Improvisation #113 for Prophet ’08 Poly Evolver and Odyssey

In this piece, the Evolver is used for an occasional choir patch. The Prophet ’08 provides the main patch – a heaving string sound – while the Odysseys provide a duophonic patch with a lot of portamento and a solo patch.

I’ve been up and down over the Odysseys. At first, I was crazy for them. But then I started to struggle over their various idiosyncrasies. One is the inability to delay the vibrato. Another constant challenge is the single LFO. I constantly use vibrato and pulse width modulation simultaneously and at different rates. So, what am I to do? As it turns out, modulating the pulse width with an envelope generator isn’t so awful. One advantage of the technique is that, after the pulse width reaches the sustain level, it resorts back to a pure square, which can be a very effective sound, especially in the higher registers. It happens several times in this piece.

Anyway, now I’m crazy for the Odysseys again and think their sound is fabulous. It’s just a very quirky instrument, that’s all. And I have to say that the duophonic capability is a tremendous advantage. It can seem like a last-minute gimmick, but no. It quite transforms the instrument halfway into a polyphonic one. In this piece, the Odyssey is playing the rising fifths and thirds that begin ascending at 4:19 and again later in the piece. It’s something I’d like to explore much more, perhaps with each Odyssey on a separate keyboard.

Instruments:
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module
DSI Poly Evolver Keyboard
DSI Poly Evolver Rack
Korg ARP Odyssey (2) controlled by a Nektar Technology IMPACT GXP49 Keyboard

Bass:
Prophet ’08 Module
Hammond XPK 200L Pedalboard

Effects:
Reverb from Lexicon MX300
Delay (on Odysseys) from Zoom MS-70CDR

Recording:
Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2023

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Dave Smith Instruments Prophet ’08 Brass Patch

I’ve never heard a synthesizer that could produce a brass patch as thick and bristly as a Prophet ’08 patch. This, for me, makes the instrument irreplaceable. I would have one (or two) even if it could make no other sound.

For this piece, I’ve had to use a lethargic lumbering tempo, due to the slow attack setting. But it allows you to get a sense of the quality of the sound. In other words, this improvisation is primarily a sound demonstration.

As usual, the P’08 keyboard is paired with a P’08 module. The same patch is used on each instrument and the channels are panned to opposite sides at the mixer. The final touch is to add the layer setting to each instrument. This limits the number of voices to only four (hence, you can hear an occasional “pop” from note-stealing), but each of those voices has eight oscillators of pulse width modulation sounding with each note. In a word, BIG, like a mountain!

Instruments:
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module

Effects:
Reverb from Lexicon MX300

Recording:
Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2023

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Improvisation #111 for Poly Evolver, Prophet ’08, and Korg ARP Odysseys

This piece makes use of a massive pad from the Poly Evolver Keyboard in which both the high pass and low pass filters are modulated by an envelope generator. As the former opens to allow the lower frequencies through, the latter closes to remove the higher frequencies. This is somewhat softened by applying a slow attack from the VCA envelope, which slowly introduces this double filter effect. And yet, when you’ve used all eight voices, you can create a sudden strike with the next chord that overthrows the slow attack. The patch has such a brash dominating quality that it could hardly be used alongside any other sound or instrument. It would gobble it up.

In between, the Prophet ’08 provides a soft pad with a delayed evolving sheen. Finally, the Odysseys offer a solo flute patch with a waveform setting just slightly off from a strict square for occasional melodies.

I’ve said it before and I’ll say it again: there’s nothing like an Evolver. And the Poly Evolver Keyboard is the king of all the Evolvers. If Sequential ever produces an instrument in memory of the brilliant Dave Smith, then it should be this instrument, in the form of a PEK Mk II.

Instruments:
DSI Poly Evolver Keyboard
DSI Poly Evolver Rack
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module
Korg ARP Odyssey (2) controlled by a Nektar Technology IMPACT GXP49 Keyboard

Bass:
Prophet ’08 Module
Hammond XPK 200L Pedalboard

Effects: Reverb from Lexicon MX300
Delay (on Odysseys) from Zoom MS-70CDR

Recording:
Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2022

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Improvisation #110 for Prophet ’08 and Poly Evolver

This piece consists of three patches – a string sound on the Prophet ’08 and a choir sound on the Poly Evolver followed by a string sound. The last few minutes consist of string patches on both instruments played at the same time. My musical objective was to use the patches simultaneously, not merely by doubling the chord progressions on each instrument, but by weaving independent parts in an almost contrapuntal way. This adds harmonic variety to even ordinary chord progressions.

Autumn has just peaked in southern New England, and the dark and dreary days of November are only weeks way. I love this latter part of the season when the leaf-peepers have returned to their city cubicles, leaving the woods to those who love solitude and silence. It’s the perfect time of year for uninterrupted walking and thinking.

Instruments:
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module
DSI Poly Evolver Keyboard
DSI Poly Evolver Rack

Bass:
Prophet ’08 Module
Hammond XPK 200L Pedalboard

Effects:
Reverb from Lexicon MX300

Recording:
Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2022

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Improvisation #109: Prophet ’08 Organ Patch

You can purchase some of my material on Bandcamp:
https://themusicalsynthesizer.bandcamp.com/

This patch from the Prophet ’08 isn’t intended to perfectly emulate an actual pipe organ, but only to resemble one. As different as it is, the patch allows me to play liturgical organ music, or an improvised prelude type piece such as this one. I’ve always thought the P’08 served superbly well as a substitute for a true organ.

Instrumentation:
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module

Bass:
DSI Prophet ’08 Module
Hammond XPK 200L Pedalboard

Effects:
Reverb from Lexicon MX 300

Recording:
Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2022

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Improvisation #108 for Poly Evolver Keyboard and Prophet ’08

You can purchase some of my material on Bandcamp:
https://themusicalsynthesizer.bandcamp.com/

This piece is a more expansive improvisation from the previous session and follows some of the same musical ideas. The Prophet ’08 pair provide a flute chorus type patch, with the pulse slightly off from a strict square position and slightly modulated. The Poly Evolver provides the string patch. Oh yes, there are bass pedals used this time. There must be bass pedals!

Instrumentation:
DSI Poly Evolver Keyboard
DSI Poly Evolver Rack
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module

Bass: Hammond XPK 200L Pedalboard
DSI Prophet ’08 Module

Effects: Reverb from Lexicon MX 300

Recording:
Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of The Musical Synthesizer, 2022.

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Improvisation #107: Prophet ’08 String Patch

You can purchase some of my material on Bandcamp:
https://themusicalsynthesizer.bandcamp.com/

A lethargic piece using a dark warm string patch from the Prophet ’08. No pedals, but only a single keyboard.

Instrumentation:
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module

Effects:
Reverb from Lexicon MX 300

Recording: Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2022

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What Child Is This?

You can purchase some of my material on Bandcamp:
https://themusicalsynthesizer.bandcamp.com/

I seem to record this composition every few years – whenever I have some new equipment. Well, this year I’ve got a new recorder and two new Odysseys, so I’ve definitely got an excuse to record it yet again. And the main reason is that I think the tone of the Odysseys is sweet and lovely and does improve on the older rendition of this piece.

This is a fairly easy piece to play, but there are quite a few buttons, switches, and sliders to adjust as I’m playing. Now I’m really paying the price of using non-programmable synthesizers! Meanwhile, keeping those left-hand arpeggios moving smoothly and evenly is nearly impossible. So, I’m aware of the occasional unevenness.

The organ arpeggios are played on the Poly Evolver Keyboard, the sawtooth and square solo patches are played on the Odysseys controlled by the Prophet ’08 keyboard, and the ending strings come from the P’08s.

Merry Christmas, everyone!

Instrumentation:
DSI Poly Evolver Keyboard
DSI Poly Evolver Rack
DSI Prophet ’08 Keyboard
DSI Prophet ’08 Module
Korg Arp Odyssey Module (2)

Bass:
Hammond XPK 200L Pedalboard
DSI Prophet ’08 Module

Effects:
Reverb from Lexicon MX 300
Delay from Zoom MS-70CDR

Recording:
Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2021

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Improvisation #106 for Poly Evolver Keyboard

You can purchase some of my material on Bandcamp:
https://themusicalsynthesizer.bandcamp.com/

The patch used in this experimental improvisation consists of a string type sound with a slow attack and a long release. In addition, an LFO slowly and deeply modulates the filter cutoff frequency. This means that playing the notes quickly will trigger notes at their darkest filter setting, but playing them slower will allow the LFO to open the filter. Hence, simply by means of keyboard technique, you can control the filter. This, together with a touch of a modulation wheel, controls the dynamics of the piece.

The music sounds unsteady because, rather than playing sustained chords, I’m actually playing non-stop arpeggios throughout. With the exception of the occasional melodies, the piece consists of constant sixteenth notes.

I’ve used a patch almost identical to this on the Prophet ’08, but today I decided to try it on the PEK. Personally, I think the P’08 version is better, but maybe I still need to refine the PEK version.

Instrumentation:
DSI Poly Evolver Keyboard
DSI Poly Evolver Rack

Bass:
Hammond XPK 200L Pedalboard
DSI Prophet ’08 Module

Effects:
Reverb from Lexicon MX 300

Recording: Performed live and recorded directly to a Tascam DR-100 MKIII Linear PCM Recorder.

All music property of THE MUSICAL SYNTHESIZER, 2021

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Musical Imperfections

I’ve always considered a musical mistake to be the most dreaded thing – the scourge of any performance. That’s a difficult standard for someone like myself of only moderate playing ability. Regardless, in the past I would throw out or erase any piece of recorded music that bore the unpardonable sin of even a single erroneous note. Well, that attitude has changed, to the point that I now find a minor mistake a pleasant thing, a comforting signature of warm breathing humanity.

Modern music – especially of the synthesizer genre – is exceedingly robotic in its technical precision because it is robotic in the literal sense. Most often, at least some aspect of a piece or song is triggered with an inhuman precision by a sequencer, looper, or drum machine. This pushes “perfection” in a cold and dispassionate direction, one which seems especially misplaced in music.

Yes, classical musicians will exhaust themselves with endless hours of practicing, in striving to “perfect” a performance. But the result is still only a relative perfection that is in no way perfunctory or mechanical. It still will breathe with such elements as rubato, accent, dynamics, and other spontaneous aspects of interpretation. But machines can’t interpret; as mere inanimate objects, they lack nuances, unless those nuances are pre-programmed. And a pre-programmed nuance is just that.

Like every other serious musician, I practice in order to avoid making mistakes in a performance or recording. But here and there, a tiny little imperfection appears. It might be a slightly delayed key strike, or a subtle wrong note that could be excused, say, as a grace note. My point is, in my own music or someone else’s, if the imperfection is slight enough, it now has the appeal of evidence that such music was made by a human being – a warm, breathing, thinking, feeling, loving, and most imperfect human being. And I really like the charm of that evidence. I despise the perfections of machines and computers, the exacting rhythms and note strikes, the flawless scales and arpeggios. I prefer music that breaths with a familiar and forgivable humanity; that is, a sentient musician whose very minor errors warm the cockles of my heart.

You can purchase some of my material on Bandcamp:
https://themusicalsynthesizer.bandcamp.com/

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