it receives,
producing what sound like vocoded chords. The Voice Synth can be routed to a separate rear-
panel audio output, which I recommend. I added an ethereal choir behind my lead vocal by pro-
cessing the Voice Synth output through a filter, a chorus/flanger, and a reverb, then mixing it in
at a fairly low level.
Conclusions
Reason 5 and Record 1.5 are welcome upgrades—and Record 1.5 is free if you use Record 1.0
standalone. The new features are very welcome, especially the Kong percussion designer and the
Blocks mode in the sequencer. Neptune is not groundbreaking, but it fills a hole in the feature
set, making Record much more competitive. I doubt I’ll use the live sampling much, but for some
musicians it will be a great plus. For creating almost any kind of pop music on your computer,
the Reason/Record Duo is a terrific choice as a creative platform, especially considering that it
sells for less than the price of most DAWs and many single plug-ins.
www.rat|ºe-|rstraæerts.ooæ/e|eæerts
!le all reW KOM|lE!E ! ElEMEN!S lrircs
¡ct Z,JJJ cí lle lesl sctr1s írcr Naliºe
lrslrtrerlső ƃacslir KOM|lE!E ! ícr jtsl
Sll9. Rill lZ OB cí irslrtrerls ar1 eííecls,
il's all ¡ct ree1 lc slarl rrc1tcirc rtsic
ricll aWa¡. A11 lle irclt1e1 SCJ e-ºctcler
ar1 ¡ct'ºe ccl lle rcsl aíícr1alle Wa¡ eºer
lc erler lle Wcrl1 cí KOM|lE!E.
EN!ER
!HE d0R|0 0|
K0MP|E!E
A
B
B
E
\
R
O
A
D
a
r
1
l
l
e
A
B
B
E
\
R
O
A
D
lc
c
c
a
r
e
l
r
a
1
e
r
a
r
|
s
c
í
E
M
l (
l|
)
l
ir
il
e
1
t
s
e
1
t
r
1
e
r
lic
e
r
c
e
.
67 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
Your Bridge to the Future
CONFERENCE
November 4-7, 2010
EXHIBITS
November 5-7, 2010
Moscone Center
San Francisco, CA
www.aesshow.com
129
TH
AES CONVENTION
M
A
R
K
E
T
P
L
A
C
E
69 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
PRODUCT SPOTLI GHT
To advertise in this section contact: Will Sheng at 650-238-0325 or wsheng@musicplayer.com
Special Advertising Section
Radial ProD2 Phase Accurate Compact Stereo DI
Radial Engineering
Now Available
From the DI pro’s at Radial, a stereo Direct Box
that’s perfect for keyboards. The ProD2’s custom
audio transformers are engineered for high signal
level, linearity and the phase accuracy so important
for solid bottom.
USD SRP: $160
www.radialeng.com
604-942-1001
Action Drums: Cinematic Edition
Nine Volt Audio
Now Available
Recorded in a concert hall, Action Drums:
Cinematic Edition brings epic percussion
to the REX, Stylus RMX, ACID Wav and
Apple Loop formats.
SRP: $99.99
www.NineVoltAudio.com
Amp Modeler Pro
Studio Devil
Now Available
Studio Devil AMP combines breakthrough
tube amp realism, cabinet impulse
modeling, tone-shaping EQ, and studio
effects into one, straight ahead amp
modeling plug-in. Dial in the professional
guitar tone you expect into your next
recording project without the fuss. Demo
versions available online for guitar and bass.
SRP: $149
www.studiodevil.com
info@studiodevil.com
AT4080 & AT4081 Bidirectional Ribbon Microphones
Audio-Technica
Available Now
Revolutionary ribbon microphones feature groundbreaking Audio-
Technica dual ribbon design with 18 patents pending; innovative
MicroLinearô ribbon imprint; powerful N50 neodymium magnets;
extremely durable performance; and smooth, warm, high-fidelity
sound.
AT4080 $1,245; AT4081 $895
www.audio-technica.com
72 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
CLASSI FI EDS
Pianos & Organs
Talent and Employement
Sounds, Sequences, & Software
Education & Tutorial
Acoustic Products & Services
Mixing and Mastering
Studio Furnishings
Categories
Acoustic Products & Services
Education & Tutorial
Learn Piano Tuning, Repairing, And Regulating,
taught by Craftsman technicians. Complete
correspondence course includes written and video
tape training material, Apprentice Training
Manual, much more. Licensed by Departmentof
Education. www.pianotuning.com.
Randy Potter School of Piano Technology,
61592 Orion Dr., Bend, OR 97702. (541) 382-5411.
Learn jazz piano on the internet at
www.JazzPianoOnline.com
Sounds, Sequences & Software
BAND-IN-A-BOX IMPROVEMENT PRODUCTS
* Put A Better Band In Your Box * Norton Music
(since 1990) * www.nortonmusic.com
www.VintageKeyboardSounds.com Authentic
MELLOTRON, B3, and COMBO ORGAN
SAMPLES. All Formats Supported. 562-856-9333
Studio Furniture
Mixing and Mastering
Talent & Employment
www.MusiciansContact.com.
Paying jobs online.
Thousands of satisfied members since 1969.
(818) 888-7879
Buying or selling instruments through our Classified Ads
offers you convenience, a big marketplace, and a
wide range of instruments and prices. However, buying
mail-order does have its drawbacks, too. Keyboard
Magazine suggests the following guidelines to help the
buyer and the seller in these transactions: 1) Get a
written description of the instrument, which should
include the serial number. 2) Get front and back
photos of the instrument. 3) Get a written purchase
agreement, with a 24-hour approval clause allowing
the buyer to return the instrument for a full refund if
it does not meet his/her reasonable expectations.
www.B3GUYS.com
HAMMOND Organs
& LESLIE Speakers
Sales - Service - Parts - Rental
615-438-8997
For more information, check out our website at
www.keyboardmag.com
www.SoundsForSamplers.com
Dopest Hiphop/R&b sound kits & Turorial
Dvds 4 All Akai Mpc ,& Asr10/x Wav & most all
software/hardware formats.
760-246-9492
www.b3hammond.com. Buy/Sell MINT
Hammonds, Leslies. Wordwide sales.
(701) 400-2933, b3hammond.com@bis.midco.net
Pianos & Organs
73 1 0 . 2 0 1 0 K E Y B O A R D M A G . C O M
WALDORF WAVE
The pricey heir to the PPG throne pumped
digital wavetables through analog filters.
Its Minimoog-like flip-up panel was
designed by Axel Hartmann, who would
later design the Moog Voyager’s panel.
EMS VCS3
Predating the Minimoog by a year,
the VCS3 also subscribed to the wis-
dom that three oscillators are better
than two. A pin matrix straight out of
“Battleship” let you change the default
signal path.
ARP ODYSSEY
The most popular Mini alternative made
up for one less oscillator with two-voice
polyphony, plus highpass and lowpass
filters. The Mk. II used a Mini-like 24dB-
per-octave filter, which caused a row
between ARP and Moog at the time.
KORG MS SERIES
Clockwise from lower right: The dual-oscil-
lator MS-20, single-oscillator MS-10, SQ-
10 sequencer, and MS-50 expander formed
Korg’s family of patchable monosynths.
EML ELECTROCOMP 101
This Connecticut company’s semi-modular
synth packed four oscillators and a 12dB-
per-octave multimode filter into a suitcase.
MUROM AELITA
This rare Soviet synth takes notable Mini-
moog-inspired cues: three oscillators, a
24dB-per-octave lowpass filter, and a flip-
up control panel. It’s also built like a cold
war tank.
SEQUENTIAL CIRCUITS
PRO-ONE
Based on the Prophet-5 design, this low-
cost solo synth added something neither
the Prophet nor the Minimoog had: an
onboard arpeggiator and sequencer.
STUDIO ELECTRONICS
SE-1
The first true Mini clone in a MIDI-playable
rackmount. The company’s earlier MIDI-
mini, by contrast, repackaged actual Mini-
moog D circuit boards.
KORG RADIAS
Descended from Korg’s flagship OASYS,
the virtual analog Radias (shown) and recent
M3 workstation shout out to the Mini with
their retro flip-up panel designs.
HELMTRONIC CHALLENGER
Shown at this year’s Frankfurt Musikmesse,
this aptly-named German boutique synth
boasts four oscillators, two filters, and of
course, a flip-up control panel.
TIME MACHINE
1984
2000
2006
2010
1978
1972
1972
1993
1981
1969
BEYOND AND BECAUSE OF
THE MINIMOOG
by Erik Norlander and Stephen Fortner
In honor of the Minimoog’s 40th
birthday, we look back at synths that
shared similar design aspects, or
whose makers got into the solo synth
game after the market proved that Bob
Moog was onto something.
PHOTO THANKS
Pro-One: Dave Smith.
Aelita: mechanical.animals and
matrixsynth.com.
Challenger: Hans-Joachim Helmstedt.
See more synths we couldn’t fit on this
page at keyboardmag.com/gear!
74 K E Y B O A R D M A G . C O M 1 0 . 2 0 1 0
Since 2001, the Motif Music Production Synthesizers have been the best sounding, top selling and
most requested music workstations on the market. The next generation XF builds on the heritage of
Motif, providing new features and groundbreaking Flash memory expansion capabilities that will set
the standard for keyboard workstations for years to come.
Inspiration Comes in a Flash
For more info visit: www.motifxf.com/keyboard
©2010 Yamaha Corporation of America. All rights reserved
Play & Perform Create & Produce
Customize & Make it Your Own
Connect & Expand

.

.

ultra-compact. Dave Smith. And if one voice isn’t enough. Get the lowdown at davesmithinstruments. Analog. unleashes his 21st century take on an analog mono synth for the people. pair it with a Tetra for a full-featured.com. Affordable.Portable. creator of the fabled Pro-One (first crush of many a synth Mopho Desktop Tetra geek). . five-voice poly synth.

'. LQWHUIDFH DQG FRPHV EXQGOHG ZLWK &DNHZDONªV 621$5  /( '$: VRIWZDUH $OO WKLV DQG LW HYHQ UXQV RQ EDWWHULHV VR \RX FDQ FUHDWH DQG SHUIRUP 9LVLW 5RODQG86FRP-812*L WR OHDUQ PRUH DERXW WKLV SHUIRUPDQFH DQG VRQJZULWLQJ SDUWQHU PXVLF DQ\ZKHUH EYV AVcW`c^Vc .3OD\ OLYH UHFRUG NH\V YRLFH DQG JXLWDU DQG LQWHJUDWH ZLWK FRPSXWHUV ¦ GR LW DOO ZLWK WKH QHZ -812*L IURP 5RODQG 7KLV PRQVWHU PRELOH V\QWK LV SDFNHG ZLWK RYHU  SHUIRUPDQFH UHDG\ VRXQGV DORQJ ZLWK D IXOOIHDWXUHG PXOWLWUDFN DXGLR UHFRUGHU DQG WRSOLQH JXLWDU HIIHFWV SRZHUHG E\ %266 3OXV LWªV D 86% DXGLR0.

firing at once or velocity-switched.” Stephen Fortner Keyboard Magazine “Whether your interests are classical. vintage keys.com . its sounds slam the balls out of the park and into the next county.S. jazz. rock. For versatility and realism. “The Kurzweil PC3x is truly the ultimate gig machine. it can combine up to 32 layers of spectacular samples. KB3 organs. in series or blended together. the PC3x will become the centerpiece of your composition duties and the star of your stage performance.A.” Jason Scott Alexander Electronic Musician Info@AmericanMusicAndSound.Dynamic V. allowing a level of detail only attainable with a Kurzweil. or urban.T. pop. and Filters in every preset program. KVA Oscillators.kurzweil. Engine So powerful. ® www.com Cascade Mode Each layer in a program can be routed through the DSP of any other layer. KVA oscillators or our acclaimed orchestral sounds. The Kurzweil Sound Whether it’s our world famous pianos. the PC3 turns heads with jaw-dropping sound quality.

CONTENTS BOB MOOG FOUNDATION ARCHIVE Follow Keyboard on Bob Moog and partner Herb Deutsch in 1963. and Patch Park on Go-To Synths for Electronic Dance Music. 12 Kristen Lawrence on Halloween Carols and Pipe Organs 14 Malcolm Jackson on Touring with Isaac Russell 16 Weekend Warrior MAJORminor 18 The Editors’ Playlist GEAR 20 52 54 60 62 NEW GEAR Casio PRIVIA PX-3 Korg PS60 Moog Music TAURUS 3 Propellerhead REASON 5 / RECORD 1. Suite 125. CA and at additional mailing offices. Box 9158. Josh Harris. CA 94066. Cover design by Paul Haggard More Online! Josh Charles teaches you smokin’ New Orleans-style piano. Periodicals Postage Paid at San Bruno. London. All material published in KEYBOARD is copyrighted © 2010 by NewBay Media. Josh Gabriel. MA 01853. San Bruno.O.O. Canada Post: Publications Mail Agreement #40612608.2010 Our 2005 tribute marking the passing of Bob Moog. KEYBOAR DMAG. Lowell.COM 7 . KEYBOARD is a registered trademark of NewBay Media. All rights reserved. P. COMMUNITY 10 Your pictures. anecdotes. a history of the instrument that put the synthesizer on the cultural radar and forever changed music. Get these links and more at keyboardmag. LLC 1111 Bayhill Drive. and feedback! SOLUTIONS 46 48 50 DANCE Percussion Grooves From Scratch STEAL THIS SOUND Five Legendary Minimoog Sounds PRODUCERS’ ROUNDTABLE Richard Dinsdale. DOUGLAS KIRKLAND TIME MACHINE 74 Beyond and Because of the Minimoog KEYBOARD (ISSN 0730-0158) is published monthly by NewBay Media.5 DUO LESSONS 22 24 Misha Piatigorsky on Brazilian Jazz Basics Jordan Rudess on Playing Pitchbends COVER STORY 32 The Minimoog at 40 From Bob Moog’s early prototypes through today’s Voyagers. POSTMASTER: Send address changes to KEYBOARD P. 10. Reproduction of material appearing in KEYBOARD is forbidden without permission. Canada Returns to be sent to Bleuchip International. Box 25542. questions. ON N6C 6B2. KEYNOTES Today’s hottest artists help you play better and sound better. 40 Bob Moog Lives Michelle Moog-Koussa gives us a highly personal memoir and details the educational and curatorial work of the Bob Moog Foundation. gear.com/oct2010 Video first looks: Arturia Analog Experience and Zoom R24 recorder.

com. 650. H. 770.0296 SPECIALTY SALES ASSOCIATE.Music lives. hear tomorrow.™ eyboard VOL. 650.425. Tom Brislin.® is a non-profit organization co-founded by musicians and hearing professionals that is dedicated to the prevention of hearing loss in musicians.9978 ADVERTISING DIRECTOR. Scott Healy. Peter Kirn. photos. Ernie Rideout..: Greg Sutton gsutton@musicplayer.com Keyboard Magazine.com. Lowell.238. Dominic Milano. Box 9158. NORTHWEST. Mitchell Sigman EDITORIAL INTERN: Grace Larkin ART DIRECTOR: Patrick Wong MUSIC COPYIST: Gil Goldstein GROUP PUBLISHER: Joe Perry jperry@musicplayer. We can help.9967 ADVERTISING DIRECTOR. and for years to come.1425 SPECIALTY SALES ASSOCIATE.com. MA 01853 Find a back issue 800-289-9919 or 978-667-0364 keyboardmag@computerfulfillment. Franics Preve.343.2010 ..S.E.hearnet.com Publisher assumes no responsibility for return of unsolicited manuscripts.2753 ADVERTISING DIRECTOR.COM 10.com. only) 978-667-0364 keyboardmag@computerfulfillment. 36. 925.R. NORTH: Contessa Abono cabono@musicplayer. Ed Coury.® today. EAST COAST & EUROPE: Jeff Donnenwerth jdonnenwerth@musicplayer. 10 #415 OCTOBER 2010 EXECUTIVE EDITOR: Stephen Fortner MANAGING EDITOR: Debbie Greenberg EDITORS AT LARGE: Craig Anderton. NO. Mike McKnight. SOUTH: Will Sheng wsheng@musicplayer.com. Michael Gallant.com Protect the hearing you have now.A. 949.643.582.R. Robbie Gennet. Support ® Purchase your hearing protection at www. Follow Keyboard online at: 8 KEYBOAR DMAG. MIDWEST.com. or artwork. 770. & NEW BUSINESS DEV.0325 PRODUCTION MANAGER: Amy Santana MUSIC PLAYER NETWORK VICE PRESIDENT: John Pledger EDITORIAL DIRECTOR: Michael Molenda SENIOR FINANCIAL ANALYST: Bob Jenkins PRODUCTION DEPARTMENT MANAGER: Beatrice Kim DIRECTOR OF SALES OPERATIONS: Lauren Gerber WEB DIRECTOR: Max Sidman MOTION GRAPHICS DESIGNER: Tim Tsuruda MARKETING DESIGNER: Joelle Katcher SYSTEMS ENGINEER: John Meneses NEWBAY MEDIA CORPORATE PRESIDENT & CEO: Steve Palm CHIEF FINANCIAL OFFICER: Paul Mastronardi VP WEB DEVELOPMENT: Joe Ferrick CIRCULATION DIRECTOR: Denise Robbins HR MANAGER: Ray Vollmer IT DIRECTOR: Greg Topf DIRECTOR OF PUBLISHING OPERATIONS AND STRATEGIC PLANNING: Bill Amstutz CONTROLLER: Jack Liedke SUBSCRIPTION QUESTIONS? 800-289-9919 (in the U.E. and your hearing survives! H. Jon Regen SENIOR CORRESPONDENTS: Jim Aikin.238.A. SOUTHWEST: Albert Margolis amargolis@musicplayer.

NEW FEATURES Up to 18 Velocity Levels Per Piano Sympathetic String Resonance Half Pedaling Pedal Noise Lid Position Timbre Shifting Parametric EQ Tuning Tables New Synth Layers and Synth Layer Controls Ivory’s Legendary Pianos—and more synthogy.747.4546 www.ilio.com Contact your favorite dealer! .com 800.

This means we omitted some worthy contenders. I didn’t appreciate it as much as I should have when I was a kid. Edgar Winter wanted a keyboard he could carry like a guitar. it looks like I never will. but I do remember this odd little keyboard that hadn’t been there last time. to our knowledge. In the pic above.com SOAPBOX On the last page of the September issue. link to your music. Also. It was from one of the original ARP 2600s. Oops! Jyme Bale Because our “Time Machine” feature has limited space. being a prohibitionera flapper who could throw a mean Scott Joplin stride and a high-note trumpeter who played big band swing the first time it was popular. show off your chops. and Edgar describes what he did. but my grandfather was right. so he found a lightweight one at a music store. or letter might end up in the magazine! Comment directly at keyboardmag. I believe you’re wrong— Edgar’s was first. It had a wooden case. So when you show Roger Powell playing his in 1977. “Something else he won’t shut up until we buy. my mom being a classical pianist.com KeyboardMagazine myspace.2010 . and given my job description. you show the keytars of the past. Edgar even states in an interview that he was the first to use a keyboard like guitar. but my family knew that the way to keep me at the keyboard was to plunk my Star Trek-watching little-boy brain in front of an instrument with buttons and blinking lights on it. I don’t remember the theme of the exhibit. tweet. for starting my journey into electronic music. he’s still at it with an Edirol MIDI controller. as opposed to a modification of something that already existed. So here’s to Bob Moog. and he had it further separated with long cables running to the main synth. That’s why we got our first home organ. I never shut up about synthesizers.com keyboardmag From the Editor I’m lucky to have a musical family. including the Prophet Remote and Korg Poly-800. the first custom-built keytar controller. Roger Powell’s Probe was. When I was seven. we paid one of our regular visits to the Discovery Museum.com keyboard@musicplayer. Stephen Fortner 10 KEYBOAR DMAG. respectively.musicplayer. email. forums. However. In the eight years between. and her mother and father. They had to tear me away from the thing to give the next kid in line his turn. pre-MIDI serial protocol. “Great. Back in 1972 or ’73. we went with narrow criteria for “keytar”: an obvious guitar-like design and a neck you grab with your left hand. a hands-on children’s museum in Vermont. lots of knobs on a panel that flipped up on a hinge. Roger tells us it controlled a bank of Oberheim SEMs using a custom-written. and it made unearthly sounds that were nothing like the Hammond T-series spinet in our living room.” intoned my grandfather. as he did for so many others. Incidentally. I wouldn’t get my first actual synth until age 15. but you missed one. share tips and techniques. or just vent! Your forum post. The keyboard was separate from the controls. subscribe to the magazine and our e-newsletter.COM 10. There are a few videos on YouTube showing this.COMMUNITY CONNECT! Tell us what you think.com twitter. and why I first encountered the Minimoog. you’re right to point out that Edgar Winter predated Powell for wearing a keyboard like a guitar.” In fact.com keyboardmag facebook.

I bring out a vintage Minimoog and Multimoog for choice gigs.” For getting out front. Monitor with my stereo gear. where it’s supposed to be. is mono. The house P. 1.com. The music for Ex. An M-Audio Oxygen 8 is MIDI’ed to the Voyager. Then there’s Last Licks. Here’s the correct music. Keyboard advertisers! For my ELP-style band MTR. 2 is repeated—once in Ex. 2. it’s a Roland VK-1000 MIDI’ed to a Yamaha Motif Rack. which has the “organ power-down” sound I can trigger with a pedal. Bruce MacPherson 10. I use a Yamaha Motif ES7 and a Korg CX-3. on our website.A. Then.2010 KEYBOAR DMAG. I use a Roland JD-800 and a Minimoog Voyager Anniversary Edition. I need quick sound changes more than realtime control. Here’s a shortcut link: keyboardmag. Which one is correct. What do you do? DIG MY RIG! Poll Be counted! New polls go live the first and third Tuesdays of each month at keyboardmag. so a 73-key Korg M3 with the Radias expansion really delivers with its splits and layers.COM 11 . a classic rock group in which I use a Hammond XK-2 because it really nails the Jon Lord sound. and I work the knobs on both for the whole show.com/article/117243. feed the house mono Run in mono with a smile on my face Question the sound engineer’s competence Who cares? How many drink tickets do I get? Run in mono begrudgingly Crank my stereo monitor rig to fill the house DEPT. the sheet music for Examples 1 and 2 appears to be identical. and I can almost get a Vox Continental out of it for Doors-style playing. which you can enjoy larger and with audio examples. extending its key range to hit the low notes in “Tarkus. Stephen Fortner I’m in two bands and also take hired-gun gigs. I’m lucky to have accumulated over 90 keyboards and rack modules from which to build rigs for a specific purpose—good job. the Casio AZ-1 is my favorite keytar due to its aftertouch and left-hand controls layout. and can you provide the right sheet music for the other? —Tom Ruggles That was indeed a clam. In this band. and again in Ex. and a Korg MS2000 for its button layout and easy sound manipulation. OF CORRECTIONS = 95 1 F7 B 7 F7 4 4 4 4 B 7 F7 5 C7 9 B 7 F7 In Andy LaVerne’s otherwise excellent blues lesson beginning on page 32 of the August issue.The You run your keys in stereo.

Fisk pipe organ. appropriately enough. in September 2004.B. black cats. Lawrence has appropriated the Christmas spirit on Halloween’s behalf with an elegance Jack Skellington never quite managed: The songs on her EP Arachnitect and album A Broom With a View are unmistakably carols—in both their structure and their sense of joy—but they celebrate ghosts. I was playing.” Though the skeletons of her songs are sing-along rounds (“I love rounds. Bob Cummings. I went home and wrote out the first four carols that day. “I’ve always loved autumn. it hooked me for life. They’re harmony 101 for dummies. California: “Basically.” she says. bats. and vampires. How did her journey begin? “At age 12. I was actually tall enough to reach the pedals on the pipe organ. the chill in the air. “but what does Halloween get? Bach’s ‘Toccata in D Minor’ and ‘The Monster Mash’ is about it. and possessing a tremulous soprano that evokes a less breathy Kate Bush. at a funeral.” Kristen’s mission to make Halloween as musical as Christmas received a major nod in October 2008. 3.” Trained from age 12 in classical organ. I can’t believe I got to rehearse on it. and harpsichord weave counterpoints as intricate as any spider’s web. and my favorite ride was the Haunted Mansion. “Segerstrom Hall at the Orange County Performing Arts Center had recently installed a gorgeous. and the energy I felt as Halloween neared—it was magical to me as a child. As a reward for having practiced. there’s plenty of musical meat on those bones. I can’t believe I still do. spiders.2010 strings. Pipe organ.” She also cites a childhood spent in Orange County. it would be Kristen Lawrence. four-manual C.COM 10. The console sits . he’d let me pull out all the stops! The majesty of that sound coming from all around you.”). when she performed with Orange County’s Pacific Symphony at their yearly “Spooktacular” concert. 12 KEYBOAR DMAG.” she reflects. I kept hearing the children’s song ‘The Ghost of John’ in my mind. I wanted to change that. noticed that I always preferred the Bach pieces that were in minor keys. and it still is. My teacher.KEYNOTES KRISTEN LAWRENCE Halloween Deserves Carols Too! If the Halloween Town of Tim Burton’s The Nightmare Before Christmas had a resident keyboardist. I still remember the music from it. which lent themes to “Cats in the Catacombs. I grew up at Disneyland. Later. “Something about the angle of the sun.” to Richard Einhorn’s score for Carl Dreyer’s 1927 silent film The Passion of Joan of Arc. “There’s so much wonderful music for Christmas. and influences run deep—from Camille Saint-Saëns’ Symphony No.

B.” Stephen Fortner Allen MDS-35 Organ “I’m lucky enough to have this organ at my parents’ house.” More Online Get these links and more at keyboardmag.COM 13 . “but there’s nothing like it. EastWest Quantum Leap Symphonic Orchestra Gold “This is my source for strings.com/oct2010 Preview A Broom With a View on CDbaby.” That means that the keys are all physically connected to the valves that let air into the pipes. you can add models of historical pipe organs from all over the world. but you can voice the pipes individually. Allen.JON MCFERSON KRISTEN’S GEAR Korg Triton Studio “It’s my main controller. The sense that you’re functioning as the brain of this living.322 pipes. Connect with Kristen on Facebook.com. well-built instruments. the C. 10. because it’s a tracker organ. Fisk pipe organ at the Orange County Performing Arts Center boasts four manuals and 4. It’s a joy to play. Fisk organs.2010 Learn more about Hauptwerk. to sound more like how a string section would actually play.” Hautpwerk “My favorite virtual pipe organ. and it’s only your finger pressure—not an electrical servo as on many modern pipe organs—that opens those valves. Allen makes such beautiful. KEYBOAR DMAG. Not only does it get the interaction between different combinations of stops right.” right behind the orchestra and under the pipes. and C. I tend to use solo instruments and build up sections by recording parts separately. “Playing a tracker is a workout.” says Kristen. Plus. The harpsichord on ‘Vampire Empire’ is actually the ‘HarpsiKorg’ patch.” ROBERT CORNELL A favorite of Kristen’s.B. breathing creature is awe-inspiring.

it has a great selection of sounds.KEYNOTES CALEB MITCHELL MALCOLM JACKSON Accidentally Major Keyboardist and vocalist Malcolm Jackson never planned for a major-label sideman career.” Soon after. would change everything. organ.” Jackson tells me.COM 10. in which the Beatles. native grew up amidst his family’s record collection. “I thought I might not ever make a living playing live. It just happened. “We lost touch. and ironically. bells. Jackson came to admire the music and stage antics of piano rocker Ben Folds. Jackson uses a Roland Juno-Di. we’d never recreate the sound of the album. and piano—also flute. “Isaac’s family and mine have been close since we were both kids in Bakersfield. “As long as you keep yourself open to the opportunities around you.” Jon Regen More Online Get these links and more at keyboardmag.” he tells me.” Jackson says. “So we decided to make the setting more intimate. “I was working in a restaurant. We started jamming. focusing on the guitar. I try to build around that. Wurly.” Jackson says. focusing on vintage sounds that complement Russell’s guitar and vocals. he would move to Provo. hammer-ons. and strings at times.com/oct2010 Watch Isaac and Malcolm perform “House of Cards” at ProjectMUSIC. you end up where you’re supposed to be. Later. playing guitar and drums as well as piano. “I had never seen a pianist go where he dared to go. the Beach Boys. and Pearl Jam got equal airtime. tapping Jackson to anchor his live acoustic duo tour to support his recent self-titled EP. and pull-offs. and vocal harmonies. California. For what we’re doing as a two-piece. Later.” Live. Utah. It has a lot of synth sounds. Isaac Russell site and tour dates. but I’m using it primarily for Rhodes. he told Isaac to call me. The 25 year-old Bakersfield. a 17-year-old singer-songwriter with escalating indie buzz. curse on the mic. While most bands try to emulate their studio releases live. both ended up moving to Provo. where he sometimes does intricate finger-picks. Russell would sign to Columbia Records. “playing piano and writing songs on my own. Isaac had been looking for a piano player. Unbeknownst to me. The piano parts are similar to the album. “The Juno sounds great and is really portable. 14 KEYBOAR DMAG.” A chance meeting with local phenom Isaac Russell. I didn’t think anything was going to happen for me musically. but I never gave up on the music. and throw the piano chair over.” Jackson says. When Isaac’s brother Spencer heard me playing piano in church one afternoon. but planning on going back to school. He really got into it!” Jackson would form his own rock bands in Bakersfield during junior high. Russell and Jackson find new stories to tell through acoustic versions of the album’s songs. and everything just clicked. but Isaac has a really unique guitar style.2010 . “I was amazed at how he’d just rock out on the piano. keyboards. “We realized that with just the two of us. where the dream of a career in music seemed to be slowly slipping away.

The killer gear from names you trust plus today’s hot new manufacturers — it’s all here.sweetwater. you get a thumb drive full of the absolute best combo and layered sounds available for this amazing keyboard! MOOG LITTLE PHATTY STAGE II A Sweetwater-exclusive Synth! You won’t find this Solar CV Edition Little Phatty Stage II anywhere but Sweetwater. recording software. and more at www. >> Get These FREE Extras — Only at Sweetwater! NORD WAVE Incredible Bonus Instrument Collection! We’ve added an amazing collection of super-detailed bonus sounds to the Nord Wave — pre-loaded and ready to play. Check out our massive selection of keyboards. Got gear questions? Call Sweetwater! A knowledgeable and friendly gear expert is just a phone call away.sweetwater.com.FREE Shipping • FREE 2-year Warranty • FREE Tech Support • FREE Professional Advice p g y y p Korg SV-1 73 Roland GAIA S 01 o oland SH-01 SH Classic Keys with a Rhodes Mark 7 Active MIDI 88 Md Modern Twist Dreaming of the perfect vintage keyboard? Sweetwater has what you’re looking for.com . It looks amazing and comes factory equipped with expanded CV I/O! (800) 222–4700 • www. right out of the box! ROLAND VR-700 Fully Loaded with Awesome Combo Sounds! When you buy a VR-700 from Sweetwater. from the top digital modeling synths to genuine analog electric pianos. virtual instruments.

First memory of piano: My grandparents’ house in St.2010 sound how I want at a specific moment. MORE AT steelindan. and worship spaces. Jon Regen Know a young keyboard wizard in your area? Let us know via email. I’ll bring JBL EONs to monitor in stereo. I read the chords and melody. That’s basically what I did. If space permits. from bebop to classical to rock. Vince Guaraldi’s Peanuts music left an impression on me as kid.com Ed Coury MAJORminor Henry Hershey Henry Hershey is a jazz-loving sophomore at Westfield High in New Jersey. horns. Goals in life: Someday I hope to be a cardiologist. When I was 12. you learn the importance and discipline of practicing. The onboard phaser and chorus are perfect.KEYNOTES WEEKEND WARRIOR Dave Buehler of Steelin’ Dan DAY GIG Early in my career. This is some of the most difficult pop music. Facebook. in others. In addition to piano.COM 10. WHY I PLAY Sitting at the piano feels like home. That way. created by some of the best musicians in the world. with great piano. and bought a Fender Rhodes my senior year. We played a game where you pass something around a circle of people while music plays. with a penchant for Bruce Hornsby. LIVE RIG My Yamaha S90XS covers all the sounds I need for the Steely Dan songbook. If my music makes just one person’s day better. and we played high school dances all around town. and the rest. One of my nearterm goals is to study Bruce Hornsby’s music in more detail. I sat at the piano and tried to figure out what was being played. one can switch to another genre if one isn’t satisfied with classical. and it handles the occasional marimba and strings nicely. I joined a rock band. but I know one thing for sure: I’ll always find time to play piano. Joe Kurasz of Rahway. Why piano? I think that piano is the most versatile instrument in the world. and when the music stops. and they might be our next MAJORminor! . Musical influences: My teacher. and increased my interest in jazz. and amphitheatres affect people. the person holding it is out. Later on. INFLUENCES Les McCann was my earliest. so my Roland KC-100 amp is just a monitor. mines. Now I do environmental acoustics— studies to evaluate how sounds from things like highways. For example. and it all comes together on the gig. and it’s working out pretty well. and started to get a sense of what improvisation was all about. I also admire Bruce Hornsby’s harmonizing techniques on his album Camp Meeting. blues. performance. Age lessons began: Around five or six. Hershey plays tenor sax in the school marching band. Rhodes. I’ve succeeded. and rhythm section generally rehearse independently. Later. To pick up a song on my own. science. California. We play mostly at outdoor summer concert series. HOW I GOT STARTED I studied classical piano for ten years starting at age eight. I worked in architectural acoustics—designing treatments for recording. How important is traditional training? It’s important to learn the basics and start with a classical music teacher. and music into a reasonably stable career. It’s a nice way to incorporate my interest in math. Read music or play by ear? I read fake book-style music for jazz. We always use a full sound system. with the whole family in the living room. my older brother started bringing home jazz albums. I played in my high school jazz band. and how to read music. and Wurly sounds. Louis. I love the way Keith Jarrett makes the piano sing. my teacher and I make up. BAND Steelin’ Dan is a Steely Dan tribute based in Sacramento. Missouri. Maybe my interests will change along the way. I’ll sit down with my iPod and learn it by ear. New Jersey. The singers. I can do whatever I want to the song to make it 16 KEYBOAR DMAG. Favorite music to play? Jazz and blues. We try to be as true to the records as possible. My dad provided the music—he’d play boogie-woogie and piano and improvise. and casinos. wind turbines. on some songs we’ll use a stride bass. One can play practically any genre. regional theaters. because of the freedom they provide me. or Twitter. and improvisation. straight chords. so you have to put in serious time and effort to pull it off.

.

on this top-to-bottom excellent album. (Telarc. With heartfelt commentary by the likes of Paul McCartney. Kim Bullard. soulive.musicplayer.” (sterlingpublishing. This is deep-fried instrumental funk at its very. & Money When it comes to New Orleans piano. (Arts & Crafts. very best. Star surrounds himself with a cast of keyboard killers including Serletic. Josh Charles does this brilliantly on gems like the get-up-and-dance “The Waiting Game” and honey-dripping ballad “It Ain’t Easy. (Palmetto. blues. making for music that gets into your bones.” keyboardist Neal Evans’ blistering bass grooves like it’s about to jump out of the record’s grooves. the record store reigned supreme as the headquarters for the audio-obsessed.COM 10.E. thebadplus.com) CHILLY GONZALES Ivory Tower Known for his production work with Björk..com) Stephen Fortner JOSH CHARLES Love. and Robert Walter’s approach to the B-3 eschews playing lots of notes in favor of just the tastiest ones. He’s a modern musical master at the peak of his creative powers. keeping us ever-interested in the sounds to come. and gospel.” and a surprising Chicagomeets-church romp through “Eleanor Rigby. Featuring a melodious mixture of standards including a metrically-modulated romp through “You’re My Everything. and a foreword by Peter Buck of R. the keys act as the vocalist on a number of the record’s pieces with exceptions surprising us on tracks like “My Friend Metatron” where we feel the bass speaking to us.com) STANTON MOORE Groove Alchemy Speaking of New Orleans.com. that’s who! Just when you thought you’ve heard every imaginable Beatles tribute.” Taste Charles’ gumbo of stride. (joshcharlesmusic. Soulive serves up this booty-shaking. chillygonzales.com) Jon Regen What’s on your playlist? What should be on ours? Let us know by email or Twitter. 18 KEYBOAR DMAG.” plus originals such as the affecting “Snow Is Falling.KEYNOTES THE EDITORS’ PLAYLIST Jon Regen RYAN STAR 11:59 Many will remember Ryan Star from his renegade run on the 2006 CBS reality series Rock Star Supernova. (Entertainment One. Lyric-less throughout. who bathe his soaring pop choruses in an ever-evolving sonic glow. Chilly Gonzales reminds us why he’s behind so many musical successes. Daft Punk. John. which is that of a humorous and insightful rapper and meticulous pianist. He takes us on a poetic ride through his mind. Record Store Days is sure to bring out the nostalgic side of your inner music fan—even if you’re young enough to be a “digital native. In this pictorial romp through the history of music sales. Other standout tracks include the simmering “Come Together. stantonmoore. rstar. and Bruce Springsteen. Work. and “Pot Licker” is how an organ trio would accompany a chase scene from Cowboy Bebop. Moore may be the funkiest drummer since Zigaboo Modeliste.net) SOULIVE Rubber Soulive Who funked up the Beatles? Soulive. Fred Hersch delights on his latest release. On his Matt Serletic-produced major-label debut. Painted with richly colored piano melodies and grooves.M.” Hersch proves once again that his singular. (Atlantic. Once a student of Dr. and Patrick Warren. it’s no small feat to combine deep scholarship of the genre’s musical complexities and cultural roots with the pop sparkle that seduces the uninitiated. fredhersch. making for an album more clever than anyone might have expected. His lyrical wits combined with his exquisite technique and fluid delivery are what set him apart from other songwriter-producers. Right from “Drive My Car.com) Book Review Grace Larkin THE BAD PLUS Never Stop The band’s first all-original album is a detailed musical self-portrait. the authors leave no record sleeve unturned. organ-grinding festival of funk. supple piano sound is a force to be reckoned with.2010 . this album mixes funky drum pulses with clever bass lines. and find out why he’s the new young lion of a uniquely American art form. or at forums. and Feist. boogie. John Mellencamp.” (Royal Family. Two highlights: “Squash Blossom” would make the Meters proud. where his alt-rock piano panache catapulted him to solo success.com) RECORD STORE DAYS: FROM VINYL TO DIGITAL AND BACK AGAIN by Gary Calamar and Phil Gallo Before the Internet reinvented the music-buying experience.com) FRED HERSCH TRIO Whirl With a silken piano touch and a seemingly limitless palate of improvisational interplay.

the micro-priced microSTATION does it all – and keeps it small. Weighing in at under 6 pounds and less than 32 inches in length. strings.com/microstation . or a complete MIDI production suite? Take that leap from playing to creating with our built-in MIDI recorder/sequencer. Need an extra set of hands. korg. the microSTATION delivers hundreds of top-shelf sounds. organs. basses.Own a full-blown workstation from the company that created the category. a powerful drum machine. from synth mainstays to must-have keyboards – grand & electric pianos. drumkits – and so much more. Powered by Korg’s EDS-i engine. Our Natural Touch minikeyboard provides an expressive experience for players at every level.

List: $1.com/news. Big deal: Factory sound ROM of 741MB is the largest in any workstation by a wide margin. Also on hand is Roland’s best Ivory Feel keyboard with simulated escapement.500 | XF7 list: $3. List: $2.com See new gear press releases as soon as we get them at keyboardmag. which packs over 1. ultra-realistic electric piano.1 surround.NEW GEAR YAMAHA MOTIF XF by Stephen Fortner Concept: The next-gen Motif sets a new bar for integrated keyboard workstations.400 | yamahasynth.com NEW PRO KEYBOARDS FROM ROLAND RD-700NX STAGE PIANO Roland’s “SuperNatural” technology gave us tweakable. street: $3.995 | Street: $TBD | avid.999 | Street: $TBD JUNO-Gi SYNTH It’s a constant in the keyboard industry that features of yesterday’s standalone products trickle into today’s Swiss Army synths. with mono fold-down and speaker selection.300 Fantom-G-class sounds next to a digital audio eight-track that records to SDHC cards of up to 32GB. These are retained with the power off. which you can load with custom sounds: your own. drum.999.100 | XF6 list: $2. and brass expansions for the Fantom-G. street: $3. even USB audio interfacing to your computer. as you no longer need several rackspaces of gear to feed those cards in your computer. mix. Case in point: the Juno-Gi. Takes up to 2GB of Flash memory. Big deal: Converters are greatly improved over previous PTHD interfaces. There’s a dedicated rhythm track. Now. vocal and guitar effects you can track. it does the same for acoustic and electric piano sounds in this high-end stage piano. creating immense bang-for-buck. 20 KEYBOAR DMAG.com AVID HD OMNI Concept: Integrated single-rack audio interface for Pro Tools HD. We think: This lowers PTHD’s barrier to entry for spare-bedroom pros. Approx. XLR mic and 1/4" line and guitar inputs around back.2010 . XLR combo mic inputs on front panel. We think: Yamaha has moved the hardware keyboard a big step closer to computer-like flexibility. plus a nifty Sound Focus knob that brings you forward in the mix even if you’re at maximum volume.039. Monitor control of up to 7. or master with.COM 10. or upcoming packs from such names as Garritan and Sonic Reality. List: $2. Approx. without adding compression or unwanted artifacts.199 | Street: $TBD | rolandconnect.539. XF8 list: $4. Works as mixer with computer off. Approx. street: $2.

Find out how at Bose. custom EQ capability and a suite of studio-class effects and processing.PA AND MONITORS.com/live4 or call 1-800-486-1869. So whether you choose the L1 Model II. can be carried in a single trip and set up in less than one minute. C_008984 . The L1 Compact portable line array system is the latest – and most portable – addition to the Bose L1 product line. The Bose L1 Model II system delivers our widest and most uniform sound coverage. the original L1 Model I or the L1 Compact system. COMBINED. THE BOSE® L1® MODEL II SYSTEM THE MOST ADVANCED L1 SYSTEM FOR MUSICIANS More than just a speaker system – this represents a different approach to live sound. This system fills the room with only one speaker. L1 systems combine PA and monitors into a single. Take your live sound in a new direction. highly portable solution. Using proprietary Bose technology. Add the T1 ToneMatch® audio engine and you’ll get access to an extensive library of ToneMatch presets. ©2010 Bose Corporation. you fill the room with your sound in a way no ordinary speaker can.

Brazilian music is usually written in 2/4 time. Often. Accenting the final sixteenth-note of each measure creates a swing feel in your right-hand lines. but is built starting on the third or seventh. Try tapping your foot on beats 1 and 2 to bring out the groove. 1: Rootless Chord Voicings C¹Ú G‹…‘ß comping. 2: Rhythmic Subdivision G‹…‘ß C¹Ú { { 22 AÞ½ DÞ½ œ œ œ œ œ œ œ œ œ œœ œœ œœ b œœ œœ œœ œœ b œœ œœ œœ œœ n œ œ œ œ ? ™™2 ≈ b œœ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈#œ ≈ œ ≈ œ ≈ œ ™™ œ œ œ œ 4 œ œ œ œ R R R R R R R R R R R R R R R R ? ™™2 4œ G‹…‘ß bœ œ C¹Ú bœ œ AÞ½ bœ œ DÞ½ bœ ™™ Ex. Tania Maria. Sergio Mendes. In Ex.COM 10.LESSONS Misha Piatigorsky ON BRAZILIAN JAZZ BASICS What could be more addictive than Brazilian Samba? When I first heard pianist Cidinho Teixeira at New York’s Zinc Bar in the mid-’90s. attacking them on upbeats only. so we subdivide each of the bar’s two quarter-notes by four sixteenth-notes. Ex. 2. The upbeats are the second. Start by playing bass notes in the left hand and rootless voicings in the right to see how they fit together. I play upbeats in my left hand when my right is taking a break. we use these chords as a template for soloing and Ex. most noticeably on the dominant chords where I’ve altered the fifth and the ninth. In Ex.1 illustrates typical Brazilian left-hand voicings that follow the Bill Evans style. it was as if I’d discovered a whole new way to breathe music. and an incredibly strong sense of the upbeat. sixth. or not play at all. I’m also adding color tones. and Eliane Elias all have two important things in common: a rich harmonic vocabulary. fourth. with our upbeat-centric comping in the left. where the chord doesn’t include the root. Ex. They’re usually packed with ii-V movement—minor-to-dominant progressions like Cm7 to F7. The bass line moves much like the way a jazz bassist would play on a swing tune. It’s okay not to play all the time in the left hand. not 4/4. my left will either play sustained chords. 3 illustrates a simple F major melodic pattern in the right hand. and eighth sixteenth-notes in every measure.2010 ™™ ™™ . Leading Brazilian jazz pianists such as Teixeira. When my right hand is busier. DAVID LOWES { w w ? b ww ? w b ww w w w AÞ½ b ww w w DÞ½ nw #w w w w Ex. 3: It’s Got That Swing 2 & ™™4 œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ ? ™™2 ≈ b œœ ≈œœ ≈œœ ≈œœ ≈b œœ ≈œœ ≈œœ ≈œœ ≈ œœ ≈ œœ ≈ œœ ≈ œœ ≈#œ ≈ œ ≈ œ ≈ œ œ œ œ œ 4 R R R R R R R R œ œ œ œ R R R R R R R R KEYBOAR DMAG. I’m putting all these elements together. 4. Let’s learn how these elements work together. Brazilian tunes have much in common with jazz standards.

COM 23 .com/oct2010 Samba videos by Tania Maria. anchoring his own trio and septet. 10. at eight. Piatigorsky has stayed active as a sideman and a leader. as well as his band Paris Troika. Cidinho Teixeira. 4: All Elements Together { 5 2 & b4 ‰ œ™ œ ? 2 œœ ™™™ b4 G‹…‘ß G‹…‘ß œ J œ œ J ‰ CÞ ∑ AÞ½ œ œ œ œ œ œ œ œ œ œ ≈œ ≈œ≈œ≈œ≈œ R R R R R CÞ œ œ œ ∑ ‰™ R ≈R ≈R b œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ ≈ œ ≈ œ ≈ œ ≈#œ ≈#œ ≈ œ ≈ œ ‰ R R R R R R R DÞ½ DÞ½ { 9 œ œ œ œ &b ≈ R ≈ R ≈ R ≈ R œ J b G‹…‘ß ? ∑ œ œ œ b œœ œ œ œ œ ≈œ≈œ≈œ≈ œ R R R R ‰ Œ AÞ½ œœ œ œ Œ œ œ œ œ œœ ™™™™ b œœ œœ œ œ œ ≈ œ ≈#œ R R œ œœœœ œ bœ œ bœ œ ™™ œ œ œ œ ™ œ œ œœ œ #œ ≈ œ ≈n œ R R { { { &b œ œ œ™ ? b œœ ™™™ œ G‹…‘ß ‰ Œ ≈ œ œ œ œ œb œb œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œœ ≈œœ ≈ œ œ ™™™ œ œ ™™™ b œœ œœ ™™™ b œœ œ œ œ œ œ œ œ œ œ R R CÞ AÞ½ CÞ AÞ½ œ DÞ½œ œ #œ b œ œ œ œ œœ œ œœ ™™™™ #œ œ ™™™ #œ nœœ œ œ œ œ œ œ œ ‰™ œ œ R DÞ½ 13 œ ∑ ∑ & b œ œ œ #œ œ œ œ œ œ œ œj ‰ œ œ ™ œ œ œ œ ™ nœ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ b œœ œœ ™™™b œœ œœ #œ œ ™™ #œ œ œ œ œ ? b œœ ™™™ œœ ‰ ™ œœ œœ œ œ ≈œ≈ R ≈R ≈R ≈ R ≈R R R GÞ 17 & b œ bœ œ ≈ œ R œ œœ œœ ? nœ œ œœ b ≈ œr bœ œ ≈œ R CÞ œ œ œ œ j ∑ Ó œ bœ œ ‰ œ œ œ œ œ œ œ œ œ b œœ b œœ œœ œœ œ œ œ œ œ œœ œ œ œ ≈ œ ≈ œ ≈ œ ≈ œ ≈#œ ≈#œ ≈ œ ≈ œ ≈ nœ œ R R R R R R R R R More Online Get these links and more at keyboardmag. Misha Piatigorsky began studying music at age five. Find out more at mishamusic.com. AÞ½ DÞ½ Born in Moscow. After winning the 2004 Thelonious Monk Competition. and Eliane Elias. immigrating to the U.Ex.S.2010 KEYBOAR DMAG. Jon Regen Misha plays audio examples of these lessons.

LESSONS BOB MO OG FOU N DAT ION ARC H IVE PAUL UNDERSINGER Jordan Rudess A PITCHBEND PRIMER I still remember the day my high school buddies showed up at my door with a Moog Sonic V synthesizer.2010 .com/oct2010 Videos: Rudess interviews. so the bend has almost no rhythmic duration. and David Bowie. 1. while notes in parentheses represent the pitch you hear due to pitchbend. Blues/Rock Bends Ex. MorphWiz. Jordan Rudess started classical piano studies at the renowned Juilliard School of Music at age nine. and began practicing my own original exercises with pitchbends. V-shaped lines denote up or down movement of the pitch wheel. Check out Jordan’s amazing iPad synth. Jordan plays these audio examples. then from there to the fifth. Here are some tips and tricks to get you started in using this often misunderstood underrated means of musical expression. 1 has an A minor pentatonic riff with bends you’d find in blues or rock leads. 24 KEYBOAR DMAG. Here. as well as with Dream Theater. like the one shown above. and apps demos. Jan Hammer. Jon Regen A word about how I notate pitchbend in the examples: Notes not in parentheses are played physically. Stemless grace-notes mean that you quickly bend the note right as you play it. I’m bending from the third of the scale to the fourth. Since then he has performed his own solo works. I’m also bending the seventh back into the root. The numbers show the duration of the bend: either a whole step (1) or a half (1/2). before I drop back down to the note I originally played. After hearing Patrick Moraz shred a bendy Minimoog solo in the song “Someday” with his band Refugee.com. I start with the pitch in the center.COM 10. synth. Find out more at jordanrudess. then bend up a whole step. q = 170 1 1 1 4 &4 & œ œe œ œ œ œe œ œ 1 1 3 œ œ œ œ œ œ œ œe 1 3 3 3 3 e œ œ œ e œ œœ œ œ œ œ œ œ œ œœ e œ œ œ œ œ œ More Online Get these links and more at keyboardmag. I bought a Minimoog of my own.

500-watt Class D mixer with digital effects and an iPod dock. portable perfection is easier than ever. pack-and-go design. © 2010 Samson | samsontech.com . Expedition features a 10-channel. Its vented enclosures use 10-inch woofers and 1-inch titanium tweeters for rich bass and crystal clear highs.The Power of Ten. The All New Expedition 510i. With Expedition. Delivering roadworthy sound in a unique.

The most intelligent keyboard with Novation’s AutoMap™ software. 1 1 3 œœ e œ œ œe œ œ œ . q = 185 1 1 1/2 1 1 1 1 1/2 1 1 & 7 œ e œœ e œœ e œ œ 8 œ e œœ e œ e œœ e œœ e œ œ œœœ œ e œ e œ œ œœœ IT'S THE FEEL Velocity-sensitive. not a computer add-on. œ œ œ œ œ œœe œ œ œ œ œ 3. and bend the pitch up a whole step. Interval Bends The most common pitchbend setting on a synth bends a whole step up and down. 1 3 3 3 & œ œe œ œ œ e œ œ œ . This lets me do whammy-type pitch dives. I sometimes set the bender to asymmetrical intervals—the up range to a whole step. q = 170 1 1 1/2 1 4 & 4 œ œe œ œ e œ œ œ œ . You can hear this technique on the song “6:00” from Dream Theater’s Awake album. like the F at the top of this example. semi-weighted action Italian made keyboard with assignable after-touch. 25 Key SLMkII 61 Key SLMkII (310) 322-5500 www. and the down range to an octave. The SL MkII is an musical instrument. 3 demonstrates how to start on a note.LESSONS 2.com . 2 demonstrates bending both whole and half steps. then play that same pitch again without being able to hear the bender on its way back down.novationmusic. Ex. Guitar Bends Ex.

q = 92 1 e ĺĺ ĺĺ ## 7 œ e œ e œ e œ œ e œ e œ œ œ œ 4 œ e œ e œ e œ œ œ œ œ œ œ œœ e œ™ 7 œ œ œœ4 8 & 8 œ 1 1 1 1 ĺĺĺ œ e œ œ ĺĺĺ ## 7 e œ e e œ™ œ e e œœœœœ œœ œ œ œœ œ œœœœœœœ4œœ 4 & 8 1 1 1 Touch sensitive controls mean you can reveal what they are controlling. E. or re-assign them. The V-shaped figures at the bar lines denote quick downward scoops. C#. then play that exact note again without a bend. and vertical lines at the end of a bend diagram mean you release the bend quickly before playing the next note.4. Multiple Bends Ex. 4 we bend up to a note. unique to controllers in this price range. is synonymous with high quality keyboards for digital pianos. D. B) but sound as C#. . Here. synthesizers and classical organs. Note that I don’t use the modulation wheel for vibrato—I use pitchbend exclusively. 5 has bends where the pitch wheel is held up while multiple notes are played. the first three eighth-notes are played physically (B. The renowned Fatar keybed. with a release to B on the fourth sixteenth-note. Practice the first three beats in measure 1 as a loop to get the feel for this. q = 185 1 1 1 1 œ 5 & 4 œ e œ œœ e œ œ e œ œ œ 1 1 1 œ œ œœ e œ œ œ œ œ œ ĺĺĺĺĺĺĺĺĺ œ œ œœ e œ œ ˙ 1 œ œ & œ e œ œ e œ œe œ œ œ 5. Upward Bends with Repeats In Ex.

2011 Photo by Nolan Wells ..it keeps getting better! Nathan MFA Candidate Music Composition for the Screen MFA Music Composition for the Screen You’re talented. and serious about making it. Columbia College Chicago’s MFA program in Music Composition for the Screen is a complete education in the art and business of composing and producing music for film. COLUM. and new media.7260 GRADSTUDY@COLUM. creative.Columbia College Chicago .369.. You’re ready for a graduate program that understands your ambition and is focused on your success.EDU/SCREENMUSIC 312. television.EDU APPLICATIONS DEADLINE January 5.

Our fans expect to hear our best..PERFORMANCE YOU CAN TRUST “We make a living writing and performing music. so every word we sing and every note we play has to come across as honest and natural. Learn more at www. not messing with the PA .. it’s our life. The JBL’s give us the total confidence to let us focus on making music. That’s why we count on JBL LSR’s in the studio and PRX 600’s gig after gig.Finian Makepeace Powerful. we’re never distracted by the gear because we trust our JBL’s.” .com In the studio with LSR2328s The Makepeace Brothers concert at GC Studios © 2010 JBL Professional . it’s simple. Rugged.makepeacebrothers.com/prx600 www.jblpro. Versatile.

.

New York. With in-depth product demos. and customer reviews. Knowledge is expansive. JN670 Products on command. podcasts. you’ll know exactly what you’re getting.© 2010 B & H Foto & Electronics Corp. Get more of it at B&H. Find exactly what you need through advanced search filters and Live Help. Visit Our SuperStore 420 Ninth Ave.com A wealth of options at the tip of your finger. knowledge on cue.com bhproaudio. bhproaudio. NY 10001 800-932-4999 Speak to a Sales Associate .

COM 10. in ways musicians have since taken for granted. and fragile modules and patch cords.2010 by Peter Kirn The Birth of the Minimoog The Minimoog really was the first recognizably modern synth. half-broken parts. Robert Moog hired outside consultants to do drawings of what . Led by the Voyager line. a small team of engineers at the R. large. BOB MOOG FOUNDATION ARCHIVE The Minimoog at 40 From the Dawn of the Synth Age to New Voyages Hot on the heels of the first moon landing. The need for something new was clear. the Minimoog may be bigger than ever before. Every time.A.” says Hemsath. has proved a winning formula for a new generation of musicians. with a successor to the original Minimoog. Moog company unwittingly set the course of the modern synthesizer. handsawed wood. Of course. I’d plug the oscillator into the filter and the filter into the VCA—probably six patch cords. building on what had been a modestly successful business in electronic sound. total. 32 KEYBOAR DMAG. and reverse-engineered airplane controls combine with ingenious engineering personality to produce Moog’s first great hit. New York. In this case. in 1972. The story of inventions is an odd thing. the member of the Minimoog team who constructed the original prototype with Bob Moog. the word “synthesizer”—whether Moog or any other maker—meant complex. what if I built a box that way?” With the need to replace the Moog modular racks with something portable. expensive.COVER STORY Bob Moog performing on two Minimoogs at the Strasenburgh Planetarium in Rochester. In 1969. “One of my jobs was to demonstrate products to potential customers. Forty years later. “We had a Model III—a large studio synthesizer with dozens of modules. what came out of their workshop still defines essential ingredients of electronic instruments. Moog Music’s resurrection of its founder’s name. It was certainly apparent to Bill Hemsath. in which each dial on the invention is a potential path into an alternate history. the story isn’t over. It occurred to me after a month or two of this. heavy.

” the case might look like. a quick poll of musician friends revealed that they preferred the “natural wood and simple lines. just to fill that space. Introduced in 1970. The resulting concepts were fitting for the Space Age.” As Bob Moog once recounted in Keyboard. intellectually. Dick Hyman. In June.2010 KEYBOAR DMAG. Even this Frankenstein-like model was already taking the shape the Moog team wanted.” With Bob Moog. the ambassadors of the Minimoog again proved to be musicians.” Hemsath recalls. With 61 keys and a ribbon controller. they “showed us all what the instrument was capable of. and Chad Hunt.000—a success unheard-of in the modular era. When the last Mini rolled off the assembly line in 1981. and I cut it down to match. and Bob and I came in the next Saturday morning to the woodshop and just started sawing until we had that. the first Minimoog prototype.” beams Hemsath. “I think they did a dozen of those futuristic things. “We did not experience a warm reception. As with the Moog modular and Wendy Carlos. 1971. “It was a complete synthesizer in one hand. integrated patch panel that keeps the cords out of your way. It also brings back patching. presented its debut at a public performance at the Eastman School of Music. The number of remaining keycaps determined its size. “They look like spaceships with curved backs—silly. who developed More Online Get these links and more at keyboardmag. “I’d sit down at my desk and take an apple out of one drawer and a module out of the other. two-channel attenuator.’ So we threw out all the curved stuff. “Then there was an upper console case—it was four feet long but the end was broken out. Jim Scott. Each model introduced new innovations (see “Thank a Minimoog” on page 36). There was a smashed keyboard case. “Most of the dealers didn’t know what to make of an instrument with words like ‘oscillator bank’ and ‘filter’ on the front panel.” says Marketing Director Chris Stack. the design was refined over four models. ‘I can make that.com/oct2010 Bob Moog talks about the making of the Minimoog Voyager. with his suitcase synth kit. but because it’s still useful. That was missing. So the forerunner of the wheel was that slide pot. Then came Jan Hammer. ‘You expect me to sell that in my store?’” Moog conceded that part of what was lacking was “convincing musicianship” to demonstrate the creation—that perennial challenge for new music technology. R. I can build that. Originally. “A four-channel CV mixer. . So I hacksawed that down.” The future of the synth may have been determined by just which junked and cannibalized parts lay in storage. lag processor. the legendary jazz pianist and composer. the company had sold well over 12. so there was a little notch in the left cheek. According to Hemsath.” he says. just one model 901A oscillator was fresh stock. Retailers would pass our booth and ask questions such as ‘What’s that?’ and . square wooden box with a flip-up lid. Well. That doesn’t mean the reception was immediately enthusiastic.” The result was the shell of what would become the Model A.” said Bob Moog. So I got to work on the keyboard. everything else was salvaged from Moog’s junk bin.” Hemsath remembers a more practical reason: “Everybody said. is what I like more than the sheer numbers sold—the fact that we did a good job the first time out. It was the synthesizer as discrete object—something Bob Moog had built years before.A. . but in a friendly. A Crossover Hit The Moog company wasn’t aiming especially high in sales. Hemsath bolted together modules from spare and rejected parts. “You could carry this thing around. it was still made in 1980.” Hemsath remembers. And I needed something there. culminating in the Model D manufactured for the public. “There was a five-octave keyboard that [Bob] would steal keycaps off of to replace chipped and broken ones. [Bob] had the portamento control on the left cheek. “Ninety-five percent of the stuff in there [in 1980] was what we designed in 1970. In Bob Moog’s eyes. 33 10. a Stradivarius for the 20th century. By his count. even today. Keith Emerson nailed its analog sound into the vocabulary of rock.COM . Down in the corner was this little. which turned out to be three octaves. Hemsath takes pride in the fact that it didn’t change. The great achievement of all of this is the lasting power of the Model D design. how about a slider? That’d fit. first on his modular behemoth and then on his Mini. but now with some of the sophistication of the modulars. Bob Moog expected to sell a lifetime total of 200.” In the summer of 1970. it’s bigger than any Voyager before. Our reviews of the original Minimoog Voyager and Voyager Old School. and remains highly sought-after today—not only because of the vintage-cool factor. but lovely. Moog ehxibited the Minimoog at the NAMM Show.THE NEW VOYAGER XL Wondering what that stretch-limo Moog on our cover is? The Minimoog Voyager XL restores a full keybed for the first time since Bill Hemsath hacked off the spare one to build the Model A. Something that would remain in production for ten whole years—that. and MIDIsynced LFO make this a dream machine. “The extensive patchability harkens back to Moog Modular synths. the Model D was ready for manufacturing and introduced to the world.

Rick Wakeman. 2003 Performer Edition Looked similar to Signature Edition. The Norlin-owned Moog Music shuttered in 1986. Hemsath regrets not including velocity sensitivity: “There were three contacts on each key. we could’ve done velocity sensing. Moog company started. along with Chick Corea. Hemsath notes the commitment to discrete transistors in favor of integrated circuits—the latter. touch control. this retro Voyager skipped MIDI and preset storage to go allanalog. and the frequency response as a whole. “Jim Scott did the filter and the voltage-controlled amplifiers. while perfectly usable now. In this respect.2010 2006 Voyager Select Series Offered a choice of six different backlight colors and seven wooden cabinets.COVER STORY incredible chops with the left-hand wheels. the XL adds 61 keys. Bob Moog credited the Minimoog’s success to the sum of many design decisions: “The warm. Our instrument had punch to it. 2010 Voyager XL Eight years after the original and 40 years after the Model D. it was crisp and clean. but increased memory to 7 banks of 128 presets. “He made a calculation error. leaving Bob Moog with his own Big Briar company. If you look at. and many others transformed people’s ideas of the Minimoog from something akin to a box full of knobs to an expressive musician’s axe. Nobody knew that until a month or two before we started production. and quality suffered. and onboard modular patch panel. but the trigger had both a front and a back contact. If we had. something like that. The Return of Moog The irony of the Minimoog’s triumph is that not long after its introduction.A. MIDI. The playing styles developed by both Emerson and Hammer. 2008 Voyager Old School Recalling the Model D. low-order distortion introduced by the VCF and the VCAs. 2005 Electric Blue Added custom-color trim and blue backlighting.” VOYAGER TIMELINE An Imperfect Classic The Minimoog’s endurance doesn’t mean it was perfect. and then everyone said to leave it alone. Dr. We never used the back contact. 2004 50th Anniversary Edition Limited run commemorating 50 years since the original R. I also believe that musicians like the Minimoog because its controls have a comfortable feel. say. 2005 Rack Mount Edition Voyager sound and knobs in a compact rack format. Even the knob positions weren't scanned digitally—it was pure voltage. we performed like artists rather than engineers. Moog himself left in 1977. . the company he left behind failed to keep pace with competitors.” The rest of the Minimoog’s appeal lies somewhere between the mathematical and the ineffable. because we inadvertently overdrove the filter like crazy. ribbon control. the rapid attack times of which the [envleopes] are capable.” 2002 Signature Edition The first Voyager added extensive modulation. which returned to the smallscale electronics and Theremin that had first inspired 34 KEYBOAR DMAG. and it was beautiful and sounded like water. a MIDI-synced LFO. an ARP synth.” But he also ascribed something beyond engineering: “Our own intuition and discretion were our most important tools.COM 10.” One flaw is also part of what makes the Minimoog beloved. the small amounts of noise in the oscillators that keep them from locking together at very small frequency differences. were “terrible” in 1970. One was for pitch. a chain of events set into motion the business transformation that would eventually cause Bob Moog to lose access to his own name. and preset storage to make a better Minimoog than the Minimoog.” recounts Hemsath. and he overdrove the filters by ten or 15 dB.

the exclusive Yamaha Tactile Response System that re-creates an acoustic piano’s reverberations so you literally feel the sound. it’s the ultimate blend of personal and professional. Whether you play it at home or work. the AvantGrand will give you a lift. Learn more about it at www.com. For instance: an authentic acoustic grand piano action.Our hybrid can take you from home to concert halls— and everywhere in between. Within the small 4' cabinet—ideal for an apartment or a cramped teaching studio—Yamaha has loaded the AvantGrand with premium features worthy of a concert hall.avant-grand. . The Yamaha AvantGrand N3 is completely unique. and spatial acoustic speakers that reproduce a 9' grand piano’s tone (by far the best sound system ever installed in a hybrid).

ready-to-play instrument. I think originally I had two ‘ciagrette’ levers: one for modulation. and—more importantly—you could play the instrument in real time. “It was.” he says. it was the first Moog with proper temperature resistance. As Bob Moog once told Keyboard. he stripped it to three moving parts. Complex and fragile modulars downright scared music resellers. It ocurred to me to split the X and Y axes apart. literally phoning those people to confirm they wanted this or that feature.org. We turned it on.” Not so with the Minimoog. but you could create some basic analog sounds. In order to correct nasty slop and backlash. Case in point: composer Dave Borden and his trio in Ithaca. Oscillator drift was still a reality on the Minimoog. one for pitch. The company needed to work through a list of dozens of promises Bob Moog had made. but the Minimoog was different. “You couldn’t do much with it. Some of the people came for the cartoons. plunked it on the bench. New York. “I started out with a model airplane joystick. Model D prototype: Temperature-stable oscillators. Remember. Said Bob Moog in Keyboard. every musician who tried the Model A liked it. Yes! We succeeded. “Somebody brought one in from Binghamton in the middle of winter.” Model B: no more patch cords. “They showed Mickey Mouse cartoons while the musicians were patching. wielding his unrestrained enthusiasm to close sales. Visit them at audities. Bill Hemsath’s “demo patch” was the basis of a musician-friendly. The now-famous wheels began a long evolution that started with a joystick. so a musician could remember how everything was set without having to stop and study a front panel jungle.” says Hemsath. adding a center detent for pitch. If it weren’t for Van Koevering. but in an essential step for portable instruments. “Starting in central Florida. two pots and a stick. and this had been in his trunk all night long. He brought it in. David Van Koevering introduced the Minimoog to instrument retailers on their own turf.” A retail-friendly synthesizer. The Model A had few controls. the rest of us might have concluded that Minimoogs were unsalable. zero degrees out. “I couldn’t use the joystick for [the Minimoog] because it’s got this one-inch square hole. Hemsath got the joystick.2010 .” 36 KEYBOAR DMAG. they’d play the next number. and it was in tune. For that reason.” Machinist Don Pakkala turned those levers into wheels.] Model A: simplified controls. “At the end of the cartoon. Cigarette ashes. which later became a module on the Moog price list. like.COM 10.” says Hemsath. Model C: pitch and modulation wheels. this was a long time before synthesizers had presets.COVER STORY THANK A MINIMOOG: DESIGN BREAKTHROUGHS [Special thanks to Dave Kean and the Audities Foundation for these pictures of rare Moog protoypes. Hemsath recalls just how tedious re-patching instruments could be. It took a salesperson to realize its potential. —Ed. flies—anything could get in there.

alongside other ways of “touching” sound on a modern Voyager. the father of the modern synth chose to tackle the unthinkable: Make a successor to the best-known synth of all time that would not only replicate. players are in direct contact with the source of their sound.COM 37 . In 2000.” recalls Mike Adams. Demand for what would come to be the Minimoog Voyager was immediately astonishing. the second coming of Moog has proven a turning point in the saga of the music technology business. there was a huge response. “The design and topology of Moog gear plugs musicians into the fundamental building blocks of sound in unique and musical ways. MIDI.” The Voyager itself. he reclaimed the trademark not only for Moog Music. Instead. Moog Marketing Director Chris Stack emphasizes that the return to control voltage. his love of synths. but best the original. now eight years on the market. dropped the touch controller and. In fact. from our May 2003 feature on the making of the Minimoog Voyager. is part of the appeal. control voltage.” With a new team in place.2010 KEYBOAR DMAG. “When Bob announced he would introduce a successor to the Minimoog. the design combined the distinctive Minimoog sound and voltage control with new enhancements that reimagine the instrument for the 21st century.” says Stack. In 2002. Bob Moog announced that he would make a new Minimoog. but for “Minimoog. and preset storage. controversially. its modulation routings are significantly more flexibile than the original. While based on the Voyager. like a touchpad controller. more importantly. eliminated BOB MOOG FOUNDATION ARCHIVE 10. This results in some of the most expressive music ever made. president of Moog Music. Guided by Bob Moog. “We literally had millions of dollars in preorders for this undeveloped instrument.Bob Moog in his workshop.” For a perhaps surprising illustration. The story might have ended there. look no further than the success of the limited-run Voyager Old School reviewed in Keyboard in October 2008. has already proven its staying power. “Whether it’s controlling the Voyager’s analog oscillators through its touch surface or bending the strings of the Moog Guitar. the Old School returned to a Model D-style case. the Voyager boasts all-analog audio paths and. It also adds features that 1970 buyers couldn’t have imagined. Unlike virtual analog synths.

COM 10. Most significantly. In fact. Signs at the 2008 Winter NAMM Show read “Are You Old School?” (On the website createdigitalmusic. Without it. and Giorgio Moroder. this year the Voyager gets its biggest upgrade—literally.” says Chris Stack. Yes.” Stack notes. North Carolina. Moog fans famous and unknown express their affection. “After its introduction. 1974. riffs. new. an anonymous Moog employee reported that the original suggestion was. some 40 years later. The Moog DNA is found in the Voyager. and now in the Taurus 3 (reviwed on page 60). turning the clock back to 1970. but it was a huge hit. we were amazed by the music that was being produced with it. The Voyager continues its forward march. in the wildly successful Little Phatty.” says Moog’s Emmy Parker. Bob Moog would certainly still be remembered for his pioneering work in electronic sound.” says Stack.2010 . The programming strays far enough from traditional synth territory that public radio personality and Echoes host John Dilberto accused MoogFest of being “just another hipster alt-rock festival. “Just as gratifying are the huge number of YouTube videos we see of Voyager users in their home studios. MoogFest started out as as a small nightclub event in New York City.” 38 KEYBOAR DMAG. the name “Moog” inspires the kind of grassroots loyalty that automobile and soft drink makers spend billions trying to drum up. Without the slightest urging. But with it. multi-venue music festival offering a lineup from MGMT to Devo to Massive Attack. “In just the last few weeks we’ve seen it show up in photos from Trent Reznor’s studio and onstage in Björk’s new live DVD. sound effects and more and arrange and process them in ways that was difficult or impossible back in the heyday of the Model D.com. Moog Music and the Bob Moog Foundation should take that as a compliment about their rising profile in our comparatively synth-averse pop culture.COVER STORY presets and MIDI. “Got Balls?”) Some worried that the Old School would have limited appeal.” Perhaps that’s the ultimate achievement of the Minimoog. Generation Moog None of this success would have happened had a new generation not embraced Moog with open arms. Wendy Carlos. ELP. “Inspired by the likes of Kraftwerk. Now in Moog’s home of Asheville. this year having grown into a threeday. pushing the sonic boundaries in ways we haven’t imagined. the second most popular word for “synth” after “synth” is “Moog. in the Moogerfooger effects. younger artists have rediscovered synth-laden sounds. Bennie Worrell.” In Keyboard’s opinion. BOB MOOG FOUNDATION ARCHIVE Bob Moog in his office. See “The New Voyager XL” on page 33 for more. You can partly thank what’s happened outside the Moog case: “Software such as Ableton Live lets musicians record Old School notes. it has become a mecca. Devo.

Product features.Elevate your music production. Axiom. the Avid logo. and availability are subject to change without notice. Get your hands on keyboard controllers As the world’s leading manufacturer of MIDI keyboard controllers*. . Oxygen 49 Axiom 49 Axiom Pro 49 Contact an M-Audio Reseller to learn more: © 2010 Avid Technology.S. we understand that your keyboard is the link between your ideas and your music. The M-Audio® Axiom® Pro. system requirements. The onboard controls are automatically mapped to common software parameters. Inc. so inspiration is at your fingertips from the moment you open the box. M-Audio. All rights reserved. and Oxygen families deliver unmatched playability and intuitive operation—plus deep DAW integration that will fundamentally change the way you approach music production. All other trademarks contained herein are the property of their respective owners. and other countries. and Axiom are trademarks or registered trademarks of Avid Technology. * Based on MI SalesTrak reports from July 2004 – March 2010. in the U. Avid. specifications. Inc.

and became full-time Executive Director in February 2007. geeky.O. and continually fighting for the resources to accomplish our mission.” he declared with authority.” This was an awakening.org) as a way for the family to keep close friends informed of Dad’s condition. My family and I 40 KEYBOAR DMAG. humility. BOB MOOG FOUNDATION ARCHIVE Michelle Moog-Koussa is the daughter of Bob Moog and the founder and Executive Director of the Bob Moog Foundation. My dad? My pillar of quiet wisdom and logical thinking? He hardly ever had a cold. Asheville. Before we knew it.000 people logging on. creativity. my father called to share the reason he’d been having trouble moving his left arm. Through education programs. 2005. or any major health issues. While working at my gift boutique in Asheville. People from 70 countries expressed such sentiments as.COVER STORY Bob Moog with an early Moog Modular synthesizer. I don’t have a pinched nerve. I began as Volunteer Director of the Bob Moog Foundation in September 2005. wise. with over 80. We were. as Dad’s health declined. BOB MOOG LIVES museum. “Bob Moog gave me a voice for my creativity. My cool.COM 10. my whole world shifted. Given that we’re an entirely separate entity from the current Moog Music . that must be carried forward. P.” and “I’m a musician because of Bob Moog’s instruments. my family realized that our father had left a profound and indelible legacy steeped in inspiration.” With this five-word pronouncement. You can mail a donation of any size to: Bob Moog Foundation. The emotional devastation was countered by a stunning revelation that came by way of the Internet. my father died. and in many ways still are. How could a human being so resilient suddenly be weakened by something so damning? Three months and three weeks later. 2005 is a date I will never forget. the Bob Moog Foundation was created.” “Bob Moog changed the face of music forever. He was barely 71 years old. and we were overwhelmed at the depth of connection expressed from all over the world. Electronic Music Icon—an inspiration to thousands of people around the world. innovation. ever-humble dad was also Bob Moog. more than just close friends were visiting the site. NC 28814. a historic archive. on August 21. inspired by technology and the urge to share it. and a planned the Bob Moog Foundation carries on his legacy. April 29. and the results were in. “I have a brain tumor. my brother Matthew created a page on the CaringBridge website (caringbridge. During these seven weeks. Box 8136. thousands of people wrote tributes to Bob Moog in the guestbook of his CaringBridge webpage. The Birth of the Foundation From this remarkable breadth of support. “Well. North Carolina. we felt. a quintessential startup—highly motivated to succeed. He’d had an MRI a few days prior. What happened between July 7 and August 21 was an outpouring. At the beginning of July. Hence.2010 by Michelle Moog-Koussa read them all. and human interconnectedness—a legacy.

” This is MoogLab in action. we’re restoring and digitally transferring some of the most delicate specimens in the archives— the reel-to-reel tapes—thanks to two generous grants from the Grammy Foundation. festivals. Our mission is a reflection of Bob Moog’s legacy: To educate and inspire people through the power and possibilities of electronic music.instrument company (though we do enjoy a friendly partnership with them). this has been a pilot program we‘ve brought to area elementary and middle schools. science education lagging behind other developed countries. Currently. Lev Teremen) the cornerstone of electronic music. “Not now. Mom. Archive Preservation Initiative: Bob Moog left behind an extensive. and interact with the instrument to make it all happen. In the meantime. watch the waveform.” BOB MOOG FOUNDATION ARCHIVE · MoogLab Unleashed With school music and arts programs suffering across the country. Asheville’s Tourism Product Development Authority has awarded the Bob Moog Foundation a generous lead grant for the construction of the facility. correspondence. the Bob Moog Foundation is committed to making an impact immediately with MoogLab.A. To introduce students to the physics of sound. This progress has been the result of thousands of hours of dedication. Whether we’re talking about oscillators in a Theremin or filters in a Moogerfooger. electromagnetic fields.a. prototypes. we continue to grow the MoogLab and Archive projects so that both will be fully developed by the time the Moogseum is realized. and U. many of which are beautiful expansions on early modules designed by the R. Moog company in the mid-1960s. To date. and that my father cared far more about making circuits sing than about his bottom line. I’ve almost got this tap delay synced with the filter mod.S. The Moogerfoogers introduce students to the concept of synthesis—the ability to alter sound waves with the flip of a switch or the tweak of a knob.000 To-do list for the Minimoog project. With our MoogLab Student Outreach project. interactive environment. As part of our lesson. On the ground. we follow the trajectory of electronic music evolution and begin with the Theremin. from Bob Moog’s desk visitors. With the Low Pass Filter. project notes. California recently hosted an eight-month exhibit featuring over 250 items from the archives. The fact that you play it without touching it makes for a captivating visual with which to teach kids the principles of oscillation as a form of sound generation. with the Analog Delay. we use trippy echo effects to go deeper into waveform concepts.2010 KEYBOAR DMAG. The challenging economy has made raising the remaining needed funds difficult. The Museum of Making Music in Carlsbad. schematics. The expressions we’ve seen on the kids’ faces have shown priceless “light-bulb moments. we use swooping filter sweeps to teach basic subtractive synthesis. · JOHN LEIDEL FOR BOB MOOG FOUNDATION · instrument with which Bob got his start when he was only 14.k. Moog devices provide a unique onramp to subjects ranging from the relation between mathematical frequency and audible pitch 10. dated 1970. and of his own work specifically. traveling exhibits. notepad. postponing the opening of the Moogseum to 2014 or beyond. we bring Moog instruments into schools to teach children the math and physics behind electronic music and inspire them to create in their own ways. articles. Bob considered the Theremin. and through the intersection of music and science. and our future Moogseum. our trained teachers connect the Theremin to an oscilloscope and the proverbial circuit is formed: Students hear the sound. Our goal is to bring this unique archive to life through our website. the very We add a layer of sonic experience by connecting the Theremin to one or more Moogerfoogers. Moog Music’s effects pedals. and historically rich archive that includes photos. invented in 1919 by Russian physicist Leon Theremin (a.COM 41 . three important projects are how we realize that mission. More about that below. compelling. and our own public events. and circuitry. we’ve faced our share of financial challenges—and are proud of the work we’ve done in overcoming them. The Moogseum is planned to be both a website and a facility in Asheville where the above two goals converge in a hands-on. and hard work by countless volunteers. persistence. and audio recordings. It received over 20. all of which we’re preserving.

..... Features 20 interviews with noted players and producers like Jimmy Jam & Terry Lewis. and flavors of support—see the “dashboard” on page 44 for different ways you can help... INSTRUMENTS...... $19.. science and sound. the editors of Keyboard magazine have culled that era’s most significant articles and combined them with a wealth of insight to create this landmark book. opening minds to the possibilities that exist at the intersection of music. The Bob Moog Foundation is a small non-profit organization with one full-time employee (me) and a corps of dedicated volunteers. but they’re also the most complex. who could be a bit of a procrastinator. This also makes them ideal teaching tools. That’s why we’re spending some time developing MoogLab in the Asheville community—we want to sculpt it into a refined teaching tool that we can eventually share with teachers on a national and international scale. we’ll always be mainly donor-driven and sincerely appreciate all sizes. our goal is to do so within the next two years.. archives serve as powerful vehicles. Duran Duran’s Nick Rhodes. Depeche Mode’s Vince Clarke... including a renowned article Make Waves The most important thing we can do is to continue to impact lives in the way that Bob did..” [He also authored our instructional “On Synthesizers” column and myriad one-shot stories.. While we’ve not yet brought MoogLab into high schools. and therefore better suited to upper grades. Stephen Fortner... science...... intuitive interfaces.. For that reason.. Chick Corea.. They also wed these concepts with fun.. Make no mistake. and imagination. Synthesizers such as the Minimoog Voyager are possibly our most powerful tool for teaching the science of sound.. Bob Moog designed his synths to have logical... To carry out this work. While we receive some funding from grants and fundraising events.....COM 10.. and to be easy to understand for musicians... the Bob Moog Foundation is not about Bob-Moog-as-celebrity... MoogLab and the many history lessons hidden in the KEYBOARD PRESENTS: THE BEST OF THE ’80s THE ARTISTS. We aim to offer that same experience to a wide range of students in hopes of unleashing their creativity. prove to be valuable assets as their education continues. and Michael Gallant BACKBEAT BOOKS No single decade revitalized the keyboard as a focal point as much as the 1980s.. and Frank Zappa.. Dad.. The Gift of the Driver’s Seat I’ve been acquainted with Keyboard magazine since I was a kid. it’s about igniting creativity and stoking intelligence in present and future generations.. shapes.. Even if students can’t fully grasp such complex subjects in a single teaching session. he left behind relatively little personal wealth. but also a generous soul... we look for the collaborative spirit in those who care deeply about electronic music...... Rather.. the connections forged in a MoogLab class between math and music. and that the experience shaped their musical lives. Peter Gabriel.2010 . and in spite of his renown. The Bob Moog Foundation aims to follow Bob’s ethos of doing things right the first time. Now... real-life examples.... Many musicians have told me that they taught themselves synthesis on a Minimoog Model D. used to write a monthly column called “Vintage Synthesizers..... as well as such visionary pioneers as Herbie Hancock.COVER STORY to the difference between digital and analog sound. AND TECHNIQUES OF AN ERA edited by Ernie Rideout. We seek the support of musicians who use tools that Bob dedicated his life to developing—as well as the support of fans who enjoy the vast ocean of music that might not exist if it weren’t for Bob’s work..95 See your favorite retailer or call Music Dispatch at 42 KEYBOAR DMAG.... 00331932. and The Human League.... My father was not just a brilliant technician..

a backlit LCD and more. editable sounds.. It only sounds like it costs thousands. RULES WERE MEANT TO BE BROKEN The Privia PX-3 breaks all of the rules and more by delivering an extremely lightweight. the class-compliant USB MIDI interface works seamlessly on any Mac or PC.PRIVIAPIANO. INC. the PX-3’s scaled weighted hammer action redefines the stage piano category. These can come from the PX-3’s great sound engine. high performance. RULE #2 – IT MUST BE EXPENSIVE The PX-3 offers four layer dynamic stereo piano samples. . RULE #3 – A STAGE PIANO CAN’T CONTROL OTHER GEAR The PX-3 allows for 4 simultaneous sounds. insert effects.BREAKING THE RULES. you’ll never believe that you can carry the PX-3 under one arm. With an Ivory Touch matte key finish and the feel of this remarkable Tri-Sensor action. FOR MORE INFORMATION PLEASE VISIT WWW. AGAIN! RULE #1 – AN 88 NOTE WEIGHTED ACTION KEYBOARD MUST BE HEAVY Weighing in at an unbelievable 24 lbs. an external MIDI device or both at the same time. 88 note weighted action stage piano and controller at a price that is an absolute steal. Use it on stage or in the studio with your computer.COM ©2010 CASIO AMERICA..

and about to get my driver’s license. I should seize the opportunity. with even more responsibility. donate. We lived 35 minutes from town. Dad got out and asked me to wait in the car.] One day he announced that then-editor Dominic Milano had called and said the article had to be at Keyboard’s offices across the country the next morning. along with countless others.org. which gives the Foundation $1 for every ticket sold. Dad asked me to drive him to FedEx. WAYS YOU CAN HELP THE BOB MOOG FOUNDATION More Online Get these links and more at keyboardmag.COVER STORY on the synth soundtrack to Francis Ford Coppola’s film Apocalypse Now in the January 1980 issue.org.COM 10. “I think we can go get your license tomorrow. Rock out at MoogFest 2010. This is also a gift for which I’m deeply grateful—an opportunity to make a difference in a truly meaningful way. Dad spent the day huddled in his workshop. for blazing the path that I. Dad. Foremost is cradling Bob Moog’s legacy with integrity for future generations to enjoy. which closed in 30 minutes. 44 KEYBOAR DMAG. He got back in a few minutes later and said. trace with humility and awe.” Once again I find myself in the driver’s seat. —Ed. Donate signed CDs or memorabilia for auction on the Foundation’s eBay site. Volunteer. banging out yet another technically stunning article. Then I realized that if Dad trusted me. We made it to FedEx five minutes early. And thanks for the inspiration.2010 . as there was so much riding on it and I was a brand new driver. Donate part of your eBay proceeds to the Foundation via MissionFish. Vote for the Bob Moog Foundation at Pepsi’s Refresh Everything grant site. At the last minute. I was 15 going on 16 at the time. or buy cool swag at moogfoundation. I wondered for a split second how he could even trust me with such a responsibility.com/oct2010 Make music? Donate a track to sell on the Foundation’s iTunes store. Thanks.

Nord Piano Library . Finally you can choose the sounds you really want to play.nordkeyboards.com For more information: info@AmericanMusicAndSound. True original sounds with lots of character.Original Sounds for Free www. Nord proudly introduces the Nord Piano 88.com AT NORD WE DO THINGS . the dynamic Nord Piano Pedal and the Nord Piano Library.differently It’s about time you stop playing the same lifeless and generic piano sounds that sits in your instrument forever and ever.

You’re ready to sequence. Just make sure the samples are short and percussive. Step 3. no sustain. you can load the sounds onto different pads and work from there. This month. While we normally frown upon simply turning random knobs until it sounds cool. arrange the samples to create a unique rhythm. If you’ve chosen to use multiple tracks in a DAW. it’s even easier: Just create a sequence using the samples and leave room for each event to “pop. short decay.COM 10. Another approach would be to take extremely small slices of any sort of sampled material: voices. and while it cycles. Make a small array of short sound effects using PERCUSSION GROOVES FROM SCRATCH When whipping up a groove for a new track. in Ableton Live. rhythmic loops that are entirely your own will ensure that you sound like no one else—a sure-fire way to stand out from the pack. but don’t sound too much alike. this is one situation where you can get away with it. you can place each of these sounds on a different Drum Rack “pad” and create a pattern. Alternately. For best results. adding effects on a track-by-track basis. Audio examples by Francis Preve. On an Akai MPC. Even if you’re not a veteran sound designer. Depending on your DAW. or audio you grabbed with your iPhone or handheld field recorder. If you’re using an Ableton Drum Rack or Akai MPC. you have a few options. The only criteria is that you don’t use any presets. Once you have your sounds ready. quick release. create a one-bar loop. it’s all too easy to just grab a few percussion loops from your favorite library. we’ll tackle putting your own stamp on your electronic percussion elements. use short envelopes: immediate attack. Foley effects. and grab a latté. Start with four to six unique sounds and make sure they’re complimentary. Francis Preve whatever synths you like. lay them into your mix. This same technique works with Ultrabeat in Apple Logic.Dance SOLUTIONS Step 1.” 46 KEYBOAR DMAG. Step 2.com/oct2010 Step 4. render each one as a single hit and collect all of these in one folder so you can find them easily. But what if you went to a four-star restaurant and the alfredo sauce came from a box? Eew. More Online Get these links and more at keyboardmag. The first is to dedicate each of four to six tracks in your arrange window to a different sound.2010 .

.

a fast rate.2010 . squirty bass patch used in the Bee Gees’ “Jive Talkin’” and countless disco classics. Another critical aspect: just a little bit of glide.e. i. The secret to this patch is two sawtooth oscillators just barely detuned from each other. The oscillators are detuned very slightly: +1 cent for oscillator 2. We’re using all three oscillators with the first two set to sawtooth waves. Step by step audio examples. Also. and the third set to a square wave for thickness.com/oct2010 Archive of Steal This Sound audio at the author’s site. experiment with very small knob movements. Let’s check out some of the Mini patches that made it famous. e. so if the oscillator tuning.g.SOLUTIONS Steal This Sound More Online Get these links and more at keyboardmag. You’ll need to tweak oscillator 2’s fine-tune knob until the oscillators almost sync—check out the online audio examples for reference. The progressive rock and jazz-fusion movements pushed the Mini into the spotlight during the ’70s. Mitchell Sigman 1.COM 10. A couple of general notes: No two analog synths are alike. 2. (Clockwise = slower on the Voyager’s glide knob. opening up the filter a bit when you apply aftertouch. These translate to the “regular” Voyager (though the modulation section is configured somewhat differently). Rush’s “Tom Sawyer” Lead One of the most recognizable synth leads ever. so much that early recordings often attributed any synth simply as “Moog” on album sleeve credits.) 48 KEYBOAR DMAG. Super Funky Bass Here’s the funky. FIVE LEGENDARY MINIMOOG SOUNDS Without a doubt. and –1 for oscillator 3. and soft synth imitations equally well. You could use it to add more performance control. filter settings. Filter cutoff is 50% open and resonance is about 60% of maximum. the Minimoog is the classic analog synth. as it’s not critical to any of these patches. or envelope of a patch doesn’t sound quite right to you. with patch diagrams from today’s Minimoog Voyager Old School. we’ve left the second modulation bus blank.

Add some reverb for flavor. Wakeman Wah Rick Wakeman really put the classic ladder filter to use in his “Catherine of Aragon” from The Six Wives of Henry VIII. 5. Pseudo-Theremin As heard in the Portishead track “Humming” from Roseland NYC Live. ELP’s “Lucky Man” Lead The other most recognizable synth lead! Keith Emerson sets all three oscillators to slightly detuned square waves with the filter wide open and a generous amount of glide.3. and a very slow filter envelope are the keys to this patch. Three slightly detuned saw oscillators.2010 KEYBOAR DMAG. 4.COM 49 . a whole lot of filter resonance. and is way easier to play than a real theremin! 10. and go nuts with the octave and resonance knobs at the end. along with a fairly slow glide. This patch sounds great with spring reverb emulation or a warm delay. this simple one-oscillator sawtooth patch with heavy vibrato from the LFO. evokes ’50s sci-fi shows.

Our full review of Native Instruments Absynth 5. Francis Preve WHAT’S YOUR CURRENT GO-TO SYNTH FOR YOUR PRODUCTIONS? Richard Dinsdale Richard Dinsdale At the moment I’m all over the Minimoog Voyager. I was lucky enough to have Micky Slim lend me his. The saw wave patches are some of the fattest out there. It’s packed with fat sounds. this synth has one of the best modulation systems I’ve ever seen. The Virus TI is extremely deep.COM 10. Just a few clicks can turn a rather simple pad into a neat chord stab or a nasty pluck. For me. No matter what I’m making. Reach out to us by your favorite means (see page 10) with questions and names of artists you’d like us to interrogate. I can experiment with modulation possibilities that really push the limits of traditional synthesis. I’ve always leaned towards hardware. Josh Harris For a while now. What’s more. It generates sound using actual circuit models rather than plain DSP synth modules. Each time. Its versatility at producing soundscapes is like no other synth. The results remind me of the fun I had in the ’80s with analog synths. They were smart enough to have a basic “init” patch for control freaks like me. Strobe is warm and alive. It also interfaces perfectly with Logic via USB. we’re kicking off a series of roundtables with today’s hottest producers. The user interface is simple and inviting. and the built-in effects add such dimensionality that I do very little to fit sounds into a mix. Absynth is really the flagship of available software synths. My go-to synth is FXpansion Strobe. Although soft synths have come a long way over the last few years. There’s a sonic depth my ears don’t usually hear in a virtual synth. we ask a different question to a panel from the electronic dance music or indie-pop worlds. after which I had to get one. and with three ocscillators with massive ranges. there’s no choice but to have my laptop be my studio.SOLUTIONS Producers’ Roundtable GO-TO SYNTHS OF EDM This month. there’s no limit to what it can make.com/oct2010 Our full review of FXpansion Strobe and DCAM Synth Squad. as it’s packed with crazy presets. You can automate it like a plug-in. I can’t stop myself from going to the Voyager. I strongly recommend it for new techno producers. Josh Gabriel Josh Gabriel With all my touring. a sound not often present in soft synths. A feature called Mutator lets you create new sounds based on characteristics of the presets you choose. 50 KEYBOAR DMAG. Patch Park Josh Harris More Online Get these links and more at keyboardmag. Visit these artists online.2010 . Patch Park (Perry O’Neil) I’ve been into [Native Instruments] Absynth since I discovered it a few years ago. my [Access] Virus TI desktop module has been my go-to synth.

iv e ” e w e n t w a y p a s t “ in t u it W o p ‘ t i l w e h i t “duh. *Bonus FREE software runs your PS60 as six “hardware plug-ins” under any recording program! WWW. take the stage and leave the menus where they belong – on the table! Find the right sound fast with 440 in-demand sounds. playing different sounds or layers on each half of the keyboard. switch. No complicated menus or manual diving required. We didn’t scale back. divided into six popular categories. Why settle for one synth when you can have two? The PS60 can be split instantly at any key. In the end. Dedicated knobs and buttons make it easy to add. we designed the PS60 with only one thought in mind: your next gig.COM/PS60 .KORG.” a n d d i d n’ t s t It’s our most playable synthesizer ever. We didn’t remove features. So head down to the club. and control the built-in EQ and effects as you play. We added knobs. Turn on more than one to build simple layers or massive stacks. We simplified. remove.

” which sounds just like a Mark I Suitcase. “Synth Set 1” in particular is a credible TR-808 emulation. Piano Pure. right down to the cowbell. You set the split point by striking a key—nice. If. That said. the polyphonic portamento is sweet. but the tradeoff is that nearly every button does more than one thing. filter cutoff (but not resonance). and pulse leads. effects. The 64 Registrations make up for this by storing the entire state of the PX-3: sounds. you press one button while holding another. My favorite electric piano is the effect-less “Elec. there’s no monophonic mode. The limitation here is that the keyboard does only a two-way split of up to two layers on each side. for example. Standout Sounds Are the main piano sounds better than they should be? That’s the understatement of the year. In both the acoustic and electric piano banks. Oddly. “Grand Piano 2” is mellower and more suited to jazz and classical. The rotary 52 KEYBOAR DMAG. from “Superstition” sharp to “Use Me” warm. The “Others/GM” bank hides some gems. however. which should be an option for synth leads. You’re going to feel like Woody Allen in Sleeper. you think “Casio” connotes keyboards played only by irony-seeking hipsters and actual children. a couple of presets add strings or pads so you don’t have to use up a layer. at least at first. you can’t. The dynamic and harmonic transition through the full velocity range is so smooth that if Casio didn’t say there were four layers. from the not-overdone tines to the low-end brap. keep reading. Piano. For some tasks. “Grand Piano 1” is the full but bright-leaning sound you’d play standing up in a cover band. Want acoustic and electric piano sounds that stand tall at any gig? Want solid non-piano sounds? Want splits and layers? Want 88 weighted keys that feel a lot more expensive than they are? Want to carry it under one arm almost as easily as you would a fouroctave MIDI controller? Want it all for less than the cost of eight first dates at a toney gastropub? Get a PX-3 and be happy. The Spartan button layout and small LCD keep the price low. including Oberheim-like synth brasses and Moog-y saw. My second favorite is “60’s Elec.COM 10. velocity response. and LFO-based vibrato. but you can trigger slow/fast speed with an assignable button. EQ. Clavs cover the right bases. by Stephen Fortner effect doesn’t compete with dedicated clonewheels. those synth-like settings.GEAR Casio PRIVIA PX-3 Here’s the review: The Privia PX-3 is the most insane value out there in a stage piano right now. this makes for some manual-diving and “How’d I do that last time?” moments. portamento time. Though Casio didn’t include the virtual drawbars of some other Priviae.2010 . Overall. split/layer status. The ten drum kits at the end are very punchy. square.A. you hold one down a couple of seconds to engage its alternate function. but “Wah Clav” has a bit too much filter resonance. Controls and Editing Splitting and layering is pretty easy: Zone Select buttons on the left choose which of four parts the panel affects. reassign an unused left-hand layer as a third right-hand part. organs range from percussive to 16’-and-1’ reggae skank to all-bars-out. while Layer and Split buttons on the right determine what you actually hear. A global EQ with sweepable frequency on each of four bands provides major flexibility for sculpting your tone to the room or P. the PX-3 goes beyond basic mixing and panning to provide some synth-style tweaking: envelope attack and release. For others. I might guess eight to ten. At the per-part level.” which sounds more full-bodied than many ROMpler Wurly presets.

You get driverless. KEYBOARD ZONES Upper 1 and 2. It’s a little odd putting it on the stand—the PX-3. Impossibly light given the great-feeling weighted action. it feels as solid and responsive as any 75-pound keyboard.2010 KEYBOAR DMAG. Lower 1 and 2. Specifications transposition. and SMF song playback from the onboard SD card slot. moving parts add cost and take up space. Not this time. No sweep pedal input. In Use Our PX-3 made rounds between me. WEIGHT 23. CONCEPT Ultralight stage piano with split/layer ability. because I’m digging in too hard.” Leiter praised the weight: “My fat cat weighs almost as much. drag-and-drop backup when connected to a computer via USB. The least expensive step up in features and sound would be something like a Yamaha CP50. That’s the kind of value we call a Key Buy. Smooth. “This has to be the best lightweight digital piano out there.com More Online Get these links and more at keyboardmag.04" x 11. POLYPHONY 128 voices. EFFECTS Global chorus and reverb plus a DSP multi-effect sharable by two zones/parts.25" x 5. at literally twice the street price and weight. just two footswitch inputs. The mono piano sound really cuts through the band. and New Orleans-style piano rocker Josh Charles (see CD review on page 18). Josh offered.” I agreed completely. Supports halfpedaling with optional three-pedal unit. but this was never an issue in actual use. Great EP and synth sounds. Editing is fiddly using the buttons and small LCD. playable piano sounds.com/oct2010 Casio’s Mike Martin demos the PX-3 at retailer Kraft Music. to whom I rushed the PX-3 when the club he was gigging at didn’t have a piano. That illustrates the ground the PX-3 stakes out: It’s damned good—more than enough for most realworld gig use—and to get any better. W x D x H 52. No aftertouch.8 lbs. The black keys do have a bit of side-to-side movement. street: $800 Conclusions Doctor Who’s TARDIS is famously bigger inside than out. detailed. ACTION Fully weighted and graded. I’d like to see assignable knobs. priviapiano.99 Approx. there’s a fluid. Once you start playing. not the cat—because it’s so light. 10.COM . composer Richard Leiter. or at least a data slider instead of just up/down buttons. though. trying to draw out something that’s not there. “Usually. Casio seems to have employed similar sci-fi technology to put such a serious piano action in an instrument that weighs next to nothing. too. Pre-program some before the gig and you’ll be golden. you’re looking at multiples of price. I’m quite impressed. Though it has plenty of weight for serious piano practice. you name it. List: $999.31". but again.” All who tried the PX-3 raved about the feel. non-fatiguing quality that made Josh say. my hands hurt after playing a digital piano all night. After pounding out NoLa stride and boogie all night. 53 Video: Privia PX-3 unboxing and first play.

and the panel is as organized and as easy to read on a dark stage as it is in bright sunlight. and EQ.2010 More Online Get these links and more at keyboardmag.com/oct2010 Video: First look at Korg’s other new keyboard. While Korg’s designs for the Radias.COM 10. delay. Done. not unlike their earlier M.and T-series keyboards or a Roland D-50. and before turn- Layout Performance controls are at left and include a dedicated button for simuLeslie speed on organ sounds. modulation effects. Keyboard Feel When I placed the PS60 front and center in my studio. . With 120-voice polyphony. splits and layers. reverb. Want an acoustic/electric piano layer? Light the On button under “A. and SV-1 are certainly more audacious. please. the MicroStation. octave and semitone transpose controls.” then choose an electric piano.GEAR Korg PS60 The look of Korg’s new PS60 is all business. by Ken Hughes other axes call multi. Piano. All six sound categories are available at the touch of a button. you’re pretty much ready for anything. The Easy Setup panel at center is where you choose sounds and build splits and layers on the fly. M3. or performance mode. You have to wonder if the lack of flamboyance is calculated to enhance appeal in hard times: “Look. it’s not a flashy toy. (The LCD doesn’t fare as well in the sun. A Performance is a macro-level setup encompassing sounds. but what LCD does?) It’s also appealingly compact. can I. Here’s where things get interesting. the PS60’s nononsense appearance bespeaks its single-minded mission: To be taken onstage and played live. effects sends. hold that On button and press its counterpart under “E. Can I get one. combi. Dare to create a massive. Piano” and choose a piano sound. The PS60 is always in what many 54 KEYBOAR DMAG. please?” The lightweight plastic enclosure is reasonably rigid. Audio demo by the author. honey. and four banks of five preset Performances per bank. six-layer monstrosity? Light up all six On buttons and go nuts. Balance to taste using the white volume knobs.

.

Electric pianos.4. Multiple tuning temperaments. as well as cool extras like digital. Many of the source samples. Strings. you get half-pedaling. and with a little tweak to the phaser effect on the Rhodes. and the like. WEIGHT 10. Electric Piano. Disney end credits—all the essentials are on hand. POLYPHONY 120 voices in single mode. SIMULTANEOUS EFFECTS 5 inserts. light someone’s fire. W x D x H 36. MULTITIMBRAL PARTS 6: Acoustic Piano. Korg has great organ simulations. Since the PS60 isn’t a workstation with a built-in sequencer.GEAR ing it on. 56 KEYBOAR DMAG. It’s here that the finger-tomusic connection is at its absolute best. but Korg has included a slew of drawbar tonalities. In Use Spending a few weeks with the PS60 was really enjoyable. Clavs and harpsichords live in this bank. the audio demo at keyboardmag. and air. it’s a completely different feel from anybody’s piano-weighted keys. but the PS60’s keys are a pleasure to play because—and this is important—their response is so tightly integrated with the internal synth engine. including one with the key-off noise of a real Clavinet with sticky old hammers. aided by a clever implementation of the Lock button above the joystick: Push the stick forward for tremolo to taste.com/ps60 . swirly. Go play one and find out why.) Creamy.54". you’re probably going to get them from a dedicated clonewheel anyway. It’s so bloody easy to be musical. 2 master.45" x 3. CONCEPT An always-in-multi-mode gig synth loaded with high-quality sounds you can split and layer with alarming speed. They’re everything you want in a stage piano. snarly. then press Lock to keep it there. try them for solo piano songs or passages. Stretchtuned pianos are offered. plus delightfully cheezoid transistor organs for when you need to pump it up. street: $700 korg. The keys that I had initially dismissed became my new favorite for playing soft synths. and there are several tasty flavors. Reason provided drums and percussion. and Synth. I found a perfect bass guitar among many worthy candidates in the Synth bank.41" x 11. I’m gushing. If you spend most of your time playing B-3 sounds. Great sounds. If you buy and connect a Korg DS1H damper pedal (about $60). I cooked up a demo tune that answered the question: “What would it sound like if Tower of Power had Donald Fagen and Bernie Worrell sit in?” Since the PS60 contains no drum sounds. too. which are rendered really well. Why do I mention this? Because you might make the same judgment if you encounter the PS60 at a retailer where they don’t keep every unit plugged in. Can’t layer programs from the same category. I thought its synth-action keys were way too light and that they bottomed out too softly.COM 10. I recorded everything else live as audio into Pro Tools LE 7. but not both. The PS60 impressed me as much with its keys-to-sound connection as the vastly more expensive Yamaha CP1 stage piano. with plenty of girth. I had exactly the Sounds Certainly we’re in bread-and-butter land—but it’s artisan bread and fresh butter from a local creamery. both Rhodes and Wurly. the Lock button can affect either. I used it in the studio as both MIDI controller and sound source. Prophet VS-style electric piano sounds. Organ. Granted. not even in a General MIDI bank buried somewhere. or cry 96 tears. Compact and light. devices in Propellerhead Reason. too. Layering a Dyno Rhodes with a bright grand piano was a snap.2010 Specifications Exceptional finger-to-music connection. but CX3-style drawbar modeling isn’t part of the PS60’s innards. No aftertouch. 60 voices in double mode. feel as if they do. are every bit as good. plus global EQ. (Incidentally. After I spent some time playing (what a concept!). No arpeggiator. Half-pedaling on piano sounds with extra-cost pedal. The simu-Leslie isn’t as convincing as I’d like to hear. if they don’t actually feature a dozen or so velocity layers. Brass. which seems to be more or less the “everything else” category in the PS60. a whole new impression confronted me. sparkle. The grand pianos in particular are gorgeous. of the joystick’s axes. List: $899 Approx. Okay.14 lbs.com attests that even a relative hack like me can wring a decent Hammond sound out of the PS60. All this said.

776. Price & Service.5173 musiciansfriend. Guaranteed. Best Selection.Friend Us. 800. Follow us for weekly deals just for you. Fan Us.com .

COM 10. After that. and I got a MIDI note loop that ate up the PS60’s polyphony and gave me phasey sound no matter what the local on/off settings were on each end. Hiding in the Synth section are a number of pretty good guitars as well. I had so much fun blowing through them that I can’t tell you exactly which ones I used. though. go get one. and the PS60 is a home run for both camps. and vice versa.GEAR With the PS60 connected via USB and this plug-in or standalone editor running on your Mac or PC. including a distorted lead and a jangly. I’ll likely do just that. and hit the road. The needs of weekend warriors in bar bands and in churches are remarkably similar. If the PS60 let me layer Programs from the same category. That misses the point—if you want a workstation. I tracked the layered piano-and-Rhodes in one pass. but it also runs as a plug-in in all major DAWs. so I overdubbed a pass of “Killer Brass. low cost.” which skews more into Jerry Hey territory. Using the editor software beforehand and storing custom presets will save time. Korg’s joystick has always made this gesture easier for me than a pitch wheel or Roland-style paddle. An arpeggiator would’ve been useful. the PS60’s otherwise excellent “TOP Section” patch gave me a pre-made split (this is a single program. not a multi) with a fat baritone sax in the left hand and a sax-and-trumpet trio in the right. (In Pro Tools. and a spare wall wart. It sounded a little soft. a case. Mixed just under “TOP Section. . but no dice. Not only is there a great software editor included with the PS60. and quick navigation. knob and button moves on the PS60 update instantly onscreen. The fix was to go into Pro Tools’ “Input MIDI Device” settings and de-select the Midiman port to which the PS60 was connected. but I can tell you there’s nary a ho-hum sound in the lot. you can’t have everything at this modest price. though. fantastically responsive keys-to-synth connection. you need to add those you wish to automate in a pop-up after clicking the Auto button in the plug-in itself. right texture. It makes working with the PS60 like working with a soft synth. For the lead synth sounds. the PS60 is very attractive with its light weight.2010 The PS60’s editor wants to be connected to the PS60 by USB only.” it added extra sharpness. I used the “Distortion” patch. Building a credible funk horn section required two passes with different sounds. I tried it with old-fashioned MIDI and USB at the same time because my rig includes hardware synths connected via a vintage Midiman interface. small size. not just beginners. will get a PS60. I tracked the organ. I’ve seen some online forum chatter bemoaning the lack of a sequencer. as well as standalone. Not the PS60’s fault—just something to look out for if your studio is “blended” like mine. You can also automate the PS60 like a soft synth. Though the absence of aftertouch detracts from the appeal as a player’s axe. tremolo-dipped Telecaster. so that Pro Tools saw the PS60 over USB only.) 58 KEYBOAR DMAG. especially those on a tight budget. Conclusions As I put a rig together for a tour with my band Maybe Tuesday. right down to automating all front-panel parameters from your DAW. I also used the pitch bender to add very subtle “falls” to the end of each brass stab on this pass. with some judicious volume pedal work using the pedal from my Korg CX3. I could have recorded both brass sounds in one pass. which did a nice job of evoking Chester Thompson’s “Squib Cakes” and “What Is Hip?” tones. and isn’t that most of us right now? I predict that a lot of mid-level touring pros.

.

That may have been true once. It was a magical. Though the Taurus 3’s oscillators generate sawtooth waves only. and etched permanently on many minds as the definitive synth bass tone.COM 10. “Maybe someday. archaic. Lovelace other than to spend ungodly cash on the clunky greatness of ancestral technology. is a one-octave pedalboard attached to a throaty two-oscillator analog synth. and a Control wheel assignable to . Geddy Lee of Rush masterfully employed this foot-powered tank on the screen of my friend’s black-and-white TV while simultaneously playing a mountain of synths and a double-necked Rickenbacker. unobtainable instrument perhaps only meant for this special breed of one-man-band warlock. but thankfully. rubberized. like the first Taurus.GEAR Moog Music TAURUS 3 One of my best musical memories is the first time I heard a Moog Taurus in the early ’80s. After years of pleading by Moog fans. it adds a far more programmable interface than the original.2010 by David C. owing to that old notion that there’s no way to put the “wow” in our bow-wow 60 KEYBOAR DMAG.” The majestic bows and wows of the Taurus were expertly programmed by Dave Luce of Polymoog fame. Overview The Taurus 3. aluminum marvel that culls design cues from their oldest to their newest synths. a glittering. wood-capped. The two big sliders from the original Taurus give way to oversized. the company has released the Taurus 3. not to mention patch memory for 52 presets. including the original Taurus. it no longer is. it looked just like the pedals on Mom’s old Lowrey organ. Still. so I thought to myself. Tone-questers have been driving up prices of used analog gear steadily. light-up footwheels: Volume.

” are two great choices for definitively acidic Roland TB-303-style arpeggiations.Specifications Recaptures the huge sound of the original Taurus. LFO. The technique associated with the original had more to do with root-and-fifth rock foundations than with Hammondstyle fancy footwork. More importantly. MODIFIERS Latch arpeggiator. PRICE: $1. As a rule. volume and filter envelopes. albeit with a longer 18-note pedalboard. PRESETS 52. “Muted Arp. If you play prog. Missile-proof construction. Oscillators generate sawtooth waves only. Depending on your MIDI keyboard. so it’s not inordinately difficult to become competent. plus control voltage (CV) inputs for volume. Though the panel says “Control” under the three rightmost buttons (Glide. “BullAcidTest.2010 More Taurus 3 audio examples. which control oscillator.” and G2. “Taurus III. bass beast. Decay. and Octave). meaning you can get higher by controlling pitch via analog CV. OSCILLATORS 2. Else. LFO.” Connections. CONCEPT Foot-controlled analog bass synthesizer. you’ll be very happy with the sounds the Taurus 3 will add. which was essentially a Moog Rogue on a stick. include hi-Z and lo-Z mono audio outs (for plugging into a bass amp or mixer. Great updates. Sounds While the Taurus 3 may not double as a lead synth. those aren’t assignment buttons for the Control wheel— they’re separate on/off toggles. here assigned to cutoff amount. well-built synth with an analog soul that purists and traditionalists will instantly recognize and fall in love with all over again. transpose. Performance At a public performance of electronic music. enabling modular synth-like patching with your other analog gear. it makes up for this in spades with its collection of preset patches. you may need to downshift an octave or two to get to C0. The design is so evocative of the Little Phatty that you could call the Taurus 3 a “Big Phatty. the Taurus 3 receives note-ons for C0 through C3 only. Fluid performance ergonomics. it sounds as great as its ancestor. respectively).com/oct2010 Video demo by the author. you’re in business with A1. filter. You might even give Geddy himself a run for his money with G3. The top area of the panel contains the Phatty-like buttons.” a low growl that opens up wonderfully with the Control wheel. “SlowRezzRamp. Then you’ll have the full three-octave range—four Conclusions Sure-footed bass pedal-ists and analog fans in general are sure to love the return of Moog’s big. 61 KEYBOAR DMAG. 12 banks of 4 user presets each. It sounds as great as it looks. On the subject of MIDI control.” which sounds like it was lifted directly from one of Rush’s 1980 Signals tracks. I had an easy time changing patches. You should practice on these pedals as you would on any unfamiliar instrument before performing. WEIGHT 45 lbs. the only problems I had were solely on my own foot—pardon the pun. fusion. W X D X H 25" x 24" x 8.5". ladder 20Hz–20kHz range. Presets E4.” It’s a perfect resonant sweep I used quite a bit as a one-note accompaniment that rounded out many a performance with its pure synthetic bliss. and various performance controllers. which are all on the left end block. “Gordon. an alternate function of the Transpose button when in Program mode.COM . It’s a stylish. and keyboard gating. More Online Get these links and more at keyboardmag. and arpeggiator parameters. The Taurus 3 is more like the original (right) than the Taurus II (left). The bottom half of the panel has nine stompbox-style buttons for patch and bank select. the low C of the pedalboard itself. filter. the Control wheel affects the most recently selected parameter in the top area—and the adjacent vertical LED bar is both quick reference and cool eye candy. anything you’d want to tweak. bad. or any kind of electronica. and setting tap tempo. pitch. moogmusic. given the many presets that sound like they’d make great leads. including arpeggiator. FILTER 24dB-per-octave lowpass. 10. Possibly my favorite preset is B2. Despite never quite mastering the pedals like Geddy Lee did. 1 bank of 4 factory presets each. Three-octave maximum MIDI input.995 (no list/street difference). sweeping parameters with the Control wheel. I’d like to see a higher MIDI note range for finger-dependent shredders. Right out of the box. hook up a MIDI controller and play this beast with your fingers. This is a MIDI limit only.com if you stomp the Octave button at the right time. Still.

’09). it’s not a do-everything digital audio workstation in the mold of Logic. a ten-channel drum sampler. and Digital Performer.5 DUO by Jim Aikin In a world overflowing with great music software. First. I encountered not a single glitch of any kind. One 62 KEYBOAR DMAG.0 (reviewed Dec. Nor is there a video window. a monophonic step sequencer. Sonar. and Subtractor). Prior to Record 1.COM 10. It has terrific synths (Thor. Octo Rex loads eight REX file beats at once and lets you switch between them on the fly. the user interface is consistent no matter what module you’re using. Notably. and a rear-panel patching system where dragging virtual cables between virtual jacks turns the whole thing into one vast modular instrument. Cubase. Second. Propellerhead REASON 5 / RECORD 1. Reason doesn’t host third-party plug-ins. so it’s not suitable for soundtrack work. This leads to certain limitations. it’s remarkably easy to use. Though the combination of Reason and Record is a complete audio and sequencing-based multitrack production studio with its own great instruments and effects. Dr. the Propellerhead gurus have always had a clear vision of what Reason is and what it’s not. As complex as Reason is by now. Also. a full-featured multisampler. While working on this review. Propellerhead has always paid close attention to user interface design. Malström. detailed control over the feel of rhythm tracks. you had to use ReWire to pipe Reason’s audio output into a DAW if you wanted to record audio .GEAR Two new modules beef up Reason 5.2010 advantage of this sort of closed system is that it’s extremely stable. Kong is a percussion designer with a choice of synthesis types. some key factors set Reason apart. Discussing even the basic features of Reason would take many pages. a variety of great-sounding effects.

Specifications tracks. maximizer). a triggered REX file loop. the new features in Reason 5: the Kong percussion designer. There are four stereo output More Online Get these links and more at keyboardmag. and so on). They even respond to mouse position by varying the velocity. Dr. Depending on what you want to automate. a tone source. this may or may not become a source of frustration. but by now it’s looking a little old-school. a snare rattle generator. Powerhouse percussion synthesis. Octo Rex will load the old Dr. so you can patch any of Reason’s devices into the signal path. All eight share the same basic set of voicing controls (filter. Octo Rex The Dr. we’ll focus on two things. Record/Reason duo List: $449. Decay. Damp. Pitch. the sample playback module lets you stack and assign velocity zones to multiple samples. Then we’ll take a look at Record 1. the two become a unified program. Duo: Record and Reason devices integrated as a do-it-all virtual studio. Pitch. Kong lacks ReDrum’s pattern sequencing.0. I would’ve liked to see rear-panel “CV” inputs to the individual drum modules. you can mix and match hits from different kits. street: $300 Record 1. Dr. Briefly. Density. Kong has 16 pads and a vaguely MPC-like look.COM Author’s audio demo of Neptune pitch correction. envelope filter. In this review. and some of them are unusual: a noise source. $149 for Reason owners propellerheads. all your tracks appear in one sequencer display. but that would’ve made the rear panel a mess. Extensive rear-panel patching. by connecting ReDrum’s rear-panel gate outputs to Kong’s gate inputs. Great user interface. On the physically modeled bass drum. or modeled analog synthesis. Sample editing could be beefed up. for instance. or to either of two more “global to Kong” effect modules. Sample Start. Record changed all that. and Record’s powerhouse mixer is available as an output for Reason instruments. Each pad can produce sounds using sample playback. Each pad has two insert effects. On the rear panel there are inserts (stereo) between the two global effect modules. but Kong kicks Reason’s percussion into a whole new dimension. and an overdrive/resonator. existing songs that use Dr.5 List: $299. street: $250. Tone. delay. Tune 1. street: $400 Reason 5 List: $349. chorus/flanger. and alt group. No video window. CONCEPT Reason: A do-everything rack of synths and effects with a very capable sequencer. reverse. master bus compressor.99 Approx. Record is available separately. and Decay can be automated. and they add a huge palette of sounds to Kong. some of Kong’s knobs can be automated and some can’t. Dr. and seldom use the pattern editing features. ReDrum and Kong percussion. vocoder. but not Amplitude Attack Time. two ADSR envelopes.com/oct2010 Tutorials by former Keyboard editor-in-chief Ernie Rideout. 2GB sound library. ring modulator.99 Approx. If you’re into designing drum sounds. Octo Rex replaces it.2010 63 . Rex should work fine. Rounding out the list are compressor. Level. or any of the five Velocity Response knobs. parametric EQ. According to Propellerhead. Kong comes with dozens of high-quality kits. and Bend Amount can’t. filter. as Dr. REASON INSTRUMENTS Subtractor modeled analog synth. Octo Rex loads eight REX files at once. tape echo. phaser. Kong is a bit like Thor in that you can choose different modules for its sections. which is a nice extra. reverb.99 Approx. ReWire support. and a transient shaper. but Beater Level. many people record ReDrum parts directly into Reason’s sequencer. the drum sounds can then be routed to a dry output. a new sequencer mode. Second. physical modeling. vintage-emulation EQ and dynamics on every mixer channel. Kong Reason’s ReDrum module is very capable. or play them from a MIDI controller in the normal way. Rex data into its first slot and play it back. Still doesn’t host thirdparty plug-ins. which many mouse-click pads don’t do. Also. In Reason 5. Dr. Rex loop player has been around since Reason 1. 10. Describing every feature of Kong would take pages. KEYBOAR DMAG. and Level can be automated. and tom) and four analog models (the same three plus hi-hat). some of them designed by such luminaries as Printz Board and Bomb Squad. Malström granular synth. The latter two are brand new to Reason. and integrated sampling. Speaking of sounds. but four new parameters have been added for each slice of each loop: filter frequency. Octo Rex loop player. There are three physical models (kick. you’re gonna love Kong. And naturally. plus most of the Reason effects. Record: Audio multitracking and modeled-analog mixing console.5. All of Reason’s instruments are available for adding MIDI tracks to Record. First. Integrated sampling.0. but if you own Reason. but this is not a problem. Tune 2. if you prefer patterns you can easily set up a pair of ReDrums and use their patterns to play Kong. which adds the much-needed Neptune pitch corrector/voice synth to the lineup. snare. Convenient song arrangement tools. output. Neptune pitch correction. You can record from the pads into the sequencer by clicking them. ReDrum is still part of Reason. RECORD INSTRUMENTS AND EFFECTS ID8 sample player. First. Dr. Our original review of Record version 1. Octo Rex drum loop player.se Pitch Envelope Amount or Time. stereo imager. After the insert effects. NN-19 and NN-XT samplers. Thor modular synth. REASON EFFECTS Reverb. In the NN-Nano sampler. mastering (equalizer. compressor. Scream distortion.

Octo doesn’t keep track of where you are in relation to bar lines. Here. The tools here are basic: normalize. You can sample external audio. and the selection of which Dr. so you can build an intro one layer at a time using only a single block. This will be plenty for sound design or for capturing loops. and loop point editing. so it can’t switch to a different loop in the middle of the current loop. pairs in addition to the main output. The modules in Record include the ID8 synth and the audio track device. each loop will have its own lane within the sequencer track. it will be offset by half a bar. You can import samples recorded elsewhere and play them using . Thirty-two Blocks may not seem like a lot. In this performance mode. When you use the Copy Loop to Track button. or capture the sound coming from one or more Reason devices. This is quite useful. Octo will choose among them randomly if it’s playing back a loop using its internal sequencer. This means that you could route a snare. so there’s no way to squash unwanted clicks or pops.COM 10. you can edit it in the Edit Sample window. A Block could be a multi-instrument drum groove. When you click the Copy Loop to Track button. for example. just go into record mode and overdub it. as you can easily copy one loop to the track. Laying out verse/chorus forms with Blocks is easy. You can trigger separate loops in Dr. One way you’d use this feature is for randomly choosing which of four snare hits will fire on beats 2 and 4. for example. reverse. You can then export samples if desired—say. Your new recording will replace the data in the Block—but only at that one spot. If you want a different drum fill at the end of the second verse. out to a reverb. and you can edit it as needed. The new loop that you’ve triggered can start on the next bar. In the basic Sample Edit window (see above). but userdefinable fade curves aren’t possible. Blocks Although Reason has a couple of pattern-based devices (ReDrum and Matrix). you can program a fade-in or fade-out for the sample.2010 Record 1. which can host inserts. by unmuting a new track every two or four bars. A maximum of 30 seconds of stereo sampling time (per sample) is available. then have its note data play different REX file slices. The song still plays as it did before. such as a ReDrum or Kong channel. If you trigger a loop on beat 3 of a bar. but not enough to record a whole song.” Dr. them wherever you like in the song. or an entire verse. only one loop will play at a time. for instance. but user-definable gain change is not implemented. Likewise. crop. for instance. Octo Rex using MIDI keys in the octave below a 61-note keyboard’s five-octave range—shift your keyboard down an octave to get there. Octo slot the notes will be sent to is controlled by automation. These can be automatically assigned to sample playback devices. the Neptune Pitch Adjuster is inserted in an audio track. Dr.GEAR After capturing a sample in Reason. each iteration of the beat loop within the longer loop region in the sequencer track will have its own randomized pattern of note events for each alt group.5 By itself. the next beat. but from then on the pattern will be repeatable. any track or lane can be muted during the playback of any Block. In addition. playing your song from start to finish. Blocks change all that. or the next sixteenth-note—but the operative word is “start. Sampling New in Reason (Record is not required for this) is the ability to capture new samples. but the clever thing is that you can override the data in any Block at any spot. its main sequencer has always been linear. you can normalize the gain of an entire sample or any part of it. fade-in/out. if you’ve designed a killer drum sound in Kong and want to use it in another program. When two or more slices of a loop are all assigned to the same alt group. but you can now record up to 32 multitrack Blocks and insert 64 KEYBOAR DMAG. Reason is strictly for making music with its own suite of instruments.

.

.

and the preset select buttons can be automated. (17(5 7+( :25/' 2) . and a Catch Zone Size slider: When an incoming pitch is in the “catch zone. When you route MIDI notes to it. and there’s a Cents parameter for fine-tuning. if you want to open an audio track in another program. but these knobs can be automated separately.5. Neptune processes audio while the music plays—it’s not an editor. Record saves all of its audio data in the song file itself. You can record multiple takes in loop mode and comp together a keeper track without trouble. This has advantages and drawbacks. producing what sound like vocoded chords. you can use Neptune as a transposer. then mixing it in at a fairly low level. On the other hand. is easy to use. for instance. In 1. say. Also. There are four programmable presets for the scale controls. Unlike most DAWs. Neptune also includes what appears at first glance to be a bare-bones vocoder. The Voice Synth can be routed to a separate rearpanel audio output. and a reverb. Record is for audio multitracking. A plus is that it aids collaboration: Send someone your project. If you send Neptune MIDI notes. and it’s in Record if you don’t have Reason. Record could time-stretch audio tracks—very convenient for changing the tempo of a vocal for a dance remix. bass. or intentionally less so for chipmunk or Darth Vader vocal effects. Correction Speed and Preserve Expression settings aren’t stored with the presets. and they won’t be asked to “please locate” audio files. but that’s hardly a convenient way to record audio for. which is even better. while not actually a synthesizer. you can move the vocal formants up or down independent of the pitch. a chorus/flanger. and drum sounds in case you don’t have Reason and want to support your guitar or vocal tracks. to help the transposition sound more realistic.0.” Neptune will correct it. but only one basic MIDI instrument. of course. which I recommend. This is nice if your song changes key in the middle. feature-rich mixer. Record has most of the Reason effects. Its most important controls are the Correction Speed and Preserve Expression knobs. $%%(< 52$' DQG WKH $%%(< 52$' ORJR DUH WUDGHPDUNV RI (0. I added an ethereal choir behind my lead vocal by processing the Voice Synth output through a filter. Even without Reason. you can also adjust the pitch of audio. With the Formant Correction knob. if you save incremental versions of a song as you’re developing it.a Reason sampler module. thanks to Neptune (see below). Neptune is designed mainly for monophonic tracks such as vocals. it “corrects” the pitch of the vocal to whatever note you play. you’ll go through an extra exporting step first.3. but the Voice Synth in Neptune. Instead of (or in addition to) correcting the pitch. the vocal will “snap” to the correct pitches more quickly. the Voice Synth pitch-shifts the input up and/or down simultaneously to all of the MIDI notes it receives. Record will chew up hard drive space pretty quickly. Neptune has a number of features beyond simple pitch correction. As you turn up the Correction Speed.203/(7( Neptune Like other retuning systems. I found that it worked well for both subtle pitch correction and T-Pain-style vocal mangling. The Preserve Expression knob lets vibrato and pitch slides sneak through without being squashed. Reason has a real vocoder. called ID8. Record has a massive. ID8 gives you a simple but useful selection of keyboard. and also a guitar amp modeler. This lets you superimpose an entirely new melody on a vocal. Since version 1. . In the center of the panel are controls for setting a scale whose pitches will be used in the correction process. its range is plus or minus 12 semitones. adding a vocal track.

the Reason/Record Duo is a terrific choice as a creative platform.0 standalone.203/(7(  (/(0(176 EULQJV \RX  RI WKH EHVW VRXQGV IURP 1DWLYH .5 are welcome upgrades—and Record 1.QVWUXPHQWV DJVKLS .203/(7(  IRU MXVW  :LWK  *% RI LQVWUXPHQWV DQG HIIHFWV LW V DOO \RX QHHG WR VWDUW SURGXFLQJ PXVLF ULJKW DZD\ $GG WKH LQFOXGHG  HYRXFKHU DQG \RX YH JRW WKH PRVW DIIRUGDEOH ZD\ HYHU WR HQWHU WKH ZRUOG RI .203/(7( ZZZQDWLYHLQVWUXPHQWVFRPHOHPHQWV Conclusions Reason 5 and Record 1. but it fills a hole in the feature set.COM 67 . For creating almost any kind of pop music on your computer. especially considering that it sells for less than the price of most DAWs and many single plug-ins. I doubt I’ll use the live sampling much. especially the Kong percussion designer and the Blocks mode in the sequencer. making Record much more competitive. Neptune is not groundbreaking. but for some musicians it will be a great plus. /LPLWHG XVHG XQGHU OLFHQFH 7KH DOO QHZ .5 is free if you use Record 1.2010 KEYBOAR DMAG. The new features are very welcome. 10.

CA AES CONVENTION www. 2010 Moscone Center San Francisco.com Your Bridge to the Future .129 TH CONFERENCE November 4-7.aesshow. 2010 EXHIBITS November 5-7.

2010 KEYBOAR DMAG.MAR KETPLACE 69 10.COM .

P R O D U CT S P OT L I G H T

Special Advertising Section

Action Drums: Cinematic Edition AT4080 & AT4081 Bidirectional Ribbon Microphones
Audio-Technica
Available Now

Nine Volt Audio
Now Available

Revolutionary ribbon microphones feature groundbreaking AudioTechnica dual ribbon design with 18 patents pending; innovative MicroLinearô ribbon imprint; powerful N50 neodymium magnets; extremely durable performance; and smooth, warm, high-fidelity sound. AT4080 $1,245; AT4081 $895

Recorded in a concert hall, Action Drums: Cinematic Edition brings epic percussion to the REX, Stylus RMX, ACID Wav and Apple Loop formats. SRP: $99.99

www.NineVoltAudio.com

www.audio-technica.com

Amp Modeler Pro
Studio Devil
Now Available

Radial ProD2 Phase Accurate Compact Stereo DI
Radial Engineering
Now Available

From the DI pro’s at Radial, a stereo Direct Box that’s perfect for keyboards. The ProD2’s custom audio transformers are engineered for high signal level, linearity and the phase accuracy so important for solid bottom. USD SRP: $160

Studio Devil AMP combines breakthrough tube amp realism, cabinet impulse modeling, tone-shaping EQ, and studio effects into one, straight ahead amp modeling plug-in. Dial in the professional guitar tone you expect into your next recording project without the fuss. Demo versions available online for guitar and bass. SRP: $149

www.radialeng.com 604-942-1001

www.studiodevil.com info@studiodevil.com

To advertise in this section contact: Will Sheng at 650-238-0325 or wsheng@musicplayer.com

72

KEYBOAR DMAG.COM

10.2010

760-246-9492 Learn jazz piano on the internet at www. check out our website at www.. a big marketplace. (818) 888-7879 Acoustic Products & Services Sounds.& Asr10/x Wav & most all software/hardware formats.VintageKeyboardSounds.COM 73 . Licensed by Departmentof Education.Service . Buy/Sell MINT Hammonds. B3. and a wide range of instruments and prices.MusiciansContact.com@bis. 61592 Orion Dr. b3hammond. Thousands of satisfied members since 1969.com Dopest Hiphop/R&b sound kits & Turorial Dvds 4 All Akai Mpc . & Software Education & Tutorial Acoustic Products & Services Mixing and Mastering Studio Fur nishings Buying or selling instruments through our Classified Ads offers you convenience.B3GUYS. taught by Craftsman technicians. Leslies. www. Mixing and Mastering www. (541) 382-5411.com. 2) Get front and back photos of the instrument.Rental 615-438-8997 Talent & Employment www.midco. Keyboard Magazine suggests the following guidelines to help the buyer and the seller in these transactions: 1) Get a written description of the instrument. Randy Potter School of Piano Technology. Sequences & Software www. and COMBO ORGAN SAMPLES. Paying jobs online. much more. Sequences. which should include the serial number.Parts . All Formats Supported. Repairing.JazzPianoOnline. buying mail-order does have its drawbacks. (701) 400-2933. And Regulating. Wordwide sales. However.com.SoundsForSamplers. Complete correspondence course includes written and video tape training material.keyboardmag.b3hammond. 562-856-9333 BAND-IN-A-BOX IMPROVEMENT PRODUCTS * Put A Better Band In Your Box * Norton Music (since 1990) * www.com.2010 KEYBOAR DMAG.com For more information.com Authentic MELLOTRON.C LAS S I F I E D S Categories Pianos & Organs Talent and Employement Sounds. OR 97702. too.com HAMMOND Organs & LESLIE Speakers Sales . Education & Tutorial Learn Piano Tuning.pianotuning.com 10. Apprentice Training Manual. Bend.nortonmusic. with a 24-hour approval clause allowing the buyer to return the instrument for a full refund if it does not meet his/her reasonable expectations.net Studio Furniture www.com Pianos & Organs www. 3) Get a written purchase agreement.

2010 . 2000 STUDIO ELECTRONICS SE-1 The first true Mini clone in a MIDI-playable rackmount. single-oscillator MS-10. It’s also built like a cold war tank. this lowcost solo synth added something neither HELMTRONIC CHALLENGER the Prophet nor the Minimoog had: an Shown at this year’s Frankfurt Musikmesse. 1978 ARP ODYSSEY The most popular Mini alternative made up for one less oscillator with two-voice polyphony. this aptly-named German boutique synth boasts four oscillators. two filters. repackaged actual Minimoog D circuit boards. KORG RADIAS Descended from Korg’s flagship OASYS. See more synths we couldn’t fit on this page at keyboardmag. and a flipup control panel. Its Minimoog-like flip-up panel was designed by Axel Hartmann.animals and matrixsynth. A pin matrix straight out of “Battleship” let you change the default signal path. 1972 PHOTO THANKS Pro-One: Dave Smith. onboard arpeggiator and sequencer.com. The company’s earlier MIDImini. the virtual analog Radias (shown) and recent M3 workstation shout out to the Mini with their retro flip-up panel designs. The Mk.TIME MACHINE BEYOND AND BECAUSE OF THE MINIMOOG by Erik Norlander and Stephen Fortner In honor of the Minimoog’s 40th birthday. plus highpass and lowpass filters. and of course. a flip-up control panel. 1993 WALDORF WAVE The pricey heir to the PPG throne pumped digital wavetables through analog filters. Challenger: Hans-Joachim Helmstedt. by contrast. SQ10 sequencer. and MS-50 expander formed Korg’s family of patchable monosynths. we look back at synths that shared similar design aspects. II used a Mini-like 24dBper-octave filter. the VCS3 also subscribed to the wisdom that three oscillators are better than two.COM 10. who would later design the Moog Voyager’s panel. 74 KEYBOAR DMAG. 1969 1984 EMS VCS3 Predating the Minimoog by a year. Aelita: mechanical. KORG MS SERIES Clockwise from lower right: The dual-oscillator MS-20. which caused a row between ARP and Moog at the time. 1981 1972 SEQUENTIAL CIRCUITS 2010 PRO-ONE Based on the Prophet-5 design. or whose makers got into the solo synth game after the market proved that Bob Moog was onto something. a 2006 24dB-per-octave lowpass filter.com/gear! EML ELECTROCOMP 101 This Connecticut company’s semi-modular synth packed four oscillators and a 12dBper-octave multimode filter into a suitcase. MUROM AELITA This rare Soviet synth takes notable Minimoog-inspired cues: three oscillators.

All rights reserved Play & Perform Create & Produce Customize & Make it Your Own Connect & Expand .motifxf.com/keyboard ©2010 Yamaha Corporation of America. top selling and most requested music workstations on the market. For more info visit: www. the Motif Music Production Synthesizers have been the best sounding.Inspiration Comes in a Flash Since 2001. providing new features and groundbreaking Flash memory expansion capabilities that will set the standard for keyboard workstations for years to come. The next generation XF builds on the heritage of Motif.

Sign up to vote on this title
UsefulNot useful